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Specially for those who liked "September"....
GE !! , It is not worse
Saturday, October 11, 2008
Tuesday, October 07, 2008
Stud - September (1972)
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and
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1 Good Things 3:592 God Knows 6:053 Corner 1:544 Life Without Music 8 7:195 Samurai 2:246 Five To Mid-Day 6:037 Prelude 2:158 Bad Handling 3:259 Ocean Boogie 3:2910 Red Wine 4:58
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Monday, October 06, 2008
Liverbirds - More Of The Liverbirds (1966)
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The Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard-rocking all-girl group, self-contained instrumentally and focused on rhythm-and-blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name the Debutones, before changing it to the more city-specific Liverbirds. Irene Green left to join Tiffany's Dimensions, while Sheila McGlory jumped to the Demoiselles, and reduced to a quartet the Liverbirds became a major attraction at the Star Club, cutting two LPs for the label of that name and charting a No. 5 single in Germany with their cover of "Diddley Daddy." They were startling to look at in an era when girl singers were supposed to be pretty on stage, four tough-looking northern girls dressed in black and playing their instruments with attitude-they cut a savage version of Bo Diddley's "Mona," and could rip through most any rock 'n roll standard, but when their record company had them throw on a soft Everly Bros.-type ballad or two, it sounded more like a joke; these girls couldn't harmonize to save their lives, but they rocked their asses off. What's more, they lasted all the way to 1967, primarily playing in Germany, where several of the members settleThe Liverbirds (sometimes spelled Liver Birds) were one of the more distinctive outfits in Liverpool (and anywhere else, for that matter) by virtue of the fact that they were a hard-rocking all-girl group, self-contained instrumentally and focused on rhythm-and-blues. They weren't too successful musically in Liverpool, but in 1963 they went to Hamburg, where they became one of the most popular acts ever to play the Star Club. Irene Green (vocals), Sheila McGlory (guitar, vocals), Mary McGlory (bass, vocals), Pamela Birch (guitar, vocals), Valerie Gell (guitar, vocals), and Sylvia Saunders (drums) got together in early 1962 under the name the Debutones, before changing it to the more city-specific Liverbirds. Irene Green left to join Tiffany's Dimensions while Sheila McGlory jumped to the Demoiselles, and reduced to a quartet the Liverbirds became a major attraction at the Star Club, cutting two LPs for the label of that name and charting a No. 5 single in Germany with their cover of "Diddley Daddy." They were startling to look at in an era when girl singers were supposed to be pretty on stage, four tough-looking northern girls dressed in black and playing their instruments with attitude-they cut a savage version of Bo Diddley's "Mona," and could rip through most any rock 'n roll standard, but when their record company had them throw on a soft Everly Bros.-type ballad or two, it sounded more like a joke; these girls couldn't harmonize to save their lives, but they rocked their asses off. What's more, they lasted all the way to 1967, primarily playing in Germany, where several of the members settled permanently. d permanently.
01 Peanut Butter02 It's So Exciting03 He Hardly Ever Salls Me Honey Anymore04 For Your Love05 Oh No Not My Baby06 Around And Around07 Down Home Girl08 He's Something Else09 Heatwave10 Why Do You Hanging Around Me11 He's About A Mover12 Long Tall ShortyAdditional tracks:13 Loop De Loop14 Bo Diddley Is A Lover
SAUTERELLES “VIEW TO HEAVEN” (DECCA, 1968) Swiss
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A Swiss '60s band that have sometimes been mistakenly identified as a British group due to their 1968 single "Dream Machine," a quite catchy and enjoyable facsimile of British flower-pop with high harmonies, psychedelic lyrics, and driving guitars. The band had actually been recording since 1965, and established themselves as one of Switzerland's best and most popular groups. That's a status that doesn't confer all that much, Switzerland being a small country, and much of their first LP (1966) was filled with covers of popular rock hits. These were interpreted, however, with a brash energy that makes the record stand out above the scores of similar cover-oriented albums produced around the globe during the era. "Dream Machine" was a more original effort, and an album from 1968, View to Heaven, also had a more pronounced folk and psychedelic feel than their earliest outings. Les Sauterelles continued recording all the way into the early '70s, and several of their songs (notably "Dream Machine") surfaced on collector-oriented reissues in the 1980s.
1 Montgolfier 2:49 2 Big Old Sun 2:08 3 Hippie Soldier 2:32 4 Hello, One Kiss, Goodbye 2:00 5 Good New Times 2:21 6 Where Have All The Flowers Gone? 1:47 7 Silly Damsel 3:46 8 Heavenly Club 2:38 9 Homage 2:31 10 Hotel Continental 2:44 11 Dream Machine 2:33 12 It's All Over Now Baby Blue 3:14 13 Auf Wiedersehen 1:15
The Mojos - Everythings Alright (singles 1963-1967)
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Known mostly (if at all) in the States for doing the original version of "Everything's Alright" (covered by David Bowie on his Pin Ups album), the Mojos were one of the best Liverpool groups of the British Invasion. Besides "Everything's Alright" — a Top Ten raver in the U.K. — they never scored any other British hits of note, though a couple squeezed into the Top 30. Bob Conrad (drums), Keith Karlson (bass), Stu James (vocals, harmonica), and Adrian Wilkinson (guitar) had first gotten together in the early '60s as the Nomads — though based in Liverpool, they were a bit different from most of the other Merseyside bands in that their first love was American blues rather than R&B and rock & ... Read More...
The Mojos
Stu James - vocals (born Stuart Slater)
Nicky Crouch - guitar/vocals
Terry O'Toole - piano
Keith Karlson - bass guitar
Bob Conrad - drums
The Fourmost- The Best Of REUPLOAD
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The Fourmost were one of the best Merseyside groups of the early 60s and might have had an even better chart record than they had if they hadn't suffered more than their share of bad luck. This splendid set reminds us just how outstanding they were. There are 33 tracks here and, considering that they had only 6 chart entries (which are all included here, with the respective B sides), one might have expected to have to make allowance for some makeweight items. But this isn't the case at all--virtually everything of every style is of high quality in all departments. Almost all the tracks are the originals but one or two later ones sound like re-recordings. This is a fine memento of the group's varied repertoire and acts as a worthy memorial to two of the group who are no longer with us, Mike Millward and Brian O'Hara.
In the words of the overworked title, all the hits and more.This is the definitive collection, if you like the Fourmost you are bound to enjoy this album.. All the regulars are there,Hello Little girl,Alittle lovin,I'm in love,baby I need your lovin and the rest. Also the slightly bizarre,Aunty Maggies remedy, Girls, girls, girls. But this is the Fourmost, their original stage routine consisted of a number of comedy songs. A Fourmost fan? Then this is for you, and its long overdue
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1. Hello Little Girl
2. Just In Case
3. I'm In Love
4. Respectable
5. I Love You Too
6. Little Loving
7. Waiting For You
8. How Can I Tell Her
9. You Got That Way
10. Baby I Need Your Loving
11. That's Only What They Say
12. He Could Never
13. My How The Time Goes By
14. Girls Girls Girls
15. Why Do Fools Fall In Love
16. Till You Say You'll Be Mine
17. Yakety Yak
18. My Block
19. So Fine
20. Some Kind Of Wonderful
21. Girl Can't Help It
22. Today I'm In Love
23. In Crowd
24. Baby Sittin' Boogie
25. Heebie Jeebies
26. Sure To Fall (In Love With You)
27. Everything In The Garden
28. Stop
29. Here There And Everywhere
30. You've Changed
31. Dawn
32. Turn The Lights Down
33. Auntie Maggie's Remedy
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The Basement Wall - Incredible Sound Of...(1966)
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Baton Rouge, LA-based garage band the Basement Wall were formed in 1963 by singer/bassist Terry Bourdier, guitarist Richard Lipscomb, and drummer Barrie Edgar. Drawing inspiration from the British Invasion, the group started its career playing Beatles and Rolling Stones covers. With the subsequent addition of lead vocalist and guitarist George Ratzlaff, the Basement Wall graduated from local frat gigs to nightclub dates as far away as Los Angeles, along the way becoming the highest-paid cover band in the southern U.S., according to the Louisiana Entertainment Association. In due time, the Basement Wall also began writing original material, in 1968 signing to the Senate label to issue their lone official ... Read More...
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Review
by Keith Pettipas
The Basement Wall hailed from Louisiana and was formed in 1966. The band recorded one album in 1966 for a small regional U.S. label , that despite limited distribution, won over a large following across the nation. The band combined the sounds of the Beatles, Zombies, and Association to form a unique psychedelic pop sound that was becoming popular with the underground music fans. The New Breed hailed from California and despite the surf movement of the area, decided to explore a psychedelic and garage sound. The band recorded a number of singles for various labels before recording an album entitled Want Ad Reader. The album contained and was named after the band's biggest hit, the title track. With no label support for the album it was never released and The New Breed evolved into Glad and recorded one album for ABC records before breaking up in 1969. Band members went on to become part of such notable '70s acts as Redwing ,Poco and the Eagles. This single CD release compiles all of the two band's recorded output including rare singles and the unreleased album
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Ian & The Zodiacs - Just Listen To Ian & The Zodiacs (1965) REUPLOAD
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Sometimes it is very useful cleaning dark corners the your hard drive...
Because you find here such interesting (and for some reason forgotten) things.
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Biography
Ian and the Zodiacs had one of the longest histories of any band working in Liverpool, which makes their utter obscurity in that city even more of a puzzle, considering that they had a cool name and played r&b well enough to become stars in Germany. The band's roots go back to the Zodiacs, a trad-jazz (i.e. Dixieland) outfit formed in 1958 as a sextet that included future Fourmost drummer Dave Lovelady-they switched to rock 'n roll soon after.The original Zodiacs stayed intact thru the spring of 1960, when lead guitarist Pete Pimlett exited and Ian Edwards, late of the Deltones (who attended the same school as the Zodiacs) came aboard, along with Charlie Flynn, from Kingsize Taylor and the Dominoes. The core line-up of Ian and the Zodiacs, as they were named in 1960, was Edwards on guitar and vocals, Pete Wallace on lead guitar, Charlie Flynn on bass and vocals, Cliff Roberts on drums, and Geoff Bethell at the piano. This was the line-up that held for much of the early 1960's, thru 1964, when Bethell and Roberts left.It was in 1964 that, after years of languishing in obscurity in Liverpool, the band went to Germany and became major stars-they were supposed to stay for a few weeks and didn't really leave for three years. Their line-up was still a bit fluid, with ex-Lee Curtis All-Stars drummer Joe Walsh eventually settling in, until he left, and Wallace and Flynn exited for the Connoiseurs, to be replaced by Arthur Ashton (lead guitar), Freddie Smith (drums), and Tony Coates (bass). By that time, the group had cut three LPs (that's one more than Gerry & the Pacemakers, who'd topped the charts in England, got to do) that were released exclusively in Germany on the Star Club label, which was part of Polygram, and two albums of Beatles covers issued under the name the Koppykats.The group had several label relationships during their three major years, initially with Oriole and then with Mercury, Philips, and Fontana. Their audience was centered in the German-speaking world, despite some attempts at releasing their work in England and America. In addition to their three German LPs and the Beatles cover albums, they cut an album, Gear Again, that turned up on Mercury Records' budget Wing label in 1965. The group's three Star Club albums, Star Club 7, Just Listen To Ian and the Zodiacs, and Locomotive! (of which the last was heavily soul-oriented) have turned up on CD in the 1990's from the Repertoire label.The group's sound on records was centered on covers of Motown songs ("Beechwood 4-5789"), current US hits ("Message To Martha," an adaptation of the Dionne Warwick hit "Message To Michael"), UK hits ("The Crying Game," which actually managed to chart in Texas during 1965), blues ("Good Morning Little Schoolgirl"), plus some forays into pop-jazz ("Wade In The Water"), some of which were released in America, once the possibility of finding an audience in the U.S. was understood. Until the reissue of the three German albums, they were represented best on Oriole's two-volume LP series This Is Merseybeat, doing a cover of Little Eva's "Locomotion" follow-up, "Let's Turkey Trot," on the first volume, and, on the second, George Gershwin's "It Ain't Necessarily So." Apart from the excellent "Wade In The Water," which stood on its own terms. They broke up in 1967 when Edwards shut down the group to return to England when his wife became ill. ~ Bruce Eder, All Music Guide
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Just Listen To Ian & The Zodiacs01 The In Crowd02 Make It Easy On Yourself03 I Need You04 Face In The Crowd05 It's A Crying Shame06 Nature Boy07 Can't Stop Running Away08 Headin' Back To You09 Donna Donna10 Believe Me11 Strong Love12 As You Used To Do13 What Kind Of Fool14 No, Not Another Night15 All Of Me16 Leave It To Me17 Why Can't It Be Me18 Any Day Now19 Na-Na-Na-Na-Na20 I'll Take You Home21 Little Child22 Take A Message to Martha
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LES VARIATIONS - 4 albums ! ! ! France ! ! !
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Les Variations was a French rock band from the 1960s and 1970s that sang in English and was known for its rock guitar based music. Often, their songs and compositions contained hints of North African and Jewish Sephardic melodies as well as the Hebrew songs of the band members’ youth.
Also known as Variations
Origin France
Genre(s) Rock and roll Rhythm and blues Blues Middle Eastern
Years active 1968 — 1975
Label(s) Magic, EMI/Pathé Records
Website Les Variations
Members:
Robert Fitoussi ; Marc Tobaly ; “Petit Pois” Grande ; Isaac “Jacky” Bitton
Former members:
Joe Leb
Robert Fitoussi ; Marc Tobaly ; “Petit Pois” Grande ; Isaac “Jacky” Bitton
Former members:
Joe Leb
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History
All three members were Moroccan Jews. Joe Leb was on vocals, Marc Tobaly played guitar, Jacques “Petit Pois” Grande played bass, and Isaac “Jacky” Bitton was on drums. Leb was later replaced by Tunisian born Robert Fitoussi.
Les Variations signed with EMI/Pathé Records in 1969. Some argue that Les Variations is one of the best known rock groups from France, largely in part to commercial successes during their decade-long span. Between 1969 and 1973, they released the bulk of their albums. They often mimicked traits of the Rolling Stones, The Who and Led Zeppelin.
By 1974 they adopted a more popular style and signed with an American label. It was then that they introduced sounds and styles taken from their Moroccan heritages, exemplified in the album Moroccan Roll. The band broke up in 1975.
Over the course of their career, Les Variations opened for Bachman Turner Overdrive, Kiss, The Jimi Hendri Experience, Cream, Taste, and Aerosmith, among other well-known bands of their era.
All three members were Moroccan Jews. Joe Leb was on vocals, Marc Tobaly played guitar, Jacques “Petit Pois” Grande played bass, and Isaac “Jacky” Bitton was on drums. Leb was later replaced by Tunisian born Robert Fitoussi.
Les Variations signed with EMI/Pathé Records in 1969. Some argue that Les Variations is one of the best known rock groups from France, largely in part to commercial successes during their decade-long span. Between 1969 and 1973, they released the bulk of their albums. They often mimicked traits of the Rolling Stones, The Who and Led Zeppelin.
By 1974 they adopted a more popular style and signed with an American label. It was then that they introduced sounds and styles taken from their Moroccan heritages, exemplified in the album Moroccan Roll. The band broke up in 1975.
Over the course of their career, Les Variations opened for Bachman Turner Overdrive, Kiss, The Jimi Hendri Experience, Cream, Taste, and Aerosmith, among other well-known bands of their era.
Albums:
Nador (1969)
Take It Or Leave It (1971)
Moroccan Roll (1973)
Cafe de Paris (1974)
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Les Variations - Nador (1969)
Tracklist:1. What a mess again2. Waiting for the Pope3. Nador4. We gonna find the way5. Generations6. Free me7. Completely free8. Mississipi woman9. But it's allright
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Les Variations - Take It Or Leave It (1971)
Tracklist:01. Help Me Marianne02. Silver Girl03. Make You Mine04. All I Want To Know05. Take The Time To Live06. Walk Right Down07. Rock 'n' Roll Jet08. I Need Somebody09. If I Can Do It10. C'mon Joe
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LES VARIATIONS - MOROCCAN ROLL (1973)
Tracklist:
1. Moroccan Roll2. I Don't Know Why3. Did it4. KasbahTadla5. Growing Stronger6. Lord(Give me Money)7. Leslie Lust8. Sanglots(Tears)
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LES VARIATIONS - CAFé DE PARIS (1974)
Tracklisting:1- I Don'T Know Where She'Ll Go2 - Sit Back Home Again3- Superman Superman4 - Maybe Forever5 - Come Now6 - Berberian Wood7 - It'S All Right8 - Everybody Got The Blues9 - Shemoot (The Prayer)
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I satisfy the request of variety of comrades,and... first of all my fellow countryman and Igor's namesake.
Wednesday, September 03, 2008
Thursday, August 28, 2008
Ancient Grease - Woman And Children First (1970)
Mp3\100Mb******
Ancient Grease were actually a band named Strawberry Dust from Neath in South Wales. This album was a collaboration between a few people from the hippyer band Eyes of Blue and Stawberry Dust. The result features some fine dirty rock'n'roll alongside with a number of mellow songs, such as the dreamy, psychedelic-folk of 'Time To Die' and the rootsy 'Mystic Mountain'.
What's interesting about Ancient Grease is that the album was intended to be released on the famous Vertigo Swirl label You can still see the VO Price Code on the reverse of the album sleeve. For some reason, the record company changed it the last minute and released it on the black Mercury label in July 1970. The album was also curiously credited to Ancient Grease, not Strawberry Dust.
Unfortunately, Mercury Records did not give 'Women and Children First' the amount of push necessary to get a brand new act noticed by the record buying public. Insted they focused on Rod Stewart's 'An Old Raincoat Will Never Let You Down'.
What's interesting about Ancient Grease is that the album was intended to be released on the famous Vertigo Swirl label You can still see the VO Price Code on the reverse of the album sleeve. For some reason, the record company changed it the last minute and released it on the black Mercury label in July 1970. The album was also curiously credited to Ancient Grease, not Strawberry Dust.
Unfortunately, Mercury Records did not give 'Women and Children First' the amount of push necessary to get a brand new act noticed by the record buying public. Insted they focused on Rod Stewart's 'An Old Raincoat Will Never Let You Down'.
01 - Freedom Train - 4.05 02 - Don't Want - 5.08 03 - Odd Song - 5.45 04 - Eagle Song - 5.01 05 - Where The Snow Lies Forever - 5.12 06 - Mother Grease The Cat - 5.16 07 - Time To Die - 4.07 08 - Prelude To A Blind Man - 5.06 09 - Mystic Mountain - 3.34 10 - Women And Children First - 6.39 11 - Freedom Train (Alt.Take) - 3.28
By HershonJones (Michigan)
This is one of the best psychedelic hard rock albums I've ever heard. Ancient Grease plays like there is no tomorrow and sounds like Led Zeppelin without inhibitions circa 1970. The lead guitarist, Graham Williams, sounds like Jimmy Page on overdrive. The lead singer, Graham Mortimer (Morty)is excellent and later was the main man in the group Racing Cars. On Freedom Train, Morty at the end of the song, does the best Paul McCartney imitation I ever heard.
This is one of the best psychedelic hard rock albums I've ever heard. Ancient Grease plays like there is no tomorrow and sounds like Led Zeppelin without inhibitions circa 1970. The lead guitarist, Graham Williams, sounds like Jimmy Page on overdrive. The lead singer, Graham Mortimer (Morty)is excellent and later was the main man in the group Racing Cars. On Freedom Train, Morty at the end of the song, does the best Paul McCartney imitation I ever heard.
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EYES OF BLUE – CROSSROADS OF TIME (1968)
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RITCHIE FRANCIS gtrGARY PICKFORD HOPKINS vclsPHIL RYAN keyb'ds A BWYNDHAM REES drmsRAY WILLIAMS bs
By rights, The Eyes of Blue should have an exalted place in the pantheon of art-rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, The Eyes Of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm-and-blues oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well suited material such as "Yesterday."... Read More...
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1 Crossroads of Time 5:002 Never Care 3:183 I'll Be Your Friend 3:484 7 + 7 Is 2:325 Prodigal Son 5:276 Largo 3:147 Love Is the Law 5:168 Yesterday 4:229 I Wonder Why 3:1310 World of Emotion 2:4811 Inspiration for a New Day 3:09
The Eyes of Blue's debut album is a rather typical bottom-drawer late-'60s psychedelic effort, going over much of the musical map without charting new territory or doing especially interesting songs. Chunks of British harmony pop, soul, trendy Eastern-tinged psychedelia, and early progressive classical-dipped melodies and arrangements all bump around in the mix, though they don't cohere too memorably. The Welsh group did have a more organ-based sound than many of their U.K. peers, and the band's keyboardist, Phil Ryan, has admitted that Graham Bond was a big influence on his style on this album. Bond's input wasn't limited to this; he also wrote two of the songs, "Crossroads of Time" and "Love Is the Law" (though they were credited to "D. Stewart," aka his girlfriend, Diane Stewart), both of which Bond himself would record slightly later on his 1969 album Love Is the Law. The Eyes of Blue's version of "Love Is the Law" sounds more like the early Bee Gees than Graham Bond, though it's actually one of the better songs on the record. "Crossroads of Time" is likewise one of the relative highlights, starting off with an atomic explosion and Phantom of the Opera organ, though its lyrics are pretty blatant hippie sloganeering. It's an indictment of the weakness of the group's original material (by guitarist Ritchie Francis) that the most notable other track is one of the most eccentric covers of the Beatles' "Yesterday" you'll hear, arranged to sound almost like a classical hymn
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Thanks error404 ( orexisofdeath)
THE ROCKETS (US) - 1981\1982
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ROCKETS HISTORY....
Donnie Backus- Keyboards, Vocals (bckgr) Johnny Badanjek- Drums, Vocals, Vocals (bckgr) Jack Douglas- Percussion, Producer David Gilbert- Vocals, Vocals (bckgr) Bobby Neil-Haralson- Bass Jim McCarty- Guitar, Vocals (bckgr) Dennis Robbins- Guitar, Vocals (bckgr) Z. Jimmy- Harmonica
The Rockets were formed in 1972 by former Mitch Ryder & The Detroit Wheels members Johnny "Bee" Bandajek and Jim McCarty. Vocals and drums were handled by Bandajek, McCarty was on lead guitar, John Fraga was on bass and Marc Marcano was on keyboards. Johnny Bee was the driving force and primary songwriter for the Rockets. In the early days, The Rockets paid their dues playing gigs at venues such as, The Rainbow Room and The Peoples Ballroom in Detroit, and The Rock 'N Roll Farm in Wayne Michigan. The band took on a new sound in 1976 when David Gilbert was brought in to take over vocals from Johnny Bee. Gilbert had fronted several garage bands and had a brief stint singing for Ted Nugent and The Amboy Dukes in 1971. His drinking and drug habits didn't set too well with the Motor City Madman. Gilbert's raw vocal power proved to be just the ticket to complete the Rockets sound. However, as Nugent had before them, Bandajek and McCarty quickly realized Gilbert would be trouble for the band with his frequent drug and booze binges. The friction between them would go on for seven years before it eventually tore the band apart.
Five studio albums produced several minor hits including a rocking rendition of Fleetwood Mac's "Oh Well". Always a popular group in Detroit, and Michigan, The Rockets had gotten some attention outside of the state, but never really got the big break to become a true national act. The first album, Love Transfusion, was released in 1977. It failed to produce any hits. The 1979 self-titled release featured the hits, "Oh Well" and "Turn Up The Radio". This record also featured on bass, David Hood, one of the "Swampers" from the famous Muscle Shoals Sound Studios in Alabama. Muscle Shoals was mentioned in Lynyrd Skynyrd's southern rock anthem "Sweet Home Alabama". Also, this Rockets album was dedicated to Skynyrd members Ronnie Van Zant, Steve Gaines and Cassie Gaines, who all perished in Skynyrds infamous 1977 plane crash. The third attempt came in 1980 with "No Ballads", "Desire" was a popular tune from this album. Next came the "Back Talk" album in '81 and then finally "Rocket Roll" in 1982. "Rollin' By The Record Machine" from this release was the last hit for the band. The final release, "Live Rockets" was recorded on New Years Eve 1982 at the Royal Oak Music Theatre near Detroit.
The Rockets performed for their last two shows at Pine Knob (now known as DTE Energy Music Theatre) near Detroit on August 28th & 29th, 1983. The band splintered and the members all went their separate ways. Bandajek, McCarty and the rest went on to other projects. Gilbert played in a couple of short-lived local bands and ended up taking a job hanging drywall. His lifelong abuse of drugs and alcohol along with divorces, death and suicide had taken its toll. Former rock star David Gilbert was 49 when he died of cirrhosis in 2001. R.I.P. David.
(http://dearbornflashback.com/rockets.asp)
Five studio albums produced several minor hits including a rocking rendition of Fleetwood Mac's "Oh Well". Always a popular group in Detroit, and Michigan, The Rockets had gotten some attention outside of the state, but never really got the big break to become a true national act. The first album, Love Transfusion, was released in 1977. It failed to produce any hits. The 1979 self-titled release featured the hits, "Oh Well" and "Turn Up The Radio". This record also featured on bass, David Hood, one of the "Swampers" from the famous Muscle Shoals Sound Studios in Alabama. Muscle Shoals was mentioned in Lynyrd Skynyrd's southern rock anthem "Sweet Home Alabama". Also, this Rockets album was dedicated to Skynyrd members Ronnie Van Zant, Steve Gaines and Cassie Gaines, who all perished in Skynyrds infamous 1977 plane crash. The third attempt came in 1980 with "No Ballads", "Desire" was a popular tune from this album. Next came the "Back Talk" album in '81 and then finally "Rocket Roll" in 1982. "Rollin' By The Record Machine" from this release was the last hit for the band. The final release, "Live Rockets" was recorded on New Years Eve 1982 at the Royal Oak Music Theatre near Detroit.
The Rockets performed for their last two shows at Pine Knob (now known as DTE Energy Music Theatre) near Detroit on August 28th & 29th, 1983. The band splintered and the members all went their separate ways. Bandajek, McCarty and the rest went on to other projects. Gilbert played in a couple of short-lived local bands and ended up taking a job hanging drywall. His lifelong abuse of drugs and alcohol along with divorces, death and suicide had taken its toll. Former rock star David Gilbert was 49 when he died of cirrhosis in 2001. R.I.P. David.
(http://dearbornflashback.com/rockets.asp)
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Back Talk/Rocket Roll
Back Talk
1. Back Talk - 3.52 2. Jealous - 4.09 3. Lift You Up - 3.43 4. Shanghaied - 3.59 5. Love For Hire - 3.59 6. I Can't Get Satisfied - 3.44 7. Tired Of Wearing Black - 4.15 8. I'll Be Your Lover - 3.20 9. American Dreams - 3.53 10. Lie To Me - 5.04
Rocket Roll
1. Rollin' By The Record Machine - 3.51 2. Rock 'N' Roll Girl - 3.15 3. Gonna Crash - 3.09 4. (I Wanna) Testify - 3.53 5. Gimme Your Love - 3.17 6. Born In Detroit - 3.13 7. All Night Love - 3.19 8. Kid With The Heart - 4.01 9. Rollin' And Tumblin' - 4.30 10. Mean Streets - 2.54
1. Back Talk - 3.52 2. Jealous - 4.09 3. Lift You Up - 3.43 4. Shanghaied - 3.59 5. Love For Hire - 3.59 6. I Can't Get Satisfied - 3.44 7. Tired Of Wearing Black - 4.15 8. I'll Be Your Lover - 3.20 9. American Dreams - 3.53 10. Lie To Me - 5.04
Rocket Roll
1. Rollin' By The Record Machine - 3.51 2. Rock 'N' Roll Girl - 3.15 3. Gonna Crash - 3.09 4. (I Wanna) Testify - 3.53 5. Gimme Your Love - 3.17 6. Born In Detroit - 3.13 7. All Night Love - 3.19 8. Kid With The Heart - 4.01 9. Rollin' And Tumblin' - 4.30 10. Mean Streets - 2.54
Review by Tim Sendra Detroit's Rockets are not one of the groups people might think of when considering that city's storied history of great bands — for a reason, since they weren't all that special. Still, they have a vital link to the Detroit sound as drummer Johnny "Bee" Badanjek was in Mitch Ryder & the Detroit Wheels and Detroit and guitarist Jim McCarty was also in the Detroit Wheels and went on to join the failed supergroup Cactus. Their 1979 record, Rockets (Turn Up the Radio), had two pretty solid AOR staples (in the Detroit area anyway) in their blistering cover of Fleetwood Mac's "Oh Well" and the rollicking "Turn Up the Radio." By the time of 1981's Back Talk, the band was still in the netherworld of being a perennial opening act and really struggling to survive. It shows in the music, as almost every song seems to be aping another act or trying a different sound. Mostly though, they sound like a good bar band of the early '80s, able to crank out good-time summer rock & roll ("Back Talk"), moody ballads ("Jealous"), blue-eyed soul ("Lift You Up," "Lie to Me"), lighter-waving ballads ("Tired of Wearing Black"), and tunes to get the girls out on the dancefloor ("I Can't Get Satisfied," "I'll Be Your Lover"). At times (especially when Badnajek takes over the vocals from somewhat shrill David Gilbert), they sound a lot like Huey Lewis & the News, a good-natured bunch of lifers with loads of talent and spunk. They just don't have the songs or the personality that Lewis had. Their 1982 album, Rocket Roll, represents a dramatic drop-off in quality. The warm Jack Douglas production of Back Talk is gone and is replaced by a glossy sound that pulls off the neat trick of sounding over-produced and under-played at once. The songs are forced and thin, and nearly every one is an uptempo rocker that attempts to sound exciting — but it just sounds like the band is desperate. Desperation rarely makes for good AOR records, only good art, and the Rockets were AOR to the core. The lyrical concerns of the songs are pretty flimsy, the main topics being rockin', testifyin', mean streets, rock & roll girls, and record machines. Great topics for a group that is making exciting music, but these guys were in the throes of their last gasp at making a record the "kids" might dig. They didn't dig it and the band called it a day soon after the record justifiably flopped. In 2005 Wounded Bird put the two records together on a two-fer CD. Too bad they didn't put out Turn Up the Radio instead.
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Wednesday, August 27, 2008
THE WORLD OF OZ - ST - 1968 \1969
Mp3\103Mb********
Biography
by Bruce Eder
The World of Oz were a British psychedelic pop band that enjoyed a short string of successful singles in Europe. Between those major charting records in Holland and a lot of good press at home, the release of an album was planned — yet they managed to throw it all away with an unexplained split. All four original members — Tony Clarkson (bass, vocals), David "Kubie" Kubinec (organ), Christopher Robin (guitar, piano, vocals), and David Reay (drums) — hailed from Birmingham, and had been parts of that city's burgeoning pop/rock culture for varying amounts of time. Clarkson had several years' experience playing in various bands, and had also performed on the European continent. Kubinec... Read More...
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Tuesday, August 26, 2008
The Dimensions - From All Dimensions (1966)
Mp3\41Mb********
Biography by Richie Unterberger
There were many obscure garage bands in the mid-'60s who released limited editions of all-cover albums to be given away at gigs and school. Most of these albums were virtually worthless except as time capsules, but there were a few scattered exceptions that proved the rule — LPs of this kind by T.C. Atlantic and the Litter became valued collector's items. The Dimensions were another example. Nothing is known about this Chicago college group, whose derivative, but exciting, album achieved a much greater audience when it was reissued for the '60s collector audience in the '80s.
01. carol 02. gloria 03. little latin lupe 04. hi heel sneakers 05. route 66 06. around and around 07. do you love me 08. i need you 09. just like me 10. empty heart 11. mean woman blues 12. mary lou
Review by Richie Unterberger
Review by Richie Unterberger
Not an original bone in their body on this 1966 album of 12 covers, but The Dimensions did a good job as aspiring Rolling Stones. Killer versions of "Carol" and "Do You Love Me" highlight this timepiece, with the kind of crudely amplified raw guitars and frenetic drums that could not be reproduced by the most exacting current scientific methods
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uploadjockey.com - new multiple file hosting services ...
I ask you to voice its opinion in comments,please.
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LINK (uploadjockey.com)
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Friday, August 22, 2008
Tomorrow - Tomorrow (1968)
Mp3\179Mb********
Biography by Richie Unterberger In the early days of British psychedelia, three bands were consistently cited as first-generation figureheads of the London-based underground sound: Pink Floyd, the Soft Machine, and Tomorrow. Pink Floyd became superstars and the Soft Machine influential cult legends, but Tomorrow is mostly remembered (if at all) for featuring Steve Howe as their lead guitarist in his pre-Yes days. Actually, Tomorrow was nearly the equal of the two more celebrated outfits. Along with the early Floyd and Soft Machine, they shared a propensity for flower-power whimsy. Though they were less recklessly innovative and imaginative, their songwriting was accomplished, with adroit harmonies, psychedelic guitar work, and adventurous structures and tempo changes. They never succumbed to mindless indulgence or jamming; indeed, their tracks were rather short and tightly woven in comparison with most psychedelic bands. A couple singles (especially "My White Bicycle") were underground favorites, but the group only managed to record one album before breaking up in 1968. Lead singer Keith West, even before the breakup, had a number two British hit with "Excerpt From a Teenage Opera," which helped inspire Pete Townshend's Tommy. Drummer Twink joined the Pretty Things and, later, the Pink Fairies.
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Personnel:
Steve Howe – guitarsJohn "Twink" Adler – drums Keith West – lead vocals John Wood "Junior" – bassandMark Wirtz – keyboards, percussion
The Aquarian Age:Twink & JuniorMark Wirtz – keyboards
Keith West featureRonnie Wood – bassAynsley Dunbar – drumsSteve Howe – guitars
The Aquarian Age:Twink & JuniorMark Wirtz – keyboards
Keith West featureRonnie Wood – bassAynsley Dunbar – drumsSteve Howe – guitars
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Tomorrow - Tomorrow featuring Keith West (1968)
1. My White Bicycle (Hopkins, Burgess) - 03:172. Colonel Brown (Hopkins, Burgess) - 02:513. Real Life Permanent Dream (Hopkins) - 03:154. Shy Boy (Hopkins, Burgess) - 02:265. Revolution (Hopkins, Howe) - 03:486. The Incredible Journey Of Timothy Chase (Hopkins) - 03:177. Auntie Mary's Dress Shop (Hopkins, Burgess) - 02:448. Strawberry Fields Forever (Lennon, McCartney) - 03:589. Three Jolly Little Dwarfs (Hopkins, Burgess) - 02:2610. Now Your Time Has Come (Hopkins) - 04:5111. Hallucinations (Hopkins, Burgess) - 02:37
bonus tracks:
12. Claramount Lake (B-side of "My White Bicycle") - 03:0213. Real Life Permanent Dream (studio demo recording) - 02:2414. Why (McGuinn/Crosby) (studio demo recording) - 03:5915. Revolution (phased mono version, studio demo recording) - 03:5016. Now Your Time Has Come - 03:05
The Aquarian Age
bonus tracks:
12. Claramount Lake (B-side of "My White Bicycle") - 03:0213. Real Life Permanent Dream (studio demo recording) - 02:2414. Why (McGuinn/Crosby) (studio demo recording) - 03:5915. Revolution (phased mono version, studio demo recording) - 03:5016. Now Your Time Has Come - 03:05
The Aquarian Age
17. 10,000 Words In A Cardboard Box - 03:2718. Good Wizzard Meets Naughty Wizzard - 04:4219. Me - 03:12
Keith West
Keith West
20. On A Saturday - 03:1321. The Kid Was A Killer - 02:3122. She - 02:3023. The Visit - 04:05
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Les Pingouins - Les Pingouins ( France)
Mp3\ 59Mb******
Group native to the suburbs is from Paris, just as the Black Socks and the Vultures. Formй of Lou Vincent of his true name Louis Locatelli (singer), Christian Prunier (guitar), Alain Legrand (rhythmic guitar), Dominique Blanc-Francard says " Mino " (bass guitar) and GйRARD RUGE, later Michel Santangeli (battery). In dйbut the training has the name of Hooligans and the group dйcide to change name to adopt that of Penguins. The group makes deuxiиme festival of the palace of Sports and a gala а the ABC with Wildcats. Quits Lou Vincent the Penguins to make its military service, then the group becomes an instrumental training. The group makes tournйe with the circus Pinder and accompanies Danny boy. The Penguins take out 45 turns some other, then later the training dissolves. Every member continues one carriиre in musical domain.
Groupe originaire de la banlieue est de Paris, tout comme les Chaussettes Noires et les Vautours. Formй de Lou Vincent de son vrai nom Louis Locatelli (chanteur), Christian Prunier (guitare), Alain Legrand (guitare rythmique), Dominique Blanc-Francard dit "Mino" (guitare basse) et Gйrard Ruge, par la suite Michel Santangeli (batterie). Au dйbut la formation porte le nom des Hooligans et le groupe dйcide de changer de nom pour adopter celui des Pingouins. Le groupe fait le deuxiиme festival du palais des Sports et un gala а l'ABC avec les Chats Sauvages.Lou Vincent quitte les Pingouins pour faire son service militaire, alors le groupe devient une formation instrumentale. Le groupe fait la tournйe avec le cirque Pinder et accompagne Danny Boy. Les Pingouins sortent quelques autres 45 tours, puis par la suite la formation se dissout. Chaque membre continue une carriиre dans le domaine musical.(Collaborateurs : Jean-Yves Dahyot / Francis Lefevre)
Groupe originaire de la banlieue est de Paris, tout comme les Chaussettes Noires et les Vautours. Formй de Lou Vincent de son vrai nom Louis Locatelli (chanteur), Christian Prunier (guitare), Alain Legrand (guitare rythmique), Dominique Blanc-Francard dit "Mino" (guitare basse) et Gйrard Ruge, par la suite Michel Santangeli (batterie). Au dйbut la formation porte le nom des Hooligans et le groupe dйcide de changer de nom pour adopter celui des Pingouins. Le groupe fait le deuxiиme festival du palais des Sports et un gala а l'ABC avec les Chats Sauvages.Lou Vincent quitte les Pingouins pour faire son service militaire, alors le groupe devient une formation instrumentale. Le groupe fait la tournйe avec le cirque Pinder et accompagne Danny Boy. Les Pingouins sortent quelques autres 45 tours, puis par la suite la formation se dissout. Chaque membre continue une carriиre dans le domaine musical.(Collaborateurs : Jean-Yves Dahyot / Francis Lefevre)
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1 regarde le ciel2 oh les filles ( sugaree)3 pour toi ( heartaches)4 le transistor5 cherche ( searchin)6 voo-doo-twist ( voo-doo-voo-doo)7 un coeur tout neuf ( brand new beat)8 la dee dah ( la dee dah)9 groenland10 sylvie11 iceberg12 alaska13 bach14 tamara delhi15 shuffle16 yeti17 je npeux l acheter ( cant buy me love)18 encore un jour sans toi ( i am the lonely boy)19 la vie sans toi20 l amour que jai pour toi ( my love)
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Thanks texan
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
The Rokes - 'I grandi successi'
Mp3\66Mb****
The Rokes were one of the more unusual British Invasion-era groups to come out of England, if only for the pattern and locale of their success. They never sold many records in England, or any in America, but they were a major act in Italy and also managed to make an extraordinary, albeit indirect, impact on the 1960s with a song that they originally premiered in Italian. London-born Shel Shapiro (b. 1943) had broken into music as a guitarist and singer with Rob Storm & the Whispers (later the Rob Storme Group) and subsequently backed Gene Vincent during a tour of England. He played in Hamburg as a member of the Shel Carson Combo and then became a member of the band backing Colin Hicks, the brother of Tomy Steele, on an extended tour of Italy in 1963. This group, who later recorded with Hicks, took the name of the Cabin Boys -- their lineup consisted of Shel Shapiro on guitar and vocals, Johnny Charlton on guitar and vocals, Bobby Posner on bass and vocals, and Roger Shepstone on drums and vocals.The Cabin Boys came to the attention of a manager in Italy who got them to sever their ties to Hicks and rename themselves the Rokes. They started out playing on stage behind a female singer named Rita Pavone but were signed to Italian RCA on their own. Their debut release under their new name was a single of "Shake, Rattle and Roll" that failed to sell. Another recording effort, this time in Italian, failed, but their future releases would all be in Italian, with English-language versions issued overseas. The group cut a version of Clint Ballard's "I'm Alive" under the title "Grazie a Te" and Jackie DeShannon's "When You Walk in the Room" as "C'e Una Strana Espressione Nei Tuoi Occhi" in 1965 that reached numbers 12 and 11 in Italy, respectively. These two hits were followed by their debut album and they had further Top 20 successes in 1966 with "Che Colp Abbiamo Noi" and "E La Pioggia Che Va." That same year, the Rokes also won second place in a poll of the most popular beat groups in Italy. Their big success and their major impact on the world of rock & roll beyond Italy, however, came when Shapiro co-authored a song called "Piangi Con Me," a hit for the group in Italy and later released in England by the group as "Let's Live for Today." The Rokes' version was relatively subdued and reflective. It was first covered by a band called the Living Daylights, but it was when the song was picked up by the Grassroots in America and recorded in a more defiant and dramatic fashion than the Rokes' original, with P. F. Sloan and Steve Barri producing, that it made a permanent impact on music and American popular culture. That record not only sold more than two million copies, but became one of the most enduring hit singles of its period -- with a special meaning to Vietnam veterans -- and, stylistically, was a forerunner of a sound that Bruce Springsteen would become a star with nine years later. The Rokes never benefited from the song's success in America. Despite releasing several singles in English in England and evolving new sounds with the times, including moving into psychedelia with "When the Wind Arises," they never charted there. They remained an Italian phenomenon, scoring a number two hit in 1967. They remained in vogue in Italy, even crossing paths with The Cowsills at the San Remo Festival in 1968, and continued to chart records there into 1969. By then, the public taste for pop/rock in Italy was changing and the group broke up during the summer of 1970. In 1972, Italian RCA issued a retrospective album on the group. Shapiro continued to write songs and produce records, forming his own label in Milan in 1977, while the other members of the group eventually left the music business.
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1. Ce una strana espressione nei tuoi occhi2. Io vivro senza te3. Bisogna saper perdere4. Cercate di abbracciare tutto il mondo come noi5. Lascia l?ultimo ballo per me6. Piangi con me7. Ricordo quando ero bambino8. Non c?e pace per me (Baby, Come Back)9. Un?anima pura10. Eccola di nuovo11. E la pioggia che va12. Finche c?e musica mi tengo su13. Che colpa abbiamo noi14. Ascolta nel vento15. Quando eri con me16. Spegni questa luce
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Thanks rockarchives.ru
Hep Stars - Hep Stars On Stage
Mp3\71Mb****
Its fantastic great live sound and atmosphere sixties !!!
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The chances are that, had ABBA never come along making Benny Andersson (and his three partners in the group) into an international pop-rock star, no one outside of Sweden would ever have heard of the Hep Stars. They were the hottest rock band of the middle-to-late '60s in Sweden, however, considered by some to be that country's answer to the Beatles. The Hep Stars also charted 20 singles in their own country and had hits in the Netherlands, as well as building a following in Germany — and their CDs are exported around the world as a result of the ABBA connection. It also turns out that they were a pretty good band, too.Andersson's interest in the keyboard manifested itself at age six, when he got his first accordion, and ... Read More...
1. Cadillac 2. What'd I Say 3. Donna 4. What Do You Want To Make Those Eyes For? 5. So Mistifying 6. Only You 7. Wear My Ring Around Your Neck 8. Surfin Bird 9. Tallahasse Lassie 10. No Response 11. If You Need Me 12. Farmer John 13. Bald Headed Woman 14. Whole Lot-Ta Shk-In Goin On 15. Cadillac (Singleversion) 16. Mashed Potatoes 17. Lonesome Town 18. Rented Tuxedo 19. So Mystifying 20. Should I
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Highly
recommendations
recommendations
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Thanks Elwood_Blues
THE JAVALINS - JAVALINS BEAT
Mp3\82Mb*******
In 1960,the Dutch-Indonesian band "Hurricane Rollers" changed their name to "Strangers","Crazy Strangers" and then "Javalins".This name was chosen because most of the group were born in Java.The almost exclusively instrumental group recorded mostly in Germany.The Javalins only played 2 times in The Netherlands during the 60's.In Germany and Scandinavia they were much more famous.There records were recorded and they played to crowds of thousands.The Javalins consisted of Franky Franken (singer-guitar), Robby Latuperisa (drums), Hans Bax (guitar), Peter Theunissen (bass) and Gerard Buskop (piano-organ).Their "Al Capone" remains one of the finest examples of Dutch-Indonesian rock 'n' roll.The group had a reunion in 1981 with Frank Luyten instead of Franky Franken.Later The Javalins also did a few concerts with their original singer.Sadly Franky Franken died on 15 september 1998.Since then no plans for further concerts were made.
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1. Javalin's Beat (Instr.)2. Javalin's Beat (Instr.) (2:30)3. Al Capone (Instr.) (2:31)4. Caroline (2:10)5. Mr. Tschang Aus Chinatown (2:03)6. Jenny jenny (3:51)7. Monkey Walk (Instr.) (2:38)8. Be My Baby (3:18)9. The Loveliest Night Of The Year (Instr.) (4:35)10. Ya Ya Twist (4:04)11. Footpatter (Instr.) (5:13)12. Git It (Wello Wap) (3:40)13. Sweet Georgia Brown (Instr.) (2:18)14. Twist & Shout (4:08)15. Es Gibt Kein Bier Auf Hawaii (2:28)16. Scherben (2:03)17. Tanz Doch Mit Mir Swim (2:18)18. Twistin' Away (2:18)19. Sherry (2:10)20. Joe, Die Gitarren Man (Instr.) (2:34)21. Hey Hey, Ha Ha (2:29)
*****
The Kinks - The Great Lost Kinks Album ( 1963-70)
Mp3\167 Mb****
The Great Lost Kinks Album is a 1973 LP collection of unreleased material issued by Reprise Records after The Kinks had moved to RCA. The tracks were recorded between 1966 and 1970 and master tapes were shipped to the US Reprise Label in the early 1970's to fulfil contractual obligations with that label. Kinks leader and songwriter, Ray Davies, intended most of the songs to remain unreleased "collateral" tracks for Reprise. Several other songs from these "collateral" recordings had been released on the 1971 Reprise compilation The Kink Kronikles.
Davies and the Kinks management were not told about the album and they learned of its existence from the US Billboard record chart. Davies instituted legal action against Reprise, which resulted in Reprise discontinuing the album in 1975. It became an immediate collector's item and most of the songs remained officially unreleased until the 1998 reissue of Kinks albums with bonus tracks. Some are still available only on old LPs or unofficial bootleg albums. The name is a reference to an album that was set to be released by Reprise in 1969, but was held back, eventually morphing into The Village Green Preservation Society. So many rumours circulated about the unissued record that "great lost Kinks album" became a catch phrase.
The songs include a number of unused album tracks, a British single (Plastic Man), a Kinks b-side (I'm Not Like Everybody Else), a film theme (Till Death Do Us Part), songs written exclusively for British television (Where Did the Spring Go?, When I Turn Out the Living Room Light) and several Dave Davies recordings, released and unreleased.
An aptly titled collection; out of print for many years, there are even some Kinks cultists who have never been able to hear this ragtag but worthy collection of late-'60s and early-'70s outtakes and rarities. Most of these were recorded around the same time as the 1968 LP Village Green Preservation Society; these low-key, wry, bouncy tunes would have fit in well with that record. Lyrically, they're on the whole slighter than much of their late-'60s work, perhaps accounting for why the group did not deign to release them at the time. Still, songs like "Rosemary Rose," "Misty Water," and "Mr. Songbird" would have hardly embarrassed the group, and rank as the highlights of this anthology.
Besides 1969-era outtakes, it includes the single "Plastic Man," a couple of okay, way-obscure B-sides featuring Dave Davies, and some songs penned for long-forgotten film and television productions. It also has the dynamite 1966 B-side "I'm Not Like Everybody Else," though that's easily available on reissue these days. That's not the case for most of the rest of this album; Kinks fans will find it quite worthwhile, and should be on the lookout for it in the used bins.
Davies and the Kinks management were not told about the album and they learned of its existence from the US Billboard record chart. Davies instituted legal action against Reprise, which resulted in Reprise discontinuing the album in 1975. It became an immediate collector's item and most of the songs remained officially unreleased until the 1998 reissue of Kinks albums with bonus tracks. Some are still available only on old LPs or unofficial bootleg albums. The name is a reference to an album that was set to be released by Reprise in 1969, but was held back, eventually morphing into The Village Green Preservation Society. So many rumours circulated about the unissued record that "great lost Kinks album" became a catch phrase.
The songs include a number of unused album tracks, a British single (Plastic Man), a Kinks b-side (I'm Not Like Everybody Else), a film theme (Till Death Do Us Part), songs written exclusively for British television (Where Did the Spring Go?, When I Turn Out the Living Room Light) and several Dave Davies recordings, released and unreleased.
An aptly titled collection; out of print for many years, there are even some Kinks cultists who have never been able to hear this ragtag but worthy collection of late-'60s and early-'70s outtakes and rarities. Most of these were recorded around the same time as the 1968 LP Village Green Preservation Society; these low-key, wry, bouncy tunes would have fit in well with that record. Lyrically, they're on the whole slighter than much of their late-'60s work, perhaps accounting for why the group did not deign to release them at the time. Still, songs like "Rosemary Rose," "Misty Water," and "Mr. Songbird" would have hardly embarrassed the group, and rank as the highlights of this anthology.
Besides 1969-era outtakes, it includes the single "Plastic Man," a couple of okay, way-obscure B-sides featuring Dave Davies, and some songs penned for long-forgotten film and television productions. It also has the dynamite 1966 B-side "I'm Not Like Everybody Else," though that's easily available on reissue these days. That's not the case for most of the rest of this album; Kinks fans will find it quite worthwhile, and should be on the lookout for it in the used bins.
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01. Intro - Ballad of the Virgin Soldiers 2:4902. I'm a Hog for You Baby 1:3903. I Believed You 1:5604. Revenge 1:2905. Got Love If You Want It 3:4606. Don't Ever Let Me Go 2:1507. This I Know 1:5908. A Little Bit of Sunlight 1:4709. Tell Me Now So I'll Know 1:5410. There's a New World Just Opening for Me 2:2311. All Night Stand 1:5012. Time Will Tell 2:3613. Spotty Grotty Anna 2:0714. And I Will Love You 2:1615. She's Got Everything 3:0916. Dedicated Follower of Fashion 3:0117. Mr. Reporter 3:5818. Sand on My Shoes 3:0519. Lavender Hill 2:5620. Rosemary Rose 1:4421. Misty Water 3:0122. Mr. Songbird 2:2723. Did You See His Name? 1:5724. Where Did My Spring Go? 2:1025. When I Turn Off the Living Room Light 2:1926. Til Death do Us Part 3:1827. Pictures in the Sand 2:4728. Berkeley Mews 2:40 1,87529. Easy Come, There You Went 0:5030. This Man He Weeps Tonight 2:40
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(Thank`s motto batzbatz.com)
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Monday, August 11, 2008
Accolade 2 - Accolade(1971)
Mp3\78Mb*******
This is great! A flute and folk guitar together, similar to a well sung Jethro Tull. Don Partridge, the vocalist appears by himself later in his career. includes Brian Cresswell, Malcolm Poole, and Ian Hoyle. Wizz Jones plays acoustic guitar on four songs, and one of the songs is a Gordon Giltrap cover tune. My favorite song is 'transworld blues' on the first three listens, but I'm sure with repeated turns, this one will offer up many layers of beauty. The front cover artwork is an original painting by David Steele and attracted me to this UK prog/psych record immediately.
Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.
Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.
As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)
Maybe I'm just a sucker for flute - I don't know - but to me this is yet another excellent slice of early 70's UK psych folk. Originally released on the Regal Zonophone label in 1971. Crisp and clear male vocals, prominent flute, dreamy acoustic guitar, and occasional doses of piano, harmonica, vibraphone make for a truly enjoyable listening experience. The 11+ minute "Cross Continental Pandemonium Theatre Company" is one of the higlights of this gem. If you like flute-dominated acoustic progressive psych/folk, you can't go wrong with this.
Accolade were a light acoustic band, formed in 1969 who completely eschewed electric instruments, as they developed a folk / jazz fusion. Notable, perhaps only for the inclusion of Partridge and fellow singer Gordon Giltrap, although the latter remained for only one album. The group recorded two albums and one single, before going their separate ways in 1971.
As musical tastes changed, and the novelty value of a folk music singing, one man band, paled, Partridge retreated to his well-worn path of busking for a living. He had made a big impression in Scandinavia, and moved to live in Sweden in the early 1970s. He made two unsuccessful albums there, before ultimately returning to his homeland. 2nd album by UK band from early 70's. A well mix up of verious styles like folk, jazz, and rock, but psych folk dominated. Wizz Jones was featured on several tracks and the album also a cool return of Made In Sweden's 'Snakes In A Hole' Originally released in 1971 on Regal Zonophone. (Reviews from different sources)
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01. Transworld Blues02. The Spider to The Spy03. Baby, Take Your Rags Off04. Cross Continental...05. Snakes In a Hole06. The Time Iґve Wasted07. Sector Five Nine08. If Only Iґd Known09. William Taplin10. Long Way to Go
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This is my favorite
and thanks ChrisGoesRock
!!! *** !!!
Sunday, August 10, 2008
Alan Hull – Pipedream (1973)
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Biography by Bruce Eder Best known as the co-founder, leader, and principal songwriter of the Newcastle folk-based rock band Lindisfarne, Alan Hull also pursued a successful career as a solo performer, specializing in original songs. At one time, amid Lindisfarne's early successes, Hull was being hailed as the most innovative songwriter since Bob Dylan, and although Lindisfarne's subsequent albums didn't remotely achieve this level of promise, his solo material was consistently strong. Hailing from Newcastle, where he was born in 1945, Hull took up the guitar as a boy, and became a member of the band the Chosen Few alongside keyboard player (and future Ian Dury alumnus) Mickey Gallagher, in 1962. That band, which specialized in Tamla-Motown covers, was signed to Pye Records for a time and Hull first emerged as a songwriter of considerable promise within their ranks, generating some very strong original numbers including the single "Today Tonight and Tomorrow." Hull exited the group in 1966 and gravitated toward a more folk-oriented sound in his playing, singing, and songwriting, which brought him into a band called Downtown Faction, who eventually evolved into Lindisfarne; he supported himself one year by working as a nurse at a mental hospital, before Lindisfarne came together. As author of many of their most popular songs as well as one of their principal singers, Hull came to be regarded as the de facto leader of the group, which may have contributed to its splintering in 1973. He recorded solo albums periodically beginning with 1973's Pipedream on the Charisma label, which included the services of second-generation Lindisfarne guitarist/keyboardman Ken Craddock as well as original members Ray Jackson and Ray Laidlaw. His second album, Squire, was released in 1975 by Warner Bros., while his third, Phantoms (1979), was done for Elton John's Rocket Records label.
At its best, Hull's songwriting featured fluid, deceptively catchy, and pleasing melodies, and rich, deeply evocative phrasing and imagery. His "Fog on the Tyne" remains a classic, a Dylanesque account of life in Newcastle in the late '60s, and he has also written in a more popular vein, with songs such as "Run for Home" (which, with its achingly beautiful chorus, ought to have been an international hit), which sounds almost more like Bruce Springsteen than Bruce Springsteen did. In 1994, he recorded Back to Basics, a live all-acoustic survey of the best of his songwriting from 1970 onward. On November 17, 1995, while working on a new album, Hull died suddenly of what was determined to be a heart thrombosis. Lindisfarne has continued to perform in the years since, and recordings of Hull's have continued to surface from various sources, including radio performances going back to the early '70s.
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01 – Breakfast02 – Just Another Sad Song03 – Money Game04 – Std 063205 – United States Of Mind06 – Country Gentleman's Wife07 – Numbers ( Travelling Band )08 – For The Bairns09 – Drug Song10 – Song For A Windmill11 – Blue Murder12 – I Hate To See You Cry
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