viernes, 23 de octubre de 2015

COMMANDER CODY - Live From Armadillo World Headquarters 1973 and The Capitol Theatre 1975 [USA roots 2007] SPV

There have been many dubious live offerings by the classic Commander Cody and His Lost Planet Airmen over the years. This is not to say that the tapes weren't licensed in some way -- perhaps they put some much needed pocket change in the various ex-members' pockets, which is fine. But this one is an authoritative reissue; one of these two discs has not previously been heard on CD. In some ways, this is the real Grail for those looking for Lost Planet Airmen rarities and shows. Issued on the SPV Blue imprint, disc one in this collection, recorded in 1973 at the Armadillo World Headquarters, contains the editing-room casualties from the band's first live album, Live from Deep in the Heart of Texas. While the released set has the official distinction of being one of Rolling Stone mag's greatest 100 records of all time, hardcore fans knew it was in some ways a hatchet job because it doesn't flow the way a Commander show usually did. What's on this disc is the reason: 13 of these cuts were issued on the Music Avenue label as Texas Roadhouse Favorites in 2006, but this set contains 17. It's the rock and blues set with a few country and trucker faves such as "What Made Milwaukee Famous" and "Truck Driving Man" thrown in. But this is a burning live rock and blues set. The horn section was especially tight on this night, and never sounded better. The second disc was recorded at the Capitol Theater in Port Chester, NY, in 1975, during the band's Warner Bros. period. For those in the know, the Warner recordings (reissued by Wounded Bird on CD, thank God) are vastly underrated and are essential for anyone interested in this band. (This does not include the live We've Got a Live One Here!, an abomination issued to fulfill a contract.) This set is a little dodgier in terms of sound, but the performance is even stronger. With 25 tracks clocking in at 78 minutes, this one is full of old and new tunes, originals, and covers: band standards like "Down to Seeds and Stems Again," "Truck Driving Man," "My Window Faces South," "Hot Rod Lincoln," and "Lookin' at the World Through a Windshield" are all here, but so are readings of "Cajun Rag," "Everybody's Doin' It," "Diggy Diggy Lo," "Keep on Lovin' Her," "Wine Do Your Stuff," "I'm Comin' Home," "Mama Tried," "Beat Me Daddy Eight to the Bar," and "Don't Let Go." It also includes the return of pedal steel boss Bobby Black to the band's fold after a stint with Barbara Mandrell. The rougher sound of the second volume does nothing to diminish the crackling energy and sheer sophisticated musicality of the performance. This double set -- at a reasonable price -- is a must for any fan of the Commander Cody/Lost Planet Airmen show. 

Commander Cody

viernes, 2 de octubre de 2015

TOMMY JAMES & THE SHONDELLS - Cellophane Symphony [USA pop psych 1969]

Cellophane Symphony, credited to Tommy James & the Shondells, came only seven catalog numbers after the Crimson & Clover album, but oddly got a Top Ten hit in between the four hits that the earlier disc spawned. "Sweet Cherry Wine" is as good a pop song as one will ever hear, hitting the Top Ten in April of 1969, five months after "Do Something to Me" and five months before "Sugar on Sunday," both from Crimson & Clover (though it was the Clique who clicked with their version of "Sugar on Sunday"). This beautiful song, "Sweet Cherry Wine," is the epitome of peace, love, and '60s understanding, with a sound that is very much like TJ's own version of "Sugar on Sunday." The radio attention to a single on the highly experimental Cellophane Symphony is equally extraordinary because the album is very much like Tommy James doing his own Sgt. Pepper's Lonely Hearts Club Band. There are oddities, like side one's closer, "Papa Rolled His Own," which could be "When I'm Sixty Four" meets "You Know My Name, Look up the Number"; two Beatles offbeat ditties; and the almost as wacky "On Behalf of the Entire Staff & Management," which ends side two. In between is some lovely pop music, which one finds after they trip their way through the amazing nine and a half minutes of the title track. The instrumental song "Cellophane Symphony" is early Pink Floyd meets "20,000 Light Years From Home" when the Stones gave Satanic Majesties Request. It is the only title credited to the entire band, followed by two of five Ritchie Cordell/Tommy James co-writes: the poppy and excellent "Makin' Good Time" and the beautiful "Evergreen." Covered in keyboards and acoustic guitar, "Evergreen" is Tommy James being the folky and the pop star, a unique look at this underrated and important artist. It's a perfect setup to "Sweet Cherry Wine," which is the standout track, the subtle intro exploding into a chorus of the best type of anti-war sentiment: "Let's just get along." Pete Lucia writes two songs with James, one being the amazing "Changes," which opens side two, while Mike Vale helps James on "Loved One," making this a very special collection of ten songs wrapped up in a stunning black-and-white psychedelic cover of a hatch shell, empty benches, and cool '60s photography. Though Tommy James is all over the book Bubblegum Music Is the Naked Truth, he is beyond just an artist who hit with that genre. He's an artist whose value is evident on his country album, My Hed, My Bed, and My Red Guitar, as well as other catalog treats, like this disc with its strong compositions "Loved One," "The Love of a Woman," and the Richard Grasso/Tommy James hit that is a true pop classic, "Sweet Cherry Wine." 

jueves, 1 de octubre de 2015

REBIRTH - Into the Light [USA Jesus music folk rock 1970]

Great home-made vibes on this first custom lp from talented Virginia college students performing in a gently flowing electric hippie folk-rock groove. Soft dreamy harmonies with an edge, Elaine Warfel’s voice being particularly lovely. Spooky organ brings a twinge of psych to ‘Lovely America’ and the trippy title cut, the latter with electric guitar work that gives fleeting moments of Wilson McKinley and The Youngbloods. Also some piano backing on several tracks. Melodic ‘60s influences can be found on the delicate folky harpsichord-backed ‘Young Girl’, as well as the lively trumpet-backed pop tune ‘I Got Me’ which includes a few unexpected explosions of manic fuzz guitar. That’s quite a contrast from the quiet acoustic ballad ‘Life’ or their a cappella version of ‘Quiet Place’. Other covers include ‘The First Time’, ‘I Shall Be Released’ and ‘Hymn’. As with bands like The Bridge, I believe the appropriate word here is “charming”. See the entry under The Manifest Destiny for an earlier version of the group. (The Archivist, 4th Edition by Ken Scott).


BRINSLEY SCHWARZ - Silver Pistol [1971] Please Don't Ever Change [1973] 2004 BGO

This two-album-on-one-CD compilation captures Brinsley Schwarz at their musical peak on two levels. The material on Silver Pistol, arguably their best album, is remastered impeccably so that you can practically hear the action on the acoustic guitar strings on "Nightingale" and get just as close to the electric guitar on "Silver Pistol," while the electric bass on "The Last Time I Was Fooled" feels like it's in your lap. Those songs, along with "Unknown Number," "Merry-Go-Round," and "Egypt," were all authored by Nick Lowe, and alternating with some equally substantial contributions by Ian Gomm, they made Silver Pistol about the most dazzling body of American rock songwriting since the days when Neil Young, Stephen Stills, and Richie Furay were divvying up Buffalo Springfield's classic albums between them -- indeed, this CD makes one think of the artistic peak that the latter group never had a chance to reach, owing to personnel problems; and, in fact, Lowe's and Gomm's divergent yet not dissimilar roots-based styles call the Stills/Young pairing to mind on yet another level. And then there's the second half of the CD, the somewhat slapped-together contents of Please Don't Ever Change, any of which sounds like it could easily be among the best work of the band. And even that shows the levels of perfection Brinsley Schwarz were achieving on just the individual, one-off efforts they generated when they weren't shooting for any big targets. (And except for Showaddywaddy, what other group during the 1970s was covering the Cadillacs' "Speedo" as a serious number?). And all of it, off both albums, is presented in glittering state of the art digital audio and backed up with superb notes by Alan Robinson -- it's all a little bit of what one corner of rock & roll heaven should sound like.

lunes, 28 de septiembre de 2015

FRANKIE MILLER - Double Trouble [UK rock 1978]

Double Trouble is the fifth album by Frankie Miller. The album took shape in April 1978 at the Record Plant in New York, with Miller receiving backing from drummer BJ Wilson from Procol Harum, guitarist Ray Russell, two-man horn section Chris Mercer and Martin Drover, and keyboardist and vocalist Paul Carrack, who co-wrote five of the songs with Miller. Steven Tyler from Aerosmith also makes a guest appearance as backing vocalist.

ROOM 13 - Peaceful War [UK punk psychedelic 1980-82] Bevis Frond

After the demise of the Von Trap family, Room 13 rose like a phoenix from the ashes in the early 1980s. Sadly, it was a bit of a short-lived phoenix, as they only existed for a brief period before Nick's motorbike accident put an end to the band. Musically you could call them post-punk garage psychedelia if you really wanted an ill-fitting pigeonhole to squeeze them into - better to listen and decide for yourself. They released one incredibly rare 12" Single - Need Some Dub / Murder Mystery in 1982. This compilation comprises all of the studio cuts they recorded during that brief period and includes an LBC interview and their appearance on Jellybone Jury. One live recording exists which you can also find on this Bevis Frond site. The phoenix was to rise again in 1986 as the Bevis Frond, feeling altogether healthier.


martes, 11 de agosto de 2015

RANDY BURNS - Songs for an Uncertain Lady [USA folk 1970]

Burns, who was in the traditional Village acoustic folk mold when he started recording, was by his third album a folk-rock singer/songwriter, even if the songs didn't often use drums. Reserved to the point of recalcitrance, Burns sometimes recalls a way-lower-key (and also lower-voiced) Tim Hardin or Tim Buckley with his melancholy, though not quite gloomy, meditations on fragile and crumbling love affairs. As was habitual for ESP rock productions, these sometimes sound more like demos than polished results, particularly on those few cuts when a full band's involved. There are echoes of a lot of singer/songwriters here and there -- traces of Leonard Cohen and even James Taylor can be heard from time to time. And when several comparisons keep coming to mind, the chief drawback of the work is highlighted: Burns doesn't plow territory that's inimitably his, and while his songs are kind of melodic, they're not captivating. "Child for Now" is totally unlike the rest of the songs in that it's very much a fast-paced folk-funk workout in the style of tunes that Tim Buckley did in that vein, like "Gypsy Woman." "Deegen Street," the final and hardest-rocking track, is also wholly atypical of the record, uncannily mimicking the sound of 1969-1970 Neil Young.

sábado, 8 de agosto de 2015

DAVE EVANS - Elephantasia [UK folk 1972]

Dave Evans was an obscure singer/song writer from the UK in the early 70's, and both of his first two albums sailed completely under the radar.

He was an obscure singer/song writer from the UK in the early 70's, and both of his first two albums sailed completely under the radar.

Elephantasia was recorded at Village Thing Studio (July 1972) and at Rockfield (June 1972).

RO RO - Meet At The Water [UK 1972]

"The short-lived Ro Ro featured the talents of drummer Rod Coombes, bassist Warwick Rose, singer/guitarist Alan Ross (apprently still in his teens), keyboardist Neil Sheppard, and former Animals guitarist John Weider. Rose and Ross were the band's front men (which I'm guessing had something to do with the unique name).

The band made their recording debut with a 1971 single for the Parlophone label:

- 1971's 'Here I Go Again' b/w 'What You Gonna Do' (Parlophone catalog number R 5920)

From there they were signed by Regal Zonophone which released a sophomore 45:

- 1972's 'Goin' Round My Head' b/w 'Down On The Road' (Regal Zonophone catalog number RZ 3056)

While the single didn't do a great deal commercially, Regal Zonophone decided to finance an album. Produced by John Adcock, 1972's "Meet at the Water" is a grower. The first couple of times I played it I remember thinking it was largely split between forgettable sensitive singer-songwriter numbers and equally uninteresting country-tinged numbers. I should have paid more attention since given a chance the album's far better than that. As lead vocalist Ross wasn't gifted with the greatest voice you've ever heard, but he sure managed to make the most of his talents occasionally reminding me a bit of a young, slightly flatter Stevie Winwood (''), or a Paul Rodgers wannabe. It the band wanted to carve out a strong image, the album was a complete failure. Country-tinged numbers like 'Down On the Road' were definitely an acquired taste (which I didn't have). Far better were the Free-styled blues-rocker like 'Beautiful Lady', 'Wild, Wild Woman' and 'Whole Fire Burning'. No, you weren't going to forget about Paul Rodgers and company, but if you were going to pick a musical influence, you could have done far worse". Bad Cat Records

jueves, 6 de agosto de 2015

BILLY NICHOLLS - Love Songs [UK pop 1974]

Billy's second album released in 1974, 'Love Songs', has the unique distinction of being the first recording ever to be entitled 'Love Songs'.

Mainly recorded at the legendary Olympic Sound Studios, Barnes, helped by his musician friends; Caleb Quaye, Ronnie Lane, Ron Wood, Ian McLagan and Pete Townshend. Engineered by Phil Chapman.


J.P. RAGS - Scruffety [USA pop 1968]

Scruffety (World Pacific, 1968)


martes, 4 de agosto de 2015

AVALANCHE - Perseverance Kills Our Game [NL folk prog 1979] 2014 Guerssen

Absolute masterpiece when talking about progressive / psychedelic folk- rock from Europe. Dutch band Avalanche was formed in the early 70s and recorded their only album in 1979. "Perseverance kills our game" was released as a private edition of 500 copies, which were only distributed among friends and relatives. Despite being a home- made project (the album was recorded in just one day!) the result was stunning.Totally early 70s sounding electric folk- rock with flute, piano, bass, drums, and killer fuzz guitar. Mostly instrumental with a few vocals in English. It alternates delicate acoustic passages with devastating fuzz leads, sounding like Fairport Convention jamming with early Ash Ra Tempel. The album closes with an extended 11 minute track on which guitar player Daan Slaman starts playing leads like a madman, creating layers and layers of liquid acid- fuzz guitar. It has to be heard to be believed! 

SHAFTSBURY - The Lull Before The Storm [UK hard rock 1979]

Excellent hard progressive rock album from 1979. Original private press on OK records.

CANAAN - Canaan [UK xian folk rock 1973]

If you’re tired of those country rock homogenized Eagles clones that proliferated in the ’70s you need to check out the British group Canaan. These four guys bring a refreshing progressive element to the genre that is often lacking in their American counterparts. ‘They Call Me A Rock And Roll Gypsy’ is the opening rocker that sets the stage for the spirited optimistic tone felt throughout the album. Gus Eyre’s guitar work (frequently fuzzed) really cooks — ‘Follow Me’ and ‘Lonely Man’ both have acid leads, while ‘Mr. Jones’ and ‘Jesus Revolution’ heavily utilize the reverb effect. Slide guitar can be found on the later, as well as on ‘Seek First The Kingdom’ and ‘Place Of My Dreams’. Harmonica graces a few songs, including ‘Seventeen’. The seven-minute ‘Death Gave Way — Trilogy’ closes the album with more lively guitar action. Bob Fraser’s lead vocals suit the style well, while the group harmonies often attain a Moody Blues-like depth. Producer John Pantry’s periodic organ and string synthesizer fits in perfectly. One of the top Dovetail releases. (The Archivist by Ken Scott, 4th Edition).

lunes, 3 de agosto de 2015

ALLEN TOWNSEND & RICK BETTS - Give them ears to hear [USA xian rock 1978]

Drummer Allen Townsend had been in a rock and roll band doing the nightclub scene and participating in alcohol, drugs and women when he turned to “the Rock that doesn’t roll” (hmmmm, sounds like someone slipped him a Larry Norman album). A year later he and his buddy Rick Betts had accumulated an album’s worth of material, which together with bassist and lead guitarist Jr. Wilson they proceeded to set down on vinyl. Their style is good old rural and Southern-edged meat-and-potatoes hard rock. Townsend plays acoustic guitar, electric guitar, drums and percussion while Betts provides keyboards and percussion. Both take turns at lead vocals. Wilson’s guitar really cooks, ripping away on the highly charged ‘God’s Might’ (with twin leads!) and ‘Adam’s Crutch’, putting muscle on the sinuous ‘Another Brick In The Wall’-ish rhythm of ‘Trust In Jesus’, gettin’ funky on ‘Feeling Good’, and jamming along with organ on the slow-burnin’ blues rocker ‘Show Him’. Nice clean sound with just enough homemade vibes. Recorded in Milford, Delaware. (The Archivist, 4th edition by Ken Scott).

Allen & Rick

CHORDS - It Was Twenty Years Ago Today [UK mod 2012] Detour

This historical new album captures the original line up of the band at  ‘St. George's Hall’, Liverpool in the Easter on 2000. The band deliver a perfect set of old greats including a special version of ’Twist & Shout’ for all the Liverpudlians in the audience.


jueves, 30 de julio de 2015

THE VON TRAP FAMILY - Studio Games [UK psychedelic punk 1979-80] 2010 Bevis Frond

This collects the three studio sessions recorded by the Von Trap Family in 1979 and 1980, including the three tracks released as the Brand New Thrill EP. Featuring Nick Saloman, later to go on to fame and fortune as the Bevis Frond, the Von Traps were conceived as a psychedelic punk band. 

The Von Trap Family

viernes, 24 de julio de 2015

SYNOD - Nobody's Jukebox [USA xian garage psych 1972]

Rare Chicago-area private press LP with some great mellow folky rock tracks and some awesome funky vamps. As seen in the Acid Archives.


sábado, 18 de julio de 2015

HAVENSTREET - The End of the Line - Perspectives [UK folk rock 1974-1979] 2014 Sommor 2 cds

In the early-mid 70s Havenstreet recorded a couple of albums which circulated as private cassettes among friends and relatives. In 1977, Havenstreet released "The End Of The Line", a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. 

A new album called "Perspectives" (Tracks 14-25) which presents the best tracks from the privately pressed cassettes The Autumn Wind (1974) and Transition (1976) plus rehearsal recordings for The End of the Line (1975/1976) and previously unreleased recordings for the group's projected fourth album (1979), which was never completed. These amazing tracks range from electric acid-folk to Barrett-esque psych-pop, pastoral folk and Caravan styled prog-rock. 


lunes, 13 de julio de 2015

The Best of The Gratufl Dead - 2015 Rhino

Grateful Dead is a social and musical phenomenon that grew into a genuine American treasure. In 1965 an entire generation was linked together by common ideals, gathering by the hundreds and thousands. This movement created a seamless connection between the band and its fans. As the band toured, Dead Heads would follow. Not because it was a part of popular culture, but because it is a true counterculture that exists to this very day-one that earnestly believes in the value of its beliefs. By 1995 Grateful Dead had attracted the most concert goers in the history of the music business, and today remain one of the all-time leaders in concert ticket sales. Eventually, the caravan evolved into a community with various artists, craftsmen and entrepreneurs supplying a growing demand for merchandise that connected them to the music. Today, the connection is as strong as ever.

The Best of The Grateful Dead includes songs from all the studio albums in the band's discography, along with one non-album single "Dark Star", recorded in 1968 as a part of the "Anthem of the Sun" studio sessions.

CROSBY, STILL, NASH & YOUNG - CSNY 1974 [2014 Rhino]

CSNY 1974 is the nineteenth album by Crosby, Stills, Nash & Young, their seventh in the quartet configuration, and their fifth live album, the third as a foursome. Issued on Rhino Records in 2014, it consists of concert material recorded in 1974 on the band's tour during the summer of that year.


martes, 7 de julio de 2015

THE CITY BLUES - Blues for Lawrence Street [1967]

Ultra-rare private garage psych blues rock LP from California. Killing Floor/ Fleetwood Mac/ Quicksilver vein. Only released as promo, under 500 copies made. 

The City Blues

jueves, 2 de julio de 2015

IRON LUNG - High Bail 1975

Rare bluesy psych private press on Chicago's K.D.R. Records


martes, 16 de junio de 2015

Thornton, Fradkin and Unger and The Big Band - Pass on This Side [1974]

Including Paul Thornton who had previously been in The Godz, this album has nothing in common with his earlier avant garde work. It is in fact largely inspired by Dylan circa 1966 and The Byrds (Roger McGuinn even gets a "Special Thanx"). The material was written by Fradkin and Thornton and features some good tracks with 12 string guitar: Walkin Guitar Blues, Oh Woman, God Bless California (with Paul and Linda McCartney!), Sometimes or Jimi (a rip-off of Hey Joe dedicated to Hendrix). 

Another New Yorker, David Peel, guests on one track, a version of his To Err Is Human. This is strongly "influenced" by Dylan's Maggie's Farm, with lyrics like "I'm just a human being that don't give a damn". The album was recorded in New York between 1970 and 1974 and produced by Fradkin. 


miércoles, 10 de junio de 2015

LYNN STROUD - The Harvest Is Plentiful [USA xian folk rock 1978]

Noble effort from Knoxville, Tennessee male singer, songwriter and guitarist.  A rich pastoral heartland sound encompassing Lightfoot/Croce-ish folk, playful country rock, acoustic ballads, even some harmonica boogie.  ‘The Curtain’ is the standout track – an excellent moody rural progressive ballad featuring a guitar/mellotron combination not unlike The John Carlson Band or Thomas Goodlunas & Panacea.  The jangly dual acoustic guitar often makes for a pleasant Keaggy-ish quality.  Interesting cover painting depicting faces amidst stalks of wheat.     (The Archivist, 4th edition by Ken Scott).

Lynn Stroud

JESUS GENERATON - A Thief In The Night [USA xian rock 1970]

This one cracks me up. Church band of seven guys (a couple of whom look about 12 years old!) doing “Christianized” versions of secular songs. Feel the Beatles cringe as they sing “Something in the way Jesus moves…”. ‘Amazing Grace’ to the tune of ‘House Of The Rising Sun’. ‘Oh Happy Day’ with a drum solo. All backed with a low-budget electric rock sound and a guitarist stuck on the same riff throughout the whole lp. Darn right awful at times, yet brims with a charm and sincerity that pulls you in. No credits given anywhere – even the band members are referred to only as “Tim”, “Steve”, etc. Those smug grins on the back cover tell me they had fun doing this project. Don’t bother with their other album Inside-Out as it’s just ordinary gospel. File next to Wauhob Family. (The Archivist, 4th edition by Ken Scott).

Jesus Generation

THE EMPTY HEARTS [USA garage 2014]

The band was founded in 2013 by The Chesterfield Kings bassist Andy Babiuk and a roster of founding members including Blondie drummer Clem Burke, The Cars guitarist Elliot Easton, and The Romantics guitarist and vocalist Wally Palmar. Palmar also plays the harmonica on the band's self-titled first album, which was released 5 August 2014 and produced by The Ramones producer Ed Stasium and included Small Faces and Faces pianist Ian McLagan on Hammond organ and Wurlitzer until his death in December of 2014. The group says that the album took just five days to complete at Babiuk's Fab Gear Studios in Rochester, N.Y. with many of the songs being recorded in a single take.[3] The group's name was suggested by Steven Van Zandt whose Wicked Cool Records label had released three of Babiuk's Chesterfield Kings albums. The band's first concert date was 16 October 2014 at Londonderry, New Hampshire's Tupelo Music Hall.

The Empty Hearts

martes, 9 de junio de 2015

FRANKIE MILLER - High Life [UK rock 1974]

High Life is the second album by Frankie Miller. It was produced by Allen Toussaint, who also composed seven songs on the album. "Play Something Sweet (Brickyard Blues)" was almost immediately covered by Three Dog Night and "Shoo Rah" was covered by Betty Wright -- and both tracks become chart hits.

Despite poor sales, the album was critically well received, although Miller was to disown it as Chrysalis Records issued the record in remixed form, without Miller's or Toussaint's knowledge or consent. The remix by Don Davis and Lou Costello remains the most widely available version of High Life; Toussaint and Miller's original mix of the album was made available on the 2011 Frankie Miller box set That's Who.

lunes, 8 de junio de 2015

RAY DAVIES - Other people's lives [UK pop rock 2006]

This is a great collection of songs from an artist who has not tested our affection with meandering solo material or endless mercenary reunion tours.  He’s the real thing: a rocker who’s an artist.  And with Other People’s Lives, well, he’s really got you.

Ray Davies

KEN SCOTT - Angela [UK xian folk 1974]

No, it’s not me but a British acoustic singer/songwriter that just happens to share my name – so don’t accuse me of patting my own back when I recommend this album. Like early Mark Heard, Dennis Ryder, Dave Mattson and the like, Ken’s another one of those simple and gentle folksingers whose music is warm and appealing. String quartet backs the sorrowful ‘Surrender’ while soft organ accompanies the title track (a poem written to his daughter). Bass and drums build some folkrock edges around ‘Do You Want To Know’ and ‘How Can You Prove’. For purely acoustic moods, check out ‘Don’t Be Wise’ and the delicate ballad ‘As I’m Singing To You’. One instance of brass, one of steel guitar (the country folk ‘I’ve Tried’), plus some touches of organ, bongos and electric guitar in spots, but the focus is primarily Ken and his acoustic guitar in Appalachian Melody fashion. Fine album, beautiful cover, collectible label. Nice name, too. Ken Scott


viernes, 22 de mayo de 2015

Sex Museum - Fifteen Hits That Never Were [2008]

Comenzaron como un grupo de rock en torno a la escena mod de Madrid, surgida a la sombra de la movida, junto a bandas como Los Contentos, Los Flequillos, Pánico Speed o Los Negativos. En sus primeros discos se aprecian influencias de música negra —soul, rhythm and blues y rock and roll—, psicodelia y garage y de hecho, aparecen en la onda del revival «garagero» de los años ochenta procedente de Estados Unidos. Desde entonces su sonido ha ido evolucionando hacia un potente hard rock de corte setentero.

En 1997, tras casi tres años de gira ininterrumpida, deciden dejar el grupo durante un período de tres años, para volver en 2000 con su disco Sonic. Hasta 2006 han publicado un total de once álbumes, dos de ellos en directo y otro compartido.

Han recorrido toda España y buena parte de Europa en numerosas giras (son conocidos en la escena underground de Suiza o Alemania). Asimismo, han tocado en numerosos festivales nacionales —Espárrago Rock, Festimad o Viña Rock— e internacionales —Beat o Mania, en Múnich—, en los que han compartido cartel con grupos como Metallica, The Love Warriors, Sepultura, Backyard Babies, Sonic Youth. En 1994, fueron elegidos por Deep Purple para actuar como teloneros en su gira española.1

Sex Museum ha sido el único grupo musical español, junto con Josele Santiago, en ocupar la portada de la veterana revista musical Ruta 66. En la portada aparecía el siguiente epígrafe: «Sex Museum: ¿el mejor grupo rock español de los 90?».2

Durante sus más de veinte años en activo, los miembros del grupo han compaginado su carrera en Sex Museum con muchos proyectos paralelos, la mayoría sin apenas éxito comercial y a un nivel underground, como Los Coronas, Los Matadors, Wonderboys o The Tubular Greens, aunque otros como Def Con Dos o La Vacazul han alcanzado mayor éxito. Además, Fernando Pardo ha ejercido de productor de muchos grupos españoles.


sábado, 9 de mayo de 2015


In 1968, James had a No. 3 hit with "Mony Mony". Co-written by James, Cordell, Cordell's writing partner Bo Gentry, and Bobby Bloom, "Mony Mony" reached No. 3 in the US and was a British No. 1 in 1968. The title was inspired by a sign for Mutual Of New York that hung outside James' apartment window. He followed it with the song "Do Something to Me". However, James was labeled as a bubble-gum rock artist, which he hated. Therefore, he changed his style to psychedelic rock.

Mony Mony

miércoles, 6 de mayo de 2015

LONDON DRI - Western Skies [USA garage psychedelic 1967-69] 2014 Break-A-Way

George Watters and Bruce Thomas created the band in 1965. George was the leader of The London Dri. He was so instrumental in getting our band started. Plus, credit is due to his parents who allowed us to practice in their home whenever we needed. They were like a second set of parents to us all.  Originally, The London Dri consisted of George (drums), Mark Vukalcic (keyboard), Jim Simpson (bass), Mike Mihelich (vocals), and myself (guitar).This group lasted a couple of years. Band members went in different directions. 

London Dri

THOR'S HAMMER - Umbarumbamba...and more [Iceland garage beat 1965-67] 1997 Spor

Thor's Hammer, or Hljómar, was an Icelandic rock band primarily active in the 1960s. Outside of Iceland, they are known among music collectors for their rare releases on Parlophone, sung in English and recorded in London for export. The most famous of these is the 1966 EP Umbarumbamba, regarded as one of the rarest released records in the world[citation needed] and known to fetch prices into the thousands of dollars when a copy surfaces. Their style can be described as garage rock, fuzz rock, and freakbeat, with noticeable influences from both The Who and The Beatles.


sábado, 25 de abril de 2015

CREEPY JOHN THOMAS - Creepy John Thomas [Psychedelic rock 1969]

A guitarist named John Thomas seems to have as much chance of being recognized as an individual as a fire hydrant in an urban setting. An attached nickname can sometimes be helpful when faced with such a challenge, and this Australian-born performer came up with a good one when he dubbed himself Creepy John Thomas after moving to London. Still, not everyone who hired him wanted to call him a creep in liner notes so, for example, he is sometimes mistaken for the British guitarist John "J.T." Thomas, who joined Budgie in 1978. Neither of these Commonwealth blokes have anything to do with the John Thomas who plays electric guitar on hip sides by Joe Henderson and Jimmy McGriff.

Creepy John ThomasCreepy John Thomas also made use of the stage name Johnny Driver. His first professional success took place as a songwriting member of the Flies, a combo based out of Melbourne that had Australian chart hits. the Flies were known to land on support gigs for some of the biggest '60s attractions touring down under, including the Rolling Stones and Roy Orbison. British RCA put out his self-titled Creepy John Thomas in 1969, a follow-up enchantingly entitled Brother Bat Bone ensuing on Teldec. A firm entitled Fingerprint has apparently reissued both of these masterworks, yet Thomas himself warns fans that these are bootleg productions.
BandagesThomas spent about a year in San Francisco following the original release of these solo albums, but by the early '70s had returned to London and a position as guitarist in the Edgar Broughton Band. Two albums with this outfit feature Thomas, the particularly practically entitled Bandages -- seeing as the album has cuts on it, that is -- combining him with studio mastermind Mike Oldfield. The guitarist also collaborated with Dave Stewart and Annie Lennox prior to the beginning of their Eurythmics success.
During the late '70s this artist undertook another location shift, heading to Berlin and starting up his own Johnny & the Drivers band. Thomas enjoyed Berlin, where creeps are popular, for a decade. Again the project netted a pair of albums on as many labels, in this case Polydor and Phonogram pressing the platters. Thomas was "planning his next attack" upon returning to London but soon made his expertise available to other performers as a producer. He eventually released a new solo album, suggesting listeners Remember Me This Way.


domingo, 19 de abril de 2015

Shanti Das - Servant Of Peace [USA folk psychedelic 1973]

This is a commune band, also known as ‘Center Family’. The album is mostly mystical folk, and includes a ‘chant instructional’. A lot of it isn’t far from standard ‘70s singer-songwriter music, other than the spiritual lyrics. Tempos are generally sluggish and the songwriting simple, though a few songs have catchy choruses. The songs are just acoustic guitar and vocals (mostly male, though some female too), with flute or harmonica on a few, and electric guitar on one. They definitely suffer from lack of variety. Not really the kind of thing that can hold a listener’s interest for a full half hour.

Shanti Das