The Pleasure Seekers-What A Way To Die[64-68]

The Pleasure Seekers was a 1960s-era, all-female garage rock band from Detroit,Michigan.The band morphed into Cradle,changing direction musically.They are known due in large part to the later prominence of bandmember Suzi Quatro.

Following an entertaining intro (by DJ The Lord,of Shangrlaradio.com),the Quatro sisters original composition "Gotta Get Away" comes on heavy with a wall of organ and guitar likes a snarly Detroit version of an Avalon ballroom mainstay!This is the first taste of seven previously unreleased '60s recordings by Michigan's Pleasure Seekers.It was long rumored the girls had laid down more in the studio than the three singles well known to serious rock & roll fanatics,but now the wait is over.

The Pleasure seekers were an all girl garage band from Detroit,Michigan.In 1964,Patti Quatro started The Pleasure Seekers with friends Nancy Ball (drums), Arlene Quatro (keyboards), and a 16-year-old Suzi Quatro. They only released two singles: "What A Way To Die" / "Never Thought You'd Leave Me" (Hideout) 1966 "Light Of Love" / "Shame" (Mercury) 1967 "What a Way To Die" is an ode to teenage drinking and has been on many many garage compilation.

1.The Lord Intro
2.Gotta Get Away
3.Never Thought You'd Leave Me
4.Light Of Love
5.Good Kind Of Hurt
6.What A Way To Die
7.Elevator Express
8.Locked In Your Love
9.White Pig Blues
10.Brain Confusion
11.Where Have You Gone
12.Mr Power

http://tny.cz/c7067f46

Lewis & Clarke - Expedition

Mike Hart–Mike Hart Bleeds[1969]

[CD Japan 24-Bit Remaster]

1.  Yawny Morning Song
2.  Shelter Song
3.  The Ring Song
4.  Please Bring Back the Birch for the Milkman
5.  Arty's Wife
6.  Disbelief Blues
7.  Aberfan
8.  Dance Mr. Morning Man
9.  Almost Liverpool 8

Hart was a talented frontman,singer and poet who had long battles with alcohol.In 1962,Hart founded Liverpool band The Roadrunners,which he left in July 1965 and later joined Liverpool Scene which featured Adrian Henri,Andy Roberts and Mike Evans.He stayed with them only for one album,leaving to pursue a solo career including an album called ‘Mike Hart Bleeds’ produced by the late John Peel.John Cornelius,author of Liverpool 8 thinks that Hart deserves a place alongside other great musical talents: "I would place Mike Hart on the same pedastal as Bob Dylan and John Lennon: he was that good.He let himself down but he was the genuine article, a Woody Guthrie who led a rolling stone lifestyle."

"Mike Hart Bleeds" was one of the first discs issued on John Peel's Dandelion label (and recorded in 1969).The album is a totally underrated and overlooked classic,which at times bears worthy comparison to some of Bob Dylan's and John Lennon's work.There is much variety in the songs and every track is a gem in its own right.Hart's lyrics combine bitterness,irony and humour and are ruthlessly honest. His voice is deeply emotive and affecting. The most outstanding track "Almost Liverpool 8" sounds a bit like Lennon on his first solo album backed by Procol Harum."Arty's Wife" is another similarly moving tale of failed relationships, while "Disbelief Blues" sounds uncannily similar to the sound of "Bob Dylan's 113th Dream".There are shades of "Mr Tambourine Man" in "Dance Mr. Morning Man" while "Shelter Song" is a tragi-comic tale of working-class life in Liverpool (similar in melody to "Universal Soldier").Hart delivers a classic protest song of his own with "Aberfan" which details the horrors of the landslide a few years earlier in a Welsh mining village. He also combines protest with humour and mentions Harold Wilson in "Please Bring Back the Birch for the Milkman".

http://tny.cz/58d13c84

Phoenix[1969]

Phoenix consisted of Chuck McCabe (guitar,vocals),Tiran Porter (bass,vocals),Homer Swain (drums,vocals),Mike Walch (percussion,vocals,piano).The group has connections to the Doobie Brothers,Tiran Porter would replace Dave Shogren on bass for the Doobies’ second album Toulous Street in 1972.

1.Julia’s Face
2.Music On My Mind
3.I Can’t Lose You Now
4.Hello Nashville
5.Thanks For Nothing
6.Too Many Words
7.Do Something To Make Somebody Happy
8.I’m Leaving, You Arrived
9.Postmark N.Y.C.
10.Words I Have To Say
11.Baby I’m Sorry (What Else Can I Say)

http://tny.cz/d72a37e5

Paul Martin[66-67]

New York singer-songwriter Paul Martin (born Paul Myerberg) released a couple of way-obscure singles in 1966-67 and recorded a lot of unreleased demos at the same time many of these were collected for a 1996 release on Distortions.Martin wasn't an exceptionally talented performer or composer, churning out low-fi folk-rock with garage and psychedelic influences.His work has some scruffy appeal for obsessive '60s collectors,though,simply because there were few other garage artists of the time that employed such liberal,eclectic folk and pop influences.A Blonde on Blonde organ here violins and cellos there occasional New York pop-soul female backup vocals--many of his tunes were dressed up with the unexpected, as if he couldn't decide whether to be underground,Top 40, singer-songwriter,or adolescent punk.

1.It Happened
2.It's A Long Time 'Til The End
3.Echo
4.I Have Got That Feelin'
5.You Don't Seem To Understand
6.Without Your Love
7.More Than Me
8.What Good Is Your Love
9.This Is The End
10.The Last Remains Of Our Love
11.You Were There
12.All That's Left
13.Yours Is The Life
14.How Many Tears Must I Cry
15.I Want You
16.The Girl Tomorrow Killed
17.The Fairy Princess

http://tny.cz/65256c12

The Rattles–Twist Im Star–Club Hamburg[1963][w.bonus]

The Rattles–Twist Im Star–Club Hamburg[1963]Germany

(Live Recording)

One of the most successful and certainly one of the most prolific,German rock groups of the '60s,the Rattles enjoyed reasonable success in their native land without making much of an impression elsewhere (though some of their material was released in other countries).Starting out in the same Star Club-based Hamburg scene as the Liverpool groups of the early '60s,their early repertoire was built upon a similar base of '50s rock and soul/R&B.They released about 30 singles during the '60s (some on the Star-Club label itself),as well as almost ten albums,eventually making the transition to original material and marching on well into the 1970s.

1. Baby That Is Rock And Roll (Leiber/Stoller)
2. The Stomp (Smith/Goldsmith)
3. Go To Him (Reichel)
4. Zip-A-Dee-Doo-Dah (Wrubel/Gilbert)
5. Mashed Potatoes (Otis/Lee)
6. Hello (Ortwein/Sondhol)
7. Cryin’, Waitin’, Hopin’ (Buddy Holly)
8. Sticks And Stones (Turner)
9. Hippy Hippy Shake (Chan Romero)
10. Ain’t She Sweet (Ager/Yellen)
11. Bye Bye Johnny (Chuck Berry)
12. Twist And Shout (B.Russel/Phil Medley)
13. Dream Baby (How Long Must I Dream) (C.Walker)
14. P.S. I Love You (J.Lennon/P.McCartney)

Bonus

15. Shimmy Shimmy
16. Hippy Hippy Shake (Without Audience)
17. Geh Zu Ihm
18. Bye,Bye,Baby

http://tny.cz/29b7090b

PH Phactor-Merryjuana[67-68]

A group who mixed up elements of jug band,folk-rock,blues and psychedelia,PH Phactor was based at various points in both Portland,OR and San Francisco.During their lifetime they recorded just one single,"Minglewood Blues"/"Barefoot John," released in 1967 on the Piccadilly label.The A-side,an update of a blues song from the 1920s,was one of the best of the relatively few jug band/blues/folk-rock combinations to be released in the 1960s, while the B-side was raw, bluesy folk-rock.An entire album of material recorded by the band,Merryjuana was released in 1980 on Piccadilly.This LP (now very hard to find) showed more range than the single had,with excursions into good-time jug band music,Country Joe and the Fish-like psychedelia and blues-rock.On the evidence of this rare LP,PH Phactor were a band that,like the Lovin' Spoonful,Country Joe & the Fish,the Charlatans and Kaleidoscope,linked jug band folk to psychedelic rock in their versatile repertoire.PH Phactor,alas,weren't as notable as any of those prior acts.But their music on this 1980 release (recorded during the 1960s,although only two tracks,the single "Minglewood Blues"/"Barefoot John," came out at the time) was respectably enjoyable.As was the case with all of those like-minded groups,they sounded worst when they were trying to do comic jug band material.At other pointsthough (as on "Suzy"), they had an engaging,ragged blues-rock-psychedelic looseness and quizzical humor reminiscent of San Francisco bands like Country Joe & the Fish and,less closely,the Charlatans. Strange as it might seem, one of the singers-the guy who takes the lead on "Jelly Roll" and "Barefoot John" - sounds a heck of a lot like Jonathan Richman,though there seems no way Richman could have been influenced by such an obscure group.They do a surprisingly good blues-rock cover of Howlin' Wolf's "Three Hundred Pounds of Joy" (here retitled "200 Pounds of Heavenly Joy") and get into eastern-influenced jazzy psychedelic improvisations on the seven-minute "Rain Island."

1.Love love love
2.Suzy
3.Eyes of love
4.Skin
5.Jerry roll
6.Minglewood blues[1968]
7.Barefoot John[1968]
8.200 pounds of heavenly joy
9.38 gun
10.Merryjuana
11.Rain island

Paul Bassett – drums,washboard
John Browne - guitar,harmonica
Davy Coffin - guitar,mandolin
John Hendricks - mandolin,mandola,banjo,guitar,kazoo,jug,vocals
Dennis Long – drums
Steve Mork – bass,jug
Nick Ogilvie - guitar,banjo,harp,vocals
Chris Robinson - guitar
Mike Rush – drums

http://tny.cz/e0bb1f36

The Attack_Complete recordings (1967-68)

"Mod-psych extraordinaire, the Attack had a phenomenal string of great but overlooked singles."
An anthology of all the 45s and early unissued rarities from this fantastic 60s mod/psyche outfit; their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over-used term) freakbeat.

Tracks:
01. Magic In The Air
02. Try It
03. Colour Of My Mind
04. Feel Like Flying
05. Lady Orange Peel
06. Freedom For You
07. Mr. Pinnodmy's Dilemma
08. Strange House
09. Anymore Than I Do
10. Created By Clive
11. We Don't Know
12. Hi-Ho Silver Lining
13. Neville Thumbcatch
14. Too Old
15. Go Your Way

The Attack (originally the Soul System) strikes full force with a British Invasion of freakbeat psychedelic mod-rock straight outta London, England circa 1966. Immensely talented, yet sorely underrated, the Attack was an emulative R&B spin-off with assertive pop predispositions. Verging on the Yardbirds, the Kinks, and the Who, yet bearing closer resemblance to the Birds, Small Faces, the Pretty Things, and the Creation, this audio gem features the Attack’s rare early recordings on Don Arden’s ( the ‘Al Capone of Pop? and the ‘Godfather of Rock? ) Decca record label, flaunting melodic pop guitars layered over bass heavy rhythms, and Richard Shirman’s pleasing vocals. Several selections on this devastatingly concise collection include sparkling Hammond organ vibrations. They released a mere 4 singles, often times with the B-Sides packing a fiercer wallop. Radiant free-wheelin’ fun gloriously seeps through, the kind that induces positive euphoric well-being without sluggish addiction. Their solid rock vein stays consistent throughout this collection, perhaps the only stability ever attributed to the Attack, given their multiple line-up changes and failed attempts at expanding their influence outside Britain.
Guy Montag


Making up the four great bands of the 1966 pop-apocalypse were The Who, The Action, The Creation and finally The Attack. Four names that in their brevity summed up the instant flash of mod-pop appeal. They had more energy than an H-bomb after flash, and they hit the senses and the soul with a long awaited wake up call. A definitive collection, which includes such stand outs as - Try It "bugged out insanity,with sexual overtones blowing the Standells version into oblivion"; We Don't Know "a tight explosion of mod-soul" ; Anymore Than I Do "a freak beat classic" - plus of course their pre-Jeff Beck version of Hi Ho Silver lining. A Must for all Mod Collectors.
Amazon


My first reaction to this CD was being captivated by the infectious bass lines, far more than any of the rest of the instrumentation. In much the same way that Keith Moon's drumming stood out to me when I first heard the Who (the "Anyway Anyhow Anywhere" 45). The material is very strong here, witness the fact that the lead track, "Any More Than I Do," was a B-SIDE when originally released. I had originally heard "Created by Clive" as performed by The Syn, but The Attack's version is far stronger, peppier and enlivened by the mallett percussion. Well, it says it's a mod collection but, at the risk of alienating purists, I would surely suggest that the psych and freakbeat minded would all find much to enjoy.
Ibid


This band should have been as Big as The Who! For sheer originality within the English rock of the late 60's these guys are second to none. This music's right up there with Piper at the Gates of Dawn, The Who sings My Generation and The Move. Now's your chance to hear how "The Attack" pay homage to"The Standells" with this excellent version of the first rock record to get banned in the U.S because of it's "filthy" lyrics which amounts to "Try it". How times have changed! The worst fears expressed by 'Lou Reed's Berlin' have been realized. Let this excellent group take you back to a much simpler time when Rock n Roll was new, and thousands of super, creative bands roamed the US and London. And people still believed that "Rock Music" could save your soul.
Ibid


Biography by Jon 'Mojo' Mills

The Attack (thanks to an ever growing legion of collectors dedicated to the vibrant sound of mid- to late-'60s Swinging London) have a far larger fan base now than they ever did during their existence. Indeed their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over used term) freakbeat. Hence over the last 15 years there has been an abundance of vinyl bootlegs and inclusions on such psychedelic/freakbeat compilations as Rubble! The founders Richard Shirman (the only original member to stay with the group throughout all of the lineup changes) and Gerry Henderson were originally in a group called the Soul System, whom, for the best part of a year, had a very unstable lineup. In early 1966, the remnants of the crumbling group were joined by Bob Hodges on organ, David John (not David John of David John & the Mood, but Davy O'List under alter ego) on guitar, and Alan Whitehead (on loan from Marmalade) on drums. They soon came to the attention of entrepreneur (gangster?) Don Arden, who then signed them to Decca and changed their name to the Attack. Their debut single released in January 1967 was an extremely anglicized cover of "Try It," an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, the Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces (also managed by Don Arden), the Birds, and the Creation. Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice (who were to act as the backup group for newly acquired American Soul singer P.P. Arnold) and quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page. Shortly thereafter John Du Cann (mainstay, and songwriter) was introduced into the group. As a follow-up to "Try It," a version of "Hi-Ho Silver Lining" was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, "Created By Clive"/"Colour of My Mind," backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Kenny Harold (bass) and Geoff Richardson (guitar) left shortly after the disappointment of "Created By Clive," leaving John as the only guitarist. Jim Avery (who later went on to the revolutionary Third World War) was drafted in on bass, with Plug (whom later went on to Welsh acid rock outfit Man) still on drums. After yet even more disappointment surrounding the "Magic in the Air" single (Decca refused its release on the grounds of it being too heavy), Plug and Jim Avery left the ranks to be replaced by Roger Deane (bass) and Keith Hodge (drums). The final single, released in early 1968, was "Neville Thumbcatch," a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's "Pressed Rat and Warthog." Decca's deal with the Attack expired after that single, with a projected fifth 45, "Freedom for You"/"Feel Like Flying," remaining unreleased. Both sides of that single, as well as seven Attack demos recorded around that time, are included on Angel Air's CD reissue of the rare 1968 album by the Five Day Week Straw People, a studio-only outfit that was led by DuCann. There is also a compilation of the Attack's post-Decca sides entitled Final Dayze, featuring these tracks and more unreleased material (also on Angel Air). Before Decca (who wanted to keep the Attack as a pop act) parted with the group over the continued heavy nature of their newer material, the group had already entered the studio and begun work on the Roman Gods of War album. Both the artwork and a number of songs were completed, but unfortunately the label recorded over the tapes and lost the photos after they dropped the group. DuCann became the dominant creative force in the group prior to their 1968 breakup, and the likes of the unreleased "Mr. Pinnodmy's Dilemma" and "Strange House" showed the group developing a heavier rock sound, although still maintaining a sense of British mod-psych whimsy. DuCann would continue to explore a heavier direction with his subsequent group Andromeda, and joined Atomic Rooster in the '70s.
AMG

http://tny.cz/2fbcee8a

Giant Crab - A Giant Crab Comes Forth (1968)

Country: USA
Style: Psychedelic Rock
Format: 320 kbps
Archive: 103 Mb

1.A Giant Crab Comes Forth 2:18
2.It Started With A Little Kiss 2:30
3.Directions 3:03
4.Watch Your Step 2:37
5.Intensify Your Soul 2:30
6.Enjoy It 2:04
7.Hot Line Conversation 3:00
8.I Enjoy Being The Boy 2:45
9.Lydia Purple 2:42
10.Groovy Towne 2:37
11.Thru The Fields 2:39
12.The Chance You Take 2:44
13.Believe It Or Not 2:54
14.The Answer Is No 2:59
15.Hi Ho Silver Lining 2:30
16.Why Am I So Proud? 4:07


Giant Crab are :
Ernie Orosco - lead singer, lead guitar, rhythm & 12 string guitars
Raymond Orosco - 12 string, dry box & bass guitars, clavinet
Ruben Orosco - bass guitar , drums , sax
Dennis Fricia - drums, horns
Kenny Fricia - organ, piano, clavinet, horns

http://tny.cz/f6c285dd

Kings Verses[1966]

Kings Verses[1966]USA

Formed-1966,Fresno,CA,United States
Disbanded-1967,Los Angeles,CA,United States

Bob Melchor (drums)
Jim Baker (guitar,vocals)
Bill Kufis (bass)
Lloyd Bell (guitar,keyboards,1966)
John Hollingsworth (bass,1966-67)
Philip Hollingsworth (keyboards,1966-67)

1 Lights
2 Ballad of Lad Polo
3 It's Not Right
4 She Belonged to Me
5 It's Love
6 E. Sok Baxter
7 A Million Faces
8 Mind Rewind
9 When You Loved Her
10 You Can Be Me
12 She Belonged to Me (Live)
13 Lights (Live)

The Kings Verses hail from Fresno,California.The band was formed when Lloyd Bell and Jim Baker,still in high school,persuaded both Bob Melchor,who was playing drums for a local cover band and Bill Kufis,playing bass,to join them in a band. Bell left the at the end of 1966, to be replaced by bassist John and keyboardist Philip Hollingsworth from Everyday Things,another local group.In the summer of 1967 however,the band relocated to sunny Los Angeles in hopes of making it better there,as they'd had nothing but bad luck back in Fresno. While in LA,they did a semester at LA City College, before coming known by the Oracle newspaper scence,eventually getting them well known enough to be an opening act for The Doors.However,their good fortune proved to be short-lived.After a gig at a venue on the Sunset Strip called The Hullabaloo at which they did not get paid,the band gave the venue affidavits,but the band ended up getting blackballed and their reputation was ruined.So they packed up and the members all went their separate ways.The Kings Verses did not last long enough to put out a record.However they did record some demos.In 1998 these demos,along with two live songs from the 1966 KYNO Battle of the Bands in Fresno,were released into the compilation Kings Verses.


http://tny.cz/0c2ec8ca

Kensington Market-Avenue Road[1968]

Kensington Market-Avenue Road[1968]Canada

Kensington Market (named after a street market in the city’s west side) was formed initially to promote the song writing talents of English-born Keith McKie (b. 20 November 1947,St Albans).

1.I Would Be The One (Keith McKie)
2.Speaking Of Dreams (Luke Gibson)
3.Colour Her Sunshine (Keith McKie) 
4.Phoebe (Gene Martynec)
5.Aunt Violet's Knee (Keith McKie)
6.Coming Home Soon (Keith McKie)
7.Presenting Myself Lightly (Gene Martynec) 
8.Looking Glass (Keith McKie)
9.Beatrice (Gene Martynec)
10.Girl Is Young  (Keith McKie)

Alex Darou - Bass
Keith McKie - Guitar,Vocals
Jimmy Watson - Drums,Sitar
Gene Martynec - Guitar,Piano,Vocals
Luke Gibson - Vocals,Guitar

http://tny.cz/3a995d96

Frumious Bandersnatch-The Studio Outtakes[1968][w.bonus ep]

Originally from Lafayette/California they moved to San Francisco and picked up the typical sound of the city.

If any one group can legimately qualify as the "great lost psychedelic band',then Frumious Bandersnatch is that group.The few tantalizing glimpses of the combo afforded by their solo release in the 1960s gained them an enormous reputation.The subsequent fortunes of its members in groups like Journey and The Steve Miller Band have only added to the phenomenon.The name,derived from Lewis Carroll's proto-psych 'Jabberwocky',has an air of psychedelic mystery to it.So,after years of wishful thinking on the part of psychedelic music aficionados all over the world we find the earnestness of this their latest achievment all the more extraordinary.

1.Hearts To Cry [Alternate Version]
2.Chain Reaction
3.Pulpit Hough
4.Cheshire [Full-Length Version]
5.Woodrose Syrup
6.Can-A-Bliss  [Full-Length Version]

Bonus EP (Muggles Gramophone Works FB-A/B) 1968

7.Hearts To Cry
8.Misty Cloudy
9 Cheshire

http://tny.cz/d2865f59
  

Cuby & Blizzards–Desolation[1966]Netherlands

Cuby & Blizzards–Desolation[1966]Netherlands


Cuby & The Blizzards record their first album Desolation.The title comes from the book ‘Desolation Angels’ by Jack Kerouac,one of the leaders of the beat generation,who is very influential on the artistic Dutch youth as well.It is the first Dutch blues album and draws the attention of Willem de Ridder, editor-in-chief of Hitweek.Harry’s farm in Grolloo becomes a place of pilgrimage.Ton Sybrands,Simon Vinkenoog,Boudewijn de Groot,Johnny the Selfkicker,John Mayall,Eddie Boyd and Alexis Korner all sleep at Harry’s farm.A ‘road to fame’ in Grolloo reminds us of the many, often eccentric,visitors.Single ‘Just for Fun’ is a tribute to the village and its inhabitants.a small village called Grollo (population: 500) situated in one of the most isolated parts of Holland.
A young piano player called Herman Brood (ex-Moan)joins the band.Moan regularly performs for American soldiers in Germany,always an exhausting experience.To keep it up they swallow pep pills given to them by the Americans, and Brood turns it into a lifestyle.

Bass-Willy Middel
Drums-Hans Waterman
Guitar[Rhythm]-Hans Kinds
Guitar[Solo]-Eelco Gelling
Piano-Henk Hilbrandie
Vocals,Harmonica-Harry Muskee

1.Things I Remember  
2.Hobo Blues  
3.Just for Fun  
4.I’m in Love  
5.Gin House Blues  
6.Desolation Blues  
7.Five Long Years  
8.Let’s Make It  

http://tny.cz/5d1ba232

Mayfield's Mule - Mayfield's Mule (1969-70)

Guitarist, vocalist and songwriter CHRIS MAYFIELD began to play at the beginning of the Sixties in local Kent band The MORAL SET, then went on to the usual plethora of bands and sessions, playing with the earliest NIRVANA, JOHN GUSTAFSON, GENE LATTER and IAN HUNTER among the others.

In 1968 after a few disappointing musical adventures, Chris joined AMEN CORNER as a roadie/driver, but his girlfriend passed some of his demos to Amen's sax player, MIKE SMITH, who immediately got them to various labels, EMI approved and immediately signed Chris to a recording deal.

PETE SAUNDERS (k), STEVE BRADLEY (b) and ex-ELASTIC BAND SEAN JENKINS (d) soon joined and MAYFIELD'S MULE was born.

Three Parlophone singles were recorded in a few months and the band also began to work on an album at Abbey Road studios. But something went wrong and the LP was apparently shelved, gaining instead an incredible Uruguayan release on local Emi-Odeon label, without any involvement and knowledge from the band.

Mayfield's Mule went on for a while longer, recruiting brothers MIKE and ANDY SCOTT, and then called it a day.

While Sean Jenkins played a few months with HENRY COW and Andy Scott resurfaced in THE SWEET, Chris Mayfield joined forces with JOHN KONGOS to record some demos of his new material.

He then met up with an old friend from Kent NOEL REDDING (late of Jimi Hendrix Band and Fat Mattress) and they formed the shortlived BRAIN POLICE, which became (without Chris) ROAD and finally The NOEL REDDING BAND.

Chris moved to Holland for a while and then on to the USA, where he stayed playing music for the next 20 years, before coming back to England where he gave life to the brilliant BLUZE The BAND in 1998.

After 7 years on the road this band is no longer working, but Chris is still gigging and right now is recording tunes for his new solo album!

This CD contains all the best Mayfield's Mule recordings, drawing from both the singles and the album.

The music is basically rock but with hints of prog, blues, rural and even a bit of soul thrown in. All tracks have been digitally remastered from the original tapes.

Tracks 2 and 6 recorded at Trident Studios, all the other tracks recorded at Abbey Road Studios, London

Tracks 2, 3, 4 and 6 from the Parlophone singles R5817, R5843, R5858, all the other tracks from the 'Mayfields Mule' album, originally issued only in Uruguay by EMI Odeon (SURL 20739 - 1970)

The 12 page booklet features the band's detailed story, with never-seen-before photos and Mayfield's own anecdotes.

http://tny.cz/9c11b2a5

Pepper Tree-You're My People[1971][with bonus]

 Also Known As: The Pepper Tree [1967-70]

 

Formed: 1967,NS,Canada
Disbanded: 1974
Related Artists:-Central Nervous System,Chilliwack,Headpins,Molly Oliver,Wrabit


Comprised of Chris Brockway,Jim White,Bob Quinn and Tim Garagon,Pepper Tree was signed by Capitol in 1970.You're My People (1971) featured the Canadian hit "Mr. Pride." Several singles followed in the early '70s,but Pepper Tree never duplicated their early success.Pepper Tree hailed from Nova Scotia and was formed in 1967.After a few years of saturating the club scene in Canada,the band finally landed a contract with Capitol Records in 1969.Producer,Jack Richardson,was drafted to produce a single which saw the band charting in their native country.Lineup changes ensued over the next year,until "You're My People" hit store shelves in 1971.The album was a solid mix of folk,pop,prog and organ driven hard rock.By 1973,the band was belly up and members went on to such bands as Rhinegold, Molly Oliver,Hanover Fist,Wrabit,Lee Aaron,Chilliwack and Headpins.Many of them are still active in both performing and producing music.

1.You're My People
2.Carry On
3.How Many Times
4.Try
5.Airplane
6.Oh Yeah
7.Yellow Man
8.Turn Around
9.I Could Not Control It
10.From A Candle
11.Workin'

Bonus

12.Everywhere
13.Love Is A Railroad
14.Love Is A Railroad (vinyl)
15.Mr Pride
16.Put A Smile Upon Your Face

Tim Garagan (drums,vocals,1967-73)
Ritchie Richmond (bass,1967-69)
Lenny Brennan (guitar,1967-69)
Tony Argent (guitar,1967)
Bonnie Oulton (vocals,1967-68)
Bob Quinn (keyboards,1967-73)
Doug Billard (vocals,1968-69)
Jim White (guitar,1969-71)
Chris Brockway (bass,1969-74)
Joel Zemel (guitar,1971)
Matt Minglewood (guitar,vocals,1971)
Terry Hatty (vocals,1971)
Rick Edgett (guitar,1971)
Paul Butler (guitar,1971)
Brian "Too Loud" Macleod (drums,1973-74)
Ralph Parker (keyboards,1973-74)

http://tny.cz/640a3f50

Poor Things & Karl Heinz-Poor Things & Soul five[64-68]

Out of the ashes from the band Die DOMINOS (1963-65) in Opel (GM) City Ruesselsheim arose The POOR THINGS,whichworked from 1966 to 1967 releasing 1 LP and 2 singles.The band was a main attraction in US-Army Clubs.Biggest event:Touring with Bill Haley.After the split Bender and Schuppank formed new band The SOUL FIVE.Their style was a mix from Rock & Roll,Beat and Soul.

At least 30 installments are planned,and each CD will contain between 20 and 30 titles,all re-mastered for the best possible sound quality.The featured artists run the gamut from popular groups to great unknowns.Despite the CD revolution,many of these songs are making their first appearance on CD,and some are making their very first appearance anywhere!There's a book,Shakin' All Over (published by High Castle),designed to accompany this series.The author,Hans Jurgen Klitsch,has written the hugely informative booklets for our CDs.It has been thirty-five years since the dawn of the Beat Boom in Germany.Relive that era in words and music!Three different German 'beat' groups from the mid-1960s are featured here,with most songs appearing on CD for the first time,inc.Mustang Sally,She's Mine,Soul Dance Party,Oh Jenny & many others.

Karl-Heinz Bender-vocals,guitar,bass
Norbert Henss-organ
Walter Braun-bass,sax,vocals
Otto Sedlatschek-sax
Wilfried Schleppy-drums
Bill Hofman (65-66)-lead guitar 
Mike Warner (1966)
Falk Schuppank (1967)-organ

1.Mustang Sally
2.She's Mine
3.It's A Vow
4.Club A Go Go
5.Don't You See
6.We Trust In A Better Way Of Life
7.Kansas City
8.Move On Now
9.I'm So Lonesome
10.Don't Leave Me Alone
11.Send Me Some Lovin'
12.Well, My Milmo
13.Danny Boy (Londonderry Air)
14.Don't Say I'm Sorry
15.We Trust In A Better Way Of Life
16.Danny Boy (Londonderry Air)
17.I'm So Lonesome[45 version]
18.Don't Say I'm Sorry[45 version]
19.Soul Dance Party[Single 1968]
20.It's All Over
21.Oh Jenny[KARL-HEINZ BENDER & The BLACK PANTHERS  Single 1965]
22.Oh,Oh Du
23.Hey Angelina[KARL-HEINZ BENDER  Single 1964]
24.Afrika

http://tny.cz/754921bc

Love Sculpture-Blues Helping[1968][w.bonus]

1. The Stumble (Freddy King,Sonny Thompson)
2. Three O' Clock Blues (B.B. King,Jules Taub)
3. I Believe To My Soul (Ray Charles)
4. So Unkind (Elmore James,Marshall Sehorn)
5. Summertime (DuBose Heyward,George Gershwin)
6. On The Road Again (Floyd Jones, Will Shade)
7. Don't Answer The Door (Jimmy Johnson)
8. Wang Dang Doodle (Willie Dixon)
9. Come Back Baby (Ray Charles)
10.Shake Your Hips (James Moore)
11.Blues Helping: Instrumental (Bob Jones,Dave Edmunds,John Williams)

Bonus

12.Morning Dew: Take Me For A Walk (Bonnie Dobson,Tim Rose,1967 Single Release as Human Beans)
13.It's A Wonder (Isaac Hayes, David Porter,1967 Single Release as Human Beans)
14.River To Another Day (Charles & Kingsley Ward,1968 Single Release)
15.Brand New Woman (Crick Feather,1968 Single Release)

Dave Edmunds - Guitar, Organ,Piano,Lead Vocals
John Williams - Bass, Piano,Vocals
Bob 'Congo' Jones - Drums,Vocals

http://tny.cz/4a800e31

The Glass Family-Electric Band[1969][with bonus]

The Glass Family were a California based band during the 1967 to 1969 period.Uncertain if they were based in the Bay Area but they played at various San Francisco venue during this period. A superb mix of trippy pop-rock songs and ballads,it sold poorly but has earned a major cult reputation since,and makes its long-awaited CD debut here complete with three rare bonus tracks.

BAND
Ralph Parrett–Vocals,Guitar
David Capilouto–Keyboards Bass
Gary Green–Drums Percussion

1. House of Glass
2. Born In the U.S.A.
3. Once Again
4. Sometimes You Wander
5. The Means
6. Do You Remember?
7. I Want To See My Baby
8. Lady Blue
9. Passage #17
10. Mr. Happy Glee
11. Guess I'll Let You Go
12. Agorn

Bonus

13. Teenage Rebellion
14. David's Rap
15. Guess I'll Let You Go (45 Mix)

http://tny.cz/5c94237d

The Electric Flag ‎– A Long Time Comin' 1968

Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. A Long Time Comin' is the "new soul" described appropriately enough by the late critic Lillian Roxon, and tunes like "She Should Have Just" and "Over-Lovin' You" lean more towards the soul side than the pop so many radio listeners were attuned to back then.

Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us "Groovin'," so Janis Joplin's eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out "Groovin' Is Easy" on this disc. It's a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites. Though launched after Al Kooper's the Blues Project, A Long Time Comin' itself influenced bands who would go on to sell more records. In the traditional "Wine," it is proclaimed "you know Janis Joplin, she'll tell you all about that wine, baby." As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they're not covering Howlin' Wolf's "Killing Floor" and adding spoken-word news broadcasts to the mix. More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here.

Tracklist

01 Killing Floor
02 Groovin' Is Easy
03 Over Lovin' You
04 She Shoul Have just
05 Wine
06 Texas
07 Sittin' in Circles
08 You Don't Realize
09 Another Country
10 Easy Rider
11 Sunny
12 Mistery
13 Look into my Eyes
14 Going down Slow

http://tny.cz/bdc61456

TEA & SYMPHONY - 1969 - An Asylum For The Musically Insane

Tea and Symphony
An Asylum for the Musically Insane is the debut album by the psyched-out progressive/folk weirdo ensemble Tea and Symphony. Released on Harvest in 1969.
This is a fine example of English musical eccentricity that's very much in the style of Forest, Dr Strangely Strange and later period Incredible String Band. In turns experimental, progressive and theatrically challenging this is an unusual example of early '70s esoteric progressive/psych music from a bunch of hippy heads.


Persons
Dave Clempson ('Clem') - guitar
Jeff Daw - flute, guitar, vocals
Gus Dudgeon - drums
James Langston - guitar, vocals, woodwinds
Nigel Phillips - keyboards, vocals, percussion
Bob Lamb - drums

Tracks
1. Armchair Theatre
2. Feel How So Cool The Wind
3. Sometime
4. Maybe My Mind
5. Come On
6. Terror In My Soul
7. Travelling Shoes
8. Winter
9. Nothing Will Come To Noth

http://tny.cz/e1960374

NICK DRAKE - 1969 - Five Leaves Left

Tracks:
All songs written by Nick Drake.
01. Time Has Told Me – 4:24
02. River Man – 4:18
03. Three Hours – 6:12
04. Way To Blue – 3:07
05. Day Is Done – 2:25
06. 'Cello Song – 4:44
07. The Thoughts Of Mary Jane – 3:17
08. Man In A Shed – 3:50
09. Fruit Tree – 4:45
10. Saturday Sun – 4:02

Persons:
- Nick Drake - vocals, acoustic guitar, piano (10)
- Paul Harris - piano (01,08)
- Richard Thompson - electric guitar (01)
- Danny Thompson - bass (01,03,06,08,10)
- Harry Robinson - arranger (02)
- Rocky Dzidzornu - congas (03,06)
- Robert Kirby - arranger (04,05,07,09)
- Clare Lowther - cello (06)
- Tristan Fry - drums & vibraphone (10)
- Joe Boyd – producer

http://tny.cz/1450dbf8

LOTHAR AND THE HAND PEOPLE - 1968 - Presenting

They were the first band to use synthesiser's on tour.

They were possibly being checked out by Chas Chandler when he was caught in traffic and missed their first show. He promised he would stay for their second show that evening but left after signing up Jimi Hendrix and being blown away by his show that evening.

At that point the world gained a Mind Blowing guitar player but lost an experimental group that would eventually give up after 2 albums.

These 2 albums are available as a single release these days but that is not what I have. I have 2 seperate rips for these.

So - Who is Lothar? Well Lothar is an IT. An instrument called a Theremin (An early electronic music instrument, invented, in the early decades of the 20th Century, by Russian engineer Leon Termen ("Theremin" was a French transliteration of the Cyrillic, IIRC). You play it by moving your hands around it - the spatial location of one hand controls pitch, while the other controls volume. It was used to create weird sound effects in radio dramas and sci-fi films. Some play it as a proper instrument - e.g. Clara Rockmore, when she was alive. Still sounds weird.) PHEW.

Tracks:
All tracks written by John Emelin, Kim King, Paul Conly, Rusty Ford, Tom Flye except where noted.
01. Machines (Mort Shuman) - 2:38
02. This Is It - 2:49
03. This May Be Goodbye - 2:36
04. That's Another Story - 2:09
05. Kids Are Little People - 2:23
06. Ha (Ho) - 3:33
07. Sex And Violence (Paul Conly/John Emelin) - 2:51
08. Bye Bye, Love (Felice Bryant/Boudleaux Bryant) - 2:27
09. Milkweed Love - 2:56
10. You Won't Be Lonely - 2:34
11. Woody Woodpecker (George Tibbles, Ramez Idriss) - 0:48
12. It Comes On Anyhow (Paul Conly/Kim King/John Emelin) - 3:19
13. Paul, In Love (Paul Conly) - 2:57
14. Have Mercy (Mercy, Mercy, Mercy) (D.Covay/R.Miller) - 1:52
15. Let The Boy Pretend (Paul Conly/Antonia) - 2:10
16. L-O-V-E (Ask For It By Name) - 2:18
17. Rose Colored Glasses - 2:28
18. Every Single Word (Paul Conly/John Emelin/Weissman) - 2:07
19. Comic Strip - 2:36

Persons:
- Rusty Ford - bass
- Kim King - Moog synthesizer, guitar, Ampex tape decks
- Paul Conly - keyboards, audio generator, Moog synthesizer
- John Emelin - lead vocals, Theremin (Lothar)
- Tom Flye - percussion
+
- Robert Marguleff - producer

http://tny.cz/6406df07

JULIE FELIX - 1967 - Flowers

Julie Felix has come a long way since her unheralded first public appearance in Britain at a Royal Festival Hall folk-song concert about two and a half years ago. She has widened her range and her following without ever losing close contact with the folk clubs from which she draws both inspiration and strength She has been subject to the pressures inevitable when a natural singer, who sings primarily for the love of her songs and her listeners, has to sing through a screen of production techniques, to unseen millions.

She has seen, outside the clubs, the distorting mirrors of the image-makers reflecting something different from her own true self. And yet with all this she has, in fact, remained unchanged - except in a deepening of experience since Tony Geraghty wrote in the Guardian after her Croydon concert last November: "Her songs match her own integrity" What, then is this quality that has emerged unscathed from the gloss-imparting abrasives of promotion ? Directness, natural warmth, simplicity, courage, faith in her own generation. gaiety . . these are part of it.

Since that first Festival Hall appearance I have listened to her in concert halls and in dubs, on records and in private, informal sessions, and I am more than ever convinced that in this dark-haired girl from California, with her Mexican - United States heritage, the young folk revival has found one of its best, least doctrinaire, and truest representatives The implications of the continuing folk revival are clear. Industrial and technological developments have shown how fatally easy it is for the mass of people - either because they are too comfortable or too desperate to ask awkward questions - to acquiesce in the concentration of power and influence in a few controlling hands, so that culture is in danger of becoming a kind of conditioning.

The reaction to this among young people has taken many forms - beatnikry, marches, sit-downs, skiffle. Skiffle came in time to give a new dimension to the kind qf folk singing that had already long replaced the somewhat precious posturings of the evening-dress ballad-singers and was firmly established in pubs and clubs; to the revival of down-to-earth traditional songs was added the creation of songs of our time.

Youngsters, disillusioned by the acceptance world of their elders, uninspired by the in ward looking preoccupations of literary coteries. began to find a new outlet for the expression of their undirected idealism Songs began again to express the realities of the time – realities of personal relationships as well as the realities of politics - and the quality of singers to be measured by their creative involvement with the people for whom they sing ' That is one aspect of the reasons why Julie Felix has such a following A voice naturally dark and rich, containing both harsh flamenco haunting Celtic elements, with a quality of chiaroscuro that I can only describe as Goyasque,. is made directly communicative by its clarity, and beautiful by its meaningful humanity - "the ability to match vocal colour to the sense of the words", as a writer in The Times said.

She sings what she means, and means what she sings, as far removed from the folk-pedant as from the latest pop rider on the folk band-wagon. Moreover her direct approach, her profound involvement in people and her gift for expressing this as a singer have given her a special role in the current tendency towards a fusion of the folk tradition with the true "chanson populaire" a medium which the English-speaking people have hitherto left largely undeveloped as a means of voicing the quests and concerns of the day.

So much by way of introductions. Now play these "Changes" and let Julie sing for herself. and you. and all of us Listen to the way she lets the song speak for itself, the way she sings the songs of Gordon Lightfoot. Bob Dylan and Shel Silverstein, instead of turning them into production numbers; listen to the songs she herself has written, or shared in. and listen to the lovely folk-quality of "Geordie" - and. above all, listen for the sheer pleasure and fun of listening.
by Maurice Rosenbaum, July 1966

Tracks
1. The Flower Lady (P. Ochs) - 4:33
2. Mexico (Sand And Foam) (Donovan) - 2:10
3. Dialogue (I Want To Be Alone) (Jackson C. Frank) - 3:15
4. Soldat (Wolf Bierman) - 1:53
5. Somewhere There’s Gotta Be Me (Clint Ballard Jr) - 2:11
6. The Gates Of Eden (B. Dylan) - 5:07
7. San Francisco (Be Sure To Wear Some Flowers In Your Hair) (J. Phillips) - 3:02
8. The Great Brain Robbery (Julie Felix, J. Melon) - 1:48
9. Saturday Night (Donovan) - 2:34
10.Don’t Make Promises (T. Hardin) - 2:34
11.Berlin (Julie Felix) - 2:09
12.Chimes of Freedom (B. Dylan) - 6:03

Julie Felix - Vocals, Guitar

http://tny.cz/03f3ad6f

Kenny Wayne & The Kamotions-In Motion[1970]

Reissue on “Acid Sound” from this US band from Shreveport,Louisianna who played a cool garage kind of music drenched in Hammond organ & Wah Wah guitars,also a nice bluesy soul feel to it (originaly released in 1970 and very hard to find).Kenny’s Gruff vocals are outstanding.

1 Vehicle
2 How Should I Feel
3 I Got You:Out Of Sight
4 Stormy Monday Blues
5 Child Bride
6 They
7 A Better Days A Comin'
8 Are You Ready
9 The Day When The Sun Goes Down
10 All Right Now
11 Green Eyed Lady
12 Time Seems To Fly

Kenny Wayne (vocals,rhythm guitar)
John Bruton (drums)
David Moye (organ,rhythm guitar)
Chuck Beck (lead guitar)
Steve Murrell (bass)

http://tny.cz/32f19ce4

Fuse[1969][with bonus]

Fuse is the debut rock album by Fuse,recorded in 1969,released in 1970.This is the only album the band released before they broke up,with members going on to form Cheap Trick and Silver Fox.

1.Across The Skies (Rick Nielsen/Joe Sundberg)
2.Permanent Resident (Joe Sundberg/Craig Myers)
3.Show Me (Rick Nielsen)
4.To Your Health (Rick Nielsen)
5.In A Window (Rick Nielsen/Joe Sundberg)
6.4/4 3/4 (Joe Sundberg/Craig Myers)
7.Mystery Ship (Rick Nielsen)
8.Sad Day (Rick Nielsen)

Bonus

9.Hound Dog (single A-side) (Jerry Leiber/Mike Stoller)
10.Cruisin' For Burgers(single B-side)(Joe Sundberg/Craig Myers)

Rick Nielsen - rhythm guitar,keyboards
Tom Peterson - bass
Craig Myers - lead guitar
Chip Greenman - drums
Joe Sundberg - vocals

http://tny.cz/b4ffae8b