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 For that alone, this live album works as a live album, because it’s a historical document, both culturally and musically.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