November 22, 2019, 1:52 am
Size: 105 MBBitrate: 320mp3Ripped by: CrisGoesRockSome Artwork Included
Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).
Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz.
Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.
Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.
State of Shock by War Cloud is officially released on 27th September 2019 on Ripple Music.
Whatever level of nostalgia you might ultimately feel for heavy metal’s alleged glory days — I’d argue there’s always been a lot of good metal and a lot of bad metal, same as anything — listening to War Cloud, you get it. You understand what they’re paying homage to and the legacy of brash, infectious, sonic impact to which they’re living up. Helps that they’re not exactly shy about it. Like, song-opens-with-a-siren-level not shy. No complaints. Their self-titled got them picked up by Ripple and no mystery why, and they’ll follow it up with State of Shock next month. Denim, leather, backpatches, mustaches. Heavy metal in 2019. Do it.
Erupting out of Oakland, California in 2014, War Cloud has left a smoking path across much of the USA over the past five years. Formed by guitarist/vocalist Alex Wein after firmly planting his amps in the Bay Area, he unified a crew with Joaquin Ridgell on drums, Taylor Roach on bass, and most recently Nick Burks on guitar (also of Kentucky rockers, Stonecutters).
Adopting a classic 70s rock and 80s power metal approach and aggressively dousing it in modern sophistication, War Cloud released their self-titled debut album on Ripple Music to much acclaim in 2017. Their take on metal is a dish best served heavy and those that have dined on the likes of Saxon, Motorhead, Kiss, Thin Lizzy and Iron Maiden will no doubt appreciate the hard rock sophistication, dipped deep in ’70s fuzz, as showcased on their new single, ‘Striker’:
“The initial air raid siren warns the listener of the incoming attack they will soon meet by heavy metal force!” explains guitarist Alex Wein. “The lyrics are from the perspective of a fighter pilot, upon hearing the siren he rushes to his warplane to prepare for battle. As the launch pad to the album this song takes off with only lightning in its wake.”
Touring extensively in support of their debut record, War Cloud adapted a take no prisoners strategy with the intent to decimate all from the opening tone of each engaging live show and recently completed recording their sophomore full-length, State of Shock. Set to arrive this September, once again with Ripple Music, the song writing on the album led the band in the direction of a strong concept which thematically surrounds a life in war – be it with friend, enemy, or self.
Embracing their recognizable dual guitar harmonies, proto-metal licks, hard charging rhythms, adding heavy surges of British and Southern metal to inspire the fire, War Cloud has unquestionably upgraded their bomber jets for long-range pursuit.
‘State of Shock’ is deliciously old school. What War Cloud has made here would fit right in with the music we know and love from the 80s. There are elements here that call back to Deep Purple or AC/DC among many others from the era, but War Cloud manages to be very much their own thing instead of feeling like another band simply trying to copy what worked for others before. I think these days it is hard to be your own thing while following in the footsteps of the greats. They manage it here and it is good to see.
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For me, music in this style is more about the experience. Track 2 “White Lightening” probably captured this the best for me. It is loud and fast-paced and a lot of fun. It brings to mind the wide-open American roads and speeds a little too fast with a blarings stereo. I can tell you it feels right at home there too. The rest of the album also fits right into a great road trip as well. The whole album is just a great feel-good experience that goes really well, as cheesy as it sounds, in an adventure.
Musically, the mix is rather good; however, I do think that the vocals are a bit low at times and tend to get lost. It doesn’t take too much from the overall experience and is not a deal-breaker, but it does need to be mentioned. Other than the vocals though the rest of the mix is well put together. The guitar is nice and clear with a very enjoyable crunch. The bass and drums are punchy and well defined and do really well to drive the music. This makes for a really fun, but unfortunately kind of short album.
‘State of Shock’ is definitely one that is worth a buy. I do not think you will be disappointed. It is a great album that is very enjoyable and will go well with whatever you are doing. Whether that is work or a road trip or a party with friends this goes well. Many of the songs I felt would fit right at home in Dean Winchester’s Impala from ‘Supernatural’. It just has that fun, something bigger, vibe to it. I think that many great memories will be made while listening to this album. It is well worth the ride.
WAR CLOUD:♦ Alex Wein – Vocals, Guitar♦ Nick Burks – Guitar♦ Joaquin Ridgell – Drums♦ Taylor Roach – Bass
01. Striker 03:3602. White Lightning 02:5303. Dangerous Game 05:5204. Tomahawk 03:5605. Seeing Red 04:5906. Do Anything 02:5607. Means of Your Defeat 04:2008. State of Shock 04:541.
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November 24, 2019, 6:54 am
Size: 168 MBBitrate: 320mp3Found in: Bandcamp LandSome Artwork Included
Halcyon Daze is Brooklyn based, heavy psychedelic trio River Cult's debut effort. The band's style comes from a range of influences, starting with the heavy sounds of the past, then pushing them into the future with a modern sensibility.
The album moves fluidly through a range of emotions but still holds together as a cohesive whole; refusing to be burdened by a single genre. Though undeniably rooted in stoner rock and psychedelia, the subjects of River Cult's songs set the band apart by discussing feelings of angst and a struggle with the human condition.
Though undeniably rooted in stoner rock, Brooklyn-based heavy psychedelic trio River Cult fluently weave a far wider array of sonic touchstones into an enveloping amalgamation that offers constant surprises – what may sound familiar at first heads rapidly in unexpected directions.
Debut full-length Halcyon Daze ranges through retro-fuzz, sweeping psych-doom and stark, almost post-metallic soundscapes.
The core of spacious heaviness remains throughout, but to hear a band channel (at any given moment) elements of Blue Cheer, ISIS, Ty Segall, Pentagram and Earthless, all while maintaining a vibrant originality, is truly a singular experience.
Making pigeonholing a further impossibility are River Cult’s lyrics. Themes of disillusionment, angst, alienation, addiction, and the mutual exclusivity of rightness and victory are just some of the personal and philosophical considerations that surface.
Metal Sucks called River Cult’s 2016 EP, “a fuzzed-out psych rock quest that sounds like it was recorded in a ’70s rec room in outer space.”
New York Music Daily described it as, “a roaring, psychedelic envelope of sound that’s a lot more propulsive than your typical stoner metal or postrock band.”
Halcyon Daze moves fluidly across sounds and emotions, a cohesive whole that refuses to be burdened by a single identifiable genre. The album’s tracks were recorded live in the studio, with minimal overdubs and edits, flowing together seamlessly to create an immersive aural voyage.
I didn’t wind up writing nearly enough about it, but the 2016 Demo from Brooklyn trio River Cult was one of my favorite short releases of 2016, and one to which I’ve continued to go back periodically since. It’s only ever good for general international relations when a US band attracts the attention of Nasoni Records, as River Cult have apparently done, but to find them releasing their debut album, Halcyon Daze, through Pittsburgh’s Blackseed Records as well speaks to a multi-pronged approach that one hopes is a portent of how they’ll support the offering on tour.
Oh, and not that I’ve heard it yet or anything like that, but the record smokes. It’s out March 15 and I’m happy to be able to premiere a teaser video for it below. Fingers crossed I’ll have more to come about it before the release date as well.
Bursting on to the scene with a highly acclaimed self-titled EP in 2016, Brooklyn NY’s River Cult are amassing a loyal following with their unique style. Pulling inspiration from Sleep, Neurosis, and Pentagram, River Cult’s songs are modern, yet authentic hunks of Heavy Psych, Doom/Stoner rock.
Fusing atmospheric jams, gritty vocals, and garage rock eminence, River Cult are poised to keep riding the wave of their heavy jams to further praise in 2018, with a recording reminiscent of the Led Zeppelin, Hawkwind oeuvre. In collaboration with Blackseed Records, the independent heavy underground label based in Pittsburgh, River Cult will unleash their debut full-length, “Halcyon Daze”, on March 15th, 2018.
Blackseed Records will release “Halcyon Daze” on both CD and limited-edition cassette. A harmonic release to coincide with a vinyl issuance on Nasoni Records (Berlin), these limited black-matte cassettes are capped at 50 hand-numbered copies.
Getting and having one’s house inorder are two very different things, but River Cult seem to manage both on their Blackseed Records and Nasoni Records debut album, Halcyon Daze. The five-track long-player, on which not one song is under seven minutes long, follow a promising 2016 demo that was among the year’s best short releases, and takes a tack of exploring a variety of different styles and moods, all of them heay in one way or another and drawn together by an overarching sense of tonal heft that permeates whether it’s the tense build-up-leading-to-rolling-fuzz-wall of centerpiece “Seething” or the dreamy, drifting end of 11-minute second cut and highlight “The Sophist” just prior.
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The key word there might be “explorations,” and that’s because although Halcyon Daze sets itself purposefully to the work of proffering earthy tonality and a classic stoner fuckall in its looseness of structure and willingness to depart from verses and choruses into more open jamming, River Cult by no means sound set in their ways, and the 41-minute album carries the spirit of a band in the process of discovering who they are together as players and where they want to go in terms of their sound. Having first gotten together in 2015, it’s not entirely surprising they’d be at this stage on their first full-length, and it’s much to their credit that they capture the moment with the obvious commitment to sonic organics they show here.
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And to its credit and to the band’s credit, where that development might ultimately bring River Cult feels like a secondary consideration in comparison to the groove here, which at points recalls earliest Fu Manchu and other such before-stoner-rock-had-a-name rawness.
Taking advantage of the room in each track to flesh out their parts and ride the riffs to hypnotic and repetitive effect, as on the title-track’s outward trajectory or what seems to be a switch from otherworldliness to personal criticism on “The Sophist,” the first chorus of which brings the standout lines, “Sophistry/Yeah, you talk too much.” This perspective, somewhat disaffected but not necessarily raging, is writ large throughout Halcyon Daze, and it helps River Cult find their balance between more weighted, riffier fare and more atmospheric psychedelia.
It’s also worth noting that, while I have little doubt that Halcyon Daze was put together with a vinyl release in mind — “Likelihood of Confusion” and “The Sophist” on one side, “Seething,” “Halcyon Daze” and “Point of Failure” on the other — the album works perhaps even better in linear form, taken as one whole work unfolding in different stages in ups and downs of energy, pace, volume and emotion, weaving its way into and out of jams whole always keeping its ultimate trajectory forward, as shown when the feedback and noise wash of “Seething” gives way into “Halcyon Daze” or the effects loops of “Likelihood of Confusion” seem to dive into the airy tones that spread themselves over the initial going in “The Sophist.”
The bottom line is there’s a lot happening on Halcyon Daze when it’s taken front-to-back — which is how it feels like it was meant to be taken — and while one might imagine or expect River Cult to continue solidifying their approach in style and structure, what they’ve crafted in the meantime stands among the most promising Brooklynite heavy psychedelic debuts since Naam‘s Kingdom EP and should be commended for its level of craft, naturalism of execution, and unbridled flow. It’s a good one to get lost in, so go ahead and get lost in it.
The Band:Sean Forlenza: Guitar, VocalsAnthony Mendolia: BassTav Palumbo: Drums
Released February 9, 201801. River Cult - Likelihood of Confusion02. River Cult - The Sophist03. River Cult - Seething04. River Cult - Halcyon Daze05. River Cult - Point of Failure
Released July 7, 2016 (Recorded live at WFMU)06. River Cult - Temps Perdu 07. River Cult - Shadow Out Of Time
Released February 4, 201608. River Cult - A Drop In The Ocean 1.
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December 7, 2019, 1:05 am
Size; 83.1 MBBitrate: 320mp3Ripped by: ChrisGesRockSome Artwork Included
Raw Rock ‘N’ Roll power-trio. Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals. The missing link between Bo Diddley and Slayer !!!
After an album with The Heavy Manic Souls, Chris Rolling decides to continue the adventure and creates The Chris Rolling Squad, a raw Rock ‘n’ Roll power-trio.
Hard Rock riffing, Punk wildness, Psychobilly voodoo rhythm with wide and edgy backing vocals, the band is the missing link between Bo Diddley and Slayer!
A 5 tracks EP was released in 2016 and received reviews from the whole world, they played many shows in bars, clubs and festivals and opened for bands like Ten Years After, 2018 seen the band started to play overseas with a couple of German shows.
This record contains 12 songs of awesome fast paced, high energetic, fuel octaned metal/punkabilly with great melodies, anthemic choruses and also raw and dirty rock n roll riffs in the basics of their song structures. The production is superb, but they still retained that dirty garage almost demo edge and you can feel the vibe of live shows on this record while listening. To me, the favorite songs on this record are Back on the horse again, psychobilly vibed Nothing we can do about it, and also We can be one. This is a great record for fans of metal, punks and billy´s too!
The Chris Rolling Squad is Chris Rolling : Guitar, Lead vocalsBrice Duval : Bass, Backing vocalsThib' Adlersend : Drums, Backing vocals
01. Back On The Horse Again 03:0002. Piece Of The Action 03:0703. Crash And Burn (Vanishing Point) 02:0904. Go Fuck Yourself 02:3805. The Life You Waited For 02:3406. We Can Be One 03:1207. Tremors 02:1008. The World Is Going Down 02:1309. Nothing We Can Do About It 02:4210. Get Back There 03:2711. Devil Freak 02:1012. The Sharpest Knife 03:581.
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December 15, 2019, 12:18 am
Size: 93.2 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
Welcome to Whatsoever!A carefully compiled album of unreleased stuff, live and compilation tracks from 1998 - 2018. It contains outtakes from all 3 albums, most of it has been issued almost 10 years ago on the freakishly limited "The Flag" CD but as almost nobody owns this and some other stuff piled up in the vaults - here comes this baby containing all the goodies restored and remastered - especially for you....
01. Madman (Alternate Version) 01:3802. Dial "R" For Revolution 01:5603. The Flag 02:1504. Burning Down The Neighborhood (7") 03:2105. Deutscher Girls 01:4706. Dangerous 03:3007. Down On The Street 03:1608. Rouse (Alternate Version) 01:3909. Full Ann Arbor 04:4210. Hey Hey Let´s Get Shot In L.A. 02:0011. Livermore Drone Pt 1 05:3812. I´ve Been Around (Alternate) 03:5213. Sick Me (Demo) 02:4314. Sailor Man (Live) 02:071.
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December 15, 2019, 12:45 am
Size: 146 MBBitrate: 320mp3Found in OuterSpaceArtwork Included
"Canyon is a psychedelic blues rock band from beautiful Philadelphia... steeped in blues and soaked in psych. High voltage psychedelic acid rock, steeped in blues...soaked in psych."
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At four tracks and just under 19 minutes, the self-titled debut EP from Philadelphia three-piece Canyon give listeners just enough of a glimpse of where they might be headed to emphasize the potential at work. Canyon is their first outing since getting together in 2015 with the lineup of guitarist/vocalist Peter Stanko, bassist/vocalist Dean Welsh and drummer/vocalist Anthony Bove and after an initial digital self-release and tape through Anvileater Records, the short outing shows up as a full jewel-case CD with a picture of the band out front to emphasize the classic ideas they’re working from. I would not be surprised if some of the root jams out of which opener “Mashriq” was formed were some of Canyon‘s earliest, as there is definitely a formative aspect to their approach, vocals following the riff closely in a bouncing rhythm that, even compared to what follows on the palpably airier “She Comes to Me,” seems straightforward in a we’re-a-new-band-getting-our-footing kind of way.
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That process itself, honestly represented as it is, can be and is refreshing to hear, and in the context of Canyon‘s style, which benefits greatly from an organic warmth of tone in the guitar and bass along with the interplay of vocals, it makes a particular sense that they would showcase where they’re at in this early stage of their progression. Their sound, captured here by Alex Santilli, who engineered and mixed at Spice House Sound while Mark Trewella at Full Circle Mastering handled the finishing touches, is raw, but still offers plenty to the curious listener, and even more so on repeat visits.
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After some initial thud, “Mashriq” starts off with a righteously fuzzed impression. Philly has seen no shortage of heavy psych come through the last couple years, from Ruby the Hatchet and Ecstatic Vision to Meddlesome Meddlesome Meddlesome Bells, but right away, “Mashriq” positions Canyon as having a more earthbound take — fitting enough for their name, I suppose — given to roll and straightforwardness in structure. At just under three and a half minutes, it’s the shortest of the four inclusions on the EP and as “She Comes to Me,” “Radiant Light” and “Tell Me Mister” play out behind it, it becomes something of an outlier stylistically for that. Where Stanko, Welsh and Bove soon enough dig into a languid blend of heavy blues rock and, in the case of “Radiant Light” particularly, find a niche for themselves in dreamy vocal melodicism to complement a shimmer in Stanko‘s guitar, the leadoff cut seems more about establishing a context on which the subsequent material builds.
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The Deep Purple-referential Mk II title of Canyon‘s second EP, also the follow-up to their 2017 debut LP, Radiant Light, refers to the lineup change that’s seen Dean Welsh move to drums so that he and guitarist Peter Stanko can welcome bassist/vocalist Fred Frederick to the fold. The three included songs, the hooky “Mine Your Heart,” expansively fuzzed “Morphine Dreams” and bouncing “Roam” make a hell of a first offering from the reconstituted trio, who capture classic heavy naturalism in a chemistry between players that’s mirrored in the songwriting itself. Canyon‘s 2016 self-titled debut EP held marked promise, and even after the full-length, that promise would seem to be coming to fruition here. Their tones and craft are both right on, and there’s still some gelling to do between the three of them, but they leave no doubt with Mk II that this incarnation of Canyon can get there. And, if they keep up like this, get there quickly.
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Maybe that’s Canyon‘s way of easing the listener into their world, and that’s certainly valid, even on a short offering like this one, but “Mashriq,” while a strong opener and memorable in its hook, ultimately does little to account for some of the fleshed-out vibes that follow, even as “Tell Me Mister” rounds out with a return to a more energetic push and the gotta-hear-it buzz-tone that begs to be turned up even louder than it starts. How one accounts for that will depend on the listener, but if we look at the concept of a “debut EP” doing the work that a band’s “demo” used to do, then Canyon‘s establishes them as an outfit with an immediately varied approach of craft, however nascent it might otherwise be.
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This, of course, is essential to the work of an initial outing like this one — to give the band lessons to learn as they move forward, and I hear nothing in the tracks to make me think Canyon won’t do precisely that. On the most basic level, it’s a quick debut outing — a demo by any other name — that shows potential in tone and in trading between bounce and blues and drift and thrust all while holding to identifiable markers and avoiding a direct, blatant flag-bearing of its influences. This already is more than one might reasonably ask of it, and it is not by any means the sum total of what is delivered.
♦ Fred Frederick - Bass, Lead Vocals♦ Welsh - Drums, Percussion, Vocals♦ Peter Stanko - Guita
01. Mashriq02. She Comes to Me03. Radiant Light04. Tell Me Mister05. Anytime Secrets06. Ballad of John Gallagher07. Soon08. Brother09. Under Her Spell10. Outerlude in A Major11. Mine Your Heart12. Morphine Dreams13. Roam1.
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December 22, 2019, 12:29 am
Size: 210 MBBitrate: 320mp3Ripped by ChrisGoesRockSome Artwork Included
Recorded in the late '70s and early '80s by Juan Arkotxa, Leslie MacKenzie and Carmeta Mansilla, and previously only (partly) issued on cassette, 'The Book Of Intxixu' basically is the follow-up to the magnificent 'Book Of Am'. Once again, 'Book Of Intxixu' is a combination of illustrations and ethereal trip/acid-folk. For this project the trio recorded about three hours of music, from which the highlights (some heavier and more electric than probably expected!) are now brought together on this DOUBLE-LP.
Among the guests we find Daevid Allen and Gilli Smyth, while Cosmic Trip Machine's Will Z, oG, Majnun and Sammy helped Juan and Leslie to rescue the material and shape it into this gorgeous set. The accompanying illustrations are included in a 24-page booklet. This release is manufactured in an edition of 500 units.
The Book Of Intxixu is the follow-up to the magnificent The Book Of Am. Originally recorded in the late '70s by Juan Arkotxa in the Sant Mateu church (Ibiza) with the collaboration of Daevid Allen, Jerry Hart, Carmeta Mansilla and Gilli Smyth, and newly arranged and recorded in 2016 by Will Z. who has helped, with Cosmic Trip Machine, Juan and Leslie to rescue the old material.
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Musically, it follows the ethereal folk path set by their previous works, with an acid atmosphere and a progressive appeal that offers some heavier psychedelic passages due to a higher use of electric guitar pyrotechnics. Daevid Allen and Gilli Smyth guested as musicians, so here's one of his last recordings, as are also the last by Carmeta Mansilla, since sadly she also past away recentlyl. Will Z, oG, Majnun and Sammy helped Juan and Leslie rescue the old material and shape it into this gorgeous 2LP set with a 24 page booklet containing all the illustrations made for the Book. Please note it is a limited edition of only 500 copies, do not miss it and complete your Book Of Am saga collection!
✪ Juan Arkotxa - vocals, flute, fiddle, sitar, tanpura✪ Leslie MacKenzie - percussions✪ Carmeta Mansilla - vocals✪ Will Z. - vocals, acoustic guitar, bass, synthesizers, sitar, percussions✪ oG - bass, glissando guitar✪ Majnun - electric guitar✪ Sammy Goldstein - drums✪ Brian Abbott - glissando guitar
Disc 101. Triple Personality And The One Mind 04:5102. Dream Vision 02:3603. The Pass Through The Set Of Squares 05:3504. The Hot Bath 03:5905. The Cromlech 03:0906. Finding Immortality 04:1407. Through Desert Wastes 03:5108. The Master Of Dancers And Singers 02:2209. The Old Man 03:5710. Transmuting Immortality 02:4211. Crossing The Great Waters 03:0512. Ocean Moon 05:2013. Epilogue 02:38
Disc 201. Start Here 02:4002. Awakening The Organic 07:0303. Imagination 03:5204. Take Off 02:5505. On The Other Side 07:0606. Come Join The Mountain 08:4907. Grandmother Moon 04:5608. God Says But The Moon Says 03:13Part 1:
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January 12, 2020, 11:03 am
Size: 128 MBBitrate : 320mp3Ripped by: ChrisGesRockArtwork Included
Collection of tracks from this early 70s post-Jerusalem UK hard rock group also managed and produced by Ian Gillan (Deep Purple). Includes songs from their lone single for the Deram label plus 14 other previously unreleased recordings!
The band was formed immediately after the break-up of Jerusalem by its founding members Paul Dean & Ray Sparrow along with Bob Cooke, who was eventually replaced by Brian Goff. They made the decision not to continue with the name Jerusalem out of respect for what Jerusalem was all about at that time in musical history, after all Jerusalem was a one-off moment in time creation and could never be recreated.
Although the musical direction of Pussy was very different to Jerusalem, which is surprising as Paul was the main writer for both bands (although his liking for riffs is still prominent in places), they continued to keep that raw, no rules edge which set them apart from many of the bands of the period
Gillan was far more proactive with Pussy and was actually responsible for many backing vocals on the songs (also played piano on Feline Woman version 2, some percussion and came up with the idea for 'Place in the Sky'). Pussy were a good-time band with no pretensions of being super musicians or technical geniuses. If it seemed like fun it was worth a try, which explains a lot about their sound and direction. On stage anything could happen, no rules of course! They gigged all over the UK and Germany as a main and support act, very much in the same way as Jerusalem had done.
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After the disbanding of Jerusalem - (the rumors over the years said there was a second unreleased Jerusalem album - this is not true - it was actually the Pussy album) - Decca (Deram Label) decided to continue the Jerusalem contract for Pussy. The first and only Pussy release on Deram was a single entitled 'Feline Woman'. The recordings found here represent what was to be the Pussy debut album plus other various tracks all recorded between 1972 and 1973.
Rockadrome unearths another lost early 70's gem! Formed out of the ashes of Jerusalem (they made one record, I think it's way overrated), this one has a completely different sound. Glammy vocal (it's from 72, the peak of the glam era), but musically it's straight forward hard rock.
Tight, locked in drumming, Gibson guitars and some really catchy riffs make this an A list lost classic.
The music reminds me a bit of the First Daze era Pentagram stuff minus the doom elements. Some cool leads and even a slide guitar solo thrown in. The first track sounds a lot like Three Man Army but after that these guys really have their own sound.
Produced by Ian Gillan, he does a much better job than he did on the Jerusalem record. That one sounded like it was recorded in a garage. This one sounds good turned up, in no small part due to the great remastering job. Really cool packaging too.
The first 10 songs are the original album, after that there are some re-recorded demo versions of most of the songs with a different guitar player from a year later. The bonus stuff is pretty useless except for the 2 tracks that aren't part of the original album. Too bad the band didn't continue, they were really onto something with this album.
I would say if you like early Pentagram, Hard Stuff's first album, Budgie, or early Sweet, you can't go wrong picking up a copy. I hope Dennis digs up more of this kind of stuff!
Vinyl LP pressing. Jerusalem is well known among '70s hard rock enthusiasts thanks to their stone-cold classic 1972 Deram label debut album. After that record was released, the band made the bold decision to not to continue with the same name-for them, Jerusalem was a one-off moment in time and could never be recreated. And so, three-fifths of Jerusalem (founding members Paul Dean and Ray Sparrow along with Bob Cooke), became Pussy.
The new band were still managed and produced by Ian Gillan (Deep Purple). Pussy recorded and released one single on Deram and then went on to record tracks between 1972 and 1973 with Brian Goff taking over for Bob Cooke on guitar, for their debut album-which was never released. Pussy was a different beast from Jerusalem, despite Paul being the main writer for both bands. There seems to be a touch of Ziggy Stardust crunchy space glam in the mix-although Pussy kept the raw, no rules edge from Jerusalem which sets both bands apart from many others of the era.
Gillan was far more proactive this time around; he played piano and percussion, and was responsible for many backing vocals on the songs. Pussy were a hard rocking band with no pretensions of being super musicians or technical geniuses. If it seemed like fun, it was worth a try, which explains a lot about their sound and direction. On stage, anything could happen-no rules of course! They gigged all over the UK and Germany as a main and support act, very much in the same way as Jerusalem had done.
Rockadrome are proud to present here what was to have been the Pussy debut album, plus bonus tracks from the original Pussy single and a studio track recorded in 1972 with Jerusalem guitarist Bob Cooke. Features more than 40 minutes of never-before-on-vinyl material taken directly from the original master reels.
★ Drums, Backing Vocals – Ray Sparrow★ Engineer – Louis Austin, Paul "Chas" Watkins*★ Guitar – Brian Goff (2)★ Guitar, Tin Whistle [Penny Whistle], Backing Vocals – Bob Cooke (tracks: 11 to 16)★ Lead Vocals, Bass, Backing Vocals, Liner Notes – Paul Dean (3)★ Producer, Backing Vocals, Percussion, Piano – Ian Gillan★ Written-By – Cooke* (tracks: 2, 3, 7, 11 to 14, 16), Paul Dean (3) (tracks: 1, 4, 5, 6, 8 to 10, 15), Dean* (tracks: 2, 3, 7, 11 to 14, 16), Sparrow* (tracks: 2, 3, 7, 11 to 14, 16
NotesTracks 1 to 10 are from an unreleased album. Tracks 11 & 12 are from a single released in 1972. Track 13 from a single session in 1972. Tracks 13 to 16 from a 1973 session with Bob Cooke.
01. The Knife02. Feline Woman03. Pig Mansion04. Man of This World 05. Take Me Home06. Riding Down the Red Flag07. I Keep Remembering You08. Lady Ella09. I. F. O.10. Moonshine11. Feline Woman (From Original 1972 Single With Bob Cooke)12. Ska-Child (From Original 1972 Single With Bob Cooke)13. Pig Mansion (From 1972 Single Session, Unreleased Version With Bob Cooke)14. A Place in the Sky (From 1973 Session With Bob Cooke)15. Lady Ella (From 1973 Session With Bob Cooke)16. I Keep Remembering You (From 1973 Session With Bob Cooke)1.
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January 26, 2020, 2:49 am
Size: 84,2 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Elf is the first studio album by Ronnie James Dio's blues rock band called Elf. Produced by Ian Paice and Roger Glover of Deep Purple, the record was released in 1972. In this album, Dio is listed by his birth name Ronald Padavona.
Though Dio had used "Padavona" for songwriting credits on earlier singles, Dio explained in an interview in 1994 that he used his birth name on this album as a tribute to his parents so that they could see their family name on an album at least once.
After this album, Steve Edwards replaced David Feinstein on guitar, and Craig Gruber took over bass duties, leaving Dio solely as the lead singer. This future lineup, minus Edwards, became the first incarnation of Ritchie Blackmore's Rainbow when guitarist Ritchie Blackmore formed it after leaving Deep Purple.
By the time he came to prominence as the lead singer of Ritchie Blackmore's Rainbow, Ronnie James Dio had accumulated an extensive rock & roll résumé (longer than he'd like to admit, actually) performing with a number of groups, ranging from doo-wop in the late '50s to psychedelic rock in the '60s.
But it wasn't until he founded Elf in the early '70s that Dio, or Ronald Padavona as he was then called, took his first tentative steps toward hard rock. Still, with the honky tonk piano playing of Mickey Lee Soule dominating many of its songs, Elf's self-titled Epic Records debut (produced by Deep Purple bassist Roger Glover) hardly qualifies as a bona fide heavy metal record.
In fact, tracks like "Hoochie Koochie Lady,""First Avenue," and "Sit Down Honey" sound more like the Rolling Stones than Black Sabbath, and it's only occasionally ("I'm Coming Back to You,""Gambler Gambler") that the band produces truly stripped-down, gritty hard rock. "Never More" is perhaps the album's most interesting track, starting with lilting piano and a dramatic delivery from Dio (sounding rather like Freddie Mercury) before launching into a driving hard rock riff in the vein of his best work with Rainbow and Sabbath in later years. A must-own for Dio fanatics.
The band was formed in 1967 when the members of Ronnie Dio and the Prophets transformed themselves into the Electric Elves and added a keyboard player, Doug Thaler.
In February 1968, the band was involved in an automobile accident which claimed the life of Nick Pantas.[3] The accident forced a shuffling of the band member roles as original keyboardist Thaler moved to guitar (after recovering from his injuries) and the group hired Mickey Lee Soule to take over keyboard duties. Upon leaving the group in 1972, Thaler moved to New York and got a job as a booking agent — Elf was one of the bands he booked.
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, following the release of Elf's first album, Craig Gruber was asked to join as bass guitarist. In August 1973 Feinstein quit the band and was replaced by Steve Edwards. In 1974, Elf released its second album, Carolina County Ball. That same year Dio was asked by Glover to sing on his solo album, The Butterfly Ball and the Grasshopper's Feast. Dio's voice gained the attention of Deep Purple guitarist Ritchie Blackmore, who was beginning to tire of Deep Purple and was looking for musicians to record a solo album.
Apart from guitarist Steve Edwards (and percussionist Mark Nauseef), he decided in early 1975 to use the musicians in Elf for this album, and the band Rainbow was soon formed. Though Elf had been writing and recording its third album, Trying to Burn the Sun at the same time, following the completion of that album and the Rainbow album, Elf was no more. Trying to Burn the Sun was eventually released in the U.S. in June 1975.
Personnel:♫♪♪ Ronald Padavona (later Ronnie James Dio) – vocals, bass guitar♫♪♪ David Feinstein - guitars♫♪♪ Micky Lee Soule - piano, organ♫♪♪ Gary Driscoll - drums
01. "Hoochie Koochie Lady" 05:3202. "First Avenue" 04:2303. "Never More" 03:5004. "I'm Coming Back for You" 03:2705. "Sit Down Honey (Everything Will Be Alright)" 03:4806. "Dixie Lee Junction" 05:0907. "Love Me Like a Woman" 03:4708. "Gambler, Gambler" 04:261.
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February 14, 2020, 3:24 am
Size: 124 MBBitrate: 320mp3Ripped by: ChrisGoesRockFound in OuterSpace
One of the most influential of the early British progressive rock bands, Colosseum fused an adventurous approach to rock with strong jazz and blues influences and classical keyboard accents; they earned a loyal and lasting following though they never scored a major breakthrough hit. Colosseum were founded in 1968 by saxophonist Dick Heckstall-Smith, bassist Tony Reeves, and drummer Jon Hiseman; the three had previously worked with John Mayall, playing on his album Bare Wires, and Heckstall-Smith and Hiseman were formerly members of the Graham Bond Organisation.
The first lineup was completed with the addition of Dave Greenslade on keyboards, Jim Roche on guitar, and vocalist James Litherland, who took over on guitar when Roche soon departed.
After making their live debut in Scarborough, Colosseum earned a valuable ally in legendary BBC disc jockey John Peel, who featured the band on his Top Gear radio show. Fontana Records signed the band, and their first album, Those Who Are About to Die Salute You, was released in 1969; it fared well in the charts, and the leadoff track, "Walking in the Park," was issued as a single, though it proved to be the only 7" from the group.
Colosseum's second album, Valentyne Suite, appeared later the same year; it was the debut release from Vertigo Records, the influential progressive and hard rock label. (Vertigo and Fontana were both affiliated with the Dutch recording firm Philips.)
Released in 1970, Daughter of Time featured a new lineup of the band; James Litherland left to form the band Mogul Thrash and Tony Reeves moved into production full-time, and Colosseum added guitarist Dave Clempson, bassist Mark Clarke, and lead vocalist Chris Farlowe. Another Colosseum album, The Grass Is Greener, appeared in 1970, but it was in fact a revised version of Valentyne Suite, released only in the United States and featuring four of the original selections from the LP and four new songs.
In 1971, Colosseum jumped ship from Vertigo to the newly formed Bronze Records and recorded a handful of shows at Manchester University and the Big Apple club in Brighton; the band broke up before they could complete a studio album for their new label, and 1971's Colosseum Live would prove to be the last release from the group's first era. In 1975, Jon Hiseman launched Colosseum II, a more jazz-oriented combo that also featured Gary Moore on guitar and Don Airey on keyboards; the new group released three albums before parting ways in 1978.
In 1994, the Daughter of Time lineup of Colosseum reunited for a concert tour, and a live album was drawn from the concerts. The band issued a new studio album in 1997, Breads & Circuses, and Colosseum reconvened for periodic recordings and live shows in subsequent years.
The group's final album was 2014's Time on Our Side, and the ensemble's last live appearance was made at a farewell concert the following year. Saxophonist Barbara Thompson (who was married to Jon Hiseman) frequently appeared with the reunited version of Colosseum, and became an official member of the group following the death of Dick Heckstall-Smith in 2004. Jon Hiseman died in 2018 at the age of 73.
Colosseum, Messepalast, Vienna, AustriaNovember 2, 1969, Early Show
Band members:♦ James Litherland - Guitar & Lead Vocals♦ Tony Reeves - Bass♦ David Clempson - Guitar & Fender Rhodes Piano & Vocals♦ Dave Greenslade - Hammond Organ & Grand Piano♦ Jon Hiseman - Drums & Percussion (passed awayy June 12, 2018 at age 73)♦ Dick Heckstall-Smith - Saxophones (passed away Dec 17, 2004 at age 70)
01. Radio Introduction [01:09]02. Walking In The Park [08:47]03. Butty's Blues [14:37]04. Valentyne Suite, January's Search [07:06]05. Valentyne Suite, February's Valentyne [11:06]06. Valentyne Suite, Beware the Ides of March [06:34]07. Stormy Monday [05:08]1.
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February 14, 2020, 3:52 am
Hi all.
I'm looking for good upload sites, so non member can downlod my files without "popup hell", or re-direct to "spam-sites".
Would be very glad for some help with good upload sites.
//ChrisGoesRock
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February 14, 2020, 4:04 am
Size: 110 MBBitrate: 320mp3Ripped by ChrisGoesRockArtwork IncludedSource: Japan SHM-CD Remaster 2020
Fresh Maggots were a short-lived folk duo from Nuneaton, Warwickshire in England, consisting of Mick Burgoyne and Leigh Dolphin, who played a variety of instruments including guitars, glockenspiel, tin whistles and strings. They released one album in 1970 before splitting up.
Taking their name from a newspaper advert for a sports shop that proclaimed "fresh maggots always available", the pair were spotted by Mike Berry of the Sparta Florida Music Company in September 1970 while playing only their second concert at Wolvey village hall, and signed a publishing deal with the company. They were signed by RCA Records, who released their only album in 1971 - when they were nineteen years of age. Fresh Maggots was recorded at the Radio Luxembourg studios in London over several months at a cost of 1,500 pounds, and produced by Berry.
Although its release was preceded by some degree of anticipation, delays in publishing gradually saw interest wane. Upon its release, it was met with favourable reviews, however record sales did not reflect this, and pressing was decommissioned soon after. The duo went on to play two live shows broadcast by BBC Radio 1. They released one single, "Car Song", before splitting up.
The resurgent popularity of folk music over the last decade reawakened interest in the band and the album became a collector's item fetching hundreds of pounds; The duo started to receive airplay in the US, prompting a reissue in 2006 as Fresh Maggots...Hatched on the Sunbeam label in the UK and Amber Soundroom in Germany, with the tracks from the "Car Song" single added.
The reissued album received a three and a half stars review from Allmusic, and an 8 out of 10 score from PopMatters, with Whitney Strub describing it as "a remarkably assured debut—and finale". Kevin Hainey, reviewing it for Exclaim!, stated the group's "concise and fast-paced songwriting tendencies certainly make this stuff transcend its own age in a strange and wonderful way". John M. James, in the River Cities' Reader described it as a "five-star masterpiece of hypnotic vocals, electric fuzz guitar, trippy tin whistle, and shimmering six- and 12-string guitars".
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The tunes are pleasant but not brilliant, and kind of repetitive. If "Dole Song" takes an unusual subject as its focus (signing on to "the dole," or welfare, in Britain), other compositions can be simplistic to the point of awkwardness. "And When She Laughs," for instance, sounds a bit like Donovan at his lightest, but even more dainty and lovey-dovey.
There's some fine acoustic guitar picking and a bit of tasteful orchestration. Yet only "Rosemary Hill" has a bittersweet tune strong enough to merit a place on U.K. '70s folk-rock rarities, should a definitive series of those ever be assembled.
Line-up - Musicians★ Mick Burgoyne - guitar, vocals, percussions, violin★ Leigh Dolphin - acoustic guitar, vocals
01. Dole Song (3:23)02. Rosemary Hill (3:30)03. Quickie (1:23)04. Everyone's Gone To War (3:55)05. And When She Laughs (2:48)06. Spring (3:21)07. Balloon Spring (3:55)08. Guzz Up (1:45)09. Who's To Die (3:50)10. Elizabeth R (2:50)11. Frustration (6:00)12. Car Song (3:59) [Bonus]13. What Would You Do (2:42) [Bonus]1.
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February 14, 2020, 4:39 am
Size: 341 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Alan Davey, a.k.a. "Bass Assassin #2 (nickname given to Alan by Lemmy Kilmister) is best known for being one of the keynote, and longtime members of the legendary band Hawkwind, but he began his musical career in 1979 with a band he and his cousin started from the ground up, called Gunslinger. They quickly gained a reputation for playing loud and built a solid following.
Gunslinger was formed in 1979 by Alan Davey and Nigel Potter and enjoyed a fair bit of popularity in the early 1980s, though for reasons that aren't clear the band split up just as they were about to score a record deal. Things certainly worked out ok for Alan as he went on to join Hawkwind. Though the recordings sat for many years until Alan reworked them recently and released them on the newly formed Earthquake label.
The simple description is that this is Motorhead done up Alan Davey style. "Night Song" opens the album and is trademark Alan bass and vocals, though in a thoroughly ROCKING context. Alan solos on the bass while the guitar and drums blaze away. "Blitzkrieg Baby" is similar, with tasty ripping guitar leads. "Shellshocker" is played at what seems like an impossible pace, with keyboards layering the background, and more fiery guitar solos.
"Hymn Of The Wild" is a killer hard rock and metal tune. "Cyanide" and "Warhorse" are both songs that would fit neatly on a mid-late 80s Hawkwind album. "Warhorse" is the powerhouse of the two, with mucho spacey synths, and being the longest track of the set at over 7 minutes, the band really stretch out and jam. More killer guitar leads. A seriously potent rocker.
There are also songs like "If The Bombs Don't Get Ya The Bullets Will", "Going In For The Kill" and "Don't Need You" that are more firmly in the Motorhead thrash-metal style, and Gunslinger do it with panache. Finally, "Gunslinger" closes the set and is without question the most blazing song on the album, reaching levels of fury unmatched by… dare I say… Motorhead themselves.
No shit, this album will blow your face right out. Play it LOUD! Note that Gunslinger have been active playing shows and for the live version of the band Alan has brought on board his Meads of Asphodel mates JD Tait on guitars and Sunil Jolly on drums.
Deluxe 2CD collection of the rare and out of print original album plus a 27-track bonus disc including the entire Unlawful Odds live album, the Lessons In Logic EP and 7 previously unreleased tracks!
♦ Alan Davey - bass, vocals♦ George Agent - drums♦ Nigel Potter - guitars, vocals
Disc 101. Night Song 03:39 02. If the Bombs Don't Get Ya, the Bullets Will 02:06 03. Shellshocked 03:33 04. Savage Love 03:13 05. Cyanide 04:50 06. Blitzkrieg Baby 04:05 07. Going in for the Kill 02:53 08. Hymn of the Wild 02:26 09. Don't Need You 03:42 10. Warhorse 07:37 11. Gunslinger 06:08 12. Speed Dream (Re Mix 2017) 02:41 instrumental13. Lessons In Logic (Full Length Version) 04:12 14. You're My Leo (Outtake 2008) 03:49 15. Living Like a Viking (Demo 2008) 02:36 16. Gunslinger (Demo 2008) 03:24 17. Fly into the Night (Demo 1981) 04:10 18. No One's Got No Faith in Me (Demo 1981) 03:34 19. Lessons In Logic (Bonzai Caruso Mix) 03:34
Disc 201. Boot Hill (Live 2010) 01:04 02. All the Way (Live 2010) 03:19 03. If the Bombs Don't Get Ya, the Bullets Will (Live 2010) 02:12 04. Blitzkrieg Baby (Live 2010) 03:57 05. Shellshocked (Live 2010) 03:45 06. Savage Love (Live 2010) 03:15 07. Don't Need You (Live 2010) 03:49 08. Warhorse (Live 2010) 08:20 09. A Shot in the Dark (Live 2010) 02:54 10. Going In for the Kill (Live 2010) 02:47 11. Night Song 2 (The 2nd Cumming) (Live 2010) 03:37 12. Cyanide (Live 2010) 05:08 13. Hymn of the Wild (Live 2010) 04:49 14. Gunslinger (Live 2010) 05:15 15. Night Song (Live 2010) 04:30 16. Hound Dog (Live) 03:50 17. Going In for the Kill (Live 2008) 02:50 18. If the Bombs Don't Get Ya, the Bullets Will (Live 2008) 02:34 19. Night Song (Live 2008) 03:42Part 1:
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Size: 63.1 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
Finally. After more than 20 years, Temporal Sluts are putting out their very first full length album: Modern Slavery Protocol, 10 songs of the same furious punk rock they've been playing since day one.
Born in Como in 1995, Temporal Sluts are veterans of the Italian punk rock scene with several 7"s and EP's released, a lot of European tours, and shows supporting legendary bands like Leaving Trains, Hypnotics, Humpers and Radio Birdman. Their name has always been well known among underground punk/rock&roll fanatics.
Temporal Sluts' line-up has been through a lot of changes during the last 20 years, but since 2014 they are rock solid: founding members Rob Slut and Killer Tony - voice and drums, Luca Slut - lead guitar, Steve - bass, Miguel Basetta - rhythm guitar.
Modern Slavery Protocol was recorded at New Recorded Studio in Como by Frederic Mazzei (guitarist of the Leeches, good ol' friends of Temporal Sluts). It's a straight in your face album, fast guitar-driven punk rock, certainly influenced by Stooges, Dead Boys, Saints, Lazy Cowgirls, Adolescents and New Bomb Turks, but definitely 100% sweaty Temporal Sluts.
This band starts kicking out in 1995, The Temporal Sluts realizes its first record, a 10" split with Californian The Humpers called "A touching date" (Hate records) after the American tour.1996 is the year for the first album "Bad news never comes alone", celebrated with a live showcase in Milan together with the Empty Set, from Detroit (the band of Ron Asheton and Mike Davis).
Probably you didn't get most of our records because we were exactly between the new digital explosion and the old fashioned "taste" of vynil... that's why we're putting out a new and remastered album on cd and a new master for the vinyl acetate.
We were working on the recording of the new album with Mike Davis as a producer who passed away in February 2012, we lost a dear friend, so we postponed the realization of the new album at the end of 2014.
We toured Europe several times and shared the stage with a lot of bands.
The next projects are about a Japanese tour and why not? A new American tour.
Released January 1, 2016
The Band:♦♫♦ Slut (vocals) ♦♫♦ Luca Slut (guitar) ♦♫♦ Tony (drums) ♦♫♦ Stefano (bass) ♦♫♦ Syl (guitar)
01. Cosmocracy 02:2802. Flash Crash 02:2403. Fractured Mantra 02:5304. To Get Her 02:5805. Black Clouds (Red Knees) 02:4606. Rum Dark Room 02:0207. MSP 02:4008. Liquid Fever 02:4209. Tarzana Cigarette Girl 02:3310. Zero Killed 02:481.
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Size: 152 MBBitrate: 320mp3Artwork IncludedRipped by: ChrisGoesRockSource: 24-Bit Remaster
One of the less known Canadian groups to work on the 1960s US West Coast scene was the short-lived Merryweather, a talented bunch of Ontario musicians, fronted by former Mynah Birds member, bass player Neil Lillie (today better known as Neil Merryweather).
Slightly reminiscent of the early Steve Miller Band, Merryweather also shared the same label, Capitol Records, with whom they had signed with in January 1969 and produced two albums, including the double "super-jam" record, Word of Mouth before imploding later that year. It all began in Toronto in 1963 with a suburban band known as The XLs. Formed by organist Ed Roth (b. 16 February 1947, Toronto, Ontario) with bass player Brian Hughes, and later joined by drummer Bob Ablack and American-born guitarist Bill Ross, The XLs were essentially an instrumentals outfit. That is until singer Gary Muir came on board during early 1964 and remodelled them as Gary & The Reflections.
Muir's tenure was brief, however, as a few months later singer Neil Lillie (b. Robert Neilson Lillie, 27 December 1945, Winnipeg, Manitoba) had ousted him as front man. Lead singer with local rivals, Night-tricks, Lillie's band shared the same agents as Gary & The Reflections.
With the change in personnel came a new identify, The Ookpiks, named after a native-designed stuffed toy owl called Ookpik, which the Canadian government was promoting at the time.
Unfortunately another Ookpiks group already existed and so for a brief period, the band took on another moniker, The Sikusis, named after another stuffed toy. Once again, the musicians found themselves in trouble. Unable to get permission from the Canadian government to use the name without compensation, they settled on The Just Us at the end of 1964.
While all of this was going on the band scored a recording deal with Quality Records and a lone single, "I Don't Love You" c/w "I Can Tell" was launched on an unsuspecting public in early 1965. Despite its raw energy and undoubted appeal, the single bombed, which is perhaps not surprising in light of the fact that some copies were credited to The Ookpiks, some to The Sikusis and some to The Just Us! Almost impossible to get hold of now, the single's a-side, "I Don't Love You" has resurfaced on at least one CD compilation – Nightmares From The Underworld.
Soon afterwards, drummer Bob Ablack briefly left for personal reasons. Al Morrison took up the drum stool before making way for Ted Sherrill, who would fill in for Ablack intermittently over the next few years. The Just Us ploughed on but Neil Lillie (who had been using the stage name Bobby Neilson) and Bill Ross were increasingly coming to blows and around December 1965 Ross was given the elbow. Ross's dramatic ousting coincided with original member Brian Hughes' decision to quit the band and continue his studies. Bill Ross, meanwhile, reunited with Al Morrison in The Bossmen, which was formed in January 1966 to back up future Blood, Sweat & Tears singer David Clayton-Thomas after he left The Shays.
To fill the vacant spots, Lillie brought in former Mynah Byrds singer, the late Jimmy Livingstone (b. 28 February 1938, Toronto, Ontario), initially as a second keyboard player and vocalist. Livingstone by all accounts was a wildly eccentric man. A somewhat mercurial character, he's often been described by musicians that knew him as being "ahead of his time" and his musical talents were greatly respected.
"Jim was incredibly funny and musically fearless," remembers Roth. "We did arrangements that were totally unique and often off the cuff. He was one of my greatest musical influences. He would do anything on stage. Sometimes we would break into an opera in a totally made-up language. Sometimes, the jams went on and on, but most of the time they were fascinating and pretty funky. We were a band that could turn on a dime."
Livingstone had started singing in the late 1950s rockabilly outfit, Jimmy Lee & The Countdowns. Much later on he shared the vocal duties with future Motown funk star, Rick James (then known as Ricky James Matthews) in the early Mynah Birds. After splitting from that group in mid-1965, Livingstone briefly fronted The Muddy Yorks alongside bass player Wayne Davis (b. 28 April 1946, Toronto, Ontario). This connection probably explains how Davis was recruited as Brian Hughes' replacement in The Just Us in early 1966. And if this was indeed the case, it was probably Davis who found Ross's successor, guitarist Stan Endersby (b. 17 July 1947, Lachine, Quebec) as both musicians had previously worked together in C J Feeney & The Spellbinders.
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With Bob Ablack back in The Just Us' ranks, the band met an English producer who secured some studio time at Arc Sound in the spring of 1966 and oversaw the recording of an entire album, the tapes of which later disappeared when the producer took off for New York. Not withstanding this disappointment, the old battle over the group's name soon reared its ugly head again when an American duo called The Just Us scored a minor US hit with "You Can't Grow Peaches On A Cherry Tree" in April 1966.
If the struggle for the band's name wasn't bad enough, Wayne Davis left the band during early June to join Bobby Kris & The Imperials. With a prestigious show opening for The Byrds at Toronto's Varsity Stadium pencilled in for 22 June, Lillie had little choice but to learn the bass in two weeks!
Assuming the name Group Therapy for the show, the band once again ran into legal problems over the name. However, it didn't matter in the long run. Aware of the changing undercurrent in the local music scene and the dawn of the psychedelic era, The Just Us eventually assumed a more appropriate moniker in September 1966, and one that fitted perfectly with the times, The Tripp.
In its new guise, the group eschewed the R&B numbers to concentrate more on original material, which was far more improvisational and experimental in style. Early on, the band shared a bill with Richie Knight & The Mid-Knights and impressed by the pianist, Rick Bell, Lillie asked him to join The Tripp.
Rare footage of The Tripp appearing on the Canadian Broadcasting Company's The Sunday Show has resurfaced in recent years and is something of a revelation. Presented by Canadian singer/songwriter Ian Tyson, The Tripp can be seen tearing through a bizarre improvisational number, which clearly leaves the rather conservative studio audience looking dumbfounded and noticeably shocked!
"They put a lot of money into filming our psychedelic numbers with lots of effects and lights and smoke machines," remembers Endersby. "There was an article that said something like 'the singer screams, howls like a chicken and never sings a word'. I mean Jimmy Livingstone was very original, one of a kind. On the show Rick Bell would be inside his piano pulling at the strings and I was playing slide with a lipstick tube. It was all very bizarre."
Perhaps it was the band's uncompromising attitude and unwillingness to fall in line with the current music fads or maybe it was just that Canada's fledging music industry simply didn't know how to market the band's adventurous spirit. Whatever the reason, The Tripp sadly never got the opportunity to record anything for posterity.
By the spring of 1967, Rick Bell was gone. Joining forces with Ronnie Hawkins & The Hawks, he would resurface a few years later in Janis Joplin's Full Tilt Boogie Band, appearing on the troubled singer's classic Pearl album. After years playing a multitude of sessions, Bell would ultimately wind up with Hawkins' former backing group, The Band.
Neil Lillie was losing interest too and when former Mynah Birds singer Ricky James Matthews turned up at one of The Tripp's shows in late May and offered him a potentially lucrative offer, he didn't need much convincing. "After the show, Rick asked me if I wanted to sign to Motown as a member of The 'Myna Byrds' that he was reforming," remembers Lillie. "Billy Ross was there and was joining with Al Morrison."
As it turned out, 'Myna Byrds' fell apart as quickly as they had been reformed. By September 1967, Lillie was playing bass and singing with a new Toronto band called The Flying Circus, fronted by none other than folk singer/songwriter and guitarist Bruce Cockburn.
Lillie stuck with The Flying Circus until March 1968 but eventually left over "creative differences" with Cockburn. Intent on finding an outlet for the new material he was writing, Lillie started to look around for suitable partners. Within a matter of weeks, he had reunited with his former cohorts from The Tripp – Ed Roth and Jimmy Livingstone, both of whom had kept the old group going under the guise of Livingstone's Tripp and then Livingstone's Journey.
While Roth had stuck with the band to the bitter end, Livingstone had left unexpectedly in October 1967 and after a brief respite had dabbled unsuccessfully with a new group called The Boiler Room. When that didn't work out, Livingstone ran into drummer Gary Hall (b. 6 October 1946, Toronto, Ontario), who was teaching percussion at the Toronto Conservatory.
"I had a student named Norman Kelp, a drummer from New Brunswick and his friend was [guitarist] David Kindred," recalls Hall. "David and I became friends and he moved in with me and my family. We thought we'd better put a band together, were looking for somebody and I think he knew Jimmy Livingstone."
Livingstone was already hanging out with Neil Lillie who was looking to put together a new group. Having recruited Ed Roth, who was looking around for fresh challenges after Livingstone's Journey had dissolved, the trio approached Hall and Kindred but the line up was short-lived. During June 1968, Kindred moved on to replace Mike McKenna in the legendary, Ugly Ducklings.
It was then that the Ducks' singer Dave Bingham directed the group to the guitarist they were looking for, 19-year-old David Colin Burt (b. 19 September 1948, Hamilton, Ontario), formerly a member of Hamilton groups, The Roots of All Evil and The Incredible Sons of Dr Funk. Burt, who was currently playing with St Catherine's band, The Fraser Loveman Group, had already tried out for the lead guitar spot in the Ducks before Kindred but turned the offer down. "I went and did some rehearsals with them and I just felt like the band was on its way out, so I bowed out," he recalls.
Sticking with his current outfit, Burt remembers playing at a school gymnasium somewhere between Toronto and Hamilton one night when the others, on Bingham's recommendation, dropped by to check the young guitarist out. "I saw the whole band standing out there on the dance floor and on the break they said, 'Do you want to go to California with us?'"
The decision to try their luck in Los Angeles came about after Lillie and Livingstone had run into former Buffalo Springfield bass player Bruce Palmer at his brother's house in Toronto. Palmer, who had recently been busted for marijuana possession and deported to Canada "put this whole picture of California in our heads," explains Lillie. "After hearing Bruce's stories of how great L.A. was, I decided to form a band specifically to go to California, not to play locally."
Within days of signing up, Dave Burt found himself rehearsing with the group, which was tentatively called New King Boiler (after the brand name inscribed on the furnace) in Neil Lillie's grandmother's basement. It soon became apparent that Gary Hall was a prodigious coffee drinker and such was his habit that Lillie's grandmother nicknamed him "Coffee". The band picked up on it and from then on Gary Hall became known as 'Coffi' Hall.
A short while later, the group befriended June Nelson. "While hanging out at Bruce's brother's place, we met June who was sort of his girlfriend at the time," recalls Lillie. "She had been Mo Osten's secretary [at Warner Brothers in Los Angeles] before coming to Toronto." Nelson had written a poem called Heather Merryweather and, taken with the title, the musicians decided to adopt it as the band's new name. Nelson also promised to help make arrangements for the group once they got to Los Angeles that summer.
Before setting off in early August, Heather Merryweather went into Arc Studios in Toronto and recorded three tracks. The first, a co-write by Lillie and Livingstone, "Little Man" would resurface on the band's debut album the following year, albeit in a different form. The remaining tracks, however, were never recorded again and remain unreleased to this day. One is the June Nelson poem, "Heather Merryweather", put to music by the group, while the other is Lillie's "Foolish I Guess".
With the recordings done, the entire group, plus Gary Hall's brother, jumped in an old Chevy and drove non-stop to Los Angeles in about three days. With no instruments and armed only with an acetate of the three songs, the group had a rude awakening after finally reaching their destination. "When we got there we found out that June [Nelson] didn't have any preparations for us," recalls Burt.
With little money, Heather Merryweather had to depend on the kindness of strangers to get by. "At first we lived in a motel called the Hollywood Center," remembers Roth. "One week in, some guy tried to commit suicide there by filling his cottage with gas from the stove and lighting it. He survived somehow. I'll never forget coming home to the motel and seeing all the venetian blinds blown out of the windows."
After various potential offers failed to come through, Lillie contacted Bruce Palmer who put the group in touch with a local singer/songwriter called Linda Stevens and she put the entire band up at her place in Topanga Canyon, where blues singer Taj Mahal was her neighbour. It was the perfect spot to rehearse.
"While staying there we arranged to have our instruments flown down to L.A. and we got a gig at the Big Pink," remembers Roth. "Topanga's main club, the legendary Corral, had been firebombed by right-wing neighbours and so a lot of the Topanga people went to the Big Pink, in the Valley. Members of The Doors and Spirit used to come see us."
Debuting at the Big Pink on 22 September, Lillie, who had quit an art school scholarship to pursue music full-time while with The Just Us, designed the poster to promote the show. "That picture was taken in Toronto before we left for Los Angeles," notes Roth. "Neil thought my hair looked too short and puffed it out with a marker to make it more like an Afro!"
Increasingly unpredictable, Jimmy Livingstone was given the elbow after the Big Pink shows. "Jimmy disappeared with Linda for a couple of days. I think they went into the bush for a while," remembers Burt. "Jimmy came back and I don't know if he was too unstable or whether he just didn't want to stay with us. He was too much of a free spirit."
"I vaguely remember a day at the motel when Jim jumped into the pool with his clothes on (for effect) and taking issue with Dave saying 'whatever' to some musical point [he] was trying to make," adds Roth. "I think that was about it for us. Jim's being in Topanga was disastrous in hindsight. He began having serious hallucinations. [He] was never the same. This was a tragedy for all of us who knew him."
"It was over," explains Lillie. "We got together and I said, 'Look, we can't get a record deal like this'. The thing was he let us all down. When we played that club everybody heard about us and word spread that we were something to see. So when we did play there, Jimmy wasn't Jimmy and he wasn't the guy we wanted to be that he was in the past. It was almost like he got scared. I fired him because he cared more about partying than being part of the band."
With Livingstone gone, Lillie took over the lead vocal spot and also assumed creative control over the group's direction. He immediately made an impression on the others. "We didn't realise he had such a great voice and he could compose like crazy," recalls Burt. "He would write from the bass so he had all this room. He would be playing all these bass lines and singing all these interesting melodies and Ed Roth and I would put all the harmonic movement to it."
Shortly before Livingstone's departure, the band's luck changed when Morey Alexander, an aspiring manager from Chicago, spotted them, promised to land a record deal and get them a gig at the famed Whisky A Go Go in West Hollywood. According to Roth, the band was impressed that Alexander shared an office with singer Bobby Gentry, but more importantly he gave them money to live on and paid for them to stay at the Hollywood Center.
"We started rehearsing, and when the time had come for our big debut, Morey had arranged to have record people there," says Roth. "One was Bill Cosby [who] had just started Tetragrammaton Records. Before the gig we went out and bought new shirts and kerchiefs and we hitchhiked to the gig. I'll never forget us standing on Sunset Boulevard with our thumbs out, guitar, bass, flute and snare drum in hand."
In early October, Heather Merryweather opened for The Chicago Transit Authority, who were making one of their first L.A. appearances. By all accounts, the band's performance was well received and in January 1969, producer John Gross signed Heather Merryweather to Capitol Records to a seven-year deal.
A short while later, Dave Burt remembers the label paying to record some demos, which included Lillie's "Mr Richman" to see how they would come across in the studio.
Cut at Independent Recorders in the Valley with John Gross in the production seat and abetted by legendary engineer Jim Lockert, who "wrote the book" on recording in Nashville and later worked with The Beach Boys, the sessions ran smoothly. Buoyed by the early recordings, Capitol arranged for some studio time to start recording an album, once again working with Gross and Lockert.
The group began recording in earnest and proceeded to lay down 10 tracks, most written by Lillie. "The first sessions for the album were done at Capitol," remembers Roth. "Wow! It was like a dirigible hangar! I think we did 'No Passengers Allowed' there. Back then recording was kind of formal – recording staff wore ties. We set up the whole band in the middle of this huge room, and placed mics very high above us on booms. We invited some friends from the coffee house we went to, to come and watch. I think they joined in, in the 'chant' at the end of the piece."
Most of the rest of the album was done back at Independent Recorders where the assistant engineer was Jo Stafford's son. A former member of The Lettermen, whose brother was a Capitol executive, owned the studio. "The studio was our sandbox," continues Roth. "We tried everything. In Toronto the most we recorded on was three-track. Here we had eight [and] later sixteen on our next album. We rented strange instruments – a cello, an Ondioline, boom bams, whatever we wanted. Dave and I had never touched a cello, but we played them on the album. It was fun."
Although Lillie sang the lead vocals on all of the tracks, Burt remembers Jimmy Livingstone turning up in the studio one day unexpectedly and laying down a vocal. "Jimmy rolled in to the studio covered in mud," recalls Burt. "Apparently, he had been walking down the big viaducts. He came into the studio and I think he sang something. I remember the shock when I saw him because it looked like he'd been on acid for weeks."
Roth confirms that Livingstone did come into the studio to record a vocal but says that it wasn't for the record. It was to help record a dada-esque radio advert for the album that the group's organist feels turned out better. Shortly after completing the recordings in February 1969, Neil Lillie legally changed his surname to Merryweather after shortening the group's name. "Heather Merryweather was dropped because there was no person called Heather Merryweather," explains Merryweather. "When I said I was in a band called Heather Merryweather, people asked me if Heather was the lead singer! We dropped it because after all, there was already a band called Alice Cooper."
"Dave, Coffi and I didn't know Neil had become Merryweather until we saw a proof from the inside of the cover," recalls Roth on the surprise that awaited the others. "Neil was the driving force behind the band, so I don't begrudge him the name."
"The reason I took the name was I never like the name Lillie," explains Merryweather in his defence. "It always sounded funny to me and kind of bugged me, so I used my first two names – Robert Neilson. When I came down here and I saw that I had to take the reins of the band and that I was doing 90 per cent of the writing and directing everybody, I thought, 'This time if something goes wrong, I want to make sure that I have some longevity'. When I set up Merryweather Music, Morey and I went to BMI and I got two advances of over $10,000 to support Merryweather during our time together."
Decked in a double sleeved jacket designed by Ivan Nagy, which showed the band sitting barefooted, the group's eponymous album arrived in the record stores that spring but received very little, if any, publicity. That's something of a shame because Merryweather was a strong debut and contained some brilliant individual songs, most notably, Neil Merryweather's "Mr Richman", which opened proceedings and "No Passenger's Allowed". Other highlights include the Merryweather-Burt collaboration, "A Feeling of Freedom" and the aforementioned "Little Man".
Not long afterwards, Merryweather made a prestigious appearance at Newport '69, a huge rock festival held at Devonshire Downs in Northridge on the weekend of 20-22 June. The three-day festivities also featured The Jimi Hendrix Experience, Credence Clearwater Revival, The Byrds and Poco among others.
"We opened up on the Sunday morning and it was great," remembers Neil Merryweather. "I had this guy in the audience that had an American flag with the peace symbol in the middle climb the hundred foot sound speaker towers and put it up at the top and everybody went ballistic. That was a great thing for us."
Back in Los Angeles, Merryweather returned to the Whisky A Go Go for a show opening for Leslie West's group, Mountain on 29 July. Earlier that month, work had begun on the band's second album, which was produced once again by John Gross. On this occasion, Merryweather were joined by various musicians, including Steve Miller, Howard Roberts, Barry Goldberg, Charlie Musselwhite and former Traffic guitarist Dave Mason to record a "super jam" album. As Ed Roth explains, aside from Mason who the band met on the street, the others were introduced to Merryweather on the day of the session in the studio.
The album kicks off in fine form with Merryweather's heavy-rock workout, "I Found Love", which features tasty guitar and organ solos and an amazing throat shredding vocal from Neil Merryweather. Other highlights include the catchy, "Teach You How To Fly", a band collaboration with guitarist Howard Roberts and the Merryweather-Roth co-write, "Where I Am", with stirring violin from Bobby Notkoff.
By this time, the band was starting to establish a following around the L.A area. On 21-23 September, Merryweather played one of their most high profile concerts to date, headlining at Thee Experience. Incidentally, it was at this gig that Neil Merryweather introduced his future girlfriend and musical partner, Lynn Carey, then singer with blues-rock band, C K Strong and invited her up on stage to jam with the group.
Burt remembers the three-night stand for different reasons. On the first night, Jimi Hendrix and The Band of Gypsies dropped by for an after hours jam after spending the day recording in a nearby studio. "Coffi Hall told me that they used to sit at the back of the club and listen to us until we finished our show," says the band's guitarist. "The first night, I get a tap on my shoulder and there's Jimi Hendrix standing beside me with his guitar asking to use my amp."
Hendrix, says Burt, would then get up on stage and conduct an amazing jam session. Merryweather's guitarist remembers Hendrix turning up the second night with Johnny Winter and on the last night with Frank Zappa, who was there to produce headlining act, Jean-Luc Ponty's Experience for a live album. To Roth's chagrin, the group had already left the club.
Though Merryweather had started to attract something of a following in late 1969, ironically, the group played probably its best-received show on the day it broke up, October 12. On the day in question, Merryweather had travelled down the coast to perform at the Balboa Stadium in San Diego on a bill that also featured Country Joe & The Fish, Poco and Chicago. According to Burt, Merryweather pretty much stole the show. "It was probably our biggest success and we were at least second on the bill," he recalls. "The crowd was already pumped up for us.
"[After we had played] they were screaming for us to come up for a third or fourth encore I believe and Neil was yelling at me, "Do you hear that? Do you hear that?' I said, 'Yeah, I hear it', but by this time some of the business stuff was very shady with the band. Also by this time Rick James had shown up."
Burt's relationship with Merryweather had been deteriorating for some time and the two musicians had increasingly been coming to blows. "Dave Burt lived with some chick in the valley, while Roth, Hall and I lived at our rehearsal facility," says Merryweather, who has his own take on the final split. "Burt was always late for rehearsals and became less a member and more of a burden. I was going to fire him and replace him with the guitarist from a Canadian group called Lighthouse.
"We were staying at a motel in Hollywood when Burt showed up and we had a fight. I'd had enough, so I quit. When I was going out the door, Rick James was about to knock. He was coming over to see me. I said, 'Rick, here's a ready-made band – they're yours.'"
For Merryweather, there was a sad footnote to the whole saga. "The piss off is three weeks [before Rick James turned up] Chris Sarns, the road manager for Crosby, Stills & Nash came to see me on behalf of Stephen Stills to ask me and Ed to join their band. I had jammed with Stephen when we hung out together some months before. Our double album had just been released, so I was loyal to the thought that Merryweather had a shot, so I turned down the CSN bass job. At that time, Rick James blew in to town with Greg Reeves. Reeves took the gig with CSN and I gave Rick my band."
Left without a group Merryweather secured a one-off album deal with Kent Records and rounded up some Canadian friends from the Toronto music scene to help pull an album together in L.A. The guitarist was John Richardson, formerly a member of The Lords of London and Nucleus, while the drummer, Robin Boers, was from the Ugly Ducklings. Keyboard player J J Velker meanwhile was a brief member of Calgary group The 49th Parallel and was working in Los Angeles at the time.
Credited to Merryweather, Richardson and Boers, the record, while patchy, does include some excellent material, most notably, the Merryweather, Richardson and Boers collaboration, "Flat Back", Merryweather and girlfriend Lynn Carey's "You Must Live It" and Merryweather's "Aren't You Glad That You Know".
Very few copies of the album appeared to have been pressed and soon afterwards, Merryweather abandoned the project to look for new musical partners. "RCA called me and asked if I would come there and do a jam album for them," explains Merryweather. "I called Charlie Musselwhite and Barry Goldberg and incorporated Lynn Carey into the project. [Ivar Avenue Reunion's] cover was done by Dean Torrance of Jan & Dean. Upon hearing the tight vocals between Lynn and me, RCA signed us as Merryweather and Carey and we did Vacuum Cleaner."
In 1971, Merryweather and Carey put a whole new band together called Mama Lion, which featured former Merryweather drummer Coffi Hall and keyboardist James Newton Howard, today a successful film composer. The band recorded two albums before evolving into Space Rangers for further recordings.
Looking back over his career, Merryweather says he has plans to release everything that he has done. He is also getting his website on-line. "I spoke to Ed and put across the idea that I wanted him to add keyboards to all my unreleased material and he expressed interest in doing it. "
And then there is talk of a Merryweather reunion with Hall, Roth and Burt. "It is a possibility but it will probably be summer 2007," says Merryweather. With everyone available, it is a tempting proposition and perhaps the promise of a reunion plus Merryweather's plans to release his back catalogue will finally give the band the recognition it deserves.
The Band:★ Neil Merryweather - bass, vocals★ Steve Miller - guitar, vocals★ Dave Mason - guitar, bass, vocals★ Charlie Musselwhite - harmonica, vocals★ Barry Goldberg - organ★ Howard Roberts - guitar★ Bobby Notkoff - violin★ Dave Burt - guitar, vocals★ Coffi Hall - drums★ Ed Roth - organ, piano, fiddle, rocksichord, vocals
01. I Found Love 03:0902. Teach You How to Fly 03:2403. Just a Little Bit 03:4204. Where I Am 03:4505. Hello Little Girl 02:5906. Mrs. Roberts' Son 08:5607. Licked the Spoon 03:0108. Sun Down Lady 06:0009. The Hard Times 03:0710. News 03:0711. We Can Make It 04:3212. Rough Dried Woman 03:3813. Dr. Mason 04:4514. Hooker Blues 03:301.
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Size: 142 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
Mike Vernon produced some of the greatest blues records of all time. A full decade after retiring, he's back in the studio with some of the British blues scene's brightest lights.
Mention the name Mike Vernon to any self‑respecting blues fan, and you can guarantee that it won't be long before said fan is reeling off the names of classic records he made as a producer during the late‑'60s British blues boom. As well as manning the helm for many of John Mayall's recordings — including the groundbreaking 1966 album Bluesbreakers With Eric Clapton — Vernon produced numerous other Brit blues artists including Chicken Shack, Peter Green, Fleetwood Mac and Ten Years After, and US blues stars including Otis Spann, Champion Jack Dupree and Eddie Boyd also recorded albums with Mike, for his legendary Blue Horizon label.
Michael William Hugh "Mike" Vernon (born 20 November 1944) is an English music executive studio owner, and record producer from Harrow, Middlesex. He produced albums for British blues artists and groups in the 1960s, working with the Bluesbreakers, David Bowie, Duster Bennett, Savoy Brown, Chicken Shack, Climax Blues Band, Eric Clapton, Fleetwood Mac, Peter Green, Danny Kirwan, John Mayall, Christine McVie and Ten Years After amongst others.
Vernon is best known as founder of the blues record label, Blue Horizon. He worked at Decca Records starting in 1963. He served as producer for the Mayall-Clapton collaboration Blues Breakers with Eric Clapton (1966).
In 1973 Sire Records,(SAS 7410) Vernon released a solo album, Moment of Madness. He was also a member of Olympic Runners (1974–1979) and acted as producer for them. He was a producer and member of Rocky Sharpe and the Replays (1979–1983). With the Replays he sang bass under the psudonym of Eric Rondo. He founded the Indigo and Code Blue record labels in the 1990s.
Vernon came out of retirement to produce Dani Wilde's album Shine, and the second album by the British blues prodigy, Oli Brown. Brown's album entitled Heads I Win, Tails You Lose was released in March 2010.
In October 2013, Vernon was rewarded with a BASCA Gold Badge Award, in recognition of his unique contribution to music.
On 7 September 2018, Vernon's first album on Manhaton Records, Beyond The Blues Horizon, was released. It featured twelve tracks, including nine new self-penned originals, and three covers from the catalogues of Brook Benton, Mose Allison and Clarence "Frogman" Henry. The release was supported by a European tour under the billing of 'Mike Vernon & The Mighty Combo'. Vernon's band, The Mighty Combo, consisted of Kid Carlos (guitar), Ian Jennings (upright bass), Matt Little (keyboards), Paul Tasker (saxophone) and Mike Hellier (drums).
Blue Horizon Records was a British blues independent record label, founded by Mike Vernon and Neil Slaven in 1965, as an adjunct to their fanzine, R&B Monthly, and was the foremost label at the time of the British blues boom in the mid to late 1960s.
Blue Horizon's first release was a 45 rpm single by Hubert Sumlin, then working as Howlin' Wolf's guitarist. Other releases soon followed on the Outasite and Purdah labels, the latter of which released just four 7" singles; including "Flapjacks" by Stone's Masonry (featuring Martin Stone, later to join Savoy Brown and Mighty Baby); and another by John Mayall and Eric Clapton "Bernard Jenkins", and "Lonely Years". Only 99 copies of each are thought to have been pressed - limited originally to avoid purchase tax - although it has also been said that the number was as high as 1000.
45 rpm releases continued on the Blue Horizon label, generally reissues of rare and hard-to-find singles from a handful of American blues musicians, although two releases — one by guitarist J.B. Lenoir, and another, by Champion Jack Dupree and British guitarist Tony "T.S" McPhee — presented new material. Blue Horizon's first LP was by one-man band Doctor Ross, recorded in a London hotel room while he was on tour with the 1965 American Folk Blues Festival.
A world-wide licensing and distribution deal with CBS, reached late in 1967, heralded the glory years of the label. Starting with two 7" singles with combined CBS/Blue Horizon stamps featuring Peter Green's Fleetwood Mac and Aynsley Dunbar 's Retaliation, there followed a string of singles and albums by both British and American blues artists, both licensed and newly recorded. Some releases featured Mike Vernon produced recordings of US artists such as Otis Spann and Champion Jack Dupree, backed by British blues players including Peter Green, Rory Gallagher, Paul Kossoff, Stan Webb and Pete Wingfield. Other UK artists signed to the label included Chicken Shack, Duster Bennett, Key Largo, Gordon Smith, Jellybread and Christine Perfect (later to be Christine McVie).
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In 2010, it was reported that the label would be reactivated by Seymour Stein and Richard Gottehrer, whom with Mike and Richard Vernon were the US and UK directors of Blue Horizon Records, although it would not have access to the original catalogue - in 2012 Tank Full Of Blues by Dion was issued.
On 12 June 2012, BBC Radio 4 broadcast Cerys Matthews' Blue Horizon a documentary about Blue Horizon Records.
The label was lampooned by The Liverpool Scene with their song "I've Got These Fleetwood Mac, Chicken Shack, John Mayall Can't Fail Blues".
Blue Horizon Records was also an independent label set up by Josie Wilson in Seattle, Washington in 1959-60 to promote The Ventures first recordings, and later some instrumental recordings by The Marksmen.
Where It All Started:Mike Vernon fell in love with music at a very early age and was soon "sponging up” all the rhythm & blues, rock & roll and blues tracks he could find. He began working for Decca Records in 1962 while he was still in his teens.
"I didn't really have [a job description] in those days,” says Mike. "I suppose it was what you'd now call a gofer — 'Make the tea, go for this, go for that, take this up to the studio'— and that was about as far as it went. It was a stuffy old place, full of stuffy old people, and I just felt that it needed an injection. I was far too young to ever say such a thing, but I just felt that there would come a time where Decca would become part of the real world, and I'd like to think, actually, that I did have some major part in that, along with my immediate boss, Hugh Mendl, who gave me enough rope to hang myself 10 times — put it that way!”
It was Mike Vernon's obsession with the budding London blues scene that helped him develop into one of Decca's youngest record producers.
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Beano:Mike Vernon tells us about the challenges he had while recording John Mayall's classic 1966 Bluesbreakers With Eric Clapton LP, fondly known as the 'Beano album', due to the fact that Eric Clapton was snapped reading a copy of the famed kids' comic on the sleeve.
"The whole plan was to make that record as live‑sounding as we possibly could, and in those days that was not easy, because there were so many restrictions in terms of the way people used to do things,” says Mike. "Everything was always, 'Well, you must do it this way, you must do it that way, you must always have the microphone only so far from the actual cone of the amplifier and the amplifier must only be turned up to three or four for the optimum sound reproduction!'
"Clapton had said, 'This is going to be your biggest challenge, recording my sound!' We didn't realise how big a challenge it was going to be but, thank God, we had a young engineer who became a very famous producer, Gus Dudgeon, who was ready for any challenge whatsoever. Sadly, he's no longer with us [Dudgeon died in a road accident in 2002], but I can remember seeing his face the very first time Clapton plugged into the Marshall stack and turned it up and started playing at the sort of volume he was going to play. You could almost see Gus's eyes meet over the middle of his nose, and it was almost like he was just going to fall over from the sheer power of it all! But he dealt with it in inimitable style, and after an enormous amount of fiddling around and moving amps around, we got a sound that worked. I think all the solos, with the possible exception of 'Stepping Out', were done live. You can actually tell they were, because the drums suffer as a result of it. There was an enormous amount of guitar on the drums. The studio wasn't very big — it was big enough, but nobody had had to deal with a band making that kind of noise.”
In 1968, just two years after the great success of the 'Beano' record, Mike Vernon left Decca and went independent. The move was largely a result of the fact that Vernon's cult Blue Horizon label — upon which he'd been releasing small‑run blues recordings since the mid‑'60s — had gained such a great reputation on the British blues scene.
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The rest, as they say, is history, and Mike Vernon spent the next few years as an independent producer, pioneering one classic blues record after another. After the blues-boom bubble burst at the beginning of the '70s, Vernon started a recording studio in Chipping Norton with his brother, Richard, which continued to be a successful enterprise through to its closure in the late '90s, just a few years prior to Mike's initial retirement.
Band members on the Album:★ Paul Butler - Guitar★ Rory Gallagher - Guitar★ Laurence Garman - Harmonica★ Richie Hayward - Guitar★ Paul Kossoff - Guitar★ Kenny Lamb - Drums★ Dick Parry - Saxophone★ Jimmy Reed - Composer★ Mike Vernon - Harmonica, Percussion, Primary Artist, Vocals★ Pete Wingfield - Keyboards
01.Let`s Try It Again 04:2602.Move Away 04:1603.Mississippi Joe 03:5804.Brown Alligator 11:4605.Come Back Baby 02:0506.War Pains 03:4607.Dark Road Blues 03:2508.(She Said) She Didn`t Have Time 05:5609.Ain`t That Lovin` You Baby 03:1110.My Say Blues 05:561.
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Size: 92.4 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork IncludedSource: 24-Bit Limited Remaster Edition
"Rare and sought-after UK psych-folk album from 1971. Formed in Ireland by Tiger Taylor (Ex Eire Apparent), their album makes one think of how The Byrds would have sounded had they been British.
Mostly original songs, although they do a brilliant cover of 'So You Want To Be A Rock'n'Roll Star,' the record combines melodic folk tunes with other guitar-drenched rockers; great voices and delicious original songs. If you like The Byrds but are a fan of British psychedelia, this is for you. Limited edition of 500 copies with original artwork."
01. So You Want to Be a Rock'n Roll Star 05:1002. On This New Day 01:5903. Bad Lands of Ardguth 03:1804. Regency Days 02:5505. Hitchcock Railway 05:1506. The Good Life I Have Known 03:1507. The Trapper 02:3008. Daddy Rowlin 04:1709. Five O' Clock in the Morning 03:0910. June Tremayne 03:241.
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Size: 97.2 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork IncludedSource: 24-Bit Remaster
Kingdom Come is the debut studio album by American heavy metal band Sir Lord Baltimore, released on Mercury Records in 1970.
All of the songs on Kingdom Come were co-written and arranged by Mike Appel, who would later become Bruce Springsteen's manager. Co-produced by Appel and Jim Cretecos, the album was recorded at Vantone Studios in West Orange, New Jersey, before being mixed by Eddie Kramer and Kim King at Electric Lady Studios in New York, New York. Kramer is well known for his work with Jimi Hendrix, the Beatles, the Rolling Stones, Kiss, Led Zeppelin, David Bowie and Curtis Mayfield.
This album is notable for the fact that its 1971 review in Creem contains an early documented use of the term "heavy metal" to refer to a style of music. It features distorted guitar, enhanced by extensive use of multi-tracking, and has been compared to Deep Purple, Blue Cheer, Van Halen (?), Kiss and the Stooges.
Kingdom Come is also considered to be a pioneer of stoner rock.
When Sir Lord Baltimore released Kingdom Come in 1970, heavy metal was just a twinkle in Black Sabbath's eyes (the Birmingham legends' first album had only just hit record stores), and the term itself was years away from widespread acceptance as the definition of an entire category of rock music. So much so, that present-day listeners might find this album's songs as comparable to those of so-called "early punks" The Stooges or MC5, as they are to other proto-metal outfits like Blue Cheer, Led Zeppelin, and certainly Sabbath themselves. As was the case with every one of these acts, Sir Lord Baltimore's music was fundamentally rooted in unbridled aggression, deafening distortion, and raw power: like Nuggets, the next generation. In other words, there was little finesse to be found in savage album cuts like "Helium Head,""Hard Rain Fallin'," and "Pumped Up" -- just bludgeoning hard rock seemingly ever on the verge of spontaneous self-combustion under the command of vocalist John Garner's wild-eyed, howling, vocal acrobatics.
Clues of the group's influence by the classic '60s power trios (Cream, the Jimi Hendrix Experience, etc.) were evident on bluesier, but still reliably tee-total numbers like "I Got a Woman""Hell Hound," and "Lady of Fire"; while "Master Heartache" was jump-started by a monstrous bassline foreshadowing of Motörhead, and the leaden title track somehow managed to echo both the dying psychedelic movement and emerging doom.
Finally, there was album wildcard "Lake Isle of Innersfree": a shockingly sedate and civilized, Baroque combination of harpsichord and 12-string guitars topped by suitably psychedelic lyrics which, not surprisingly, was crafted with the help of the band's managers (namely future Bruce Springsteen Svengali Mike Appel, trivia fans). As well as a true anomaly, the latter hinted at Sir Lord Baltimore's growing stylistic broadening which would both diversify and dilute their second and final album, leaving Kingdom Come to stand the test of time as the band's authoritative work.
And, even though it was generally dismissed by critics and misunderstood by listeners of the day (as were Sabbath and the Stooges, of course), the album gradually grew in stature to become one of early heavy metal's best-loved documents, and most consistently sought-out cult items.
Brooklyn, NY's Sir Lord Baltimore were arguably America's first bona fide heavy metal band, and the funny thing is, they didn't even know it, since the style had yet to establish itself when the band first burst onto the scene. And because SLB's precocious, raw talent was offset by their immaturity and utter lack of business acumen, their budding career was summarily derailed after just two generally underrated albums. Thus, they were cursed to endure decades of obscurity until their music was rediscovered, vindicated, and often covered or flat-out copied by many stoner rock bands of the 1990s and beyond.
If anything makes sense in the ill-fated Sir Lord Baltimore story, it's the fact that the commercial success attained during their existence was as modest as the band's inner-city roots. Vocalist/drummer John Garner, guitarist Louis Dambra, and bassist Gary Justin were recently graduated from high school and had only been rehearsing for a few months when they auditioned for talent scout Mike Appel, who would later help launch the career of one Bruce Springsteen. Impressed by the band's undeniable power and chemistry, and assured by Dambra (who had just recorded an album with another group named the Koala) that the ferocious riffs he was playing were in fact not copped from Jimmy Page, Appel decided to take the inexperienced young trio under his wing.
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So, after fine-tuning and rearranging their raw materials into a strong batch of songs, Sir Lord Baltimore began recording their debut album, Kingdom Come, in West Orange, NJ, where they reportedly impressed a visiting Pink Floyd and attracted the attention of high-powered artist manager Dee Anthony, who wasted little time pushing out Appel and taking over the group's day-to-day operation.
Anthony then commissioned Jimi Hendrix engineer Eddie Kramer to mix the finished Kingdom Come at the legendary guitarist's own Electric Ladyland studios in Manhattan, before securing a deal with Mercury Records for its release in mid-1970. Unfortunately, mainstream critics and consumers of the time didn't seem to know what to make of Sir Lord Baltimore's thundering hard rock (or, for that matter, those of any other similar band, like the Stooges or the MC5, unless they originated in the U.K.), which presciently yielded the first documented use of the term "heavy metal" to describe this kind of music in a contemporary review by Creem magazine.
Nevertheless, Anthony's contacts in high places were strong enough to secure SLB opening slots on tours with Black Sabbath (including two nights at the Fillmore East) and Humble Pie, but perhaps a tad prematurely, as it was on-stage that Sir Lord Baltimore's lack of experience and underdeveloped showmanship were revealed for all to see, sending them back to Brooklyn with tails between legs and egos in check to ponder their next move.
This would eventually entail the addition of Louis' brother Joey Dambra on second guitar, leading up to the recording of their second, eponymous album, in 1971, where a concerted effort was made to both rein in the band's wild energy and broaden its sound into more progressive realms, with some success but nowhere near as much spontaneous combustion captured within the grooves. And when these "improvements" also fell short of commercial expectations, Sir Lord Baltimore were unceremoniously dropped by Mercury and left to their own devices shortly thereafter by their fickle Svengali.
The bandmembers still began working on new music with hopes of finding another interested label, but finally gave up the fight in 1976 after a new contract for a rumored third album failed to materialize, resigning themselves to a life outside rock & roll as their records collected dust in cutout bins.
But the eventual rise of hard rock and heavy metal and, in particular, its mid-'90s offshoot, stoner rock, finally sparked a retroactive reevaluation of Sir Lord Baltimore's work, and vindicated the now middle-aged fans and music collectors who had always championed their cause. It also jolted John Garner and Louis Dambra (now a pastor ministering to homeless families in Los Angeles) out of their musical retirement in 2006, with the goal of recording the material intended for that never-made third album.
Bassist Gary Justin hadn't picked up his instrument in years and declined to take part, but a few session players, including journeyman Tony Franklin, were drafted to help finish Sir Lord Baltimore III Raw, which was made available for sale through Sir Lord Baltimore's official website, all of 30 years after their breakup. Garner has since fielded several offers to perform select reunion shows in the U.S. and abroad, but has yet to come to terms that would bring Sir Lord Baltimore back to the live stage.
Personnel:★ John Garner - lead vocals, drums★ Louis Dambra - guitar★ Gary Justin - bass
01. "Master Heartache" 04:3702. "Hard Rain Fallin'" 02:5603. "Lady of Fire" 02:5304. "Lake Isle of Innersfree" 04:0305. "Pumped Up" 04:0706. "Kingdom Come" 06:3507. "I Got a Woman" (writers: Ray Charles, Renald Richard) 03:0308. "Hell Hound" 03:2009. "Helium Head (I Got a Love)" 04:0210. "Ain't Got Hung on You" 02:241.
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Size: 124 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
With "Live At Freak Valley," GREAT ELECTRIC QUEST establish their mighty reign over the heavy rock underground for good. If headbanging to their first two albums "Chapter I" and "Chapter II" wasn't enough, you are about to experience the exhilarating force of their live shows through this absolutely must-have live record.
Clocking in at a full hour, the band delivers with maestria those epic vocals, high-flying solos, proto-metal grooves and jam-laden turnarounds they're known for, electricity filling the air while the crowd jubilates... You've just been thunderstruck by the sheer awesomeness of Rock'n'Roll's saviours GREAT ELECTRIC QUEST.
The mighty rock’n’roll crusaders have returned! After touring extensively in North America and Europe, San Diego’s one and only GREAT ELECTRIC QUEST return with their blazing hot “Live From Freak Valley” album this March 27th on Ripple Music. Listen to a first excerpt now!
“The Great Electric Quest are the sort of band you can’t help but to fall in love with.” Metal Injection
With “Live At Freak Valley”, GREAT ELECTRIC QUEST are about to establish their mighty reign over the heavy rock underground for good. If headbanging to their first two albums “Chapter I” and “Chapter II” wasn’t enough, you are about to experience the exhilarating force of their live shows through this absolutely must-have live record. Clocking in at one full hour, the band delivers with maestria those epic vocals, high-flying solos, proto-metal grooves and jam-laden turnarounds they are known for: electricity instantly fills the air while the crowd jubilates… You’ve just been thunderstruck by the sheer awesomeness of Rock’n’Roll’s saviours GREAT ELECTRIC QUEST.
Guitarist Buddy Donner comments: “Ahhhhhhhh yeah! Freak Valley Festival 2019 was the absolute highlight of our three-month “Beer Wars Tour”. Journeying from the west coast of North America to Canada and all over Europe, nothing topped the vibe at Freak Valley Festival in Netphen, Germany. A sold-out gathering of 2500 people, but it felt like everyone knew each other. One massive Rock’n’Roll Family. It was an honor to share the stage with Corrosion of Conformity, Wolfmother, Brant Bjork, Dead Lord, DeWolff and so many more. We are quite excited to release a live version of our performance at this event, and most honored to be releasing this with the mighty Ripple Music! It’s been a long time coming!“
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Sonic story tellers GREAT ELECTRIC QUEST are true merchants of Rock and Roll and Heavy Metal, taking listeners on a journey into an ever expanding world of captivating characters and allegories. Their sophomore album “Chapter II” brought their journey to flat out gargantuan proportions. High-flying solos, rhythms, and lyrics along with the production of Jeff Henson (Duel) and Tony Reed (Mos Generator) combine to bring a bigness and fullness of color that elevates this album into upper echelons. “Chapter II” was released in 2018, following which the band took over international stages with thunderous and dripping-hot performances at SXSW, Desertfest, Ripplefest, Freak Valley Festival and many more!
Great Electric Quest is ★ T-Sweat” Dingvell – Vocals★ Buddy Donner – Guitar★ Daniel “MuchoDrums” Velasco – Drums★ Bliss – Bass
01. In the Flesh 01:2802. Seeker of the Flame 04:4003. Of Earth Part I 07:5404. Of Earth Part II 06:0505. Of Earth Part III 02:5706. Victim of Changes 08:2207. The Madness 03:4408. Heart of the Son 05:4409. Wicked Hands 03:4510. Highway Star 07:051.
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Size: 121 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Formed in Birmingham, England, this adventurous ensemble was part of the city’s Big Bear management stable. Although Tea And Symphony originally comprised James Langston (vocals, guitar), Jeff Daw (guitar) and Nigel Phillips (drums, ‘exotic’ instruments), they were often augmented by musicians from the agency including Bob Lamb and Mick Hincks from the group Locomotive. Tea And Symphony’s debut An Asylum For The Musically Insane, was an enchanting, if self-indulgent collection, but its period-piece madness was sadly jettisoned for the more formal follow-up, Jo Sago. Guitarists Bob Wilson and Dave Carroll were now part of the group’s fluid line-up, but the ensemble broke up in 1971 when both of these artists, and drummer Bob Lamb, joined the Idle Race. The three individuals remained with their new-found outlet when it became known as the Steve Gibbons Band.
Tea and Symphony was a British musical group of the late 1960s and early 1970s whose style may be described as "progressive folk". From Birmingham, they recorded two albums for Harvest Records, had one track, "Maybe My Mind (With Egg)", included on the Harvest sampler Picnic - A Breath of Fresh Air, toured Britain with Bakerloo (Blues Line) and were guests on John Peel's BBC radio programme.
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The group was generally a trio, though sometimes supplemented by extra musicians. Members included Jeff Daw (lead guitar, backing vocals, flute), James Langston (lead vocals, rhythm guitar), Nigel Phillips (drums, backing vocals, keyboards, recorder, left 1969), Jonathan Benyon (mime, joined 1968 left 1969), Dave Carroll (guitar, backing vocals, bass, violin, joined 1970, left 1971), Bob Wilson (guitar, keyboards, joined 1969, left 1971), Peter 'Chatters' Chatfield (drums, joined 1970, left 1972), Tom Bennison (bass, French horn, joined & left 1970), Mick Barker (drums, joined 1971), and Stewart Johnson (guitars, vocal, joined 1971). Steve Eaves is another former alumnus. They were one of the earliest bands to have their own dedicated light show, one of which was Ephemera Lights (Steve Hayes)
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Tea & Symphony formed in Birmingham (UK) in 1968 and were originally heavily influenced by folk music, their repertoire consisting largely of their own arrangements of other people’s songs, with a strong proclivity for those of Bob Dylan.
Their instrumentation at the time was an amalgam of electric instruments (bass and guitar) and acoustic ones (guitars, cello, harmonica, hand drums, flute, recorder, etc).
Their first Harvest single was a version of Procul Harum‘s Salty Dog and they augmented their line-up to include Hammond Organ, drums, piano and mandolin.
They became part of Jim Simpson’s Birmingham-based Big Bear Management stable of artists who also included Black Sabbath.
Debut album An Asylum For The Musically Insane was an enchanting if self-indulgent collection. By the time of the Jo Sago album, the group were joined by Bob Wilson on Keyboards, Guitar and Bass and had moved further into the area of Prog Rock.
Produced by Tony Cox at Sound Techniques studios, Jo Sago was a conceptual work that touched on subjects such as race relations in 1970s Britain and more.
The album is now regarded as a classic of the era, with original Harvest vinyl copies changing hands for significant sums.
The band broke up in 1971.
★ James Langston - lead vocals, acoustic & 12-string guitars, percussion★ Jef Daw - acoustic, electric & 12-string guitars, bass guitar, percussion, flute, backing vocals★ Bob Wilson - piano, organ, harpsichord, acoustic, electric & 12-string guitars, bass guitar, percussion, backing vocals★ Nigel Phillips - drums★ Mick Hincks - guitar.
01 Jo Sago - A Play On Music (Jeff Daw) including;a. "Miniature" - 2:01b. "Nyada" - 4:06c. "Journey" - 1:19d. "Brother" - 3:51e. "Africa Paprika" - 3:29f. "Fairground Suite" - 2:25g. "Desperate Oil" - 5:53h. "Umbilical Bill" - 0:51i. "Goodnight" - 3:3302 "Try Your Luck" (Nigel Phillips) - 3:1803 "Yourself" (James Langston) - 3:2804 "Green Fingered" - Redhanded (Jeff Daw) - 0:5405 "Seasons Turn To One" (Jeff Daw) - 3:0406 "View To The Sky" (James Langston) - 2:4107 "The Nortihorticulturalist" (Nigel Phillips) - 3:2608 "Dangling" (Bob Wilson) - 0:591.
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Size: 118 MBBirate: 320mp3Found in DC++ WorldArtwork Included
Killer West Coast psychedelic monster that took many years to be completed!!! West Coast Natural Gas began life in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz.
Katz was the original manager for Jefferson Airplane, Moby Grape and later It’s a Beautiful Day. He talked West Coast Natural Gas into signing a contract with him but they didn’t realize at the time, being young and stupid. That basically they signed over everything to him. They went to the studio and recorded some original tunes: A Favor, Go Run and Play, The Jumping Frog, Hashish, Water or Wine, Beyond This Place, and Two’s A Pair.
In early 1968 the band broke up and went back to Seattle. Katz released a single – Go Run and Play / A Favor on his S.F. Sound label under the name West Coast Natural Gas. Later he released a compilation album - the first San Francisco Sound sampler - called “Fifth Pipe Dream”. The four songs mentioned before, Water or Wine, Hashish, Beyond This Place and Two’s A Pair were the ones recorded by WCNG and relabeled by Katz as Indian Puddin’ and Pipe.
An album full of VINTAGE 1966-1968 Music by the band that brought you the incredible 'HASHISH' on the legendary San Franciso Sampler 'Fifth Pipe Dream'. First ever release of this killer Westcoast psychedelic monster that took many years to complete!!! West Coast Natural Gas started in 1965 in Seattle. In early 1967 they went to San Francisco to work for a local music manager named Matthew Katz.
This superb release includes all the above mentioned songs, plus others from acetates. As a big surprise we found another four never before heard songs. All recorded 1966 in a local Seattle Recording Studio before they even went to San Francisco, all of which are included in this great release.
West Coast Natural Gas■ Pat Craig - Vocals, Piano, Organ, Autoharp, Guitar■ Kris Larsen - Vocals, Guitar■ Steve Mack - Vocals, Lead Guitar■ Dave Burke - Bass■ Jeff Labrache- Drums, Vocals
01 Go Run and Play 02:3402 A Favor 03:4103 A Favor (version 2) 03:4504 The Jumping Frog 03:3405 Two's a Pair 04:1606 Beyond This Place 02:3307 Hashish 03:0308 Water or Wine 03:4009 The West Coast Natural Gas White Levis Commercial "Never Break" 00:4610 Radio Promo From The Galaxy Club ca. 1968 00:3811 Mr. You're a Better Man Than I 02:5612 Younger Girl 02:1213 You Make Me Feel So Good 02:1314 He Was a Friend of Mine 02:391.
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