Asomvel - World Shaker (Fast Lemmy-Rock, Retro) (UK 2019)

April 30, 2020, 12:27 am

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ASOMVEL released their well-respected debut LP, Kamikaze, in 2009. Barely a year later, the band was shaken to its core when front-man, Jay-Jay Winter, was killed in a road accident.

Although a devastating tragedy, co-founding guitarist, Lenny, knew that the band had to continue in tribute to the determined spirit of their founder.

A Dream to Some...A Nightmare to Others.
These guys calmly walk on, bludgeon your senses with a baseball bat and then retire to the bar, leaving you with what's left of your mind in a pool in your pants.

"The best heavy metal has plenty of dirt under its fingernails: this lot must never be allowed to work in a food preparation area."
- Dom Lawson, The Guardian

Although a devastating tragedy, co-founding guitarist, Lenny, knew that the band had to continue in tribute to the determined spirit of their founder.

Since releasing their 2013 album, Knuckle Duster, with Bad Omen Records to much critical acclaim, and recruiting Jay-Jay’s Nephew, Ralph, the band has spent the last couple of years playing around the world; including a tour of Brazil, dates in Japan, Slovenia, Germany, Spain, France, Ireland - these dates included many respected festivals such as Hammerfest, Party San Open Air, Siege of Limerick, and MetalDays.

It doesn’t take much more than passing glance at bassist/vocalist Ralph Robinson to see where UK classic metallers Asomvel are coming from. The Motörhead homage is palpable throughout “True Believer,” their latest single and the second track from their upcoming third long-player, World Shaker. It’s newly announced that Heavy Psych Sounds will release the album on May 3 with preorders up now, so if you’re feeling like you might indeed be a believer, you’ve got a chance to prove it. The band was founded in 1993 by guitarist Lenny Robinson — who also did a stint in Solstice — and lost original bassist/vocalist Jay-Jay Winter after the release of their 2009 debut. Ralph is his nephew, so only fitting he should carry the torch forward with this new album.

HEAVY PSYCH SOUNDS RECORDS is proud to welcome a new member to their eclectic artist roster and family: Heavy Metal overlords ASOMVEL have signed a worldwide deal with the Italian cult label! Today the band is sharing the first and hotly anticipated details about their forthcoming new album, World Shaker.

May 3rd 2019 will see the band release their third album titled World Shaker, followed by a heavy touring cycle all over the globe. Says vocalist & bassist Ralph: “We’ll be releasing World Shaker in May, through Heavy Psych Sounds. We’ve got 11 tracks ready to go; the best you’ve heard in a son-of-a-bitch long time!”

World Shaker is dedicated to the founding ASOMVEL member, Jay-Jay Winter. Carrying with it Jay’s attitude, grit, and determination this album is the first to feature the new line-up; Finnish drummer, Jani Pasanen, and Jay-Jay’s nephew, Ralph Robinson. Produced by James ‘Atko’ Atkinson, World Shaker was recorded in September 2018 at The Stationhouse, and comes with a blistering master by Jaime Gomez Arellano at Orgone Studios. Sticking to the traditions of the very best in rock ‘n’ roll, while remaining utterly relevant, World Shaker is eleven heavy metal songs to live your life by; this is the album Moses would have brought down from Mount Sinai.

♦ Ralph - Bass/Vocals
♦ Lenny Robinson - Guitar
♦ Jani Pasanen - Drums

01. World Shaker 02:29
02. True Believer 02:31
03. Payback's A Bitch 03:41
04. Runnin' The Gauntlet 03:16
05. Reap The Whirlwind 04:00
06. The Law is the Law 04:30
07. Steamroller 03:03
08. Every Dog Has It's Day 03:01
09. Railroaded 02:33
10. Smokescreen 03:51
11. The Nightmare Ain't Over 02:55

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Ted Nugent's Amboy Dukes - Tooth, Fang and Claw (US 1974)

May 2, 2020, 12:51 am

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Tooth, Fang & Claw is the seventh and final album by Ted Nugent and The Amboy Dukes. It is the second offering on the DiscReet label. Re-issued in 1977 by Warner Bros as part of "Two Originals of... Ted Nugent".

The band consists of Nugent, Rob Grange on bass and drummer Vic Mastrianni. The album has the feel of the outdoors (esp. "Hibernation") and Nugent's love for hunting and rock and roll; the backsleeve pictures him playing hard in front of an amplifier stack, next to a wild boar trophy.

Like on the Amboy Dukes' previous three albums, the credits are followed by a short tongue-in-cheek statement. This time, "Fear not the crusted warblers, but be wary of the Mad Cheese Grater for he shall slaw the features from your face. Beware the public carnivores as they inevitably edibly have a soft nosed hollow point magnum behind every bush."

"Great White Buffalo" is one of the mainstays of Nugent's catalog and was generated on this album. In an interview with Classic Rock Revisited he discusses how he and Grange developed the song idea: "This was yet another magical moment like the original musical burst of so many of my songs. This amazing lick/song erupted spontaneously during a recording session around 1972-73," Nugent says. "As I was tuning up my Blonde Byrdland, that pattern leaped forth with a force to reckon with. Killer bass player, Rob Grange, stopped me and asked what the hell that was, and I said "I don't know, just jackin’ around, tuning up." He told me to play it again, but I failed to play the lick the same as I had just done moments before and he kept badgering me to re-discover the lick. I didn't. But after recording some other songs, I again went to tune up my Gibson and the lick burst forth again. Rob Grange yelled 'That's it! That's it!' So I played it a few times, showed the guys where I wanted to stop and start it up again, turned on the tape machine and recorded it in one fell swoop, making up the lyrics as I went along, articulating to the best of my ability my take on the great Indian legend of the spiritual beast of yore. Rob Grange came up with that wonderful fluid bass melody at the end, Vic the thundering double bass drum assault, and history was made. To this day it is one of my and the audiences' and band's all time favorites."

Also featured, a frantic and happily deranged version of "Maybellene", a 1955 classic of Chuck Berry (often quoted by Nugent in the late 70s as a major influence on his playing). Ted Nugent is credited for a one-finger guitar solo under the moniker "Rev Atrocious Theodosius".

The album includes one of very few "calm" Nugent songs of this era, "Sasha", which Nugent dedicated to his newly born daughter.

Due to Warner Bros distributing the album worldwide, Ted Nugent's music eventually began to reach overseas markets, but his royalties were not up to his expectations - DiscReet's manager & owner Frank Zappa reported mediocre sales. In late October 1974, rhythm guitarist Derek St. Holmes joined the band at least for one of the Amboy Dukes' final shows at Northeastern Illinois University in Chicago.

By 1975, Nugent abandoned the troubled DiscReet label and signed with Epic Records. He teamed with producer Tom Werman and Aerosmith’s managers, Leber-Krebs, who organized his live tours into commercially successful operations. The only Amboy Dukes member who continued with Nugent in his solo career is bassist Rob Grange. Nugent's band also included Derek St. Holmes on vocals and guitar, and drummer Clifford Davies; Ted Nugent moved forward to national and worldwide success.

In the 1993 film Dazed and Confused, the character Wooderson, played by Matthew McConaughey, wears a t-shirt featuring the Tooth Fang & Claw album cover.

In 1995, "Tooth, Fang & Claw" was a song on the album Spirit of the Wild, which marked Ted Nugent's return to an outdoor lifestyle and his original sound of hard rock.

Personnel
♦ Ted Nugent – Guitar, vocals, percussion
♦ Rob Grange – Bass, vocals, arrangements, composer
♦ Vic Mastrianni – Drums, percussion
♦ Andy Jezowski (and the Crusted Warblers) – Backing vocals

01. "Lady Luck" - 5:57
02. "Living in the Woods" - 3:54
03. "Hibernation" - 9:19
04. "Free Flight" - 4:03
05. "Maybellene" - (Chuck Berry, Russ Fratto, Alan Freed) - 3:28
06. "The Great White Buffalo" - 4:57
07. "Sasha" - 3:06
08. "No Holds Barred" - 4:48

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What Makes John Bonham Such a Good Drummer?

May 8, 2020, 12:23 am

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May 9, 2020, 12:37 am

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Scott Morgan's Powertrane - Ann Arbor Revival Meeting 2002

May 21, 2020, 5:33 am

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Living up to its title, Ann Arbor Revival Meeting is a cross-generational project from 2002 that brings to life Ann Arbor & Detroit’s rock legacy through a combination of some of its key protagonists.

Scott Morgan, who leads the band at the core of the record, Powertrane, goes back to mid ‘60s days, to The Rationals, who ruled the local teen scene alongside the likes of Bob Seger & The Last Heard. Scott is one of the great white soul singers. In the ‘70s, he fronted the seminal Sonic’s Rendezvous Band, alongside Fred “Sonic” Smith of the MC5 and Scott Asheton of The Stooges. 

Deniz Tek, guest for the entire show, is an Ann Arbor native who spent most of the ‘70s in Sydney and led the mighty Radio Birdman. Birdman invested Australia with its love of all things Ann Arbor/Detroit, and had themselves a huge influence on successive generations internationally. 

Ron Asheton, the special guest who appears playing guitar on the handful of Stooges tunes here is the man who played on them originally, the great and sadly now late guitar innovator who was at the core of The Stooges’ huge influence across of the ‘70s and beyond. Ron’s phenomenal appearances with Powertrane and Deniz got him back in the saddle and no doubt inspired Iggy to get Ron and brother Scott “Rock Action” Asheton back onside and reform The Stooges in 2003. 

Representing the younger generation are Powertrane’s rhythm section Andrew “Box” Taylor on bass, who instigated the band’s shows with Tek & Asheton, and Andy Frost, a great drummer who was mentored by Scott Asheton. Frost sadly passed away in 2010. Additionally, local identities Robert Gillespie and Hiawatha Bailey are present. Robert Gillespie is Powertrane’s regular lead guitarist, a long time sideman for original white R&B belter Mitch Rider and a former member of Rob Tyner’s new MC5 in the late ‘70s. Hiawatha, who sings a couple of the Stooges covers, was a Stooges roadie back in the day and later front man of local punk-rockers The Cult Heroes in the late ‘70s and ‘80s. 

In addition to the Stooges material, the album includes a selection of tunes spanning Scott Morgan’s career from Sonic’s Rendezvous through to records he made with Nicke Anderson of Sweden’s Detroit-obsessed Hellacopters as the Hydromatics, the brilliant Rob Tyner/Robert Gillespie co-write “Taboo”, and a bunch of songs from Tek’s illustrious career, including a possibly definitive “What Gives?”, a barely in-control “Smith & Wesson Blues”, and intense versions of a couple of his post-Birdman tracks, “Outside” and “Blood From A Stone”. 

Originally released on CD only by Real O-Mind Records in 2002, this is one of the great live albums. As a measure of the Detroit/Sydney connection in the high-energy rock world, it’s probably even better than the monolithic 1981 recording “The First & The Last” by Radio Birdman/Stooges/MC5 supergroup New Race.

Featuring 3 extra tracks, remastered for maximum impact, and available on vinyl for the first time. “Ann Arbor Revival Meeting” is an essential listen for anyone who loves Detroit high-energy rock’n’roll.

The title of this blazing live document comes from a between-song quip from guest artist Deniz Tek, and it's certainly fitting -- the show captured here brings together some truly legendary figures from the Michigan college town that became a home to the likes of the Stooges and the MC5 back in the day. 

In the 1960s, Scott Morgan was the lead singer and guitarist with Detroit's finest blue-eyed R&B act, the Rationals, and later he teamed with Fred "Sonic" Smith to form the brilliant (and woefully underappreciated) Sonic's Rendezvous Band. While Morgan has a remarkable résumé, he's also still making great high-energy rock & roll in the new millennium with his band Powertrane, and for a handful of special shows at Ann Arbor's Blind Pig, they were joined by Tek, an Ann Arbor émigré and close friend of Morgan's who formed one of Australia's most iconic rock outfits, Radio Birdman. 

Tek, Morgan, and Powertrane lead guitarist Robert Gillespie (who has played with Rob Tyner and Mitch Ryder) make for a truly devastating guitar combination here, and things only get hotter when Ron Asheton shows up for a show-closing mini-set of Stooges classics. But as good as "TV Eye,""No Fun," and "1969" sound in this context, the songs that really astound are Morgan's stellar originals (especially "R.I.P. R&R,""Runaway Slaves," and "Dangerous") and some lesser-known tunes from Tek's solo career, in particular "Blood from a Stone" and a simply blistering run through "Outside"." 

Cult Heroes belter Hiawatha Bailey sounds great taking vocals on several of the Stooges' numbers, and it's high praise to bassist Chris "Box" Taylor and drummer Andrew Frost that they don't just keep up with the frontline talent, but push them gloriously into the red zone. The best rock & roll live albums are the ones that leave you saying, "Man, I would have loved to have seen that," and anyone who digs high-energy Detroit-style rock & roll will listen with slack-jawed glee to Ann Arbor Revival Meeting, imagining they'd been at the Blind Pig this particular evening. Thankfully, a good recording engineer was on hand to capture the fury for the folks who couldn't make it, and the results are 66 minutes of heavily amplified bliss.

01. Love And Learn  03:16
02. Rip R&r  02:26
03. Hanging On  03:53
04. Runaway Slaves  04:16
05. Ready To Ball  02:56
06. Blood From A Stone  03:51
07. Taboo  05:30
08. Smith & Wesson Blues  02:55
09. Earthy  02:53
10. Shellback  03:35
11. What Gives  02:47
12. Dangerous  03:43
13. Outside  06:38
14. 1969  03:57
15. I Wanna Be Your Dog  04:03
16. Down On The Street  03:51
17. No Fun  03:28
18. Tv Eye  05:38
19. New Race  04:00
20. City Slang  06.04

Part 1: Powertrane
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dBPowerAMP Music Converter™ 17.0 Reference (71.7MB) (2020)

June 4, 2020, 10:24 pm

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dBPowerAMP Music Converter™ 17.0 Reference (71.7MB) (2020)

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Add DSP Action This new release features many enhancements, it is 20% faster on multi-core machines and is future-proofed through handling 64 cores. A new DSD encoder is included as standard (Reference) as well as many previously optional codecs, which are all updated to the latest releases. A new Quick Convert right explorer right click menu is a welcome addition to those who have many conversions to run a day, skipping over the codec options page, saving time. CD Ripper gains a manual metadata search page, de-emphasis CDs handling and improvements to metadata searching. Minimum supported Windows: Vista (XP no longer supported) New explorer right click option 'Quick Convert' which invokes the converter without showing the options page.  CD Ripper & Music Converter handle [Multi-Encoder] internally, this allows file overwrite and proper CPU resource allocation All programs - added a crash reporter All Programs - Graphics upgraded to be independant of display resolution All programs - better handle High Contrast Theme. Support for artist in m3u playlist dBpoweramp Control Centre: Tests if Windows defender is limiting access to the system and warns dBpoweramp Control Center: can exclude popup info tips, and right click 'Convert To', for set file types. High quality SSRC (frequency resampler) enabled for all frequency conversions Right Click >> Edit ID Tags option in art menu to resize existing art to a maximum KB size Added a new Screen Reader Option in Control Centre to enable non-graphical buttons Converter + Tag Editor: if select all files in a folder, right click, convert to or edit id tags, any non audio files are excluded. Naming added [GROUP] so for example if an artist was 'Drake' and [group]4,[artist][] would generate 'a-d' the first letter of the tag is used and number signifies the letters to group together, 2 would be a-b c-d e-f Naming added [SPLIT] for exmaple artist was 'A1/A2/A3/A4' [split]/,[artist],2[] would return 'A2' to split on comma enter [split],[artist],2[] Naming updated [REPLACE] can replace with , or search , buy setting a blank entry: [REPLACE],@, [artist][] would replace , with @ Updated naming dlg for Move File On Error DSP effect New conversion option: substitute Unicode spaces and remove leading or ending spaces in tags - there are various non-standard unicode space characters (such as thin space), these will be replaced with a standard space. Also white spaces at the start or end of tags are removed. Popup info: if a zero byte file then says so Edit ID Tags >> Art Menu >> Added 2000x2000, 1800x1800, 1600x1600, 1400x1400, 1200x1200 options. Menu check marks larger on higher dpi screens Fixes bug in various Window Managers (such as total commander) which do not follow Windows AP specification. Added option in configuration to hide specific unused encoders Popup Info: rating range shown 0-10 range same as ID Tag editor New DSP effect: speed up, slow down Utility codecs [ID Tag Update] and [Replaygain] included as standard ID Tag Processing: option to set multi artist to '; ' for non multi-artist aware programs now works with Artist Sort and Album Artist Sort Multi Encoder, allows sub encoders to be utility codecs ID3v2 COMM tag, now works again for iTunes m4a grup tag renamed to @grp as it was causing issues for iTunes FLAC updated to 1.3.3 Encoders added as standard: Opus, m4a AAC (dBpoweramp reference), m4b, Monkeys Audio (v4.81), WMA 10, Wavpack, Ogg Vorbis Decoders added as standard: DSD, Speex, Ogg Vorbis, Musepack Added DSD Encoder (dBpoweramp reference) DSD - shows 1 bit and dsd frequency in dBpoweramp Popup Info & Audio Properties page AAC Decoder better able to read non-standard files mp3 lame encoder supports 64 bit float source m4a FDK supports 64 bit float source Opus files in .ogg now supported Codec Update Wavpack to 5.2 Codec Update - Opus 1.3.1 Codec Update - m4a FDK updated to v2 Added new Apple Core Audio Format (CAF) decoder ID Tag Editor - popup suggestion now appears 1/3 to the right of the box, so as not to get in way ID Tag Editor - resizing auto sizes the edit box ID Tag Editor - can drag and drop art on id tag editor ID Tag editor - supports embedding PNG album art, also resizing existing PNG stays as PNG ID Tag editor - buttons could overlap at certain resolutions Music Converter - can handle 64 cores Music Converter - will use 100% of CPU capacity by default (around 20% faster encoding on a 4 core system) Music Converter - output to box shows <not required for encoder> for encoders such as multiencoder batch converter added filter on date - last week, yesterday, last month, last year Batch Converter when generating conversion list shows the number of files already discovered.  Batch Converter added new profile option to not store file selections with a profile (only Extension exclusions and later in music converter DSPs and Encoder auto selected) batch converter lists correct frequency and bits for DSD. CD Ripper Improved drive speed detection Manual Metadata review, added replace text option (replace fixed string value in all metadata) Album art improvements: discogs art, PerfectTUNES art priority HDCD detection for technical column improved Album title shown on title bar when ripping shows which metadata providers are remaining on lookup Added Style to toolbar added de-emphasis option to CD ripper, and DSP effect for music converter when add technical column, track listing is refreshed displays on info page the AccurateRip status icon Added manual metadata search form, auto shown if disc has no metadata if screen resolution changes and is showing maximized or too big for screen, then make maximized again art menu redesigned, new Add Additional Art menu, default actions replace main art art added from files, if PNG then left as PNG. New option in Metadata options 'Store Scanned Art as PNG' default allowed maximum album art size is now 1000x1000 and 750KB naming box shows <not required for encoder> for encoders such as multi-encoder. CD Text and ISRC metadata takes preference over other providers custom ID Tags are applied now if on manual metadata review a specific provider is chosen. default naming changed to [MAXLENGTH]80,[IFVALUE]album artist,[album artist],[IFCOMP]Various Artists[][IF!COMP][artist][][][]\[MAXLENGTH]80,[album][]\[MAXLENGTH]80,[track] [artist] - [title][] default secure log saved to [rippedtopath]\Secure Ripping Log.txt dbpoweramp implemented own freedb server to combat the retiring of the old freedb.org Bug Fixes Edit ID Tags removed small white line in album art cd ripper - if reading previously ripped disc metadata from db cache would not set compilation check based on last time. Thumbnail and Property Handler exclusions were not working Opus tag reader could crash on malformed tags Batch Converter was reading file metadata, even if no filtering was in place ID Tag processing does not export folder.jpg when doing filename check (dmc or multi-encoder) musicbrainz was not always looking up discs Replaygain now writes iTuneNORM which is compatible with the latest iTunes Ogg Decoder - fixed issue where ogg-flac would trigger a memory error RunIDTagsThroughDSPEffects possibly altering origfilename etc All programs - if taskbar is set to hidden, maximizing (CD Ripper, or Batch Converter) would stop appearing. 1. Reference 17 or 2. Reference 17 or 3. Reference 17

Robert Crumb - "No Hope Diagram"

June 21, 2020, 9:33 pm

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Power - Electric Glitter Boogie (Glam Punk, Rock (Australia 2015)

June 28, 2020, 12:47 am

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The appeal of Power is the spontaneous brilliance of live Australian hard rock music. The heat from relentless performances in greasy inner city pubs was strong in the '70s, and the debut albums of many of Australia's greatest bands are testimony to many late nights twitching and sweating it out. Troglodyte rock music and inner city Melbourne have always made sense. 

Every week there have been bands playing fast and loose. 2014 was the year Power stepped up, and immediately earned comparison to Melbourne's Coloured Balls, sharing that edge of menace in their affection for boogie rock and the same air of familiarity with aforementioned greasy confines. Power hosted their own weekly residency in this city, kicking through backyard parties and seemingly hundreds of Tote Hotel shows with the collection of songs they recorded at the right moment and turned into Electric Glitter Boogie. 

The result has the savage drive of their live sound, the bolts tightened to threadbare, and is carried by that supreme confidence and determination that allows the band to relax and let the songs happen when they need to, and to know when to kick it hard. Living in the age of power. 

The sound is raw but full, the band recorded live with minimal overdubs, and the songs continually disintegrate into white heat guitar noise before slamming back into manic amphetamine lockstep. In eight numbers, they traverse an entire history of hard rock, electric glitter boogie, thug glam, raw power punk. Strong character. Definite purpose. Something you just cannot control. 

Australia has a fine tradition of unleashing awesome punk rock combos on the world. Power is another such band, and their debut album, Electric Glitter Boogie, which is being re-released by the fine folks at In The Red, proves that they are worthy of your attention.

This trio plays grimy, down and dirty punkish rock, that would basically be in the cross section of the Venn diagram between punk, hard rock and garage rock. It’s a primal bashing. The guitar is rightly covered in muck, while the bass and drums lay down one tight and locked in groove.

The title track which opens the album is a shot of high energy mid-paced troglodyte stomp. “Serpent City” goes further down the path laid down by the opener. Not content to just rock you with a dose of high energy boogie, they throw in a couple of fast ones, “Puppy”, “Gimme Head”, and “Rainbow Man”, none of which go that much beyond the two minute mark, just to keep you honest. “Slimy’s Chains” starts outs mid-paced and the accelerates for its finish. The closing track, “Power” is a seven minute thrill ride of crunchy riffs, primal solos and pummeling grooves that will hit you right in your sweet spot.

Electric Glitter Boogie is one nasty shot of rock n roll. Just give into your base instincts and enjoy.

★ Bass: Isaac Ishadi
★ Guitar, Vocals: Nathan Williams
★ Drums: Matt Penkethman

01. Electric Glitter Boogie 04:46
02. Serpent City 05:35
03. Puppy 02:07
04. Gimme Head 02:47
05. Slimy's Chains 04:09
06. Rainbow Man 02:33
07. The Reaper 04:12
08. Power 07:12

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Crazy Bull - The Past Is Today (Retro Hardrock US 2017) (@320)

July 8, 2020, 9:04 am

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True Hard Rock from Philadelphia.
Crazy Bull is a four- piece hard rock band from Philadelphia. Musically they strive to show reverence to bands like Mountain, Pentagram, mc5 and the Scorpions, without losing a fresh approach to their songwriting. They believe in tight, crushing riffage and soloing that draws you in and splits your head in half. Crazy Bull has that classic edge in their music. The edge that makes you remember. The edge that makes you light up and smile because you just have to. The riff sets in, the drums bellow through you, the vocals make your lower half rumble and your deep in it. Bong.

Crazy Bull plays rock and roll that knows when to give you a pounding force of foot stomping riffs and and when to let you drop back in the cut and feel something. Listening to Crazy Bull gives you an attitude. It gives you a Rok bullet and says "Do what you gotta do."

I can’t think of a more apt title for the debut full-length from this Philadelphia band. As you can tell by their logo, artwork, and their music if you give them a listen, they’re going whole hog on the retro 70s rock thing, though you can still hear punk in the band’s fast tempos and high energy level. Aside from the obvious points of comparison like Annihilation Time and North Carolina’s own Mind Dweller, the band that keeps coming to mind when I listen to Crazy Bull is Sir Lord Baltimore. 

Their Kingdom Come LP is one of my favorites, and just like that album The Past Is Today is a non-stop barrage of heavy, blues-inflected rock riffage. If you aren’t familiar with Sir Lord Baltimore, Crazy Bull also have a ton of Black Sabbath in their DNA, but they don’t have any parts I’d describe as doomy. If Sabbath had an entire LP that was nothing but fast and frantic songs like “War Pigs” and “Hole in the Sky” it might sound like The Past Is Today. While some might dislike how hard Crazy Bull leans into the retro rock aesthetic if you love classic rock riffs I can’t imagine you wouldn’t love this album.

The Band
• Jim - Vocals, Guitar
• Andy - Guitar, Smoke
• Brendan - Bass
• Ryan - Drums

1. Pull You In (Left Hand Path) 03:24
02. Winding On 03:35
03. Wrapped Up In Rock 03:50
04. Gangster Of Fortune 03:27
05. Royal Vice and Ancient Scenes 05:36
06. Lay On It 03:49
07. Dyin' Anyhow 03:45
08. What It Takes To Burn 04:20
09. The Past Is Today 06:48

10. Live For The Fire [Bonus] 03:09
11. Demon By Your Side [Bonus] 04:40
12. Won't Stop Now [Demo] [Bonus] 03:51
13. Wicked Machine [Demo] [Bonus] 03:35
14. Rok Bullet [Demo] [Bonus] 02:13
15. The Inferno [Extra Unknown Bonus] 04:30

1. Cazy Bull
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3. Crazy Bull

Mystic Siva - "Mystic Siva" (US 1970) + Bonus Album "Under The Influence" (Superb Psychedelia US 1969-70)

July 8, 2020, 9:15 am

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Brightly toned but still substantially heavy, the 1970 self-titled debut from Mystic Siva was recorded when the Detroit outfit were teenagers. As the liner notes tell, they were unhappy with the mix at the time, with going direct line instead of mic’ing the amps, but the reissue addresses this with a new mix direct from the original tapes, as well as a new mastering job. 

As such, what you get is heavy, organ-laced rock that’s raw stylistically but still presented with an overarching sonic clarity — a rare balance. The songs themselves, cuts like opener “Keeper of the Keys,” “Come on Closer” and the penultimate “Touch the Sky,” demonstrate a nascent but already consistent approach on the part of the band, who also rereleased their second album, Under the Influence (1970), through World in Sound in 2002. 

For those who can’t get enough of the particular vibe and low groove of the heavy ’70s, Mystic Siva should be a welcome addition to the collection, and in this version, has major label sheen and private press dirt in just the right amounts, songs like “Eyes Have Seen Me” and the swirling, lead-topped “Supernatural Mind” offering sonic space and straightforward crunch in no less a satisfying balance.

From Michigan produced an excellent psych-rock album, which comes in an amazing sleeve and is as rare as hell.Finally from the master tapes! Be blown away by the mind bending power of "Supernatural Mind" in a previously unheard clarity. 

Mystic Siva - Sealed Copy 1970 (Sold for USD 3000)

Tripped out fluid guitar and rippling keyboards envelop mystical acid lyrics. Perfection! This legendary US '60s psych monster that under the right influences will destroy your head! 

First issue of these recordings from 1969-70, packaged in a heavy duty book-like folder. "Previously unreleased recordings of Mystic Siva from Detroit, very famous in the psychedelic collector´s scene for their outstanding and rare original album (already reissued by WIS). The music here, recorded live prior to the album is taken from the mastertapes. 

The opener is an instrumental cut, followed by six diff. versions of original album tracks in very powerful style, mixed with four long acid jamming cover tunes turned into typical Siva style with pounding and hypnotic Hammond B3 organ, wailing and distorted fuzz/wah-wah guitarwork, powerful (sometimes Doors influenced) vocals and massive drums which lead you to the holy grail of psychedelic music."

It's the rebirth of Mystic Siva, who are without any doubt one of the ultimate US psychedelic underground bands from the earliest 1970s. Finally, this album is now available with a more superior sound than anyone of us could ever have expected. The original album release featured guitar overdubs on three tracks, done with the intention to give the sound more power.

 However, the band wasn't entirely happy with the result. This Lp is remastered and remixed from the original tapes, with all the original guitar parts! Indeed, this version of the Mystic Siva album sounds the way it was meant to be! The four Sivas took '60s hippie/garage/psychedelic rock music to a darker and higher level of intensity. While the slower, atmospheric tunes remind of The Doors, Jimi Hendrix or Iron Butterfly, the heavy cuts are unexpectedly crazy, mind blowing and hypnotic, with flashes of the later upcoming rural 1980's thrash punk/metal vibe. 

Now, after 43 years, these original album recordings express the challenging and inventive concept and the pure beauty of Mystic Siva's music at their best. Eleven original songs with a total running time of 46 minutes.

Mystic Siva - Mystic Siva US 1970

01. Keeper Of The Keys - 4.29
02. And When You Go - 4.56
03. Eyes Have Seen Me - 3.30
04. Come On Closer - 3.29
05. Sunshine Is Too Long - 3.19
06. Spinning A Spell - 3.31
07. Supernatural Mind - 4.21
08. Find Out Why - 5.48
09. Magic Luv - 3.30
10. Touch The Sky - 3.57
11. In A Room - 5.31

Mystic Siva - Under The Influence US 1969-70 

Unreleased gem from 1969/70 perhaps even better than the original album. Features mind melting arrangements of "Come Together", "Tobacco Road","I'm A Man" and "Black Sheep" along with 7 of the groups own compositions. Live recordings from 1969-70 in Detroit with very good stereo sound. A legendary US psych band.

01. Keep Your Head - 04.48
02. Spinning A Spell - 03.21
03. Come On Closer - 03.10
04. Super Natural Mind - 05.00
05. Come Together - 05.14
06. Magic Luv - 03.02
07. Find Out Why - 04.52
08. I´m A Man - 07.09
09. Tobacco Road - 06.48
10. Sitting In A Room - 06.06
11. Black Sheep (S.R.C.) 04.16 

1. Mystic Siva
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2. Mystic Siva
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3. Mystic Siva

World In Sound· Mystic Siva - Supernatural Mind (from "Mystic Siva", US 1970)

dBPowerAMP Music Converter™ 17.1 Reference (72.4 MB) (16 July 2020)

July 17, 2020, 8:07 am

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dBPowerAMP Music Converter™ 17.1 Reference

For a perfect Install dbPowerAMP 17.0 with perfect settings:


01. Run: dMC-R17.1-Ref-Registered

02. Install: dBpoweramp-PerfectMeta-PowerPack

03. Most of all codec is already installed, if you need more, gor here: https://www.dbpoweramp.com/codec-central.htm

04. Help with all setting, Follow: "Spoons Audio Guide": http://www.dbpoweramp.com/spoons-audio-guide.htm It will take a hour or two, but you get settings and sound for:FLAC, Wave, mp3 etc.

05. Take it slow and read the whole text before you change "Spon's" setting guide.

This is full program, no serial needed.

//ChrisGoesRock 

1. dBPowerAMP 17.1

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A Favourite Band: Sweet Heat - Demos (Retro-Rock US 2016)

July 21, 2020, 1:48 am

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Rippeed by: ChrisGoesRock
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The story of Sweet Heat begins in 2015 with the demise of Rhode Island-based doom traditionalists Balam. With some impressive local momentum behind them, Balam released their Days of Old full-length early last year, and by the time 2016 rolled around, the band was done. Sort of. Vocalist Alexander Blackhound, guitarist Jonny Sage, bassist Nicholas Arruda and drummer Zigmond Coffey — four-fifths of Balam‘s lineup — were quick to regroup under the banner of Sweet Heat (also sometimes preceded by a “the”) and set to writing new material. And while one might be tempted to think of the new band simply as an extension of the old, the adoption of a different moniker is very clearly a purposeful move on their part.

They may be the same players, but the ground they’re exploring on Sweet Heat‘s four-song debut demo, aptly-titled Demo or Sweet Heat Demo, differs greatly from the darkened and moody tonality of the prior outfit. Of course, they’re just starting out, so where they might end up after these 18 minutes remains to be seen — they may well return to the dark side — but as a debut offering, Sweet Heat‘s first skillfully blends impulses out of classic heavy rock with a riffy foundation. There are some flashes of doom or at very least proto-metal on opener “Night Crawler,” but even as “The Enticer” digs into Sabbathian roll, Sage‘s guitar scorches in a manner altogether more rocking.

Likewise, “How it’s Done” seems to owe as much to Radio Moscow as Pentagram, and one can hear some residual Uncle Acid influence in the buzz and shuffle of “Night Crawler,” though Blackhound‘s vocals — his presence as a frontman was a major factor in Balam as well — assures the overall feel doesn’t come too close to anyone else. It’s a demo, of course, so basically Sweet Heat are showing off an initial batch of songs trying to encourage people to investigate further, be it at a show or their inevitable next release. But even that feeds into their aesthetic. In a day where a band doesn’t have to do anything more than slap a cover together and post it on Bandcamp, a demo easily becomes a “first EP,” but it’s telling that Sweet Heat embrace the rougher-feeling impression that even the word “demo” gives off. Cassette-ready.

And the music follows suit (though actually the release is on CD). There is a noticeable shift in production and volume between “Night Crawler” and “The Enticer,” and though the feel remains live and energetic into “How it’s Done” and the eponymous closer “Sweet Heat,” the actual sound is cleaner. On an album that might be jarring, but here it just feeds into the notion that Sweet Heat are exploring a new style and coming together as songwriters in a new way. It is laced with attitude. In the swagger of “The Enticer” and “How it’s Done,” the foursome build on the swing of “Night Crawler” and as they close out with “Sweet Heat,” they do so with classically metallic defiance: fist-pumping, a pervasive self-othering, and chug. Righteous and crisply, efficiently executed.

As “Sweet Heat” moves into its chorus, “We are the ones that you fear/You don’t like us?/We don’t care/We are who we are,” the band not only once more reinforce the perspective of the Demo as a whole, but provide their first outing with its most landmark hook while showing an ability to fluidly turn from one side to another in their play between rock and metal. From Blackhound‘s convicted recitation through Coffey‘s cymbal work and Arruda holding the rhythm together under Sage‘s blazing multi-layered solo in the second half, Sweet Heat live little to wonder as to why the finale of their demo wound up being the song that took their name. I wouldn’t be surprised if, on whatever kind of offering comes next for them, the track didn’t show up again, though of course one never knows.

In any case, Sweet Heat‘s Demo more than lives up to the tasks before it in establishing the group as an entity separate from their past work together, giving listeners a glimpse of their ample chops in songwriting and performance delivery, and setting a foundation on which they can continue to build as they move forward. There isn’t much more one could ask of it on the whole than it delivers, but the punch Sweet Heat‘s first batch of material packs goes beyond “band starting out” and finds their potential all the more bolstered by the chemistry they so clearly and so rightly wanted to preserve.

01. Smoke On The Plain  05.41
02. Night Crawler  03.58
03. The Enticer  05.35
04. How Its Done  03.24
05. Sweet Heat  05.34

1. Sweet Heat
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Request: Neil Young - The Ranch Rehearsals w. Crazy Horse 1990 (Bootleg) (Superb Quality!)

July 22, 2020, 11:16 pm

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These live recordings of Neil Young & Crazy Horse may be old news in trader’s circles, but… they never get old. Here are some of the raw rehearsals leading up to the recording of Ragged Glory, taped at Neil’s Broken Arrow Ranch in the summer of 1990. 

Great sound quality, with a few false starts mixed in and the group’s ringing guitars lingering in the fade outs. Some actually prefer a few of these takes to the official versions, but that’s hardly worth debating. If you want to know what it’s like to hang with Neil and the boys at the ranch, this is what you need.

Ragged Glory (Recorded in April 1990 at Plywood Digital, Woodside, CA (except "Mother Earth": The Hoosier Dome) is the nineteenth studio album by Canadian musician Neil Young, his sixth with Crazy Horse, released on September 9, 1990. It was voted album of the year in the annual Pazz & Jop critics' poll and in 2010 was selected by Rolling Stone as the 77th best album of the 1990s.

The album revisits the hard-rock style previously explored on Everybody Knows This Is Nowhere and Zuma. The first two tracks are songs Young and Crazy Horse originally wrote and performed live in the 1970s with "Country Home" notably being performed on their 1976 tour. 

"Farmer John" is a cover of a 60s song, written and performed by R&B duo Don and Dewey and also performed by garage band The Premiers. Young revealed that the song "Days that Used to Be" is inspired by Bob Dylan's "My Back Pages". The album features many extended guitar jams, with two songs stretching out to more than ten minutes.

The album was very well received by critics with Kurt Loder in Rolling Stone raving that it was "a monument to the spirit of the garage - to the pursuit of passion over precision" and calling it "a great one". The CD single culled from the album, "Mansion on the Hill", included the otherwise unreleased song "Don't Spook the Horse" (7:36).

"F*!#in' Up" (pronounced "Fuckin' Up") is frequently covered by Pearl Jam live  and was performed by Bush in their headlining set at Woodstock 1999. Toronto-based band Constantines recorded a version of "F*!#in' Up" in Winnipeg, which surfaced as the b-side to their "Our Age" 7" in November 2008. 

Scottish heavy metal band The Almighty recorded the song and included it as a B-side (with an uncensored title) to their "Out of Season" single in 1992. An outtake from the sessions for the album, "Interstate," was released on the vinyl version of the 1996 album Broken Arrow and on the CD single for the track "Big Time."

Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. 

Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. 

Much about the record had a retrospective feel -- the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; 

there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.

Neil Young & Crazy Horse - The Ranch Rehearsals. Recorded at Broken Arrow Ranch June thru July, 1990

Personnel
♫♪ Neil Young - guitar, vocals
♫♪ Frank Sampedro - guitar, vocals
♫♪ Billy Talbot - bass guitar, vocals
♫♪ Ralph Molina - drums, vocals

01. Mansion On The Hill - 09.02
02. White Line (1) - 03.37
03. White Line (2) - 00.59
04. Love To Burn (1) - 03.40
05. Love To Burn (false start) - 00.18
06. Love To Burn (2) - 09.50
07. The Days That Used To Be - 04.47
08. Love And Only Love - 09.56

Bonus Tracks (the Santa Monica Civic Auditorium April 1, 1990)
09. Everything's Broken - 04.15
10. Pocahontas - 04.07
11. Crime In The City - 07.39
12. After The Gold Rush - 04.20
13. The Needle And The Damage Done - 02.09
14. No More - 04.54

1. Neil Young
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2. Neil Young
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Lucifer Was - Underground And Beyond (Psychedelic Hard-Rock, Norway 1970-72)

July 29, 2020, 11:16 pm

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Lucifer Was is a Norwegian heavy prog rock band strongly influenced by early seventies guitar, flute and vocal-oriented melodic progressive heavy rock.

Killer hard psych-prog from Norway!

“Underground And Beyond” was the debut album by cult proto-metal band LUCIFER WAS, containing songs written in 1971-72 but not recorded until 1997. Fully 70s analogue & powerful sound with devastating distorted lead guitar & flute. Imagine a cross between JETHRO TULL, BLACK SABBATH and ATOMIC ROOSTER!

Remastered sound, colour insert with liner notes by Klemen Breznikar (It’s Psychedelic Baby) plus rare photos.

Established in 1970 in Oslo, Lucifer Was were a powerful psychedelic hard-rock / hard-prog band that lasted until 1975. During those years, they gigged locally and played at some big festivals but they never got the chance to register any recording. The band hibernated until 1996 when they reunited again for a live concert. The chemistry was still there so they entered a recording studio and recorded in just 18 hours their first ever album, “Underground and Beyond”, featuring songs written in 1971-72. Their line-up included two flute players plus bass, drums and the killer lead guitar of Thore Engen. Originally released in 1997 as a picture disc LP, here's the first ever standard vinyl reissue.

Lucifer Was were established in 1970 in Oslo, Norway. The band played regularly in the Oslo area until 1976. The band was reunited in the 1996 and are still active.

What’s the story behind Lucifer Was formation?

It’s Oslo 1969. The very young drummer, Kai Frilseth knew guitarist Tor Langbråten from his neighborhood. The two of them got together for some informal “boy-room” playing. Just drums and guitar did not quite cut it and they wanted a bass player. A classmate of Tor’s, Arild Larsen, popped by their rehearsal room one day, also in 1969, and said he would like to join. He was most welcomed. Under one obvious condition, though. Arild had to get himself a bass guitar. And so, the trio “Empty Coffin” were in play. After some months the trio had expanded to a five-piece, adding organist Knut Engan and a second guitarist.

One day in 1970, the door bell rang at my parent’s house. Outside stood three guys, totally unknown to me. These creatures were guitarist Tor Langbråten, bassist Arild Larsen and organist Knut Engan. They asked if I, as lead guitarist, and Einar Bruu, as bassist, would join their group. We did accept.

With two bass players, two guitars, organ and drums, we started rehearsing. “Autumn Serenade” still didn’t do any original material, but by then I had both learned to master the guitar quite OK and also my songwriting had gotten more sophisticated. 

The double bass experiment did not work out. Probably because we were not adept enough to exploit the possibilities. Arild Larsen switched from bass to working our lighting system from on-stage. And, we changed our name again. This time to “Ezra West”. I liked it since it’s sounded so close to my guitar hero Leslie West! We did a couple of gigs as “Ezra West”, before changing the name again, to “Lucifer”. Quite soon we realized that we were not the only rock group with that name. Now, after gigging under four names in two years, we were tired of name changes so we just added “Was”. 

Around this time flautist Anders Sevaldson joined. Anders still occasionally plays with the group. He is featured throughout on both of our two latest albums, DiesGrows in 2014 and the new one Morning Star.
Then Knut Engan left. After a couple of years, with new people coming and going, something venomous crept into the band and Tor Langbråten also left.

In the summer of 1972, Arild Larsen (18 years and with a driving license) and me, now 16 years of age, borrowed a car and went for a two week camping summer holiday in the Southern part of Norway. One evening we met singer/flautist Dag Stenseng and a friend of his, also on holiday by car and tent. We stuck together for the rest of the trip. After the holiday we kept in touch. We asked if Dag Stenseng and the organ player in his band, Jan Ødegaard, would join forces with what was left of Lucifer Was. The remains of Empty Coffin/Autumn Serenade/Lucifer/Lucifer Was were Kai Frilseth, drums, Einar Bruu, bass, Anders Sevaldson, flute, sax and some vocals, Arild Larsen, lights and me, guitar and some vocals. And the Lucifer Was that still are active to this day, minus Jan Ødegaard, had finally come together. That was the start of developing our own sound with the two flutes trademark. This line-up lasted until 1974 or 1975. Then the band went on hold until coming back in 1996.

Thanks to "It's Psychedelic Baby" Website

Full story at: Lucifer Was

♫♪♪ Thore Engen, guitars, vocals
♫♪♪ Dag Stenseng, flute, vocals
♫♪♪ Anders Sevaldson, flute, background vocals
♫♪♪ Einar Bruu, bass
♫♪♪ Kai Frilseth, drums

01. Teddy's Sorrow 03:13
02. Scrubby Maid 02:44
03. Song For Rings 02:16
04. Out Of The Blue 02:32
05. The Green Pearl 06:19
06. Tarabas 02:47
07. Fandango 03:30
08. The Meaning Of Life 04:01
09. Light My Cigarette 03:01
10. In The Park 03:16
11. Asterix 03:30

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2. Lucifer Was

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Amulet - Amulet (Good Hardrock US 1979)

August 3, 2020, 5:17 am

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Reissue of the only album from this four piece band from Indiana. First released in 1979, it's a set of original hard rock material mostly recorded live in the studio. It's a remarkably tight effort that is an essential piece for all collectors of US acid psyche and heavy rock. It's an extremely rare collector record that was recorded in 1979 and released on the band's own label! Punchy hard rock with screaming lead guitars all over the place!

Long-haired guitar rawk from the obscure Midwestern band known as Amulet, circa 1980. Reissued for your hessian pleasure by Monster Records, alongside the likes of Ultra, Full Moon, and Truth And Janey (all of whom we've previously listed). Amulet started off in '78 as a cover band doing stuff by ZZ Top, Van Halen, Hendrix, UFO and suchlike. Though a popular local concert draw, they still barely managed to save enough dough to record and self-release this album in 1980. 

No money for overdubs, so it's got that live feel, appropriate for their party hardy high power hard rock format. How much you're gonna like this kinda depends how you feel about lines like: "She was seventeen / young love machine" (from "Just Like A Woman"). Good times badass boogie rock wank fer shure. Actually, they had a heavier, more serious side too, with religious/philosophical themes ("Do You Live Again", "Life Is Living"). But don't look for a lot of sophistication and deep thoughts -- this mostly about groovy stuff like the unintentionally funny "Funk 'n' Punk" or "Radar Love" re-write "Person To Person". Fun and authentic. 

01. Just Like A Woman        
02. Sea of Fear        
03. Do You Live Again        
04. Kings & Queens        
05. Person to Person        
06. Funk 'n' Punk        
07. Gemini        
08. Life is Living        
09. New Day  

1. Amulet
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2. Amulet
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Adobe Photoshop Pictures of the day (Erik Johansson)

August 3, 2020, 6:55 am

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Hi. First of all, take a look for all his work for a picture on this film:

(Cut and Fold) All pictures taken by Erik Johansson©

Cut and Fold - Behind The Scenes

Up in The Past

Behind the scenes video of my latest creation Cut & Fold (http://goo.gl/RO3HW), from shooting to final photo. The post production took about 15 hours, the clip contains a selection of that process played back at 80 times normal speed. Video was filmed and cut by me, music by Justice - New Lands (Falcon remix). If it for some reason doesn't work you can see it here as well: https://vimeo.com/52909568 Scroll down in this blog post to see all the layers: http://erikjohanssonphoto.com/blog/cu... Check out more of my work on http://www.erikjohanssonphoto.comAlso available as a print here: http://www.inprnt.com/gallery/erikjoh..

Some more of his fantastic works in Adobe Photoshop

Common Sense Crossing

Impact

You First

Fishing with Grandpa

Soundscapes

(Open Picture in a New Window for 100% Size)

Enjoy, ChrisGoesRock

Concert Posters For The Day...

August 3, 2020, 7:35 am

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Here comes some good concert posters, enjoy

1942-43 Let's Catch Him With His 'Panzers' Down! We Will - If We Keep 'em Firing! (USA)

Grateful Dead

Junior Wells - 1967

The Charlatans & Canned Heat Poster

The Velvet Underground, Van Morrison – 1969 Hilltop Pop Festival

Walt Disney Subscribe Magazine Advertise 1940

Amondüül II - Wolf City (German Progressive Rock 1972)

August 15, 2020, 1:05 am

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Source: Japan SHM-CD Remaster

Wolf City is the fifth studio album released by the German Krautrock band Amon Düül II.

Like its predecessor, Carnival in Babylon, Wolf City is a more conventional recording than the band's earlier albums, with shorter track times and more straightforward song structures. This was likely due to the band's increasing commercial popularity, both at home and in the UK. Despite this, some of the album's tracks, such as "Jail-House-Frog" and "Deutsch Nepal", are still overtly experimental.

Amon Düül II's fifth studio album is a more conventional recording than most, though there's still a lot of the involved experimenting and dark undercurrent which sets the band apart from the mainstream, along with the off-kilter hooks and odd humor which saved them from being lumped alongside more serious (and less easy to take seriously) prog rock outfits. 

After the lengthy explorations of Tanz der Lemminge, Wolf City seems targeted to an extent at a commercial English-speaking audience, perhaps reflective of their increased status in the United Kingdom, if not in America. Regardless, opening song "Surrounded by the Stars," the longest track on the album at just under eight minutes, is also one of the band's best, with strong vocals from Renate Knaup-Kroetenschwanz, a dramatic building verse (complete with mock choir), an equally dramatic violin-accompanied instrumental break, and a catchy chorus leading to a fun little freakout. 

Knaup actually takes the lead vocals more often this time out and turns in some lovely performances, as on the beautiful, perhaps slightly precious "Green-Bubble-Raincoated-Man," with a great full-band performance that grows from a nice restraint to a slam-bang, epic rockout. Lothar Meid gets his moments in as well, his sometimes straightforward, sometimes not-so-much vocals adding to the overall effect as before. 

The one full instrumental, "Wie der Wind am Ende Einer Strasse," is excellent, with guest Indian musicians adding extra instrumentation to an intoxicating, spacious performance. While Wolf City generally sounds like a tight band playing things live or near-live, there are some equally gripping moments clearly resulting from studio work, like the strange loop opening the title track (percussion, guitar?). 

Concluding with the groovy good-time "Sleepwalker's Timeless Bridge," including some fantastic E-Bow guitar work, Wolf City works the balance between art and accessibility and does so with resounding success.

Amon Düül II
♦ Renate Knaup-Krötenschwanz – vocals
♦ Chris Karrer – guitars, soprano saxophone, violin
♦ John Weinzierl – guitars
♦ Falk-Ulrich Rogner – organ, clavioline, synthesizer
♦ Lothar Meid – bass, vocals, synthesizer
♦ D. Secundus Fichelscher – drums, vocals, guitars

Guest personnel
♦ Jimmy Jackson – choir organ, piano
♦ Olaf Kübler – soprano saxophone, vocals
♦ Peter Leopold – synthesizer, timpani, vocals
♦ Al Sri Al Gromer – sitar
♦ Pandit Shankar Lal – tablas
♦ Liz van Neienhoff – tambura
♦ Paul Heyda – violin
♦ Rolf Zacher – vocals

01. "Surrounded by the Stars"  Karrer/Rogner  07:44
02. "Green-Bubble-Raincoated-Man"  Weinzierl  05:03
03. "Jail-House-Frog"  Weinzierl  04:50
04. "Wolf City"Karrer/Fichelscher/Rogner/Weinzierl/Meid  03:18
05. "Wie der Wind am Ende einer Strasse"  Karrer/Fichelscher/Rogner/Weinzierl/Meid  05:42
06. "Deutsch Nepal"  Kübler/Meid  02:56
07. "Sleepwalker's Timeless Bridge"  Fichelscher/Rogner  04:54

Bonus Tracks:
01. "Kindermörderlied"  Karrer  05:59
02. "Mystic Blutsturz"  Weinzierl/Knaup-Krötenschwanz  10:11
03. "Düülirium"  Karrer/Kühler/Weinzierl/Knaup-Krötenschwanz  04:25

1. Wolf City
or
2. Wolf City
or
3. Wolf City

Balam - Days of Old (Great Retro Hardrock US 2014)

August 19, 2020, 9:33 am

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A quintet of power born in Newport, RI. It's the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom. Since their self titled release, they have devastated the East Coast with unrivaled live performances, the is no question; Balam are on their way up.  

Rhode Island traditional doom firebands Balam are gearing up to release their full-length debut, Days of Old, early in 2015. In fact, they’ve been “gearing up” for a decent portion of this year. The first signs of Days of Old surfaced via their Bandcamp over the summer in the form of the track “With the Lost,” and as we push into cold, dark winter, their fuzzed-out, classic-styled doom seems all the more vital.

You ever want to frustrate the hell out of a band, put them in the time between recording and releasing an album. I don’t envy Balam this contingency-sorting stretch — though they’ve continued to play shows through it — but with a 2015 issue on the horizon, the double-guitar five-piece are ready to unveil another slab of Days of Old, and I’m only too happy to comply. 

Balam recorded Days of Old with Trevor Vaughn, and mixed and mastered with him as well between March and April of this year. The seven-song outing is a vicious 45 minutes of full-breadth riffing and stripped-down, light-on-frills doom. Led by the guitars of Zach Wilding and Jonny Sage, the vocals of Alexander Blackhound take early command of the material as the first half of the album pushes toward the title cut, while bassist Nicholas Arruda plays off Wilding and Sage in Candlemassian form (his shining moment arriving in his leading the band through the 15-minute closer) and drummer Zigmond Coffey adds plod to the nod of their bleak but still engaging groove. 

Days of Old lacks nothing for atmosphere — each side is given an instrumental introduction of substance, and themes play out in the songs as well — but ultimately, it’s the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom.

There’s much still to take shape before Balam release Days of Old in terms of things like the cover art, what label, and so on, but consider this glimpse at “Days of Old” — and at 11 minutes, it’s a considerable glimpse indeed — an early warning of what the band have in store for the New Year. Here’s hoping the details get sorted soon.

Affecting a heady and voluminous amalgam of Farm, Iron Claw and Wicked Lady is Newport, Rhode Island's Balam, which sits zan(il)y astride Days of Old, an album I invariably stumbled on following a slapdash search for some Old Grandad - the 'Cisco psychedelic doom band, not the drink. Once instant Black Sabbath/The Hyle vibes permeated my kindled soul, was (un)ceremoniously flattened by this Ocean state power trio's waggish, (Pb)-lined Atlantic brogue.

East Coastal War Horse and Windhand comparisons buzz forth like deer flies as we lope on down the shore to eerle, cavernous, and, perchance, rangily cadaverous, sonorizations emanating from the dually doomed i.e. ax'd quintet's front apprentice's yaw(n)ing maw. A brief caveat, though, results from "///////"...Won't Sunn O))) whig out, 'cause of such punctuative heresy? It certainly gets our attention, plus, at scarcely minute's length, serves as palatably anodyne, however whack, atmospheric (instrumental) opener. The clockbell tapping, scrappy palm muted, "Children of the Grave" meets Earthride & Electric Wizard mien inherent to "Birth"? (Ah, shit gets real!) Cowbell/drum ride affectionados should have a field night - and mouse - here. The reverb-illuminated belligerence and imposing drum stewardship continues, unabated, throughout evil(e) twin "Lilith" (linchpin to Adam's Eve), another great humdinger from these guys, with additional heady, quavering bass, alongside ponderously kinetic drumming implements, all-around ('til we drop our crown).

The intelligible flow of the tracks, which reaches an apex within top, titular highlight "Days of Old", proper, intimate a fluid conduit to this album's instantly accessible - or acceptable - pre-dispo(sition). If untold genre species (akin to Black Oath, Iron Void, Hour of 13 and Pale Grey Lord) eventually establish singular identities, so does Balam, in one fell swoop...a feat, particularly in the light of doom, no matter how dark, murky or fulminating. Elsewhere, the votive and erstwhile space-theme encapsulated "Spirit Flight", with its tribal, militant march and wizened, eldritch synths, paves a tarry path to "With The Lost", a pendulously swaying, eight minute long knuckle buster of a semi-fast, semi-slow (rafter) burner which, effectively, segues into lost dimensions of hardy doom metal turf. No sooner do you fully get grooving does a helluva bridge and second tier development beg egregiously wry returns - or revelations.

As closure, I've minor issue with that whopping, 15.5 minute closer, "Bound to the Serpent", which, mercurially pronounced as it is in itself, could've/should've been tiered into sprawling single, thus cementing, or, if you like, fermenting (i.e. pickling) the remaining five tracks - forget said front-slash nonsense, already - into a congruous, as well as deciduously compact, bedeviled offering. Although it won't part the Red Sea, tastes better than sip of the Dead.

Bandmembers
•  Coffey - Drums 
• Jonny Sage - Guitar 
• Nick Arruda - Bass 
• Alexander Blackhound - Vocals

01. /////// 00:55
02. Birth 02:23
03. Lilith 03:38
04. Days Of Old 11:04
05. Spirit Flight 03:46
06. With The Lost 08:17
07. Bound To The Serpent 15:41

1. Balam
or
2. Balam
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3. Balam

Various Artist - Hard Rock Underground Scene UK 1968-73 (3CD)

August 26, 2020, 2:32 am

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A new 3-CD box from Grapefruit Records is a loud re-mastered gem, a perfect accompaniment to the first volume three years ago featuring (most of) the usual heavyweights on the scene balanced with demo-only bands who shared their gigs. An excellent 53-track panorama of ‘freak’ music from 1968-73: Edgar Broughton Band, Arthur Brown, Sam Gopal (with ex-Hendrix roadie Lemmy) etc, no Pink Fairies but Deviants, no Hawkwind but stable-mates/fellow-travellers High Tide jamming par excellence. 

Freak-sounds from the underground of Ladbroke Grove and central London (Middle Earth, Temple in the Marquee’s street) along with nationwide free festivals are well-represented: as David Wells’ short intro says, these are the bands that shook the walls of towns up and down the country. More hair here than a yak high in Nepal cavorting in a fancy wig.

Talking of the booklet (an arti-fact in its own right) this reviewer is unsure why so many negative terms are used: “Neanderthal”, “catatonic”, “semi-articulate”, “sonic excesses”, “Cro-Magnon classics”, “terminally obscure” really, today? “Sab or Zepp wannabees”, the term wasn’t even coined until later, and doesn’t reflect the counter-culture’s magazines, gigs or ethos, not as I recall anyway. It was a time of boundary-breaking, thanks partly to developing sound systems and wider issues of course. 

Not a whiff of the peculiar idea of a tribute band, except the Beatles and Stones to themselves of course. We know Americanese has a difficulty filtering nuance of language—collaboration for Christ’s sake?! It’s negative—but this is a British compilation, not even English only. The booklet is otherwise superb, handy too in that it follows track order rather than alphabet.

It appropriately leaves the traps blazing with Budgie’s first album that became a template for later decades. The now-renowned on CD-1 sees an unusually heavy Jeff Beck and also Love Sculpture (featuring Dave Edmunds) for a razor-sharp, much-covered hit ‘Sabre Dance’ that began as an Armenian ballet overture (and covered on an LP for 11 minutes, ouch), Stray from an early session released only on CD, Sam Gopal’s percussion-swirling and bass-plucked ‘Horse’ earmarked for a single that never left the stable, and The Move when hairier with Wood and Lynne on board: almost sing-along, I’m told by an expert they were much heavier live though this packs a punch too. 

For gig-liggers or later vinyl collectors there is the always-fun solo-boggling Patto (more abrasive than usual from their post-Vertigo days on Island), clanking bullet-driven Leaf Hound, the Stray-like Slowload, the tasty twin-guitar power chords with melodic interludes of Cactus-like Orang-Utan, Arthur-Brown-like Monument, and one of the two best tracks by Ancient Grease alongside a solo-typhoon by Andromeda.

There’s also a rare seven-minute outing for Sam Apple Pie, who were at the first Glastonbury and later part of Atomic Rooster: they were always creatively original (heavy surf here?), Quo did parallel experiments later. Other longer tracks include Iron Claw (after King Crimson’s killer lyric), echoey, reverb-drenched, brutally menacing as a garotte, uplifting as a scaffold on the dawn skyline with a pounding drum outro and Bodkin, an organ-washing hard guitar quintet with thoughtful lyrics on reality t’boot. 

Stack Waddy contribute ‘Rosalyn’ (I’d have thought ‘Hey Mama Keep Your Big Mouth Shut’ more in-keeping, but I’m a nit-picker, by profession) though the stand-out surprise is the unbelievable pile-driver boogie Wicked Lady: forget butter, this cuts rivetted titanium! If you ever found Agnes Strange, this would be a similar reaction. Guitarist Martin Weaver told Psychedelic Baby recently that Wicked Lady were always a live band first because they saw recording as sterile. Living in Bulgaria today, he is starting a band with two other Martins! A true tour de force power trio.

CD2 features the longest track by Atomic Rooster, all spooky piano and effects as classic hard-driven keyboard rock from an LP that spawned a hit single (‘Tomorrow Night’); Edgar Broughton’s ‘Apache Dropout’ (not ‘Keep Them Freaks A Rollin’?) which almost hit the top 30 with a mash of Shadows and Beefheart; The Deviants’ rumbustious experiment ‘Somewhere To Go’ pointing to the Fairies (it was founder late Mick Farren who said they split because the others wanted to sound like Zeppelin), plus Alex Harvey’s pre-Sensational Band Tear Gas who rock in Hendrix-style: Regal Zonophone without a hit was always going to be like playing tennis with a hole in the racket.

There is also the Gurvitz brothers’ Three Man Army (yes, they were English) before fame with Ginger Baker. The Manchester band NSU only did one LP, on Stable, as did Red Dirt (at the time) on Fontana, Pluto (on Dawn), the crunching feedback riffing Human Beast (on Decca), Mouse (on Sovereign) with a long build-up to a spacey boogie, and Dogfeet (formerly Sopwith Camel) but there are also acetate-only The Rats (featuring a near-pubescent Mick Ronson of Bowie and Hoople fame), Dark (whose LP is among the rarest and later featured Wicked Lady guitarist Martin Weaver), Purple Haze (later Transatlantic’s Little Free Rock), Tonge, and the German-only released Glasgow-based Sunday. It closes with the even higher-octane Quo-like Freedom from their own Vertigo LP: not to be listened to if your head’s not adequately screwed on!

And nuggets continue to be unearthed on CD3. Headliners such as High Tide from their debut Sea Shanties of 1969, bleak lyrics for doom-and-multi-laden rocking; the early ’68, more driving non-orchestral demo of ‘Fire’ by The Crazy World of Arthur Brown; Glaswegians Stone The Crows from the third of their four LPs, featuring Scotland’s own Janis Joplin in Maggie Bell and also Alex Harvey’s brother, in an organ-led rocker. Warhorse loom from their Vertigo days and more guitar-based second LP, formed by ex-Deep Purple (’69) bassist Nick Simper who was also in The Flowerpot Men with Jon Lord (hear Simper’s recent work on Angel Air Records); some heady acid and riffing guitar in a near-eight-minute feast. They toured Germany and were on their T.V. before folding in ’74, splitting to work with Rick Wakeman on his hit album.

Who recalls the band often confused with others of the same name, Bullet? Here’s a B-side from Deep Purple’s short-lived label, ex-Atomic Rooster and Quatermass that became Hard Stuff as almost r ‘n’ r glam! No period comp would be spliff-worthy without Writing On The Wall, the Edinburghers moving to London when their manager opened the Middle Earth club—indeed they lived below its stage! ‘Lucifer Corpus’ was on the same-named label as its first 45 release before their acclaimed LP Power Of The Picts.

From the hard-working supporting cast come studio tricks galore from a Yorkshire co-operative that got on Peel’s Show (Lightyears Away); a Welsh trio rare as Dark for the same reason (a 99-copy only issue) who featured in a Melody Maker competition of 1971 and have been reissued on Light in the Attic Records: the misprinted acetate gave them their name, meant to be the last man on the moon, and a bit like Clear Blue Sky (Eugene Carnan); Hard Horse were on the same label as Incredible Hog and did other singles for the label; Tarsus were in the Northampton scene along with Wicked Lady and Dark but released nothing, a driving menacing raunch as unlike ELP as can be imagined.

Also featured are Natural Gas, who did two Peel sessions and have appeared on a bootleg beside pre-Black Sabbathers Earth; a band named after a locked facial expression whose 101-copy LP appeared on County Records (Sardonicus); and two rare bands involved with the Sentinel label (Frozen Tear; Thor) which was run as a ‘vanity’ enterprise from a series of West Country shops featuring mostly folk and brass bands (see this reviewer’s article for the Dust On The Nettles compilation). 

Thor are not the later Vancouver band, these also covered Chicago live! A rollicking version of ‘Paranoid’ is a good cover indeed. Another German-only release is Little Big Horn, formerly Tramline, on Bellaphon Records (Sunday, Diabolus, Steel Mill etc). 

Still going are Samuel Prody with their own website, yet another who never got their royalties though produced by a Tremeloes producer: ex-Sam Gopal Dream, a nice phased drum solo is rolled. 

The now-legendary 9.30 Fly contribute a post-LP demo from ’72, an original take on the blues classic ‘Hoochie Coochie Man’, and a combo also once with Sam Gopal known as Clark-Hutchinson lay an early ’69 blues ‘Someone’s Been At My Woman’, an ailment that came with the territory alas. Breathless stuff, reflecting this review!

The albums are well-worth getting as well, all are essential or as good as. Some laid the groundwork for much that came later and shows the depth of the compilers’ archeology. 

A couple are on the first collection, so why no Incredible Hog or Agnes Strange? And why no Irish e.g. the original Skid Row? Nevertheless, five stars because, quite frankly without earnest, a superb near-four-hour trip which in content and spectrum can literally take your breath away or leave you scuttling around for your jaw. No frills, boas or pop. 

Rare for second compilations, some might say it even eclipses the first. With live-shot sleeves and forty-page compendium of facts and period art, this is one of the best box-sets of the genre on the market… ever. Now, why’s my Horlicks cold?

– Brian R Banks

Disc 1:
01. Budgie - "Guts"
02. Jeff Beck - "Shapes Of Things"
03. Wicked Lady - "Run The Night"
04. Stray - "The Man Who Paints The Pictures"
05. Slowload - "Rosie"
06. The Move - "Turkish Tram Conductor Blues"
07. Orang-Utan - "Chocolate Piano"
08. Iron Claw - "Clawstrophobia"
09. Bodkin - "Plastic Man"
10. Andromeda - "Let's All Watch The Sky Fall Down"
11. Ancient Grease - "Mother Grease The Cat"
12. Stack Waddy - "Rosalyn"
13. Sam Gopal - "Horse"
14. Love Sculpture - "Sabre Dance"
15. Monument - "Dog Man"
16. Leaf Hound - "Freelance Fiend"
17. Patto - "Loud Green Song"
18. Sam Apple Pie - "Winter Of My Love"

Disc 2:
01. Tear Gas - "Woman For Sale"
02. Atomic Rooster - "Death Walks Behind You"
03. Edgar Broughton Band - "Apache Dropout"
04. NSU - "Turn On, Or Turn Me Down"
05. Red Dirt - "Brain Worker"
06. The Rats - "Early In Spring"
07. The Deviants - "Somewhere To Go"
08. Dogfeet - "Armageddon"
09. Pluto - "Down & Out"
10. The Human Beast - "Brush With The Midnight Butterfly"
11. Dark - "RC8" (demo version)
12. Purple Haze - "Wait A While"
13. Three Man Army - "Daze"
14. Tonge - "Old Father Time"
15. Mouse - "Ashen Besher"
16. Sunday - "Fussing & Fighting"
17. Freedom - "Going Down"

Disc 3: 
01. High Tide - "Futilista's Lament"
02. Lightyears Away - "Yesterday"
03. Samuel Prody - "Woman"
04. Eugene Carnan - "Confusion"
05. Hard Horse - "So Long I'm Moving On"
06. The Crazy World Of Arthur Brown - "Fire!" (demo version)
07. Tarsus - "Early Morning Sun"
08. Natural Gas - "Is There Any Doubt?"
09. Warhorse - "Back In Time"
10. Little Big Horn - "Name Of The Game"
11. Bullet - "Sinister Minister"
12. Frozen Tear - "I Need Someone"
13. Sardonicus - "The Nymph"
14. 9.30 Fly - "Hoochie Coochie Man"
15. Clark-Hutchinson - "Someone's Been At My Woman"
16. Stone The Crows - "Big Jim Salter"
17. Thor - "Paranoid"
18. Writing On The Wall - "Lucifer Corpus"

Tracks taken:
Disc 1
1-1 from LP " Budgie " ( 1971 )
1-2 from LP " Truth " ( 1968 )
1-3 not originally issued, recorded 1969
1-4 not originally issued, recorded November 1968
1-5 previously unreleased, recorded 1971
1-6 from LP " Looking On " ( 1970 )
1-7 from US LP " Orang-Utan " ( 1971 )
1-8 not originally issued, recorded December 1970
1-9 from LP " Bodkin " ( 1972 )
1-10 not originally issued, recorded late 1969
1-11 from LP " Women And Children First " ( 1970 )
1-12 from LP " Bugger Off! " ( 1972 )
1-13 not originally issued, recorded late 1968
1-14 from single A-side ( 1968 ) Parlophone ‎– R 5744
1-15 from LP " The First Monument " ( 1971 )
1-16 from LP " Growers Of Mushroom " ( 1971 )
1-17 from LP " Roll 'Em Smoke 'Em Put Another Line Out " ( 1972 )
1-18 from LP " Sam Apple Pie " ( 1969 )

Disc 2
2-1 from LP " Tear Gas " ( 1971 )
2-2 from LP " Death Walks Behind You " ( 1970 )
2-3 from single A-side ( 1970 ) Harvest ‎– HAR 5032
2-4 from LP " Turn On, Or Turn Me Down " ( 1969 )
2-5 from LP " Red Dirt " ( 1970 )
2-6 not originally issued, recorded November 1969
2-7 from LP " Disposable " ( 1968 )
2-8 from LP " Dogfeet " ( 1971 )
2-9 from LP " Pluto " ( 1971 )
2-10 from LP " Volume One " ( 1970 )
2-11 not originally issued, recorded October 1971. Demo version
2-12 not originally issued, recorded early 1969
2-13 from LP " A Third Of A Lifetime " ( 1971 )
2-14 previously unreleased, recorded 1971
2-15 from LP " Lady Killer " ( 1973 )
2-16 from German LP " Sunday " ( 1971 )
2-17 from LP " Is More Than A Word " ( 1972 )

Disc 3
3-1 from LP " Sea Shanties ( 1969 )
3-2 from LP " Astral Navigations " ( 1971 )
3-3 from German LP " Samuel Prody " ( 1971 )
3-4 not originally issued, recorded March 1972
3-5 from single B-side of " (Get It) Up Down " ( 1972 ) DART ‎– ART 2012
3-6 not originally issued, recorded circa March 1968. Demo version
3-7 previously unreleased, recorded May 1971
3-8 previously unreleased, recorded 1972
3-9 from LP " Red Sea " ( 1972 )
3-10 from German LP " Little Big Horn " ( 1971 ) Bellaphon ‎– BLPS 19067
3-11 from single B-side of " Hobo " ( 1971 ) Purple Records ‎– PUR 101
3-12 previously unreleased, recorded October 1969
3-13 from single A-side ( 1973 ) County Recording Service ‎– COUN 240
3-14 previously unreleased, recorded circa August 1972
3-15 not originally issued, recorded March 1969
3-16 from LP " Teenage Licks " ( 1971 )
3-17 previously unreleased, recorded circa October 1970
3-18 from single B-side of " Child On A Crossing " ( 1969 ) Middle Earth ‎– MDS.101

Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock

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Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock

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Part 1. Hardrock

Part 2. Hardrock

Part 3. Hardrock