Baby Grandmothers - Baby Grandmothers (1967-68 sweden, raw fuzzed psych jam)

 The standout band from this long-sunk ship of fools is Baby Grandmothers, who are graced with an appearance on side one abut are given their own eponymous release. Compared to much of the cultural mishmash on this compilation, baby Grandmothers come off as rather straight until you let this unearthed masterpiece roll undeterred by expectation. "Somebody Keeps Calling My Name" is a powerhouse slow-burn.

The shit is all groove and solo, and perfect for it. "Being More than Life" is the single and frankly the root of the record. It's a Sabbath doom lament that will leave amp residue on your brain after you are done with it. If you have managed to get over you tired indie-rock aversion to guitar solos, each record on Baby Grandmothers will be balm to your ears. "Bergakungen" is a 16-minute stretch-out of much of themes unearthed in "Being More than life" almost like watching the track on slow motion. My guess is you have time to kill in the Finnish winters, since this is flowed by a 19-minute "Being More than Life 2" taken form a live performance.

I'd say the band was set on eclipsing the sun with this monster, but they don't exactly get much sun up there, do they? This is followed up by a power gird breakdown number "St. George's Dragon" sounding like the wave motion gun from the Space Battleship Yamato leaving you, the listener, sapped for energy after its effect has passed. All you have left is the Ragnarok death-boogie of "Raw Diamond" offering the coldest of comfort.

Outsideleft

Tracks
1. Somebody Keeps Calling My Name - 9:14
2. Being Is More Than Life I - 5:40
3. Bergakungen - 16:19
4. Being Is More Than Life II (Hakansson) - 19:44
5. St. George's Dragon I - 7:03
6. St. George's Dragon II - 0:57
7. Raw Diamond - 1:30
All tracks by Hakansson, Linnarsson, Ekman except where noted

Baby Grandmothers
*Pelle Ekman - Drums
*Bengt Linnarsson - Bass
*Kenny Hakansson - Guitar, Vocals

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Sabattis - Warning In The Sky (1970 us, very good sharp hard rock)

 

 

Us hard rock quartet recorded their only in March 1970 in New York,  but it remained unreleased until March 2011. Tight sound with sharp guitar and stunning organ. The recordings were transferred from a 1/4 Reel tape that had been dubbed from the original master tape. There are some tape drop-outs biss and warble issues from time to time, this because of the quality and condition of source material..

Tracks
1. Everyday Is Cool - 4:18
2. Crystal Mirror - 5:04
3. Warning In The Sky - 6:44
4. Conversation With Billy - 8:14
5. The Devil's In You - 2:45
6. Bought And Sold - 3:14
7. Green Glass And All That Jazz - 2:38

Sabattis
*Jim Martin - Guitar, Vocals
*Rocky Raler – Bass
*Gary Culotta - Keyboards, Vocal
*Larry Wegman – Drums

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Love - Da Capo (1967 us, psychedelic rock masterpiece, 2002 remaster and expanded and 2013 MFSL)

 No West Coast band put a deeper psychedelic spin on the mid-60s’ burgeoning folk-rock scene than Love. And during a twelve-month period between late 1966 and 1967, no group rivaled Arthur Lee and company’s freewheeling imagination and musical blend. Love’s tenure was brief, but its impact and influence will forever loom large.

Home to the collective’s lone Top 40 hit, Da Capo is psychedelia at its best: a thoroughly original, vivid, unrestrained canvass for Lee’s beautiful, eclectic ideas and pioneering sonic journeys.

Arriving shortly after its debut, Da Capo established Love as psychedelia visionaries.

A cult classic since its original release in January 1967, the record greatly expands on the experimentation of the Beatles’ Revolver and predates the Rolling Stones’ Their Satanic Majesties Request, Fab Four’s Sgt. Pepper’s Lonely Hearts Club Band, and Pink Floyd’s Piper at the Gates of Dawn by months. Executed by an expanded seven-piece lineup, Da Capo encapsulates baroque pop, proto punk, bossa nova, garage rock, and hard-driving jazz. Its limits are bounded only by Lee’s scope, and the Memphis native remains unbounded throughout.

Accurately tabbed by critic Lillian Roxon as “an amusing paradox,” Lee’s identity as an African-American channeling the sound of a white Englishman expressing the Southern blues gives Da Capo added mysticism and muscle. From the tumbling house of mirrors that is the opening “Stephanie Knows Who” to the galloping, heavy, reverb-appointed “Seven & Seven Is”—a hit tune that confirmed Love’s identity as Los Angeles’ baddest street toughs—the effort swings and surprises, each turn leading down new corridors.

Such discovery lies behind the groundbreaking “Revelation,” a 19-minute jam that occupied the entire second side of the LP and strongly rumored to have been produced by an uncredited Neil Young. Originally titled “John Lee Hooker,” it progresses as a free-for-all boogie that, according to myth, soon inspired the Stones to pen “Goin’ Home.” Similar tradition is tied to Love’s harpsichord-fragranced “She Comes In Colors,” a baroque gem that led to the Stones’ “She’s a Rainbow.”

M.D.

Tracks
1. Stephanie Knows Who - 2:38
2. Orange Skies (B. MacLean) - 2:54
3. ¡ Que Vida ! - 3:43
4. Seven And Seven Is - 2:26
5. The Castle - 3:05
6. She Comes In Colors - 2:47
7. Revelation (A. Lee, B. MacLean, J. Echols, K. Forssi) - 19:02
8. Stephanie Knows Who - 2:34
9. Orange Skies (B. MacLean) - 2:53
10.¡ Que Vida ! - 3:43
11.Seven And Seven Is - 2:19
12.The Castle - 3:03
13.She Comes In Colors - 2:48
14.Revelation (A. Lee, B. MacLean, J. Echols, K. Forssi) - 19:04
15.Seven And Seven Is (Tracking Session) - 3:13
All songs by Arthur Lee except where noted.
Tracks 1-7 Mono
Tracks 8-14 Stereo

Love
*Arthur Lee – Lead Vocals, Harmonica, Guitar, Drums, Percussion
*Johnny Echols – Lead Guitar
*Bryan MacLean – Rhythm Guitar, Vocal
*Ken Forssi – Bass
*Alban "Snoopy" Pfisterer – Organ, Harpsichord
*Michael Stuart – Drums, Percussion
*Tjay Cantrelli – Saxophone, Flute, Percussion

1966  Love

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Kalevala - People No Names / Boogie Jungle (1972/75 finland, hard progressive with growling vocals in a variety of styles)

 

As some might know, Kalevala (Kale's Land) is the name of a Finnish cultural treasure - a collection of written mythical legends about the hero Kale. “People No Names” (1972) is among the best of Nordic albums from the 70s.

 

Included were several beautiful instrumentals evoking pictures of freshwater lakes and pine forests, such as "Where I'm From" (first and last part), "Waves" (a fantastic impersonation of a jazzy Frank Zappa adding Leslie-treated organ!) and "Escape From The Storm". Leslie effects are frequently used tastefully on the lead guitars.

 

The vocal tracks are even more effective due to Harri Saksala's weird but magnificent vocal style. His illustrious past included time with the groups Topmost, Soulset and Apollo. After the first Kalevala line-up broke up, he initially joined Punaise Langa before moving on to another short-lived group named Manifest with guitar player Hasse Walli (ex-Blues Section and Piirpauke) and keyboard player Jukka Linkola (before he joined Finnforest).

 

Almost three years later, Kurkinen and Salonen recorded a new Kalevala album with new recruits. Jim Pembroke wrote the lyrics to both “Boogie Jungle” and Abraham's “Blue Refrain”, but he also seemed to influence the new Kalevala's good-natured rural American rock sound. Matti Kurkinen sadly died in a car accident soon after.

 

He had been a good friend of Pekka Pohjola from adolescence. The music on the last album, widely known by continental collectors due to its French release on Crypto, was mainly written by Leppänen.
from Scented Gardens of the Mind  

Tracks
People No Names 1972
1. People No Names - 8:55
2. Where I'm From - 4:05
3. Waves - 6:02
4. In The Net - 4:43
5. My Friend - 2:47
6. Lady With The Veil - 4:12
7. Escape From The Storm - 5:10 
8. Tamed Indians - 1:45 
Boogie Jungle 1975
9. Mind The Fly Hunter - 4:26
10.Attack At Nineteen Hundred - 2:32 
11.If We Found The Time - 3:36 
12.Where The Fire's Warm - 3:20
13.Boogie - 4:18
14.Rockin Fish - 2:10 
15.Snow Bill - 4:00 
16.Capseller - 3:20 
17.Jungle - 7:18

Kalevala 1972 People No Names
*Harri Saksala - Vocals, Mouth Organ, Accordion
*Juha Salonen - Bass
*Markku Luukkanen - Drums
*Matti Kurkinen - Guitar
Guest Musicians
*Olli Ahvenlahti - Piano
*Raimo Wallen - Flute
*Ile Kallio (Hurriganes) - Acoustic Guitar

Kalevala 1975 Boogie Jungle
*Juha Salonen - Guitar, Keyboards
*"Limousine" Leppänen - Vocals, Percussion
*Matti Kurkinen - Guitar
*Ari Vaahtera - Bass Guitar, Moog
*Beaver Aitto-Oja - Drums
Guest Musicians
*Juka Gustavson - Clavinet
*Jim Pembroke - Vocals

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Samurai - Samurai (1971 uk, exciting progressive jazzy brass rock, 2008 Esoteric remaster)

 Samurai was previously known as Web. Web released three albums, Fully Interlocking (1968), Theraphosa Blondi (1970), and I Spider (1970). The first two featured American singer John L. Watson, and were released on Deram. I Spider was released on Polydor and Watson was replaced by future Greenslade vocalist/keyboardist Dave Lawson.

The Deram albums are said to be more pop/psychedelic offerings, but I've not heard them (a little hard to come by and apparently neither reissued on CD). I Spider is considered the best and where Web's reputation in progressive rock circles rests on. But for some odd reason, when Tom Harris left and they brought in two new wind players, Tony Roberts and Don Fay, they were now called Samurai. Legal reasons? Did Tom Harris have the rights to the Web name? I really can't say, since finding info on bands like this is often very difficult to come by.

Once Web became Samurai, the band was no longer recording for Polydor, but for a far more obscure label, Greenwich. Finding an original LP these days, of course, is practically, forget it, find the CD reissue (Akarma in Italy had most recently reissued it). Honestly I really think Samurai is by and far the finest album Dave Lawson ever played in.

I even highly recommend this to those who aren't much for Greenslade. Greenslade's music could end up as cheesy at times to some listeners, Samurai avoided all of Greenslade's cheesy-tendencies. Let's not forget Dave Lawson's voice. On those Greenslade albums his singing was often high pitched and strained, here he has a much more pleasant voice in Samurai which really fits the style of music just great.

I'm sure you might detect some of that future Greenslade, but you don't have Dave Greenslade's keyboard style, and you also get treated with vibraphone and various wind instruments (saxes, mainly) and nice organ work throughout. This is early '70s, where many progressive rock bands were still making song-based material, and Samurai was one of them. In fact, I really think the reason progressive rock got such a bad reputation later on was many people felt too many bands abandoned writing great songs in place of showing off their instrumental abilities and how complex they can make their music. I really think this group could've ended up being better known were it not for the label they were on.

It's hard for me to describe the album on a song to song basis, but I'll pick out some of my favorites. "More Rain" is a nice, laid-back piece with nice use of flute. I really like the acoustic passages too. I get reminded a bit of Jade Warrior here. "Maudie James" and "Holy Padlock" are just plain great catchy songs, while "Give a Little Love" has a more aggressive edge. I really like the sax and organ work. "Face in the Mirror" is one of those songs that really grew on me big time, I really like the mellow nature of this song. "As I Dried the Tears Away" is a wonderful, epic closing piece with some great creative passages to go with it.

Samurai broke up after this album. No surprise given they recorded for such a short-lived and obscure label as Greenwich, and probably no longer had the finances to continue one. But that didn't stop Dave Lawson. Ex-Colosseum members Dave Greenslade and Tony Reeves, with ex-King Crimson and Fields drummer Andy McCulloch brought in Dave Lawson to form Greenslade, who managed four albums between 1973 and 1975, before throwing in the towel at the right time (just right before punk rock came in).

Samurai is truly another great, lost gem of early British progressive rock. I really like the jazzy feel that goes with it, and this is one progressive rock album you can't call "pretentious" (and we all know every prog rock detractor out there calls this kind of music "pretentious"). It's nothing but a collection of great songs with interesting use of instruments (organ, wind instruments, and the way the vibraphone is integrated in the music, rather than using it during jazzy solos like many other bands did at the time). I really highly recommend this album!

by Ben Miler

Tracks
1. Saving It Up For So Long  3:45
2. More Rain  4:27
3. Maudie James  4:56
4. Holy Padlock  4:43
5. Give A Little Love  3:40
6. Face In The Mirror  6:44
7. As I Dried The Tears Away  8:17
All composition written by Dave Lawson

Samurai
*Dave Lawson - Keyboards, Vocals
*Tony Edwards - Electric, Acoustic Guitars
*John Eaton - Bass
*Kenny Beveridge - Drums
*Lennie Wright - Vibes, Drums, Percussion
With
*Don Fay - Tenor Sax, Concert Flute
*Tony Roberts  - Tenor Sax, Concert, Alto  Flute, Bass Clarinet

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Robert Savage - The Adventures Of Robert Savage Vol. 1 (1971 us, great hard guitar rockin' funky blues psych)

Volume 1 is the First and only Album by the American Hard-Rock Psychedelic Band The Adventures Of Robert Savage. Little is known about this Band, apart from having recorded this Album in California, United States, so it is thought that they are Americans. I really don't know what i can say about them, because there is really no information, and the fact that they are Americans is already a supposition.

The opening song, "Beaver Baby" starts with a strong Guitar Riff, very groovy, and some extraordinary Vocal work, especially the Female. The song is very powerful, and it is undoubtedly one of the best songs in the Album. "Milk Run" there are parts of the song thar are extremely enjoyable, the Vocals for instance, have some great moments (some weren't so great) and the Guitar Solo is also something which should not be discarded. "Don´t Run And Hide" best part is the Refrain, which unfortunately is repeated only a few times, for a music this long.

The Drums take the lead role in "A Hard One", which is a very Soul-full song, with Jimi Hendrix like Vocals. This one, "7 Days Drunk", would be better of without the Guitars, because it as some very catchy moments, but they don't correspond to the Guitar lines.

The largest song in the Album is probably also the weakest "Save Us From The Cyclops", is extremely tedious, and has the smell of something that has been rotten for ages. "Amy" starts bad, but it starts getting better and better, until the moment where a Guitar full of effects, starts a Kick-Ass Solo. "Road Apples" is truly a great finale. A 4 and an half minutes instrumental Jam, with a fantastic Guitar work and an amazing Beat. It is truly the best end this Record could have.

by Adamus67 

Tracks
1. Beaver Baby (Robert Savage, Don Parish) - 3:05
2. Milk Run (Robert Savage, Don Parish) - 3:10
3. Don't Run and Hide (L. Ransford) - 4:03
4. A Hard One (Don Parish) - 3:19
5. Seven Days Drunk (Robert Savage, Don Parish) - 4:29
6. Save Us From The Cyclops (Robert Savage) - 5:46
7. Amy (The Insane) (Robert Savage) - 3:55
8. Lonely World (Robert Savage) - 3:08
9. Road Apples (instrumental) (Robert Savage) - 4:24

Band
*Don Parish - Vocals, Bass
*Robert Savage - Vocals, Guitar
*Tommy Richards - Drums

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Michael Yonkers Band - Microminiature Love (1969 us, twisted cult freak psych, digi pack edition)

Originally recorded in 1968 and slated for release on Sire Records, Microminiature Love languished unreleased until last year, when it was finally unearthed by De Stijl Records (who put out a limited, vinyl-only pressing of the original album). Its creator, Michael Yonkers, is a legendary figure in Minneapolis music-lore, who, through his own modifications, created his own guitars and effects. However, Microminiature Love is no mere curiosity or feat of gadgetry.

Raised on a steady diet of Link Wray and the Trashmen, Yonkers pushed the boundaries of distortion and truly transformed it into a powerful voice. The songs on Microminiature Love defy immediate categorization, but in them are shades of Pere Ubu, the howl of Iggy, the blunt primitivism of the Godz, and the seeds of countless other underground heroes.

Michael Yonkers started his musical career as the leader of Michael & The Mumbles, who played proms and dances all over the Twin Cities area. Constantly refining and re-imagining their sound, the band gradually morphed into the Michael Yonkers Band with Michael’s brother Jim Yunker on drums and Tom Wallfred on bass. In 1967, Michael cut his Telecaster down to a plank; one of the many modifications he made to his equipment. He still plays this same guitar on stage today.

Soon enough, the band hooked up with Peter Steinberg, a local music impresario, who set them up with a contract with Sire Records. As Cecile Cloutier points out in her thorough piece from Minneapolis’ City Pages, this was one of many times throughout the course of rock history that the fertile music underground was being mined by the majors. At the time, bands like The Fugs, Captain Beefheart and The Mothers of Invention had major label deals. For various reasons that remain unclear, dealings with the label fell apart and they and the band parted ways.

Yonkers continued to record and released several solo records on his own label, including Grimwood, Michael Lee Yonkers and Goodby Sunball in the early seventies. In 1971, Michael’s back was broken in an on-the-job accident in an electronics warehouse. Years of ongoing exploratory surgeries have done nothing to help the situation, instead ultimately disabling him further. His allergic reaction to the dye used in an X-ray procedure led to a degenerative condition of his spinal cord lining from which he suffers to this day. Dance has proven to be Yonkers’ greatest therapy and he has, as a result, been active in the Minneapolis dance community for years.

In 1997, Get Hip Records released a collection of songs recorded at Richfield, MN’s Dove Studios called Free Flight: Unreleased Dove Recording Studio Cuts 1964-69. The collection contained two of the songs heard on Microminiature Love; “Puppeting” and the anti-Vietnam War song “Kill the Enemy.” These tracks caught the attention of De Stijl’s Clint Simonson and launched a search for Yonkers that lasted over a year. Simonson eventually located Yonkers not through the music community, but through the local dance community.

Michael Yonkers still resides in St. Paul, MN and has recently played shows with such diverse bands as Wolf Eyes, Six Organs of Admittance and Low.

Sub-pop

Tracks
1. Jasontown - 2:41
2. Microminiature Love - 3:02
3. Boy in the Sandbox - 3:45
4. Smile Awhile - 4:25
5. Returning - 3:50
6. Puppeting - 3:07
7. Kill the Enemy - 3:39
8. The Clock Is Running - 4:08
9. My House - 3:12
10.Hush Hush - 3:50
11.Sold America - 3:36
12.The Thunder Speaks - 4:43
13.Scat Jam - 4:19
All compositions by Michael Yonkers

Band
*Tom Wallfred - Bass
*Michael Yonkers - Electronics, Guitar, Vocals
*Jim Yunker - Drums

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Heaven And Earth - Refuge (1973 us, lovely sunny folk with angelic vocals)

 This reissue has been a long time coming, in no small part because we wanted it to be perfect. We’re happy to finally be able to announce the re-release of this psychedelic folk/funk beauty from 1973, featuring the gorgeous voices of Pat Gefell and Jo D. Andrews (and produced by Space Age percussionist/composer Dick Schory for his short-lived but influential Ovation Records imprint).

At one time this was an album completely unknown outside of Chicago, where the label was based; but these days, word gets around, and tracks like ‘Feel The Spirit’ and ‘Jenny’ have been making the rounds on the DJ circuit. No matter what your musical taste is—psych-folk, funk, soft rock—this LP seems to have something special to offer.

This is due in part to notable backing from veterans like bassist Phil Upchurch (Curtis Mayfield, Otis Rush, Stan Getz, Groove Holmes, and Cannonball Adderly), and space age pop maven Bobby Christian on drums and percussion. But primarily, the perfection that this album emanates is due to the clear voices and intelligent songs crafted by Gefell and Andrews.

The replica LP version (another fine collaboration between Lion Productions and Vintage Records) comes in an old style tip-on gatefold jacket with lyrics printed inside, and includes an insert packed with band history and rare photos. It is a quality vinyl pressing, newly mastered from the original tapes; the sad news: this LP version is limited to 750 copies.

Light In The Attic

Tracks
1. Jenny (Jo D. Andrews, Pat Gefell) - 3:23
2. Voice In The Wind (Pat Gefell) - 2:40
3. To A Flame (Stephen Stills) - 2:33
4. Tomorrow Is A Long Time (Bob Dylan) - 4:14
5. Refuge (Jo D. Andrews, Pat Gefell) - 2:38
6. Sixty Years On (Elton John, Bernie Taupin) - 3:50
7. Song For Craig (Pat Gefell) - 2:51
8. Tell Me How To Know You (Jo D. Andrews, Pat Gefell) - 2:47
9. A Light Is Shining (Charles Chittenden, Jo D. Andrews) - 2:40
10. Feel The Spirit (Jo D. Andrews, Pat Gefell) - 4:47  
11. Voice In The Wind (Single Mix) - 2:36
12. Jenny (Single Mix) - 2:57
13. Home For Christmas - 2:58
14. Country Women - 2:28
15. We All Need A Friend - 1:57
16. You're The Reason - 2:28
17. Unknown - 2:58
18. Joy - 3:11
19. Jenny (Alternate Take) - 3:33
20. Voice In The Wind (Alternate Take) - 1:41
21. Refuge (Alternate Take) - 2:23
22. Song For Craig (Alternate Take) - 2:48
23. A Light Is Shining (Alternate Take) - 2:59
24. Country Women (Alternate Take) - 2:26
25. Hawg For You Baby - 2:11
Tracks 1-10 original album
Bonus Tracks 11-25

Musicians
*Pat Gefell  - Guitars, Vocals
*Jo D. Andrews  - Vocals
*Charles Chittenden  - Guitars
*Bobby Christian  - Bongos, Congas, Percussion
*Jorge Dalto  - Clavinet, Piano
*Joseph Golan  - Violin
*Arthur Lauer  - Arp Echoplex, Flute
*Samuel Magad  - Strings
*Jerry Sabransky  - Strings
*William Schoen  - Strings
*Joseph Sciacchitano  - Strings
*Don Simmons  - Drums
*Fred Spector  - Strings
*Ron Steele  - Guitars
*Phil Upchurch  - Bass
*George Andrews  - Organ

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UFO - Live (1972 uk, excellent hard bluesy rock, 2008 Repertoire edition)

 One of the most entertaining hard rock groups of all time, UFO quickly became a popular touring band throughout the world. This rare live recording features six scintillating performances by the group blasting on all cylinders. Kicking off with a spirited version of Eddie Cochran’s ‘C’mon Everybody’ followed by Bo Diddley’s ‘Who Do You Love’, the openers typify the heavy rock band’s R'n'B roots.

With charismatic vocalist Phil Mogg at the helm, this album documents a classic rock band at its best. “Live’ was recorded back in the days when we didn’t have any roadies and had to carry their own gear to every gig.”

Live (later re-issued as UFO Lands In Tokyo), was originally only released in Japan in 1972, soon after Mick Bolton left the group, and UFO set out to find a guitarist who could provide the band with a more standard rock sound.
Repertoire-recs

Tracks
1. C'mon Everybody (Jerry Capehart, Eddie Cochran) - 4:10
2. Who Do You Love (Ellis McDaniel) - 9:00
3. Loving Cup (Paul Butterfield) - 5:10
4. Prince Kajuku/The Coming Of Prince Kajuku (M. Bolton, P. Mogg, A. Parker, P. Way) - 8:20
5. Boogie For George (Bolton, Mogg, Parker, Way) - 11:30
6. Follow You Home (Way) - 6:00
7. Loving Cup (Single Edit) (P. Butterfield) - 3:58

UFO
*Phil Mogg - Vocals
*Mick Bolton - Lead Guitar
*Pete Way - Bass
*Andy Parker - Drums

1970  UFO 1 (2008 Repertoire remaster)

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UFO - UFO 1 (1970 uk, great blues acid psych space rock amalgam, 2008 Repertoire remaster)

There have been in the history of rock music bands, which, like a UFO and Scorpions,international career took off with racial progressive album, and after his "birth" music coalition will decide to move to a different area of ​​styling. Sometimes, listening to metal or hard rock albums of these groups completely forget about their progressive origins. Their titled first album debuted in 1970 and was a typical example of blues and boogie based hard rock.

UFO is a British group, which does not need to specifical recommend - for any lover of hard rock classics. The team has been working since 1969 and making music, which is a brilliant combination of classic hard rock sounds of the NWOBHM influences, thus creating an exciting new quality. That UFO remained an unattainable model for the whole spectrum of heavy metal bands active in the 80s. The inspiration achievements UFO openly to such artists such as Steve Harris of Iron Maiden, Kirk Hammett of Metallica and Dave Mustaine of Megadeth.

But let's start from the beginning, that is, the creation of formation and its artistic assumptions. The period of, in which there was to assumptions formation dates back to years in 1969, and her Initial name was the Hocus Pocus. After several months of a change of honoring in this way one of the London clubs with the logo of a UFO, where they were spotted by Noel Moore, who signed them to his Beacon Records label. Debut of "UFO 1" album included a heavy version of Eddie Cochran's classic, "C'mon Everybody" was maintained in hard rock style, full of energy and guitar poweru. Did not cause the expected resonance in the UK and the USA, the most wanted musicians, but the band turned out unexpectedly rock fans in Japan (especially the single "C'mon Everybody" which became a huge hit there) and Germany (the song "Boogie For George", also from the first album, reached #30 in German singles charts

With UFO 1, the band's sound incorporates a lot of the psychedelia of the 1960's and combines with a glimpse of the hard rock that will come. The albums opening track is pure space rock. Had this song been on any Hawkwind album, it would have fit right in. However, with "Boogie" and "Timothy" there is a glimpse of the hard rock that is to come. "Who Do You Love" is a seven and a half minute trip down psychedelic days gone by. (Probably best left that way!)

Pete Way's bass is prominent throughout this CD, bouncing along with a hippie, trippie, vibe. His bass is sometimes the glue that even binds these songs together with Mick Bolton often dropping out of the song all together or going off into somewhat accomplished 60's-style guitar solos. Phil Mogg sounds the same as he always has on this early platter. His smooth distinctive voices is one of the few clues that this is even a UFO record. Much like Hawkwind, UFO's early material had a sort of sci-fi image to it. Give it a listen, and turn on, tune in , and drop back to a time when the winds of change were a coming.

by Adamus67

Tracks

1. Unidentified Flying Object (Pete Way, Phil Mogg, Andy Parker, Mick Bolton) – 2:19
2. Boogie (Way, Mogg, Parker, Bolton) – 4:16
3. C'mon Everybody (Eddie Cochran, Jerry Capehart) – 3:12
4. Shake It About (Way, Mogg, Parker, Bolton) – 3:47
5. (Come Away) Melinda (Fred Hellerman, Fran Minkoff) – 5:04
6. Timothy (Way, Mogg, Parker, Bolton) – 3:28
7. Follow You Home (Way) – 2:13
8. Treacle People (Bolton) – 3:23
9. Who Do You Love? (Ellas McDaniel) – 7:49
10.Evil (Way) – 3:27

UFO
*Phil Mogg - Vocals
*Mick Bolton - Guitar
*Pete Way - Bass
*Andy Parker - Drums

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