The finest selection of 14 rare US mid-60s moody diamonds! A compilation of 14 dreamy masterpieces written by teen heart-broken souls for sensitive and delicate moodsSide 11 The Weads - Don't Call My Name2 The Rumbles - Fourteen Years3 The Cobras - Goodbye4 The Soothsayers - Please Don't Be Mad5 Little John & The Monks - Black Winds6 The Front Page News - You Better Behave7 The Todds - Things I Will ChangeSide 21 Blue Boys - Why Did You Go2 Richie's Renegades - Don't Cry3 Jerry Waugh & The Skeptics - I Told Her Goodbye4 The Specktrum - I Was A Fool5 The Maltees Four - All Of The Time6 Brym-Stonz LTD. Times Gone By7 The Impacts - Don't You Dare. A Classic Motown Psychedelic soul album with one of the best singles ever 'War'In 1970, Motown producer Norman Whitfield was producing The Temptations' LP ' Psychedelic Shack'.
When the LP was released, it contained the song ' War'. College students all over the country began to write to Motown about releasing the song as a single. This is during the time when young college students began to protest about the war in Vietnam.
Motown decided not release the song on the Temps because of other plans they had for the group at that time.So Norman Whitfield asked Edwin Starr would he like to record the song. Edwin agreed because he hadn't recorded anything in over six months and was ready to get back into the studio.
The song was released in the summer of 1970 and became an instant million seller. Edwin would go on to win a Grammy in 1971 for ' War' for best R&B Male Vocal Performance. War & Peace' is by no means a psychedelic soul album but a mixture of classic Motown uptempo songs in the same vein as his two sixties classic albums 'Soul Master' and '25 Miles'.The music itself speaks volumes and 'War & Peace' whilst featuring the 'new' sound of Motown at the end of the sixties still managers to capture the excitement of his output during the sixties. (And Other Joys)01.Prahna-Life Force02.Shiva-The Third Eye03.Samadhi-Ultimate Bliss04.Hare Krishna-Hail Krishna05.Hatha-Sun And Moon06.Kundalina-Serpent Power07.Sahasrara-Highest Chakra08.Triveni-Sacred Not09.Shanti-PeacePersonnel:Tony Scott (vocals, clarinet)Collin Walcott (sitar)Recorded in February 1968. Originally released on Verve (8742). This is part of Verve's By Request series.
Tony Scott introduced Western audiences to the minimalist pleasure of shakuhachi flute and Japanese kora on his 1964 album. Four years later, the jazz clarinetist came out with this deeply meditative duet with sitarist Collin Walcott. Each track explores a different theme of yogic philosophy. The playful 'Hatha/Sun and Moon' pits the clarinet's lowest tones against the sitar's highest, suggesting the dynamics of yin and yang. 'Samadi/Ultimate Bliss' is a slow, droning dirge that evokes the stillness of enlightenment.
'Hare Krishna' is simply a Hare Krishna/om chant with simple sitar backing. This album will enliven any hatha yoga session, and sounds astonishingly fresh decades after it's first release.Biography:Since leaving New York in 1959, Tony Scott (a top bebop-oriented clarinetist) has been an eager world traveler who enjoys exploring the folk music of other countries. Unfortunately, his post-1959 recordings have been few, far between, difficult-to-locate, and sometimes erratic, but Scott was an unheralded pioneer in both world music and new age.Tony Scott attended Juilliard during 1940-1942, played at Minton's Playhouse, and then after three years in the military he became one of the few clarinetists to play bop.
His cool tone (heard at its best on a 1950 Sarah Vaughan session that also includes Miles Davis) stood out from the more hard-driving playing of Buddy DeFranco. Scott worked with a wide variety of major players (including Ben Webster, Trummy Young, Earl Bostic, Charlie Ventura, Claude Thornhill, Buddy Rich, and Billie Holiday), led his own record dates (among his sidemen were Dizzy Gillespie and a young Bill Evans) which ranged from bop and cool to free improvisations (all are currently difficult to locate), and ranked with DeFranco at the top of his field.Unfortunately the clarinet was not exactly a popular instrument in the 1950s (as opposed to during the swing era) and Tony Scott remained an obscure name outside of jazz circles. In 1959, he gave up on the U.S. And began extensive tours of the Far East.
He played Eastern classical music, recorded meditation music for Verve, and, other than some brief visits to the U.S, has lived in Italy since the 1970s where he has sometimes experimented with electronics. Scott Yanow, All Music Guide.
Philip Drucker, alias Jackson Del Ray, is a curious and somewhat mysterious figure whose music is undeservedly little known. Drucker was an art student who first came to most people's notice as a founding member of Savage Republic.
The band was initially musically primitive, with frequently out-of-tune instruments backed by percussion as simple as Drucker pounding on a 50-gallon oil drum, but there were hints of Greek and Middle Eastern music in their sound. As the band matured, these elements became more pronounced, but so did the rivalry between guitarist Bruce Licher and Drucker over who was in charge of the band. A close associate remembers that virtually every rehearsal ended with a bitter argument, or at least with one member of the band sulking in a corner somewhere.Drucker quit at least twice only to rejoin the band, and in 1982 he started a side project called Seventeen Pygmies with fellow Savage Republic alumnus Robert Loveless and drummer/vocalist Debbie Spinelli. Saint louis blues midi file. The release of the Hatikva EP in 1983 showed that the new band was vastly more sophisticated than the old and gave a strong clue regarding the source of the more interesting elements in Savage Republic's sound. The Middle Eastern stylings on Hatikva are much more pronounced, and both the songs and arrangements are much more sophisticated. Seventeen Pygmies released two more full-length records, Captured in Ice and Jedda by the Sea, which gradually moved away from the folk influences and toward a soft, distanced, and melancholy sound. Richard Foss, All Music GuideDrucker and Loveless launched a side band, 17 Pygmies, to delve into lighter, more melodic music than Savage Republic.
Retaining the group's tribal percussion and Arabic feel, they added electronic keyboards for Hatikva, an EP which crosses Emerson, Lake & Palmer's 'The Sheriff,' a spaghetti western soundtrack and a Caribbean rhythm fest. Only a thousand copies were originally pressed, but it was reissued by an Italian label. (Trouser Press)Hatikva was 17 Pygmies' first release. It came out on Resistance label RR-0001), in 1983, in a limited edition of 1000 copies.
Later (1988) reissued on the italian label Viva (REVI-003) again in 1000 copies and in 1995 on the Lazy Dog/Meshcalina Productions in Greece in a CD including Jedda By the Sea & Hatikva.Cover art by Robert LovelessHand Colored by The Pigs and Friends!!!Line-up: Jackson Del Ray, Michael Kory, Robert Loveless, Debbie Spinelli.SIDE 1Lawrence of ArabiaChild BrideChegancaSIDE 2To No AvailsVowscover of the italian reissue. After a coincidental 17 year absence, Jackson Del Rey and Louise Bialik have revived the 17 Pygmies name, returning with a seasoned elegance, not a vengeance as might be expected from hints by both Del Rey's vigorous 2005 release I Am the Light and for a collective once noted as a reference point to a young Godspeed You Black Emperor.In 2005 Philip Drucker released I am the Light as Del Rey & the Sun Kings, an album with some brutal in-your-face moments with rocking guitars and guttural vocals. It's the rare points of elegant beauty, however, like the instrumental 'Rose Garden (for Saadi)' which are reminiscent of a song like 'Kristalnacht' from Welcome, and perhaps it was the reception of a strong track like this which made him reconsider the 17 Pygmies thing.
I'm glad he did. 17 Pygmies resurfaced in 2006 with a 7' single 'Last Train'/'Mocha Polka.' The A-side with its drum machine and synth recordings hints more to the pop aesthetics of Captured In Ice period while the instrumental B-side is a fiery accordion, clarinet, drum and string jam. 13 Blackbirds is far more subdued, graceful, and tender.13 Blackbirds is the 17 Pygmies of Welcome, except there's no goofy interludes, Philip Drucker has reclaimed the name Jackson Del Rey and Jeff Brenneman (an original member of White Glove test) has joined Louise Bialik seemingly at the center of the group, once again joined by various other players of stringed instruments and singers.
While first listens immediately demonstrate the fantastic piano, guitar, and vocal work, they also show the group's very calculated arrangement—like the organic/acoustic and unique soul mashing like Blood-era This Mortal Coil and Lovetta Pippen-era His Name Is Alive—subsequent repeat listens over time bring out the great strength in the songwriting. Songs like the simple guitar and vocal 'Cras Amet' or the instrumental piano melody of 'Ubi Sunt?'
I can hear long after they're over while the string arrangement on 'Lila Pausa' is out of this world. The vocals of the song 'Lotus' are buried deep in echoes and reverb while prominent beats like some of the best Scala music from the '90s.Packaged in a very Constellation Records-looking earthy gatefold cardboard sleeve, 13 Blackbirds is packaged with 13 Lotus, a CD of 13 remixes and reinventions of the song Lotus by various artists. It's filled with a couple beat-friendly takes, like the 'Bum 'n Bass Drop' version by Freakshot and the hip-hop 'Notorious P.Y.G.'
Version from once 2Pac remixer Lea Reis. Jo Gabriel's sparse piano version is probably the most striking while Echo Wanderer give two echoey versions which are a throwback to the spacey dub/rock overlap that signalled the untimely end of shoegazing in the mid-'90s. It's a complete contrast to 13 Blackbirds but nothing is surprising me about 17 Pygmies now that they've surprised us all by their return.I'm excited that 17 Pygmies have returned. In an effort that isn't unlike their Welcome album, 13 Blackbirds/13 Lotus is quite ambitious. The payoff here I feel is far more enjoyable, however. If anybody's wondering where Debbie Spinelli ended up, her creepy group the Spirit Girls also have a release on the Trakwerx label. I hope that with this Trakwerx label the 17 Pygmies back catalogue will become available again, but as the notes say in the sketchy looking 1995 CD of Jedda By the Sea/Hatikva, my guess is that some of those masters are long lost.
Of course, you could always try digging around auction websites for this stuff but with the recently re-sparked interest in Savage Republic, the competition for this stuff will be fierce. With any luck 17 Pygmies are forming some sort of live ensemble, and in the age of myspace, they seem quite approachable and amicable, so a letter campaign to them probably can't hurt.
(Written by Jon Whitney)Links- in both Jackson Del Rey was involvedGo to to read more reviewsGo to for the above mentioned new releasesGo to to hear some songs from them. The Attack (thanks to an ever growing legion of collectors dedicated to the vibrant sound of mid- to late-'60s Swinging London) have a far larger fan base now than they ever did during their existence. Indeed their unique brand of guitar-heavy, mod-rock qualifies them as one of the finest examples of (the over used term) freakbeat. Hence over the last 15 years there has been an abundance of vinyl bootlegs and inclusions on such psychedelic/freakbeat compilations as Rubble! The founders Richard Shirman (the only original member to stay with the group throughout all of the lineup changes) and Gerry Henderson were originally in a group called the Soul System, whom, for the best part of a year, had a very unstable lineup. In early 1966, the remnants of the crumbling group were joined by Bob Hodges on organ, David John (not David John of David John & the Mood, but Davy O'List under alter ego) on guitar, and Alan Whitehead (on loan from Marmalade) on drums.They soon came to the attention of entrepreneur (gangster?) Don Arden, who then signed them to Decca and changed their name to the Attack.
Their debut single released in January 1967 was an extremely anglicized cover of 'Try It,' an American hit for both the Standells and Ohio Express, whose versions were exemplar of the sneering garage sound. However, the Attack's powerful vocals, pop art guitar, and the underbelly of a warm Hammond created a similar atmosphere to the Small Faces (also managed by Don Arden), the Birds, and the Creation.Shortly after the single was released, Davy O'List was handpicked by Andrew Loog Oldham to join the Nice (who were to act as the backup group for newly acquired American Soul singer P.P.
Arnold) and quit the group in late February. Meanwhile, Shirman, a regular visitor to the London clubs had been keeping a watchful eye on a young guitarist he had seen jamming with Jimmy Page. Shortly thereafter John Du Cann (mainstay, and songwriter) was introduced into the group. As a follow-up to 'Try It,' a version of 'Hi-Ho Silver Lining' was then released, but Jeff Beck got the hit first in Britain in 1967. The third 45, 'Created By Clive'/'Colour of My Mind,' backed a foppish sub-Kinks-style number with a fairly groovy mod-psych tune penned by DuCann. Kenny Harold (bass) and Geoff Richardson (guitar) left shortly after the disappointment of 'Created By Clive,' leaving John as the only guitarist. Jim Avery (who later went on to the revolutionary Third World War) was drafted in on bass, with Plug (whom later went on to Welsh acid rock outfit Man) still on drums.
After yet even more disappointment surrounding the 'Magic in the Air' single (Decca refused its release on the grounds of it being too heavy), Plug and Jim Avery left the ranks to be replaced by Roger Deane (bass) and Keith Hodge (drums).The final single, released in early 1968, was 'Neville Thumbcatch,' a fruity mod-pop tune with spoken narration, like a lesser counterpart to Cream's 'Pressed Rat and Warthog.' Decca's deal with the Attack expired after that single, with a projected fifth 45, 'Freedom for You'/'Feel Like Flying,' remaining unreleased. Both sides of that single, as well as seven Attack demos recorded around that time, are included on Angel Air's CD reissue of the rare 1968 album by the Five Day Week Straw People, a studio-only outfit that was led by DuCann.DuCann became the dominant creative force in the group prior to their 1968 breakup, and the likes of the unreleased 'Mr. Pinnodmy's Dilemma' and 'Strange House' showed the group developing a heavier rock sound, although still maintaining a sense of British mod-psych whimsy. DuCann would continue to explore a heavier direction with his subsequent group Andromeda, and joined Atomic Rooster in the '70s. Jon 'Mojo' Mills, All Music Guidelisten to the attack here:them there:Download Link. The Bruthers:The Bruthers were actually real brothers: Alf Delia (who wrote most of the original material they recorded, including 'Bad Way to Go'), Frank Delia, Mike Delia, and Joe Delia.
The Pearl River, New York quartet had started performing in the early 1960s, and by the mid-'60s hooked up with manager Sid Bernstein, who also handled the Young Rascals and the Blues Project (as well as promoting mid-'60s New York City concerts for the Beatles). The single made no commercial impact, depending upon revival from garage collectors to reach a bigger audience, starting with its inclusion in the Pebbles series, and culminating with a full CD on Sundazed in 2003 that matched both sides of the single with RCA outtakes and some demos from 1965 and 1967. After the Bruthers broke up in 1967, keyboardist Joe Delia went on to play as a sideman for numerous acts, playing and arranging David Johansen's 1987 hit 'Hot Hot Hot,' and scoring many feature films, documentaries, and TV series. Guitarist Frank Delia eventually directed videos for the Ramones, Wall of Voodoo, and Jefferson Starship, as well as some episodes for television series. May Blitz (alongside Rory Gallagher's Taste) were among the first of the newly formed hard rock power trios to take up the challenge of Cream and the Jimi Hendrix Experience; that is, making the biggest possible noise with the smallest available lineup, but never losing sight of melody and finesse while they did so. Certainly anyone catching their early live show was guaranteed to leave with their ears ringing but their brainbox humming, and the band's debut album was a seamless reiteration of their in-concert impact, all the way down to the extended riffing and miniature solos.
May Blitz's strongest point, in terms of audience recognition, was drummer Tony Newman, and fans of the jazz-inflected style that he injected into the Jeff Beck Group certainly won't be disappointed by what they find here — indeed, with guitarist James Black beside him, it's not difficult to compare May Blitz to the Beck band's Beck-Ola, and find the better-known disc come up wanting every time. The epic 'Smoking the Day Away' kicks things off in dynamic form, laying down the grinding, almost proto-metallic assault that was May Blitz's raison d'etre; later in the set, 'Dreaming,' 'Virgin Waters,' and 'Squeet' all howl with a vengeance that might sound a little old-fashioned today, but was breathtakingly fresh at the time. Even better is 'Fire Queen,' which essentially blueprints the best parts of every metal act from Judas Priest to the Cult, except it doesn't hang around long enough to spoil the effect. Rather like May Blitz themselves, in fact. Track List:01 Don't Need Your Lovin'02 No Way Out03 It's All over Now, Baby Blue04 I'm Not Like Everybody Else05 Misty Lane06 Loose Lip Sync Ship07 Are You Gonna Be There (At the Love-In)08 Gone and Passes By09 Sitting There Standing10 She Weaves a Tender Trap11 Sweet Young Thing12 I Ain't No Miracle Worker13 Blues ThemeThe Chocolate Watchband were one of the most important garage bands of the '60s, which makes the lack of an in-print anthology of their work all the more puzzling. Sundazed has released their three albums with copious bonus cuts and Rhino had a nice compilation in the early '80s, but is now out of print.
44 is a decent overview of their best cuts, including the rare singles released as the Hogs. Brian Downing, All Music GuideBiography:The Chocolate Watchband never charted a record nationally. Indeed, ask most casual 1960s rock fans about them and you'll probably get little more than a blank stare. Most will remember their AVI Records labelmates the Standells more clearly, because they actually managed to chart a few singles.
Alas, the Watchband had the disadvantage of being a punkier band than the Standells, and suffering continual lineup changes. The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969, sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband.
A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc. Bruce Eder, All Music Guide. One of the rarest psych/prog albums recorded by a Spanish band in the early seventies.
A world class item featuring spaced vocals, effects, astonishing guitar work, flute.Orginally released in 1971 on the Dimension label it has a ghostly, surreal atmosphere and is reminiscent of early Pink Floyd & Group 1850 with acid folk chucked in for good measure/madness.Line upArturo Domingo: bass and vocalsAlfonso Bou: guitars, vocalsPedro Van Eeckhout: drums, percussionGuillermo Paris: vocals, fluteOne of the pioneers of the Spanish Progressive, in the vein of the psychedelic-prog ambience. A band with a high instability in its line-up that didn't let it to become an important one. Iglesias (Revista Atropos)Spain isn't the first place you think of for psychedelic gems, and especially not during the Franco regime, but Pan & Regaliz pulled off such an album, in 1971, during Franco's regime.
This album was thought of as sounding like Jethro Tull's Stand Up under the influence of acid.Strange psychedelic sounds can be heard in the background to many of the songs. And while released in 1971, the music has a more late 1960s feel. All the vocals are in English. Some of my favorites include 'I Can Fly', 'One More Day', 'Today, It's Raining', 'Waiting in the Monster's Garden', and 'Thinking in Mary'. A wonderful album that really took me be surprise. Also, this album is very rare and collectible, but if you can track down a copy, you too will be pleasantly surprised.The first incarnation of Agua de Regaliz released a first single with the historic Els 4 Vents.
Then, they decided to sign a better contract with Dimension label and change the name to 'Pan' and eventually to 'Pan & Regaliz' for the people to identify them with the first band. They had contract problems with the label but that was not a problem to record and release their only long play 'Pan y Regaliz, featuring now Pedro Van Eeckout on drums. They recorded eight songs in english in a progressive psychedelic style, very unusual in Spain. Songs like 'Dead of love', 'Thinking in Mary' and 'A song for a friend' were made thinking of a single in the purest psychedelic pop style with Jethro Tull touches. But songs like 'One more day', 'When you are so bring down', 'I can Fly' and the experimental ones like 'Waiting in the Munster's Garden' and 'Today it is raining' make this record highly recommendable. E special touch of Guillen Paris on flute and the way that he modulates his voice, in addition to the excelent contributions of the other muscians, make this record one of the best in that time, and it has nothing to miss from any Krautrock or English prog band.
Manuel DachadaDownload Link. This is another long OOP Lp from Voxx, that never reissued. Recorded in Albuquerque, New Mexico and released in 1985 from Voxx (and Lolita in Europe).
The band (never seen performing live, as mentioned in 'Knights of Fuzz') maybe had the 'curse of Voxx' i.e disbanding right after the release of their album, or maybe was an one-off only project.The album kicks off with 'Fly Tonight', a crazed garage track, followed by the 6 minute-long title track, which speeds up and slowes down, complete with an eastern scale solo from the Vox organ of the leader Bob Fountain. The highlight is 'She's so wild', another speeding-slowing track, with a superb guitar-organ dialogue. The speedy instrumental 'Go-Go 85' closes the a-side.
The b-side runs in the same vein with 3-minute songs, delivered straight from 1966, full of teenage fever and naive lyrics, with 'Tell me why' and 'One Last Kiss' outstanding, and closes with the calmed-down 'Bittesweet', up-lifting, almost pop-psych tune that features a nice guitar solo.To my ears, this one stands side-by-side with the teenage garage anthems of the Pebbles or the Moxie records, which apparently the band had studied very well, alongside with the? And the Mysterians. Its garagey, vox organ-dominated sound, the tempo changes and the very american backing vocals are refreshing enough for me.Line-upBob Fountain: Vox orgn, lead vclsLarry Otis: gtr, vclsNancy Martinez: bs, vclsRichard J.Perez: drms, vclsAt the top of this post is the Lolita cover and right above is the Voxx coverP.S. Although I don't post something already posted, I made an exception for this: It was posted in July 2006 in the TwilghtZone blog. Not only the link is long gone, but my dearest RYP has a review from an (Amazon?) listener, that totally dismissed it as '80’s retro garage band who if they had heard The Fuzztones, The Morlocks or Plan 9 before going into the studio they would have realised they were in the wrong job'. Well, this record slipped in my head in a summer night of 1985 and it's there since then. I felt that I ought to give it a chance.P.S.2 This is my rip, not RYP's.
Original Group Members:Album 'Straight Ahead! The GoldeBriars'From left: Curt Boettcher, Dotti Holmberg, Sheri Holmberg & Ron Neilson“The GoldeBriars”-An innovative folk-pop-rock group of the 1960s. On the Brink of SuccessStarving, Laughing, CryingTheir important role in the Birth of Sunshine PopYou have now beamed yourself back into the 'Sunshine pOP' era of the sixties where you will get to know THE GOLDEBRIARS, a 1960s group who recorded 41 songs with Epic Records & with two released albums: 'The GoldeBriars' & 'Straight Ahead!' 'Straight Ahead' (Epic #LN24114 & BN26114 (Stereo & Mono) released Aug.
The Goldebriars made a couple of obscure pop-folk albums for Epic in 1964. The group is notable not for their pleasant yet lightweight music, but for the inclusion of a few members who subsequently went on to much more significant projects in rock after the band broke up.
The most prominent of these was Curt Boettcher, producer and performer of some of the most highly esteemed California sunshine pop of the '60s with the Association, Sagittarius, and the Millennium. Future Music Machine drummer Ron Edgar was also in the Goldebriars briefly in their final days, although he did not play on either of their albums. Vocally, the Goldebriars were built around two sisters, Dotti Holmberg and Sherri Holmberg. At one point, the Goldbriars had three women and Boettcher singing, which, according to the liner notes for their second and final album, 'made the group sound very much like the Lennon sisters doing work songs.' That's not the kind of selling point anyone would want to push too hard and the non-sister female vocalist left the group, though that might not have corrected the female-male imbalance too much, given Boettcher's own higher-than-average male vocals. Boettcher played guitar and arranged for the Goldebriars, and some hints of the stratospheric vocal blends he would specialize in on his later pop/rock productions can be heard in the group's harmonies. The two Goldebriars LPs, however, are twee period commercial folk music from the tail end of the folk revival, the vocals and arrangements sounding inventive at times, but gratingly precious at others.
As was often the case on such folk-pop efforts, there was an almost desperate variety show eclecticism of repertoire, including original material, ethnic songs, protest tunes, traditional folk songs, and spirituals, given a somewhat whitebread treatment. As some other obscure circa 1964 LPs did, there were oh-so-vague hints of a rock rhythm on some of the Goldebriars' material, particular on their second album, Straight Ahead!, which actually had some lightly stroked drums. Ron Edgar has recalled that Boettcher wanted to make the Goldebriars an electric folk-rock group, at a time when the Byrds' 'Mr. Tambourine Man' had yet to become a hit and codify the style. In fact, toward the end of their life, the group did have an electric bass player, lead guitarist, and drummer (Edgar), and made an unreleased album using electric rock instrumentation. Until or unless that material gets released, however, it won't be possible to judge how innovative that incarnation of the band was.
After Edgar left the Music Machine, he did collaborate with Boettcher again on recordings by the Millennium and Sagittarius later in the 1960s. Rising from teen girl band ashes known as the Tremolons, guitarist-gal rocker visionary Char Vinnedge put together the Luv'd Ones, Dunwich's only all-girl punk group. But the Luv'd Ones were no mere boy toys with instruments; under Vinnedge's direction, she wrote the dark, somber originals, played lead guitar and generally directed the band in the male-infested waters of mid-'60s rock & roll. That their siren song was unheard 'til now (a small batch of singles only) is no reflection on their material or their talents, both in abundance on this excellent 20-track compilation. Largely comprising unissued demos and long lost sessions (their sides as the Tremolons are on a separate Sundazed vinyl EP) and all of it steeped in fuzztoned swirls of sound, this is a pretty amazing little collection of DIY female punk spirit done just right. A missing chapter in rock & roll history.info:allmusic.com. 01 You're A better Man Than I02 Saturday's Son03 Feathered Fish04 Baby Show The World05 Tomorrow's Gonna Be Another Day06 Take My HandReview:Six of their rare songs, probably dubbed from the vinyl of the original singles.
Edwin Starr War Lyrics
'Baby Show the World' is first-class psychedelic raunch; 'Take My Hand' is a poppy number with nice harmonies that sounds kind of like a raw, garage-psychedelic Monkees; and 'Saturday's Son,' their best track, is a taut, Love-ish rocker with both harmonies and hard-driving guitars. Things get even more Love-ish, naturally, on their cover of the Arthur Lee-penned 'Feathered Fish,' which guitarist Randy Holden would also record with his next band, the Other Half. This seven-inch EP reissue is hard to find these days, but is definitely worth picking up if you're into rare psychedelia or garage music, as they were one of the best California bands that didn't last or succeed for one reason or another. by Richie UnterbergerBiography:Releasing a few obscure singles in the mid-'60s, this Los Angeles psychedelic band is primarily remembered for just two things. Their guitarist, Randy Holden, went on to Blue Cheer, and they recorded an Arthur Lee composition, 'Feathered Fish,' which Love never released in their own version. The slim evidence that survives on record suggests they were a good band, though, striking a midpoint between garage pop and California freakouts, and employing distortion and feedback when those traits were still innovative.
Their material has been very hard to come by, although an EP reissue appeared in 1980s; someone should reissue their singles on CD, or pad them out with any available unreleased tapes to make an album compilation. by Richie Unterberger. The House on the Hill is Audience's strongest effort, made up of simple, elegantly arranged songs, focusing around Howard Werth's 'electric classical' guitar and Keith Gemmel's tenor sax and clarinet. 'Jackdaw' has Werth showing off his vocal range by hollering out the chorus in full force. 'Raviole' is an instrumental piece painted with lovely acoustic guitar and is one of the real gems on the album. There's not a lot of meat on each of the songs, but the use of flute and vibraphone give this album a unique feel and is deemed interesting mainly for that purpose. The overall atmosphere is quite comfortable, and the hypnotizing effect aroused from the woodwind instruments creates an absorbing mood one might not expect to find here.
Snippets of jazz fusion make up the title track, overlapped with some rich saxophone playing. After a few listens, this band slowly rises from being heard to being enjoyable. Galliard set out as an extremely eclectic band on Strange Pleasure. They juxtapose a woodwind/horn section slyly with rural compositions, creating a pastoral, even medieval atmosphere, starkly contrasting to nervously urban passages, although they borrow from Art Nova's Wrapped Her In Ribbons and give the credits to Geoff Brown. An interesting effort. New Dawn is even more schizophrenic.
Hosts of wind parts over a tight rocking backdrop are estranged with naggingly dissonant sitar on the highlight Ask For Nothing, a strongly philosophical number. If you can stand some horns, these are worthwhile albums to own. The single has a non-album B-side. According to legend, out of his mind on, told to play the first half of the song like his mother had just died, and then the second half as if he had found out she was alive.
The result was the 10-minute guitar solo for which Hazel is most fondly remembered by many music critics and fans. Though several other musicians began the track playing, Clinton soon realized the power of Hazel's solo and faded them out so that the focus would be on Hazel's guitar.
The entire track was recorded in one take.In March 2005, Q magazine placed 'Maggot Brain' at number 71 in its list of the 100 Greatest Guitar Tracks, which I personal think is not fair as it should be at least at top 20! Maggot Brain is a 1971 album by the American band. It was released on. The music swings through, and, with tremendous variation between each track.In 2003, the album was ranked number 486 on magazine's list ofTrack listing1. 'Maggot Brain' (George Clinton, Eddie Hazel) – 10:202. 'Can You Get To That' (Clinton, Ernie Harris) – 2:503. 'Hit It And Quit It' (Clinton, Billy Bass Nelson, Garry Shider) – 3:504.
'You And Your Folks, Me And My Folks' (Clinton, Judie Jones, B. Worrell) 3.365. 'Super Stupid' (Clinton, Hazel, Nelson, Tawl Ross) – 3:576.
'Back In Our Minds' (Fuzzy Haskins) – 2:387. 'Wars Of Armageddon' (Clinton, Tiki Fulwood, Ross, Worrell) – 9:42Line upLead Guitar: Eddie HazelRhythm Guitar: Tawl RossKeyboards: Bernie WorrellBass: Billy NelsonDrums: Tiki FulwoodVocals: Parliament, Gary Shider, Bernie Worrell, Tawl RossWhat can I say, everyone should own this album. 'Maggot Brain' may be Eddie's finest moment ever. The lyrics are particulary poignant and clever, especially 'Can You Get To That' and 'You And Your Folks.' Bernie really becomes a dominant force on this album, with his organ adding texture to the acid/R&B guitar stew. Did I mention the beautiful singing? No Funkadelic album would be complete without a freakout song, and 'Wars of Armageddon' fits the bill here.
It sounds like they pulled out a sound effects album and got funky with it. 'Maggot Brain' was written when George asked Eddie to think of the saddest thing he could, to imagine his mother dying. George faded out the rest of the band when Eddie played this, because they weren't playing as well as Eddie, and the result was excellent. The album is Funkadelic at its best in that it's impossible to predict. It starts with a psychedelic solo guitar piece, moves on to a gospel-inflected soul-stirrer, continues with a hard-rock organ-driven tune, swings toward a politically charged soul-gospel piece, soars with one of the first heavy metal tunes in history, moves back into the political realm with a touch of taste and a horn influence, and concludes with a freakout as bizarre as anything ever recorded. This kind of heavy eclecticism would be seen on several of the next Funkadelic albums, but this one is my favorite.' Maggot Brain' is the greatest instrumental the band ever recorded, owing everything to the genius of Eddie Hazel, who makes listening to the piece an exhausting, terryifying and exhilarating experience.
'Can You Get To That', yet another rewrite of a Parliaments song, starts off with acoustic guitars, giving more of an emphasis to Bernie and his organ, with some of the best singing and lyrics on the album. 'Hit It & Quit It' is a Worrell showpiece, featuring his vocals and dominated by that heavy organ sound. Hazel's solo at the end is excellent.
'You And Your Folks.' Is a sequel of sorts to 'I Got A Thing.'
Edwin Starr War & Peace
, with impassioned lyrics about the poor and the irresistable 'yeah, yeah, yeah' chant. 'Super Stupid' is a high-powered Hazel metal tune, with a still-tasteful if over-the-edge swooping solo. 'Back In Our Minds' settles the whole angry stew down, with Environmedian J.W.
Jackson playing jew's harp. He would open for Funkadelic on many occasions, doing a stand-up routine. Just when everything has settled down, they finish it with the utterly bizarre 'Wars of.' , a song that has a great Hazel jam, a ton of sound effects, commentary on urban society, lyrics that include 'more power to the peter, more power to the pussy, more pussy to the peter', and much, much more.
Buy this album now if you don't own it!Download Link. Personnel:COLIN FORSTER gtr AJOHN FORD bs A B CELMER GANTRY vcls, gtr A B CRICHARD HUDSON drms A B CJOHN JOYCE vcls CALBUMS:1(A) ELMER GANTRY'S VELVET OPERA (Direction 8-63300) 1967 R12(C) RIDE A HUSTLER'S DREAM (CBS 63692) 1969 R1NB: (2) Credited to Velvet Opera. (1) reissued on CD (Repertoire REP 4495-WP) with their six non-album 45 cuts. Also of interest is The Very Best Of (See For Miles SEECD 437) compilation, which compiles tracks from both albums, alongside single tracks and four previously unreleased songs. Fans may also be interested in a mini-LP Elmer Gantry's Velvet Opera (Apothecary SORCERY 001), which contains a 1968 BBC Saturday Club session alongside an acetate version of Flames.45s:1 Flames/Salisbury Plain (Direction 58-3083) 19672 Mary Jane/Dreamy (Direction 58-3481) 19683 Volcano/A Quick 'B' (Direction 58-3924) 1969This Coventry band are best remembered for hard rock single, Flames, a cut from their first album which narrowly missed the charts in 1967.
The track was also featured on The Rock Machine Turns You On compilation LP. Featuring Richard Hudson and John Ford of The Strawbs and Hudson-Ford fame the album was full of variety spanning Motown, pop-psych and harder rock genres. Other tracks which catch the ear include the laid back Oscar Brown song I Was Cool, the instrumental Walter Sly Meets Bill Bailey, the Eastern-influenced sitar-based Air, the Beatlesque What's The Point Of Leaving, the melodic Long Nights Of Summer and two tracks - Dream Starts and Reactions Of A Young Man - which veered towards psychedelia.For the later single, Volcano, they shortened their name to Velvet Opera and also recorded a second album under that name. Although a popular underground band, commercial success eluded them. Ford and Hudson joined The Strawbs when The Velvet Opera disintegrated.
In the seventies Elmer Gantry was in Stretch.The Very Best Of Elmer Gantry's Velvet Opera (See For Miles SEECD 437) 1995 includes the 'best' of their first album alongside material from Ride A Hustler's Dream, their more progressive second effort recorded under the name Velvet Opera and four previously unissued cuts of which Talk To The Devil is a superb slice of freakbeat from an obscure movie of this name. This stands alongside Flames, their best known cut, as their finest moment on a CD which includes covers of Statesboro Blues and Eleanor Rigby.Artefacts From The Psychedelic Dungeon CD also features two cuts from a session the band did on John Peel's 'Top Gear' around 1968: their best known number, Flames, and a version of Hendrix's All Along The Watchtower.
Other compilation appearances have included:- Air on Electric Psychedelic Sitar Headswirlers, Vol. 2 (CD); Mother Writes, All Along The Watchtower and Mary Jane on Hard Up Heroes, Vol. 2 (CD).TRACKLIST1 Intro2 Mother Writes3 Mary Jane4 I Was Cool5 Walter Sly Meets Bill Bailey6 Air7 Lookin' For A Happy Life8 Flames9 What's The Point Of Leaving10 Long Nights Of Summer11 Dream Starts12 Reaction Of A Young Man13 Now She's GoneBonus Tracks14 Flames, Single Version15 Salisbury Plain16 Mary Jane, Single Version17 Dreamy18 Volcano19 A Quick 'B'.