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Hydra - Selftitled (Great Southern Rock Album US 1974)

May 19, 2019, 8:33 am
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Based in the southern states of America, hard rock band Hydra formed in the early 70s around a line-up of Wayne Bruce (vocals, guitar), Spencer Kirkpatrick (guitar), Orville Davis (bass) and Steve Pace (drums). Signed to the Allman Brothers and Marshall Tucker Band’s record label, Capricorn Records, they made their debut in 1974 with a self-titled collection that drew heavily on Lynyrd Skynyrd’s southern boogie tradition, but also added elaborate pop hooks and disciplined rhythmic codas. 


Songs such as ‘Glitter Queen’ won them a fervent fanbase, though the subsequent Land Of Money, a more abrasive collection, was less successful. By the advent of Rock The World Davis had departed to join Rex and the resultant instability stalled the group’s progress.

Hydra is an American Southern rock band founded in the late 1960s by Spencer Kirkpatrick (guitar), Wayne Bruce (vocals and guitar), and Steve Pace (drums). In 1977, it became a three-piece band (with Wayne Bruce now on bass) and the band broke up later that year. It released three albums, Hydra (1974), Land of Money (1975) and Rock The World (1977). In 2005, the band reunited for two shows (with Vickery on bass). A live album, Hydra: Live After All These Years was released.


Pace and Kirkpatrick first played together in 1968 in the band Strange Brew. Wayne Bruce was playing with the band Nickelodian and accepted the offer to join Pace and Kirkpatrick in the short-lived Noah Mayflower. These three remained together in the band Osmosis until 1969 when, after enlisting a succession of bassists, Hydra finally emerged with the inclusion of Trip Burgess in 1970, and later Orville Davis in 1971. 


Orville remained with Hydra on their first two LP's before leaving the group to join the hard rock outfit Rex and then briefly Starz. Hydra's reputation as a solid live act in the Atlanta, Georgia area began to spread and the band expanded their territory.They began supporting major internationally known acts in concert.They have been referred to[by whom?] as the first heavy southern rock band.

The band signed a recording contract with Capricorn Records in 1973 and released a self-titled album Hydra in 1974. In 1975, Land of Money followed. The producer Dan Turbeville used a horn section (without the band's knowledge) on the first album and musicians like Chuck Leavell (Allman Brothers band, The Rolling Stones, and Eric Clapton) (piano and keyboards) and Randall Bramblett, who later founded his own Randall Bramblett Band, on the second.

In 1977, as a three-piece band (with Wayne Bruce now on bass), Hydra released Rock The World. Some reviewers[who?], including Edgar Brimer, their road manager, consider this to be their best record. By the end of 1977, the band broke up and reformed only occasionally thereafter, except for a series of shows in 1997, first with Jimmy Cobb and later with Tommy Vickery on bass, replacing Davis.

Hydra was one of those 70’s Southern rock bands that didn’t quite reach the commercial success they deserved. Hydra released three excellent albums between 1974 and 1977 before becoming frustrated with the growth of their success along with some management issues. They broke up in 1977 and have since only played handful of live shows in few different occasions.


Hydra was started in Atlanta, Georgia around 1968 by Steve Pace (drums) and Spencer Kirkpatrick (guitar) and Wayne Bruce (vocals/guitar) under the name Noah Mayflower. They briefly changed their name to Osmosis before taking the name Hydra in 1971 and added Orville Davis to bass.

After building a reputation as killer live band by supporting various major bands like Lynyrd Skynyrd, The Allman Brothers Band and ZZ Top, Phil Walden signed them to his Capricorn Record label in 1973. Hydra´s self-titled debut album came out in 1974.

After year of touring and writing new songs  on the road, their sophomore effort, Land Of Money, was released in 1975 and bassist Orville Davis left the band soon after to launch his own career as a country singer.

In 1976 Hydra signed a deal with Polydor Records and Rock the World came out in 1977 featuring three piece band with Wayne Bruce switching from guitar to bass, but by the end of 1977 Hydra broke up only to make a brief come back in 1997 with handful of live shows.

In 2005 Hydra played two more live dates, which were recorded into a live album called Hydra: Live After All These Years. The band haven´t  completely shut out the option of recording new music under Hydra name in the future.

01. Glitter Queen - 4:02
02. Keep You Around - 5:16
03. It's So Hard (Music by Kirkpatrick, W. Bruce) - 4:45
04. Going Down (Don Nix) - 3:07
05. Feel A Pain (Will Boulware) - 6:24
06. Good Time Man (Words by W. Bruce, Steve Pace) - 3:23
07. Let Me Down Easy - 4:20
08. Warp 16 (S. Pace, S. Kirkpatrick, W. Bruce, Trip Burgess) - 4:20
09. If You Care To Survive - 2:54
10. Miriam - 7:42

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S to S - Selftitled (The Wall of Fuzz'n Hardrock From Belgium 1978)

June 12, 2019, 7:32 am
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Obscure hard-rock / proto-metal beast from Belgium, originally released in 1978 as a private edition of 300 copies. 

Dangerous, aggressive sound with wall of fuzz guitars and manic speed drumming. 

Highly recommended to anyone into “Raw Power” era Stooges, “Back in the USA” era MC5, Pink Fairies, early Motörhead, Hawkwind, Acid Archives US obscurities like White Boy & The Average Rat Band, early NWOBHM bands and compilations like “Bonehead Crunchers”. 

The S to S album is one of those obscurities that have remained unknown to collectors of hardrock for many years. We present the first ever reissue with the band’s story told for the first time. 

S to S emerged out of the ashes of local band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums. After the demise of Etna, the Cannella brothers decided to form a power-trio, thus S to S was born. 

Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state-of-the art studio with their own hands and soon after the recording of the S to S album started. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions. A friend of the band played occasional keyboards and Michel, the producer, played sax on “I’m fool”, the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hardrock featuring layers and layers of fuzzed-out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs. 


The album was completed in early 1977 but remained in the shelf until the following year. The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting the band. Only 300 copies were pressed on their own Overcome label. Meanwhile Mirco formed a punk band named Acétylène but decided to concentrate on S to S soon after. 

S to S continued right into the 80s with some changes in their line-up, playing many successful shows in Belgium, changing their style towards a more heavy-blues-rock sound, before splitting in 1982.

S to S is one of those obscurities that have remained unknown to collectors of hard rock for many years. Sommor Records presents the first ever reissue with the band's story told for the first time. S to S emerged out of the ashes of the band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums. 

After the demise of Etna, the Cannella brothers decided to form a power-trio: S to S was born. Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state-of-the art studio with their own hands and soon after recorded S to S. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions. 

A friend of the band played occasional keyboards and Michel, the producer, played sax on "I'm Fool", the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hard rock featuring layers of fuzzed-out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs. The album was completed in early 1977 but remained on the shelf until the following year. 

The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting them. Only 300 copies were pressed on their own Overcome label. Remastered sound. Insert with detailed liner notes by Pascal D'Hooghe and rare photos. 

Highly recommended to anyone into Raw Power era Stooges, Back in the USA era MC5, Pink Fairies, early Motörhead, Hawkwind.' 

01. Great Billy 02:43
02. It's Ok 03:51
03. The Night Of Nicky 04:16
04. I'm A Killer 03:13
05. I'm Fool 05:10
06. Kids Of The Night 02:50
07. Children Killers 02:48
08. Stay Of Victor Feinberg 03:08

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Elf - Warpigs Live In Cortland 1972 & Demos (2CD) (Bootleg)

June 12, 2019, 7:52 am
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Elf was a Blues-rock band founded in 1967 by singer and bassist Ronnie James Dio, keyboardist Doug Thaler, drummer Gary Driscoll, and guitarists Nick Pantas and David Feinstein (Dio's cousin). The band was originally called The Electric Elves, but was shortened to The Elves and finally Elf in mid-1970. Elf disbanded in 1975, after recording three albums.

In 1970 the band was involved in an automobile accident which claimed the life of Nick Pantas, whom the band decided not to replace. After recovering from his injuries, Doug Thaler quit the band, and was replaced by Micky Lee Soule. (Upon leaving in 1972, Thaler moved to New York and got a job as a booking agent — Elf was one of the bands he booked. In 1983, he became co-manager of Mötley Crüe. Present day he works at Metropolitan Talent as an artist manager, working with artists such as Art Garfunkel, Bruce Hornsby & Ratdog).


Elf's self-titled debut album was produced by Deep Purple members Roger Glover and Ian Paice, who happened to see Elf auditioning in 1972. For the next few years, the band enjoyed mild success as an opening act for Deep Purple.

Dio both sang and played the bass guitar until, in 1973, bass player Craig Gruber was asked to join. The same year saw Feinstein quit the band, to be replaced by Steve Edwards. Feinstein formed a band called The Rods[1], which met with a moderate amount of success, touring with groups such as Judas Priest and Iron Maiden, as well as Metallica, before finally retiring from the music industry. He would not return to the music scene until 2004, when his band, Feinstein, released the album Third Wish on the Magic Circle Music label.

In 1974, Dio was asked by Glover to sing on his solo album The Butterfly Ball and the Grasshopper's Feast. Dio's rich, soulful voice gained the attention of guitarist Ritchie Blackmore who had just left Deep Purple and was looking for musicians for his first solo album, Ritchie Blackmore's Rainbow. He decided to use Elf for this album, and the band Rainbow was thus formed, with Blackmore replacing Edwards. After they finished recording the album, however, Driscoll, Gruber, and Soule were replaced by Cozy Powell, Jimmy Bain and Tony Carey, who played with Dio and Blackmore during the subsequent tour; Elf was no more.

Elf is the first album by Ronnie James Dio's blues rock band called Elf. It was released in 1972.Dio at the time still went by his birth name Ronald Padovana.

After this album, Steve Edwards replaced David Feinstein on guitar, and Craig Gruber replaced Ronnie James Dio on bass. However, Ronnie James Dio continued to sing lead vocals for the band. This future lineup, minus Feinstein, became the first incarnation of Blackmore's Rainbow when Deep Purple axeman Ritchie Blackmore left Deep Purple.

Carolina County Ball, was the second album by the rock band Elf, released as an LP in 1974 on the MGM label. It was released in the United States and Japan as L.A./59.

The song most played from this album was "Ain't It All Amusing," which became a staple in the pubs in the UK

* Ronnie James Dio - vocals / bass
* Gary Driscoll - Drums / Percussion
* Dave "Rock" Feinstein - Guitar
* Mickey Lee Soule - Keyboards

Disc 1:
01. Wake Up Sunshine (studio demo)
02. Smile For Me Lady (studio demo)
03. Rosemary (studio demo)
04. You Felt he Same Way (studio demo)
05. Driftin' (studio demo)
06. Saturday Night
07. Crosseyed Mary
08. Stay With Me
09. Little Queenie / Johnny B Good  Whole Lotta Shakin'
10. Did You Ever
11. Cold Ramona
12. Black Dog
13. Lura Lura
14. Four Day Creep

Disc 2:
01. Give Me A Chance
02. Nameless Instrumental
03. Aqualung
04. Drown Me In The River
05. Simple Man
06. Pisces Apple Lady
07. Dirty Dollar Bill
08. Buckingham Blues
09. So Long
10. You Shook Me / Rock's Boogie
11. War Pigs

Part 1: Elf
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Part 1: Elf
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Vanilla Fudge - Selftitled (1st Album US 1967) + Bonus Album

June 18, 2019, 1:06 am
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Vanilla Fudge (Atco 33-224/mono, SD 33-224/stereo) is the first album by the American psychedelic rock band Vanilla Fudge. Released in summer 1967, it consists entirely of half-speed covers and three short original instrumental compositions.

The album was Vanilla Fudge's most successful, peaking at #6 on the Billboard album charts in September 1967. An edited version of "You Keep Me Hangin' On" was released as a single and also charted.



In a debut consisting of covers, nobody could accuse Vanilla Fudge of bad taste in their repertoire; with stoned-out, slowed-down versions of such then-recent classics as "Ticket to Ride,""Eleanor Rigby," and "People Get Ready," they were setting the bar rather high for themselves. Even the one suspect choice -- Sonny Bono's "Bang Bang" -- turns out to be rivaled only by Mott the Hoople's version of "Laugh at Me" in putting Bono's songwriting in the kindest possible light. 


Most of the tracks here share a common structure of a disjointed warm-up jam, a Hammond-heavy dirge of harmonized vocals at the center, and a final flat-out jam. Still, some succeed better than others: "You Keep Me Hanging On" has a wonderfully hammered-out drum part, and "She's Not There" boasts some truly groovy organ jams. While the pattern can sound repetitive today, each song still works as a time capsule of American psychedelia.

Vanilla Fudge is an American rock band known predominantly for their psychedelic renditions of popular songs. The band's original lineup—vocalist/organist Mark Stein, bassist/vocalist Tim Bogert, lead guitarist/vocalist Vince Martell, and drummer/vocalist Carmine Appice—recorded five albums during the years 1966–69, before disbanding in 1970. The band has reunited in various configurations over the years, and is currently operating with three of the four original members, Mark Stein, Vince Martell, and Carmine Appice with Pete Bremy on bass for Tim Bogert who has retired from touring. The band has been cited as "one of the few American links between psychedelia and what soon became heavy metal".


Stein and Bogert played in a local band called Rick Martin & The Showmen. The pair were so impressed by the swinging sound and floods of organ of The Rascals they decided to form their own band with Martell and Rick Martin's drummer, Joey Brennan. Originally calling themselves The Pigeons, they changed the name to Vanilla Fudge in 1966, after the replacement of Brennan by Appice.[3] The group was then "discovered" and managed by reputed Lucchese crime family member Phillip Basile, who operated several popular clubs in New York. Led Zeppelin, then an emerging band, was the opening act on their American tour. Produced by Shadow Morton who the band met through the Rascals. Morton had a gift for melodramatic productions in the studio.

The band's biggest hit was its cover of "You Keep Me Hangin' On", a slowed-down, hard rocking version of a song originally recorded by The Supremes. This version featured Stein's psychedelic-baroque organ intro and Appice's energetic drumming.

The members of Vanilla Fudge were great admirers of The Beatles, and covered several of their songs including "Ticket to Ride" and "Eleanor Rigby". The self-titled debut album quotes "Strawberry Fields Forever" at the end, with the line "there's nothing to get hung about".


On March 14, 1970, Vanilla Fudge played a farewell concert at the Phil Basille's Action House. After that, Bogert & Appice departed to form another group, Cactus (In 1972, they left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck). Stein, left on his own, tried to keep the group going with two new players, Sal D'Nofrio (bass) and Jimmy Galluzi (drums) (both of whom had been members of a Poughkeepsie, New York group known as 'Dino & The Cavemen'). But when nothing came from this, Stein ended up forming a new group, Boomerang, instead with Galluzi.

A recording of the Pigeons was released in Germany in 1973 under the title of 'While the World was Eating Vanilla Fudge'.

Following the band's breakup in 1970, the band has reunited several times. In 1982, they reunited in support of the Atco Records release, Best of Vanilla Fudge. This resulted in another album of fresh material in 1984 called Mystery. Martell was not included in this initial reunion and Ron Mancuso played guitar on Mystery instead, along with Jeff Beck, who guested under the moniker "J. Toad". Two reunion tours followed in 1987/1988. with Paul Hanson on guitar. Lanny Cordola was guitarist when the band took the stage on May 14, 1988 for the Atlantic Records' 40th Anniversary Celebration. After that, the individual members went their separate ways once again to pursue other projects.

In 1991 Appice revived the Vanilla Fudge name for a tour with Ted Nugent's former band members Derek St. Holmes (guitar, vocals), Martin Gerschwitz (keyboards, vocals) and Tom Croucier (bass, vocals), which resulted in the album The Best of Vanilla Fudge – Live.

Personnel:
♦ Carmine Appice - drums, vocals
♦ Tim Bogert - bass, vocals
♦ Vince Martell - guitar, vocals
♦ Mark Stein - lead vocals, keyboards

Studio albums:
♣ 1967Vanilla Fudge
♣ 1968The Beat Goes On
♣ 1968Renaissance
♣ 1969Near the Beginning
♣ 1969Rock & Roll

01. "Ticket to Ride" (Lennon–McCartney) – 5:40
02. "People Get Ready" (Curtis Mayfield) – 6:30
03. "She's Not There" (Rod Argent) – 4:55
04. "Bang Bang" (Sonny Bono) – 5:20
05. "Illusions Of My Childhood - Part One"– 0:20
06. "You Keep Me Hangin' On" (Brian Holland-Lamont Dozier-Eddie Holland) – 6:42
07. "Illusions Of My Childhood - Part Two"– 0:23
08. "Take Me For A Little While (Trade Martin) – 3:27
09. "Illusions Of My Childhood — Part Three – 0:23
10. "Eleanor Rigby" (Lennon–McCartney) - 8:10

Vanilla Fudge - The Return (Good Reunion) (2002)


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Do you recognize the album cover or know the name of the band? Well, if you do you are older than I am. I was a little boy when these people were making a name for themselves. Vanilla Fudge was a band known for doing covers of popular songs by injecting their psychedelic blues-rock into every groove on a record. That was then and this is now. Has that much changed? 

Not really, they still kick ass and sound great. They serve notice they are back with a vengeance very quickly on the rockin' opener "Ain't That Peculiar" and renew their classic rendition of "You Keep Me Hangin'On" in their own unique way. 



They even do an out of character rap in Rod Stewart's "Do Ya Think I'm Sexy," which by the way, rocks the house down. The only song on the CD that did not seem to fit was "I Want It That Way," it seemed as if they were trying to force their style of music on the song, and it did not work. Other than that, this is a great recording.

I can only hope I have the energy, soul, and emotion that this group has when I get into my fifties. We seem to be going through a rock 'n' roll renaissance lately with 60s and 70s bands reemerging and catching everyone by surprise with the great music that is being produced. They are that good, and much of what is recorded today is not worthy of your listening so it is a real treat to take this all in. 



There is not only the audience that they left behind in the 60s that will be thrilled to hear this, there will be excited new listeners wondering why they never heard of this group. I got a wakeup call with Vince Martell's solo album Endless High last year. I found out what a great guitarist and vocalist he was and wondered then if he would get the Fudge back together because he was having so much success. I am glad that he did. They have also stayed current with an attractive website with updates on all the group members. 

For all the hangers on and all of those that have been wondering what this band sounded like, here is your chance to hear them in present day. I encourage you to delve into their back catalog as well, it is excellent and well worth your time and hard-earned bucks. Review by Muzikman 



In 2001, three members of the VANILLA FUDGE got together and proved they can still rock & roll-- these guys sound terrific! THE RETURN features reworkings of eight of their classics-- all are excellent. "Season Of The Witch," for example, is vastly improved by the loss of Mark Stein's odd poetry break midway through ("Here we sit emerged in a liquid sea of love..." etc.), as well as a truncation of the intro. The new studio version of "Shotgun" is white-hot and most welcome.

Carmine Appice is still amazing-- the man hasn't lost a beat. Vocals on "Need Love" soar high, while the Fudge's jamming surpasses their original track. The four new songs on this set are quite good, too. This album's a joy-- if you're a Vanilla Fudge fan, you're gonna love it!

★ Vince Martell - guitar, vocals 
★ Bill Pascali - organ, vocals 
★ Tim Bogert - bass, vocals 
★ Carmine Appice - drums, vocals, producer

01. Ain't That Peculiar (6:10)
02. You Keep Me Hangin' On (6:45)
03. Tearin' Up My Heart (7:37) *
04. Shotgun (6:05)
05. People Get Ready (6:46)
06. Take Me For A Little While (4:15)
07. Good Good Livin' (4:42)
08. I Want It That Way (6:50) *
09. Need Love (4:49)
10. She's Not There (5:12)
11. Season Of The Witch (8:10)
12. Do Ya Think I'm Sexy (7:12)*

New recordings of previous songs and three new songs * (tracks #3,8,12)

Part 1: Vanilla Fudge
Part 2: Vanilla Fudge
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Part 1: Vanilla Fudge
Part 2: Vanilla Fudge
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Part 1: Vanilla Fudge
Part 2: Vanilla Fudge


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Flamin' Groovies - Sneakers & Rockfield Sessions (US 1968 & 1972)

June 29, 2019, 7:53 am
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The group's earliest release, recorded in early 1968, was issued as a seven-song 10". Featuring mostly Roy Loney originals, the band mashed together garage rock, San Francisco psychedelia, the Lovin' Spoonful, and blues for this derivative set. Nonetheless, there's a good deal of charm in the over-amped, hyper-speedy execution, with less finesse than their more renowned Bay Area peers, and less pretension, too. 


The easygoing blues-rock of "The Slide," the tunefully moody "Lovetime," and the insanely fast fusion of '20s pop and '60s rock on "My Yada" are standouts.

This was their 10 inch 7 song debut, released in early 1968. Throughout their career the Flamin’ Groovies went through multiple phases though many feel that the Sneakers to Teenage Head era was the band’s finest. During this period the band produced some of the best proto punk hard rock records around.


In the late 70’s people started realizing the band’s importance and influence on the emerging punk scene. The band finally received an enormous amount of respect from the rock press during this period. This late 70’s version was led by Cyril Jordan, releasing a trio of superb British Invasion style garage albums. 

The Sneakers/Roy Loney led Flamin’ Groovies were a totally different animal. They resided in San Fransisco and played a greasy old fashioned brand of rock n'roll that was also influenced by monster British Invasion bands such as the The Who, Rolling Stones and Kinks (started circa 1965/66). 


The Groovies played the same psychedelic ballrooms as Jefferson Airplane and the Grateful Dead, thus making them hopelessly out of step with the acid daze.

This little album will most likely appeal to psych fans though, as there are plenty of excellent fuzz solos traded through Sneaker’s seven songs. Some of the songs have a charming Lovin’ Spoonful folk-rock jugband influence as heard on Lovetime and Babes In The Sky. 

My Yada is somewhat similar and a definite highlight, being the strangest amalgam of jugband music and psychedelia ever recorded. Golden Clouds, I’m Drowning and Slider are the real highlights. The Groovies recklessly blast through these Roy Loney originals.

They are perfect mixtures of 1967 Rolling Stones and 50’s Sun label rockabilly sound spiked with a tinge of San Fransisco acid.

I have to point out Golden Clouds in particular. It sounds like a classic, the band in all their glory, something you would have heard late at night on underground radio. The guitar solo is positively brilliant, Loney’s vocals surge and strut with confidence and it puts to shame many of today’s more vaunted, though unoriginal corporate cheese acts like the White Stripes, Strokes, Black Keys, and John Spencer.

This 10 inch album was the first of four releases from the Roy Loney era Groovies. During this period their lineup also included Cyril Jordan, Danny Mihm, Tim Lynch and George Alexander. Although they would release two bonafide classics in Flamingo and Teenage Head, Sneakers remains their most honest, fun record to date.

Sneakers (US 1968)
01. I'm Drowning  02:05
02. Babes in the Sky  01:50
03. Love Time  02:50
04. My Yada  02:10
05. Golden Clouds  02:53
06. The Slide  04:00
07. Prelude in a Flat to Afternoon of a Pud  01:22

RockFields Sessons (US 1972)
01. Married Woman  03:43
02. Get a Shot of Rhythm and Blues  02:24
03. Little Queenie  02:57
04. Slow Death  04:22
05. Shake Some Action recording of:Shake Some Action writer:Cyril Jordan and Chris Wilson (US guitarist, Ex. Flamin' Groovies)  04:32
06. You Tore Me Down recording of:You Tore Me Down  02:48
07. Tallahassee Lassie  02:18

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Jimi Hendrix - Various Rare Performances by ChrisGoesRock

July 14, 2019, 12:29 am
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James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American rock guitarist, singer, and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most influential electric guitarists in the history of popular music, and one of the most celebrated musicians of the 20th century. The Rock and Roll Hall of Fame describes him as "arguably the greatest instrumentalist in the history of rock music".

Born in Seattle, Washington, Hendrix began playing guitar at the age of 15. In 1961, he enlisted in the U.S. Army and trained as a paratrooper in the 101st Airborne Division; he was granted a discharge "under honorable conditions" the following year. Soon afterward, he moved to Clarksville, Tennessee, and began playing gigs on the Chitlin' Circuit, earning a place in the Isley Brothers' backing band and later with Little Richard, with whom he continued to work through mid-1965. He then played with Curtis Knight and the Squires before moving to England in late 1966 after being discovered by Linda Keith, who in turn interested bassist Chas Chandler of the Animals in becoming his first manager. Within months, Hendrix had earned three UK top ten hits with the Jimi Hendrix Experience: "Hey Joe", "Purple Haze", and "The Wind Cries Mary". He achieved fame in the U.S. after his performance at the Monterey Pop Festival in 1967, and in 1968 his third and final studio album, Electric Ladyland, reached number one in the U.S.; it was Hendrix's most commercially successful release and his first and only number one album. The world's highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970, before his accidental death from barbiturate-related asphyxia on September 18, 1970, at the age of 27.



Hendrix was inspired musically by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in popularizing the previously undesirable sounds caused by guitar amplifier feedback. He was also one of the first guitarists to make extensive use of tone-altering effects units, such as fuzz tone, Octavia, wah-wah, and Uni-Vibe in mainstream rock. He was the first artist to use stereophonic phasing effects in music recordings. Holly George-Warren of Rolling Stone commented: "Hendrix pioneered the use of the instrument as an electronic sound source. Players before him had experimented with feedback and distortion, but Hendrix turned those effects and others into a controlled, fluid vocabulary every bit as personal as the blues with which he began."




Hendrix was the recipient of several music awards during his lifetime and posthumously. In 1967, readers of Melody Maker voted him the Pop Musician of the Year, and in 1968, Rolling Stone declared him the Performer of the Year. Disc and Music Echo honored him with the World Top Musician of 1969 and in 1970, Guitar Player named him the Rock Guitarist of the Year. The Jimi Hendrix Experience was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. Rolling Stone ranked the band's three studio albums, Are You Experienced, Axis: Bold as Love, and Electric Ladyland, among the 100 greatest albums of all time, and they ranked Hendrix as the greatest guitarist and the sixth greatest artist of all time.

Ancestry and childhood:
Jimi Hendrix had a diverse heritage. His paternal grandmother, Zenora "Nora" Rose Moore, was African American and one-quarter Cherokee. Hendrix's paternal grandfather, Bertran Philander Ross Hendrix (born 1866), was born out of an extramarital affair between a woman named Fanny, and a grain merchant from Urbana, Ohio, or Illinois, one of the wealthiest men in the area at that time. After Hendrix and Moore relocated to Vancouver, British Columbia, Canada, they had a son they named James Allen Hendrix on June 10, 1919; the family called him "Al".


In 1941, after moving to Seattle, Al met Lucille Jeter (1925–1958) at a dance; they married on March 31, 1942. Lucille's father (Jimi's maternal grandfather) was Preston Jeter (born 1875), whose mother was born in similar circumstances as Bertran Philander Ross Hendrix. Lucille's mother, née Clarice Lawson, had African American and Cherokee ancestors. Al, who had been drafted by the U.S. Army to serve in World War II, left to begin his basic training three days after the wedding. Johnny Allen Hendrix was born on November 27, 1942, in Seattle; he was the first of Lucille's five children. In 1946, Johnny's parents changed his name to James Marshall Hendrix, in honor of Al and his late brother Leon Marshall.

Stationed in Alabama at the time of Hendrix's birth, Al was denied the standard military furlough afforded servicemen for childbirth; his commanding officer placed him in the stockade to prevent him from going AWOL to see his infant son in Seattle. He spent two months locked up without trial, and while in the stockade received a telegram announcing his son's birth. During Al's three-year absence, Lucille struggled to raise their son. When Al was away, Hendrix was mostly cared for by family members and friends, especially Lucille's sister Delores Hall and her friend Dorothy Harding. Al received an honorable discharge from the U.S. Army on September 1, 1945. Two months later, unable to find Lucille, Al went to the Berkeley, California, home of a family friend named Mrs. Champ, who had taken care of and had attempted to adopt Hendrix; this is where Al saw his son for the first time.


After returning from service, Al reunited with Lucille, but his inability to find steady work left the family impoverished. They both struggled with alcohol, and often fought when intoxicated. The violence sometimes drove Hendrix to withdraw and hide in a closet in their home. His relationship with his brother Leon (born 1948) was close but precarious; with Leon in and out of foster care, they lived with an almost constant threat of fraternal separation. In addition to Leon, Hendrix had three younger siblings: Joseph, born in 1949, Kathy in 1950, and Pamela, 1951, all of whom Al and Lucille gave up to foster care and adoption. The family frequently moved, staying in cheap hotels and apartments around Seattle. On occasion, family members would take Hendrix to Vancouver to stay at his grandmother's. A shy and sensitive boy, he was deeply affected by his life experiences. In later years, he confided to a girlfriend that he had been the victim of sexual abuse by a man in uniform. On December 17, 1951, when Hendrix was nine years old, his parents divorced; the court granted Al custody of him and Leon.

First instruments:
At Horace Mann Elementary School in Seattle during the mid-1950s, Hendrix's habit of carrying a broom with him to emulate a guitar gained the attention of the school's social worker. After more than a year of his clinging to a broom like a security blanket, she wrote a letter requesting school funding intended for underprivileged children, insisting that leaving him without a guitar might result in psychological damage. Her efforts failed, and Al refused to buy him a guitar.


In 1957, while helping his father with a side-job, Hendrix found a ukulele amongst the garbage they were removing from an older woman's home. She told him that he could keep the instrument, which had only one string. Learning by ear, he played single notes, following along to Elvis Presley songs, particularly "Hound Dog". By the age of 33, Hendrix's mother Lucille had developed cirrhosis of the liver, and on February 2, 1958, she died when her spleen ruptured. Al refused to take James and Leon to attend their mother's funeral; he instead gave them shots of whiskey and instructed them that was how men should deal with loss. In 1958, Hendrix completed his studies at Washington Junior High School and began attending, but did not graduate from, Garfield High School.

In mid-1958, at age 15, Hendrix acquired his first acoustic guitar, for $5 (equivalent to $43.40 in 2018). He played for hours daily, watching others and learning from more experienced guitarists, and listening to blues artists such as Muddy Waters, B.B. King, Howlin' Wolf, and Robert Johnson. The first tune Hendrix learned to play was the television theme "Peter Gunn". Around that time, Hendrix jammed with boyhood friend Sammy Drain and his keyboard-playing brother. In 1959, attending a concert by Hank Ballard & the Midnighters in Seattle, Hendrix met the group's guitarist Billy Davis. Davis showed him some guitar licks and later got him a short gig with the Midnighters. The two remained friends until Hendrix's death in 1970.


Soon after he acquired the acoustic guitar, Hendrix formed his first band, the Velvetones. Without an electric guitar, he could barely be heard over the sound of the group. After about three months, he realized that he needed an electric guitar.[46] In mid-1959, his father relented and bought him a white Supro Ozark. Hendrix's first gig was with an unnamed band in the Jaffe Room of Seattle's Temple De Hirsch Sinai, but they fired him between sets for showing off. He joined the Rocking Kings, which played professionally at venues such as the Birdland club. When his guitar was stolen after he left it backstage overnight, Al bought him a red Silvertone Danelectro.

Military service:
Before Hendrix was 19 years old, law authorities had twice caught him riding in stolen cars. Given a choice between prison or joining the Army, he chose the latter and enlisted on May 31, 1961. After completing eight weeks of basic training at Fort Ord, California, he was assigned to the 101st Airborne Division and stationed at Fort Campbell, Kentucky. He arrived on November 8, and soon afterward he wrote to his father: "There's nothing but physical training and harassment here for two weeks, then when you go to jump school ... you get hell. They work you to death, fussing and fighting." In his next letter home, Hendrix, who had left his guitar at his girlfriend Betty Jean Morgan's house in Seattle, asked his father to send it to him as soon as possible, stating: "I really need it now." His father obliged and sent the red Silvertone Danelectro on which Hendrix had hand-painted the words "Betty Jean" to Fort Campbell. His apparent obsession with the instrument contributed to his neglect of his duties, which led to taunting and physical abuse from his peers, who at least once hid the guitar from him until he had begged for its return.


In November 1961, fellow serviceman Billy Cox walked past an army club and heard Hendrix playing. Impressed by Hendrix's technique, which Cox described as a combination of "John Lee Hooker and Beethoven", Cox borrowed a bass guitar and the two jammed. Within weeks, they began performing at base clubs on the weekends with other musicians in a loosely organized band, the Casuals.

Hendrix completed his paratrooper training in just over eight months, and Major General C. W. G. Rich awarded him the prestigious Screaming Eagles patch on January 11, 1962. By February, his personal conduct had begun to draw criticism from his superiors. They labeled him an unqualified marksman and often caught him napping while on duty and failing to report for bed checks. On May 24, Hendrix's platoon sergeant, James C. Spears, filed a report in which he stated: "He has no interest whatsoever in the Army ... It is my opinion that Private Hendrix will never come up to the standards required of a soldier. I feel that the military service will benefit if he is discharged as soon as possible." On June 29, 1962, Hendrix was granted a discharge "under honorable conditions" on the basis of unsuitability. Hendrix later spoke of his dislike of the army and lied that he had received a medical discharge after breaking his ankle during his 26th parachute jump.

Career:
In September 1963, after Cox was discharged from the Army, he and Hendrix moved about twenty miles across the state line from Fort Campbell to Clarksville, Tennessee, and formed a band called the King Kasuals. Hendrix had watched Butch Snipes play with his teeth in Seattle and by now Alphonso 'Baby Boo' Young, the other guitarist in the band, was performing this guitar gimmick. Not to be upstaged, Hendrix learned to play with his teeth. He later commented: "The idea of doing that came to me...in Tennessee. Down there you have to play with your teeth or else you get shot. 



There's a trail of broken teeth all over the stage." Although they began playing low-paying gigs at obscure venues, the band eventually moved to Nashville's Jefferson Street, which was the traditional heart of the city's black community and home to a thriving rhythm and blues music scene. They earned a brief residency playing at a popular venue in town, the Club del Morocco, and for the next two years Hendrix made a living performing at a circuit of venues throughout the South that were affiliated with the Theater Owners' Booking Association (TOBA), widely known as the Chitlin' Circuit.[66] In addition to playing in his own band, Hendrix performed as a backing musician for various soul, R&B, and blues musicians, including Wilson Pickett, Slim Harpo, Sam Cooke, Ike & Tina Turner and Jackie Wilson.

In January 1964, feeling he had outgrown the circuit artistically, and frustrated by having to follow the rules of bandleaders, Hendrix decided to venture out on his own. He moved into the Hotel Theresa in Harlem, where he befriended Lithofayne Pridgon, known as "Faye", who became his girlfriend. A Harlem native with connections throughout the area's music scene, Pridgon provided him with shelter, support, and encouragement. Hendrix also met the Allen twins, Arthur and Albert. In February 1964, Hendrix won first prize in the Apollo Theater amateur contest. Hoping to secure a career opportunity, he played the Harlem club circuit and sat in with various bands. At the recommendation of a former associate of Joe Tex, Ronnie Isley granted Hendrix an audition that led to an offer to become the guitarist with the Isley Brothers' back-up band, the I.B. Specials, which he readily accepted.



First recordings:
In March 1964, Hendrix recorded the two-part single "Testify" with the Isley Brothers. Released in June, it failed to chart. In May, he provided guitar instrumentation for the Don Covay song, "Mercy Mercy". Issued in August by Rosemart Records and distributed by Atlantic, the track reached number 35 on the Billboard chart.

Hendrix toured with the Isleys during much of 1964, but near the end of October, after growing tired of playing the same set every night, he left the band. Soon afterward, Hendrix joined Little Richard's touring band, the Upsetters. During a stop in Los Angeles in February 1965, he recorded his first and only single with Richard, "I Don't Know What You Got (But It's Got Me)", written by Don Covay and released by Vee-Jay Records. Richard's popularity was waning at the time, and the single peaked at number 92, where it remained for one week before dropping off the chart. Hendrix met singer Rosa Lee Brooks while staying at the Wilcox Hotel in Hollywood, and she invited him to participate in a recording session for her single, which included the Arthur Lee penned "My Diary" as the A-side, and "Utee" as the B-side. Hendrix played guitar on both tracks, which also included background vocals by Lee. The single failed to chart, but Hendrix and Lee began a friendship that lasted several years; Hendrix later became an ardent supporter of Lee's band, Love.


In July 1965, on Nashville's Channel 5 Night Train, Hendrix made his first television appearance. Performing in Little Richard's ensemble band, he backed up vocalists Buddy and Stacy on "Shotgun". The video recording of the show marks the earliest known footage of Hendrix performing. Richard and Hendrix often clashed over tardiness, wardrobe, and Hendrix's stage antics, and in late July, Richard's brother Robert fired him. He then briefly rejoined the Isley Brothers, and recorded a second single with them, "Move Over and Let Me Dance" backed with "Have You Ever Been Disappointed". Later that year, he joined a New York-based R&B band, Curtis Knight and the Squires, after meeting Knight in the lobby of a hotel where both men were staying. Hendrix performed with them for eight months. In October 1965, he and Knight recorded the single, "How Would You Feel" backed with "Welcome Home" and on October 15, Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin. While the relationship with Chalpin was short-lived, his contract remained in force, which later caused legal and career problems for Hendrix. During his time with Knight, Hendrix briefly toured with Joey Dee and the Starliters, and worked with King Curtis on several recordings including Ray Sharpe's two-part single, "Help Me". Hendrix earned his first composer credits for two instrumentals, "Hornets Nest" and "Knock Yourself Out", released as a Curtis Knight and the Squires single in 1966.


Feeling restricted by his experiences as an R&B sideman, Hendrix moved in 1966 to New York City's Greenwich Village, which had a vibrant and diverse music scene. There, he was offered a residency at the Cafe Wha? on MacDougal Street and formed his own band that June, Jimmy James and the Blue Flames, which included future Spirit guitarist Randy California. The Blue Flames played at several clubs in New York and Hendrix began developing his guitar style and material that he would soon use with the Experience. In September, they gave some of their last concerts at the Cafe au Go Go, as John Hammond Jr.'s backing group.

The Jimi Hendrix Experience:
By May 1966, Hendrix was struggling to earn a living wage playing the R&B circuit, so he briefly rejoined Curtis Knight and the Squires for an engagement at one of New York City's most popular nightspots, the Cheetah Club. During a performance, Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, noticed Hendrix. She remembered: "playing mesmerised me". She invited him to join her for a drink; he accepted and the two became friends.

While Hendrix was playing with Jimmy James and the Blue Flames, Keith recommended him to Stones manager Andrew Loog Oldham and producer Seymour Stein. They failed to see Hendrix's musical potential, and rejected him. She then referred him to Chas Chandler, who was leaving the Animals and interested in managing and producing artists. Chandler saw the then-unknown Jimi Hendrix play in Cafe Wha?, a Greenwich Village, New York City nightclub. Chandler liked the Billy Roberts song "Hey Joe", and was convinced he could create a hit single with the right artist. Impressed with Hendrix's version of the song, he brought him to London on September 24, 1966, and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. On September 24, Hendrix gave an impromptu solo performance at The Scotch of St James, and later that night he began a relationship with Kathy Etchingham that lasted for two and a half years.



Following Hendrix's arrival in London, Chandler began recruiting members for a band designed to highlight the guitarist's talents, the Jimi Hendrix Experience. Hendrix met guitarist Noel Redding at an audition for the New Animals, where Redding's knowledge of blues progressions impressed Hendrix, who stated that he also liked Redding's hairstyle. Chandler asked Redding if he wanted to play bass guitar in Hendrix's band; Redding agreed. Chandler then began looking for a drummer and soon after, he contacted Mitch Mitchell through a mutual friend. Mitchell, who had recently been fired from Georgie Fame and the Blue Flames, participated in a rehearsal with Redding and Hendrix where they found common ground in their shared interest in rhythm and blues. When Chandler phoned Mitchell later that day to offer him the position, he readily accepted. Chandler also convinced Hendrix to change the spelling of his first name from Jimmy to the exotic looking Jimi.

On October 1, 1966, Chandler brought Hendrix to the London Polytechnic at Regent Street, where Cream was scheduled to perform, and where Hendrix and Eric Clapton met. Clapton later commented: "He asked if he could play a couple of numbers. I said, 'Of course', but I had a funny feeling about him." Halfway through Cream's set, Hendrix took the stage and performed a frantic version of the Howlin' Wolf song "Killing Floor". In 1989, Clapton described the performance: "He played just about every style you could think of, and not in a flashy way. I mean he did a few of his tricks, like playing with his teeth and behind his back, but it wasn't in an upstaging sense at all, and that was it ... He walked off, and my life was never the same again".



UK success:
In mid-October 1966, Chandler arranged an engagement for the Experience as Johnny Hallyday's supporting act during a brief tour of France. Thus, the Jimi Hendrix Experience performed their very first show on October 13, 1966, at the Novelty in Evreux. Their enthusiastically received 15-minute performance at the Olympia theatre in Paris on October 18 marks the earliest known recording of the band. In late October, Kit Lambert and Chris Stamp, managers of the Who, signed the Experience to their newly formed label, Track Records, and the group recorded their first song, "Hey Joe", on October 23. "Stone Free", which was Hendrix's first songwriting effort after arriving in England, was recorded on November 2.

In mid-November, they performed at the Bag O'Nails nightclub in London, with Clapton, John Lennon, Paul McCartney, Jeff Beck, Pete Townshend, Brian Jones, Mick Jagger, and Kevin Ayers in attendance. Ayers described the crowd's reaction as stunned disbelief: "All the stars were there, and I heard serious comments, you know 'shit', 'Jesus', 'damn' and other words worse than that." The successful performance earned Hendrix his first interview, published in Record Mirror with the headline: "Mr. Phenomenon". "Now hear this ... we predict that [Hendrix] is going to whirl around the business like a tornado", wrote Bill Harry, who asked the rhetorical question: "Is that full, big, swinging sound really being created by only three people?" Hendrix commented: "We don't want to be classed in any category ... If it must have a tag, I'd like it to be called, 'Free Feeling'. It's a mixture of rock, freak-out, rave and blues". Through a distribution deal with Polydor Records, the Experience's first single, "Hey Joe", backed with "Stone Free", was released on December 16, 1966. After appearances on the UK television shows Ready Steady Go! and the Top of the Pops, "Hey Joe" entered the UK charts on December 29 and peaked at number six. Further success came in March 1967 with the UK number three hit "Purple Haze", and in May with "The Wind Cries Mary", which remained on the UK charts for eleven weeks, peaking at number six. On March 12, 1967, he performed at the Troutbeck Hotel, Ilkley, West Yorkshire, where, after about 900 people turned up (the hotel was licensed for 250) the local police stopped the gig due to safety concerns.


On March 31, 1967, while the Experience waited to perform at the London Astoria, Hendrix and Chandler discussed ways in which they could increase the band's media exposure. When Chandler asked journalist Keith Altham for advice, Altham suggested that they needed to do something more dramatic than the stage show of the Who, which involved the smashing of instruments. Hendrix joked: "Maybe I can smash up an elephant", to which Altham replied: "Well, it's a pity you can't set fire to your guitar". Chandler then asked road manager Gerry Stickells to procure some lighter fluid. During the show, Hendrix gave an especially dynamic performance before setting his guitar on fire at the end of a 45-minute set. In the wake of the stunt, members of London's press labeled Hendrix the "Black Elvis" and the "Wild Man of Borneo".

Are You Experienced:
After the UK chart success of their first two singles, "Hey Joe" and "Purple Haze", the Experience began assembling material for a full-length LP. Recording began at De Lane Lea Studios and later moved to the prestigious Olympic Studios. The album, Are You Experienced, features a diversity of musical styles, including blues tracks such as "Red House" and "Highway Chile", and the R&B song "Remember". It also included the experimental science fiction piece, "Third Stone from the Sun" and the post-modern soundscapes of the title track, with prominent backwards guitar and drums. "I Don't Live Today" served as a medium for Hendrix's guitar feedback improvisation and "Fire" was driven by Mitchell's drumming.

Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. It was prevented from reaching the top spot by the Beatles' Sgt. Pepper's Lonely Hearts Club Band. On June 4, 1967, Hendrix opened a show at the Saville Theatre in London with his rendition of Sgt. Pepper's title track, which was released just three days previous. Beatles manager Brian Epstein owned the Saville at the time, and both George Harrison and Paul McCartney attended the performance. McCartney described the moment: "The curtains flew back and he came walking forward playing 'Sgt. Pepper'. It's a pretty major compliment in anyone's book. I put that down as one of the great honors of my career." Released in the U.S. on August 23 by Reprise Records, Are You Experienced reached number five on the Billboard 200.



In 1989, Noe Goldwasser, the founding editor of Guitar World magazine, described Are You Experienced as "the album that shook the world ... leaving it forever changed". In 2005, Rolling Stone called the double-platinum LP Hendrix's "epochal debut", and they ranked it the 15th greatest album of all time, noting his "exploitation of amp howl", and characterizing his guitar playing as "incendiary ... historic in itself".

Monterey Pop Festival:
Although popular in Europe at the time, the Experience's first U.S. single, "Hey Joe", failed to reach the Billboard Hot 100 chart upon its release on May 1, 1967. The group's fortunes improved when McCartney recommended them to the organizers of the Monterey Pop Festival. He insisted that the event would be incomplete without Hendrix, whom he called "an absolute ace on the guitar", and he agreed to join the board of organizers on the condition that the Experience perform at the festival in mid-June.


Introduced by Brian Jones as "the most exciting performer [he had] ever heard", Hendrix opened with a fast arrangement of Howlin' Wolf's song "Killing Floor", wearing what author Keith Shadwick described as "clothes as exotic as any on display elsewhere." Shadwick wrote: "[Hendrix] was not only something utterly new musically, but an entirely original vision of what a black American entertainer should and could look like." The Experience went on to perform renditions of "Hey Joe", B.B. King's "Rock Me Baby", Chip Taylor's "Wild Thing", and Bob Dylan's "Like a Rolling Stone", as well as four original compositions: "Foxy Lady", "Can You See Me", "The Wind Cries Mary", and "Purple Haze". The set ended with Hendrix destroying his guitar and tossing pieces of it out to the audience. Rolling Stone's Alex Vadukul wrote: 

"When Jimi Hendrix set his guitar on fire at the 1967 Monterey Pop Festival he created one of rock's most perfect moments. Standing in the front row of that concert was a 17-year-old boy named Ed Caraeff. Caraeff had never seen Hendrix before nor heard his music, but he had a camera with him and there was one shot left in his roll of film. As Hendrix lit his guitar, Caraeff took a final photo. It would become one of the most famous images in rock and roll."



Caraeff stood on a chair next to the edge of the stage while taking a series of four monochrome pictures of Hendrix burning his guitar. Caraeff was close enough to the fire that he had to use his camera as a shield to protect his face from the heat. Rolling Stone later colorized the image, matching it with other pictures taken at the festival before using the shot for a 1987 magazine cover. burning guitar, hands raised, is one of the most famous images in rock." Author and historian Matthew C. Whitaker wrote: "Hendrix's burning of his guitar became an iconic image in rock history and brought him national attention." The Los Angeles Times asserted that, upon leaving the stage, Hendrix "graduated from rumor to legend". Author John McDermott commented: "Hendrix left the Monterey audience stunned and in disbelief at what they'd just heard and seen." According to Hendrix: "I decided to destroy my guitar at the end of a song as a sacrifice. You sacrifice things you love. I love my guitar." The performance was filmed by D. A. Pennebaker, and later included in the concert documentary Monterey Pop, which helped Hendrix gain popularity with the U.S. public.



Immediately after the festival, the Experience were booked for a series of five concerts at Bill Graham's Fillmore, with Big Brother and the Holding Company and Jefferson Airplane. The Experience outperformed Jefferson Airplane during the first two nights, and replaced them at the top of the bill on the fifth. Following their successful West Coast introduction, which included a free open-air concert at Golden Gate Park and a concert at the Whisky a Go Go, the Experience were booked as the opening act for the first American tour of the Monkees. They requested Hendrix as a supporting act because they were fans, but their young audience disliked the Experience, who left the tour after six shows. Chandler later admitted that he engineered the tour in an effort to gain publicity for Hendrix.


The Jimi Hendrix - Portugal Single 1967
Axis: Bold as Love:
The second Experience album, Axis: Bold as Love, opens with the track "EXP", which utilized microphonic and harmonic feedback in a new, creative fashion. It also showcased an experimental stereo panning effect in which sounds emanating from Hendrix's guitar move through the stereo image, revolving around the listener. The piece reflected his growing interest in science fiction and outer space. He composed the album's title track and finale around two verses and two choruses, during which he pairs emotions with personas, comparing them to colors. 

The song's coda features the first recording of stereo phasing. Shadwick described the composition as "possibly the most ambitious piece on Axis, the extravagant metaphors of the lyrics suggesting a growing confidence" in Hendrix's songwriting. His guitar playing throughout the song is marked by chordal arpeggios and contrapuntal motion, with tremolo-picked partial chords providing the musical foundation for the chorus, which culminates in what musicologist Andy Aledort described as "simply one of the greatest electric guitar solos ever played". The track fades out on tremolo-picked 32nd note double stops.


Jimi Hendrix  - France Single 1967
The scheduled release date for Axis was almost delayed when Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi.[168] With the deadline looming, Hendrix, Chandler, and engineer Eddie Kramer remixed most of side one in a single overnight session, but they could not match the quality of the lost mix of "If 6 Was 9". Bassist Noel Redding had a tape recording of this mix, which had to be smoothed out with an iron as it had gotten wrinkled. During the verses, Hendrix doubled his singing with a guitar line which he played one octave lower than his vocals. Hendrix voiced his disappointment about having re-mixed the album so quickly, and he felt that it could have been better had they been given more time.

Axis featured psychedelic cover art that depicts Hendrix and the Experience as various avatars of Vishnu, incorporating a painting of them by Roger Law, from a photo-portrait by Karl Ferris. The painting was then superimposed on a copy of a mass-produced religious poster. Hendrix stated that the cover, which Track spent $5,000 producing, would have been more appropriate had it highlighted his American Indian heritage. He commented: "You got it wrong ... I'm not that kind of Indian." Track released the album in the UK on December 1, 1967, where it peaked at number five, spending 16 weeks on the charts. In February 1968, Axis: Bold as Love reached number three in the U.S.


Jimi Hendrix & Curtis Knight - Germany Single 1967
While author and journalist Richie Unterberger described Axis as the least impressive Experience album, according to author Peter Doggett, the release "heralded a new subtlety in Hendrix's work". Mitchell commented: "Axis was the first time that it became apparent that Jimi was pretty good working behind the mixing board, as well as playing, and had some positive ideas of how he wanted things recorded. It could have been the start of any potential conflict between him and Chas in the studio."

Electric Ladyland:
Recording for the Experience's third and final studio album, Electric Ladyland, began at the newly opened Record Plant Studios, with Chandler as producer and engineers Eddie Kramer and Gary Kellgren. As the sessions progressed, Chandler became increasingly frustrated with Hendrix's perfectionism and his demands for repeated takes. Hendrix also allowed numerous friends and guests to join them in the studio, which contributed to a chaotic and crowded environment in the control room and led Chandler to sever his professional relationship with Hendrix. Redding later recalled: "There were tons of people in the studio; you couldn't move. It was a party, not a session."[180] Redding, who had formed his own band in mid-1968, Fat Mattress, found it increasingly difficult to fulfill his commitments with the Experience, so Hendrix played many of the bass parts on Electric Ladyland. The album's cover stated that it was "produced and directed by Jimi Hendrix".


Jimi Hendrix - Are You Experienced US & UK Album
During the Electric Ladyland recording sessions, Hendrix began experimenting with other combinations of musicians, including Jefferson Airplane's Jack Casady and Traffic's Steve Winwood, who played bass and organ, respectively, on the 15-minute slow-blues jam, "Voodoo Chile". During the album's production, Hendrix appeared at an impromptu jam with B.B. King, Al Kooper, and Elvin Bishop. 


Electric Ladyland was released on October 25, and by mid-November it had reached number one in the U.S., spending two weeks at the top spot. The double LP was Hendrix's most commercially successful release and his only number one album. It peaked at number six in the UK, spending 12 weeks on the chart. Electric Ladyland included Hendrix's cover of Bob Dylan's song, "All Along the Watchtower", which became Hendrix's highest-selling single and his only U.S. top 40 hit, peaking at number 20; the single reached number five in the UK. "Burning of the Midnight Lamp", which was his first recorded song to feature the use of a wah-wah pedal, was added to the album. It was originally released as his fourth single in the UK in August 1967 and reached number 18 in the charts.

In 1989, Noe Goldwasser, the founding editor of Guitar World magazine, described Electric Ladyland as "Hendrix's masterpiece". According to author Michael Heatley, "most critics agree" that the album is "the fullest realization of Jimi's far-reaching ambitions." In 2004, author Peter Doggett commented: "For pure experimental genius, melodic flair, conceptual vision and instrumental brilliance, Electric Ladyland remains a prime contender for the status of rock's greatest album." Doggett described the LP as "a display of musical virtuosity never surpassed by any rock musician."

The Jimi Hendrix Experience
♦ Jimi Hendrix – vocals, electric guitar
♦ Mitch Mitchell – drums, backing vocals
♦ Noel Redding – backing vocals, bass guitars (four- and eight-string)

Disc 1:
01. Tax Free (The L.A. Forum 1969)  15:41
02. Interview (At the Beeb october 6, 1967)  00:52
03. Axis Sessions - Jazz Jimi Jazz 1968 (Sotheby's Auction Tape)  12:43
04. Keep On Groovin' (Blue Window Jam Sessions March 1969)  25:00
05. Mother, Mother, Georgia Blues (Blues Outtakes March 10 1969)  08:00
06. Hear My Train A Comin' (Blues Outtakes May 21 1969)  08:13
07. Power of Soul (Diggin' In the Dust, Unreleased Studio Recordings 1969)  05:56

Disc 2:
01. Angel (In the Studio Reclamation Alternate Version w. Vocals) 04:19
02. Power of Soul (Take 01 to 16, 21st November 1969)  26:39
03. MC Intro (Konserthuset 1969-01-09, Sweden)  00:43
04. Jimi Intro (Konserthuset 1969-01-09, Sweden)  01:35
05. Voodoo Child (Slight Return) (Konserthuset 1969-01-09, Sweden)  13:56
06. Highway Of Desire - 7 Dollar In My Pocket (Studio Session 1970)  14:16
07. 1983... A Merman I Should Turn To Be (Studio Session 1970)  07:45
08. Welcome Home (The Complete PPX Studio)  03:31
09. Love, Love (The Complete PPX Studio)  05:15

Part 1: Jimi Hendrix
Part 2: Jimi Hendrix
or
Part 1: Jimi Hendrix
Part 2: Jimi Hendrix
or
Part 1: Jimi Hendrix
Part 2: Jimi Hendrix

Jimi Hendrix Death
Billboard Magazine
September 26, 1970
↧

Buffalo Springfield - Again (Remastered Mono/Stereo Album US 1967)

August 2, 2019, 4:11 am
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The entire Buffalo Springfield saga lasted just a little over 24 months. It began with a chance encounter in early 1966 when Stephen Stills and Richie Furay were driving down the Sunset Strip and happened to see Neil Young and Bruce Palmer driving a hearse headed down the street in the opposite direction.


Stills, who briefly met Young the prior year at a Canadian folk club, waved at them to pull over. Within a matter of weeks, they recruited drummer Dewey Martin and were gigging at clubs up and down the Strip as Buffalo Springfield.

By the time of their farewell show at the Sports Arena in Long Beach, California, on May 5th, 1968, they’d recorded three albums, gone through an absurd number of lineup changes and suffered through more drama than bands that lasted decades longer. 


Neil Young has maintained for years that the group sounded far better in concert than on record, even though they never had the foresight to professionally tape any of the shows. A 2001 box set overseen by Young and Stills attempted to present the band’s recorded output in the best possible light, but this year Young and engineer John Hanlon gave it another shot for the new collection 


What’s That Sound? The set contains all three albums with dramatically improved full bass sound (the first two LPs are presented in stereo and mono) and will be available via streaming services and five-LP or five-CD packages.It arrives on June 29th, 2018.

“It’s the Greatest Buffalo Springfield collection ever,” Young wrote on his website. “Remastered from the original analog tapes, it’s guaranteed to sound better than any earlier edition of this great and influential music. NYA [Neil Young Archives] was overseeing the remastering process. I have heard it and this is the best it can be! It sounds amazing! If you love Buffalo Springfield, this is the ultimate collection to have.”

While on a short break from his co-headlining tour with Judy Collins, Stephen Stills called us up to look back on his time in the band.

What do you think about this new set?
I gotta say that I think they did it when they were free and I was off with Judy the last time. They forgot to to tell me. The first I heard of it was when I got the notice that you were going to interview me last night.

You haven’t heard it?
No. I have not. They will have it in my hands shortly. I heard they fought with the first album a lot because, basically, we had four tracks and four knobs. Engineers back then at Gold Star and places like that were very conservative and they wouldn’t push the equipment. The Beatles did OK with four tracks and we were trying, but we found our best mixes back then to be the mono. When Neil and [producer/engineer] John Hanlon tried to spread it out they ran into some very strange separations.

Do you think the first album sounds better in mono or stereo?
I’ll be able to tell you in a couple of days when I hear it. The thing was, I went up to the rehearsal of the Buffalo Springfield get-together [in 2010] and they were playing the record. I walked in and it was appallingly fast. I couldn’t believe it. I said, “I can’t listen to that!” Pro Tools has a thing in it where you can feed the record into and slow it down without changing the record a bit, plus it does really wonderful things to the bass. I hope they employed that because songs like “Go and Say Goodbye” and the shuffle called “Leave” got really heavy and Stones-y because that’s the way we played it live, but we went into the studio and [drummer] Dewey [Martin] counted everything off and Dewey was from Nashville, so you do the math. [Laughs]

Were you aware of the problems with the record when you were making it?
We were so excited to actually be in a studio that we didn’t really notice until the record was on the way out. Then we were like, “Oh, my God, everything is so fast. This doesn’t sound like us.” It sounded really fast and perky. Neil got his ballads right, but “Mr. Soul” when you take it down a little bit, oh, my God. You hear Bruce [Palmer]’s bass part and it just thunders; it’s like Steppenwolf.

Was part of the problem that the record was produced by your two managers and they didn’t know what they were doing?
Yes. We had Charles Green and Brian Stone, who basically were hustlers. They kind of got people in the studio and let them do their thing and if it happened to be a hit, they’d take all the a credit even though it was really Sonny Bono. [Green and Stone also managed Sonny & Cher.] They just stood around and made phone calls. It led to such things as Tom Petty cutting the telephone wire in that great documentary. I felt like doing that so many times.


Right, they weren’t really producers.
Right. Thank god Ahmet [Ertegun] came in to a session and saw us warming up to do our thing and heard something and he was the first one to spot it. He came back and said, “What happened to that wonderful thing I heard in the studio? Where is it? I hear the same song, but did you get different guys?” It was hilarious and a good lesson, too.

Tell me the main lesson you learned from making the first record.
[Engineer] Bruce Botnick, who Neil found through Jack Nitzsche, taught us all about echo and tuning the chambers. You could make up for a world of stuff with that. It was L.A. in the mid-1960s and everything was perky. They hadn’t gotten the heaviness of a laid-back groove like the Stones or even some Beatles stuff, which never really rushed. We were all rushed. The good news is there’s an easy fix where you slow everything down five beats per minute. I just covered it. It was an idea that popped into my head and it was amazing. That’s why I play “For What It’s Worth” slower now and “Mr. Soul” just thunders if you don’t count it off too fast.


How different did the band sound in concert than on record?
We were more relaxed and there was people [in the audience] and we found the pocket. Bruce and I would lead us to the pocket. Richie [Furay] is a country guy, so he was automatically a little on top of it. We had a little Keith Richards–Charlie Watts thing where he’s a little on top of it and I’m a little behind. That’s why it worked so well. My style was something I picked up in Latin America and Bruce just had it the minute we started playing together. It was really tragic that nobody had the foresight to take care of the immigration details. [Palmer, a Canadian citizen, was deported in January of 1967, and even though he eventually returned it hobbled the group at a crucial juncture.] It was very easy. It didn’t cost much. You got this cash cow and you’ve got them out on the road, why don’t you go to the State Department and arrange for the H-1 [visa] before everyone got in trouble?


Do you regret that you didn’t tape some of the concerts?
Yeah. The best sound we ever got was when we did this stupid TV show where we played just a little bit of a song and we were like, “Oh, my God, that’s the sound we’ve been looking for.” [In October 1967, the group played “Bluebird” and “For What It’s Worth” on the CBS detective show Mannix.] It was the only place we could get that sound right.

Do you see the band as something that didn’t reach its potential?
I never figured that Neil was going to stay there. He was a frontman when I met him, but we got together better than I ever expected. It was very hard. I just so totally understood it. I can’t regret it. I have no regrets. It took me a long time to even get close to him lyrically, but there are a few pieces there and we love playing together so much that it’s funny. It’s just getting a rhythm section that fits our groove. I almost want to go to Mick [Jagger] and say, “Can we borrow Charlie?” [Laughs]

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I actually had Bill [Wyman] on a Manassas record. He was actually tired of the travel, really. It was hilarious. We got [bassist] Fuzzy [Calvin Samuels] back into the country, but Bill was already there. He came down and played a couple of things. And then Fuzzy walked in and Bill said, “Am I fired?” in that dry wit that he had. I said, “No, you’re already in a band. I’m just lucky enough to have you come and sit in.” But there were so many miscues and misinterpretations back then. We were all young and energetic and talking through our asses. I can say something that was totally friendly and somehow by the time it reached the other side of the room, it was immensely cruel. It was probably something I inherited from my sarcastic father.

Do you think if Buffalo Springfield had kept going you could have been a huge commercial force in the Seventies?
We would have maybe slugged it out, but we had a couple of built-in problems that may not have survived. But we were tough. Bruce warned me about Steppenwolf. He told me they were coming to town and he said, “Now this bass player is b-a-d. Wait until you hear them play. You want to hear how much further we can go?” Then they broke into their song and I went, “Holy Toledo!” We were that tough when we were on and Dewey was calm and Richie’s guitar was in the right place. We could get there, but we would get too excited or have a bunch of business BS right before the show and we’d go out there and literally run through everything.

But there were nights like at Ondine’s New York and the Fillmore … I actually credit Ralph Gleason for breaking us. He understood exactly what we were trying to do and he nailed it bit-by-bit and was completely unimpressed with the star-star bullshit. He treated me like a musician and Neil like a musician and he heard us for a couple of nights. When Bill [Graham] finally had us up [at the Fillmore in November of 1966], Ralph wrote a half-page article about us in the entertainment section of the Chronicle before Rolling Stone existed. My mom was just over the moon. And so was my sister who was a big jazz freak and so I was because at least someone somewhere understood what I was trying to do.

It’s incredible the band lasted just a little over two years.
This is show business. People gather around you like flies and they’ve all got opinions. I saw this so many times where there were schisms within the posse and the posse would actually break up the group! This one hung out with this one and you had to be really strong and a little insensitive to keep that away from you. In show business all these guys are on the make. It’s like TV. In the beginnings when people realize how much money could be made, the strip was crawling with posers. “Oh, I’m a manager!”

How do you feel when you listen to the music now?
When I play it, I don’t want to hear it anymore. I want to go hear what it sounds like live. The whole business of learning the song in the studio, by the time I was 30 I learned that was absurd. I was spending hundreds of thousands of dollars making records. Only the Rolling Stones could pull that off. They could just play forever and then find the bit that was great, like “Start Me Up.”

That first Buffalo Springfield album, if I remember, there was a lot of vocal harmonizing in the background that was too loud. It was a bit reminiscent of the Turtles. It needed air. When I play them now I leave them as much air as I can possibly manage, but before we learned how to play there was strumming and tapping.

The band reunited for a brief tour in 2011. Might that ever happen again?
I have no idea. I have no idea. Neil has his agenda and I have mine. I’m really enjoying making friends with Judy [Collins] again. She’s the best partner I ever had since she’s such a good sport and she very gentle and lets me know when I’m getting a little far. The guys [in the band] are such pros; they all read [music] and everything, so when you ask to try something they get it with two run-throughs and it’s perfect. It’s an incredibly refreshing way to go.

Are you still working on your memoir?
Yes. I am. I’m trying to figure out how to skip and get me … the circumstances that lead me to California were so myriad. It had to do with the Modern Folk Quartet and [music manager] Herb Cohen, Lenny Bruce and Peter Tork. … I’m starting out in a linear fashion. It has been good therapy, but the pressure is on. I’m not getting any younger. I really need to get [the story] to New York and get into the whole MFQ [Modern Folk Quartet] situation and the [college vocal group the Augmented Seven of Yale] that took me from New Orleans to New York.


Then my mother won the lottery and so I went back to New Orleans and me and my little sister found out that the Beatles were playing at [San Francisco’s] the Cow Palace [on August 31st, 1965] and so we waited for everyone to go to sleep and then it was a 100 miles per house across the western United States. And we made it! I got tickets. They weren’t that good, but I got tickets and we went and it was a life-changer. Paul McCartney was on fire that night. He’s so much more than anything. He’s one of my gods. It took me a long time to get relaxed enough around him to open up and we became quite friendly. He’s so gracious that it’s disarming sometimes. But tough enough. Boy, nothing will toughen you up like playing in Germany.

But getting back to Buffalo Springfield, I’m glad the music is getting out. Flawed as it is, it’s really genuine. There’s no posing. There was a lot of ambition and we were really young. We were surrounded by a lot of very ambitious people. I do miss Bruce though, God. He was so wise and such a great player. Also, “For What It’s Worth” is still pertinent, shamefully so. I thought it should be forgotten by now. OK, I’ve about talked myself out to the point where I’m about to step into a cow pie. I’ll stop. 


Buffalo Springfield's discography received the complete box set treatment in 2001, with a four-disc set filled with previously unreleased demos, alternate takes, and other rarities. In contrast, What's That Sound: The Complete Albums Collection attempts to restore the discography to how it was heard upon its original release. Whether in its vinyl or CD incarnation, it serves up both the stereo and mono versions of 1966's Buffalo Springfield and 1967's Buffalo Springfield Again, along with the stereo version of 1968's Last Time Around. Neil Youngsupervised the remastering, so the audio is on par with his acclaimed Original Release Series, and the packaging has been replicated, resulting in the rare complete box set that offers a considerable bang for the buck.


Due in part to personnel problems which saw Bruce Palmer and Neil Young in and out of the group, Buffalo Springfield's second album did not have as unified an approach as their debut. Yet it doesn't suffer for that in the least -- indeed, the group continued to make major strides in both their songwriting and arranging, and this record stands as their greatest triumph. Stephen Stills'"Bluebird" and "Rock & Roll Woman" were masterful folk-rockers that should have been big hits (although they did manage to become small ones); his lesser-known contributions "Hung Upside Down" and the jazz-flavored "Everydays" were also first-rate. Young contributed the Rolling Stones-derived "Mr. Soul," as well as the brilliant "Expecting to Fly" and "Broken Arrow," both of which employed lush psychedelic textures and brooding, surrealistic lyrics that stretched rock conventions to their breaking point. 

Richie Furay (who had not written any of the songs on the debut) takes tentative songwriting steps with three compositions, although only "A Child's Claim to Fame," with its memorable dobro hooks by James Burton, meets the standards of the material by Stills and Young; the cut also anticipates the country-rock direction of Furay's post-Springfield band, Poco. Although a slightly uneven record that did not feature the entire band on several cuts, the high points were so high and plentiful that its classic status cannot be denied.

Buffalo Springfield Again (Mono) & (Stereo)

★ Stephen Stills — vocals, guitars, keyboards
★ Neil Young — vocals, guitars
★ Richie Furay — vocals, rhythm guitar
★ Bruce Palmer — bass guitar
★ Dewey Martin — vocals, drums

01. Mr. Soul     02:35
Lead Guitar – Neil Young
Lead Vocals – Neil Young
Rhythm Guitar – Richie Furay, Stephen Stills
Vocals – Richie Furay, Stephen Stills
Written-By – Neil Young

02. A Child's Claim To Fame     02:09
Bass – Bruce Palmer
Dobro – James Burton
Drums – Dewey Martin
Engineer [Engineering] – Ross Myering*
Guitar – Neil Young, Richie Furay, Stephen Stills
Lead Vocals – Richie Furay
Producer [Production] – Richie Furay
Vocals – Neil Young, Stephen Stills
Written-By – Richie Furay

03. Everydays     02:38
Bass – Jim Fielder
Drums – Dewey Martin
Guitar [(humm)] – Neil Young
Lead Vocals – Stephen Stills
Piano – Stephen Stills
Producer [Production] – Ahmet Ertegun, Neil Young, Stephen Stills
Rhythm Guitar – Richie Furay
Vocals – Richie Furay
Written-By – Stephen Stills

04. Expecting To Fly     03:39
Electric Piano – Jack Nitzsche
Engineer [Engineering] – Bruce Botnick
Grand Piano – Don Randi
Producer, Arranged By – Jack Nitzsche, Neil Young
Vocals – Neil Young, Richie Furay
Written-By – Neil Young

05. Bluebird     04:28
Banjo – Charlie Chin
Bass – Bobby West
Co-producer – Ahmet Ertegun
Drums – Dewey Martin
Engineer – Bruce Botnick
Guitar – Neil Young, Richie Furay, Stephen Stills
Producer – Stephen Stills
Vocals – Richie Furay, Stephen Stills
Written-By – Stephen Stills

06. Hung Upside Down     03:24
Bass – Bruce Palmer
Drums – Dewey Martin
Engineer [Engineering] – Jim Messina
Guitar – Neil Young, Richie Furay
Guitar [fuzz] – Stephen Stills
Lead Vocals – Stephen Stills
Lead Vocals, Vocals – Richie Furay
Organ – Stephen Stills
Producer [Production] – Stephen Stills
Vocals – Neil Young
Written-By – Stephen Stills

07. Sad Memory     03:00
Engineer – William Brittan
Engineer [lead guitar] – Bill Lazarus
Guitar – Richie Furay
Lead Guitar – Neil Young
Producer [Production] – Richie Furay
Written-By – Richie Furay

08. Good Time Boy     02:11
Arranged By – The Horn Section Of The American Soul Train
Bass – Bruce Palmer
Drums – Dewey Martin
Executive-Producer – Richie Furay
Guitar – Stephen Stills
Vocals – Dewey Martin
Written-By – Richie Furay

09. Rock & Roll Woman     02:44
Bass – Bruce Palmer
Drums – Dewey Martin
Electric Piano – Stephen Stills
Guitar – Neil Young, Richie Furay, Stephen Stills
Lead Vocals – Stephen Stills
Organ – Stephen Stills
Producer [Production] – Neil Young, Stephen Stills
Vocals – Neil Young, Richie Furay
Written-By – Stephen Stills

10. Broken Arrow     06:13
Bass – Bruce Palmer
Drums – Dewey Martin
Engineer – Jim Messina
Guitar – Chris Sarns, Richie Furay, Stephen Stills
Piano – Don Randi
Producer [Production] – Neil Young
Vocals – Neil Young, Richie Furay
Written-By – Neil Young

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Part 2: B.S.
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Part 1: B.S.
Part 2: B.S.
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Part 1: B.S.
Part 2: B.S.

 Enjoy the brand new remastering w. full bass etc. for the first time. (Neil Young)
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Tear Gas - Selftitled (One of The Best Hardrock Ever, UK 1971)

August 16, 2019, 6:08 am
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A Glasgow, Scotland progressive rock band formed in the late 60s, Tear Gas initially comprised Eddie Campbell (keyboards), Zal Cleminson (guitar), Chris Glen (bass, vocals), Gilson Lavis (drums) and Andi Mulvey (vocals). Mulvey had previously sung with local beat group the Poets. 


After changing from their original name, Mustard, they chose Tear Gas as a variation on the same theme. However, Mulvey was soon replaced by keyboard player and vocalist David Batchelor, and Lavis (who later played with Squeeze) by Richard Monro from Ritchie Blackmore’s Mandrake Root. 

It was this line-up who made their recorded debut with 1970’s Piggy Go Getter, an album typical of the time with its extended guitar and keyboard passages. However, they were more playful than some - ‘We were a really loud band. In fact we used to open with Jethro Tull’s ‘Love Story’, which started very softly and the crowd would drift towards the front. 

Then we’d turn the volume up and blow everyone out of the hall.’ Later in 1970 Hugh McKenna replaced Batchelor while his cousin Ted McKenna (ex-Dream Police) took over from Monro on drums. Itinerant musician Ronnie Leahy also contributed keyboards in Batchelor’s absence, though the group were by now living in penury six to a room in Shepherd’s Bush, London. A second album was recorded for release on Regal Zonophone Records but again met with a lacklustre response from the critics. Despite regular touring in an effort to establish themselves, it was not until they teamed up with Alex Harvey in August 1972 to become the Sensational Alex Harvey Band that they saw any real success.

Originally known as Mustard. Their first vocalist Andy Mulvey had previously been with The Poets. However, he was soon replaced by David Batchelor and around the same time Gilson Lavis (their original drummer, who later played with Squeeze) was replaced by Richard Monro from Ritchie Blackmore's Mandrake Root. This line-up recorded Piggy Go Getter, which made little impact. In 1970 Hugh McKenna took over Batchelor's vocal role and Ted McKenna (ex-Dream Police) relieved Monro on drums. 

They recorded a second album and tried to establish themselves on the underground scene but were going nowhere with their brand of tired boogie heavy rock, until they teamed up with Alex Harvey in August 1972 to become The Sensational Alex Harvey Band.

Formed in Glasgow at the close of the 1960s, the band featured Eddie Campbell (keyboards), Zal Cleminson (guitar), Chris Glen (bass, vocals), Gilson Lavis (drums) and Andi Mulvey (vocals).

Mulvey and Lavis were soon replaced respectively by keyboard player and vocalist David Batchelor, and Richard Monro. This line- up recorded the album “Piggy Go Getter”, in 1970. Some months later Hugh McKenna replaced Batchelor while his cousin Ted McKenna (ex-Dream Police) took over from Monro on drums.

This line-up of Tear Gas soon earned a reputation as a fine live act and the band’s self-titled second album was much stronger work than its predecessor, released in the UK on the Regal Zonophone label in 1971. Despite its excellence, the album failed to sell in significant quantities.

In August 1972 Zal Cleminson, Ted McKenna, Hugh McKenna and Chris Glen joined forces with vocalist Alex Harvey to form The Sensational Alex Harvey Band who would meet with success and record a series of inventive albums throughout the 1970s.

The Glasgow-based prog/heavy/rockers Tear Gas (originally known as Mustard) released their second album in 1971 establishing themselves on the underground scene.

Wullie Monro and Eddie Campbell left the band. Wullie joined Berserk Crocodiles (see Dream Police) and Ted McKenna from the freshly collapsed Dream Police replaced him. Eddie Campbell quit for whatever reason – perhaps just tired of touring – and was not instantly replaced. ‘Tear Gas’ released on the Regal Zonaphone label by this revised line up though Campbell appears on the ‘live in the studio’ medley of ‘All Shook Up & Jailhouse Rock’.

An un-credited Ronnie Leahy provides the keyboards elsewhere on the album. Leahy played with Glen, McKenna and Cleminson again in the early ’90s under the name of the ‘Sensational Party Boys’ – promoters mistook the name for a group of male strippers! ‘ Saw them in London in the Charing Cross Road Marquee (now a Weatherspoons) – a right good night..

Tear Gas’ has an odd front cover pic. Is it meant to signify anything? If so it was lost on us. All tracks are ‘hard ‘n heavy rock’ . Again not terribly memorable apart from ‘Love Story’, a highlight of the stage act, whose arrangement was visited again by SAHB on the ‘Penthouse Tapes’. One is left with the feeling that the band was a couple of years behind the times in their material and the union with Alex Harvey was the shot in the arm of originality they needed. ‘Tear Gas’ was reissued on CD by Renaissance, a US label, in the mid ’90s as RCD1005.

After the comercial failure of the ‘Tear Gas’ LP, Ted McKenna’s cousin, Hugh McKenna, was drafted in on keyboards and backing vocals but Davie Batchelor soon left to go into production – he produced the SAHB stuff – they all sound pretty good – but was famously dropped by Noel Gallagher during the making of Oasis’ first album.

A rumour persisted for a while that he had to quit Tear Gas because he was going deaf! Hugh took over the lead vocals and this is the line-up that returned to Glasgow to join up with Alex Harvey after an unsuccessful stint in London . The rest of that story is well-documented history.

★ Davey Batchelor - Vocals, Guitar
★ Zal Cleminson - Lead Guitar
★ Chris Glen - Bass, Vocals
★ Ted McKenna - Drums

Guest Musicians
★ Hugh McKenna - Keyboards
★ Alex Harvey - Vocals

01. That's What's Real 06:02
02. Love Story 07:01
03. Lay It on Me 03:44
04. Woman for Sale 04:24
05. I'm Glad 05:49
06. Where Is My Answer 05:59
07. Jailhouse Rock & All Shook Up 05:49
08. The First Time 04:53

1. Tear Gas
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2. Tear Gas
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3. Tear Gas




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Doctor Cyclops - Local Dogs (Retro-Hardrock, Italy 2017)

August 16, 2019, 6:51 am
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Recorded in the UK and produced by James Atkinson, with the fair featuring of the Lord of Riffs Mr Bill Steer (Carcass, Firebird, Gentlemans Pistols), Local Dogs is an explosive mixture of seventies heavy rock, New Wave of British Heavy Metal and obscure doomy sabbath-style stuff ready to take you back to the spirit of a different era. 


Groovy riffs and gloomy paths coming straight from the woods give you the impression that the epic saga of the Seventies ended up in something different than a fleeting reflection of the past. If you like the early Deep Purple groove, try to imagine it mixed with the bluesy Graveyard mood played by Cathedral jamming on Budgie's tunes in Witchfinder General's practice room: then you should be close to realize the spirit and the power of this record. In this contest the featuring of Bill Steer (Carcass, Firebird, Gentlemans Pistols) on lead guitar just tastes like the cherry on top of a tempting cake.

Doctor Cyclops is a seventies-styled power trio playing heavy rock music
inspired by a vintage sound, eldest son of glorious Balck Sabbath and of other more underground heroes from the 70ies and early 80ies such as Sir Lord Baltimore, Captain Beyond or Witchfinder General. Even more modern references are warm-vintage styled ones: Witchcraft, Cathedral, Spiritual Beggars just to say some. 

Any number of bands make boogie rock records every day. You want to commit? Get frickin’ Bill Steer to play on the thing. Yeah, I know he’s been grinding out the last few years in the reunited Carcass, and that’s awesome, but when he was in Firebird, that band was absolutely incredible, and one imagines it’s that kind of I’m-just-gonna-softshoe-while-I-play-this-awesome-’70s-lead vibe that he brings to Doctor Cyclops‘ upcoming third album, Local Dogs.

Local Dogs follows 2014’s Oscuropasso and will be the Italian outfit’s first full-length on Heavy Psych Sounds. The label posted copious details on the record — and of course it will have more to offer than the Steer guest appearance; though he gets a showing per side — as well as the striking cover art, ahead of the preorders for the CD and LP, which start next month.

Northern Italy’s cold woods are set to unleash their fieriest beast, with ’70s power trio DOCTOR CYCLOPS returning with their blistering third album “Local Dogs” this March on Heavy Psych Sounds.

DOCTOR CYCLOPS haven’t stood idle since their latest album “Oscuropasso” (World In Sound 2014), slowly but surely rustling up their heaviest and most accomplished project to date. This new full-length entitled “Local Dogs” is an explosive mixture of ’70s heavy rock, NWOBHM and doomier Sabbath-style riffage, ready to take you back to a different era. Groovy riffs and gloomy paths coming straight from the woods feel like the epic saga of the ’70s is truly likely to continue its course. In this context, the appearance of Bill Steer (Carcass, Firebird, Gentlemans Pistols) on lead guitar tastes like the icing on top of a tempting cake.

DOCTOR CYCLOPS is a power trio delivering a blistering heavy rock rejuvenating the legacy of the ’70s and early ’80s. The band formed in 2007 in a small village in the middle of Appennino mountains, Northern Italy. Their common passion for brilliant outfits such as Truth and Janey, Sir Lord Baltimore, Captain Beyond or Witchfinder General lead them to record and self-produce their first EP “The Doctor Cyclops” (2010), which is quickly followed by two full-lengths: “Borgofondo” (2012) and “Oscuropasso” (2014), both released on German heavy psychedelic label World in Sound.

Since 2008, the trio has had the chance to tour Europe several times, sharing the stages with Firebird, Blood Ceremony, Siena Root, Colour Haze, Stoned Jesus, The Grand Astoria and many other bands. DOCTOR CYCLOPS also took part to important festivals such as Freak Valley in Germany (2012) and Red Smoke Festival in Spain (2016).

The Band:
♦ Christian Draghi - guitars and vocals 
♦ Francesco Filippini - bass 
♦ Alessandro Dallera - drums 

01. Lonely Devil 03:48
02. D.I.A. 04:14
03. Stardust (feat. Bill Steer) 04:40
04. Epicurus 05:13
05. Wall Of Misery 05:39
06. King Midas 06:23
07. Stanley The Owl 01:32
08. Druid Samhain (feat. Bill Steer) 05:20
09. Witch's Tale 06:44
10. Witchfinder General (cover) 04:06

Doctor Cyclops - Oscuoropasso (Retro-Hardrock, Italy 2013) 


Size: 107 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Some Artwork Included

"Oscuropasso" is the second album of Italian hard rock trio Doctor Cyclops. In a genre where as it seems since Black Sabbath most everything has had been said, these folks come up with a very intense and exciting album. Their actual output has pure 1973 retro feeling, where epic heavy riffs and rhythms melt with psychedelic, progressive breaks and make you dive into their euphoric guitar soundscapes. The atmospherically well balanced vocals create an important reference point in the five arrangement-extensive songs from 6 to 16 min lengths. The well produced and exciting spectrum of complexity and catchiness makes this album grow more and more after each listen and leads all those who like it HEAVY toward deep satisfaction!


Second full lenght album for the Italian power trio Doctor Cyclops. Released through the german label World in Sound in february 2014, this album's mostly doom, prog and heavy rock orientated. 5 long tracks with psychedelic environments, 70s rock and heavy metal influences. Also some jazz and melodic taste come to add this lp a huge groovy and appeal. 

In a genre where as it seems since Black Sabbath most everything has had been said, these folks come up with a very intense and exciting album.

Their actual output has pure 1973 retro feeling, where epic heavy riffs and rhythms melt with psychedelic, progressive breaks and make you dive into their euphoric guitar soundscapes. 

The atmospherically well balanced vocals create an important reference point in the five arrangement-extensive songs from 6 to 16 min lengths.

The well produced and exciting spectrum of complexity and catchiness makes this album grow more and more after each listen and leads all those who like it HEAVY toward deep satisfaction!

Doctor Cyclops is a seventies-styled power trio playing heavy rock music inspired by a vintage sound, eldest son of glorious Balck Sabbath and of other more underground heroes from the 70ies and early 80ies such as Sir Lord Baltimore, Captain Beyond or Witchfinder General. Even more modern references are warm-vintage styled ones: Witchcraft, Cathedral, Spiritual Beggars just to say some. 

The Band: 
• Christian Draghi - vocals and guitars 
• Francesco Filippini - bass 
• Alessandro Dallera - drums, percussions

01. Waterfalls 06:09
02. The Monk 09:59
03. Angel Saviour In The C.H. 06:50
04. Cobweb Hands 07:18

05. Rotten Trolls 15:49 

Doctor Cyclops - Borgofondo (Retro-Hardrock, Italy 2012) 



Size: 113 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included

Italian power trio Doctor Cyclops puts down with its debut an extraordinarily authentic and fulminant marching 70s hardrock album with “New Wave OF British Heavy Metal” but also US-Westcoast blues influences. 


It captivates with raw energy and its wealth of intelligent psychedelic and progressive facets, powerful rhythm and mystical concept with a few flute/organ flashes, but is mainly guitar driven. 

Chris Draghi (vocals/guitar) knows in special kind how to melt his epic guitar riffs and wailing solos with his sensitive and catchy singing and provides a huge emotional intensity, on the one hand very mighty, but also haunted and desperately, completely in the style of groups like Black Sabbath, Grand Funk Railroad, Blue Öystercult or today's like Graveyard, Witchcraft, Cathedral. 


Seven songs between 4 and 8 min in total 48 mins are produced very well, rather unusually for a debut album, and create hunger to let these guys blow your mind Live-On-Stage with a genuine thunderstorm. 

This album takes you back to those days when music still was music, and was celebrated to kick out the jams!

Doctor Cyclops is a seventies-styled power trio playing heavy rock music inspired by a vintage sound, eldest son of glorious Balck Sabbath and of other more underground heroes from the 70ies and early 80ies such as Sir Lord Baltimore, Captain Beyond or Witchfinder General. 

Even more modern references are warm-vintage styled ones: Witchcraft, Cathedral, Spiritual Beggars just to say some.

The Band:
• Christian Draghi - vocals and guitars 
• Francesco Filippini - bass 
• Alessandro Dallera - drums 

01. Night Flyer 04:22
02. Cyclop's Claim 07:11
03. Giants of the Mountain (feat. Alia O'Brien) 09:57
04. Madness Show 07:07
05. Eileen O'Flaherty 03:26
06. My Revolution 06:54
07. The Unquiet Garden 09:23

Part 1: Dr. Cyclops
Part 2: Dr. Cyclops
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Part 1: Dr. Cyclops
Part 2: Dr. Cyclops
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Part 1: Dr. Cyclops
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Sir Douglas Quintet - The Tribe Recordings 1964-77

September 3, 2019, 11:42 pm
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Size: 348 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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In case Westside's single CD Best of the Sir Douglas Quintet wasn't good or full enough for you, the label has issued this two-hour-long, double-disc 41-song compilation, drawn from their 1964-66 output on Tribe Records, with sides dating from the 1977 catalog-spanning album Tracker. The convergence of influences is fascinating, a meld of some derivative (but entertaining) British Invasion-based sounds and Doug Sahm's more diverse, bluesy/country-ish solo sides. Considering the high quality of the sound and the excellent essay by John Lomax III, it's surprising that the makers didn't include more release and discography information, especially since the material isn't in recording or release order. Still, it's an excellent overview of Sahm's output and the range of his music, and transcends the hits for those who care to make that leap.


Biography
Arguably the greatest and most influential Tex-Mex group ever, the Sir Douglas Quintet epitomized Texas' reputation as a fertile roots music melting pot and established the career of Tex-Mex cult legend Doug Sahm. The Quintet mixed country, blues, jazz, R&B, Mexican conjunto/norteño music, Cajun dances, British Invasion rock & roll, garage rock, and even psychedelia into a heady stew that could only have come from Texas. Although they went largely underappreciated during their existence (mostly in the '60s), their influence was far-reaching and continues to be felt in Texas (particularly the similarly eclectic Austin scene) and beyond; afterward, Sahm embarked on a frequently fascinating solo career and reunited with the Quintet or its individual members several times over the years.

According to legend, the Sir Douglas Quintet was the brainchild of Houston producer Huey P. Meaux, who at the height of the British Invasion took a stack of Beatles records into a hotel room and studied them while getting drunk on wine. He found that the beats often resembled those of Cajun dance songs and hit upon the idea of a group that could blend the two sounds well enough to fool Beatles fans into giving a local band a chance. Doug Sahm, meanwhile, had been something of a childhood prodigy as a country artist -- he turned down a spot on the Grand Ole Opry in order to finish junior high and performed on-stage with Hank Williams. Sahm had made Meaux's acquaintance while leading a series of bands around San Antonio in high school and wanted to work with him. Meaux told Sahm his idea and Sahm quickly formed a band featuring childhood friend Augie Meyers on organ, bassist Jack Barber, drummer Johnny Perez, and percussionist Leon Beatty (who didn't stick around for too long); saxophonist Frank Morin was added after a short time. Meaux gave them the deceptively British-sounding name the Sir Douglas Quintet and released their debut single, "Sugar Bee," on his Pacemaker label in 1964; it flopped. 

However, their next single, the British Invasion/garage-flavored "She's About a Mover" (on a different Meaux label, Tribe), became a classic of Tex-Mex rock and an international hit, climbing into the U.S. Top 20 in 1965. Later that year, "The Rains Came" hit the Top 40 and Meaux assembled an LP from their singles sessions with the misleading title The Best of the Sir Douglas Quintet. The group toured the United States and Europe, but upon returning, they were arrested at the Corpus Christi airport for possessing a tiny amount of marijuana. Feeling targeted for his long hair and hippie image, Sahm decided to break up the band upon his release from jail, and moved to San Francisco in early 1966; Morin tagged along.

Once in San Francisco, Sahm formed a new version of the Sir Douglas Quintet featuring Morin, keyboardist Peter Ferst (who was quickly replaced by Wayne Talbert), bassist John York (later of the Byrds, soon replaced by Whitney Freeman), and drummer George Rains; most of them were Texas expatriates as well. The new Sir Douglas Quintet gigged regularly around the Bay Area and signed with the Mercury subsidiary Smash. Their first album, Sir Douglas Quintet + 2 = Honkey Blues, was recorded with several extra horn players as the Sir Douglas Quintet + 2 and released in 1968; however, it lacked Augie Meyers' signature organ sound. Rains and Talbert soon left to concentrate on other projects and Sahm convinced Meyers and Johnny Perez to move up from Texas; they brought Meyers' old bandmate Harvey Kagan with to be the bassist.

With almost all of their original members, the Sir Douglas Quintet recorded one of their finest albums, 1969's Mendocino; the title track became a Top 40 hit and a Tex-Mex rock staple and the whole record fit in very well with the emerging country-rock hybrid. Moreover, it made the group extremely popular in Europe, where they would retain a fan base for many years to come. Together After Five followed in 1970, after which the group switched to a different Mercury affiliate, Philips. Also released in 1970, 1+1+1=4 featured members of both the Texas and California lineups of the Quintet, plus new bassist Jim Stallings. It was perhaps a sign that much of the group was beginning to drift into other projects again. Without Sahm, the remainder of the Quintet recorded an album for United Artists called Future Tense; several members also backed Gene Vincent as the Amigos de Musica. A homesick Sahm finally returned to Texas in 1971 and the Sir Douglas Quintet officially disbanded in late 1972, though some of its members -- Meyers in particular -- would continue to work with Sahm frequently during his solo career.


After being ignored by Mercury, Sahm signed with Atlantic as a solo artist; in the wake of Atlantic's promotional push, Mercury issued an album of unreleased Sir Douglas Quintet tracks, called Rough Edges, in 1973. This was the last new Quintet album for some time, until Sahm, Meyers, and Perez re-formed the group at the dawn of the '80s, along with new guitarist Alvin Crow and new bassist Speedy Sparks. 

They signed with the Chrysalis subsidiary Takoma and released the album Border Wave in 1981, which fused their eclectic Tex-Mex rock & roll with the concise pop sound of new wave (as Joe "King" Carrasco had been doing).


Crow left prior to the supporting tour to work with his own band and was replaced by Louie Ortega; once again, the Quintet proved more popular in Europe, especially Scandinavia, than in their own country. They recorded for the European Sonet label during the '80s and Takoma occasionally released Quintet material as well. 

They scored an enormous Swedish hit with "Meet Me in Stockholm," though the accompanying album wasn't released in the U.S.; by 1985, the group had broken up again. Sahm and Meyers formed the Tex-Mex supergroup the Texas Tornados with Freddy Fender and Flaco Jimenez at the end of the decade and in 1994 presided over a one-off version of the Sir Douglas Quintet that featured Sahm's sons Shandon (drums) and Shawn (guitar). In November 1999, Sahm died of a heart attack.

Disc One
01. She's About a Mover 2:23
02. The Rains Came 2:15
03. T-Bone Shuffle 3:06
04. Oh What a Mistake 2:10
05. The Tracker 2:35
06. Nuevo Laredo 2:43
07. Image of Me 3:03
08. In the Pines 2:25
09. Ain't Nothing Wrong With You Baby 3:19
10. When I Sing the Blues 2:30
11. In the Jailhouse Now 2:25
12. One Way Out (It's a Man Down There) 3:16
13. We'll Take Our Last Walk Tonight 2:46
14. Wolverton Mountain 4:01
15. Son of Bill Baety 4:48
16. In Time 2:16
17. Please Just Say No 2:26
18. She Digs My Love 2:46
19. You Got Me Hurtin' 2:14
20. You've Got Your Good Thing Down 1:33
21. Philadelphia Lawyer 2:15
22. Sugar Bee 2:20
23. Seguin 2:46

Disc Two
01. Hot Tomato Man 2:18
02. Bacon Fat 2:25
03. Blue Norther 2:17
04. Dallas Alice 3:13
05. Just a Teeny Bit of Your Love 2:05
06. Quarter to Three 1:46
07. She's Gotta Be Boss 2:11
08. Isabella 2:33
09. You're Out Walking the Streets Tonight 2:17
10. Medley: Linda Lu / Country Girl 7:03
11. Medley: One Too Many Mornings / Sing a Happy Song 5:07
12. Beginning of the End 2:59
13. Revolutionary Ways 2:30
14. The Change Is in the City 3:07
15. Time Changes Everything 2:00
16. You're Mine Tonight 5:49
17. Blues Pass Me By 2:54
18. Funky Side of Your Mind 8:36

Bonus:
01. Roll Over Beethoven (Buffalo NY 1990)  02:06
02. You´re Gonna Miss Me (Buffalo NY 1990)  06:18
03. Just Like Tom Thumb´s Blues (Buffalo NY 1990)  04:48
04. Doug Sahm - Bad Boy (Gypsy Tea Room, Dallas 1988)  06:14
05. Doug Sahm - Lucille (Gypsy Tea Room, Dallas 1988)  03:47
06. Doug Sahm - Golly Gee (Gypsy Tea Room, Dallas 1988)  03:25

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Joe Soap - Keep it Clean (Very Good Progressive Rock, UK 1973)

September 18, 2019, 12:07 am
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Size: 77.9 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: 24-Bit Remaster 

Excelent UK Progressive Folk Rock obscurity, which also should be enjoyed by fans of US Westcoast. Great album, featuring fantastic guitarwork by one of the most underrated 70's guitar players, the late Jimmy McCulloch (Thunderclap Newman, Stone The Crows, Wings...), as well as excellent violin solos by Mik Kaminski (ELO) and of course great songwriting by John Tennent and David Morrison.

Joe Soap were a band comprising of John Tennent and David Morrison. They had previously released one album prior to using this name, “Tennent / Morrison” (Polydor 1972).

Their second album, (and only one as Joe Soap) “Keep It Clean” (Polydor 1973) enhanced this core lineup with contributions from Jerry Conway (Jethro Tull), Jimmy McCulloch (Stone The Crows), Mike Kaminski (ELO) and Jeff Pearce. Itwas produced by Sandy Robertson.


Joe Soap was a band comprised of John Tennent and David Morrison. Their second album, "Keep It Clean" (as Joe Soap) (Polydor 1973) featured Jimmy McCulloch (guitar, Stone the Crows) Jerry Conway (drums, later in Jethro Tull) and Mike Kaminski (violin, from ELO). The album features ten tracks composed by John and David with help of Sandy Roberton (producer). 

Two guys with rather thick but fascinating voices diffuse strong masculine beauty in all tracks. In addition to it, a mastermind violinist Mik Kaminski's scattering violin features on most of the tracks especially on Feel Strange and On The Wing are just superb. 

Jimmy McCulloch's intense guitar domains on every track as well. Overall, the album is an awesome combo set of typical British rock classics with strong American southern rock flavor. Both "Tennent & Morrison" and "Keep it Clean" are now extremely rare and occasionally surface on the collectors' market, both fetch around §500 for "Tennent & Morrison" and §250 for "Keep it Clean"

Personnel
♣ John Tennent: Guitar, Vocals 
♣ Dave Morrison: Bottleneck, Vocals 
♣ Jimmy McCulloch: Guitar 
♣ Jerry Conway: Drums 
♣ Jeff Pearce: Bass 
♣ Mik Kaminski: Violin

01. Talkin''Bout You
02. Warning Sign
03. Lay It on Me
04. Whatever the Song Is Now
05. Get Out From Under
06. Feels Strange
08. On the Wing
09. Time
10. All Out Now
11. Birdman

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Marc Benno & The Nightcrawlers - Crawlin (Great Bluesrock US 1973)

September 18, 2019, 12:20 am
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Size: 99.3 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan 24-Bit Remaster

The album recorded in 1973 @ sunset sound Studio Hollywood for A&M

Marc Benno brought a treasure for his Japanese fans!


The recordings which never released for last 32 years....
Marc Benno recorded 7 songs with his band The Nightcrawlers featuring Stevie Ray Vaughan, Doyal Bramhall etc. at Sunset Sound Studio inHollywood for A&M Records in 1973. But A&M decided not to release the record.

This is the special album with the 7 songs and plus another 5 songs of the studio sessions tracks with SRV (G),RussKrunker(Dr.) Mike Utley(key.) Lee Skiar(B.) etc.


This historic document seems to have escaped the attention of all but the most hardcore and curious Stevie Ray Vaughan fan. The story goes like this...by 1973, Texas singer, songwriter, guitarist, and piano player Marc Benno had spent better than a decade as an all-star studio pro, lending his talents to recordings by folks like Rita Coolidge and the Doors. 


Benno recorded a pair of albums with friend and fellow session-player Leon Russell as the Asylum Choir, Benno subsequently launching his solo career with a self-titled album in 1970, Russell hooking up with singer Joe Cocker before discovering mid-decade stardom.

Benno had put together a Texas-styled blues-rock band that included bassist Tommy McClure (who had played with Coolidge and Jim Dickinson, among others), drummer Doyle Bramhall, keyboardist Billy Etheridge, and a hot-shot young guitarist by the name of Stevie Vaughan (the "Ray" would be added later). 

Benno and the Nightcrawlers were managed by rock 'n' roll heavyweight Dee Anthony, and put on tour opening for the J. Geils Band and Humble Pie (which featured its own hot-shot fretburner in Peter Frampton). 

Benno and the band recorded what was to become their debut album for A&M Records, but when the label soured on blues-rock, Crawlin – which included Vaughan's first recordings – was put on the shelf and remained unreleased until 2009 when Blue Skunk Music resurrected the album.

As shown by the funky album-opening "Last Train," Benno had his finger firmly on the pulse of the soul-and-blues-infused rock sound of the early 1970s, the song's foot-shufflin' beat paired with twangy, chicken-scratched guitar solos and a chaotic mix that works in spite of the mess of instruments. 

By turns, the New Orleans-flavored "Coffee Cup" sounds like Dr. John, Benno's growling vocals and spry piano-pounding displaying the undeniable musical link between Texas blues and Louisiana's more jazz-influenced style.

The lively "Take Me Down Easy" mines turf similar to what Delaney and Bonnie and Friends were exploring at the time, cleverly mixing blues, rock, gospel and country into an inspired whole, some hot guitar licks sizzling in the background beneath Benno's energetic honky-tonk piano and an overall spirited instrumental jangle. 

Running in the other direction, "Hot Shoe Blues" blends a 1940s-styled jump-blues aesthetic with rollicking keyboards, red-hot guitar runs, and mile-a-minute echoed vocals to create an exhausting and entertaining musical romp. The title song is virtually an instrumental, barely-audible gang-vocals rising and falling beneath an innovative soundtrack that displays some of Stevie Vaughan's early talents.

Benno considered Stevie Ray Vaughan (or "Little Stevie" as he was often known at the time) to be the Nightcrawlers' secret weapon, a young guitarist of unusual skill and vision that could liven up any performance with his instrument. Crawlin includes four "bonus tracks," songs cut by Benno in anticipation of a solo release that would feature Vaughan's maturing guitarplay at its center. 

Using a variety of L.A. session pros and friends like bassist Lee Sklar, drummer Russ Kunkel, and keyboardists Gordon DeWitty and Mike Utley, these songs add more of a pop sheen to Benno's writing while not forsaking the artist's blues foundation.

"Friends" is a gospel-tinged soft-rocker that features some beautifully emotional Stevie Ray slide-guitar licks alongside Benno's testifying vocals and gentle piano play. By contrast, "Whole Thang" is a short, sharp shocker with scorching guitar solos riding low in the mix, Benno's bouncy electric piano creating an irresistible melody on top of which Vaughan weaves his magic; given a proper release in the mid-1970s, the song could have been a big hit and brought SRV to stardom that much quicker. 

"World Keeps Spinnin" is another Dr. John soundalike, with bits of sharp guitar and an underlying funky heartbeat while "Long Ride Home" is a dark, rich instrumental track and the stand-out on Crawlin, Vaughan and Benno swapping guitar licks while the band choogles along in the background with a rock-solid rhythm.


Marc Benno's Crawlin is a mixed bag, derived as it is from disparate sources and circumstances. The four bonus tracks are better-written and better-produced than the seven songs from a previous recording, and they feature Stevie Ray Vaughan in a much more prominent role. What the earlier songs lack in sonic quality and overall construction they more than make up for in energy and enthusiasm, Benno finally afforded the opportunity to chase stardom on his own terms.

While the earlier material on Crawlin, quite honestly, wasn't ready for primetime...I'll blame it on sub-par production that seemingly robs the performances of their edge and vitality...there's no doubt that Benno and the Nightcrawlers were on to something, and listening to these songs today one can't help but wonder what might have been. You'll find the material to be representative of the era of its creation, entertaining but not particularly innovative, and of interest mostly to hear Benno's underrated piano playing and Stevie Ray's first tentative steps towards blues-rock stardom.

After suffering the indignities of the record biz – Benno was subsequently dropped by his high-profile manager (who hitched his star exclusively to Frampton's fortunes) – and seeing his recordings buried in a vault somewhere in Hollywood, Marc Benno regrouped and re-dedicated himself to the blues. He spent years touring as second guitarist for the legendary Lightnin' Hopkins, honing his skills and learning the blues from a master. Benno continues to make music, fusing blues, rock, jazz, and pop music into his own original creation in spite of the industry, and Crawlin is a perfect example of his unique vision and talent.

The Nightcrawlers: 
♣ Marc Benno - Guitar and Vocal
♣ Stevie Ray Vaughan - Lead Guitar
♣ Doyal Bramhall - Drum and Vocals
♣ Billy Ethridge- Keyboards
♣ Tommy McClure - Bass

* Session Recording with:
♣ Marc Benno - Guitar, Piano and Vocal
♣ Stevie Ray Vaughan- Lead Guitar / Russ Krunkel- Drums
♣ Johnny Perez - Drums / Mike Utley-Keyboards
♣ Gordon Dewitty-Hammond B3 Organ / Lee Skiar- Bass

01. Last Train  02:04
02. Coffee Cup  03:19
03. 8 Ball  06:22
04. Take Me Down Easy  03:23
05. Love is Turnin Green  05:36
06. Hot Shoe Blues  02:09
07. Crawlin  03:22
08. Friends*  04:33
09. Whole Thang*  01:57
10. Slammer Jammer*  04:35
11. World Keep Spinnin*  02:51
12. Long Ride Home*  04:48

*Bonus Tracks Please note and understand there are some noise on Track 10 due to the old recording material.

1. Marc Benno
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Mother Upduff - Tales of Tangle (Great Psychedelic Rock US 2013-18)

September 20, 2019, 11:59 pm
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Size: 177 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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We are excited to present our first 5 years of recordings, not as a compilation of singles but as one cohesive full-length album. 


When Nasoni Records approached us with the concept of a collection, my knee-jerk reaction was to drag all the files in the "Mother Upduff Masters" folder and send away. After a few scrupulous listens however, I felt it wouldn't hurt to adjust the levels between each song before remastering for the vinyl. Backwards it spiraled from there. 



A few months later we have 20 tracks ( 19 on vinyl ) completely remixed and remastered to map a progression within an album rather than an era. To obtain an audible common ground : some songs were cleaned and decluttered whereas others were crowded and muddied, room mics were turned up, takes were swapped, entire instrument sections were muted / unmuted, and the tape bias ran hot on the master. 


Alongside each single comes 3 unreleased songs from an unheard but fruitful period when Eirik Hutchinson joined Mat and I for the first time. Before Erik Mulder brought his skills to our last recordings, Eirik Hutchinson played a huge part in taking our sound out of the two-piece rut. That first season of sonic expansion can now be heard in Transient ( Electric ), The Rover, and Mexico. Contrary to the track placement of our 4th unreleased song, The Priestess was actually our last tune recorded before a brief hiatus. 



Now with past and present members playing together, Mother Upduff is continuing with a philosophy that mirrors the construction of this album. Each track was dissected and altered according to it's relationship towards the rest, similar to how we have always played for each other first, the individual second, and those listening last.

01. Grave Robbers 03:06
02. Transient ( Acoustic ) 02:12
03. The Captive 06:53
04. Philistine Blues ( Take II ) 02:28
05. Tempest 03:29
06. Pest 04:00
07. Mud 02:21
08. Paced 03:07
09. Passerby 05:14
10. Fire 02:43
11. Transient ( Electric ) 02:46
12. The Rover 03:21
13. Mexico 02:28
14. Bloom 04:05
15. Spellbound 02:35
16. The Priestess 05:53
17. Algos Train 05:03
18. Concept & Scope 05:57
19. Parnassus Drive 02:44
20. The Apologist 04:08



Part 1: Mother Upduff
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Creedence Clearwater Revival - Live At Woodstock 1969 (Rem. 2019)

October 19, 2019, 1:00 am
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Size: 129 MB
Bitrate: 320
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Found in DC++ World
Artwork Included

Creedence Clearwater Revival didn't think much of their set at Woodstock. Irritated by being pushed into the midnight slot by a series of misadventures they'd blame on the Grateful Dead, they wrote off their performance, not appearing in either the film or its accompanying soundtrack. Five decades later, they acknowledged the pull of history, consenting to having their set be part of Rhino's mammoth complete set Woodstock: Back To The Garden and also allowing it to be released by Craft Recordings. 


Listening to the nine-song concert in either context, it's bewildering to think that this was dismissed by anybody involved with the band. Throughout their hour, CCR sounds ferocious, tearing through their hardest material, playing "Born on the Bayou,""Green River" and "Bootleg" with a nasty edge. The hardness of their choogle is a bit of a revelation, as the band sounds fiery in a way that they don't on any of the officially-released Creedence live recordings. 


If CCR stuck to their hits, it'd be one thing, but the band gains momentum as their hour proceeds. Once they play an apocalyptic "I Put A Spell On You," they've set themselves up for a conclusion where they land on two mesmerizing ten-minute concluding jams. "Keep on Chooglin'" and "Suzie Q" stay mean through their long jams, leaving the question hanging: if this was Creedence Clearwater Revival on an average night, what on earth did they sound like on a great one?


Live at Woodstock is a 2019 live album slated for release on August 2, 2019 via Fantasy Records. The set documents swamp rock band Creedence Clearwater Revival's set at 1969's Woodstock.

Recording and release
Creedence Clearwater Revival was the first act to sign a contract for August's Woodstock festival in April 1969, for $10,000 (equivalent to $68,000 today). Given their late start time and omission from the Woodstock film (at John Fogerty's insistence), Creedence members have expressed bitterness over their experiences regarding the festival.


In 1994, "Commotion", "Green River", "Ninety Nine and a Half (Won't Do)", and "I Put a Spell on You" appeared on Woodstock: Three Days of Peace and Music and for the 40th anniversary home video release of the film, the band allowed the inclusion of "Born on the Bayou", "I've Put a Spell On You", and "Keep On Chooglin". This album also coincides with a 38-disc box set from Rhino Records compiling the entire festival, Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive.

When Creedence Clearwater Revival took to the stage at Woodstock, they were seven months into a year that will probably never be equalled. Bayou Country was released at the beginning of 1969, Green River had come out a couple of weeks earlier, and Willy And The Poor Boys would follow in December. 

That's three classic albums in a 12 month stretch that spawned eight US hits, and Woodstock should have been the crowning glory. But John Fogerty, who'd claimed that his band were the best in the world in the build-up, wasn't happy with the show and pulled the band's performance from both the soundtrack and the film.

Fifty years on, it's difficult to fathom what his problem might have been. Apart from the occasional extended gap between songs and the sloppy start to the opening Born On The Bayou, it's Peak Choogle. 

The recording is great, Fogerty's in fine voice throughout, the hits keep coming, and when the band slip into those chugging grooves they're emphatically fierce. I Put A Spell On You is even more ominous than the recorded version, and the 20 minutes given over to Keep On Chooglin' and Suzie Q as the set climaxes are flat-out intense. 

01. "Born on the Bayou"– 05:34
02. "Green River"– 03:16
03. "Ninety-Nine and a Half (Won’t Do)" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 04:46
04. "Bootleg"– 03:38
05. "Commotion"– 02:48
06. "Bad Moon Rising"– 02:13
07. "Proud Mary"– 03:52
08. "I Put a Spell on You" (Jay Hawkins and Herb Slotkin) – 04:28
09. "The Night Time Is the Right Time" (Lew Herman) – 03:30
10. "Keep on Chooglin’"– 10:29
11. "Suzie Q" (Eleanor Broadwater, Robert Chaisson, Dale Hawkins, and Stan Lewis) – 10:52

1. Creedence
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Cross Country - Selftitled (Great Rock Album US 1973)

October 20, 2019, 2:05 am
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Size: 77 MB
Bitrate: 256
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Cross Country is a band formed in 1973 by three fourths of the musical group The Tokens- Jay Siegel, Mitch Margo and Phil Margo. The group released one self-titled album.


Compared to those who know about Intercourse by The Tokens, only few will know about this hidden gem. Somehow hidden away by Atlantic Records, this may be the most incredible effort ever by Phil and Mitch Margo, and Jay Siegel of the original "The Tokens" who helped create the smash hit The Lion Sleeps Tonight in 1961. If you can find a Cross Country CD consider yourself lucky! If you can find a vinyl you might want to check it into a museum. There are very few originally issued. These are gorgeous, haunting and original songs mostly by Mitch Margo, the mastermind behind Intercourse.


Fantastic album. Harmony vocals are very reminiscient of the Beach Boys but with a subtle touch of country music. Don't know anything about these guys, but it's a shame they didn't make any more records. The song titles may lack imagination, but the music more than makes up for it. I'm a huge 70s country rock fan, & though I wouldn't call this country rock, it gets regular plays @ my house right between The Band, Byrds& Burritos.

Cross Country are a bit like Crosby Stills Nash & Young, at least in the tight harmonies and rural folky hippie rock they produce. Nice laid back sip on iced tea and smoke some herb type o' stuff. Every now and then they do give rocking out a shot so it's not all mellow. 

This was released in 1973 on Atco records and is their only LP. 

01. Today - 2:52
02. Just A Thought - 3:22
03. Cross Country - 3:49
04. In The Midnight Hour - 3:16
05. Thing With Wings - 4:35
06. Tastes So Good To Me - 3:13
07. A Fall Song - 2:48
08. Choirboy - 3:18
09. A Ball Song - 2:52
10. A Smile Song - 4:26

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Time For Old Classic: Crosby, Stills, Nash & Young - Déja Vu (Classic Album US 1970)

October 20, 2019, 2:37 am
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Déjà Vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Woodstock", "Teach Your Children", and "Our House".


Déjà Vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group, who at the time remained largely unknown to the general public. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, "Carry On," charting on the Billboard Hot 100. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu — Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. 

One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. 

There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. 


"Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds'"Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. 


"Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed. 

And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed. 

Recorded July - December, 1969 at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles.

Released March 11, 1970

Personnel:
♦David Crosby— vocals all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair,""Woodstock,""Déjà Vu,""Country Girl," and "Everybody I Love You"

♦ Stephen Stills— vocals all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On,""Helpless,""Woodstock," and "Déjà Vu"; bass on "Carry On,""Teach Your Children," and "Déjà Vu"; percussion on "Carry On"

♦ Graham Nash— vocals all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair,""Woodstock,""Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children"

♦ Neil Young— vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair,""Helpless,""Woodstock,""Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl"

Additional personnel:
♦ Dallas Taylor— drums; tambourine on "Teach Your Children"
♦ Greg Reeves— bass on "Almost Cut My Hair,""Helpless,""Woodstock,""Our 
   House,""Country Girl," and   "Everybody I Love You"
♦ Jerry Garcia— pedal steel guitar on "Teach Your Children"
♦ John Sebastian— harmonica on "Déjà Vu

01. "Carry On"  Stephen Stills  04:26
02. "Teach Your Children" Graham Nash  02:53
03. "Almost Cut My Hair" David Crosby  04:31
04. "Helpless" Neil Young  03:33
05. "Woodstock" Joni Mitchell  03:54
06. "Déjà Vu" David Crosby  04:12
07. "Our House" Graham Nash  02:59
08. "4 + 20" Stephen Stills  02:04
09. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I                Think You're Pretty)" Neil Young  05:11
10. "Everybody I Love You" Stephen Stills, Neil Young  02:21

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German Single 1970


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Hey!, Not to be missed: Nixon Now - Solution Revolution (The Stooges Alike Retro-Sound Germany 1999)

October 20, 2019, 2:57 am
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Solution Revolution snarls like early Stooges, time tripping back to a time when Detroit had the most dangerous Rock and Roll music on earth. Full robust Iggy on steroids kinda sound - rips like stonerrock on speed with a growling groove driving home thee irresistable power of loud, forcerful uptempo and heavy Rock and Roll fury. 

This is one German band that definetly knows how to put the jackboot into some butt. I can't get enough of Andi Schmidt's nasal sneering vocals belting out the most incredible rock life lyrics. Pure punk legend stuff. Every song is a killer. Get ready to be nixonized.

Nixon Now. "Solution: Revolution" tunnels deep into the black heart of it all, the burning napalm, the hippie death cults, and all of it lorded over by a Motor City grind of twisted metal and wounded howls. Yeah, the MC5. 

The Stooges. But not in the lo-fi, pseudo-blues New York fake-out or the pill bottle trip and drone way you're used to, oh no. Nixon Now are Super Rockers, after all. Brothers and sisters, bring this record and as many flame throwers as your muscle car can carry, because it's gonna be a long, black night.

If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now. 

There's so much fuzzed-out, punked-up riff-crazy power that you'll feel like brother Wayne Kramer or Fred "Sonic" Smith, whirling with their guitars like dervishes at an early MC5 show, convinced that rock was going to change the world and that the lifestyle would simply PREVAIL.

01. 1999 03:01
02. Into The Nixon 03:49
03. Make My Day 01:54
04. I´ve Been Around 03:43
05. Do The Strand 02:43
06. U.C.P. 02:00
07. Ann Arbor 01:38
08. Sick Me 02:44
09. Addicted To Love 04:02
10. The Solution 05:25
11. Don`t Want You 02:59
12. More Ann Arbor 02:00
13. The Politician 03:12
14. Altamont Rose 03:40
15. Sympathy For Meredith 07:42

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Nixon Now - Altamont Nation Express (Raw "The Stooges" Rock 2015)

October 22, 2019, 10:01 pm
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If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.



From the starz n' stripes bellbottom-clad chick on the front to the song titles to the friggin' group name fer crissake, Nixon Now are the Compleat Package, classic underground white-knuckle hard rockers with guitars set on kill. This is all packed into 15 easy-to-swallow short sharp dollops of distortion and excitement, a mere one of which could provide enough energy for an entire album by most bands, not to mention light up the city of your choice on New Year's eve. .


Hamburg´s hipshakers Nixon Now are one such example of the MC5 legacy and, to tell you the truth, they do the two-minute-and-change supercharged fuzzbomb better than the originals. 

The one thing that can be said for Nixon Now is that the exude that rare rock n´ roll energy that is so friggin´ hard to capture on a studio recording. 

Altamont Nation Express actually sounds like the band going Chernobyl in front of a rabid, sweaty and panty-throwing audience. It´s all stun guitars with Kamikaze divebomb solos, Keith Moon-like percussive abandon and pre-Punk snotty spit n´ fuck you attitude. You´ll most certainly dig Nixon Now if the MC5 appeals to you.

The Band
♣ andi schmidt - guitar & vocals
♣ sven anders - guitar
♣ marc zimmermann - bass
♣ stephan rath -  drums

01. Revolver 02:40
02. Today Is The Day 02:43
03. Bad World 03:38
04. Shake 03:15
05. You & Me 02:51
06. Car Wash 03:59
07. Burning Down The Neighborhood 03:21
08. Altamont Nation Express 02:16
09. I Live In A Car 02:15
10. The Rocker 02:07
11. Madman 01:26
12. Fastest Thing 01:39
13. I Can Boogie 02:29
14. Brian Jones 01:44
15. Electric Teenage Nürnberg 04:1

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The Latest Album with: Nixon Now - The NOW Sound (Stooges Retro Band Germany 2018)

October 27, 2019, 11:26 pm
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If anyone could equal the MC5 and Stooges at their insane best, it's Nixon Now Among their fans are Michael Davis of the revived MC5, the legendary Thee Hypnotics or Nicke Royale of the Hellacopters. Everybody who has seen the furious four live can figure out why.


These dudes have listened to more than one Stooges record in their time. 

From the vocals to the fancy lead guitar work, this has Iggy Pop written all over it. Catchy and mid-tempo, with a pounding beat. It´s an excellent record from start to finish. Seriously - great songwriting, production, this has it all. The NOW Sound adds a vicious punk sneer to their psychedelic freak-out barrage, and it fits perfectly. It´s the super sonic equivalent of a tyre fire, belching out thick clouds of deliciously toxic black smoke.

Sweat drips down from the ceiling of the completely packed club. The smell of beer and weed is in the air, while the band plays its encore and all the people go crazy... This is how the first tunes of THE NOW SOUND sound like. It it has been 13 years since NIXON NOW, out of Hamburg Germany, released their last album. There has been much bottled up since then which is now being fired as an uncomplicated declaration of love for the '69 Detroit rock sound. THE NOW SOUND was recorded without much frippery on just one big weekend in Hamburg. 



This kind of music has to be recorded that way - impulsively and raw. NIXON NOW have licked that perfectly and created a great and dirty soundmonster with retro-charm and also zeitgeist. THE NOW SOUND! FILE UNDER: Garage | Rock | Punk | Fuzz FOR FANS OF: MC5 | The Stooges | The Hellacopters | Iggy Pop

Hamburg-based proto-punk garage-rockers Nixon Now release their first album in 13 years, but judging by the raw, Detroit '69 spirit of 'The Now Sound' the guys haven't aged one bit! Fans of Stooges, beware!

Nixon Now are:
○ Andi Schmidt: guitar, vocals
○ Sven Anders: lead guitar
○ Tom Beege: bass
○ Torben Fischer: drums

01. Rouse  01:31
02. God Has Money  01:45
03. 313  02:59
04. A Matter Of Time  02:35
05. No Fun Man  01:51
06. Right  05:53
07. Feel Loud  01:38
08. Instant Mayhem In A  02:42
09. The Mover  02:02
10. Wrong Time This Time  04:50
11. Park Outside With The Motor Running  02:33
12. Too Soon Too Much  06:25
13. Heard This Song Before  01:37
14. Livermore Drone Part 1+2  06:28

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Jan Dukes De Grey - Sorcerers (1st Album UK Folk-Prog 1970)

November 7, 2019, 8:04 am
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Jan Dukes de Grey is a short-lived English psychedelic/progressive folk and progressive rock band that was primarily active in the early 1970s. Despite a relatively meager total output and a lukewarm contemporary reception in terms of sales, the band has attracted a cult following and has seen a moderate revival of interest following the 2010 release of their previously completed but unpublished 1977 album, Strange Terrain. Jan Dukes de Grey is considered to have been among the least conventional musicians associated with the progressive folk scene and in particular their 1971 album, Mice And Rats In The Loft, has come to be viewed as a seminal British acid folk album and as one of the wildest relics of the florid post-hippie era.


The origins of Jan Dukes de Grey can be traced to the 11-man early-to-mid-60s soul group, "Buster Summers Express". While performing as a member of Buster Summers, multi-instrumentalist and vocalist Derek Noy began to write his own music and to incorporate his material into Buster Summers' pieces. Receiving positive support for these innovations, and anxious to perform his own material exclusively, Noy split from the group in 1968 to pursue his own musical direction based more extensively on the emerging underground sound of the day (characterized by bands like Cream, Pink Floyd, and Jethro Tull). Noy, penning 50 to 60 titles within the next 6 months, was approached by guitarist/fipple-flautist Michael Bairstow who wished to join Buster Summers Express. Noy explained that he was interested in starting a new band instead, and Bairstow soon agreed.

Formed in Leeds in December 1968, the original incarnation of the band consisted of the duo Derek Noy and Michael Bairstow. The name "Jan Dukes de Grey" was developed by Noy as an exotic-sounding title with no further significance. Gigging and refining Noy's original compositions for the next several months at local venues, Jan Dukes de Grey was signed in 1969 by Decca Records. By October 1969, the 18-track Sorcerers was recorded. The album consisted entirely of original pieces by Noy that have been described by reviewers as naive and instinctive with good musicality but lacking in technique especially in the flute accompaniment.

In October 1969, just after Sorcerers had been recorded, former Buster Summers drummer Denis Conlan joined the band and a new brace of gigging began. 

Though all pieces performed were written by Noy, the band's sound changed considerably during this period to become more strongly progressive and improvisational. This new sound resonated favorably with the university circuit and soon they had achieved a small measure of success, opening for big-name bands like Pink Floyd in November 1969 and The Who in May 1970. 

Despite this encouragement, sales of Sorcerers (released in January 1970) were mediocre and the band was forced to sign with the better-distributed Transatlantic Records for their next album, the epic 3-track Mice and Rats in the Loft (released in June 1971). Markedly different from their debut album, the second Jan Dukes de Grey album has been described as less-fragmented and more extreme than Sorcerers. The much longer track-lengths provided the band the opportunity to expand their more improvisational sound and to develop complex progressive themes in a wild and manic manner often favorably compared to Comus' First Utterance.

Sales of Mice and Rats in the Loft were again tepid and the recording costs advanced by Transatlantic meant that savings had to be made in advertising and the album received little press. Jan Dukes de Grey carried on performing local shows for the next several years, briefly adding former Buster Summers keyboard- and saxophone-player Eddy Spence in late 1970. Bairstow left the band in early 1973 to be replaced by guitarist Patrick Dean, a fan who had written glowing reviews of the band for the Yorkshire Evening Post. By the end of 1973, Conlon also left the band and was replaced by Noy's wife Fiona Dellar. Two other musicians, bassist Danny Lagger and drummer Maurice McElroy joined immediately after Dellar.

Jan Dukes De Grey -
Article Record Mirror January 1970
By April 1974, the band changed its name to "Noy's Band" and added bass guitarist Alan Ronds to be signed to the Dawn label. As Noy's Band the group released only one single, a reinterpretation of "Love Potion Number 9" paired with Noy's original piece "Eldorado". When this release flopped the band began to unravel, finally disbanding in August 1975. Noy, Dellar, and McElroy then joined with musician Nick Griffiths to perform briefly as punk band, Rip Snorter, through 1976 and the start of 1977.

In the meanwhile, starting in late 1975, Noy had renewed acquaintance with Pink Floyd and had begun discussing the possibility of a solo-project on the side. This new incarnation of Jan Dukes de Grey would consist primarily of Noy, with Dellar, McElroy, and the newly added keyboardist Peter Lemer providing backup. Additional guests including former Jan Dukes de Grey members as well as a slew of other musicians and personalities would also contribute to songs in an ad hoc manner. At the time, Pink Floyd drummer Nick Mason was heavily involved with Britannia Row Studios and Noy was offered a production deal in 1976 for a new Jan Dukes de Grey album to be recorded at Britannia Row. The third Jan Dukes de Grey album, Strange Terrain took just over a year to complete and cost nearly £100,000 to make. Guest performers on various tracks included Ray Cooper, actor Michael Gothard (playing saxophone), and actress Lydia Lisle, among others. The album was never released and the band dissolved for good shortly afterward. The third and final album at last saw a release in 2010 under the Cherrytree label.

Influences
The most apparent early influence on Jan Dukes de Grey was the British soul group, "Buster Summers Express" of which 3 one-time members of the band were members and that founding member Bairstow had originally intended to join. The Jan Dukes de Grey sound diverged from Buster Summers considerably, however, beginning with the influences of Cream, Pink Floyd, and Jethro Tull. Bairstow's use of the flute drew directly from Noy's interest in Donovan, and in creating their debut album Sorcerers the band drew inspiration from such bands as T. Rex and The Incredible String Band. Later in the lifespan of Jan Dukes de Grey, a heavier and more progressive sound was adopted such that Strange Terrain was described as demonstrating influence from Arthur Brown, David Bowie, and mid-70s Pink Floyd.

01. Dragons (0:55)
02. Rags, Old Iron (2:24)
03. 28th June, Village Song (3:03)
04. High Priced Room (2:39)
05. Sorcerers (2:41)
06. Ode to a Schoolgirl (1:25)
07. Cheering Crowd (2:34)
08. Out of the Eastern Hills (2:31)
09. MSS (2:00)
10. Texas (2:44)
11. Yorkshire Indian Sitting in the Sun (2:17)
12. Wonder Child (2:24)
13. Dominique (3:59)
14. Trust Me Now (3:33)
15. Forms (1:42)
16. City After 3:00 Am (4:04)
17. Butterfly (3:32)
18. Turkish Time (4:56)

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