dimanche 22 décembre 2013

Iron Butterfly - Fillmore East 1968 (1968 us great psychedelic rock - 2011 edition - Flac)

Live albums are hard. They’re rarely good, because they rarely deliver on what they aim to be: an encapsulation of an act’s live show experience. But they just can’t; a concert is more than just the songs played without multi-tracking and overdubs and with extra-long solos and appreciative crowd noise. A concert has a certain electricity in the air, certain smells (most of them illegal), and the sound is so much louder and fuller than any stereo or headphones can deliver. Plus, live albums are usually edited and tweaked or compiled from multiple shows, so what purports to be a live album or recreation of experience is not. This is why concert bootlegs are so popular with hardcore fans of individual bands—recordings of specific concerts capture and define a specific moment in time.
But that is what compelled me to raise my hand when Rhino Records offered us a two-disc set of four complete Iron Butterfly shows, recorded back-to-back-to-back-to-back over two days at the legendary Fillmore East in April 1968. Yes, of course they’ve been cleaned up a little, and thank god, because these recordings are nearly 44 years old, but Fillmore East 1968 is something more akin to an expertly recorded bootleg. It’s four complete concerts! (Except for the first two songs of the first show, which weren’t recorded properly.) That’s the best way to explore and try to understand the cultural and musical upheaval that were going on at the time. Fillmore East 1968 captures the raucous, drugged-out, musically progressive but post-Summer of Love sinisterism of an Iron Butterly show right when it was that band’s moment. And at one of the definitive venues of the ‘60s and psychedelic rock to boot.
The shows focus mainly on material from Iron Butterfly’s first album Heavy, and predate the official commercial release of Iron Butterfly’s most famous and definitive song, “In-A-Gadda-Da-Vida.” Two versions of it are on Fillmore East (a 17-minute one and a 15-minute one), and they’re thrilling and bewildering in equal measure. It’s a treat to get to hear this song before it was a watershed, proto-metal moment, as a wild, free-form, jazz odyssey. For that alone, this live album works as a live album, because it’s a historical document, both culturally and musically.

Disc one
Recorded Friday, April 26th 1968

01/Fields Of Sun/4:01
02/You Can't Win/3:13
03/Unconscious Power/3:04
04/Are You Happy/4:14
06/Iron Butterfly Theme/4:26
07/Stamped Ideas/3:11
10/Iron Butterfly Theme/5:00

Disc Two
Recorded Saturday, April 27th 1968

01/Are You Happy/4:27
02/Unconscious Power/2:29
03/My Mirage/4:31
05/Iron Butterfly Theme/4:35
07/My Mirage/4:34
08/Are You Happy/4:17
09/Her Favorite Style/2:29
12/Iron Butterfly Theme/5:20

Doug Ingle/Vocals, Keyboards
Lee Dorman/Bass Guitar
Erik Brann/Guitar
Ron Bushy/Drums


Mighty Baby - Tasting The Life: Live 1971 (1971 UK Great Psych Prog Rock - Flac)

Sunbeam’s 2010 release Tasting The Life: Live 1971 documents a concert from Mighty Baby on February 20, 1971, when they were the opening act for Quintessence, and adds two bonus tracks from an appearance at Glastonbury later that year for good measure. The source tapes are a little rough -- it’s a bit flat, feedback leaks in on occasion, sometimes the keyboard bleeds, and the vocals peak out -- but the group’s elliptical charms are evident via these winding, exploratory jams. These performances aren’t particularly purposeful -- “India” reaches a whopping 22 minutes without going anywhere in particular, but there’s a choogling energy to their boogie that sits in interesting contrast to their jazz- and world-inflected improvisations. The fidelity and indulgence certainly whittles the audience for this down to the dedicated, but those committed fans will find Tasting the Life worth their while.(Stephen Thomas Erlewine)

After five years of touring the English countryside and playing some of the finest mid-60’s R&B and blue-eyed soul to loyal crowds of Mods without ever receiving the wider recognition the band deserved, the Action went “underground” to later resurface, minus singer Reggie King, as the psychedelic progressives of Mighty Baby.
Mighty Baby was heralded by late-60’s UK scenesters for onstage improvisational journeys into jazzy, eastern-influenced rock and loose country-boogie jams, and Tasting the Life captures the group in full flight as they open for Quintessence at Malvern’s Winter Gardens on February 20th, 1971. While the original show’s centerpiece is an imaginative, 22-minute, free-flowing meditation on John Coltrane’s “India”, the album’s highlight is the bonus track “Blanket In my Muesli”.  Recorded at Glastonbury Fayre that summer, this 16-minute, heavy-lidded, psychedelic adventure in controlled self-indulgence showcases the quintet’s liquid approach to playing, with Martin Stone’s ingenious guitar work leading the way.  A certain amount of stamina is required of the listener but the rewards outweigh the effort.(By Alan Brown)

Egyptian Tomb
Trials Of A City
Keep On Juggin'
Woe Is Me
Going Down To Mongoli  
Lazy Days (Bonus Track)
A Blanket In My Muesli (Bonus Track)
Now You See It - Live In Bristol 1971 
Now You Don't - Live In Bristol 1971 
A Blanket In My Muesli - Live Glastonbury Fayre 1971-06-23

Ian Whiteman - vocals, flute, alto saxophone, Fender Rhodes piano
Martin Stone - lead guitar
Alan King - vocals, guitar
Mike Evans - bass guitar
Roger Powell - drums, percussion


samedi 21 décembre 2013

Toe Fat - 1970 Toe Fat - 1970 Toe Fat II (uk great bluesy & psych hard rock - Flac)

Toe Fat were formed in June 1969 by ex-Rebel Rousers vocalist Cliff Bennett following the dissolution of his Cliff Bennett Band which had briefly included ex-Gods guitarist Ken Hensley.  With his newly-grown beard and long hair, Bennett together with Hensley formed the heavy progressive outfit Toe Fat with other ex-Gods members Lee Kerslake (drums), and John Konas (Bass). Armed with a batch of Hensley-penned songs the band secured an American deal with Rare Earth Records, Tamla Motown's 'progressive' label, and recorded their self-titled debut LP (Rare Earth RS511) in 1970.  In the UK, the album was released by Parlophone (PCS 7097) who also released the single 'Working Nights'/'Bad Side Of The Moon' (R 5829), the B-side being an early Elton John composition. However, despite two American tours, one supporting Derek and The Dominos, shortly after the LP's release both Hensley and Kerslake left, Hensley going on to form Uriah Heep and Kerslake joining the National Head Band before himself joining Uriah Heep. 

Another ex-Gods member John Glasscock had already by this time replaced Konas (who now runs a music shop in Ontario) and another ex-Gods member Brian Glasscok was drafted in to replace Kerslake (who ironically had replaced him in The Gods!) and guitarist Alan Kendall came in to replace Hensley. This revamped Toe Fat line up cut "Toe Fat 2" (Rare Earth RS 525/Regal Zonophone SLRZ 1015) the LP being produced by Jonathan Peel (Toe Fat having recorded BBC sessions for the likes of Dave Cash, Mike Harding and Terry Wogan!). They also released the single 'Brand New Band'/'Can't Live Without You' (Chapter One CH 175) but following another, more financially successful, U.S. tour the band broke up when their management and record company said they could no longer fund the group. 

Cliff Bennett then formed Rebellion, releasing one self-titled LP on CBS, before joining Mick Green in Shanghai in 1974 and then retiring from the music industry before returning for Sixties revival shows with the Rebel Rousers. John Glasscock joined Carmen in 1976 as well as working with the likes of Maddy Prior and Richard Digence whilst Brian Glasscock worked with the Bee Gees (along with Kendall) before becoming a founder member of The Motels. 

At the end of 1969, Cliff Bennett had seemingly run out his string as a British Invasion-era star. Seeking a new sound and image, he hooked up with keyboard player/singer Ken Hensley, bassist John Glascock, and drummer Lee Kerslake, all of whom had previously played with a group called the Gods (who later became known for having Greg Lake, in his pre-King Crimson days, as a member). For unknown reasons, they christened themselves Toe Fat and managed to get signed to Parlophone and then to Regal Zonophone in England, with their albums appearing in America on the Rare Earth label. Their mix of blues and progressive rock wasn't the most commercial of sounds in any case, and the grotesque cover art on the group's two LPs seemed to repel potential purchasers. By 1970, Hensley had left to hook up with David Byron and Mick Box in what would become Uriah Heep, and Kerslake followed his lead out of Toe Fat. Brian Glascock came in on drums and Alan Kendall joined on guitar for one U.S. tour, but the group finally split up in 1972. Kerslake subsequently re-teamed with Hensley and joined Uriah Heep, while John Glascock later joined Jethro Tull and Alan Kendall joined the Bee Gees, initially as a session guitarist and later as a permanent bandmember, where he remained until the early '80s. This set contains both early 70s gems from this legendary band.

Toe Fat - Toe Fat - 1970

01. That's My Love for You        
02. Bad Side of the Moon        
03. Nobody        
04. Wherefores and the Whys        
05. But I'm Wrong        
06. Just Like Me        
07. Just Like All the Rest        
08. I Can't Believe        
09. Working Nights        
10. You Tried to Take It All

Cliff Bennett : Lead vocals
Ken Hensley : Lead Guitar
John Konas : Bass
Lee Kerslake : Drums 

Toe Fat - Toe Fat II

01. Stick Heat        
02. Indian Summer        
03. Idol        
04. There'll Be Changes        
05. New Way        
06. Since You've Been Gone        
07. Three Time Loser        
08. Midnight Sun 
09. Brand New Band
10. Can't Live Without You

Cliff Bennett : Lead vocals
Alan Kendall : Lead Guitar
John Glascock : Bass Guitar
Brian Glascock : Drums
Peter Green : Lead Wah-Wah Guitar  


Ashkan - In From The Cold (1969 uk great heavy rock with strongs vocals & guitars - Flac)

Hailing from England, Ashkan made blues-oriented hard rock, with influences of Free and Black Cat Bones and a little more madness. The vocals are at times reminiscant of Mike Harrison (of Spooky Tooth) or elsewhere like Joe Cocker.

The band’s sound is propelled by Bailey’s hoarse growl and the band’s penchant for screaming guitars. While most songs stay with the progressive meets blues sound found in “Going Home” or “Practically Never Happens,” the band does vary that sound a bit, including the almost folk “Stop (Wait and Listen)” and early Traffic in “Slightly Country”.

Released in 1969, “In From The Cold” remains as Ashkan’s only album.(Rateyourmusic.com)

01. Going Home – 6:35
02. Take These Chains – 4:47
03. Stop (Waite And Listen) – 5:50
04. Backlash Blues – 7:45
05. Practically Never Happens – 5:58
06. One Of Us Two – 5:43
07. Slightly Country – 2:55
08. Darkness – 12:10

Steve Bailey - vocals
Bob Weston - guitar, vocals
Ron Bending - bass, vocals
Terry Sims - drums, percussion


Jim McCarty & Mystery Train - Cavern Club - Ann Arbor - Michigan - October 23rd 1998 - Flac

Jim McCarty - vocals, guitars
Rick Stel - vocals, guitars
Marvin Conrad - bass
Will Leonard - drums
Scott Morgan - vocals *

Tracklist :
01- Checking On My Baby
02- Back On My Feet
03- Let's Make It
04- Talk
05- Long Years
06- Let It Rock
07- Mona
08- Oh Well

vendredi 20 décembre 2013

Toe Fat - Capitol Theatre - Port Chester- NY - 1970-12-05

Toe Fat opened for Derek & the Dominos - It's not the entire concert but it's the only live gig by Toe Fat I know . The sound is pretty good ...
So Enjoy this rare concert !!!
Cliff Bennett : Lead vocals
Alan Kendall : Lead Guitar
John Glascock : Bass Guitar
Brian Glascock : Drums
01 - That's My Love For You
02 - I Love Everybody (johnny winter cover)
03 - Just Like All The Rest
04 - Bad Side of the Moon (elton john cover)
05 - We'll Be Travelin' On
06 - There'll Be Some Changes Made
07 - Midnight Sun.


Hurdy Gurdy - Hurdy Gurdy (1971 Denmark Great Psychedelic Hard Rock - Flac)

"Hurdy Gurdy arose out of the Danish group Peter Belli & the B.B. Brothers in 1967. Three of the B.B. Brothers -- guitarist Claus Bohling, drummer Jens Otzen, and English bassist Mac MacLeod, then temporarily based in Denmark -- split from Belli to form a psychedelic-hard rock-oriented trio.
The band moved to England in 1968, after MacLeod had been deported.
It's been reported that Donovan, a friend of MacLeod whom Mac had played with previously as a backing musician, wanted to produce a version of the band covering "Hurdy Gurdy Man," a Donovan composition.
However, Donovan released his own hit version of the song, and Hurdy Gurdy didn't issue anything while MacLeod was in the group, despite doing some recordings produced by Chris White and Rod Argent of the Zombies.
Two late-'60s tracks by the MacLeod lineup of Hurdy Gurdy, "Neo Camel" and "Tick Tock Man," eventually appeared on the 2003 MacLeod anthology The Incredible Musical Odyssey of the Original Hurdy Gurdy Man, and are rather loose and frenetic pieces of period guitar psychedelia.
Bohling and Otzen had to go back to Denmark shortly after those recordings, owing to their inability to secure work permits.
There they picked up a new bassist, and in the early 1970s recorded a self-titled album for CBS Scandinavia. (Richie Unterberger)

01. Ride On 5:07 
02. The Giant 4:56 
03. Tell Me Your Name 4:25 
04. Peaceful Open Space 5:16 
05. Babels Tower 3:15 
06. Spaceman 4:16 
07. Lost in the Jungle 8:37 
08. You Can't Go Backwards 3:59 
09. Tick Tock Man 4:13 
10. Lend Me Your Wings 5:03

Claus Bohling - guitar, sitar 
Mac MacLeod - vocals, bass 
Jens Otzen - drums 

mercredi 18 décembre 2013

Simon Stokes - 1968 Simon Stokes & The Nighthawks - 1973 The Incredible Simon Stokes & The Black Whip Thrill Band (US Fantastic Heavy Rock With Powerful Guitars & Vocals - Flac)

Simon Stokes, the crazy hard Psych rocker par excellence, grandson of big band leader Harry D. Stokes, was known as a loner, sleepwalker, and fan of the classic monster movies his grandfather loved. As a teenager, Stokes became obsessed with the Blues and R&B via the legendary DJ Symphony Sid. Beginning in 1965, Stokes recorded a number of 45s in LA as the Flower Children and Heathen Angels. He then got a deal as a staff writer at Elektra the same day they signed his friends The MC5 and The Stooges! Simon Stokes made this album, beyond Captain Beefheart in the Psychedelic Blues stakes, in 1968, and became a cult figure with Biker groups everywhere! His next album, The Black Whip Thrill Band, with it's outrageous S&M cover, caused a controversy which refuses to die down even today and made his cult following even larger! Subsequent recordings with Timothy Leary and others followed, as well as film soundtracks and legendary debauched tours, until Stokes went underground.More recently, in 2002, he returned to form with the album "Honky", recorded with long-time fans Wayne Kramer and members of the Bellrays. must for all fans of MC5, The Stooges, Captain Beefheart, and heavy psychedelic blues.(Rev-Ola)

01- Big City Blues (2:49) 
02- Where Are You Going (2:53)
03- Jambalaya (On The Bayou) (3:03)
04- Sugar Ann (2:45)
05- Southern Girl (2:15)
06- Which Way (5:43)
07- Voodoo Woman (2:27)
08- Rhode Island Red (3:19)
09- Cajun Lil (1:48)
10- Down In Mexico (3:13)
11- You've Been In (3:52)
12- Ride On Angel (4:02)

Simon Stokes - Vocals
Don Senneville - Guitar
Randall Keith - Guitar
Bob Ledger - Bass
Joe Yuele - Drums

Well, first off, let’s show some respect for what has to be one of the greatest LP covers if all time.  Absolutely stunning.  Secondly, I can happily say that the music almost lives up to it, as this is truly one of the best biker rock records ever made.  And, lastly, this guy has to be one of the best hard rock vocalists ever—if you are looking for a quick way to blast paint off the walls, just crank and endless loop of one of Mr. Stokes’ howls. There are a couple dumb songs on here but, for the most part, this thing rocks with a solid seedy, cynical vibe to it.  My picks would be “The Devil Just Called My Name”, “Waltz For Jaded Lovers”, “Should Have Married Peggy Sue”, “The Wolfpack Rides The Night”, and “Hot Summer Night In The City”, but the whole LP is pretty solid for this sort of scummy hard rock.(glorifytheturd.com)
(Vinyl Rip)

01- The Black Whip Thrill Band (3:24)
02- The Devil Just Called My Name (3:26)
03- Ride On Angel (4:27)
04- The Wolf Pack (3:19)
05- The Boa Constrictor Ate My Wife Last Night (2:47)
06- Good Times They Come (0:25)
07- Waltz For Jaded Lovers (2:52)
08- If I Wanted To (3:32)
09- Should I Have Married Peggy Sue (3:06)
10- She's Got The Voodoo (2:47)
11- Hot Summer Night In The City (3:29)
12- Ballad Of Lennie And George (3:12)

Simon Stokes - vocals 
Don "Butch" Senneville - guitar 
Christian Pennick - guitar 
Marty Tryon - bass 
John Locke - keyboards 
Harry Garfield - keyboards  
Nathan Pino - keyboards 
Billy Goodnick - drums

Kathi McDonald - vocals on Ballad of Lennie


Jim McCarty & Detroit Blues Band - Blue Goose Inn - St.Clair Shores - Michigan - 2009-05-16 - Flac


cd 1
01. Instrumental [5:20]
02. Ice Cream Baby [6:18]
03. Sugar Baby [5:23]
04. Lonesome Blues [7:29]
05. Come Back To Me [7:35]
06. Apache [5:03]
07. Tush [5:45]
08. I Used To Be [6:39]
09. Diddley Daddy [8:52]

cd 2
01. She's Tuff > [7:19]
02. She Winked Her Eye [6:37]
03. She's Into Something [7:13]
04. Tears From My Eyes [8:19]
05. Seabow [6:15]
06. Mathilda [5:42]
07. La Bamba [5:39]
08. Marie Marie [4:40]
09. Oh Well [7:10]

cd 3
01. Don't Wanna Love You A Little [6:59]
02. Love My Girl [6:08]
03. Sleep Walk [5:01]
04. Goin' Down Town [5:12]
05. T-Bone Boogie [9:21]
06. Early One Morning [8:35]
07. Apache [4:42]
08. Too Close For Comfort [5:39]

lundi 16 décembre 2013

Boot - Boot (1972 us psychedelic hard rock, 1998 reissue - FLAC)

Released by the Texas-based Agape label, the band debuted with 1972's cleverly-titled “Boot”.  Co-produced by Mike Stone and Peter Thomason, the album was recorded in Nashville, Tennessee at James Brown’s Starday/King Studio.  With all four members contributing material the album offered up a mixture of blues-rock and blues-rock, with an occasional stab at a more commercial tune.  The band was blessed with three decent singers.  Nothing more than a guess on my part, but judging by the songwriting credits (assuming whoever wrote the track probably handled lead vocals), Mycz seemed to have the tougher-rock voice in the group while Eliassen was gifted with more commercial chops.  Knox fell somewhere in the middle with a modest country-rock feel to his voice.  Knox also showed himself to be n immensely talented lead guitarist – check out his lead work on ”.
Not the most original blues-rock/boogie album you’ve heard, but these guys played with considerable energy (on-line fan testimonials universally praise their live performances), and Knox was one talented lead guitarist.  Worth looking for though copies have become increasingly expensive as folks had discovered the band. (RateYourMusic)

01. Hey Little Girl (04':05")
02. Danny's Tune (05':25")
03. Liza Brown (02':47")
04. Andromeda (05':15")
05. Destruction Road (05':06")
06. Reach Out (03':14")
07. What Are They Doing To Me? (03':34")
08. What You're Messing (04':03")

Dan Eliassen - vocals, bass
Bruce Knox - guitar, vocals
Mike Mycz - guitar, vocals
Jim O'Brock - drums, vocals


lundi 14 octobre 2013

Help Yourself - Help Yourself 5 (1973 - 2002 - Classic Welsh Rock - Wave)

Formed in London in 1969, Help Yourself released four very fine albums which drew heavily on the sound of West Coast outfits like Buffalo Springfield and Quicksilver Messenger Service.
In 1973 they began recording their fifth album. However, these sessions were never completed, the album was never released, and the band split later that year.
That legendary 'lost 5th album' has been highly sought after by collectors ever since.
After the band split, Malcolm Morley joined 'Man', while the rest of his former colleagues teamed up with 'Deke Leonard's Iceberg'.
Eventually, in the winter of 2002, the original Help Yourself band members, augmented by drummer Kevin Spacey, gathered once more to finally complete their fifth album.
Appropriately titled '5', it is now released here for the first time. The cover features an original illustration by the legendary Rick Griffin and the booklet includes a liner note from Malcolm Morley.

Tracklist :
01.Light Your Way
02.Cowboy Song
03.Monkey Wrench
04.Romance In A Tin
07.Monkey Wrench (reprise)
08.The Rock
10. Alley Cat
Tracks 1-3,5-7,9,11 recorded 1973

*Richard Treece - guitar
*Ken Whaley - bass
*Malcom Morley - vocals, guitar & piano
*Dave Charles - drums, vocal (Track 11)
*Sean Tyla - guitar (Tracks 3,7,11)
*Deke Leonard - guitar solo (Track 1).
*Malcolm Morley - vocals, guitar & keyboards
*Richard Treece - guitar
*Ken Whaley - bass guitar, vocals (Track 10)
*Kevin Spacey - drums.


samedi 5 octobre 2013

Harvey Mandel - Shangrenade / Feel the Sound (1973-1974 us blues rock with funk and jazz rock fusion elements - Akarma 2003 edition - Wave)

In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai. (By Richie Unterberger)

Feel The Sound

09. Got to Be Bad 
10. Sore Throat  
11. Just Wanna Be There  
12. Candles by the Bedside  
13. Feel the Sound  
14. I Got Your Slot 
15. Rankachank Blues  
16. Forever and Forever  

Harvey Mandel - Guitars
Coleman Head - Rhythm Guitar
Victor Conte - Bass
Danny Keller - Drums
Paul Lagos - Drums
Ray Lester - Bass
Richard Martin - Vocals
Mark Skyer - Guitar Vocals


01. What the Funk 
02. Fish Walk 
03. Sugarloaf 
04. Midnight Sun II 
05. Million Dollar Feeling  
06. Green Apple Quick Step  
07. Frenzy 
08. Shangrenade 

Harvey Mandel - Guitars
Coleman Head - Rhythm Guitar
Victor Conte - Bass
Paul Lagos - Drums
Bobby Lyle - Keyboards
Bobby Notkoff - Strings
Freddy Roulette - Steel Guitar
Don "Sugarcane Harris" Harris - Violin


dimanche 22 septembre 2013

Mirkwood - Mirkwood (1973 uk hard rock and heavy progressive rock 2008 Garden Of Delights remastered edition - Wave)

Dedicated to OldrockerBR (PHrock Blog) who was the original seeder

Seven lengthy tracks with incredible perfect rhythm changes, harsh guitar solos and also silent and epic tracks. One of the ten records for a lonely island. But incredible rare and almost impossible to find.
The band was formed in Dover,Kent in early 1971 by Jack Castle and Mick Morris.By 1971 heavy rock had become the predominant musical force:Jack and Mick resolved to form a new band that would play entirely original material and feature dual lead guitars three-part harmony vocals and a tight rhythm section.The outcome of their endeavours was named Mirkwood,with an initial line-up of Derek Bowley (lead vocals),Jack Castle and Mick Morris (both guitar and vocals),Steve Smith (drums) and Andy Broadbent (bass).In early 1972 Dave Evans was brought in to replace Andy Broadbent.Until their last gig in June 1975 the band played throughout the South East of England including support work to some well-known bands including,Supertramp.Mirkwood got together just once more,in 1978 for a reunion performance at the Marlowe Theatre,Canterbury.The only 'proper' recording that Mirkwood made was for an album on the Flams Ltd Label (catalogue No PR1067) a local record label.Recording commenced on 17 January 1973 at Jack's house in Whitfield,Dover on a Revox reel-to-reel tape recorder!The machine was operated by Ron Nunn (hence the initials 'REN' on the back sleeve),he also designed the album's cover.A mere 99 copies of the album were pressed,the majority ending up with family,friends and local supporters.
It was essentially a live recording. We just set up the equipment at Jack's house as if we were on stage and Ron Nunn (that's what the REN on the cover stands for) recorded us straight onto on his Revox tape recorder! There were no overdubs or special effects - it was a completely live sound. The album contained the first batch of songs we wrote and we have always regretted not recording some of our later material which only exists now on a few very poor quality live tapes. After Mirkwood's last appearance (it was at the Marlowe Theatre, Canterbury in 1978) Jack and I played together during the early 80's in a band called EASY ACTION and Derek and I were in a band called ICEBREAKER from the late 80's until 1995. Jack now lives in Wales and has a solo act. Derek and I occasionally get together at local venues and I still play quite often (mainly jazz on guitar and Irish music on banjo!). Sadly, I've lost touch with the others." (By courtesy of the band member Mick Morris, who gave this informations. Thanks, Mike!) - (By Adamus67)

01- Take my Love - 4:39
02- Love´s glass of sunshine - 11:32
03- Just because - 5:21
04- The leech - 5:22
05- The vision - 3:31
06- Clockwise - 6:06
07- Levandula - 7:23

Derek Bowley (lead vocals)
Jack Castle (guitar, vocals)
Mick Morris (guitar, vocals)
Steve Smith (drums)
Andy Broadbent (bass)

samedi 21 septembre 2013

Rockets With Jim McCarty - (Great Us Rock - Live At JB'S Mt Clemens 1978 - Cobo Arena Detroit 1979-12-31 - Wave)

JB's Mt Clemens 1978
101- Sweet Rock & Roll
102- Messin...
103- Lookin' For Love
104- Fast Thing In Detroit
105- Can't Sleep
106- Blues
107- Love Me Once Again
201- Takin'It
202- Ramona
203- She's A Pretty One
204- Carol
205- Love Transfusion

Cobo Arena Detroit 1979
206- I Can't Just Stop Cryin'
207- Ramona
208- Love Transfusion
209- She's A Pretty One
210- Oh Well

About Cobo Arena Detroit 1979 : This is not the complete show, this is the most listenable portion of a tape I recorded from the radio. Approximately the first 15 minutes and the last 30 minutes are not included.


Jim McCarty & Mystery Train (Blue Goose Inn - St. Clair Shores - Michigan - 2009-12-31 - Wave)

Fantastic concert by Mystery Train with Jim McCarty & Rick Stell guitars on fire !!!
Many Thanks to Billy Bardo for sharing these gems !!!

The Pretty Things - BBC Sessions (1964-1973 uk classic rock - 2003 2 cds Repertoire records edition - Wave)

 The Pretty Things were really two groups. 1. The studio band who used the facilities of Abbey Road to their ultimate and produced crafted recordings the equal of The Beatles. 2. The live band who shed many of the niceties in favour of dynamics and a heavier, rockier sound. This excellent value double CD (each one is 79 minutes long) highlights much of the bands BBC session work which extended from 1964 through to 1973. Many of the songs underwent changes during the course of numerous gigs and these changes were usually for the better. The inclusion of guitarist Peter Tolson on the Parachute material also served to kick the songs onto a different harder hitting plain and also served to illustrate his wonderful and much missed guitar virtuosity.Repertoire's packaging and Mike Stax's sleeve notesd is first rate. The only grouse being the missed opportunity to hear a number of songs that were never recorded and survive still in the BBC vaults. (By Alan Lakey)  
  The Pretty Things were no strangers to the various converted theatres, cinemas and hotels that made up the suite of studios in which the BBC recorded radio light entertainment shows, gardening forums, dance hall orchestras and rock bands. 
In fact the earliest session here dates from October 1964, which coincides with the release of only their second single, Don't Bring Me Down. The five track session is included in full and includes Don't Bring Me Down, Big Boss Man (which had been the B-side of the first single) and R&B selections from their future first album, including two by Bo Diddley, from whose song Pretty Thing the band took their name. On the two singles session drummers had been employed, so here is a chance to hear the tunes performed exclusively by the band. 
It isn't clear how many sessions and concert appearances the band made between 1964 and 1976 when the band were mothballed for quite a while, but sixteen are drawn from on these two discs. In the sixties these were taken from Saturday Club and John Peel's Top Gear programme, but in the seventies they are drawn from various presenters' shows, including David Symonds, Alan Black, Mike Harding and John Peel. Broadcast dates are given, but further details such as recording dates, line-ups and studio locations are skimpy at best. 
There are two recordings of their minor 1966 hit Midnight To Six Man, one for a TV show (in very poor sound), the other far better performance from Saturday Club, and, like the single, featuring the tinkling ivories of session pianist Nicky Hopkins. After this came a swift change of direction, when like a lot of bands, they temporarily ditched soul and R&B and fully embraced psychedelia. In the case of the Pretties this included sitar-soaked pieces such as Defecting Grey and Turn My Head (a song that never got a commercial release), and then the full blown and highly influential mini-opera S F Sorrow, from which all of their 1968 session for Top Gear was drawn. 
The Pretty Things were in a constant state of flux with frequent changes in line-up and neither of the two songs included from their 1969 session made it onto a record either, and by 1970 even founder-guitarist Dick Taylor had left the band leaving only original vocalist and songwriter Phil May left from the line-up that had recorded Rosalyn, their first single from 1964, though Dick Taylor did make a guest appearance on their 1972 re-visit to the song for Top Gear. Nevertheless, the Parachute album material and the various tracks from singles that make up what they recorded for the BBC on the rest of the first disc show a lively, focused, inventive band very much on top of their live performances, with the new members clearly being allowed full creative input. 
Disc One's final track and the first four songs on Disc Two all come from the same concert, recorded in stereo on 9 August 1973 at the Golders Green Hippodrome, for the In Concert programme, introduced by Pete Drummond. Indeed, at a approximately half-an-hour it probably represents the full segment of the Pretty Thing's part of the hour long show, and includes an uncredited performance of Onion Soup/Another Bowl. Most of this featured on their album Freeway Madness, though also included is their cover of Route 66, a song also covered by the Rolling Stones, a group with which the Pretties were often compared in the early days, especially since Dick Taylor had been a member of an early version of that band before they were signed. Onion Soup and Route 66 also featured on a studio session for Bob Harris's Sounds Of The Seventies recorded a fortnight later, and on which they previewed Atlanta, which was to figure on their album Silk Torpedo in 1975. 
Two sessions for John Peel recorded at Maida Vale (and not for In Concert or in front of an audience as stated in the booklet notes) in December 1974 and July 1975 conclude the second disc. They mainly again draw from Silk Torpedo, though there are two surprises. The first is an unlikely version of Dudley Moore's instrumental theme tune for the series Not Only But Also, probably led by recent keyboard recruit Gordon Edwards, and the other is a stomping return to Big City, a song written by their manager Jimmy Duncan from their eponymous first album of a decade earlier. 
It is fascinating to retrace the rocky road travelled by the band over this eventful decade in these unique and valuable recordings. Some of them come from transcription discs made for World Service broadcasts, without which many of these and other priceless sessions by other bands and artists would not have survived at all. How much more of their BBC work has survived isn't known though there are hints in the booklet that there may be more to come on further releases, which I for one will be keen to explore.(By Laurence Upton )

 Cd 01 1. Big Boss Man 2. Don't Bring Me Down 3. Mama Keep Your Big Mouth Shut 4. Roadrunner 5. Big City 6. Midnight To Six Man 7. Sittin' All Alone 8. Midnight To Six Man 9. Buzz The Jerk 10. LSD 11. Defecting Grey 12. Turn My Head 13. Walking Through My Dreams 14. Balloon Burning 15. SF Sorrow Is Born 16. She Says Good Morning 17. Send You With Loving 18. Spring 19. Sickle Clowns 20. She's A Lover 21. Cries From The Midnight Circus 22. Stone Hearted Mama 23. Cold Stone 24. Summertime 25. Rosalyn 26. All Night Sailor 27. Religion's Dead 
 Cd 02 28. Havana Bound 29. Love Is Good 30. Route 66 31. Onion Soup/Another Bowl 32. Route 66 33. Peter/Rip Off Train 34. Atlanta 35. Bridge Of God 36. Singapore Silk 37. Torpedo 38. Come Home Momma 39. Dream/Joey 40. Not Only But Also 41. Big City 42. Belfast Cowboys/Bruise In The Sky

Phil May - Vocals 
Pete Tolson Guitar 
Victor Unitt - Guitar 
Stuart Brooks - Bass 
Wally Allen Waller - Bass, Vocals  
John Povey - Keyboards 
Viv Prince - Drums 
Skip Alan - Drums 
Gordon Edwards - Vocals


vendredi 20 septembre 2013

The Savage Resurrection - The Savage Resurrection - (1968 great us psychedelic rock - Wave)

On their only album, the Savage Resurrection mined a psychedelic sound that was not as heavy and metallic as Blue Cheer (also produced by Abe "Voco" Kesh), but at the same time more garagey in feel than that of the average Bay Area psychedelic band. Sometimes it's pedestrian blues-rock with overlong riffing, as on the accurately titled "Jammin.'" At its best, it has the spacier, folkier, and more melodic feel that was characteristic of much '60s Californian psychedelic music, as on "Someone's Changing." More dissonant and Middle Eastern influences make themselves known on "Every Little Song" and "Tahitian Melody," and the backup vocals on "Remlap's Cave, Pt. 2" indicate that they did their share of listening to the Who's "A Quick One, While He's Away." Randy Hammon and John Palmer create an intense and thick dual-guitar sound throughout (separated so that Hammon's playing is on the left channel, and Palmer's on the right). The CD reissue on Mod Lang adds informative historical liner notes and three previously unissued rehearsal recordings as bonus cuts, including different versions of "Thing in 'E'" and "Tahitian Melody," and a cover of "River Deep Mountain High." (Richie Unterberger, All Music Guide) 

Original copies of this 1968 album (the group's only release) now change hands for hallucinogenic prices. Guitarist Randy Hammon recently managed to wrestle licensing rights from PolyGram and now you can hear this young, punk-psychedelic outfit without breaking the bank or going bootleg.
Their self-confessed Hendrix obsession is immediately obvious. First track, Thing In E, is a speeded up version of Jimi's first album, first track, Foxy Lady. Throughout one hears similarly loud echoes. Love obviously motivated the intricate structure and well-executed tempo switches of Someone's Changin', and Country Joe is conjured up by the good-humoured, hippy-funk of Fox Is Sick.
What saves the group from dismissal as well-meaning imitators (and from the vaults of collectors) are the glimpses of raw power they show on fuzzed-up R&B doodlebugs such as Appeal To The Happy and, conversely, moments of left-field, ethnic delicacy, as on Tahitian Melody. Undeveloped potential to go. 
(Mojo Music Magazine, 1999)

Band line-up 
Bill Harper - lead vocals, percussion 
Randy Hammon - lead guitar, vocals 
John Palmer - lead guitar, vocals 
Steve Lage - bass, vocals 
Jeff Myer - drums 

Tracks Listing 
01- Thing In "E" 3:06 (Palmer) 
02- Every Little Song 1:51 (Hammon) 
03- Talking To You 2:45 (Palmer, Harper) 
04- Tahitian Melody 3:45 (Palmer) 
05- Jammin' 8:07 (Palmer, Hammon) 
06- Fox Is Sick 2:42 (Palmer) 
07- Someone's Changing 2:35 (Palmer, Hammon) 
08- Remlap's Cave Part II 2:55 (Palmer) 
09- Appeal To The Happy 4:20 (Palmer, Harper) 
10- Expectations 4:59 (Palmer) 
Bonus Tracks
11- Thing In "E" 3:30 (Palmer) 
12- Tahitian Melody 3:39 (Palmer) 
13- River Deep Mountain High 3:29 (Spector, Barry, Greenwich) 

Recorded At Amigo Studios, North Hollywood, Calif. 
Produced By Abe 'Voco' Kesh (Randy Hammon & Alec Palao) 
Sleeve Redesign: Patrick Roques 
Special Thanks To: Alec Palao, Nick Saloman, . . . 

Robert Savage - The Adventures Of Robert Savage Vol. 1 (1971 great us psychedelic hard rock - Wave)

Volume 1 is the First and only Album by the American Hard-Rock Psychedelic Band The Adventures Of Robert Savage.
Little is known about this Band, apart from having recorded this Album in California, United States, so it is thought that they are Americans. I really don't know what i can say about them, because there is really no information, and the fact that they are Americans is already a supposition. The Cover-Art may be misleading, i thought this was a Medieval Rock Album, while it is a 70's Hard-Rock Album. It is very good nonetheless, a fantastic drawing of an hero slaying a Dragon on the top of a cliff.
The opening song, "Beaver Baby" starts with a strong Guitar Riff, very groovy, and some extraordinary Vocal work, especially the Female. The song is very powerful, and it is undoubtedly one of the best songs in the Album. "Milk Run" there are parts of the song thar are extremely enjoyable, the Vocals for instance, have some great moments (some weren't so great) and the Guitar Solo is also something which should not be discarded. "Don´t Run And Hide" best part is the Refrain, which unfortunately is repeated only a few times, for a music this long. The Drums take the lead role in "A Hard One", which is a very Soul-full song, with Jimi Hendrix like Vocals. This one, "7 Days Drunk", would be better of without the Guitars, because it as some very catchy moments, but they don't correspond to the Guitar lines. The largest song in the Album is probably also the weakest "Save Us From The Cyclops", is extremely tedious, and has the smell of something that has been rotten for ages. "Amy" starts bad, but it starts getting better and better, until the moment where a Guitar full of effects, starts a Kick-Ass Solo. "Road Apples" is truly a great finale. A 4 and an half minutes instrumental Jam, with a fantastic Guitar work and an amazing Beat. It is truly the best end this Record could have.
Volume 1 indicates that they intended to record more Albums, but it never happened.(From Red Hippie Blog)

01- Beaver Baby (3:05)
02- Milk Run (3:10)
03- Don't Run And Hide (4:03)
04- A Hard One (3:19)
05- 7 Days Drunk (4:29)
06- Save Us From The Cyclops (5:46)
07- Amy (3:55)
08- Lonely World (3:08)
09- Road Apples (4:24)

Don Parish - Vocals, Bass
Robert Savage - Vocals, Guitar
Tommy Richards - Drums


Robert Savage Group - 1971-02-19- Swing Auditorium, Orange Show Fairgrounds,San Bernadino, CA - Soundboard - Wave)

Rare and great concert by Robert Savage Group , great sound .....
Many thanks to SIRMick for sharing this gem & rockrarecollectionfetish for the artwork

* There is some occasional feedback but it isn't really distracting.
* There is a small tape problem during "7 Days Drunk", I had to cut out around 3 seconds.

01- Stage announcements/tuning and intro
02- Milk Run
03- Tomorrow's Menu
04- Amy (The Insane)
05- Beaver Run
06- Lonely World
07- The Stumble
08- Don´t Run And Hide
09- 7 Days//Drunk

Robert Savage - guitar, vocals
Don Parish - bass
Tommy Richards - drums
Unknown - keyboards


Juicy Groove - First Tate (1978 great us psych garage with members of Steppenwolf & Captain Beefheart - Wave)

Juicy Groove was a short-lived supergroup of sorts, featuring former members of Steppenwolf (guitarist Mars Bonfire, a.k.a. Dennis Edmonton) and Captain Beefheart's Magic Band (guitarist Mercury Flyer, a.k.a. Elliot Ingber, and bassist Gary "Magic" Marker). There were numerous drummers involved; the drums are credited to Thundercloud, a nickname for Mike Cassidy, son of Spirit drummer Ed Cassidy. The elder Cassidy is not credited, but Ed reportedly drummed on some of the songs, and Iron Butterfly's Ron Bushy drummed on one. Their lead vocalist and rhythm guitarist was a character named Michael "Rainbow" Neal, an associate of Sky Saxon who was involved in some of Saxon's post-Seeds activities. On their 1978 album, Juicy Groove played unashamed '60's-style garage psychedelia as if the previous decade had never ended.
Juicy Groove's only album was titled First Taste. It was a picture disc released on a label called Payola. It's a hilariously anachronistic set of acid-fried hippie-rock tunes, recorded with a relatively lo-fi quality for a late-'70's album. There are no songwriting credits on the disc, but at least three songs ("Starry Ride", "Drums Guitars Stars", "Tired Of Bein' Poor") were co-written by Seeds leader Sky Saxon. The uninhibited frontman "Rainbow" Neal alternately moans like a stoner and howls like a lunatic. The trippy "Starry Ride" feels like just that. "Drums Guitars Stars" is a Jefferson Airplane-like anthem (complete with a Grace Slick soundalike named Victoria Reid) about rocking and rolling your way to fame. The similar-minded "Concert Fever" (which features Iron Butterfly drummer Ron Bushy) is filled with obviously dubbed sounds of audience applause. The album's carefree drug-soaked party vibe results in infectious, delirious enjoyment. Fans of Rhino's Nuggets box sets may want to dig this record up, because they'll probably dig it.

01. Secret Lover
02. Juicy Groove
03. Late Last Night
04. Drums Guitars Stars
05. Tired Of Bein' Poor
06. Concert Fever
07. Two Shy
08. Starry Ride
09. Spread Love
10. Havin' Fun

Rainbow Neal: Rhythm Guitar, Lead Vocals
Magic Marker: (Captain Beefheart): Bass
Mars Bonfire (Steppenwolf): Guitar
Elliot Ingber:(Captain Beefheart): Guitar
Ron Bushy (Iron Butterfly): Drums
Mike Cassidy (Thundercloud): Drums
Victoria Reid: Vocals


jeudi 19 septembre 2013

Think - Variety (1973 excellent german heavy prog - 2002 edition with 2 bonus tracks - wave)

Think was one of many German incidents in the early 1970s which produced one album and then disappeared for ever and ever. The band featured skilled musicians, for example two from Hungary and one Czech who some day played in Germany with the Philharmonia Hungarica ... and then decided to stay. Soon they found some German mates to build up a six-piece crew and came in contact with the Marl/Ruhrgebiet based label Menga which 1973 released their sole album 'Variety'. This is an appropriate album title by all means.
They offer a nearly eclectic sound when mixing up classical, jazzy, symphonic, heavy, folk, blues and psych elements to something very interesting and enjoyable. With other words: this is nothing rough and unpolished ... if anything than the two bonus tracks probably, earlier recordings included on the Garden Of Delights reissue. Both appear in a more heavy rock vein where More Drops is also clearly Pink Floyd infected. The groovy All that I remember shines with some experimental gimmicks. This foreshadows the trickiness of the following regular album tracks.

think start the album very relaxed, folksy, the title song is decorated with violin and Frank Voigt's flute, later turning to a swinging jazzy mood and even classical impressions. And so on ... they build up a surprising chain of varying impressions provided with turns and breaks where you immediately can recognize the compositional ability. Then you will meet the mellow instrumental Watercorps - of course once interrupted by a frantic hurry-up. Drops is pervaded with hallucinatory impressions as well as jazzy excursions. The epic Draw Conclusions from partially sounds like performed by the Keef Hartley Band, bluesy with playful organ ...

... so you can hear they take the album title quite literally. And it works on top of it! Vocals are surprisingly good compared to other German bands and all in all this is somewhat relaxed music. As mentioned before 'Variety' is digitally remastered and re-issued, available via Garden Of Delights. The booklet of 32 pages holds many images, illustrating the spirit of that time very nicely. A very good progressive rock effort - recommended! (By Rivertree)

01. Variety - 7:37
02. Watercorps - 5:07
03. Drops - 8:19
04. Draw Conclusions From ... - 13:59
05. Last Door - 3:15
06. More Drops (Bonus Track) - 7:54 
07. All That I Remember (Bonus Track) - 6:46

Frank Voigt / flute, effects
Gerd Pohl / guitar, vocals
Ricky Ramor / bass
Rodrigo Ramor / vocals, percussion
Friedhelm Wördehoff / drums, percussion
Kajo Sandrik / keyboards, viola, vocals, percussion