lunedì, giugno 27, 2011

Gash - A Young Man's Gash (1972 kraut prog germany)

Gash - A Young Man's Gash
This album is an unexpected surprise! I can think of few albums that start so horribly and end so incredibly! “Angel and Mother” is SO appalling on every level (soppy music, terrible lyrics, cheese-grater-to-the-eardrum vocals) it nearly made me want to throw the disc out of the window when I first heard it! But I stuck with it through the balance of the A-side (“Twentyone Days” is nearly as bad, but “In The Sea” is slightly better, sounding like one of Jane’s cast-offs) to make it to the “A Young Man’s Gash” suite. People, let me tell you this is one of the most amazing, fascinating and one-of-a-kind half-albums I have ever heard! It almost sounds like a completely different band! A blend of haunting rock & roll, orchestration and dark textures (the crazed screaming in Part 2 makes this a must to play around Halloween time!) that sound like nothing else I’ve heard before or since. Wow! Worth hearing for the mind-blowing title suite, but you might want to give the first three tracks a pass. From RYM (progbear)

domenica, giugno 26, 2011

Noir - We Had To Let You Have It (1971 uk prog)

Noir - We Had To Let  You Have It

This is a very difficult record to describe. To start with, it’s different than anything else I’ve heard from this period. Overall the record is heavy on the keyboards (organ, piano) and is VERY percussive in nature (no drum solos though). Plenty of good wah-wah and fuzz guitar solos as well. The 9 minute opener is dog slow with an almost gospel tinge to it (the vocals throughout have this spiritual, almost Native American feel). It picks up the pace considerably from there. Has a strong white boy R&B vibe, as if Rare Earth recorded an album for the Dawn label. Also hear slight references to Indian Summer as well. (RYM Ashratom)

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venerdì, giugno 24, 2011

Banana and the Bunch - Mid-Mountain Ranch (1972 us folk rock)

Banana and the Bunch - Mid-Mountain Ranch
Snippets of bluegrass, rock, jazz, and lachrymose ballads put together in the same laid-back style that characterized the last few Youngbloods sets. Recorded at a point where the group's east-coast-era inventiveness was just beginning to be overwhelmed by their west-coast-era laziness. It's a huge plus to hear Youngbloods-style music not dominated by Jesse Colin Young. From RYM (ochsfan)

mercoledì, giugno 22, 2011

Oliver Walrus - Walrus (us 1972 psych rock)

Oliver Walrus - Walrus
Not to be confused with the British band of the same name, this outfit featured the talents of singer/percussionist Oliver Walrus (aka Gary Levine). Levine was born and raised in Pennsylvania. Moving to California, he took the name Oliver Walrus (if you've ever seen a picture of the guy, you'll see why), and began playing percussion at various clubs and recording sessions. In the early-1970s he also formed a band - Walrus. So here's a career synopsis in Walrus' own words: "My career began in the 70's with my band Oliver Walrus ... We played the circuits of Los Angeles including the infamous Troubadour and the Whiskey. I was discovered and signed with Chess Janus Records who had known artist(s) like Bo Didley, Chuck Berry and Jimmy Hendrix among others. I recorded my first album in 1972. My song 'Climb, Climb, Climb' was my first top 10 record on the billboard charts [no idea what that means]. My main music background consists of heavy funk that I fused with rock and pop. I am proud to say that I have a huge fan base still building." By the time Walrus and company went into the studio to record 1972's cleverly titled "Walrus", the band showcased the talents of percussionist Warren Bryant, keyboard player Mark Fiedler, guitarist Robert Franklin, bassist Michael Herring, and drummer Warren "Bugs" Pemberton. Produced by Robert Adcock (Joseph Long credited as executive producer), the album typically gets labeled as a slice of horn rock which undoubtedly turns off a big chunk of the potential audience. True, tracks like 'Let Me Save You' and 'Freedom' featured some horn arrangements, but with the exception of 'You Can't Shine', this wasn't anything like a BS&T, or Chicago album. Namesake Walrus had an interesting, if not particularly commercial voice - imagine a gruffer version of Meatloaf and you'll be in the right aural neighborhood. As a band these guys were actually quite tight, though producer Adcock's penchant for adding shrill female backing singers to virtually every track didn't help the proceedings. - The album opened up with a strange R&B-tinged number that's always reminded me of a weird hybrid between Delaney and Bonnie and David Clayton Thomas and BS&T. Imagine Clayton-Thomas singing with a bad head cold and you'd get a feel for what 'Let Me Save You' sounded like. rating: ** stars - Crazy Things' was a breezy, mid-tempo number, boasting a nice melody and an uplifting lyric. Walrus' voice sounded much more comfortable and likeable on this one. If some would have stripped off the irritating female backing singers, this one would have had some commercial potential. rating: **** stars - Opening up with some cool Franklin 'scratch' guitar, 'You Can't Shine' was the track that probably came the closest to the BS&T school of horn rock. Once again Walrus' voice was interesting, though on this one you were left to wonder whether he was going to actually make it through the track. Franklin also turned in a cool, guitar solo - anyone know what the effect was? rating: *** stars - Once you got over the opening horns 'Freedom' was actually a decent rocker with Walrus displaying his best blues voice. Shame about the irritating female backing vocalists. rating: ** stars - The best song on side one, 'Climb, Climb, Climb' was also the most conventional rocker. Opening up with a great Franklin lead guitar, Walrus' raspy voice proved surprisingly well suited to the genre. Would have made a nice FM hit. rating: **** stars - Side two started with the atypical county-fied 'Bakersfield Boogie Boy'. Sung by either Franklin, or Herring, this one sounded like an Commander Cody and the Lost Planet Airmen outtake. Didn't do much for me. rating: ** stars - A straightforward rocker, 'Nobody's Pearl' was another track that featured either Franklin, or Herring on lead vocals. Franklin turned in another nice solo, but the song would have been even better without the horns. rating: *** stars - Hum, hearing 'Clap Together' you were left to wonder how Up with People get on this album? Just kidding though the poppy, uplifting lyrics certainly made you wonderer. rating: *** stars - A mindless and routine blues shuffle, 'Sweet Thing' was made even worse by the upfront horns and those blasted female backing singers. Terrible. The only thing the song had going for it was Franklin's guitar work, but that wasn't enough to salvage the track. rating: * star - An up tempo Gospel flavored number, 'Pass It On' sounded like it was copped from the Blues Brothers soundtrack. I guess it was enthusiastic, but it sounded like hundreds of other Gospel songs. rating: * star - Wow, 'Friends with My Neighbors' sounded like something a Sesame Street character might have sung ... part civics lesson, part nod to Oliver himself. Funny in a goofy fashion. rating: *** stars Sporting one of the year's ugliest covers (blame photographer Tom Wilkes) certainly didn't do a great deal to boost sales ! "After the album was released the band appears to have called it a day, though his musical career took a couple of unexpected turns. This is just speculation on my part, but producer Long may have taken the master tapes from the Walrus sessions and sold them to Morris Levy. That's based on the fact Levy's Tiger Lily label released an Oliver Walrus solo album in 1977 - "Me, Myself & I" (Tiger Lily catalog number TL-14038). Walrus subsequently focused his attention on DJing, finding in steady niche at Gibby's/Bogies Niteclub in Los Angeles where he eventually became the club's talent manager. Suffering from diabeties and on dialysis, Walrus passed on in October, 2006. For anyone interested, I found a copy of his obituary online: Gary A. "Oliver Walrus" Levine. The world was blessed to have known this dynamic musician, visionary and humanitarian. Gary passed peacefully Sunday, Oct. 29, 2006, at the tender age of 60. Gary is survived by his wife, of 35 years, Betty; daughters, Adora Weiss, Denise Graham, both of Nevada, and Renie Price of California; sons, Roger and Michael Masterson, both of California, and Brian Masterson of Nevada; his parents, Gertrude and Walter Levine of California; sisters, Rochelle Fern of Van Nuys, Calif., and Jolene Clark of Culver City, Calif.; brother, Jack Levine of Yuba City, Calif.; 16 grandchildren; five great-grandchildren; and friends worldwide. Memorial services will be at 3 p.m. Tuesday, Oct. 31, at King David Memorial Chapel, 2697 Eldorado Lane. Graveside service will be held in California. From RYM (rdten1)

lunedì, giugno 20, 2011

Bill Plummer and the Cosmic Brotherhood (68 psych jazz us)

The Cosmic Brotherhood - Bill Plummer and the Cosmic Brotherhood
Sitars and snake charms and tablas and bongos and bells and clattering free jazz that opens up my third eye good and wide. ...And then there's the lite-jazz lounge cover of "The Look of Love" which sticks out like a sore thumb. Yeah, don't know what they were trying to do there. From RYM (vali666)

venerdì, giugno 10, 2011

Bethlehem Asylum - Commit Yourself (70 us jazz rock)

Bethlehem Asylum - Commit Yourself
The first time I played this album I guessed they were a New York-based outfit, but then I noticed that the album had been recorded in Macon, Georgia's Capricorn Studios ... That said, it turns out they were actually from the Clearwater/Tampa area of Florida where drummer Buddy Helm had been a member of Those Five. I also know that the band toured extensively and regularly opened for The Allman Brothers Band. So what else can I tell you? Well, the line up that recorded "Commit Yourself" consisted of sax player Charles Dechant, keyboardist Christian Gandhi, lead guitarist Danny Finley, bassist Jimm Neiman, and drummer Helm. Signed by the New York-based Ampex label, there 1970 debut was produced by Dechant. Featuring six original works, the predominant sound's horn-propelled jazz-rock. That description won't exactly endear it to many folks and I'll readily admit that it left me somewhat cold. That said, there are at least a couple of interesting moments including the atypical folk-ish 'Child of the Mountain', 'Talkin' 'Bout Love' which was an attractive slice of blue-eyed soul, and Finley's nice guitar throughout the rocking 'It's About'' (easily the standout track). Elsewhere Ampex released 'Child of the Mountain' b/w 'Talkin' 'Bout Love' as a single (Ampex catalog number 110298). "Commit Yourself" track listing: (side 1) 1.) Child of the Mountain (Danny Finley) - 3:15 2.) Sailboat Ride (Danny Finley) - 3:10 3.) Earth (Robert Christian Gandhi) - 9:50 (side 2) 1.) Sea Rider (instrumental) (Charles Dechant) - 6:43 2.) Talkin' 'Bout Love (Charles Dechant) - 2:06 3.) It's About (Danny Finley) - 5:13 I've never heard it, but the following year the band recorded a sophomore LP; 1971's "Bethlehem Asylum". Helm briefly played with Tim Buckley and then Frank Zappa. Dechant was a member of Hall and Oates touring band. Finley hooked up with Kinky Friedman and the Texas Jewboys. RYM (redten1)

mercoledì, giugno 08, 2011

Fantasia - Fantasia (1975 fin prog)

Fantasia - Fantasia
From 1975; a Finnish one-shot obscurity which, as far as I can tell, has never been released on CD. Undoubtedly they didn't have much of a recording budget, but they nonetheless managed to put together a fairly unique set of music. Blend Bardens-era Camel with Nuclear Nightclub-era Wigwam, subtract the virtuoso playing, add an unconventional approach to composition and an appreciation for brevity, and you get the idea. It's not a mind-boggler by any stretch, but it has a certain melancholic charm to it, and it deserves a better fate than to be dismissed out of hand. From RYM (reginod)

martedì, giugno 07, 2011

Charity - Charity Now (1968 us psych rock)

Charity - Charity Now
Basically soul flavored rock with some horns and a few progressive moves. They were a Cal. band. Grades - 3 B's, 4 B-'s, 1 C+, and a C-, overall, pretty consistent. From RYM (tymeshifter)

lunedì, giugno 06, 2011

Good Rats - The Good Rats (68-69 hard psych us)

Good Rats - The Good Rats
I've been watching the ' Rats, and their predecessor group, The U-Men, since before I was old enough to be in the venues they were playing in, thanks to my girlfriend's older sister. I still catch them every time they play in town (they play at a local club, right in my little backwater of a town). On this album, though it's somewhat deeper than most of the pop of it's vintage, there can be no mistaking the commercial orientation of the record. There is a diversity of styles to their mat'l, and Peppi's voice is (and always was) quite distinctive. Probably my biggest criticism is a lack of consistency, but there is plenty enough good to outweigh the mediocre. Grades - 1 A-, 3 B+'s, 2 B's, 2 B-'s, 1 C, and a C-. From RYM (tymeshifter)

venerdì, giugno 03, 2011


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Salve a tutti!
ho postato questo disco grazie al link che ho ricevuto da un mio amico e spero vi piaccia anche se è rippato da vinile! la musica proposta è un sanissimo hard rock statunitense dei primi anni 70 (1971) e ci sono molte canzoni che meritano ("lone soul road","starlight","love over you" sono molto belle!) Penso che postarlo contribuisca a non farlo cadere nel dimenticatoio quindi...a voi!
Today's post is this great hard rock album! One friend of mine sent to me the link for posting this album (i think it's vinyl rip...-192kb) because he thinks it's hard to find it...(In Italy it's not's impossible!)
review by Jan
Mindfuck biker stupe-rock from the early 70's, the Fyre were a three piece 'grunt' rock band with cheap guitars, thundering drums, wasted bass, and a shitload of microdot and cheap speed. Like Wicked Lady or a third rate Black Sab, these guys were constantly in danger of going one-hit-of-clear-windowpane too far and falling off the edge for good. You already know if this is your kind of thing or not, but if you are a cosmonaut of the armchair variety, let me gently push you in the right direction. Unlike, say, The Beatles, whose acid world was made of plasticine flowerz, these guys' walls were made out of coarse sandpaper. Clue: the drummer's name is "Sharples". Open wide and stick yr. tongue out, it's time to take a (t)rip.

giovedì, giugno 02, 2011

Homer - Grown In USA (1970 usa psych)

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Vi sto viziando!
tanti post questo periodo! Spero che possa sollevare il numero di contatti anche se i risultati ancora si devono vedere! ma veniamo al disco di oggi...CAPOLAVORO!!!!! Anche questo l'ho scoperto per caso visto che mi incuriosiva in nome (D'oh!!!) più ho faticato per cercarlo perchè sia il nome che il titolo in realtà negli U.S.A. sono il nome di una marca di ARANCE!!! Ma torniamo a noi....ripeto: CAPOLAVORO DI MUSICA PSYCH!!!! Ci sono anche dei tocchi prog ma solo accennati!Mi sento di consigliarvi "Circles in the north" "In the beginning" "Dawson Creek" ma è meglio che finisco perchè altrimenti le citerei tutte!!!! mi ripeto...BELLISSIMO!
Una piccola richiesta se possibile...aiutatemi a mantenere un buon flusso di gente su questo blog altrimenti la mia idea di far conoscere una musica non proprio comune cadrà nel vuoto! Vi ringrazio! a presto!
This album is only a MASTERPIECE OF PSYCH!!!!
Originally released in 1970 by United Recording Artist. The only album by this San Antonio, Texas based combo. From psychedelia to more progressive rock with some very fine guitar work. There are great song like "Circles in the north","In the beginning"(extraordinary song) and "Dawson creek".There are arwork and 2 bonus track (edited by Akarma Label some years ago...)
You MUST have it. A MASTERPIECE!!!!
bye! i waiting for comments!!!

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