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Still Alive at "Zippyshare" for Download. More Later....

September 4, 2020, 1:04 pm
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"HANS DE VENTE" (Nickname) is a web-psychopath who report my uploads for you, so they will be deleted

September 15, 2020, 1:32 pm
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This person, "HANS DE VENTE" also use "Zinhof", not zinhof,  mostly use my "Music Chat and Upload Room" and write very sick things about my blog and other visitors who use Music Chat and Upload Room for their own uploads.

This person will be very satisfied when he seen this article. "HANS DE VENTE" is a person who wants to be seen and enjoys destroying for other people as much as he can. 

He reports that my files are illegal so they will be deleted. This web psychopath loves to ruin and writes very sick posts on the Chat and upload page. 

The majority of these web psychopaths/narcissists are usually very lonely. They have their little computer, where they write their nasty and sick posts. 

If I were to meet this person in real life, he would be so scared that he peed on himself, because in real life, HANS DE VENTE is nobody.

Now you know why my uploads get deleted so quickly.

If any of my visitors is a high level advanced hacker, it may be possible to track HANS DE VENTE, as he will need to log in to post in my "Chat and Upload Room"

//ChrisGoesRock, Sweden  👊

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Thanks all of you for this information:

Anonymous said...

Hans De Vente or whatever he calls himself has made so many enemies with this crap he pulls.

A few guys in Utrecht tracked him down to a street called Dellaertlaan in a city not that close to Utretcht. I forget the number of the street but its in a message they posted. 

They said he was a little too far away from Utrechtbut if he keeps pissing people off with his blogs and deletions and they are on their way past there, they might stop by his house. He almost never leaves his house.

He's a crazy old man. He should stop before somebody throws his computer out a window and rips the internet connections out of the wall. Or worse.

16 September 2020 at 17:55

Anonymous said...

Hans de Vent is a Dutch man with a persecution habit, who creates a blog one day and the next he deletes saying that "they are going to his house to arrest him for piracy".Invents 1001 accidents in his life.Crazy, psycho.

I've seen him in a few dozen places demonstrating his madness

I will not identify myself because otherwise he will start chasing my blog

16 September 2020 at 01:00 

Anonymous said...

I have lost over 5000 links on Zippy. in 3 months. It incredulous as anything and everything is attacked.

Why and by whom is unknown... It may be your culprit.
How do you know this. Can it be stopped?

Thank you for yelling out.

16 September 2020 at 09:11

Following text was a email to me 2020-09-16 21:36

What youre doing is dangerous, and illegal, crazy persons may take actions that you dont want to be responsible for.

My name has been used by anonymous people for years  now, and none of it is true. Ive given up trying up defending me but what you do is dangerous.

Its the power and the curse of the internet that everybody can post unfounded rumours, they have targeted me since 2005.

I am asking you friendly as a person who has always loved your old blogs, but since i have extreme tinnitus,i dont listen to music anymore.

Thank you in advance

hans de vente

PS.  Who gave you the idea that i can delete posts, if you are not the rights holder and can prove that, no host will delete a post.

Record companies pay companies that use bots that patrol the internet, and report links, and they will be deleted by the rights holder

All the best

hans

Answer:  First of all, The person who reported hundreds of music-blogs, and report all upload files to be deleted, have do so since round 2005.

If this person has stolen your name and used it as his "nickname" since 2005, I suggest you change your nickname in the blog context. 

You have to understand that everyone who posts a blog puts a lot of work into their blog. Then they upload albums to the visitors that this person reports as illegal. He also writes to "Blogger" that the website is illegal, often it is shut down because of the same person.

You also need to understand that anyone who gets their blogs and uploads removed gets very angry. In the end, some bloggers manage to track this person, as everyone leaves traces behind, so it is no wonder that in the end this person is tracked to an address.

You write that you have nothing to do with this person who took your name, then you do not have to worry.

I do nothing illegal by writing about this person who destroyed for so many, and for so many years.

He has to blame himself if he is tracked to his address.

// ChrisGoesRock

Next email sent today 2020-09-17 11:31

Since you have not responded or deleted the post you have till 6 pm your time to do do so, or i will report you to the internet threat department of both the Dutch and the Swedish police,  for threats agains my life.

Answer: First of all (again). Take a look in the comment section. 

If you have nothing to hide, you do not need to be afraid or worried. 

I'm writing this post because we Bloggers are tired of this person, who sitting at his little computer and ruining for other people.

//ChrisGoesRock
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13th Floor Elevators - Live! In California (KSAN Stereo US 1966)

September 20, 2020, 1:27 am
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While much of the 13th Floor Elevators’ popularity today rests upon their studio albums and 45s, this wasn’t always the case. Especially not in Texas, where the Elevators first became famous as an outstanding live act, with a combination of ferocious drive and dark mystique that was unlike anything seen before. When the Psychedelic Sounds LP was released in late ‘66, some fans in their hometown Austin felt it was missing a bit of the captivating energy they associated with the band. Even Tommy Hall, the band’s lyricist and intellectual nexus, stated in a 1989 interview that “our real show was live”.

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Before getting on to the true live recordings, a word about the infamous, fake Live LP on International Artists. This odd concoction was put together by I A producer Fred Carroll in the Summer of ’68, after months of studio sessions with the band had failed to produce anything release-worthy. Pulled together from old outtakes, the Live album is decidedly non-live, despite Carroll’s attempts to create a concert atmosphere via dubbed-in crowd noise. Much venom has been thrown upon this record over the decades, but fake live LPs were common in the ‘60s – much more so than real live recordings – and as far as the actual music goes, it’s a very good album, including a couple of songs unavailable elsewhere. Any fan of the band needs it. ‘Nuff said.

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Except for the three core members of vocalist Roky Erickson, guitarist Stacy Sutherland and jug player/lyricist Tommy Hall, the Elevators underwent several line-up changes during their 2.5-year life span. A commonly held opinion back then was that as a live act, none of the later configurations could match the earliest line-up, with bassist Benny Thurman. Thurman, who was a formally schooled violinist but not a “real” bass player, contributed to the strange and exciting aura around the group during the first half of 1966. According to Bill Miller of Cold Sun, who saw the early Elevators several times, “Benny was just as important as Roky” to the band.

At that time, the Elevators’ official recordings were limited to the “You’re Gonna Miss Me” 45 (released January ‘66), and except for some demo tracks, this first line-up was not preserved on any other studio reels. The three live tapes that exist from the Spring ‘66 are thus important documents of the band’s early days, and better yet, they confirm the praise heard from the original fans. The energy level is breath-taking, yet the band finds room to spread their psychedelic message via complex drug songs like “Roller Coaster” and “Fire Engine”.

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The earliest known live recording of the 13th Floor Elevators is the KAZZ-FM Tape. This was a live, 30-minute broadcast from a concert at the New Orleans club in Austin, Texas, March ’66. The Elevators had been the house band at the club during recent weeks, and this was to be their final performance before embarking on a tour of the Dallas/Fort Worth area. KAZZ-FM was one of Austin’s two radio stations, and unlike KNOW (who banned the Elevators) they had given “You’re Gonna Miss Me” plenty of air play. The KAZZ father and son team of Bill Josey Sr & Jr would continue to support local Austin rock music via their Sonobeat label in coming years. The KAZZ-FM tape features Bill Josey Jr, under his DJ alias “Rim Kelly”, giving enthustiastic intros to the songs, and occasionally ad libbing small talk while the band took their time tuning. Josey’s on-air description of the show as a “farewell performance” later caused confusion, as poorly informed writers and bootleggers assumed it meant the band was headed for the westcoast – which didn’t happen until five months later.

At least one hardcore Elevators fan I know rates the KAZZ-FM tape as the best live recording of the band in existence, and it’s easy to see why. The band is absolutely frantic, the crowd (possibly fuelled by the free LSD handed out by the group) is ecstatic and loud, and the compressed, somewhat overloaded nature of the recording becomes an advantage. 

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Songs include “Roller Coaster”, “Monkey Island”, covers of two early Beatles numbers, and an absolutely blazing 7-minute version of “Gloria”. An edited version of the tape can be found on the Original Sounds and Demos Everywhere vinyl bootlegs from the late 80s, and the complete 30-minute version has gone around in tape trading circles. There are indications of two more KAZZ-FM broadcasts from the same era preserved on tape, but nothing has surfaced so far.

Although the subsequent sojourn to Dallas/Fort Worth was generally unsuccessful for the band, they got to appear live twice on the local Sump’N Else TV Show. The audio portions of their appearances were preserved, and have been officially released on Fire In My Bones (LP) and Psychedelic Microdots, vol 2 (CD). Although the TV studio setting removes a bit of the live atmosphere, the Elevators blow through their shortened set lists with tight, high-energy performances. The March ’66 show includes a brief interview with Tommy Hall, who also delivers a long jug solo on “You Really Got Me”. The May ’66 appearance is even more interesting, featuring not less than six songs, among them unique items like Don Covay’s “Mercy Mercy” and a manic “Roller Coaster”, which has Sump N Else’s host exclaim “wow!”. Unfortunately, the transfer from original tapes, done in the mid-‘80s, caused several tracks to appear at too fast speed; some are off by as much as 10%. As good as the Elevators were, they weren’t quite capable of the shrill, inhuman tempo heard on “Fire Engine”, as an example.

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The Elevators returned to Austin, and in the late Spring they hooked up with the Houston-based International Artists label. “You’re Gonna Miss Me” began to make waves outside Texas, which led to I A bringing in Lelan Rogers to help with national promotion. Only one live recording exists from the Summer ’66, and that is the La Maison Tape. Sourced from a live broadcast from the La Maison club in Houston, this 20-minute stereo tape first appeared on the Elevator Tracks album from 1987. Although it was an exciting period for the band, the show isn’t among their finest moments. The predominance of covers is disappointing, but the “Roller Coaster” version is one of the best. It was also around this time that the first line-up change occurred. Partly due to his wild, unpredictable lifestyle, Benny Thurman was replaced by the more placid Ronnie Leatherman, who was also considered a better bass player.

The new line-up toured California during the second half of ’66 and, at the height of their success, appeared twice on Dick Clark’s national TV shows. Evidence suggests that as a musical engine, the Elevators may never have been better than in the early days of their west coast stay. In his fanzine Mojo Navigator, a teenage Greg Shaw reported on seeing the band live at the Avalon Ballroom in San Francisco, obviously impressed: “The most interesting group musically was the 13th Floor Elevators. They are a really freaky group. They look strange, they sound strange, and they are all good musicians, doing all original material. The lead singer, whose voice is truly odd, also plays lead guitar pretty well. The drummer is excellent. They have one guy who does nothing but boop-boop-boop with a jug. The songs they do are new and different.”

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The Elevators never felt entirely at home in San Francisco, although fellow Texan Chet Helms offered them many chances to play at the Avalon. Compiled from those gigs, the Avalon ’66 Tape gives terrific proof of the band’s prowess. Ronnie Leatherman’s bass adds a steady, almost majestic power to newly added numbers like “Before You Accuse Me” and (arguably the high-point) “You Don’t Know”. Compared with the fire-breathing r’n’b drive of the Spring ’66 recordings, updated covers of “The Word” and “You Really Got Me” show the band moving towards a more mature, acid-rock sound. The tape shows, quite simply, a great 60s rock band at the peak of their powers.

All copies of the Avalon ’66 Tape seem to derive from the same source, a broadcast on the SF Bay Area KSAN radio station in late 1977. Listeners would record KSAN’s shows of archival 60s live music, and those tapes made their way to vinyl bootleggers. The first Avalon ’66 boot came out in Italy 1978, and many have followed since. Unfortunately, the most well-known of these, Live SF ’66 on Lysergic Records, has the worst sound quality of all. It was produced by well-known LA collector Dave Gibson, whose Moxie reissue label was infamous for its shifting audio quality. Later Avalon releases such as Flivver and Rocky’s Horror Show are superior to Lysergic’s weak, muffled sound. The best-sounding version may yet be to come, as the Elevators box-set currently in production will utilize a great-sounding tape copy of the old KSAN broadcast that surfaced recently. Incidentally, “Roller Coaster” was aired separately from the rest of the Avalon tape, and is missing from some of the bootlegs. A live recording of “Reverberation” from (probably) the same source tapes is also known to exist, but has never been released.

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As a footnote to the Avalon ’66 Tape, there is known to exist another live tape from the west coast tour, from Fresno in inland California. The people in possession of this tape like to keep it to themselves, and are unwilling to divulge even track list info. Perhaps it will see the light of day some time.

Despite their commercial success, it was in California that problems began developing around the Elevators in general, and Roky Erickson in particular. After returning to Texas around Christmas, the band played a large number of gigs during early ‘67, but their performances were getting uneven and unpredictable.
Nothing illustrates this better than the notorious Houston Mustic Theatre Tape, from February ‘67. Through a twist of fate, this is the best documented concert in the entire Elevators annals. Apart from the professional live recording, there exists a poster, old ticket stubs, detailed comments from band members, and personal reminiscences from audience members. How unfortunate then, that the Elevators decided to drop more LSD than usual before the concert, and went on stage zonked out of their skulls. While the crowd was yelling and IA:s tape deck was rolling, lead guitarist Stacy Sutherland entered a profound hallucinatory stage, which he described years later as: “...Everybody turned into wolves, and I thought that our band was evil, because of some of the things we had advocated. And I was tryin' to escape the room, I didn't know what I was gonna do, but I was gonna get out of there. I didn't want anything to do with it, because everybody was turning into animals...”. While on stage, Sutherland entered a dissociated spiritual space wherein an angel gave him three “prophecies”, all of a negative nature. This vision would continue to haunt the guitarist, and informed some of the lyrics he later wrote for the band’s final LP, Bull Of The Woods.

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On top of these heavy acid vibes, the revolving stage of the venue contributed to the musicians’ confusion. On the live tape, you can hear drummer John Ike Walton desperately trying to hold the gig together, while Roky forgets his lines or his vocal mic, Stacy’s guitar leads abruptly come and go, and the whole thing is pretty much out to lunch. As a freak document of a very freaky night, it has its moments, but for the Elevators legacy we would have been better off without it. To add insult to injury, when the recording was made available in the late ‘80s, the clueless people involved simply put it out with zero corrections of the raw mix, which means that it sounds even more bizarre than it had to. Furthermore, it was incorrectly listed as coming from La Maison, which didn’t even exist by early ’67. For the bold or curious, the concert can be found on Big Beat’s I’ve Seen Your Face Before – Live LP/CD, as well as the Magic Of The Pyramids bootleg CD. A chaotic post-concert jam with the Conqueroo from the same night has also been released.

Problems mounted within in the band, and in mid-‘67 the rhythm section was entirely overhauled – for a brief period, the Elevators didn’t even exist anymore – and “the two Dannys”, Galindo and Thomas, took over on bass and drums, respectively. The main project for this line-up was the Easter Everywhere album, which was successfully completed by October ‘67. The new line-up played a few stray gigs early on, before getting into a steady flow of work around the time of the album release in November.

The fragmentation of the band continued, and the concerts were getting increasingly erratic, as were the antics of both Roky and Tommy. Of the many dozens of gigs performed during ‘68 (Galindo having moved on), no recordings have surfaced. Rumors of an Easter Everywhere-era live tape with “Slip Inside This House” have circulated, but appear to be untrue. Although the final year of the 13th Floor Elevators was perhaps the most unusual of all, their days as an awe-inspiring live act were no more.

This disc is comprised of live recordings which are believed to be culled from San Francisco radio station KSAN, October/November 1966. The performances included on this disc show The Elevators were insanely powerful live.  They may have even been among the best live bands America had to offer at the time.  Unfortunately, when the boys returned home to Texas at the end of the year, things began to unravel.  Fortunately, these recordings are sonically excellent and succeed in capturing the bands’ true energy; a feat that escaped their official studio output.

Recorded between sept and nov 1966 somewhere in the Bay area, California. Re-broadcast on KSAN radio circa 1978

• Roky Erickson - Vocals, Rhythm Guitar
• Stacy Sutherland - Lead Guitar
• Tommy Hall - Amplified Jug
• Benny Thurman - Bass
• Ronnie Leatherman - Bass
• John Ike Walton - Drums, Percussion

01. Everybody Need Somebody To Love 05:46
02. Before You Accuse Me (Take A Good Look At Yourself)02:42
03. You Don't Know (How Young You Are) 02:56
04. I'm Gonna Love You Too 03:41
05. You Really Got Me 02:10
06. Splash 1 (Now I'm Home) 06:36
07. Fire Engine 03:11
08. Roll Over Beethoven 02:54
09. The Ward 02:55
10. Monkey Island 02:52
11. Roller Coaster 05:42

Bonus:
12. Before You Accuse Me [B-side, IA#113, mono 45 rpm] 02.37
13. She Lives (In A Time Of Her Own) [A-side, IA#121, mono 45 rpm] 02.56
14. Baby Blue [B-side, IA#121, mono 45 rpm] 05.12
15. I've Got Levitation [A-side, IA#113, mono 45rpm] 02.36
16. Slip Inside This House [A-side, IA#122, mono 45 rpm] 04.06
17. You're Gonna Miss Me [Single Version] 02.30

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Great Electric Quest - Live at Freak Valley (Good Heavy US 2020)

March 28, 2020, 1:57 am
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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.

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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!

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“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 01:28
02. Seeker of the Flame 04:40
03. Of Earth Part I 07:54
04. Of Earth Part II 06:05
05. Of Earth Part III 02:57
06. Victim of Changes 08:22
07. The Madness 03:44
08. Heart of the Son 05:44
09. Wicked Hands 03:45
10. Highway Star 07:05

1. Electric
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2. Electric
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3. Electric

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Tom Baker and The Dirty Truckers - Dirty Snakes + The Dirty Truckers - Second Dose (Garage, Power-Rock US 2019-20)

September 24, 2020, 12:21 am
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Whether he's fronting the Dirty Truckers or playing with his band The Snakes, Tom Baker writes songs that ought to be staples of barroom jukeboxes everywhere. Informed by everything from the Stones to The Replacements to alt-country to heartland rock, Baker's brand of everyman rock and roll is always from the heart and full of hooks. 

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For his new solo EP Dirty Snakes, Baker has enlisted the services of both of his bands. The Snakes (John Blout, John Brookhouse, Charles Hansen, and John Sheeran) play on two of these tracks. The Truckers (John Lynch, John Brookhouse, Jamie Griffith) play on the other four. Combined, that's a veritable all-star team of Boston rock and roll! Dirty Snakes is slated for imminent release on compact disc by Rum Bar Records. 

It's a vintage Baker assortment of boozy rockers ("Cancel It"), tender ballads ("Pushin' You Away"), country rock jams ("On Your Device"), and Westerberg/Stinson flavored ragged pop gems ("Out of Focus"). When Malibu Lou asked for my take on "Weird Romance" a while back, I said "Kind of like newer Bon Jovi, except actually good!"
 

Baker is just a damn fine songwriter with a knack for turning out solid middle of the road rock tunes. And it's very telling that even when he does a "solo" record, he makes sure that the tremendous players backing him get their due credit. Coming in lean at six tracks, Dirty Snakes is packed with first rate material from one of the most underrated talents in all of rock and roll. It goes great with cold, cheap beer  - which no self-respecting rum bar will be adverse to stocking.

Tom Baker is obviously a man who likes to keep himself busy. The fact that he’s roped in the Dirty Truckers to help him on this album is probably enough to make you want it. That’s even before you know it’s released by Rumbar Records (a label with exceptional taste!).

If you need a quick blast of rock n roll to wake you up then opening number “Cancel It” will certainly do that! It’s a brilliant slice of rock n roll which will be stuck in your brain for weeks. Indeed that’s true of so many songs on this album.

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If you find a lot of ‘Americana’ style music interesting but a tad dull, this will be the album to get you going. There’s definitely an Americana feel to tracks like “Out OF Focus”. But, rather than being delivered by a melancholy solo artist, these are given an almost power pop shine. It means tracks like “Pushin You Away” and “Turn Your Head Around” have an almost Lemonheads feel.

The songs are also delivered with a nice sense of humour as shown by the brilliant, and so apt, “On Your Device”. Together with “Weird Romance” there’s more of a pop element to these songs. They remind us of the purer pop sound that Paul Westerberg was going for in the last couple of Replacements albums..

Given Tom Baker’s previous records we knew this was going to be a great album but it has still taken us by surprise. The fact we have referenced The Lemonheads and The Replacements (two of our favourite bands) shows how great this is! It marks a slight shift in Tom Baker’s sound, but is a great record. Our only disappointment is that it’s just too damn short!

• Tom Baker: vocals, guitar
• Charles Hansen: guitar, vocals
• John Sheeran: bass, vocals
• John Blout: drums, vocals
• John Brookhouse: guitar, vocals

01. Cancel It 02:10
02. Out of Focus 03:34
03. On Your Decice 03:04
04. Pushin' You Away 03:27
05. Weird Romance 02:56
06. Turn Your Head Around 02:44
07. My Numba is 666 00:13


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The Dirty Truckers - Second Dose (Garage, Power-Rock US 2020)

Size: 71.6 MB
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The Dirty Truckers got together back in 1999 when song writer Tom Baker chose to pursue a decidedly American rock n' roots direction. Drawing on kick-ass influences such as Cheap Trick, Steve Earle, and The Replacements, the Dirty Truckers rock hard and have a good time doing it. Landing somewhere between Lucero and the Faces, Second Dose is a cross-cutting mix of straightup rockers, garage-punk covers, and soul searching ballads. This is the next chapter in the bands cross-country rock odyssey, proving that The Dirty Truckers are still true originals. 

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Old-school shot-and-a-beer blasters teeming with equal parts raunch, riffs, and romance - raggedly right tunes about looking for love in all the wrong places, and living another day to do it again.

There are true believers in the world. Men and women who play the same chord that slapped them awake on first contact, each note sounding like it was meant to bounce off garage walls. 

The Dirty Truckers are the torchbearers as they hammer out the joy of that initial moment with drums, bass, and guitar turned up to 11 on their recent release, Second Dose.

The Dirty Truckers are a rockin' little outfit drawing on kick-ass influences such as Cheap Trick, Steve Earle and The Replacements. The DT's rock hard and have a good time doing it. 

According to Boston Soundcheck Magazine, "the band's sound is a mixture of '80's Rolling Stones as led by Keith and Ron's two-guitar assault and f*ck you sonic attitude. If you like your bands straight up, no fakers....you'll like The Dirty Truckers.

The Dirty Truckers are:
♣ Tom Baker - lead vocals, guitar
♣ Jamie Griffith - bass
♣ Tad Overbaugh - guitar, back-up vocals
♣ John Brookhouse - lead guitar guitar
♣ Dave Foy - drums
♣ John Lynch - drums
♣ Special Guest: Sir David Minehan - lead guitar, back-up vocals

01. Little Mine 03:02
02. Hotel Highway 02:44
03. Arms Length 02:37
04. Feedback 03:04
05. Help You Ann 02:40
06. Back to Back 03:15
07. Not Missing a Thing 02:57
08. The Rise & Fall 03:20
09. Sixteen Blue 05:27
10. Ragin Eyes 01:50

1. Dirty
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2. Dirty
or
3. Dirty

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dBPowerAMP Music Converter™ 17.2 Reference

October 16, 2020, 10:40 pm
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Penny Arkade - Not The Freeze (Underground + Rock US 1967-68)

October 24, 2020, 5:12 am
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With a throb of excitement matched only by finding King Tut’s OTHER tomb, Sundazed has recently unearthed a long-forgotten treasure from the seminal mid-’60s Los Angeles rock scene: the previously unreleased album by the Penny Arkade! Spotlighting singer/songwriters Chris Ducey and Craig Smith along with bassist Don Glut and drummer Bobby Donaho, the Penny Arkade--with its jangley melange of the Byrds, Buffalo Springfield and Moby Grape—was a
potential pop-rock goldmine in the making. But its only album was inexplicably shelved... Produced by Michael Nesmith, the original, unreleased Penny Arkade album is now expanded to contain extra material from the sessions, revealing demo recordings, and much more. With the addition of long-buried
photos and a detailed band history penned by Ugly Things-editor Mike Stax, this is an astounding tape-vault discovery of the first rank!

"With a throb of excitement matched only by finding King Tut's OTHER tomb, Sundazed has recently unearthed a long-forgotten treasure from the seminal mid-'60s Los Angeles rock scene: the previously unreleased album by the Penny Arkade. Spotlighting singer/songwriters Chris Ducey and Craig Smith along with bassist Don Glut and drummer Bobby Donaho, the Penny Arkade -- with its jangley melange of the Byrds, Buffalo Springfield and Moby Grape -- was a potential pop-rock goldmine in the making. But its only album was inexplicably shelved... Produced by Michael Nesmith, the original, unreleased Penny Arkade album is now expanded to contain extra material from the sessions, revealing demo recordings, and much more."

The Penny Arkade never released any records during their brief existence, and their history has been muddied by the release of much of their material on rare albums credited to one of the band's singer/songwriters (using a pseudonym, no less). The obscurity and confusion is unfortunate, as they were actually quite a good Southern Californian folk-rock-psychedelic band, much like Buffalo Springfield at times, and at others like a tougher Monkees. The Monkees connection is explained, in part, by the production of their studio sides by Mike Nesmith, who was in the Monkees at the time.

The nucleus of the Penny Arkade was comprised of singer/songwriters Craig Smith and Chris Ducey. The pair of them recorded as the duo Chris & Craig, who put out a rare single on Capitol in 1966. They had met Nesmith earlier in New York and when Nesmith was becoming successful with the Monkees, he produced Smith and Ducey's new band, the Penny Arkade, which also included Don Glut on bass and Bobby Donaho on drums. Nesmith recorded quite a bit of material with the band around 1967, with an eye to using the recordings to get them a contract. They couldn't get a deal, however, and broke up without releasing anything.

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Craig Smith had experienced some success as a songwriter covered by other artists, with the Monkees recording "Salesman," Andy Williams "Holly," and Glen Campbell "Country Girl." With those royalties, he embarked on travels around the globe and when he returned to the States, those who'd known him thought he'd gotten way weirder. That's supported by the spooky tone of the solo recordings he did in the early '70s, which are somewhat reminiscent of the acid folk of artists like Skip Spence. In the early '70s, he combined some early-'70s solo recordings with about an album's worth of old unreleased Penny Arkade tracks for two LPs, Apache and Inca. Both were credited to Maitreya Kali, the name Smith was now using for himself, and released in such small quantities that they were essentially vanity pressings.

The Penny Arkade material on the Maitreya Kali albums is actually pretty good and worthy of more attention than many would think given their total obscurity. While not as good as Buffalo Springfield (and pretty derivative of Buffalo Springfield), songs like "Color Fantasy,""Swim,""Lights of Dawn," and "Knot the Freize" (sic) evoke some of the Springfield's better aspects. Particularly ambitious was the 12-minute "Knot the Freize" (sic), the Penny Arkade's own "Broken Arrow" perhaps, as it's a suite of several different songs. There was also their version of "Country Girl," which was pretty and tuneful countrified folk-rock.

The Maitreya Kali albums, and hence the Penny Arkade (who are not credited in any way on the Maitreya Kali LPs), were unknown even to many fanatical 1960s rock collectors. However, those albums, and hence a good amount of Penny Arkade material, were restored to easy availability when they were reissued as a two-CD set on the Normal/Shadoks label. While Smith's post-'70s activities remain mysterious, bassist Don Glut became an independent horror/science fiction filmmaker and Chris Ducey did a mid-'70s solo album for Warner Bros.
 

       01  Lights of Dawn  Ducey  2:55  
       02  Country Girl  Smith  2:53  
       03  Thesis  Ducey  2:44  
       04  Swim  Smith  2:45  
       05  Color Fantasy  Smith  3:53  
       06  Voodoo Spell  Smith  2:16  
       07  Not the Freeze  Ducey, Smith  12:39  
       08  Love Rain [#]  Ducey  2:37  
       09  Century of Distance Smith  2:14  
       10  Sparkle & Shine Ducey  1:47  
       11  Face in the Crowd Ducey  2:49  
       12  Woodstock Fireplace Ducey  3:50  
       13  Year of the Monkey Ducey  3:13  
       14  Give Our Love (To All the People) Donaho, Ducey, Glut  2:44  
       15  Split Decision Smith  2:21  
       16  Sick and Tired Ducey  2:45  
       17  No Rhyme or Reason Ducey  2:19  
       18  You Couldn't Conquer Me Ducey  2:28  
       19  Swim Smith  3:01  
       20  Lights of Dawn Ducey  3:04  
       21  The Freeze Ducey  7:00  
       22  Century of Distance Smith  2:22  
       23  Voodoo Spell Smith  1:51 

1. Penny
or
2. Penny
or
3. Penny

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Craig Smith - Apache & Inca (Psychedelic Underground US 1971-72)

October 24, 2020, 11:25 am
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Craig Vincent Smith (April 25, 1945 – March 16, 2012) was an American musician, songwriter and actor. He began his career in the 1960s playing pop and Folk music, and appearing on The Andy Williams Show. Smith wrote several songs that were recorded by successful artists of the time including Glen Campbell, The Monkees, and Andy Williams. After experimenting with drugs while travelling on the hippie trail, he suffered mental health problems which worsened over time. He released two solo albums, Apache and Inca, in the early 1970s under the names Maitreya Kali and Satya Sai Maitreya Kali. After spending nearly three years in prison for assaulting his mother, he spent the majority of the next 35 years homeless.

Smith was born in Los Angeles, the son of Charles "Chuck" Smith and Marguerite "Carole" Smith (née Lundquist). His father was a descendant of gospel songwriter Charles H. Gabriel. His mother was of Swedish and German descent. Smith had two older brothers and one younger sister. Chuck Smith had worked as a manager at the Jade Room, a nightclub owned by Larry Potter, and was known by the stage name Chuck Barclay. After World War Two he worked as a welder and a salesman. Chuck died in 1978, aged 64, from a stroke, and Carole died in 1998, aged 82, from pulmonary disease.

Smith attended Grant High School, becoming class president and being on the school gymnastics team. He graduated in June 1963, and turned down a number of offers from colleges in order to pursue a career in the entertainment industry.

Career
1963–1966: the Good Time Singers.
In August 1963 Smith was recruited by Michael Storm and Tom Drake (who had performed together as the Other Singers) to join the Good Time Singers, a band formed to replace the New Christy Minstrels on The Andy Williams Show. From December 1963 to January 1964 Smith and Storm also performed shows with Gordon and Sheila MacRae, supported by their daughters Heather and Meredith. The Good Time Singers released their debut self-titled album in January 1964, and their second album One Step More in October 1964. 

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In between the albums they had embarked on a 17-city tour. Around this time Smith began songwriting, and he wrote a song called "Christmas Holiday", which was recorded by Andy Williams for his 1965 album Merry Christmas. As the Good Times Singers' was ending, Smith and fellow bandmember Lee Montgomery intended to form a new duo called Craig & Lee, but Smith had to pull out after successfully auditioning for a new ABC television show, called The Happeners. Smith had previously unsuccessfully auditioned for The Monkees. The pilot for The Happeners was filmed in November 1965. The Good Times Singers' contract for The Andy Williams Show was not renewed past 1966.

1966–1967: The Happeners and Chris & Craig.
After a successful audition process, Smith won the role of Alan Howard on The Happeners. The show was to be directed by David Greene, and was a mix of acting and singing, set in New York and based on the fictional eponymous folk trio. However, ABC declined to pick up the show following the pilot episode. Smith and his The Happeners co-star Chris Ducey decided to form a musical duo called Chris & Craig. They moved into an apartment together and began writing songs. They signed to Capitol Records, recording a number of demos throughout the summer of 1966. Their first single, "Isha", was written by Ducey b/w "I Need You" written by Smith, and was produced by Steve Douglas utilizing session musicians Hal Blaine and Carol Kaye of The Wrecking Crew. 

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It was released in July 1966. Another single, "I Cant't Go On" (written by Ducey), was produced with the same line up. Originally an acoustic duo  utitilizing session musicians, during their later 1966 sessions they began experimenting with a full band, and in November 1966 they played a show supporting the Mothers of Invention with such a full band, with Smith and Ducey playing electric guitars. Throughout late 1966 and early 1967 the duo continued to write and record more songs, but they were never released by the label. In 1967 Smith befriended Gábor Szabó and the Beach Boys, unsuccessfully offering to write songs for the latter. In early 1967 Chris & Craig began playing with a permanent backing band. Through their friendship with Michael Nesmith of the Monkees, they hired Jerry Perenchio as their manager. They changed their name to the Penny Arcade, shortly becoming the Penny Arkade for trademark reasons.

1967–1968: the Penny Arkade.
Nesmith began producing Smith and Ducey, initially pairing them with John London (bass) and Johnny Raines (drums). They were eventually replaced by Donald F. Glut on bass (who had appeared in an earlier incarnation of the band) and Bobby Donaho on drums. While the band worked on their own material, Smith continued to write songs, including "Salesman" for the Monkees, and "Hands of the Clock" and "Lazy Sunny Day" for Heather MacRae. Smith was also credited as co-producer for the songs, alongside Bob Thiele. He also wrote "Holly" for Williams. 

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Nesmith took the band into a studio to record their album. One of the songs written at this time by Smith was "Country Girl", which was later recorded and released by Glen Campbell for his Try a Little Kindness album. The album never materialised, but some of the songs were collected and released as Not the Freeze in 2004. After a bad review of one of their live shows, the band decided to concentrate on writing and recording songs. In early 1968 they unsuccessfully auditioned for the role of house band on the TV show Peyton Place. In February 1968 Smith and his father went into business together, running a bar called the Buckeye Inn. In late 1968 Smith was associating with the Manson Family, and exploring an interest in Eastern philosophy, particularly Transcendental Meditation. Smith eventually left the Penny Arkade and decided to go travelling. The band continued without Smith until 1969, renamed as the Armadillo and with Bob Arthur as a replacement guitarist.

1968: travelling to Asia.
After previously smoking small amounts of marijuana with friends, Smith began experimenting with LSD in 1968. During his travels Smith took LSD on a "regular" basis, and he smoked "copious amounts of hashish" while in Afghanistan. Smith decided to travel to India alone, with just a guitar and a backpack. He set off to join the hippie trail, arriving in Turkey in October 1968, possibly via Austria and Greece. Smith met fellow Western travellers (an Irishman and two American women) in Istanbul, and they set off together in a VW van, intending to drive to Delhi. After the van broke down, they hitched a ride in a lorry transporting olive oil, before taking a bus to Iran. They passed through Afghanistan, with Smith deciding to leave his companions for a few days in Kandahar while they travelled on to Kabul. Smith never joined them in Kabul; when his companions returned to Kandahar a few months later, they heard rumours that he had "gone crazy", running through the market with a knife threatening people, and then disappeared. It later became apparent that after threatening a market vendor, Smith had been beaten close to death and robbed, and possibly kidnapped and raped. Smith possibly spent some time in an Afghan insane asylum, where he is thought to have developed acute schizophrenia. It is not known if Smith ever reached India, although he and his travelogue claims he did visit India and reconnected with the Maharishi and went to Nepal.

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1969–1970: return to United States and travelling to South America.
Smith returned to the United States in late 1968 or early 1969, initially living back with his parents. He was possibly institutionalized and medicated for a short period. By this stage he was using the name "Maitreya Kali", which he intended to become his legal name, although this didn't happen until 1971. He continued to receive royalty checks from his historical songwriting for Williams and Campbell, amongst others. After his girlfriend left him, Smith decided to travel to South America, spending time in Peru, Ecuador, Bolivia, Argentina, and the Galapagos Islands of Chile. Returning from South America, Smith reunited with his girlfriend, and they became engaged. When the engagement ended, Smith ripped up the wedding dress his fiancée had chosen. Following another brief re-connection, the relationship ended for good when Smith violently threatened one of her male friends.

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1970–1971: deterioration in mental health.
Smith claimed to have mystical powers, and thought he was a messiah. He prophesied that he would be "King of the World" by 2000. He claimed to be a reincarnation of Jesus, Buddha, and Hitler. As his erratic and bizarre behavior became more pronounced, such as claiming voices were telling him to kill people, his friends started to ignore him. One friend eventually had to obtain a restraining order against Smith. His appearance became more and more unkempt, with long hair and a wild beard. At one point, he shaved his head and beard off, and dressed in robes, his appearance comparable to a Buddhist monk, although his hair and beard would later grow back. He visited Heather and Sheila MacRae in Miami, and was asked to leave by Sheila's new husband after he woke up to find Smith standing over their bed with a knife. Heather saw him again in Los Angeles in 1972, when he "looked really scary [...] just totally looked insane, and would say weird things."

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1971–1972: Apache and Inca.
Smith wrote two solo albums Apache and Inca in 1971, which were self-released in 1972. In the liner notes to both albums, Smith claims to have played every instrument. The liner notes as a whole have been described as "bizarre [and] rambling", and display his belief system. Apache was released on his own 'Akashic Records', and features three songs from the Penny Arkade recording sessions. Inca was released a few months after Apache, in the summer of 1972, not as a standalone album but as a double gatefold with Apache on his new 'United Kingdom of America Records' label. Like Apache, Inca also features songs from the Penny Arkade recording sessions. The albums were mainly distributed to Smith's friends or sold on the street.

After the albums were released, Smith sold his car with the intention of going to Ethiopia. His mental health problems continued, such as suggesting to a friend that they fight to the death using samurai swords. He also had a small black spider tattooed in the middle of his forehead in 1972 or 1973. On April 22, 1973, Smith attacked his mother at the family home. An attempted murder charge was not established, and following a psychiatric examination, he pleaded 'no contest' to a charge of assault. He was sentenced in November 1973 to six months to life, the maximum sentence for the offence, and the Judge suggested intense medical and psychiatric treatment. 

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He began his sentence at the California Institution for Men, before transferring to the Deuel Vocational Institution in December 1973. He transferred again, to the California Men's Colony, in February 1974. He was granted parole at the fourth attempt, and was released from prison in June 1976.

1977–2012: later years and death.
Suzannah Jordan, the third member of The Happeners trio, ran into Smith in LA in 1977; he was homeless but did not display any mental health issues. He drifted in and out of mental hospitals until the mid-1980s when funding was cut, and would then spend the next years homeless. He also had various run-ins with the law. In 1981 or 1982 he saw another old friend and told her he had been recording music. He has been indeed recording music, according to Mike Stax, as late as the late 1990s, which includes the 1994 song "Waves", which was released on the 2018 CD version of the album Love is Our Existence. 

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By the early 2000s his "ramblings" had moved from Eastern philosophy/his Maitreya Kali persona to aliens. Smith died on March 16, 2012. His family declined to collect his ashes, and they were eventually collected by journalist Mike Stax.

★ Apache (Released under the name Satya Sai Maitreya Kali) (Akashic Records, 1971)

01. Ice and Snow 03:25
02. Black Swan 02:50
03. Color Fantasy 03:51
04. Voodoo Spell 02:01
05. Salesman 02:55
06. Music Box 02:55
07. Love Is Our Existence 02:30
08. One Last Farewell 02:35
09. I'm Walkin' Solo 02:28
10. Silk and Ivory 03:05
11. Swim 02:43
12. Revelation 03:12

★ Inca (Released under the name Satya Sai Maitreya Kali) (United Kingdom of America Records, 1972) 

01. Lights of Dawn 02:56
02. Thesis 02:46
03. Knot the Freize 12:31
04. Jesus Owns 01:32
05. Sam Pan Boat 03:18
06. Fearless Men 03:38
07. Cheryl 03:05
08. Country Girl 02:51
09. Old Man 03:47
10. King 00:08

1. Craig
or
2. Craig
or
3. Craig


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Eric Burdon & The Animals - Winds of Change (2CD) (US/UK 1967)

November 10, 2020, 1:47 am
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Source: Japan SHM-CD Remaster

Winds of Change is an album released in 1967 by Eric Burdon & The Animals.

The original band, The Animals, broke up in 1966 and this band was entirely new except for lead singer Eric Burdon and drummer Barry Jenkins, who joined the original lineup when John Steel left in February 1966. With the new band, featuring guitarist Vic Briggs, bassist Danny McCulloch and electric violinist John Weider, Burdon began to move from the gritty blues sound of the original mid-1960s group into psychedelic music.

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The album opened with the sound of waves washing over the title track, "Winds of Change". "Poem by the Sea" is a spoken-word piece by Burdon with a swirl of echo-drenched instruments. "Good Times" and "San Franciscan Nights" were two of the most popular tracks, the latter breaking into the Top 10 in 1967. Burdon was a fan and friend of Jimi Hendrix and wrote the fifth track as an answer song to Hendrix's "Are You Experienced", which was still unreleased at the time the "answer" was recorded.

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In their retrospective review, Allmusic described Winds of Change as the band's first real psychedelic rock album. They praised the closing track "It's All Meat" and the cover of "Paint It, Black" as rare examples of psychedelic rock songs by the Animals that are strong and convincing.

Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. 

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The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed. 

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"The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." 

Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms. [AMG]

Personnel
♦ Eric Burdon - Vocals
♦ Vic Briggs - Guitar, Piano and Arrangements
♦ John Weider - Guitar and Violin
♦ Danny McCulloch - Bass
♦ Barry Jenkins - Drums

Disc 1 (Stereo)
01. Winds Of Change - 04:01     
02. Poem By The Sea - 02:12     
03. Paint It Black - 06:03     
04. The Black Plague - 06:08     
05. Yes I Am Experienced - 03:55     
06. San Franciscan Nights - 03:25     
07. Man - Woman - 06:03     
08. Hotel Hell - 04:19     
09. Good Times - 03:09     
10. Anything - 03:30     
11. It`s All Meat - 02:10

Bonus     
12. Ain`t That So - 03:24 (Single Version)     
13. Gratefully Dead - 04:00 (Single Version) 

Disc 2 (Mono)
01. Winds Of Change - 03:59    
02. Poem By The Sea - 02:15    
03. Paint It Black - 05:59    
04. The Black Plague - 06:03    
05. Yes I Am Experienced - 03:42    
06. San Franciscan Nights - 03:21    
07. Man - Woman - 06:02    
08. Hotel Hell - 04:14    
09. Good Times - 03:01    
10. Anything - 03:23    
11. It`s All Meat - 02:06

Bonus    
12. Anything - 02:51 (Single Version/Stero Mix) 

1. Burdon
or
2. Burdon
or
3. Burdon

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Many "Japan Cardboard Sleeve CD" For Sell, and alot of them is now very rare as you will see...

November 30, 2020, 8:41 am
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Hi all.

To all collector of "Japan Cardboard Mini LP CD". I have now alot of them for sale, often to a really good price. If you find 6 copies or more, i will give you a better price for all of them.

Adress to my Japan Mini LP website: https://japan-cd.blogspot.com/ When you have scrolled down, click on "older post" and you will find my next page, and so on. I have around 300 items on my website, all albums is in Swedish Crown (SEK) so you need a currency converter.

IMPORTANT:My Email adress is now:chrisgoesrock@outlook.com

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All Mini LP CD's is brand new and unplayed. What makes these Japanese CD albums interesting is that they are made as exact copies of the LP as it looked when it was released; Laminated, Relief cover, Triple Fold and much more. These CD albums started to be released in Japan from 1996 and they are available for all tastes.

Replica CDs are official audiophile releases manufactured in Japan with incredible attention to detail. CDs made in Japan are revered by collectors and specialists for their very clean sound, production quality, and they are superior in nearly every way to pressings from other countries.

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The Japanese packaging of classic albums in cardboard sleeve miniature is a wonder to behold. Mini-LP CD albums are like precious stones or perfectly cut diamonds.

The superb mastering (often SHM-CD, 24 Bit, K2, DSD, or HDCD) and resultant sound quality is superior to that of MFSL releases.

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Replicas are often the nearly exact duplications of the first pressings of the 12" LPs and everything that was present in the original LP may be included such as gatefolds, booklets, lyric sheets, posters, printed CD sleeves, stickers, embosses, special paper or inks, and die cuts.

In nearly all replica releases a detail sheet is included, and although the text may be in Japanese, the insert will often include the lyrics in English, which is a big plus if the original LP did not include them. Japan promotional strips, also called OBI, are usually included with the package as a way of advertising the CD to the Japanese buying public.

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On occasion a replica CD will have bonus tracks included that were part of a later CD release. However, the notes about the bonus tracks are never added to the album artwork, only the promotional strip or the detail sheet. Thus the integrity of the original LP artwork is maintained.

Replica CDs are not officially for sale outside Japan, but they are worth the trouble and cost to get them. Replica CDs are expensive in Japan. New releases of replica CDs cost anywhere from $30 to $70 a piece and Japanese law forbids putting "new" CDs on sale or selling at any price other than listed on the Obi (promotional strip).

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Most replica CDs are manufactured in a limited quantity and sell out quite quickly after release. Because of this replica CDs are splendid keepsakes that hold their value and will likely continue to be items sought by collectors.

The world of paper Jacquet collected the best of technology that Japan is proud of. Work is not only the music, the stunning artwork of the LP era, which has been talked about with its jacket, original color and form, of course, it has been thoroughly reprinted up to the texture and texture of the paper. Especially from the late 60's and 70's, special specification jacket elaborate stiffness are also many announcement, a perfect reproduction of them with miniaturized is also reminiscent of a miniature garden and elaborate model.

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Folding the printed paper itself, pasted-made light jacket. This is called because many have been adopted in the United Kingdom (E). Especially works of 60's, laminated in order to give a gloss on the surface (PP stick) has been there are many. Other, form and the back of the upper and lower has been narrowed down, the margin of bonding there are variations, such as flipback cover.

Open When the jacket of luxury specifications on the inside, such as photos and lyrics are printed. Because it is similar to the photo of the album, there is a theory that began to call the album LP record for singles. Overseas called gatefold. Front and back, medium surface within bag work of Keefe and hypnosis that was designed (to be described later) in a consistent concept is popular. In addition, 2-Disc LP, etc., open state in the double-jacket that there is a pocket for accommodating the LP to the left or right, but what there is no pocket only one with a single thing called a semi-double jacket, double as their generic name - sometimes referred to as a jacket.

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That of the jacket with a special design / production process in order to get a personality. It has been originally produced on the basis of a certain standard LP is there, spread and may become like the poster, or attach the 3D (three-dimensional), embossed ( embossing) or the processing, die cut (hollowed out) processing or the, that or use a paper that has been with the textured and pattern, the more attractive for the fans It increases. The box set that was bundled a booklet of materials and bonusand, what made a jacket with a special material.

Many are wound on the left side of the jacket, that of paper that describes the artist name and title in Japanese. Put the jacket top there is also a variation such as "covering zone". Japan and it is a unique specification, for the listener is often discarded after the purchase, a band with a valuable record LP is popular with enthusiasts around the world as "with OBI". In recent years, the design has been growing number of cases, which is also reproduced in the paper jacket CD.

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Original and different (different) things jacket using the design. Or if the Publisher of the label in the UK and the US different, especially many in the world release of the mid '60s. The SHM-CD / paper jacket of Universal International, for a Def Jacquet title, has been set as much as possible in the form of "bonus paper jacket".

That of the bag to protect the records that are in the inside jacket. Although often nothing of what print is also not pure white, is designed with a jacket and a similar concept, that such as photos and lyrics are printed is reproduced even paper jacket CD. Other, there is also what is referred to as Company Sleeve which has been used the same general-purpose design and other LP that was released around the same time. The foreign Release LP disc was housed directly in these paper bags, Japanese board LP often are housed in clear plastic bag called Shaw Rex.

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Generic name of the hand, adjunct that is not a bag-shaped. Many have described such as musicians, referred to as the ones that are especially me lyrics and lyrics card. Of course, it is the part that is reproduced in the paper jacket CD.

Paper label on the center of the record. Rarely in such singles some of which were the direct printing on PVC material. Artist name, album name, music, music creator, the label name is described, the production process, since the time of jacket printing to others not determined the song order is an important part reveal the recording contents. 

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But usually it is used record company common design, there is also a place that changed the design to the each time as Island Records, become material, even for understanding the issue time of record. In addition, there are also those that are designed with a jacket and a consistent concept. The SHM-CD / paper jacket of Universal International, has this label was two-sided printing (AB surface) "label card" as much as possible inclusion.

//ChrisGoesRock

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Dick Dale & His Del-Tones - King Of The Surf Guitar (Surf US 1963)

December 7, 2020, 4:08 am
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Dick Dale was becoming one of the biggest rock & roll acts in California's history in 1962 when he was signed to Capitol Records, who reissued his album Surfer's Choice (which had already moved close to 90,000 copies on Dale's own Deltone label) and put him into the studio to cut some fresh material for his new sponsors. 

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Overall, King of the Surf Guitar was probably Dale's best album for Capitol, but it also suggested a fundamental misunderstanding of Dale and his music by the label. King of the Surf Guitar begins with the title tune, in which female vocal group the Blossoms (featuring Darlene Love) urge us to "Listen! Listen to the King!" as Dale reels off trademark riffs, as if anyone who bought the record would be likely to do otherwise, and the curious opener pointed to the album's flaw. 

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Dick Dale & Stevie Wonder in 1964

Capitol seemingly wanted an album that would have something for everyone, so along with Dale's ripsaw surf guitar vehicles it includes folk tunes ("Greenback Dollar"), rock & roll oldies ("Kansas City"), country standards ("You Are My Sunshine"), lovelorn ballads ("If I Never Get to Heaven"), and plenty of vocal numbers, though Dale goes out of his way to inject his forceful personality into every tune and his singing, while not as impressive as his guitar work, was nothing to complain about. 

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Fender Showman Ampi, MIM PHX

Still, this album truly shines on tunes when Dale gets to play guitar at full force, and "Hava Nagila,""(Ghost) Riders in the Sky," and "Mexico" are as fiery as anything he would cut for the label. If King of the Surf Guitar isn't a Dick Dale album for purists, at the very least it leaves no doubt that he came by the title accolade honestly.

Richard Anthony Monsour (May 4, 1937 – March 16, 2019), known professionally as Dick Dale, was an American rock guitarist. He was the pioneer of surf music, drawing on Middle Eastern music scales and experimenting with reverberation. Dale was known as "The King of the Surf Guitar", which was also the title of his second studio album.

Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale's music, and often included recordings of Dale's songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.

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He has been mentioned as one of the fathers of heavy metal. Many credit him with tremolo picking, a technique that is now widely used in many musical genres (such as extreme metal, folk etc.). His speedy single-note staccato picking technique was unmatched until metal greats like Eddie Van Halen entered the music scene.

Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier.[8] Dale also pioneered the use of portable reverb effects.

The use of his recording of "Misirlou" by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He also won a Grammy nomination for Best Rock Instrumental for the song "Pipeline" with Stevie Ray Vaughan.

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Dick Dale in 2009

Dale began playing in local country western rockabilly bars where he met Texas Tiny in 1955, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.

Dale employed non-Western scales in his playing. He regularly used reverb, which became a trademark of surf guitar. Being left-handed, Dale tried to play a right-handed guitar, but then changed to a left handed model. However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down, often playing by reaching over the fretboard, rather than wrapping his fingers up from underneath.

He partnered with Leo Fender to test new equipment, later saying "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." His combination of loud amplifiers and heavy gauge strings led him to be called the "Father of Heavy Metal". After blowing up several Fender amplifiers, Leo Fender and Freddie Tavares saw Dale play at the Rendezvous Ballroom, Balboa, California and identified the problem arose from him creating a sound louder than the audience screaming. The pair visited the James B. Lansing loudspeaker company and asked for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fender Stratocaster and Fender Showman Amp allowed him to attain significantly louder volume levels unobtainable by then-conventional equipment.

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Dale's performances at the Rendezvous Ballroom in Balboa in mid to late 1961 are credited with the creation of the surf music phenomenon. Dale obtained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out.

"Let's Go Trippin'" is one of the first surf rock songs. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And ... it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." His second album was named after his performing nickname, "King of the Surf Guitar".

Dale later said "There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar". His playing style reflected the experience he had when surfing, and projecting the power of the ocean to people.

Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" in the 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. The group performed the songs "My First Love,""Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.

01. "King of the Surf Guitar" (Alonzo Willis) – 2:06
02. "The Lonesome Road" (Nathaniel Shilkret, Gene Austin) – 3:14
03. "Kansas City" (Jerry Leiber, Mike Stoller) – 2:43
04. "Dick Dale Stomp" (Dick Dale) – 2:12
05. "What'd I Say" (Ray Charles) – 3:24
06. "Greenback Dollar" (Hoyt Axton, Ken Ramsey) – 2:52
07. "Hava Nagila" (Dick Dale) – 2:04
08. "You Are My Sunshine" (Jimmie Davis, Charles Mitchell) – 1:58
09. "Mexico" (Boudleaux Bryant) – 2:10
10. "Break Time" (Dick Dale) – 2:45
11. "Riders in the Sky" (Stan Jones) – 2:11
12. "If I Never Get to Heaven" (Jenny Lou Carson, Roy Botkin) – 2:55

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Ape Skull - Fields Of Unconscious (Retro Hardrock Early 70's) (Italy 2020)

December 23, 2020, 2:42 am
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Ape Skull were born in 2008. After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their genre. Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records.

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After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their compositions. 

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The genre can essentially be called Rock! After the first two albums (Ape Skull and Fly Camel Fly, produced by Heavy Psych Records), Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records. 

Here we find original songs that embody the sound of Ape Skull. It will also include, as in previous albums, a version customized by their sound in this case composed by The Jeronimo (1970). 

The Ape Skull's Rock still flies and lives in the present, with the ear turned to all the musical genres that inspired the musical revolution of the 60s and 70s.

The band is closer to the compositions inspired by Rock Funk and Psych Rock American and European groups such as Alamo, Jerusalem, Damnation Of Adam Blessing, Cream etc.. 

The desire to reproduce the sounds that characterized 1969 to 1972, about a golden age for rock music, are the basic inputs of the band. 

Ape Skull, after a single recording session of songs, recorded a full lenght album composed by 8 unreleased Hard Rock gems and a cover of "I got no time" from Orange Peel (Germany) for Heavy Psych Sounds Records.

The Band:
♦ Giuliano Padroni: drums, lead vocals, backing vocals
♦ Fulvio Cartacci: guitar, backing vocals
♦  Pastorelli: bass, backing vocals

01. Fields Of Unconscious 04:05
02. That's All I Want 06:55
03. Freedom 03:46
04. I'm Coming Home, Baby 04:10
05. Heya 07:12
06. Glory Days 06:17
07. Atom In The Sky 05:57

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King Bison - 1 (Heavy, Bluesy, Riff Rock Band US 2014-16)

January 8, 2021, 12:17 am
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King Bison, a heavy, bluesy, riff rock band from southeastern Pennsylvania.

Born from the ashes of a defunct local rock outfit Chris and Dean set out to create a new band that took elements from all the music they loved and combine it into one. After musicians coming and going they finally found fellow bandmate Jason who rounded out the line-up perfectly. Their take on some classics from the 70's is a revamping of energy and heaviness. Their originals harken back to that era in rock music adding a modern edge. Check out the band coming to a venue near you soon.

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Not to be confused with New York’s King Buffalo, Michigan’s Bison Machine or any number of other large mammals in the well-populated fur-covered contingent of American heavy rockers, King Bison make their self-titled debut via Snake Charmer Coalition, comprising seven riffy bruisers owing a deep debt to Clutch and, in that, reminding a bit of their Pennsylvanian countrymen in Kingsnake. 

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Songs like “One for the Money” and “March of the Sasquatch” signal a watch for stoner-roller grooves to come in “Queen of the South” and “Pariah,” the dudeliness of the proceedings practically oozing from the speakers in the gruff vocals of guitarist/vocalist Chris Wojcik, who’s joined in the trio by bassist Dean Herber and drummer Scott Carey. 

The penchant for booze and blues, ladies and US auto manufacturing holds firm in “Night Ride” and the slower “I’m Gone,” and while one might expect a closer called “Space Boogie” to flesh out a bit, King Bison instead reinforce the foundation they’ve laid all along of Southern-style heft, remaining light on pretense and heavy on riffs.

The Band:
♦ Chris Wojcik - Guitars, Vocals
♦ Dean Herber - Bass
♦ Jason Marshall - Drums
 
01. King Bison - Queen of the South  03.22
02. King Bison - Night Ride  03.49
03. King Bison - Road Without End  04.23
04. King Bison - One Step  04.29
05. King Bison - One for the Money  05.23
06. King Bison - March of the Sasquatch  04.21
07. King Bison - Pariah  05.05
08. King Bison - I'm Gone  03.40
09. King Bison - Space Boogie  03.59
10. King Bison - Odysseus  03.41
11. King Bison - Slaughter House  03.50
12. King Bison - One Foot  03.35
13. King Bison - Petra  03.50
14. King Bison - Dr. Strange  03.36
15. King Bison - Murder on High  05.08

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Impeccable - Live on The Rox (Superb Private Hardrock US -79)

January 8, 2021, 12:32 am
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Impeccable was formed in late 1976, although they were known as Live Wire and then Axxe before they eventually settled on calling themselves Impeccable. Early on, they had the intention of being an original music outfit, so they started creating their own material almost from the inception. Most of the raw musical compositions were written by Darren Welch, and then vocalist Don Allison would put together the lyrics, and they'd all get together to construct and finalize the tunes. 

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So, there was also input from drummer Morris Payne & bassist Richard Rico. They were influenced by groups such as Led Zeppelin, Rush, The Beatles, Wiggy Bits, Moxy, Hendrix, Trapeze & Black Sabbath. Sometime in 1978, they met Rusty Zavitson, who said he'd like to record the band. So, they ended up recording their debut single in Rusty's living room on a 4 track reel to reel and it was at this time they were known as Axxe. 

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They pressed 1,000 copies of the single, issued with a picture sleeve featuring a group photo on front. These were distributed locally and sold at shows. They toured around Texas, New Mexico and Oklahoma shortly thereafter to support the release. The band did numerous shows at a club in Lubbock called The Rox, owned by Carlo Campanelli. 

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This is where they decided to record the live show that would become the Live on the Rox album. It was at this time, they renamed the band Impeccable, after the classic Budgie album. They also happened to do several shows with Budgie & ended up becoming friends. They pressed up 1,000 copies of the Live on the Rox album under the GBC label. GBC wasn't a real label of any sort, it was just a fictional creation of Carlo, who loaned them the money for the pressing, he said it stood for Great Big Con.

Highly anticipated reissue of rare Texas hard rock private press record originally released in 1979. Loud, ferocious, untamed guitar work, courtesy of Darren Welch, dominates this Lubbock, Texas band's hard to find debut album. Impeccable deliver a massive dose of raw in-your-face rock and roll energy here, captured live in 1979 at a popular night club in Lubbock called The Rox. 

As a bonus, there are two tracks from the band's ultra-rare debut single from 1978 when they were still known as Axxe. This single is on a lot of collector want lists and is nearly impossible to find these days, even here in Texas. Includes liner notes and photos from the Impeccable archives.

01. Call of the Wild  03:51 
02. Traces of Time  04:07 
03. Seashore  05:34 
04. Lizzy  04:44 
05. Live Wire  03:49 
06. No Other Way  07:07 
07. Johnny B Goode  03:39

Bonus Tracks 
08. Axxe - Rock Away the City  03:09 
09. Axxe - Through the Night  05:55

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Magic - Enclosed (Very Good Psych-Rock US 1969)

January 22, 2021, 11:52 am
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Hideously rare 1969 album by this US band. Psychedelic and bluesy West Coast sound with ripping fuzz guitar much in the vein of Crazy Horse, Quicksilver, "Vindicator" era Arthur Lee and the likes. The 12-minutes long "I'll just play", full of endless dual guitar attacks & effects is the ultimate acid-rock jam.

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Enclosed was the title of Magic's debut album released in 1969, and this Gear Fab reissue by the same name includes the entirety of that debut, but also adds a 1968 single from the original lineup and songs from the 1971 sessions on Motown imprint Rare Earth that culminated in their second self-titled album, so it really can be considered the definitive document of the band. 

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On the original single, the band leaned toward rock & roll that was very much informed by black music -- one side was a cover of the Otis Redding classic "That's How Strong My Love Is," the other a Duane King original that Sam & Dave could have easily torn into; in fact, Magic, and particularly its most talented songwriter, King, displayed an almost magic knack for penning songs that sound like lost Southern soul classics. 

King's lead vocals could be strikingly bluesy, and the band cooks throughout the album, moving from the loping country-rock & soul of the opening track "Keep on Movin' On" to the electric blues of "Who Am I to Say?" to the sunny country-rock of "California" to the Stax-styled ballad, "You Must Believe She's Gone." Stax is, in fact, a good reference point for the entire debut album. 

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The rhythm section consistently locks into a transcendent groove, and Joey Murcia's fabulous guitar work is slightly busier than Steve Cropper's but approaches the work of that legend, with a proper grit to it that is never wasted. It is surprising that Magic never quite found a wider audience. The final track from the first album, 

"Sound of the Tears Is Silent," sounds as if it could have come from the pen of Smokey Robinson, and it leads perfectly into the band's subsequent stint on Motown's Rare Earth label. Most of the songs from that period that show up on the Gear Fab reissue, however, seem to veer closer to streamlinened, hard blues-rocking territory (with a couple of country-ish cuts) and are, as a result, not quite as appealing as the previous soulful material. Still, the early Magic songs alone make this a welcome reissue, especially for lovers of Stax and Southern soul music. ~ Stanton Swihart

Magic Band is: 
♣ Nick King 
♣ Gary Harger 
♣ Duane King 
♣ Joey Murcia

01. Keep on Movin' On
02. Indian Sadie
03. You Must Believe She's Gone
04. Ets/Zero
05. Wake Up Girl
06. One Minus Two
07. Who Am I to Say?
08. I'll Just Play

Bonus Tracks
09. I Think I Love You (Single A-Side, 1970)
10. That's How Strong My Love Is (Single B-Side, 1970)
11. California - (previously unreleased)
12. Sound of Tears Is Silent - (previously unreleased)
13. I Do - (previously unreleased)
14. Hold Me Tight - (previously unreleased)
15. Compassion - (previously unreleased)
16. Be at Peace with Yourself - (previously unreleased)
17. Too Many People Starving - (previously unreleased)

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dBPowerAMP Music Converter™ 17.3 Reference (72.7 MB)

February 11, 2021, 11:35 am
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Audio conversion perfected, effortlessly convert between formats. dBpoweramp contains a multitude of audio tools in one: CD Ripper, Music Converter, Batch Converter, ID Tag Editor and Windows audio shell enhancements. Preloaded with essential codecs (mp3, wave, FLAC, m4a, Apple Lossless, AIFF), additional codecs can be installed from [Codec Central], as well as Utility Codecs which perform actions on audio files. After 21 days the trial will end, reverting to dBpoweramp Free edition. dBpoweramp is compatible with Windows 10, 8, 7, Vista, both 32 and 64 bit.

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dBpoweramp Music Converter features:

• Convert audio files with elegant simplicity. mp3, mp4, m4a (iTunes / iPod),            Windows Media Audio (WMA), Ogg Vorbis, AAC, Monkeys Audio, FLAC, Apple      Lossless (ALAC) to name a few!
• Multi CPU Encoding Support
• Rip digitally record audio CDs (with CD Ripper)
• Batch Convert large numbers of files with 1 click
• Windows Integration popup info tips, audio properties, columns, edit ID-Tags
• DSP Effects such as Volume Normalize, or Graphic EQ [Power Pack Option]
• Command Line Encoding: invoke the encoder from the command line
• DSP Effects - process the audio with Volume Normalize, or Sample / Bit Rate         Conversion, with over 30 effects dBpoweramp is a fully featured mp3 Converter
• dBpoweramp integrates into Windows Explorer, an mp3 converter that is as          simple as right clicking on the source file >> Convert To. Popup info tips, Edit   ID-Tags are all provided.

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dBpoweramp Music Converter 17.3 changes:

★ New Low Pass filter code, does not attenuate lower frequencies
★ New DSP effects: High pass, and Bandpass filters
★ wavpack updated to 5.4.0
★ CD Ripper: Added Catalog # to the new tags list. Also sorted the list.
★ CD Ripper: Added secure option to mark track as error 'if not verified by  accuraterip'
★ CD Ripper: filename column - if multi encoder then says for each track {multi-      encoder cannot show filename}
★ CD Ripper: will show error if try to use Multi Encoder with '[sourcexxx]'      naming elements  
★ ID Tag Processing DSP: 'delete all' and 'all except' actions are removed for     naming processing 
★ Tag editor when choosing art from internet, if does not have album title then     track name is used instead
★ Multi Encoder: removes the 'As Source' naming options multi-encoder naming     selection
★ ID3v2 tags: updated itunes compilation field handling, supports multi-value TLAN + TPUB   
★ APEv2 tag: properly remove multiple album art entries


♦ Bug fix: property handler and thumbnail provider would not read the tag if in    process tag reading was checked
♦ Bug fix: Choosing After Conversion >> 'shutdown / hibernate / etc' would not happen unless 'skip finish' as also selected
♦ Bug fix: can write DSD tags when ripping to ._ files
♦ Bug fix: CD Ripper: ID Tag processing DSP effect was not being used to pre- process the ID Tags when creating filenames with [Multi Encoder]
♦ Bug fix: Music Converter: ID Tag processing was not being used for Multi- encoder

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Jim Ford - Harlan County (Rare US Country-Soul-Funk 1969)

February 11, 2021, 11:59 am
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Originally from New Orleans, Jim Ford lost interest in his academic pursuits and, in 1966, drifted out to California. He was passing through L.A., on his way to the Haight-Ashbury district in San Francisco, when he met two session musicians, Pat and Lolly Vegas. The Native American rockers — who later formed the commercially successful Redbone — had worked on the Shindig television show at the time, and had already recorded their Pat and Lolly Vegas at the Haunted House album for Mercury. After hearing his songwriting talent first-hand, the Vegas brothers brought Ford to the attention of Del-Fi Records' honcho Bob Keane, known around the L.A. music scene for his "open door policy." Keane released a couple of Ford's singles on Del-Fi's Mustang label, both of which sank without a trace. Del-Fi/Bronco recording artist Viola Wills also recorded one of his songs. Along with Pat and Lolly Vegas, Ford wrote the P.J. Proby hit "Niki Hoeky" (it peaked at number 23 on Billboard's pop charts in January 1967), which Ford's former girlfriend Bobbie Gentry also sang on one of her later albums. In 1969, Ford got the opportunity to record his debut album. Harlan County (released on the Sundown label, a small subsidiary of White Whale) featured funky, mid-tempo country, and R&B-flavored rockers with a driving Muscle Shoals-style rhythm section, with backing and arrangements by the Vegas brothers and Gene Page. 

Most of Ford's original songs had a lyrical narrative recalling the hardship of growing up in the coal-mining country of Harlan County, KY. Among the various highlights are his fuzz-drenched cover version of Willie Dixon's "Spoonful," his take on Delaney & Bonnie's hip-shake boogie "Long Road Ahead," and a remake of the swampy classic "I'm Gonna Make Her Love Me ('Til the Cows Come Home)." In 1971, Ford's manager, Si Waronker (founder of Liberty Records), flew his artist to London, where he was booked into Olympic Studios to record a follow-up album. This time he was backed by pub rockers Brinsley Schwartz (they later recorded "Niki Hoeky" and Ford's "Ju Ju Man"; Nick Lowe also recorded Ford's "36 Inches High" for his Jesus of Cool album). After three days of sessions, the band failed to keep up to the challenge of backing Ford, so Waronker brought in Joe Cocker's Grease Band, but they too didn't work out. As the project never did quite meet up to everyone's expectations, it was eventually aborted. The tapes for these sessions have reportedly disappeared. 

Ford returned to the U.S. and his career never really took off as expected. He wrote songs for Bobby Womack in 1972 (including the wonderful "Harry Hippie"), and later worked with friend Sly Stone (he even moved into Stone's Holmby Hills home for awhile), but since the early '70s, Ford has slipped out of sight.

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The legendary ''Harlan County'' album, PLUS rare singles and previously unreleased masters! The first and last word on an underground roots music legend! Jim Ford’s original album from 1969 has been described as the holy grail of country soul. Contains extensive liner notes that for the first time ever- tell the whole Jim Ford story. Includes ten previously unreleased recordings recently discovered at Ford's home. Only available here. Includes five songs from Jim Ford's ultra-rare 45rpm singles, never released on CD before. Previously unpublished photos personally supplied by Jim Ford. Jim Ford is the composer of Aretha Franklin and PJ Proby’s 'Niky Hoeky', Bobby Womack's 'Harry Hippie', and - as revealed in the liner notes- he also wrote Bobbie Gentry's 'Ode To Billie Joe'.

This is essential for any lover of late 60's, early 70's country-soul-funk. Amazingly, his album "Harlan County" has never received the attention it deserves. I heard of this through a friend. Nick Lowe confirms in the wonderful liner notes that Jim Ford was his biggest influence. As a huge Nick fan, it seems appropriate to dig into this stuff. The CD is in a great digipack form and includes an in-depth story and interview with Jim Ford by a guy from Sweden. So Jim is alive and well to appreciate this overdue collection. 

The "Harlan County" record features a great band. It was recorded in 1969 and includes James Burton - he's played with Ricky Nelson, Elvis Presley, Gram Parsons, Jerry Lee Lewis, Elvis Costello, Roy Orbison and tons others, Jim Keltner on the drums - who I've long adored as a drummer laying down possibly his best drum beats in 1969!! If you do a search on Keltner you'll see an incredible list or artists that he's played with and made their records better. Amazingly, not many Keltner discographies even mention this record! I've heard many Keltner performances - this is my favorite! Also features Dr. John on piano and keyboards. What's not to like with that band? Then the songs kick in. The title track is a classic romp through Jim's childhood in the coal mining hills of Kentucky. The rest of the album builds with slower tunes like "Changing Colors" which includes a lo-fi sound, but with string section and Jim singing wonderfully almost in a Glen Campbell style. Another classic is "Love On The Brain". Man, a great groove ala the Stones. Then it goes into overdrive with "Long Road Ahead", "Under Construction" and "Working My Way To L.A.". You won't hear three more soulful groovin', yet hard hittin' tunes in a row. Once again, I've never heard such impassioned drumming from Keltner! The album finishes up with a scathing take of "Spoonful" (the old Howlin' Wolf tune) and then Jim really lays out every bit of his vocal with "To Make My Life Beautiful". And that's just the "Harlan County" record. The rest of the tunes show more promise and get stuck in your head quite easily. "Big Mouth USA" is just classic country ala "Harper Valley PTA". "Ten Inches High" is a song I'd originally heard covered by Nick Lowe. 

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Jim's version will give you chills. I'm not going song by song, but all of these rare tunes and outtakes ending with his first single "Hangin' From Your Lovin Tree" make this release ideal to any "real" lover of country-soul music! The interview and story with the CD are interesting. Sounds like a few breaks here or there - especially missing out on signing with Atlantic w/ Jerry Wexler (the classic producer of Willie Nelson etc.) hurt Jim's chances of making a great career. There may be more tapes out there with more tunes in hopes of unearthing for another lost Jim Ford collection. 
This is the stuff of legends. But it's real - it's here. Pick it up. It's fantastic! (By  Spencer Marquart (St. Louis, MO USA)  

01. Harlan County  
02. I'm Gonna Make Her Love Me  
03. Changing Colors  
04. Dr Handy's Dandy Candy  
05. Love On My Brain  
06. Long Road Ahead  
07. Under Construction  
08. Working My Way To L.A.  
09. Spoonful  
10. To Make My Life Beautiful

Bonus Tracks  
11. Big Mouth USA  
12. 36 Inches High  
13. Sounds Of Our Time  
14. Chain Gang  
15. I Wonder What They'll Do With Today  
16. Go Through Sunday  
17. She Turns My Radio On  
18. Mixed Green  
19. Happy Songs Sell Records, Sad Songs Sell Beer  
20. It Takes Two (To Make One)  
21. Big Mouth Usa  
22. Rising Sign  
23. Linda Comes Running  
24. Ramona  
25. Hanging From Your Lovin' Tree  

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Papa Bears Medicine Show - At the Retinal Circus (Live US 1970)

February 27, 2021, 11:14 am
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Recorded 1968-70, completely unknown LP, only 100 copies pressed as demo only, 2 originals known to exists, Psychedelic-Pop, Great vocals, chorus in Pepper-style, wild pumping organ, beautiful guitar, catchy songs, 

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First time officially (=legally) released. Live recording from some when end of the sixties from Vancouver - a band sounding like a merge of Doors & Lovin' Spoonful without organ.

First time on CD (in 2003) for this legendary band that existed from 1967-1969. Their only album was actually a bootleg, made in 1970 in an edition of 105 copies. This is different material entirely from that original album, recorded in 1968 in Vancouver's main psychedelic venue, the Retinal Circus. Good soundboard sound and music in the vein of the Doors, Lovin' Spoonful with a touch of old timely music thrown in. 

01. Slow Moshun - 3.54
02. Vic's Song - 4.08
03. Georgie - 3.58
04. All Day Long - 2.25
05. Damage - 4.02
06. Love is Somewhere - 4.18
07. I'll Never Forget Bill Johnson - 1.38
08. I Guess That's O.K - 4.00
09. Wait and See - 4.56
10. The Reason Why - 13.02
11. Here Come the Medicine Show - 3.54
12. Miles High - 9.05
13. Baroque - 2.34
14. Alabama Song - 3.30
15. Hall of the Mountain King - 0.31 

1. Papa
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2. Papa
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3. Papa
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Various Artist - Hard Rock Underground Scene UK 1968-73

March 13, 2021, 11:12 pm
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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. 

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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.

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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.

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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.

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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 

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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.

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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.

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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!

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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

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Pictures For Today

March 13, 2021, 11:30 pm
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