Les Rallizes Denudés live at the Shibuya Yaneura club Tokyo : 13/12/1980
Every Les Rallizes Denudés set list has the same core music . The band weren't prolific songwriters . No song was played the same way twice . There is a vast difference between 'Flames of Ice ' here and the sixteen minute plus honking sax version found on 'Naked Diza Star' .
1.Flames of Ice - 8:36
2.(Strong Out) Deeper than The Night (part 1) - 13: 31
3.Romance of Black Grief - 13:43
4.(Strong Out )Deeper than The Night (part 2) - 22 : 56
1. "Raffesia" 5:33 2. "Rainbow" 4:56 3. "Starship Narrator" 4:01 4. "My Rain" 1:49 5. "Shine" 4:37 6. "You Laughed Like a Water Mark" 7:02 7. "Fuzzy Reactor" 3:44 8. "Sweet No_1" 6:53 9. "...And, I Want" 2:52
What do you get when you pair the most diverse Japanese power trio with one of the same country's most inventive guitarists? Rainbow pairs Boris, a band who makes so many different kind of records -- though all of them in their way are "heavy" -- and Michio Kurihara from Japan's longest running freak scene band Ghost, who are also known to change sounds, themes and operational M.O.'s each time they record. The end result is a series of psychedelic songs -- yes, songs (albeit sung in Japanese with lyric translations in the booklet) -- that provide the Boris trio of Takeshi (guitars, bass, vocals), Wata (guitars, vocal, glockenspiel) and Atsuo (drums) an opportunity to do what they do best: invent spooky, time-shifting soundscapes for Kurihara to play off of without drowning in jam band fever. This does not sound like anything from other Japanese bands like Musica Transonic, White Heaven, Mainliner, or Stars. It's a memorable and disciplined series of songs that feel more like something Ghost would do than anything else, but Kurihara is restrained in his primary band behind Masaki Batoh; here he gets to cut loose with some of his more involved six-string freak-outs and electric humbucking sickness. Parts of this set, such as "Starship Narrator," are up-tempo wailers that go right for the heart of the psychedelic beast. Atsuo's drums are heavy in the bottom end, and a muddy, hissy noisescape provides open space for Kurihara's guitar explorations and extreme wah wah pedal, whammy bar, and finger-flying intensity to break the track into pieces with his solo. Beautiful. Contrast this with the next cut, "My Rain," where the soft, melodic interplay of guitars floats over backmasked tape and subtle outside-the-frame distortions. It's simple, beautiful and brief; a break in the Maelstrom. While everything here is worth hearing, especially since the way the tracks are sequenced makes this feel like an album, one tune leading to another, moving forward into an unknown that is sensual, spacious, multi-textured and beautifully articulated. "You Laughed Like a Water Mark," where acoustic guitars, muted drum kit, controlled feedback and Kurihara's fuzz warped guitar cut through the lyric line to underscore and bring home the poignant words. It's poetic, driven and hypnotic in its seeming monotony, though there is so much going on it's impossible to note it all in one listen. "Sweet No. 1" is pure Boris style freak-out sans drone. It's heat-driven rock that pushes Kurihara to let that knife-like tone soar above before he is driven to his wah wah pedal and complemented by Takeshi playing back in call and response. It's freaking nuts. There are vocals but they are more shouted than sung in the heart of the beast that this wailer is. Rainbow is the most cohesive collaboration Boris has ever done. It towers over their recording with Sunn 0))) and is a completely different animal than anything they've done with Merzbow. It's a sign of their sheer musicality and dynamic diversity as a group. As for Kurihara's place, this album was a vehicle for him to shine as a player, as a creator of textures and tensions, but also to engage with a band that fully "gets" his other side apart from Ghost. This is what great, uncompromising neo-psychedelic rock is all about: it draws from the past and points ever forward into the unknown future. (allmusic)
Soaring space-rock jams that touch on funk, dub and psychedelia . One of the best rock albums from the seventies . Recorded by a group that never existed . 'Galactic Supermarket' produced/scammed, depending on your point of view, by Rolf -Ulrich-Kaise . Who amongst other things. was a promoter, D jay , author ,with his own record label . In 1973, Kaiser hosted several sessions 'acid parties' at a recording studio . Inviting musician's over to jam , record , drop acid , some weren't aware the coffee was spiked . Unbeknown to those involved Kaiser edited and mixed the unreleased session material. Overdubbing the voice of his girlfriend Gille Lettmann . Five Cosmic Jokers albums were released on his label . In 1975 Klaus Shulze sued Kaiser . Legal proceedings stopped the flow of Cosmic Jokers LP's. The game was up , ruining Kaiser and Lettmann . Who disappeared into exile. No ones heard from them since...
Dieter Dierks bass - Jürgen Dollase keyboards, vocals - Manuel Göttsching electric guitar- Harald Großkopf drums- Gille Lettmann: - Rosie vocals- Klaus Schulze synthesizers
1. Kinder des Alls 18:54 2. Galactic Supermarket 19:24
1. In the Glass Garden (1:39) 2. Pull Down Your Mask (4:39) 3. Prayer to the Silence (1:04) 4. Telephonecomplex (8:26) Restless Skylight-Transistor-Child
5. Landing in a Ditch (1:12) 6. Dehypnotized Toothpaste (0:52) 7. A Short Stop at the Transylvanian Brain-Surgery (5:00) Race From Here To Your Ears 8.a.Little Tornadoes (2:09) 9 .b.Overheated Tiara (1:26) 10.c.The Flyweighted Five (1:46) 11.Riding on a Cloud (2:33) 12.Paralyzed Paradise (3:07) 13.H.G. Wells' Take Off (1:26) Chasmin Soundtrack 1 4.The Marylin Monroe-Memorial-Church [improvisation] – 18:05 15.Chewing Gum Telegram – 2:41 16.Stumbling Over Melted Moonlight – 4:33 17.Toxicological Whispering – 7:45
There aren't many double art-rock albums from the early '70s that have stood the test of time, but then again, there aren't many albums like Tanz, and there certainly aren't many groups like Amon Düül II. While exact agreement over which of their classic albums is the absolute standout may never be reached, in terms of ambition combined with good musicianship and good humor, the group's third album, is probably the best candidate still. The musical emphasis is more on expansive arrangements and a generally gentler, acoustic or soft electric vibe; the brain-melting guitar from Yeti isn't as prominent on Tanz, for example, aside from the odd freakout here and there. You will find lengthy songs divided up into various movements, but with titles like "Dehypnotized Toothpaste" and "Overheated Tiara," po-faced seriousness is left at the door. The music isn't always wacky per se, but knowing that the group can laugh at itself is a great benefit. The first three tracks each take up a side of vinyl on the original release, and all are quite marvelous. "Syntelman's March of the Roaring Seventies" works through a variety of acoustic parts, steering away from folksiness for a more abstract, almost playfully classical sense of space and arrangement, before concluding with a brief jam. "Restless Skylight-Transistor Child" is more fragmented, switching between aggressive (and aggressively weird) and subtle passages. One part features Meid and Knaup singing over an arrangement of guitars, synths and mock choirs that's particularly fine, and quite trippy to boot. "Chamsin Soundtrack" exchanges variety for a slow sense of mystery and menace, with instruments weaving in and out of the mix while never losing the central feel of the song. Three briefer songs close out the record, a nice way to get in some quick grooves at the end. (allmusic)
1974 is an interesting year. The first teen rebellion of the 70's Glam Rock is running out of steam. With Rick Wakeman's bloated pretentious drivel on iceProg reached it'szenith . Pub Rock's back to basic's approach is thriving. When Punk arrives two years down the line . Prog associated artists , ie Kevin Ayres* , are about to be erased off the musical map . For Nico , Cale and Eno . Punk has the opposite effect. The Velvet Underground are highly influential as are the first two Roxy albums .The trio's performance's on June 1 , 74 are a precursor .Eno opens the show , 'Driving me Backwards', menacing version. Scaring the shite of the hippies sat in the front row, no doubt. Followed by 'Baby's on Fire' . John Cale's version of 'Heartbreak Hotel' is eleven on the psychotic scale .. Eno's synthesizer accompanies Nico on harmonium for a funeral paced version of The End .. . Kevin Ayres is the total of side two. I never go there , not my cup of twee .The first half is all I need....
1. Driving Me Backwards -6:07 2. Baby's on Fire- 3:52 3. Heartbreak Hotel- 5:19 4. The End - 9:14
1. May I? -5:30 2. Shouting in a Bucket Blues -5:07 3. Stranger in Blue Suede Shoes -3:27 4. Everybody's Sometime and Some People's All the Time Blues -4:35 5. Two Goes into Four -2:28
Kevin Ayers – vocals, guitar, bass guitar Brian Eno – vocals , synthesizer John Cale – vocals, piano, viola Nico – vocals, harmonium Mike Oldfield – lead guitar, acoustic guitar Ollie Halsall – piano, guitar John "Rabbit" Bundrick – organ, piano, electric piano Robert Wyatt – percussion Doreen Chanter – backing vocals Archie Leggatt – bass guitar Eddie Sparrow – drums, tympani Liza Strike – backing vocals) Irene Chanter – backing vocals
Japanese folk singer-songwriter. Morita Doji recorded seven albums. Three of which are seminal folk albums 1975 - 1977 ( Good Bye グットバイ (1975), Mother Sky (1976), A Boy (1977) ) . In 1983 Morita Doji retired from music.Since then she has recorded one song ....
1. Blue Night 2. I become a lonely wind for You 3. You are Trembling 4. Don't you see Me 5 . The Girl of Celluloid 6. A lonely rough Sketch 7. I will become Your Memory 8. In G Line 9. No 3 . For finale 'A letter For my Friend '
This early 70’s psychedelic Japanese quartet were more or less the precursors of The FAR EAST FAMILY BAND , guitarist/vocalist Fumio Miyashita being the only link between the two. Miyashita would later join other musicians on FEFB which included among their ranks Masanori Takahashi, better known as “Kitaro”. Under the name FAR OUT, they released one album in 1973. Although « Nihonjin » is definitely a spacey album, the keyboards are only prominent on the opening notes and the synths are used sparingly throughout, for the occasional sound effect. The psychedelic atmosphere comes mostly from the guitars, electric sitar and drums, resulting in a sound somewhat reminiscent of PINK FLOYD’s “A Saucerful of Secrets”. The original LP, replete with weird sound effects, consisted of two epic tracks clocking in at 18 and 20 minutes respectively. The 7 bonus tracks of the CD edition are actually taken from The FAR EAST FAMILY BAND’s first album “The Cave Down to the Earth” and feature some Japanese vocals that turn out in English on “The Cave” album. These tracks also lack the spacey synths of the latter. Recommended for fans of early PINK FLOYD, or simply for a taste of the early Japanese psych scene. (Progarchives.com)
1. Too Many People -17:55 2. Nihonjin - 19:52 3. Birds Flying To The Cave - 4:32 4. Saying To The Land - 8:21 5. Moving, Looking, Trying, Jumping - 1:39 6. Wa Wa - 0:48 7. The Cave Down To Earth - 8:17 8. Four Minds - 5:53 9. Transmigration - 10: 54
After the modicum of success he'd experienced with his debut, Song of Innocence, set to William Blake's epic suite of poems, composer, arranger, and producer David Axelrod turned to the British poet's Songs of Experience for inspiration in creating his follow-up album. Using eight of Blake's poems, Axelrod composed a suite that was less rock in its aim and more pop- and jazz-oriented in places, but overall a more orchestral work. Texturizing a symphony with percussive elements and the use of British and Irish folk song, as well as the stylistic inventions of fellow arranger Gerald Wilson for effect, Axelrod created a sobering, and, in places, even melancholy collage of song and lyrical styles that slid rather than drove home its point: that experience is a good but bittersweet teacher. Axelrod's compositions are positively literary here, lush and varied, using as much space as they do sound for dramatic and dynamic effect. His complex use of the various colors the horn section was capable of producing allowed him to create new palettes for the rock instrumentation. The centerpiece of the album is "The Human Abstract," a gently swinging, funky, bass-driven work that juxtaposes a strummed electric guitar playing augmented sevenths against an acoustic piano and a muted drone of horns. By the time the guitar enters for its solo, the strings have erected a space out of the ether for themselves to further shore up the orchestra's time-honored body against the wail of unrepentant youth. The tension in the tune is dramatic, colorful, and hued with as much red and yellow as there is blue and black. When the French horns and tuba state their case against the high-flying impetuousness of the restless spirit, a piano bridges the gap, whispering the melody's main theme in the center channel, whispering them both out into silence. Other notables are the positively majestic "The Divine Image," and the pastoral sadness in "A Little Girl Lost." Axelrod's meditations were getting darker with the times in 1969, but they hadn't yet reached the horrific potential for darkness that they would on 1971's Earth Rot. In 1969, Axelrod was still a musical contemplative searching for a sound that best exemplified not only his feelings but also the heady text he sought to sonically illustrate. He succeeded in spades . (allmusic)
1The Poison Tree 3:12 2 A Little Girl Lost 3:28 3 London 2:49 4 The Sick Rose 4:49 5 The School Boy 2:32 6 The Human Abstract 5:35 7 The Fly 4:54 8 The Divine Image 4:42
Following on from 'The River '. Which was made up of traditional songs ... The 'Source' features Ali Farka Touré original's , putting together a new band to boot. The addition of harmonica , sax , fiddle,and the considerable guitar skills of Taj Mahal .Expands the Malian' blues sound farther .. . ..
..review below. .
1 Goye Kur - 6:24 2 Inchana Massina - 5:13 3 Roucky -8:18 4 Dofana - 7:31 5 Karaw -4:56 6 Hawa Dolo p- 5:47 7 Cinquante Six - 5:31 8 I Go Ka - 3:59 9 Yenna - 5:54 10 Mahini Me - 5:24
Ali Farka Toure's previous releases were wonderful mixes of traditional language and rhythms being supported by contemporary concerns, instrumentalists, and producers. His most recent session features his working band backing Toure in a series of impassioned, animated tunes that are done in both his native tongue and English. The similarity between Toure's sparse playing and percussive writing and early blues songs has been noted. What also deserves mention is the cohesive qualities his band have and the way his electric and acoustic playing, with its light, frilly air, fills in the spaces underneath his vocals easily. (allmusic)
Great compilation. Nothing remotely psychedelic to
found here. Using rhythms borrowed from elsewhere in the region,
Jamaica, Cuba to name two. The featured groups have created some of the most
infectious dance tunes ever .
1. Sonido Amazonico - Los Mirlos 2. Linda Nena - Juaneco Y Su Combo 3. Carinito - Los Hijos Del Sol 4. A Patricia - Los Destellos 5. Sacalo Sacalo - Los Diablos Rojos 6. Ya Se Ha Muerto Mi Abuelo - Juaneco Y Su Combo 7. El Milagro Verde - Los Mirlos 8. Para Elisa - Los Destellos 9. Linda Munequita - Los Hijos Del Sol 10. Muchachita Del Oriente - Los Mirlos 11. Elsa - Los Destellos 12. Vacilando Con Ayahuesca - Juaneco Y Su Combo 13. El Guapo - Los Diablos Rojos 14. Mi Morena Rebelde - Eusebio Y Su Banjo 15. Si Me Quieres - Los Hijos Del Sol 16. Me Robaron Mi Runa Mula - Juaneco Y Su Combo 17. La Danza De Los Mirlos - Los Mirlos
1. Satwa (7:16) 2. Can I Be Satwa (2:58) 3. Alegro Piradíssimo (2:59) 4. Lia A Rainha Da Noite (3:48) 5. Apacidonata (4:11) 6. Amigo (3:30) 7. Atom (3:48) 8. Blues Do Cachorro Muito Louco (5:12) 9. Valse Dos Cogumelos (5:10) 10. Alegria Do Povo (3:36)
Written, recorded and released just as Brazil's military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest. Now issued for the first time in America through the venerable Time-Lag Records in Maine and the stewardship of freeform fixture Erika Elder, Satwa, often cited as Brazil's first independent record, is a mellow starburst of acoustic jangle. Formed after the return of Lula Côrtes and Lailson from their respective foreign excursions – the former a beardo home after the requisite Moroccan sojourn, the latter a young long-hair back from the States – Satwa lasted only a year, perhaps due to their differing stripes. Lailson was from the verdant former Dutch colony of Pernanbuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut. At a time when censors caused newspapers to run cake recipes on their front pages in place of rejected news stories, Lailson only lets the occasional throat drone slip through his lips. Largely void of voice and word, the songs – Côrtes plucking steely leads from his sitar while Lailson's 12-string thrums crystalline chords – are loose and lovely. The sole interference in these glistening arabesques is the hoary electric fretwork of one Robertinho on "Blues do Cachorro Muito Louco," the most explicitly fried track. Otherwise, Côrtes and Lailson are left to experiment in musty silence. Seemingly taped live, each track is a dry documentation of the duo's gently rambling improvisations. Far from the recombinant psychedelia of tropicalismo that reigned over the pre-hippie underground in Brazil's bustling metropolises five years earlier, Satwa play bed peace bards. In double-mono, or fake stereo, Satwa is raw, untreated mentalism translated into pure songflow. At times exhausted and dusty – "Atom" – or archaically splendorous – "Valse Dos Cogumelos" – the duo's spiraling scrolls etched in rustic timbres unfurl gracefully. Côrtes, now a graying painter, would go on to record the more explicitly weird Paêbirú (also recently reissued) with Zé Ramalho. A concept album about extraterrestrials in Paraiba's arid backwoods, it had long been anointed a masterpiece of the era. After dabbling in rock outfits, Lailson broke into the mainstream as a newspaper cartoonist, a job he has kept to this day. Neither were or will probably ever be Satwa again, but during those few days and from now on, Satwa is a quiet triumph. (dusted)
Original member of Tangerine Dream. Klaus Shulze left the group following the release of, 'Electronic Meditation'.. Recorded in 1976 Moondawn is his sixth solo album . Anchored by a thick atmospheric ambient sound . Each of the side long tracks build slowly , crescendo generated by heavy percussion and pulsating analog Moog synthesizers .
Klaus Schulze – Electronics Harald Grosskopf – Drums 1. Floating 26:53 2. Mindphaser 25:06
Recorded in Berlin in 1969 with the original Tangerine Dream line up of Edgar Froese, Klaus Shulze and Conrad Schnitzler.All tracks originated from jam session's . The music, isn't meditative . No electronic instruments were used either ..Track one 'Genesis' drones in much the same way as the 'Taj Mahal Travelers' 'Journey Through A Burning Brain' , follows .It's the best thing on here .The track begins with a dissonant guitar .Not dissimilar from early Pink Floyd . After a couple minutes a harmonic organ sequence is added, again sounding like Floyd , drums kick in and the tune really takes off . Speeded up glissando guitar solos and freaky organ noises add to the intensity freaking out right to the climax . Near the end, the track slows. Dreamy organ and flute bring the song to the close.. 'Cold Smoke' is another freakout . Offering more of the same vibe as the previous track . Track four 'Ashes to Ashes' is trippier shorter ,better.The album's closer 'Resurrection' features a German speaker and church sounding organ.
1. Genesis (5:56) 2. Journey Through A Burning Brain (12:22) 3. Cold Smoke (10:38) 4. Ashes To Ashes (4:06) 5. Resurrection (3:27)
Edgar Froese / 6 and 12 string guitar, Farfasia organ, piano Klaus Schulze / drums, percussion, metal sticks Conrad Schnitzler / cello, violin, additator typewriter
Seminal three-day concert event held in the Summer of Love .To get there Fly Trans Love Airways . What's good . The Association , nice selection of West Coast psych pop . Lou Rawls 'Love is a Hurtin' Thing' . Great song . Lou oozes class . Same can't said about the Animals 'Hey Gyp (Dig the Slowness)' snatches defeat from the jaws of victory. . Canned Heat's timid blues don't do it for me either . Much better are Country Joe & the Fish . Which leaves Big Brother & the Holding Company breakthrough set .
Disc: 1 1. Festival Introduction - John Phillips 2. Along Comes Mary - The Association 3. Windy - The Association 4. Love Is a Hurtin' Thing - Lou Rawls
5. Dead End Street - Lou Rawls 6. Tobacco Road - Lou Rawls
7. San Franciscan Nights - Eric Burdon & the Animals
8. Hey Gyp (Dig the Slowness) - Eric Burdon & the Animals 9. Rollin' and Tumblin' - Canned Heat 10. Dust My Broom - Canned Heat 11. Bullfrog Blues - Canned Heat 12. Not So Sweet Martha Lorraine - Country Joe & the Fish 13. Down on Me - Big Brother & the Holding Company 14. Combination of the Two - Big Brother & the Holding Company 15. Harry - Big Brother & the Holding Company 16. Road Block - Big Brother &the Holding Company 17. Ball and Chain - Big Brother & the Holding Company
The Byrds. More white Blues , Paul Butterfield Band, Steve Miller Band . Not that great if I'm honest . 'Groovin' Is Easy' by The Electric Flag' . Blues with a soulful edge . This is more like it . Hugh Masekela , perfect , shame there isn't more .
Disc: 2 1. Look Over Yonder Wall - The Paul Butterfield Blues Band 2. Mystery Train - The Paul Butterfield Blues Band 3. Born in Chicago - The Paul Butterfield Blues Band 4. Double Trouble - Butterfield Blues Band, The Paul Butterfield Blues Band 5. Mary Ann - Butterfield Blues Band, The Paul Butterfield Blues Band 6. Mercury Blues - Steve Miller Band, Steve Miller Band 7. Groovin' Is Easy - Electric Flag 8. Wine - Electric Flag 9. Bajabula Bonke (The Healing Song) - Hugh Masekela 10. Renaissance Fair - The Byrds 11. Have You Seen Her Face - The Byrds 12. Hey Joe - The Byrds
13. He Was a Friend of Mine - The Byrds 14. Lady Friend - The Byrds 15. Chimes of Freedom - The Byrds 16. So You Want to Be a Rock & Roll Star - The Byrds 17. Dhun: Fast Teental [Excerpt] - Ravi Shankar 18. Flute Thing - The Blues Project
Hendrix's set was undoubtedly the best of the weekend. The runners up spot goes to the Jefferson Airplane . I wasn't prepared for this loose , glorious set of songs . Punk rock in a way . Eclectic mix follows Booker T& MG's , Otis Redding and The Who . Impressive stuff.. Most played of the four discs .
Disc: 3 1. Somebody to Love - Jefferson Airplane 2. Other Side of This Life - Jefferson Airplane 3. White Rabbit - Jefferson Airplane 4. High Flyin' Bird - Jefferson Airplane 5. She Has Funny Cars - Jefferson Airplane 6. Booker-Loo - Booker T. & the MG's 7. Hip Hug-Her - Booker T. & the MG's 8. Philly Dog - Booker T. & the MG's 9. Shake - Otis Redding 10. Respect - Otis Redding 11. I've Been Loving You Too Long - Otis Redding 12. (I Can't Get No) Satisfaction - Otis Redding 13. Try a Little Tenderness - Otis Redding 14. Substitute - The Who 15. Summertime Blues - The Who 16. Pictures of Lily - The Who 17. Quick One, While He's Away - The Who 18. Happy Jack - The Who 19. My Generation - The Who
The Jimi Hendrix Experience . Setting the world on fire...
Disc: 4 1. Killing Floor - The Jimi Hendrix Experience 2. Foxy Lady - The Jimi Hendrix Experience 3. Like a Rolling Stone - The Jimi Hendrix Experience 4. Rock Me Baby - The Jimi Hendrix Experience 5. Hey Joe - The Jimi Hendrix Experience 6. Can You See Me - The Jimi Hendrix Experience 7. Wind Cries Mary - The Jimi Hendrix Experience 8. Purple Haze - The Jimi Hendrix Experience 9. Wild Thing - The Jimi Hendrix Experience 10. Straight Shooter - The Mamas & the Papas 11. Got a Feelin' - The Mamas &the Papas 12. California Dreamin' - The Mamas & the Papas 13. I Call Your Name - The Mamas & the Papas 14. Monday, Monday - The Mamas & the Papas 15. San Francisco (Be Sure to Wear Flowers in Your Hair) - Scott McKenzie 16. Dancing in the Street - The Mamas & the Papas
Intrigued by this . I read somewhere Billy Gibbons nicked Stacy Sutherland's licks. I don't hear it . Hendrix yes . The album sounds like proto ZZ Top to me. Good as well . Back then Austin Texas was the epicentre of psychedelic rock . It still is.....
Did you ever wonder what the great blues-rock guitarist Billy Gibbons did before ZZ Top? Well, he was in a group called Moving Sidewalks of course. I didn't know that he was either, so don't feel left out. Flash is the only album they ever made. And they were a popular regional group in the Houston area. They also backed up Jimi Hendrix on a few occasions at concerts. You can hear Jimi's influence coming through on several songs.
This is typical psych-rock for the year in which it was released, 1968. It was originally released on Tantara Records, now it's remastered with several bonus tracks thanks to Akarma Records. This is a really nice top quality digipack, made to emulate the LP.
This group really had some fun with playing music and voices backwards, and they really living up to their suggestive name by doing so. The only time anyone could ever see moving sidewalks is when they just dropped acid. And the mind games and sound tricks play right into that mindset.
With all of that conceptual jargon aside, this is a vast collection of songs. "You Don't Know The Life" is plea to someone who doesn't understand what it's like to wear the singer's shoes, while "Joe Blues" is a taste of the direction Gibbons was headed. It's a real down and dirty electric blues song. Gibbons is really able to stretch out and strut his stuff mightily on this track. He sounds as if he was restrained at several junctures playing with this band. It's due to the type of music he was playing I am sure. You can really notice the difference when you listen to "Joe Blues", as the real Billy Gibbons shows his true and brightest colors. "99THFloor" is psych-garage nugget, and it gave them some notoriety while becoming their trademark showstopper. With the bonus tracks there are a few surprises. The one that really floored me was the Beatles tune "I Want To Hold Your Hand." You talk about a complete departure, wow! The song is given a whole new life, and it really rocks. It's startling just how good it is considering how they put their own spin on it.
Each song features Gibbon's dominating guitar. I know I have said a lot about Gibbons... so what about the rest of the group? Don Summers (bass), Dan Mitchell (drums), Tom Moore (organ, piano) played a big role into making Mr. Gibbons stand out. The entire band is a wonderful gathering of musicians; there is no doubt about that.
This CD is fifteen tracks of psych-rock ecstasy. It's a wonder how a group can come together and make one great album then end it all. I am sure if they continued they would have evolved into something really special. As history shows, Billy Gibbons did. Now the rest of the group can have its moment in the sun and get some deserved credit for their part in the making of this great album. (progressiveworld)
1. Flashback 2. Scoun da Be 3. You Make Me Shake 4. You Don't Know the Life 5. Pluto-Sept. 31st. 6. No Good to Cry 7. Crimson Witch 8. Joe Blues 9. Eclipse 10. Reclipse 11. 99th Floor 12. What Are You Doing to Do 13. I Want to Hold Your Hand 14. Need Me 15. Every Night a New Surpise
1. Dolphins – 3:11 2. Honey Man – 5:01 3. Morning Glory – 3:17 4. Coming Home to You (Happy Time) – 2:56 5. Sing a Song for You – 2:28 6. . Hallucinations/Troubadour – 10:35 7. Once I Was – 3:57
Not to be confused with 'Morning Glory' Anthology 2 CD set. The songs here are taken from BBC sessions...From the Old Grey Whistle Test 'Dolphins' and 'Honey Man' . The next four songs are from a 1968 Peel Session...Very nice selection......
Given away with Mojo Magazine December 2002 aka the drug issue. Look inside and there's a list of the top 100 drug songs ever !!!!....I can't think of any other magazine freebie before or since that's remotely in the same league for sheer quality from start to finish ...!!!!
1 The Dramatics- The Devil Is Dope 5:22 2 The Sonics, - Strychnine 2:13 3 Nat Adderley - Quit It 3:48 4 The Small Faces - Here Comes The Nice 3:05 5 Dillinger - Cocaine In My Brain 5:11 6 Donovan - Sunny Goodge Street 2:57 7 Country Joe & The Fish* - Bass Strings 3:57 8 The Pretty Things - Defecting Grey 5:10 9 The Flamin' Groovies - Slow Death 4:38 10 Chris Bell - I Am The Cosmos 3:48 11 Grandmaster Flash - White Lines 7:39 12 Sebadoh - Too Pure 3:46 13 The Mighty Hannibal - The Truth Shall Make You Free 3:17 14 James Booker - Junco Partner 5:05 15 Funkadelic - Maggot Brain 10:18 16 Harry "The Hipster" Gibson - Who Put The Benzedrine 3:06
' Everything changes , nothings changed '....Eric Burdon former lead singer of 'The Animals '. A five piece r'n'b band from Newcastle . The group hit the big time with a cover of 'House of The Rising Sun', produced by Mickie Most. Other big hit's followed such as 'Don't Let Me Be Misunderstood' and my personal fave 'We Got to Get out of this Place'. The Animals toured the US in 1964 as part of the British R'nB/Pop invasion . A year later the group had split in two , boozers on one side , facing opposite Burdon and guitarist Hilton Valentine , Valentine first dropped acid with Brian Jones in New York. Soon after he introduced Burdon to LSD. The tension's in the group led to a split .. 1966. Burdon relocates to California .Putting together the 'new' Animals......'Winds of Change is the debut album. The title track is anchored by a fluid bass line with a repetitive violin and sitar on top . The song pays homage to musical icons past and present Robert Johnson to Jimi Hendrix circa 1967 . I'm guessing Hendrix had blown 'em away at Monterey by then. Track two 'Poem By The Sea', the album's pivotal track , Burdon recites poetry over music drenched in echo and reverb. Very trippy . 'Paint it Black' is a great cover Burdon's r'nb roots are all over this one. 'The Black Plague' epic poem based on the Black Death , the story revolves round castle dwellers too scared to venture outside the walls, end up starving to death. ...'Yes I'm Experienced' is an affirmative reply to Hendrix. 'San Franciscan Nights' and 'Good Times' are two slices of timeless sixties pop psych.. 'Winds of Change' is a pretty good album .....
1. Winds of Change - 4:00 2. Poem by the Sea - 2:15 3. Paint It, Black - 6:00 4. The Black Plague - 6:05 5. Yes I Am Experienced - 3:40 6. San Franciscan Nights - 3:24 7. Man - Woman - 5:25 8. Hotel Hell - 4:53 9. Good Times - 2:50 10. Anything - 3:20 11. It's All Meat - 2:05 Bonus tracks 12. Good Times - (Mono single version) 2:57 13 . Ain't That So? - 3:24 14. San Franciscan Nights - (Mono single version) - 3:16 15.Greatfully Dead - 3:59
If you caught Om's Variations on a Theme, you know what to expect from Al Cisneros and Chris Hakius on the structurally similar follow-up, Conference of the Birds. Much like last time, the trance-inducing ex-Sleep rhythm section allows huge, slightly fluctuating bass grooves, mantra-style vocals, and locked-down drum ecstatics to unfurl as lengthy, addictive, metal-inflected incantations.
Musically, things have also changed ever so, especially in the case of the soothing, minimal, 16-minute opener, "At Giza", on which a vintage psych drum sound lends it a Silver Apples feel. One glorious, unshifting constant is Cisneros' penchant for mystical, elevated lyrical loops. Words are seemingly used both for their sounds (check out how he pronounces "sentient") as well as their meaning. Besides playing bass and sing-chanting in Om, Cisneros works as a chess instructor for kids in the Bay Area. Somehow that knowledge makes the repetitions and accents of his lyrics feel even more strategic, each word aiding in a flight toward some out-of-body lift-off into the ether.
The languid, dub-tinged "At Giza" is the band's most compellingly spare song to date. The title digs into the great pyramids and the words delve into those lake-sitting swans, the sun/waning moon, and seraphic forms. It's another Om avatar for a flight toward freedom/liberation. Sonically, where Variations constantly rocked, there are minutes upon minutes here of between and post-chorus breakdown, creating a dynamic surge when the echoed vocals push the song's "aviator" toward the sun and the bass rings with Hakius's recharged rolls and fills.
Lyrically, "Flight of the Eagle" follows a similar path, but from the start the bass is heavier and Cisneros' vocal pattern more clipped and Sabbathian, less serene. It's evocative of the last album, which I really dug, but now that the near perfectly modulated mellow-drama of that first trek's gone and "a new day dawns," the music loses steam. If the duo had found a way to continue the corked, opiate energy of "At Giza", Conference of the Birds would be totally brilliant; instead, it's got one great song plus one that makes me forget a little that I'd reached nirvana a few moments earlier.
'Yamataifu' (1972) 'The greatest cosmic jazz album ever made' ,or so I read. Is a collaboration between Japanese big band MIYAMA TOSHIYUKI &; HIS NEW HERD and avant-jazz pianist Masahiko Satoh . If you like the Sun Ra stuff I have already posted ,maybe Miles Davis' psychedelic period as well. Try this ..
Concept based around the Sci-Fi novel Eternal Champion by Michael Moorcock, who was also involved in the making of the album. Penning nearly all of the lyrics , and occasionally narrating between tracks. .Warrior On The Edge Of Time' , keeps up the high standard set by the groups previous albums .. Sonically speaking Hawkwind's fifth lies somewhere between Can and Ennio Morricone.....
1. Assault and Battery (Part 1) 2. The Golden Void – 10:20 3. The Wizard Blew His Horn – 2:00 4. Opa-Loka – 5:40 5. The Demented Man – 4:20 6. Magnu – 8:40 7. Standing at the Edge – 2:45 8.Spiral Galaxy 28948 – 3:55 9.Warriors – 2:05 10.Dying Seas – 3:05 11.Kings of Speed – 3:25 Bonus track 12.Motorhead – 3:02
Michael Moorcock – vocals (The Wizard Blew His Horn and Warriors)
Dave Brock – guitar, keyboards, vocals Nik Turner – saxophone, flute, vocals (Standing at the Edge, Dying Seas) Lemmy – bass guitar, vocals (Motorhead ) Simon House – violin, keyboards Simon King – drums
From 1989 .Really good set. Replete with demo like sound.
1. Practice Makes Perfect - 3:36
2. I am the Fly - 3:42
3. Culture Vultures - 1:54
4. 106 Beats That - 1:02
5. The Other Window -2:22
6. Mutual Friend -4:12
7. On Returning -2:04
8. Indirect Inquiries -4:15
9. Crazy About Love - 15:30
Faves of this Blog Pink City are making their debut today at the PRFBBQ2012 . . I'm reliably informed , rehearsals were rocking .. Hopefully someone can get me a soundboard ..You'll have to get over to Bandcamp to hear or buy what's been released so far .
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