tisdag 25 juni 2019

West Coast Pop Art Experimental Band - Vol. 2 (US 1967)

280:- (24-Bit Limited Remaster Edition. Gruppens 2:a album. En klassiker inom amerikansk psychedelia.) 

Volume 2 (Breaking Through) is the third album by the American psychedelic rock group, the West Coast Pop Art Experimental Band, and was released in October 1967 on Reprise Records (R 6270 mono, RS 6270 stereo). At the time of recording, Michael Lloyd was not present so the group was reduced to Bob Markley and the Harris brothers, with additional uncredited contributions from Ron Morgan. On the back of original LP release appears 'Breaking Through' and the declaration: "Every song in this album has been written, arranged, sung and played by the group. No one censored us. We got to say everything we wanted to say, in the way we wanted to say it".

"Smell of Incense", composed by Markley and Morgan, features a slowed down pulsating bass melody similar to The Beatles' song "Day Tripper". The track "Suppose They Gave a War and No One Comes" actually copies direct quotes from an address by Franklin Roosevelt on August 14, 1936 at Chautauqua, New York.

One of the more offbeat acts to emerge during the psychedelic era, the West Coast Pop Art Experimental Band were certainly eclectic and ambitious enough to live up to their slightly clumsy moniker, capable of jumping from graceful folk-rock to wailing guitar freakouts to atonal, multilayered, avant-garde compositions at a moment's notice, but they also reflected a strongly divided creative mindset, with Bob Markley, the lyricist and ostensive leader of the group, on one side and the rest of the band on the other.

Danny Harris and his brother Shaun grew up in a musical family -- their father, Roy Harris, was a respected composer, and their mother, Joanna Harris, was a pianist who taught at Juilliard. In 1962, their family relocated to Los Angeles and the Harris Brothers joined a local rock band called the Snowmen, with Danny on guitar and Shaun on bass. Danny and Shaun attended the same high school as Michael Lloyd, who was playing guitar in another, more successful local group called the Rogues; Shaun was recruited to join the Rogues as bassist, and soon Michael, Shaun, and Danny began working together on music of their own. 

They installed a makeshift recording studio at Lloyd's house, and cut a handful of fine singles under the name the Laughing Wind, with John Ware as their drummer. The Laughing Wind had become acquainted with noted L.A. producer and scenester Kim Fowley, and Fowley introduced the band to Bob Markley, the Oklahoma-born son of a wealthy oil tycoon who had studied law but had ambitions of making a name for himself in music, having released an unsuccessful single for Reprise Records. Markley owned a large mansion in Hollywood where he played host to the Yardbirds, who played a party at his home when they found they couldn't book a public show due to problems with work permits. 

Markley was impressed by the attention the band received from the audience of music business insiders and teenage girls, and decided he wanted to form a band rather than work as a solo act. Markley liked the Laughing Wind well enough that he made them an offer: if he could join the group as vocalist and lyricist, he would bankroll touring expenses and new gear, including a full light show. The band agreed, and soon Markley had renamed the group the West Coast Pop Art Experimental Band; he also drew up contracts that saw to it that he owned the group's name, as well as their publishing.

In 1966, Markley arranged for the West Coast Pop Art Experimental Band to release their first album, Part One, which appeared on a small local label, Fifo Records; it was largely devoted to covers (many recorded by the Laughing Wind before Markley's involvement), though he did contribute some originals such as "Insanity" and "Don't Break My Balloon." While the album's sales were modest, the band won a following in Los Angeles for their adventurous sound and elaborate light show, and they landed a deal with Reprise Records. The WCPAEB's first major-label album, Part One, was the first full flowering of the group's musically ambitious side, through Markley's lyrics tended to draw a polarized reaction from listeners; the album also saw the group expand into a sextet with the addition of guitarist Ron Morgan, another former member of the Rogues who arrived as tensions grew between Markley and Lloyd, the latter of who thought little of Markley's talents. 

Lloyd was gone from the lineup for their third LP, Vol. 2: Breaking Through, released later in 1967, with all but two songs credited to Markley and Shaun Harris. By the time the group began work on their third album, the WCPAEB were beginning to splinter -- Danny Harris left the band due to health problems, with Morgan handling all the guitar chores, and John Ware was out as drummer, with session musician Jim Gordon taking his place. The finished product, A Child's Guide to Good and Evil, is often cited as the band's best and most adventurous work, but Markley's convoluted lyrics became increasingly pretentious and bizarre, and when the album failed to sell, they were dropped by Reprise.

The Harris Brothers and Lloyd formed a short-lived group called California Spectrum, but when Jimmy Bowen, who had produced the group's earlier work, launched his own label, Amos Records, the WCPAEB landed a new record deal. The group's 1969 release Where's Daddy? credited Markley and the Harris Brothers, though Michael Lloyd and Ron Morgan also played on the sessions; the album featured several songs that dealt with young women in a somewhat disturbing manner, and once again they failed to connect with a larger audience. Even by this band's standards, the West Coast Pop Art Experimental Band's swan song was curious: Markley opted to rename the group Markley, and recorded an album titled A Group, though the full WCPAEB lineup appeared on the LP. A Group received little notice, and soon the group was history under either name. Lloyd went on to a successful career as a producer and A&R man, Shaun Harris launched a brief solo career before going into film, Ron Morgan went on to play with Three Dog Night, Danny Harris divided his time between acting and folk music, and Bob Markley produced material for other artists before he died in 2003.

★ Bob Markley - vocals
★ Danny Harris - vocals, electric guitar
★ Ron Morgan - electric guitar (uncredited)
★ Shaun Harris - vocals, bass guitar

01. "In the Arena" - 4:10
02. "Suppose They Give a War and No One Comes" (Markley, Roger Bryant) - 3:38
03. "Buddha" - 2:05
04. "Smell of Incense" (Markley, Ron Morgan) - 5:47
05. "Overture - Wcpaeb Part II" - 1:28
06. "Queen Nymphet" - 2:19
07. "Unfree Child" - 3:58
08. "Carte Blanche" - 2:42
09. "Delicate Fawn" - 2:30
10. "Tracy Had a Hard Day Sunday" - 4:35

fredag 31 maj 2019

Fairport Convention - Selftitled (1st UK Album 1968 + Bonus)

290:- (24-Bit Limited Remaster Edition. Gruppens första album. Influenser av amerikansk "West-Coast Rock". Utgången utgåva. Laminerat konvolut. Bonusspår. Endast ett exemplar.)

Fairport Convention is Fairport Convention's debut album.

This is not to be confused with the A&M Records' "Fairport Convention," which is the USA release of their second album, What We Did On Our Holidays.

Fairport Convention were originally formed in 1967, allegedly as Britain’s answer to Jefferson Airplane. The original line-up was Judy Dyble and Ian MacDonald (vocals), Richard Thompson and Simon Nicol (guitars), Ashley “Tyger” Hutchings (bass) and (after their very first gig) Martin Lamble (percussion). In this form they made their major London stage debut at the Saville Theatre on one of Brian Epstein’s famous Sunday concerts.

Judy Dyble survived in the band for only one album, and this was it. She was replaced in 1968 by Sandy Denny, but during her short time with the band she managed to make a noticeable impression, particularly through her on-stage habit of knitting socks and scarves when not actually singing!

Fans of the "classic" folk/rock Fairport style will find this album a very different experience. It really does sound a lot like Jefferson Airplane!

Fairport Convention is often credited with being the first English electric folk band. Formed in April 1967, Fairport rapidly developed from playing cover versions of American 'west coast' style music to an individual style which melded rock music with traditional English tunes and songs. The lineup of their most celebrated album, Liege & Lief, comprised Sandy Denny, Ashley Hutchings, Dave Mattacks, Simon Nicol, Dave Swarbrick, and Richard Thompson.

Affected by numerous personnel changes throughout its first decade, Fairport Convention was temporarily disbanded in 1979 but played annual reunion concerts until they reformed in 1985. Since then, they have enjoyed stability and continue to tour and record regularly.

In part, the continuing success of Fairport Convention is due to the annual music festival the band organises. Cropredy Festival has been held every year since 1977 near Cropredy, a village five miles north of Banbury, Oxfordshire and attracts 20,000 fans. Now renamed Fairport's Cropredy Convention, it remains one of the key events in the UK folk festival calendar.

BBC Radio 2's Sold On Song TOP 100 songs as voted for by Radio 2 listeners put their early song "Meet On The Ledge" at Number 17. They had performed "Meet on the Ledge" on the 1969 launch of "From the Roundhouse" (a short-lived BBC-TV youth and arts programme about the London "underground scene"). In 2002 the band was given a Lifetime Achievement Award at the BBC Radio 2 Folk Awards and in 2006, Liege & Lief was voted the most influential folk album of all time in a public ballot, also run by the BBC.

Fairport Convention played their first concert at St Michael's Church Hall in Golders Green, North West London on 27 May 1967. Based in suburban north London, the group had coalesced around a bass guitar player and bandleader named Ashley 'Tyger' Hutchings.

The musicians convened for rehearsals at a house named Fairport, in Muswell Hill, North London the family home of rhythm guitarist Simon Nicol. Thus was born the name of a band that has endured for over four decades. As well as Hutchings and Nicol, there was lead guitarist Richard Thompson and Shaun Frater on drums. 

However, that initial line-up only played the one gig. A young drummer, Martin Lamble, was in the church hall audience and he convinced the band that he could do a better job than the incumbent. It was the first of a flurry of line-up changes that characterised Fairport's first fifteen years.

The group soon augmented its line-up with a female singer, Judy Dyble (born Judy Aileen Dyble, 13 February 1949, in Wood Green, North London), which set it apart from the dozens of other bands springing up from the fast-moving youth culture of that summer. Fairport found no shortage of work and was soon a regular act at underground venues such as The Electric Garden, Middle Earth and UFO. The band had only been playing a few months when they caught the ear of Joe Boyd who secured them a contract with Polydor Records. Boyd suggested they augment the line-up with another male vocalist and so Iain Matthews (who had changed his surname from MacDonald and was spelling his forename 'Ian' at the time) joined the band and the first album, Fairport Convention, was recorded in late 1967 and released in June 1968. Later the band would play with folk guitarist Nick Drake, who also had connections with Joe Boyd.

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At this early stage, Fairport looked to America (Joni Mitchell, Bob Dylan) for material and inspiration. "The two lead vocalist approach appealed to us," Matthews recalls, "and because of our name and onstage presence, lots of people thought we were American, and we were not about to attempt to dispel that presumption." This led to the band being dubbed 'the British Jefferson Airplane'. The album did not sell many copies, and Boyd got them signed to Island Records.

Rock journalist Ritchie Unterberger writes in his book Eight Miles High:

"Prior to 1968, rather incredibly, there was not a single British rock group that played electric folk-rock consistently and well. It is thus not too surprising that the band to become roundly acclaimed as the best British folk-rock group, Fairport Convention, took its initial inspiration from American folk-rock, particularly the guitar-oriented California sort." 

Although folk-rock was well-established in the USA by 1968, Fairport Convention was the first English band to concentrate on bringing rock instruments and rock arrangements to traditional songs. Initially, the British press (and Fairport Convention's members) titled this mixture electric folk but the term 'folk-rock' soon became the norm, although it is a broader category than electric folk. Therefore, although other bands in the UK were experimenting with the folk-rock genre (including Strawbs and Pentangle), Fairport Convention is widely credited with 'inventing' British folk-rock.

However, Fairport Convention was also developing in other ways. As as well as revivals of traditional material with modern instrumentation and rhythms, bandmembers were increasingly composing original material and Richard Thompson had developed into a talented and inventive guitarist. Fairport Convention even entered the singles charts with "Si Tu Dois Partir", a French-language version of Bob Dylan's "If You Gotta Go". The record just missed the top twenty but got the band (with guest triangulist, John Peel) a slot on Top Of The Pops, Britain's most popular television pop music programme at the time.

On 12 May 1969, Fairport's van crashed on the M1 motorway on the way home from a gig in Birmingham. Martin Lamble - just 19 years old - and Jeannie Franklyn, Richard Thompson's girlfriend, were killed. The rest of the band suffered injuries of varying severity. The young musicians nearly decided to call it a day. But they didn't, and once recovered they went back into the studio. Matthews had left the band by then and Dave Mattacks took over the vacant drum stool. The resulting LP, Liege & Lief, was a classic. This was arguably Fairport Convention's finest album and it established British folk-rock as a distinct and influential genre.

Liege & Lief was launched with a sell-out concert in London's Royal Festival Hall late in 1969. Dave Swarbrick had made a big contribution to the project and he now joined the band full-time. Liege & Lief was given an award at Cropredy 2006, with most of the former members picking up the award. Frank Skinner presented the award.

Recorded November 1967 at Sound Techniques, London. 

01. "Time Will Show the Wiser" (Emitt Rhodes) 3'05" 
02. "I Don't Know Where I Stand" (Joni Mitchell) 3'45" 
03. "If (Stomp)" (Ian MacDonald/ Richard Thompson) 2'45" 
04. "Decameron" (Paul Ghosh / Andrew Horvitch / Richard Thompson) 3'42" 
05. "Jack O'Diamonds" (Bob Dylan / Ben Carruthers) 3'30" 
06. "Portfolio" (Judy Dyble / Tyger Hutchings) 2'00" 
07. "Chelsea Morning" (Joni Mitchell) 3'05" 
08. "Sun Shade" (Paul Ghosh / Andrew Horvitch / Richard Thompson) 3'50" 
09. "The Lobster" (George Painter / Tyger Hutchings / Richard Thompson) 5'25" 
10. "It's Alright Ma, It's Only Witchcraft" (Tyger Hutchings / Richard Thompson) 3'12" 
11. "One Sure Thing" (Harvey Brooks / Jim Glover) 2'50" 
12. "M1 Breakdown" (Tyger Hutchings / Simon Nicol) 1'22" 

Bonus tracks
13. "Suzanne" (Leonard Cohen) 5'48" 
14. "If I Had a Ribbon Bow" (Hughie Prince / Lou Singer) 2'44" 
15. "Morning Glory" (Larry Beckett/Tim Buckley) 3'13" 
16. "Reno, Nevada" (Richard Farina) 7'43" 

tisdag 21 maj 2019

Edgar Broughton Band - S/T (Heavy Progressive Rock UK 1971)

320:- (24-Bit Limited Remaster Edition. Mycket bra engelsk heavy progressive rock. Utgången utgåva sedan 2001, mkt svår att hitta nu.)

Edgar Broughton Band was the self-titled third album of the band Edgar Broughton Band. The album is known amongst fans as "The Meat Album", as the album cover features lots of meat on hangers in a warehouse; a human can also be seen hanging amongst the meat.

The most conventional of the Edgar Broughton Band's first (and best) three albums, 1971's Edgar Broughton Band finds the group dispensing with the no-holds-barred mania and theatricality responsible for such classics as "Out Demons Out," "Up Yours," and "Apache Drop Out" and concentrating instead on more musical endeavors. It's an approach that arguably captures the band at their very best at the same time as revealing them at their ugliest.

The two-part epic "For Dr. Spock" conjures images of Gong, as it drifts closer to space rock than the Edgar Broughton Band had hitherto ventured, while "House of Turnabout" certainly restates the group's free-freak credentials with its rumbling percussion and scything guitars, a second cousin to the roars that punctuated Wasa Wasa and Sing Brother Sing. The heart of Edgar Broughton Band, however, lies elsewhere.

The lilting chant "Thinking About You," with its spectral reminders of John Lennon's "Working Class Hero," is certainly one of their most rancorous concoctions, while "Evening Over Rooftops" rides an acoustic guitar as pretty as its flowery lyric, but you know there's something rotten squirming just below the surface, even if you can never quite put your finger on it. 

The pure pop backing vocals, all "sha-la-la" and "doo-be-doo-be-doo," of course, only add to your unease. And, as that is merely the opening number, you can guess what you're in for over the rest of the album long before you actually get it.

01. Evening Over Rooftops
02. The Birth
03. Piece Of My Own
04. Poppy
05. Don't Even Know Which Day It Is
06. House Of Turnabout
07. Madhatter
08. Getting Hard into What Is A Woman For?
09. Thinking Of You
10. For Doctor Spock Parts 1 & 2

Tamburlaine - Say No More (NZ Psych-Folk 1972)

280:- (24-Bit Limited Remaster Edition. New Zealand Stunning Psychedelic Folk album. Very Rare and aviable on CD for the first time. Highly Recommended.)

Raised in Wellington’s rich musical underground, the great Tamburlaine was born from British-style blues and the folk revival, and graduated from shouty, sweaty clubs to spellbinding larger concerts.

Guitarist Steve Robinson grew up in Fiji, where he studied piano from age four, played the violin in school orchestras and learned the ukulele, which naturally led to guitar. Returning with his family to New Zealand as a young teenager, he first played bass in Christ College’s ironically named beat covers band The Pagans, and later, lead guitar with Wellington College’s Us Five.  

Long before graduating to guitar, young Denis Leong studied piano for eight excruciating years, while also developing his singing voice. Backed by brother Kevin on guitar, Leong sang and together the brothers dominated 1950s talent shows, where they regularly won prizes in competition and accumulated a modest collection of toasters and other small kitchen appliances.

“I would like to say we sang early Chuck Berry or Everly Brothers tunes,” says Denis Leong, “but … our repertoire was limited to all but the cheesiest of top twenty hits.”

Meanwhile, bassist Simon Morris was playing lead guitar in his Onslow College school band Changing Times when formidable future vocalist Rick Bryant tried out for singer, but was turned down. Meeting up again with Morris at university, a newly honed Bryant fancied starting a “serious blues band”, and he and Morris bore Original Sin. “Original Sin was very much a bunch of mates into Chicago type blues (Howlin’ Wolf, Muddy Waters, etc.), pretty much driven by Rick," says Steve Robinson.

After unshackling from Rick’s harmonically-challenged brother Rod on mouth harp, the Sin really caught fire when ex-Canberran draft-dodger Bill Lake took on guitar and harmonica. Cafe L’Affare founder Jeff Kennedy played drums, rounded off, says Morris, with “a revolving door of bass-players. We could never hold onto one. Steve Robinson was one, Tony Backhouse another, [and] Lindsay Field [later an in-demand backing vocalist in Australia]."

“I went to see Original Sin perform in a school gym,” says Denis Leong. “The stage was full but the hall was empty and there was possibly just one functional amplifier. I was there because Rodney Bryant – a year younger at Rongotai College – claimed to play in a rock band. A group of fellow sixth-form skeptics went to check this out. While Rodney did not play, his older brother Rick did, ably fashioning a credible Chicago blues frontman persona in the manner of a prematurely weathered Van Morrison. More striking was another fellow who did all the talking bits between songs. This fellow told great jokes and projected a very sunny entertaining disposition … a touch at odds with the otherwise grim authentic blues ethos. That was Simon.”

Sure, Original Sin had started off playing “authentic” blues – via the Stones and The Pretty Things – but soon the Sin stepped even farther from the source when Hendrix and Cream modified the mix. Songs got longer, tempos and keys changed more, and there was more adlibbing and improvisation.

They played sporadically – including a gig for the Karori Girl Guides – and by 1968 they were the resident band at the Mystic, on Wellington’s Willis Street, a hot, smoky blues club with ultraviolet lighting.

In 1971 Tamburlaine was performing around Wellington with similarly progressive folkies at the university and Chez Paree. “I vividly remember coming off the stage in the Victoria University Union Hall March 1971," says Robinson, "and seeing the next band due to go on, heavily made up with mascara etc. It was the first line-up of Split Enz.”

By May they were in the studio, recording for Kiwi Records, who had set up a new Tamburlaine-focused sub-label: Tartar. 

“We got signed up ridiculously easily by Tony Vercoe at Kiwi Records,” says Simon Morris. “He was a lovely old chap, and he promised us not only an album contract – recorded at a real studio, EMI, with a real producer, Alan Galbraith – but our own label, you know, like Apple. And the spirit of The Beatles was all over the first album – even the title Say No More was a running gag in the movie Help. We’d write a song, arrange it, then embellish it with overdubs. Alan Galbraith made sure it didn’t get out of hand – with one exception – and it was a lot of fun.

"We didn’t have a drummer at that stage, so Steve, who was the best rhythmically, did a lot of percussion – tambourine, bongos, tabla, that sort of stuff. I had the best ear for solos, so I’d usually do those – acoustic guitar, rudimentary piano, organ at one stage, and a bit of electric guitar. And Denis wrote the most specific songs, and brought some mates in to play strings and flute on them.”

“We had made a demo tape mostly of original material and this was shopped around to the various recording companies,” says Leong. “I was pleasantly surprised to get a call back from Tony Vercoe … Tony was planning to retire that year and he felt like doing ‘something out of the box’ with a final completely unexpected blockbuster. He had a twinkle in his eye when he gave me the numbers: there would be $30,000 available to record an LP in the EMI studios. Roughly speaking the budget allowed thirty hours of recording time on a lovely four-track machine, the very model that The Beatles had used to record Rubber Soul. There had been many surprises over the previous twelve months but this was right up there. We signed, somewhat in disbelief.”

Say No More is simply astonishing, and rightly recognised in Nick Bollinger’s 100 Essential New Zealand Albums. Robinson won the 1972 APRA Silver Scroll for ‘Lady Wakes Up’ and for good reason: a simple, elegant arrangement with guitars, subtle flute, hand-claps and wood block grace the homely homily: “In your woodbox of memories, may I be a chip.” When Julie Needham’s fiddle comes in during the opening to ‘Raven And The Nightingale’, it briefly foreshadows Alastair Galbraith’s violin on The Rip’s ‘Starless Road’, 15 years into the future.

The Tamburlaine
Steve Robinson - Lead Guitar, Electric Guitar, Percussion, Vocals, Tambourine, Bongos, Maracas
 Simon Morris - Piano, Percussion
 Denis Leong - Rhythm Guitar, Lead Vocals, Lead Guitar, Piano 

  Julie Needham - Fiddle
  Alan Galbraith - Vocals
  Ingrid Culliford - Flute, Strings
  Alan Park - Bells
  Mike Fullerton - Drums
  Lindy Mason - Vocals

01. Pass A Piece Of Paper (Denis Leong) - 3:45
02. Lady Wakes Up (Steve Robinson) - 3:26
03. The Raven And The Nightingale (Simon Morris) - 3:28
04. Do For The Others (Stephen Stills) - 3:18
05. Saffron Lady (Simon Morris) - 4:05
06. Some Other Day (Steve Robinson) - 4:03
07. Rainy City Memoirs (Denis Leong) - 3:52
08. The Flame Of Thoriman (Simon Morris) - 10:23

torsdag 25 april 2019

Holy Moses - S/T (Amerikansk Hårdrock 1971)

290:- (24-Bit Limited Remaster, Big Pink Korea Label. Gruppens enda album. Rekommenderas)

Holy Moses was an American rock band based in Woodstock, New York. They released one album on RCA Victor Records in 1971.

The roots of the band lie in the country rock band Kangaroo, which formed in 1968 around folk singer Barbara Keith, multi-instrumentalist John Hall, guitarist Teddy Speleos, and drummer/vocalist N. D. Smart (previously of The Remains). 

Speleos (born Theodore Edward Speleos, 1951) was a virtuoso guitarist who had previously replaced Roy Buchanan, and played with Hall, in rock and roll band the British Walkers, and whose style was sometimes compared with Jimi Hendrix

In his autobiography Born To Run, Bruce Springsteen wrote that he and Steve Van Zant used to see Speleos playing in bands in Greenwich Village, and used to "sit there slack-jawed at his sound, technique and nonchalance... ". 

The group, Kangaroo, came to be based in Washington, D.C., and developed an enthusiastic live following. They released a self-titled album on MGM Records. Reviewer Richie Unterberger said of the album that "there are few other albums of the late '60s... on which so much talent is evident, but so little coheres into satisfying results." 

The band split up in early 1969. Hall moved on to form the band Orleans before becoming a politician; Smart later formed Mountain with Leslie West; and Keith began a solo career.

Speleos then formed a new band, Holy Moses, in Woodstock, New York, with David Vittek (rhythm guitar), Marty David (bass, tenor sax), and Chris Parker (drums). 

They were joined by singer, songwriter and pianist Billy Batson, a California native who had recorded for Decca Records in 1966, performed in clubs in California and Greenwich Village, and had several of his songs recorded by duo Hedge and Donna. Batson's songs gave a new focus to the band, and they performed regularly in the Catskills. 

They rejected a management offer by Albert Grossman, but were seen by Michael Jeffery, who was looking for a new band to manage after the death of his client, Jimi Hendrix. Jeffery was impressed by Speleos' guitar style, and gave him one of Hendrix's guitars. The band won a contract with RCA Victor, and in 1970 recorded their album, Holy Moses!!, at the Electric Lady Studios in New York City. All the songs were written by Batson, and the album was produced by Mike Esposito of the Blues Magoos and Kim King of Lothar and the Hand People.

Released in 1971, together with a single, "A Cowboy's Dream", the album failed to chart, despite having "all the ingredients of a bonafide classic". Esposito later described the band as "unusually unstable". Jeffery was killed in an airplane crash in 1973; some of the band's equipment including Speleos' guitars were stolen; and Speleos, who reportedly had problems of mental health, moved back to Virginia to start a family. The band then split up.

Parker joined Paul Butterfield's Better Days; Speleos reportedly later spent some time in a monastery; Marty David became a session musician. Batson was later a member of The Hypstrz, with Ernest Batson, Randy Weiss, and John Haga. They released an album, Hypstrization!, on Voxx Records in 1980.

David Vittek died in 2012. Billy Batson died from lung cancer on September 5, 2017.

David Vittek (rhythm guitar) 
 Teddy Speleos (vocals, guitar) 
 Marty David (vocals, ten or saxophone, bass saxophone) 
 Billy Batson (vocals, piano, organ) 
 Christopher Parker (percussion)

01. Sad Café  05:04
02. Dig a Deeper Hole  03:22
03. Rock City Road  03:28
04. Roll River Roll  04:09
05. Agadaga Dooley  03:07
06. No Turning Back  06:10
07. Cowboy's Dream  04:27
08. Bazaraza Bound  08:34

lördag 13 april 2019

Elias Hulk - Unchained (Good Heavy Progressive Hardrock UK 1970)

290:- (24-Bit limited Remaster Edition, UK 1970. Eftertraktad Mini LP som gavs ut 2006 av "Air Mail Records" och är numera mycket svår att hitta. Rekommenderas för dig som gillar tidig 70-tals hårdrock.)

Exact Japan CD re-issue of this rare early 70's acid blues tinged psyche set. Very much in the UK blues boom hard rock mould this album is very seldom seen in it's original pressing. Plenty of long guitar breaks and an album comparable to Leafhound, Killing Floor, Jasper and other simlilar bands of the era.

This rare hard rock album, very much in the mould of Leaf Hound, now changes hands for considerable sums. It's full of endless riffs, tortured blues vocals and drum and bass solos. Frankly, I found this all rather tedious! 

A long lost album by Bournemouth prog rock band Elias Hulk has been valued at a whopping £650 in mint condition by this month’s Classic Rock magazine.

Unchained, the 1970 rarity on Youngblood Records, was the only release by the band who formed in 1969 and split up two years later after failing to secure the financial backing for a follow up and is now something of a holy grail for record collectors with a sleeve that must rank as one of the crudest of its time.

01. Anthology Of Dreams - 3.08
02. Nightmare - 3.11
03. Been Around Too Long - 3.01
04. Yesterday's Trip - 3.55
05. We Can Fly - 6.16
06. Free - 3.36
07. Delphi Blues - 4.17
08. Ain't Got You - 3.25

måndag 18 mars 2019

John Verity Band - S/T (1a Soloalbumet Superb Hårdrock UK 1974)

290:- (24-Bit Remaster Edition, liten upplaga, gavs ut 2009 och är nu utgången för länge sedan.Inte något dåligt spår på albumet, mycket bra rakt igenom.)

John Verity began his music career in the early 1960's, playing guitar in various local bands around his home town of Bradford, Yorkshire, until he was offered a full time gig with a band which was backing various visiting US pop acts, as well as Decca Records UK acts when they toured.
By 1969 John was living and working in the US, with the first ever line-up of the John Verity Band doing prestigious support slots with many of the big names of the day including Jimi Hendrix, Mountain, Canned Heat and Janis Joplin.

On his return to England in 1971, John secured a contract with producer Steve Rowland to record his first solo album for ABC/Probe records, 'John Verity Band', which was released in the spring of 1972. Whilst on tour promoting the album, JV was spotted by Rod Argent who was looking for new lead vocalist for his band following the departure of Russ Ballard. John eventually joined Argent in 1973 and there followed a period of intense recording and touring until the band decided to come off the road late in 1976. Argent never did go back on the road, and decided to disband, at which point John became involved with various new projects both as Artist and Record Producer. First of all, along with Bob Henrit and Jim Rodford from Argent he formed Phoenix, which soon signed to CBS Records. The band recorded three albums and toured Europe before disbanding amicably when Jim Rodford joined the Kinks, and John and Bob joined Charlie, to record an album with RCA Records. John produced the Phoenix albums and Charlie album as well as the first Saxon album during this time, and decided to divide his time between sessions and record production whilst Bob Henrit teamed up with Jim Rodford once again by joining the Kinks.

The next few years were spent in recording studios throughout the world, producing, playing guitar, or doing backup vocals with various acts including Motörhead, Tank, Ringo Starr, Russ Ballard, Colin Blunstone, Brian Connolly, John Parr, BowWowWow and The Searchers amongst many others, until late in 1981 when PRT Records MD Matt Haywood asked John to record a comeback album. By now living in his native Yorkshire, he had built his own 38-track studio achieved by synchronising together 24 and 16 track tape machines - and had moved into full time record production. The Matt Haywoods offer meant that John Verity could get back out on the road again to promote the album, and touring always seemed to bring out fresh ideas ... 

"Interrupted Journey", released in 1982, was highly acclaimed in the UK, USA and Europe and successfully relaunched Johns performing career, and he once again took to the road. John was approached by many big name acts for recording and performing projects during this period - Mike Rutherford of Genesis wrote three songs for inclusion on the John Verity Band's next set of recording sessions, and both Keith Emerson and Greg Lake used John on their current recording projects. The next two albums "Truth Of The Matter" and "Rock Solid" were also well received, and John soon had offers to join various name bands including MSG, Ted Nugent, and Asia which he declined, deciding instead to come off the road to record an album with newly reformed Zombies. This project took the best part of a year and was mostly recorded at Mountain Studios, Montreux, Switzerland and finished in London.
After a short break John was soon back on the road again with John Coghlan's Diesel Band (Status Quo), in the UK and Europe, before reforming the John Verity Band for similar venues and recording in the UK.

In 1992 John decided to re-locate, away from his native Yorkshire to rural Bedfordshire and closer to friends from the Argent days. Since the move south the John Verity Band gigs have continued as ever, with different line-ups chosen from a shortlist of fine musicians. At the 1994 Manchester Festival "Fender Stratocaster 40th Anniversary" concert, John Verity guested, along with many Rock Legends past and present including Sonny Curtis, Frankie Miller and Rory Gallagher. John's performance of "Stay With Me Baby" was one of the high spots of the evening, bringing the capacity crowd at the Manchester Free Trade Hall to its feet.

He has also done vocal sessions for 3 episodes of the Granada series "Full Stretch" (1991) and another guest spot with the 'Strat Pack', for the Australia Day (1995) celebrations at the Hippodrome in London's West End. John's most major recent (1996) gigging project was a 32 date UK tour, opening the show on the Jools Holland Sex Jazz and Rock'n'Roll tour at major venues including Manchester Opera House, Birmingham Symphony Hall, and the London Albert Hall. After this, it was back to his regular gigging routine.

It's the year 2000 and the John Verity Band is still alive and kicking at venues throughout the UK and abroad. Catch them at a venue near you.

01. "Schoolgirl"
02. "5000 Miles"
03. "I Wish"
04. "People"
05. "Hitch-Hiker"
06. "Gimme Some Lovin'"
07. "So Hard, So long"
08. "It's Alright"
09. "Back On The Road Again"

Nobody's Business - S/T (Superb Engelsk Hårdrock, Deras enda Album Från 1978)

290:- (24-Bit Limited Remaster Edition. Okänt album för de allra flesta, Troligen pga av att albumet endast släpptes i Japan. Albumet innehåller hårdrock av högsta klass. Utgången utgåva och är i det närmaste omöjlig att hitta.)

Nobody's Business was formed in the summer of 1977 and was a ‘SUPERGROUP’ with a pedigree that shone brightly. Tasteful guitar licks, masculine bass playing that will constantly keep you alert, and an eager vocal performance...are at the heart of this album – and it's truly as simple and as classic as that!

This package is a treat for fans of hard rock!

Spreading across a bonus-stacked reissue of their one and only album. Nobody's Business emerge from this package sounding like the best band you've never heard of. 

One more in the long line of solid funk-rock bands led by onetime Procol Harum man Bobby Harrison, Nobody's Business pick up precisely where Snafu left off, with pulsating bass, contagious keys, and irresistible rhythms -- and one can only speculate why America didn't enfold them to its musical heart, especially when one remembers that bassist Tony Stevens was still relatively fresh from Foghat. 

Well, the fact that Nobody's Business was only released in Japan probably didn't help them, so the 2007 reissue isn't simply the album's CD debut, it's the Western premiere as well, the full original album plus a three-song demo that they recorded later in the year, in the hope of interesting Atlantic Records. They failed, but that's no reflection on the strength of the songs.

Band Members:
 BOBBY HARRISON (Procol Harum, Freedom, Snafu
 TONY STEVENS (Savoy Brown, Foghat, Rock Follies, Midnight Flyer
 JOE JAMMER (Olympic Runners
 JERRY FRANK (Session drummer extraordinaire).

01. Bleed Me Dry
02. Tell Me You Love Me
03. Losing You
04. Cut In Two
05. Living Up To Love
06. Looks Like I’m In Love
07. Unsettled Dust
08. White Boy Blue
09. Doing The Best I Can
10. Nobody’s Business

11. Rainbow Bend
12. Crucifer
13. Highway

Lyssna på bitar av albumet här: Nobody's Business

söndag 17 februari 2019

Country Joe & The Fish - Electric Music for the Mind and Body (Acid, Psychedelic Rock US 1967)

280:- (24-Bit limited Remaster Edition. Gruppens första album från 1967 och räknas som ett av de bästa psykedeliska albumen från USA. Endast detta exemplar i lager.)

Their full-length debut is their most joyous and cohesive statement and one of the most important and enduring documents of the psychedelic era, the band's swirl of distorted guitar and organ at its most inventive. 

In contrast to Jefferson Airplane, who were at their best working within conventional song structures, and the Grateful Dead, who hadn't quite yet figured out how to transpose their music to the recording studio, Country Joe & the Fish delivered a fully formed, uncompromising, and yet utterly accessible -- in fact, often delightfully witty -- body of psychedelic music the first time out. 

Ranging in mood from good-timey to downright apocalyptic, it embraced all of the facets of the band's music, which were startling in their diversity: soaring guitar and keyboard excursions ("Flying High," "Section 43," "Bass Strings," "The Masked Marauder"), the group's folk roots ("Sad and Lonely Times"), McDonald's personal ode to Grace Slick ("Grace"), and their in-your-face politics ("Superbird"). 

Hardly any band since the Beatles had ever come up with such a perfect and perfectly bold introduction to who and what they were, and the results -- given the prodigious talents and wide-ranging orientation of this group -- might've scared off most major record labels. 

Additionally, this is one of the best-performed records of its period, most of it so bracing and exciting that one gets some of the intensity of a live performance. The CD reissue also has the virtue of being one of the best analog-to-digital transfers ever issued on one of Vanguard Records' classic albums, with startlingly vivid stereo separation and a close, intimate sound.

Electric Music for the Mind and Body is Country Joe and the Fish's debut album. Released in May 1967 on the Vanguard label, it was one of the first psychedelic albums to come out of San Francisco.

Tracks from the LP, especially "Section 43", "Grace", and "Not So Sweet Martha Lorraine" were played on progressive FM rock stations like KSAN and KMPX in San Francisco, often back-to-back. A version of the song "Love" was performed at the 1969 Woodstock Festival.

"Grace" is a tribute to Jefferson Airplane's lead singer, Grace Slick.

The album was recorded during the first week of February 1967 at Sierra Sound Laboratories, Berkeley, California, by Robert DeSouza, with production by Samuel Charters. It was released on May 11, 1967, on the Vanguard label. Due to deterioration of the original master tapes, the album was remixed in 1982 and this remix was used for the original CD release in 1990; in 2013 a new two-disc deluxe version appeared which included both the original mono and stereo mixes. The liner notes to the 2013 version state that an outtake from the sessions, "Thought Dream", was later included on the band's follow-up, I-Feel-Like-I'm-Fixin'-to-Die.

Bruce Eder in a retrospective review for AllMusic felt that the album is "one of the most important and enduring documents of the psychedelic era". The album was included in Robert Dimery's 1001 Albums You Must Hear Before You Die.

Band Members:
Country Joe McDonald - vocals, guitar, bells, tambourine
 Barry Melton - vocals, guitar
 David Cohen - guitar, organ
 Bruce Barthol - bass, harmonica
 Gary "Chicken" Hirsh - drums

01. "Flying High" – 2:38
02. "Not So Sweet Martha Lorraine" – 4:21
03. "Death Sound Blues" – 4:23 - Labeled as "Death Sound" on the mono version of the album
04. "Happiness Is a Porpoise Mouth" – 2:48 - Labeled as "Porpoise Mouth" on the mono version of the album
05. "Section 43" – 7:23
06. "Superbird" – 2:04
07. "Sad and Lonely Times" – 2:23
08. "Love" (Joe McDonald, Barry Melton, David Cohen, Bruce Barthol, John Francis Gunning, Gary Hirsh) – 2:19
09. "Bass Strings" – 4:58
10. "The Masked Marauder" – 3:10
11. "Grace"
12. "Thing Called Love"