Nov 29, 2008
Like every great surf combo worth its salt, The Astronauts were fully aware that the drag strip was only a few miles away from the beach! When it came time to cut their 1964 LP, Competition Coupe, the fiery Boulder, Colorado quintet retooled their slippery-when-wet sound to accommodate the supercharged, gas-burning crowd faster than the light blinks green on a Christmas tree drag stack. The blistering lead guitar of Rich Fifield, stacked up against the twin rhythm guitar assault of Bob Demmon and Dennis Lindsey, navigated the asphalt aisle as easily as it had previously straddled those pounding 20-footers on magical sides like 'Little Ford Ragtop,' '650 Scrambler,' and album title tune. A holy grail for surf 'n' drag collectors...
Nov 28, 2008
This is British duo Jan Hendin and Lorraine Lefevre, and their superb collection of acid-tinged folk and pop has been acclaimed as one of the best female psychedelic albums of the late 1960s, with contents varying from fragile ballads to rousing rock and roll, set to complex arr/ments and gorgeous vocal harmonies. Recorded in London but only released in the US and Canada, it features support from musicians including Terry Cox (Pentangle), Brian Odgers (Al Stewart, Van Morrison, Elton John), Keshav Sathe (Magic Carpet) and legendary session drummer, Clem Cattini. Amongst the most enigmatic recordings of its time and full of mostly original songs (and one song co-written by Davy Graham...
There are so many influences here and each track has a deep singularity and strength of its own. Just look at the image of the girls on the cover; it's clearly a psych record but the picture hints that they have something more up their sleeves. You know how on a lot of these albums the songs are so gentle and lulling that they can blur into one another? Well, these gals were taking risks. Groovy anthems, mystical chantings, psychedelic funk rhythms carrying hippie sentiments via truly angelic voices, this stuff is gold.
This Highly Enjoyable 1966 Set Showcases the Talents of the Brothers who Would Go on to Form Million selling Cajunfunk Favourites Redbone. Produced by Leon Russell (Who Went on to Work with Bob Dylan, the Rolling Stones and Countless Others), It’s an Engaging Combination of Snappy Originals and Uptempo Cover Versions that Blends Blue-eyed Soul and Garage Rock to Memorable Effect...
Pat & Lolly Vegas at the Haunted House is 30 minutes of solid fun with a killer dance groove, and suggests that a compilation of the brothers' early independent singles is in order...
Nov 26, 2008
The Spencer Davis Group were were one of the UK's most convincing R&B bands to emerge during this period. They were best known for introducing a prodigious teenager, Steve Winwood, to the world. It was apparent from their first record that Winwood, with his ferocious soul drenched voice, belying his tender sixteen years, would be the focal point of the group.
Davis put the group together in Birmingham in 1963, and they turned professional a year later. From the outset of their recording career they made it plain that albums were as important to them as singles - unusual in those days.
The group's first three singles reached the lower end of the Top Thirty, but it was the release of their debut album "Their First LP" in July 1965 that established them as a major group. Under the guidance of producer, Chris Blackwell the quartet got their first major hit with the blistering "Keep on Running", originally performed by another of Blackwell's acts, the West Indian Jackie Edwards. From then until Winwood's departure every single the SDG released was a huge hit (including "Somebody Help Me", "I'm A Man" and "Gimme Some Loving".
Winwood left the group at the height of their success to form Traffic in '67 and things were never the same again for the SDG.
Brosel maschine combines the highly talented acoustic guitar playing of Peter Bursch (a master of the instrument who has published many instructional books on the subject), romantic vocals, and a mild Eastern influence highlighted by the use of sitar and flute. The album begins with 'Gedanken', a peaceful track with a slight renaissance era feel, featuring acoustic and electric guitar, flute and romantic lyrics. Next the group performs the Scottish traditional 'Lassie' with multi-tracked vocal harmonies. Next, 'Guitarrenstuck', is a beautiful piece played with folk guitar and a soothing female vocal. 'The Old Man's Song' seems slightly out of place due to its use of wah-wah peddle, but this gives way to some rather ominous sounding Duul-ish acoustic guitar and folk percussion. 'Schmetterling' introduces an Eastern flavor to the album and is most notable for its sitar which reminds me a little bit of mid-period Popol Vuh. Bursch's guitar playing on this track is simply masterful and the track is given an extra boost from some atmospheric mellotron. 'Nossa Bova' stands out as a folk masterpiece with its incredible guitar work, folk percussion, and female vocals. This track has a peaceful quality similar to Paradieswarts Duul, the only difference being the musical ability of Broselmaschine's members. The album was produced by Rolf Ulrich Kaiser and engineered by Dieter Dierks and was first issued on Pilz in 1971....
A true masterpiece...at least to my ears!!!
Nov 24, 2008
GLITTERHOUSE - COLOR BLIND (DYNOVOICE/DOT 1968) Japan papersleeve 24 bit remastered +bonus from the "Barbarella" soundtrack
"I was a vacuum - I smelled a rose - that vacuum was filled. I was a vacuum - I saw a child - that vacuum was filled I was a vacuum - I touched my love - that vacuum was filled. I was a vacuum - I heard music - "The Glitterhouse" - expressing extensions of everything we feel; extensions of what we are - the reward of what we could be; .....new dimensions of the folly and heroics of society; of fickle lady justice and the long nights she capriciously gives injustice a lay;.....extensions of words set to music effecting a union so complete that it becomes music set to words. I heard music - "The Glitterhouse" - and my vacuum was filled...listen and fill your vacuum. - ROSKO- WNEW-FM New York 1968"...ORIGINAL LINER NOTES
"""FIRST TIME FROM THE MASTER TAPES"""
Nov 23, 2008
The one and only album from T2 -- an incredible British group with a sound that should have been huge! Like some of the best of their generation, T2 is a trio featuring some heavy guitars from Keith Cross, vocals by Peter Dunton, and rumbling bass from Bernard Jinks all brought together with a sound that's sharply focused in its vision, yet freely expressive in execution. There's a great mix here between jamming passages and softer sensitivity never as forced as on some of the early King Crimson records, but with a similar sort of sharpness and range that should have gotten this one to a much wider audience. Titles include the side-long "Morning", plus "In Circles", "JLT", and "No More White Horses".
The Savage Resurrection, a West Coast Psychedelic band in the late 1960s, left this album only, full of Jimi Hendrix obsession. The members were from two West Coast local groups, Button Willow and Whatever's Right.
This must be one of the greatest heavy Psyche (and Garage) sounds ever recorded in the 1960s. Based on the R&B manner, brilliant twin guitar sounds spark, while experimental echoes and sound effects runs to and fro.
Guitarists Randy Hammon & John Palmer's performances throughout the recording are highly regarded, and the album as a whole has influenced a generation of psychedelic enthusiasts, not least Bevis Frond.Amazing acid-rock. Excellent!.....
Federal Duck made its appearance on the Musicor label in 1968. Formed by banjo exponent George Stavis, Federal Duck (named after the Federal Duck Stamp Program which was enacted by conserv/nist Jay “Ding” Darling and US President Franklin D Roosevelt in 1934), produced this lone musical effort which, once you get past the absurd cover, contains a consistently good album which is mildly jazzy, has some fine bass and an ever present darkish vibe. There are a few upbeat mold-breaking songs (one even sounds like the Holy Modal Rounders) but generally a soft-psych feel pervades throughout. It is interesting to speculate as to how Federal Duck ended up on the Musicor label, whose other acts included far more illustrious artists such as Gene Pitney, The Platters and George Jones. However, the relationship was destined to last for just the one album, with Stavis departing soon after to form the Californian communal rock band Oganookie and then to record an eponymous album for Vanguard. Although there really isn’t that much information about Federal Duck out there, the general consensus is that this is an album that deserves greater recognition than it has hitherto received....
Nov 21, 2008
An amazing album of progressive folk rock put together with a sound that shares some of the sunshine touches of the US scene of the time, but which also comes together with a hipper, deeper sort of approach! The core trio of Sunforest works with instrument that includes harpsichord, Hammond, harmonium, Spanish guitar, and percussion and varying instrum/tion from track to track often includes some added strings, guitars, and woodwinds -- serving to bring the folksy tunes into some great baroque territory. Tracks are short, playful, and almost timeless and titles include "All In Good Time", "Overture To The Sun", "Bonny River", "Old Cluck", "And I Was Blue", "Lovely Day", "Lady Next Door", and "Magician In The Mountain".
Nov 20, 2008
Along with Minnesota's Trashmen, the Astronauts (from Colorado) were the premier landlocked Midwestern surf group of the '60s. They recorded numerous singles and albums and achieved vast regional popularity, but only scored one modest national hit, "Baja." With little material of their own, they judiciously tapped heavyweights like Lee Hazelwood (who wrote "Baja"), Roger Christian, and Gary Usher, as well as covering tunes by Dick Dale and Henry Mancini. The group shone brightest on their instrumentals, which used mounds of Fender reverb and two rhythm guitars...This is their first album.
Nov 18, 2008
Here’s a psych outing that you wouldn’t expect from Del Shannon, but that you couldn’t hear from anyone else. In case you don’t remember, Del broke out in 1961 with “My Little Runaway.. ah run, run, run run runaway.” Though, he failed to equal his initial success afterwards, until he turned his sights to this here target audience in 1968.
Del used his birth name on the title for this album, which is an erie and rocking mix of great tunes. The opener, Thinkin’ It Over, really nailed me the first time I let this baby play. But don’t let this Care of Cell 44-like great rollicking opener distract you from the rest of this intense album. There are songs with great guitar work and lush string and horn orchestration. Del gets bluesy on Be My Friend, takes it down with Silver Birch and gets trippy on Colour Flashing Hair. Plus there is the awesome and driving I Think I Love You with sitar-like guitar work and a droning orchestra. Many great gems on this record. There are also a slew of bonus tracks on this reissue, including a slowed-down, chiller 1967 remake of Runaway.Don't miss it!!!
"A Great Psych-Garage Record"
Nov 16, 2008
Another great album by the fabulous Ventures...Recorded in 1966, it captures the Ventures at the height of their creativity. It has all spy-themed songs, on it, including quite a few originals that fit into the whole "BATMAN" genre (ZOCKO, JOKER'S WILD, ETC.).Enjoy it!..
Nov 15, 2008
"Ventures In Space" includes covers of tracks like Out Of Limits and the Twilight Zone theme, alongside space age themed originals. So far so predictable, but the imagination, and advanced guitar effects involved meant that the band ended up with probably the first ever recorded example of psychedelia - years before anyone else had done much other than R&B. From the freakout screams on "He Never Came Back" to the spooky organ meets slide guitar on "Fear" or the proto-feedback of "Explorations In Terror" - it's all more Haight Ashbury than Cape Canaveral. It's famously a favourite album of Keith Moon, who is believed to have been a big fan of Ventures drummer Mel Taylor.
I think It's an incredible album to listen to - one of the bridging points between the early Rock 'n' Roll, and the music that we've now come to call rock. Maybe the instrumental guitar answer to Sergeant Pepper?
It's a shame the Ventures didn't subsequently go on and expand on the experimentation found on this album.
Nov 14, 2008
Dan Hicks joined the San Francisco band The Charlatans in 1965 and left in 1968, when he formed Dan Hicks and His Hot Licks with violinist David LaFlamme. LaFlamme was quickly replaced by jazz violinist "Symphony" Sid Page, and the rest of the band consisted of vocalists Sherri Snow and Christine Gancher, guitarist John Weber and bassist Jaime Leopold. There was no drummer. This line-up was signed to Epic and in 1969 issued the album Original Recordings, produced by Bob Johnson. The first Hot Licks line-up lasted until 1971 and then disintegrated.
""THE REAL SAN FRANCISCO SOUND""
Nov 13, 2008
In 1968 the Who had a surprise American hit with "Magic Bus" but had no new album to support it. So Decca Records quickly cobbled together a collection of singles, flipsides, UK-only EP tracks and earlier album cuts to create this album. Though it was a good seller for them, the group and management didn't appreciate this quick cash-in LP so it's never been given the remastering treatment like their other albums.This Japanese mini-lp replica version of Who, Magic Bus, is simply a work of art! Very beautifully designed with all the lyrics included and with a sound quality remastered 24-BIT.
This is by far the best version of this album.
Nov 12, 2008
In 1966 & 1967, this Dallas group enjoyed some modest national success with the number five hit "Western Union," as well as a few other Top 40 entries, "I See the Light," "Zip Code," and "Sound of Love." Dominated by high, bubbling organ lines and clean harmony vocals, the group favored high-energy pop/rock far more than British Invasion or R&B-inspired sounds, although a bit of garage/frat rock raunch could be detected in their stomping rhythms. Recording prolifically throughout the last half of the '60s (often with ex-rockabilly star Dale Hawkins as producer), and writing much of their own material, they were ultimately too lightweight and bubblegum-ish to measure up to either the era's better pop/rock or garage bands. Their 1966 hit "I See the Light" is their toughest and best performance.
Nov 11, 2008
Joy of Cooking was an American folk-rock band, formed in 1967 in Berkeley, California. It was unusual in that it was led by two women - pianist Toni Brown and guitarist Terry Garthwaite. The rest of the band consisted of bass guitarist David Garthwaite (Terry's Brother), drummer Fritz Kasten and percussion player Ron Wilson. Keyboard player Stevie Roseman replaced Toni Brown for a time and bass players Happy Smith and eventually Jeff Neighbor replaced David Garthwaite on bass guitar. The music was a mix of "hippy" sensibility on blues and folk roots, and the lyrics often reflected feminist or environmental themes.
Joy of Cooking recorded three albums with Capitol Records. Brown and Garthwaite had solo careers afterwards and also released albums as a duo...
THIS IS ONE OF MY FAVORITE ALBUMS EVER!!!
Cold Blood is a long-standing soul,rock,jazz band founded by Larry Field in 1968 and originally based in the San Francisco East Bay area. They have also gone by the name Lydia Pense and Cold Blood due to the popularity of their lead singer, Lydia Pense.
The band first came to prominence in 1969 when rock impresario Bill Graham signed them after an audition and they played the Fillmore West in San Francisco. Pense has been compared to Janis Joplin, and it was Joplin who recommended the audition to Graham.Their initial four albums, Cold Blood, Sisyphus, First Taste of Sin (produced by Donny Hathaway), and Thriller remain their best known work.