Sunday, October 20, 2013

The Alarm Clocks - Yeah! (1966 us, awesome rough garage punk)



Formed in 1965 in Parma, OH, teenagers Mike Pierce (bass and vocals), Bruce Boehm (guitar), and Bill Schwark (drums), the Alarm Clocks got a lot of mileage out of one 45 single, although it would be 40 some years before they would really take advantage of it. The trio recorded two raw slices of garage punk, "Yeah!" and "No Reason to Complain," live in a studio in 1966 and released it on their own Wake Up label, and a month or so later recorded a live demo tape of their live set at Sound Ideas Recording Studios. Nothing much came of either venture, and the group disbanded in 1967. The single, though, took on a life of its own, gradually filtering through the informal garage band collectors network and becoming a highly sought-after item.

Both sides of the 45 turned up on 1996's Back from the Grave compilation from Crypt Records, and eventually the bandmembers were tracked down. The A and B side of the single plus the complete demo tape and three tracks from Boehm's earlier band the Perceptions made up the album Yeah!, which was released by Norton Records in 2000. 

Perhaps sensing unfinished business, the Alarm Clocks re-formed in 2006 with all the original members on board plus a new fourth member, guitarist Tom Fallon. This second coming of the group recorded a new album in two days at Freddy Fortune's basement studio in Michigan in 2006. The album appeared as The Time Has Come later in the year from Norton Records. 
by Steve Leggett
Tracks
1. Yeah (M. Pierce) - 2:44
2. No Reason To Complain (M. Pierce) - 2:12
3. Louie Louie (R. Berry) - 3:18
4. Money (Cordy, Bradford) - 2:48
5. It's All Over Now (B. Womack) - 3:58
6. Bald Headed Woman (S. Talmy) - 3:23
7. I'm Alright (Nanker, Phlelge) - 3:13
8. She's About A Mover (D. Sahm) - 2:41
9. Route 66 (B. Troup) - 2:14
10.The Perceptions - Wipe Out (The Surfaris) - 2:12
11.The Perceptions - I'm A Fool (J. Cooper, R. West) - 2:39
12.The Perceptions - Tree Stump Cover Theme (B. Boehm) - 1:56

The Alarm Clocks
*Mike Pierce - Bass, Vocals
*Bruce Boehm - Guitar
*Bill Schwark - Drums

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Thursday, October 17, 2013

Johnny Rivers - Rewind / Realization (1967-68 us, great straight ahead rock with blue eyed soul and psych touches)



With a big, clean production, and quality L.A. session musicians, Rewind is a great collection of blue-eyed soul and rock. The album's two Motown covers, "Baby I Need Your Loving" and "Tracks of My Tears," are more similar to tributes than attempts to outshine the originals. Rivers sounds like a well-adjusted Southern hipster on tracks like "The Eleventh Song," which makes him sound like a cooler version of Sonny Bono. "Rosecrans Boulevard" showcases superb vocal harmonies and horn playing. 

The most interesting track would have to be "Sidewalk Song/27th Street," which is pretty mediocre as a song, but are the bizarre sound clips possibly attacking commercialism? No one really knows. Produced by Lou Adler, arranged by Jimmy Webb, featuring Joe Osborne on bass, Larry Knechtel on piano, and Hal Blaine on drums, this record is a solid, tight recording, with excellent production and inventive arrangements provided by Webb. 
by Zach Curd

Not a concept album, but a song cycle depicting life in southern California in the late '60s, Realization is a fine cycle to catch a ride on. It's also a serious surprise -- when psychedelia reared its head in 1967, the results were frequently disastrous for those performers who'd been specializing in straight-ahead rock & roll, and few had rocked harder or more straight-ahead than Johnny Rivers. Instead of jumping on a bandwagon that had nothing to do with where he was musically, he hijacked the sounds of psychedelic rock -- much as the Temptations did at Motown -- and took it where he was going. 

Acting as his own producer for the first time, Rivers opened up a slightly gentler side to his work that's equally valid and a lot more interesting, if not quite as exciting as his rock & roll classics. After a few sonic digressions as a lead-in, "Hey Joe" gets going, carrying listeners into Rivers' gorgeous rendition of James Hendricks' "Look to Your Soul." His own achingly beautiful "The Way We Live" follows, and then comes Hendricks' "Summer Rain," which turned into Rivers' last big hit of the 1960s. And then he has the temerity to take "A Whiter Shade of Pale" and make it prettier and harder -- but less spacy -- than the Procol Harum original; from there he plunges into blue-eyed soul on "Brother, Where Are You." 

The surprises continue right through to the rather delicate, introspective reading of "Positively Fourth Street" at the close, Rivers succeeding in evoking a vast array of thoughts and emotions. For his trouble, helped by the two hits, he was rewarded with a Top Five charting album, and one that has continued to find new admirers across the decades. 
by Bruce Eder
Tracks
1. The Tracks Of My Tears (Warren "Pete" Moore, Smokey Robinson, Marvin Tarplin) - 3:00
2. Carpet Man (Jimmy Webb) - 3:05
3. Tunesmith (Jimmy Webb) - 3:12
4. Sidewalk Song / 27th Street (Jimmy Webb) - 2:27
5. It'll Never Happen Again (Tim Hardin) - 3:28
6. Do What You Gotta Do (Jimmy Webb) - 2:22
7. Baby I Need Your Lovin' (Holland, Dozier, Holland) - 3:10
8. For Emily, Wherever I May Find Her (Paul Simon) - 2:53
9. Rosecrans Boulevard (Jimmy Webb) - 2:34
10.The Eleventh Song (Jimmy Webb) - 2:21
11.Sweet Smiling Children (Jimmy Webb) - 2:14
12.Hey Joe (Billy Roberts) - 4:33
13.Look To Your Soul (James Hendricks) - 3:11
14.The Way We Live (Johnny Rivers) - 3:09
15.Summer Rain (James Hendricks) - 3:52
16.Whiter Shade Of Pale (Gary Brooks, Keith Reid) - 5:39
17.Broker Where Are You (Oscar Brown, Jr.) - 3:37
18.Something's Strange (James Hendricks, Johnny Rivers) - 3:28
19.What's The Difference (Scott Mckenzie) - 2:48
20.Going Back To Big Sur (Johnny Rivers) - 3:28
21.Positively 4th Street (Bob Dylan) - 5:03

Musicians
*Johnny Rivers – Vocals, Guitar
*Larry Knechtel – Piano
*Mike Deasy Sr. – Guitar
*Joe Osborn – Bass
*Mike Deasy Jr. – Vocals
*Hal Blaine - Drums,  Percussion
*James Burton - Guitar
*James Hendricks - Rhythm Guitar
*Marty Paich - Horn, Strings

1964-2006  Secret Agent Man, The Ultimate Johnny Rivers Anthology

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Wednesday, October 16, 2013

Blue Sun ‎– Festival (1970-71 denmark, excellent jazz fusion progressive rock)



Danish band, formed 1969 in Copenhagen. Originally a hippie band with roots in avant-garde jazz-rock. Most of their body of work come from live recordings - mostly improvisations dominated by sax, organ and guitar. The music is mainly instrumental, with some South African inspiration. 

The band was very popular at that time among youngsters, having strong spiritual power when they performed live. Their album from 1973 presents similar style but a bit more peaceful with leading sax and vocal, alternately. Disbanded and reformed several times with changing members throughout the 1970s until they split up for good in 1981.

This is no less than Blue Sun's 2 LP's and their single on 1 CD. The first LP was a live recording from 'Tagskaegget' in Aarhus Danmark 1970 titled 'Peace be Onto You' (Spectator Records). The second LP named just 'Blue Sun' (Parlophone). Also Parlophone released their single from 1970. In a very short period Blue Sun was the prefered hippie-party band. 

No one hit the hippie-wave better than this jazz-rock-soul inspired band with 2 unique front figures: Charismatic black man Dale Smith (vocal + percussion) and Jesper Zeuthen. The latter achieved in no tim reputation to be best in Dk on tenor-saxophone, based on the fact that he archieved his totally unique way of playing. The band was inspired of Dollar Brand, Jimi Hendrix and Black Soul.
by Adamus67
Tracks
1. Festival (Smith. Zeuthen) - 2:48
2. Katedralen (Zeuthen) - 4:26
3. På Fjeldet (Kaspersen. Zeuthen) - 3:22
4. Kære Irene (Smith. Kaspersen. Zeuthen) - 2:14
5. Afro Blue (Kaspersen) - 3:22
6. Working Man (Blue Sun, Smith) - 9:46
7. Velkomst (Zeuthen. Pontoppidan) - 4:49
8. Aum (Blue Sun) - 11:15
9. Peace Be Unto You (Smith. Kaspersen. Zeuthen) - 16:24
10.John Henry (Smith. Ehlers) - 8:40
11.Lyset (Zeuthen) - 6:51

Blue Sun
*Dale Smith - Vocals, Percussion
*Jesper Zeuthen - Tenor, Soprano Saxophones
*Soren Berggreen - Flute,Alto Sax,Mouth Harp, Electric Violin
*Jan Kaspersen - Keyboards
*Niels Pontoppidan - Guitar
*Poul Ehlers - Contrabass
*Bo Jacobsen - Drums

1975-76  Blue Sun And Jytte Pilloni - It's All Money Johnny

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Monday, October 14, 2013

Escombros - Escombros (1970 chile, great heavy psych, Shadoks 2012 release)



A few days ago I had a three-way telephone conversation with Michel Boisier and Jose Rosemblut. In one of my turns I asked Jose about his musical influences, as he paused for a moment to think about his answer, he repeated to himself "influences", then I heard Michel's voice in the background saying "Ah? Influences' Tell him we belong "to the spirit of the Woodstock generation" I thought that this is a sincere and clear answer and could be a great metaphor to explain the reasons behind the appearance on the Chilean scene in the late 50s and early 70s of bonds as free and outstanding as "Los Jaivas" "Slops". 'Kissing Spell" and of course "los Escombros"

I liked the answer very much, because I believe the strong enthusiasm is a significant part of the group s music and that is why even today, everything that surrounds their history continues to be so beautiful Apparently everything began with the friendship of two classmates in the Faculty of Engineering at the University of Santiago In their first year and |ust at the lime when the firs' rock groups were emerging in Chile (“Jockers". "Vidrios Quebrados". "Beat 4". etc ) 

Jose and Michel met and created their first group "Colored Soap" to which Michel brought two North American friends - John & Matt, who were living in Santiago as they were the children of diplomats - and Jose brought Lito Benito.

For a while the five of them played together until halfway through 1968. when the two Americans had to go back home it was just after that first setback when the "spirit" appeared for the first time, and m the wake of this disappointment they decided to stay together and introduce a new second guitarist to the band. Ricardo Mendeville (Lolin). So, after they got over the setback, they finally named themselves "los Escombros" (which means rubble or debris in English, in other words, dispersed elements after the catastrophe! upon Michel’s initiative  Things started to go extremely well, thanks to one of those great secrets behind the creation of marvellous bands play, play and enjoy.

It was precisely at one of these performances where they met Walter Sitzmann, an Austrian who had recently arrived in Chile. He connected very well with them and their music and quickly became another "Escombro" member and contribute his ideas to the group Now as a five-piece band, the group began performing at every possible venue and giving some outstanding shows They hove started playing cover versions of "Grand Funk Railroad". "Led Zeppelin" "Conned Heat" and "Jimi Hendrix" But soon they ve added a large number of own compositions to the program which the audience connected with really well (From what I hove been able to read in venous magazines from that time, most of the performances were always booked out, no matter if they were playing alone or with other bonds together at different festivals and concerts which big groups of the time - such as "Aguaturbia", "Los Tropos" and "Kissing Spell'- and the connection was brilliant).

So the complete line up of the band was Lito Benito on lead guitar (several members of the band have all agreed in telling me that he was an especial talented musician) the youngest member Ricardo Mendeville (Lolin) alternating between second guitar and organ and Jose and Michel on the bass and drums respectively, making up a strong Rhythm section. On top the band had a very interesting and exotic frontman Walter Silzmann, who wrote many songs and sang with great personality and even more, in "perfect English".

Under Allende's government, the country was culturally successful, with a young society that enthusiastically look part in the progressive hippie movement.  However, on the organisational side perhaps things where not as good and without a doubt both, the company 'Arena" where they recorded - over 4 night shifts on a simple 4 track - an LP and subsequently a single "love Machine / Green Eye Lady' (both tracks are included in this edition). and the scarce music press that were around were incapable of promoting sales property That is why today the record is so rare and difficult to find, this poor distribution did not happened to others groups of the same music style And Escombros were not exactly a band of the minorities.

The group always had a full agenda and their concerts were packed and sold-out meaning they were mostly well-accepted They even performed alongside "Los Jaivas" in February 1970. at the important festival in the 'Quinla Vergorn de Vina del Mar", an event with a huge audience where the group were had a fantastic performance

Due to the time of year (February in Chile is summertime) and after the drummer of en Argentinean band got a sunstroke (who offer spending the entire day in the sun was red as a lobster) Michel even performed for another group at the festival going on stage as a replacement hardly knowing the repertoire and improvising the entire performers the spirit of Woodstock' indeed)

At the end of this fantastic musical journey. Walter had to return to Vienna, so the group split up and each member was going their own way Michel and Lito together with Sergio del Rio (Ex Jockers and Carlos Eduardo Reyes (The future keyboardist of Boney M!!) formed a group, which unfortunately lasted only o short lime, by the name of "Masquenunca" 

After that Lito continued with "Miel" and then travelled to several different places. He ended up becoming genuine master at making guitars (luthier) He went on to live in the United Stales working for the guitar manufacturer "Taylor at upon his return to Chile set up his own company Jose continued in music as a session musician for the Brazilian artist "Manduka and the as guitarist of 'Antonio Restucci". I don't wont to miss out the curious anecdote that took place on a flight between San Francisco and New York. He travelled with Soft Machine and one of their greatly admired musicians, Hendrix himself, who he had the opportunity to chat with and was able to confirm the truth of two myths how accessible and friendly he was in person and the attraction he had for groupies!  Apparent halfway through the journey while the film "Mary Poppins" was showing on the plane right there, on an improvised bed, using the seals of the plane, he made it with o beautiful admirer.

Finally. Ricardo Mendeville (Lolin), who was the first "Escombro" we where able to locate for this great project, left Chile shortly after the Military Coup (September 1973) He sold his "Leslie" amplifier from his Hammond organ" bought a boat ticket and came to Europe, where he lives ever since In Holland he formed the very interesting group 'Amankay" and after finishing his studies in classical guitar in Rotterdam he started, together with his teacher Paco Pena, the Flamenco Guitar department of the Rotterdam! Conservatory, where he works today.

Walter is continuing to produce his music in Vienna. Austria and recently has finished recording a double CD called SITZMANN Heartbreakers & Soultakers'. He still continues to be inspired by classic rock where the marriage of melody rhythms and sincere words continue to be the main motive to transfer true feelings hence the "spirit of Woodstock” lives on.

My admiration goes to all five of them and I hope that their "spirit' lives on today in all the people who listen to their great songs.
by Enrique Rivas Viniegra, January 2012
Tracks
1. Stone Free (Jimi Hendrix) - 2:31
2. Romeo Y Juliet  (Nino Rota) - 3:12
3. Zenith (Richard Schonherz, Walter Sitzmann, Victor Rigoni) - 3:32
4. Cyclops (W. Sitzmann, Ricardo Mendeville) - 3:29
5. Magnetism - 2:45
6. Mauritius - 3:04
7. Green Eyed Lady (Jerry Anthony,  James Corbetta, John C. Phillips, David Riordan) - 3:32
8. Circumstances (W. Sitzmann, Lito Benito) - 2:42
9. Sitting In The Park (Karl Ratzer, R. Schonherz, W. Sitzmann) - 3:39
10.Understandiflfg - 3:03
11.I Love You - 3:40
12.Girl - 3:53
13.Love Machine - 3:45
All songs by Walter Sitzmann except where noted

Escombros
*Lito Benito - Lead Guitar
*Ricardo Mendeville - Guitar, Organ
*Jose Rosemblut - Bass
*Miguel "Michel" Boisier - Drums
*Walter Sitzmann – Vocals, Piano

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Chad And Jeremy - Of Cabbages And Kings (1967 uk, wonderful baroque psych folk with raga shades, 2006 japan bonus tracks remaster)



After a string of pop hits that were, and largely remain, underrated for their artistry, Chad Stuart and Jeremy Clyde were looking for the project that would boost their esteem beyond the teen idol level. Releases like Pet Sounds and Sgt. Peppers had raised the bar for pop production considerably, and in September of 1967, Chad & Jeremy entered the studio to create their response, Of Cabbages And Kings. Although the album didn't have the commercial impact the duo hoped for, it has stood as one of the underrated gems of 60's pop. Sundazed has assembled the original album's six bonus cuts for reissue, and it's a reissue that should delight any fan of Brit-pop who is familiar with it, and happily inform those who aren't.

Producer Gary Usher ran interference with the Columbia accountants, providing Stuart and Clyde the time and resources they needed to realize their ambitions, and their ambitions were high. Using sounds ranging from didgeridoo, horns and strings to flushing toilets and the verbal antics of their labelmates, The Firesign Theater, they produced a set of original songs that included the five movement "Progress Suite," a collage of music and found sounds. 

The result was an album worthy of inclusion in the pantheon established by its noteworthy predecessors, but ultimately it wasn't the album Chad & Jeremy fans were looking for, and save for the relative handful of us who revered it both then and now, it became best remembered more as a novelty near the end of a career (they would record one more album, the similarly ambitious The Ark, before Clyde departed to pursue an acting career on British stages) than as a triumphant peak. 
by Shaun Dale
Tracks
1. Rest In Peace (Chad Stuart) - 6:47
2. The Gentle Cold Of Dawn - 3:52
3. Busman's Holiday - 3:25
4. Can I See You - 3:49
5. Family Way - 2:47
6. I'll Get Around To It When And If I Can (James William Guercio) - 2:41
7. Prologue (Chad Stuart) - 5:48
8. Decline (Chad Stuart) - 4:08
9. Editorial (Vocal) - 2:56
10.Fall (Chad Stuart) - 8:30
11.Epilogue (Vocal) - 5:08
12.Rest in Peace (Chad Stuart) - 3:18
13.Family Way - 2:47
14.The Progress Suite: Editorial - 2:56
All compositions by Jeremy Clyde except as else indicated

Musicians
*Jeremy Clyde - Vocals, Guitar
*Chad Stuart - Vocals, Guitar, Banjo, Harpsichord, Organ, Tack Piano, Ukulele, Sitar

1968 Three In The Attic (2013 edition)

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Sunday, October 13, 2013

Count Five - Psychotic Reaction (1966-69/93/2003 us, impressive pioneer garage punkadelic, repertoire 2007 digi pack remaster and expanded)



Count Five (also Count V) was a garage rock group consisting of the member Kenn Ellner, John “Sean Byrne”, Roy Chaney, John “Mouse” Michalski and Craig “Butch” Atkinson, from San Jose California who’s song Psychotic Reaction reached number 5 in the Billboard charts in 1966 and was selected as one of the five hundred most influential songs in Rock n’ Roll History by the Rock n’ Roll Hall of Fame. Psychotic Reaction was released worldwide and obtained prominence in United Kingdom, Spain, Japan, and Mexico.

The history of the Count Five begins in 1964 in San Jose, CA with two friends Roy Chaney (born 1948) and John “Mouse” Michalski (born 1949). They formed a surf band known as the Citations. An additional member was Skip Cordell who played drums. In 1965 Roy and Mouse wanted to add a lead vocalist and change the direction of the band so after auditions they added as lead vocalist a long time friend Kenn Ellner (born 1948) and a piano player Phil Evans. All of the members went to Pioneer High School in San Jose, CA except for John Michalski who attended Blackford High School but later also attended Pioneer for a short time. 

The band’s new direction and genre was English Invasion music and some rhythm and blues. The name of the band was changed to The Squires. Both Skip and Phil exited the band. A new neighbor moved in across the street from Kenn Ellner his name was John “Sean” Byrne (1947-2008). John was a prolific song writer a guitarist and great vocalist. One day while at Pioneer High School Kenn heard John playing his guitar and singing Mrs. Brown You’ve Got A Lovely Daughter. Kenn asked John if he would like to come to rehearsal that night at his house and see if he would like to join the band. John joined the band and a few months later at Kenn’s kitchen table the two band members came up with both a new name for the band Count V and style of Dracula capes and “Tom Jones (the movie)” styled shirts as stage outfits. The band had gone through several drummers and Kenn Ellner talked to Craig “Butch” Atkinson (1947-1998) who also attended Pioneer High School and asked if he would come to a rehearsal at his house and see if he wanted to play with the band. The first song he played was an original and Butch played it as if he had been playing the song for years. Butch was a perfect fit and he joined the group. 

The band shifted genres to mostly garage style rock and roll with influences from The Yardbirds, The Beatles, The Who, and The Rolling Stones. The Standells were not an influence. The line up for the band was Kenn Ellner vocals and harmonica, John “Sean” Byrne vocals and rhythm guitar, Roy Chaney, Bass Guitar, John “Mouse” Michalski, Lead Guitar, and Craig “Butch” Atkinson, drummer. The band members were rejected by several record labels before they got signed to the Los Angeles-based Double Shot Records. The band decided to pursue their collegiate endeavors and disbanded in 1968 and reunited as later described.

At a rehearsal in early 1966, Psychotic Reaction was composed by the group. Psychotic Reaction” is an early garage rock song released by the American rock band Count Five in 1966, and also the title of their only album. The song Psychotic Reaction was written by the five members of the Count Five, Craig “Butch” Atkinson, John Byrne, Roy Chaney, Kenn Ellner and John “Mouse” Michalski. The song started off as an instrumental jam between Ellner, Chaney and Michalski and was composed in the living room of Craig Atkinson’s at the beginning of a rehearsal. Kenn Ellner was breaking in a new harmonica for the first time and Chaney and Michalski were jamming and composing. The harmonica was a C harmonica, so the jam was in G. Atkinson and Byrne joined the rehearsal and added to the jam and composition. Many weeks prior to this monumental rehearsal Byrne had a psychology class at San Jose City College. 

The lecturer was discussing psychotic reactions and a friend and classmate Ron Lamb thought it would be a good name for a band. John Byrne had mentioned to the band about that event and it evolved from the name of the band to a good name for a song. At the rehearsal Ellner and Byrne looked at each other and said this is “Psychotic Reaction”. The song was played by the band for a long time at their live performances as an instrumental and was well received by the Count Five fans in attendance. Fans were wildly ecstatic about the instrumental version. However, after much prodding from the band’s manager Sol Ellner at a rehearsal at Ellner’s house, Byrne was told by Sol to “Go across the street and don’t return without lyrics to the song” (Byrne lived across the street from Ellner with Byrne’s uncle Leo). Byrne complied. 

The song went through months of modifications by the band modifying beats, rhythm and the like. As the band auditioned for various labels and producers all had constructive criticism about the song and its structure. Taking into account some of the criticisms and discarding others the band members worked many hours and many months modifying and rearranging the composition with assistance from multiple sources., a DJ from KLIV Radio Brian Lord, various producers of audition sessions, management, agents, friends and fans. In the studio at Nashville West on Melrose Avenue in Los Angeles, Double Shot Record’s producer even modified the lyrical content by suggesting and adding the famous tag line “And it feels like this”. Psychotic Reaction was truly a collaborative composition. This is the true story of how the song was composed. 

Psychotic Reaction was not written by any one individual any such report is entirely false. The song was modeled after the Yardbirds’s song “I’m a Man”, with a repetitious rhythm that eventually changes to a faster beat, an electric guitar playing a hypnotic melody going up the scales, and a similar style of percussion to that of the Yardbirds hit.

Upon the initial establishment of the Rock n’ Roll Hall of Fame, Psychotic Reaction was featured in a long running exhibit in the Hall entitled The Five Hundred Most Influential Songs of Rock n’ Roll History. The name of the exhibit has changed to The Most Influential Songs of Rock n’ Roll History as additional songs have been added.

The band regrouped first for their high school twenty year reunion in 1986 all original members in tact. Then again in 1987 they appeared at “One Step Beyond” in Santa Clara California, with a new drummer Rocky Astrella for most of the set, though Butch did perform on Psychotic Reaction. That was the last time all of the original members performed together. This performance has been released as Psychotic Reaction Live.
The Count Five is still performing as of this writing in April 2012 with the latest line up consisting of Chaney, Ellner, Michalski, Indovina and Astrella.
Tracks
1. Double-Decker Bus - 2:01
2. Pretty Big Mouth (Atkinson, Byrne, Michalski, Ellner, Chaney) - 2:09
3. The World - 2:12
4. My Generation (Townshend) - 3:06
5. She's Fine - 2:12
6. Psychotic Reaction (Atkinson, Byrne, Michalski, Ellner, Chaney) - 3:06
7. Peace Of Mind (Byrne, Michalski, Chaney) - 2:19
8. They're Gonna Get You - 2:29
9. The Morning After - 1:58
10.Can't Get Your Loving - 1:45
11.Out In The Streets (Townshend) - 2:26
12.You Must Believe Me (Mayfield) - 3:01
13.Teeny Bopper Teeny Bopper (Atkinson, Byrne, Michalski, Ellner, Chaney) - 2:25
14.Merry-Go-Round - 2:39
15.Contrast - 3:55
16.Declaration Of Independence (Atkinson, Byrne, Michalski, Ellner, Chaney) - 2:25
17.Revelation In Slow Motion (Briley) - 2:00
18.Mailman (Winn, Rodgers) - 2:25
19.Move It Up - 2:46
20.So Much - 2:07
21.Enchanted Flowers - 1:52
22.People Hear What I Say (Michalski, Ellner, Chaney) - 2:38
23.Contrast - 3:53
24.Psychotic Reaction (Atkinson, Byrne, Michalski, Ellner, Chaney) - 3:11
25.They're Gonna Get You - 2:40
26.Teeny Bopper, Teeny Bopper (Atkinson, Byrne, Michalski, Ellner, Chaney) - 2:26
27.Contrast - 3:56
28.Mailman (Winn, Rodgers) - 2:36
All songs by Sean Byrne except where indicated.
Tracks 1-25 recorded in Mono, tracks 26-28 recorded in Stereo.

The Count Five
*Sean Byrne - Vocals, Rhythm Guitar
*Roy Chaney - Bass
*Craig "Butch" Atkinson - Drums
*John "Mouse" Michalski - Lead Guitar
*Kenn Ellner - Vocals, Tambourine, Harmonica

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Saturday, October 12, 2013

Heron - Twice As Nice And Half The Price (1971 uk, beautiful folk silk rock, 2004 japan SHM double disc remaster)



Jeff Thorpe wrote about Heron, that after attempting to research the group (and coming up empty handed), that perhaps he was content to leave their biography a mystery and let the music speak for itself. In truth, even if one would like to dig deeper, when it comes to Heron it is not a matter of preference, but rather, a true lack of information. 

Aside from a few band members’ reflections – found on an otherwise completely sparse website – there is very little history to be found. [...] Recently, we were lucky enough to track down one of the albums by its lonesome, abd listening to it as an individual document proves that the painfully overlooked group was crafting a remarkably unique sound that feels both new and yet very familiar. The record is Twice As Nice & Half the Price. 

An album in which songs of jolly demeanor (“My Turn to Cry,” a driving song with the heaviest drums on the record and sung like a smiley pop orchestration) are mixed into the record seamlessly between solo-efforts and quiet introspective works. Two of the LPs most devastating tracks are both covers. The Isley Brothers “This Old Heart of Mine” is reinvented to reflect the forlorn nature of the lyrics. Dylan’s “John Brown” can be added to the short list of tracks whose cover version is stronger than the original. 

A war-commentary originally penned in 1963 and mostly forgotten until it’s appliance in an “Unplugged” setting, it is sung here in a beautiful harmony that is far from perfect, with a jangling but not up-front piano. It’s this looseness that makes many of these tracks feel like old standards instead of originals. Jovial, yet sad songs that blossom with the raw emotion of single-takes. This is non-abrasive, “easy” folk of the highest caliber, allowing the listener to either get lost in its lyrics, the instrumentation, or the Sunday-afternoon delight.
by B. Kramer, 2008
Tracks
Disc 1
1. Madman (G.T. Moore) - 4:42
2. Take Me Back Home (R. Apps) - 2:03
3. Love 13 (Lone) (T. Pook) - 2:49
4. Something Inside (R. Apps) - 2:32
5. Miss Kiss (G.T. Moore) - 2:47
6. John Brown (Bob Dylan) - 7:14
7. Big A (G.T. Moore) - 2:58
8. The Sound Of Music (G.T. Moore) - 8:49
9. Winter Harleequin (G.T. Moore) - 4:01 
10. Your Love And Mine (R. Apps) - 2:25
Disc 2
1. You Really Got A Hold On Me (S. Robinson) - 3:18
2. The Great Dust Storm (W. Guthrie) - 3:32
3. My Turn To Cry (G.T. Moore) - 1:59
4. This Old Heart Of Mine (Holland, Dozier) - 4:44
5. Minstrel And A King (G.T. Moore) - 5:29
6. Getting 'Em Down (R. Apps) - 2:00
7. I Wouldn't Mind (G.T. Moore) - 4:02
8. He's A Poor Boy (R. Apps) - 2:42
9. The Devil (G.T. Moore) - 2:40
10. Wanderer (T. Pook) - 2:55
11. Harlequin 5 (G.T. Moore) - 2:52

Musicians
*Mike Finesilver - Bass
*Terry Gittins - Drums, Percussion
*G.T. Moore - Guitars, Piano, Vocals, Organ
*Bill Boazman - Guitars, Vocals
*Roy Apps - Piano, Vocals, Organ, Guitars
*Steve Jones - Keyboards
*Mike Cooper - Slide Guitar, Vocals
*Tony Pook - Vocals, Percussion

1970  Heron - Heron (Japan SHM remaster)

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Friday, October 11, 2013

Bush - Bush (1971 canada, great classic rock with psych folk and garage blinks)



Also an alumni of Robbie Lane and The Disciples, when Dominic Troiano left Mandala in 1969, he was looking for a change from the high class big band r&b rhythms. Along with Mandala-mates vocalist Roy Kenner and Pentti 'Whitey' Glan on drums, they moved to Arizona early the next year to get different musical vibes and a fresh start. They recruited bassist Parkash John and began playing the circuit, cutting their teeth on the harder blues based riffs and less sophisticated material they were trying out on a hungry market looking for something different to wet their appetite.

They caught the attention of Reb Foster, an LA disc jockey while he was in Arizona. Foster ran a management company through his Cuordoroy Records that was affiliated with ABC/Dunhill Records. He agreed to manage the band and had them signed to Dunhill in early 1970. Bush in fact was the first band to sign with Cuordoroy. They got bigger gigs, opening for the likes of Steppenwolf and Three Dog Night, but found themselves in the middle of a nightmarish R'n'R political BS situation as they prepared to release their first lp. ABC/Dunhill sued Cuordoroy, and Bush became the football, punted back and forth with no one ever scoring. 

Their first and only lp was self-titled and like the band's name, straight forward, simple, catchy and easy. Tracks like the lead off "Back Stage Girl, "Got To Leave The City," "Messin' Around With Boxes" and their only single "I Can Hear You Calling" all showed Troiano and company were looking for a different direction, straight to the bones driving rhythms. The reminiscent "Yonge St. Patty" paid homage to 'the girls from home,' not far from where Troiano grew up.

They carried along the dusty trails but by early the next year, they were broke. The band packed it in, but Troiano and Kenner weren't out of work for long. The James Gang came knocking on Troiano's door to fill Joe Walsh's guitar duties, and he convinced them Kenner would be the perfect vocalist for them. Troiano then would go on to join The Guess Who and cut several solo albums, as well as form his Black Market project before becoming immersed in production and behind the scenes work, scoring a number of soundtracks for film and television. Kenner would also appear on again off again in Troiano's solo projects, as well as in Black Market, as did John, who also went on to record with Alice Cooper, along with Glan.

The album was re-released in 1995, but not without controversy. Around the same time that Troiano was remastering the album, a band came out of Britain with the same name. To avoid legal hassles, they changed their name to Bush X for their Canadian release. The original Bush did indeed re-release their only lp, but oddly - with a different cover. Also included were four live tracks from the last show they ever performed at LA's Bitter End club with Three Dog Night.

Two years later, Troiano and Gavin Rossdale, leader of the British band held a press conference in Toronto to announce they'd been given permission to use the 'Bush' name on recordings.
Tracks
1. Back Stage Girl (Roy Kenner, Domenic Troiano) - 2:57
2. Yonge St. Patty (Domenic Troiano) - 2:48
3. Got to Leave the City (Roy Kenner, Domenic Troiano) - 3:36
4. I Miss You (Domenic Troiano) - 2:52
5. Grand Commander (Roy Kenner, Domenic Troiano) - 4:19
6. Cross Country Man (Domenic Troiano) - 3:56
7. I Can Hear You Calling (Pentti "Whitey' Glan, Roy Kenner, Hugh Sullivan, Domenic Troiano) - 2:48
8. Messin' Around With Boxes (Roy Kenner, Domenic Troiano) - 2:51
9. Livin' Life (Roy Kenner, Domenic Troiano) - 3:17
10.Turn Down (Roy Kenner, Domenic Troiano) - 4:00
11.Drink Your Wine (Roy Kenner, Domenic Troiano) - 5:51
12.Try (Roy Kenner, Domenic Troiano) - 2:50
13.Lookin' (Roy Kenner, Domenic Troiano) - 3:22
14.Wicked Woman (Roy Kenner, Domenic Troiano) - 3:11
15.Cross Country Man (Domenic Troiano) - 20:21
Tracks 12-15 Recorded Live at The Bitter End Los Angeles, June 5-6 / 1971

Bush
*Domenic Troiano - Guitars, Vocals
*Roy Kenner - Vocals
*Pentti "Whitey' Glan - Drums
*Prakash John - Bass, Vocals
*Hugh Sullivan - Piano (Only on tracks 12, 13, 14)

Related Act
1968  Mandala - Soul Crusade

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Thursday, October 10, 2013

Triangle - Anthologie (1969-74 france, fine blend of psych prog and classic rock, digi pack release)



Early '70s French psych-rock here, not so much on the proto-metal side of things but still totally groovy, and from the get-go not failing to rock the cowbell (well, the opening track on this 22 song collection, "Peut-etre Demain", is the number one cowbell culprit, gotta love it). Wakhevitch was an avant-garde, electronic composer whose first few albums enlisted the fuzzed guitars of Triangle as part of their surreal soundscapes. So we'd been always curious to hear Triangle's own music. Of course it's not as far out as the Wakhevitch stuff, they're basically a pop band, tres commercial, yet with a freaky side to 'em. 

This disc, as the title reveals, collects some of their crucial cuts from '69 through '74... a lot of upbeat numbers with DJ-friendly beats, symphonic prog moves, catchy choruses, and swingin' horns. Really, judging from this disc, Triangle were all over the place, from synth-laced proto-disco to placid piano ballads to bubblegum hard rock. If you like stuff of the "B-music" persuasion (like the Prog Is Not A Four Letter Word comp), or that Total Freakout collection on Mucho Gusto, or rad '70s "library music" and things like that, we figure you'll dig these Triangle tunes.

This digipack includes pictures of all of Triangle's original 33 and 45 rpm record sleeves, which are nice to have -- the first album's got a piano engulfed in flames on it, the second has Triangle lined up for a firing squad, also comprised of the band members. But there's no liner notes to speak of, so we don't know a heck of a lot more about 'em, other than that they recorded three albums and a bunch of singles, had some hits, went on to back up pop singer Papillon on a solo LP of his (three tracks from that album, including their cover of Bowie's "Starman" en Francais, are to be found here). 
Tracks
1. Peut-Etre Domain - 4:47
2. Elegie A Gabrielle (F. Jeanneau, G. Fournier, J,P. Prevotat, P. Farges) - 4:58
3. Blow Your Cool  (Version Single) (Triangle, C. Watson) - 3:09
4. Let Brumes De Chatou - 5:16
5. Les Contes Du Vieil Homme - 4:24
6. J'ai Vu - 3:32
7. Viens Avec Nous - 3:01
8. Litanies - 5:08
9. L'arbre De Juin - 3:16
10.A Cor Et A Cri - 2:47
11.Le Temps Des Tams Tams - 3:08
12.I.A.M. - 3:02
13.Mama, Tu Ne Sais Pas - 3:18
14.Peut-Etre Domain (Version Anglaise Inedite) - 4:48
15.Vlvre Au Present (I Heard It Through The Grapevine) (N. Whitfield, B. Strong, Triangle) - 4:21
16.Con Nosotros (Version Espagno) (Triangle, Adapt. A. Betgrano) -  3:09
17.Genenque 1042 (Homefaber) - 1:41
18.Un Ticket Pour... - 2:16
19.Dis Moi - 3:55
20.La Planete Rock'n'roll (G. Foumief, B. Bergman) - 2:23
21.Le Rock Plus Electricite (Free Electric Band) (Hammond, Hazelwood, E. Roda Gil) - 3:19
22.L'air Que Je Chante (Starman) (Gringo, D. Bowie) - 3:37
All compositions by Triangle except where noted

Triangle 
*"Papillon" Gérard Fournier - Bass, Vocals, 1967-73
*Pierrot Fanen - Guitar, 1967-69
*Jean-Pierre Prevotat - Drums
*Alain Renaud - Guitar, 1969
*François Jeanneau - Saxophone, Keyboards, 1970-74
*Paul Farges - Guitar, 1970
*Marius "Mimi" Lorenzini - Guitar, 1970-74
*Denis Duhaze - Vocals, 1973-74
*René Devaux - Bass, 1973-74

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Wednesday, October 9, 2013

Mick Greenwood - Living Game (1971 uk, brilliant folk rock with psych and prog tinges)



Living Game is the most appealing of Mick Greenwood's '70s trilogy of albums, more focused than 1972's To Friends and much less slick than 1974's Midnight Dreamer. Recorded with members of Fotheringay (drummer Gerry Conway) and Fairport Convention (bassist Dave Pegg), among others, Living Game is a straightforward British folk-rock album with some pop and psychedelic influences. 

The lilting opener, "Taxi," sounds rather like Kiln House-era Fleetwood Mac (although Lyn Dobson's fluid, mellow flute work adds a not-unappealing hippie-ish edge) and the quite pretty, Indian-accented closer, "Sight," features both the album's best lyrics and strongest melody. Some of what lies between is forgettable post-hippie singer/songwriter stuff, but surprisingly, what could potentially have been the album's worst track, the lengthy centerpiece "After the First World War," is one of its triumphs. 

Greenwood and lead guitarist Jerry Donahue up their instrumental intensity a few notches here, for a sound that melds folkish grace and heavy electrics in the manner of contemporaneous Fairport Convention, and Greenwood spits out the ironic lyrics in a credible sneer. Living Game isn't a buried treasure or anything, but it has much that would interest a curious fan of British folk-rock. 
by Stewart Mason

First released back in 1971, 'Living Game' is an album that still holds a strong appeal some 30 years later. Here we are treated to well composed pieces that are not long winded and self indulgent affairs, but concise and to the point. Furthermore, the songs are played with with an honest simplicity and a sense of conviction that is sadly lacking in many modern day recordings, and which allows the listener to easily connect with the music. 
by Simon Hill
Tracks
1. Taxi - 2.57
2. Friend of Mine - 2.42
3. Living Game - 4.34
4. My Life - 3.50
5. To The Sea - 3.23
6. After The First World War - 5.50
7. To The Farside - 2.45
8. Truth Seeker - 2.46
9. Situation Number Four - 2.22
10.Keep Coming Back - 4.07
11.Sight - 4.00
All songs written by Mick Greenwood 

Musicians
*Mick Greenwood - Vocals, Acoustic guitar
*Jerry Donahue - Electric Guitar
*Tony Cox - Piano, Harmonium
*Pat Donaldson -  Bass
*Gerry Conway - Drums
*Dave Pegg - Bass
*Lynn Dobson - Tenos Sax, Flute, Sitar
*Karl Jenkins - Baritone Sax
*Derek Wadsworth - Trombone
*Dudu Pukwana - Alto Sax
*Andy Smith - Banjo
*Christine Quaile - Backing Vocals
*Ned Balen - Tablas