sabato, aprile 30, 2011
venerdì, aprile 29, 2011
From RYM (rnrguy)
giovedì, aprile 28, 2011
On this, thier second album the liner notes read like a tombstone (right down to the R.I.P.) they must’ve felt it was their last at the time. As it happens, there is in fact an Ep (Tasteful) and another album to come.
Think about all the times you’ve been listening to a Blood, Sweat & Tears album and you thought to yourself “you know, I wish these guys were about a hundred times more awesome”, And if they were, you’d be listening to this.
Admittedly the vocalist on this album has a curious voice,
On the other hand, he sings in tune, unlike the other vocalist who has a more agreeable timbre but a tendency to sing flat. But why am I discussing such things when I could be telling you how totally awesome this album is. The early seventies were full of inspiring young men who never let lack of ability prevent them from succeeding as a rock singer - we should be proud.
Song highlights include "Alright in the city", "Aire of good feeling", "My michelle chan"
From RYM (koha)
mercoledì, aprile 27, 2011
From RYM (tymeshifter)
martedì, aprile 26, 2011
From RYM (hdfish)
lunedì, aprile 25, 2011
domenica, aprile 24, 2011
From RYM (levgan)
sabato, aprile 23, 2011
venerdì, aprile 22, 2011
From RYM (marchbanks)
giovedì, aprile 21, 2011
mercoledì, aprile 20, 2011
From RYM (rixsta)
martedì, aprile 19, 2011
lunedì, aprile 18, 2011
From RYM (tymeshifter)
domenica, aprile 17, 2011
sabato, aprile 16, 2011
venerdì, aprile 15, 2011
giovedì, aprile 14, 2011
these six employees of Ringling Brothers Barnum & Bailey Archies offshoot put on white greasepaint/ black teardrops and kicked it out.
Their music is unlike Filmation's HARDY BOYS, Andy Kim, and Spanky & Our Gang. Mild soul, watered-down psych, and bubblegum goodness.
Kinda freaky gatefold where one guy looks just like Bruce Johnson of The BeachBoys. Of course there are 2 girl sings who look like Betty & Veronica of course. And there's good 'ol Barry looking like a giant Lurch standing at the back.
Great songs and at times great guitar work, no doubt performed by studio musicians.
Perfect addition to your wall of lps.
From RYM (kupa99)
mercoledì, aprile 13, 2011
The British cd reissue includes bonus songs, some very good Les Baxter instrumentals, and 3 alternate versions of "the River Is Wide", really different from the main version.
From RYM (crissmass61)
martedì, aprile 12, 2011
Lead by Sebbo (who played lead guitar with a clubbed right hand) and Walters they were apparently quite an impressive live act becoming staples around Kansas City Westport district club circuit, collecting a cult following with performances at The Art Institute, The Place, etc. The band made their recording debut with the 1968 single 'Good Time Music' b/w 'I Put A Spell On You' (Brass catalog number 421).
The following year saw them attract the attention of ABC's newly formed progressive Probe subsidiary. Co-produced by Dick Weissman and John Turner, 1969's "The Mystic Number National Bank" had it's moments. The emphasis was clearly on blues-rock, but there were stabs at other genres including pop ('Ginger Man'), and even one forlorn ballad ('Umbrellas'). While there wasn't anything wrong with a blues-rock band, by 1969 popular tastes had already begun to move on and unless you brought something really unique to the table, your chances of breaking out were pretty slim. Needless to say, these guys didn't have that unique ingredient. The overall feel was of an album that had been recorded in a rush without enough prep time for the band, or post-production work. Many of the songs sounded like they'd been recorded in one or two takes, complete with flubs and sub-par performances. Hard to imagine that anyone was very happy with something like the instrumental 'AC/DC'.
- The appropriately titled 'Blues Jam' was exactly that - a routine Chicago electric blues instrumental number. Imagine a Paul Butterfield Blues Band outtake ... Absolutely nothing special going on here and 30 second later you wouldn't remember a thing about it. rating: * star
- 'Good Love' introduced Glenn Walters' raspy voice on an okay blues-rocker. The horns didn't really add a great deal to this one, but there was some nice fuzz guitar that offset the other shortcomings. rating: *** stars
- One of two songs penned by guitarist Bob Sebbo, 'It Will Break Your Heart' was a weird country-rocker. I don't know if Sebbo handled the vocals, but whoever it was turned in one of the most mannered deliveries I've ever heard. The way he drags out the title track simply has to be heard ... rating: *** stars
- The group penned instrumental 'AC/DC' basically served as a platform for guitarists Dave Lorenz and Bob Sebbo to wonk off for two minutes. The result was some of the least impressive soloing you've ever heard on a major label rating: * star
- The traditional blues number 'St. James Infirmary' has to be one of the dullest songs ever written and these guys added to that tradition with their extended, eight minute cover of the track. rating: ** stars
- Side two started out with the album's most mainstream rocker 'Beautician Blues' which is probably why it was tapped as a single. rating: *** stars
- Unlike anything else on the album. 'Umbrellas' found the band taking a stab at a sensitive ballad ... Um, nice try, but not a good genre for them to have pursued. The song itself had a gentle and pretty melody, but Walters gruff voice just wasn't a good match for the track. Perhaps they should have left it as an instrumental. rating: ** stars
- For what it's worth, I'd pick their cover of Geoff Mulduar's 'Ginger Man' as the album highlight. They gave the tune a surprisingly commercial spin and it would have actually been a better choice for a single than 'Beautician Blues'. rating: *** stars
- Penned by Sebbo, 'Big Boy' found the band taking on cocktail jazz ... Seriously, this one sounded like something they might have played at a local Marriott hotel. rating: ** stars
- And for the closer, back to Chicago-styled electric blues via 'Blues So Bad'. Giving credit where due, this group composition actually sported a little bit on energy. Hearing it in a small club after a couple of beers probably would have made it quite entertaining. rating: ** stars
Probe also tapped the album for an instantly forgotten single:
- 1969's 'Beautician Blues' b/w 'St James Infirmary' (Probe catalog number 457)
Sure, these guys had some talent and from what I've read, they were actually a fairly impressive live act. That said, you've got to wonder what Probe was thinking when they decided to release this one.
And that was it for these guys.
Booth died of a brain aneurysm.
No idea what happened to Lorenz.
Sebbo apparently still plays guitar, though he's retired and living in Wisconsin. He has some entertaining YouTube clips (check out Bob Sebbo and the Naughty Combo).
Walters briefly reappeared as a member of Stoneface, before recording with The Hoodoo Rhythm Devils. He then moved to San Francisco where he remains active in music having recorded a couple of solo albums and playing local events with The Glenn Walters Band (yes, they're available for weddings).
From RYM (ochsfan)
lunedì, aprile 11, 2011
domenica, aprile 10, 2011
With the introductory paragraph attempting to lay down my perspective and appreciation for this prog scene, it is almost a paradox to state that often the best moments of Still Point are when the band are at their poppiest. The band was certainly not averse to a catchy refrain: 'On My Way to Heaven', '12-lb Toothbrush' and 'Goodbye Lollipop' are all tracks that are likely to get stuck in your head even after few listens. 'On My Way to Heaven' is actually a pretty weird pop song - the phasing effect of the half-whispered vocals, sitting atop a floor of oohing harmonies is a pretty weird effect for what turns out to be a fairly catchy refrain. 'Goodbye Lollipop' is a completely unashamed pop song which was released as a single, and a pretty good one at that. The band's most famous track '12-lb Toothbrush' is a far proggier affair with an extensive instrumental midsection, but the silly "na na..." intro and coda nailed it in listener's minds and this is its enduring legacy. Trivia warning: the title of course has nothing to do with the content of the track, but was purely chosen as the band wondered what it would be like to have a ridiculous track title announced on radio. They of course got their wish. Personally I think the track is a little disjointed: the shifts between the poppy intro/outro, straight-ahead blues rock main theme and the psychedelic wandering prog instrumental break are all unnatural, but the track is still very good if you accept this minor flaw.
'Salmon Song' is probably the only track here that could be considered as genuine prog: a gently developing guitar riff, reinforced with some decent keyboards, carries it through its almost vocal free length of eight minutes. Elsewhere the remaining tracks are fairly forgettable, ranging from pseudo-prog tracks with naff refrains ('Helper', 'Listen to the Morning Sun') to pseudo-prog tracks with refrains that aren't quite so naff ('Song for Little Earnest). Okay not so much range with these three tracks, but you get the picture. Still I think the other four tracks I singled out take this album to a respectable 3.5 stars.
From RYM (Bitterman)
sabato, aprile 09, 2011
Side 1: "Strange streets", "Give me love to Anne", "Someday if you're lucky", "Above market street", "Old time movies"
Side 2: "Nanny's song", "Ride the waves", "Catch you next time 'round". "Eyes"
From RYM (greenback)
Out There TonightIf not for White Witch, I don't know if Capricorn would have ever started signing bands like this. They're not as heavy or camp glam as WW, but they do get a bit spaced out with their synth & the songs are odd. The singer (Garfield French) sounds like a British Sal Valentino mixed with a touch of Paul Williams.
From RYM (thelatepetercook)
venerdì, aprile 08, 2011
giovedì, aprile 07, 2011
Flamengo were a sax and organ driven heavy prog band from Prague. There are elements of beat, psych, and regular old rock in their sound, but the compositions and arrangements are more than complex enough to satisfy prog fans, and there’s enough energy in the performances that I could see them appealing to punkers in the same way that Van der Graaf Generator sometimes did. There are a couple of acoustic tracks, but the emphasis is on raw power prog. Great singing, great playing, what more could you want?
From RYM (dnieper111)
mercoledì, aprile 06, 2011
martedì, aprile 05, 2011
lunedì, aprile 04, 2011
From RYM (tymeshifter)