The long-lost second LP from Art Jackson's Atrocity. Recorded live in Germany, just months after Gout (the band's 1974 debut album for Columbia Records) was shelved, deemed unsellable by the label's corporate hierarchy. Turning down a January, 1975 invitation to support Miles Davis in Tokyo, The Atrocity decided instead to blitzkrieg Germany, finding a receptive audience for their incendiary style of improvisational jazz/noise/rock.
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Now, for the first time in 42 years, a new generation of listeners have the opportunity to hear the musical madness of a close-knit collective of anti-social misfits with no corporate goals. What might have been... had label indifference, drug abuse and multiple incarcerations not derailed one of the 1970's more unpredictable forebears of a futuristic musical dystopia few were willing to believe could possibly exist.
LIVE IN EUROPE (1975)
SIDE 1#31994 (4:22)The Continuum (4:55)Death Train To Nuremberg (4:06)
SIDE 2Birds On Fire (7:59)Birds On Fire, Part 2 (11:14)
Art Jackson: guitar Artis Killins: bass, vox Pharaoh Keyes: keyboards Pete Jay: guitar, percussion Eric Gaye: saxophone, clarinet Joseph Mix: saxophone, flute, effects Kurtis Snider: drums
#31994 (4:22)"#31994" was the opening number whenever Art Jackson's Atrocity performed live during the mid-'70's. One of the group's few structured "compositions," it’s a brazen slice of hard bop jazz, filtered through an apocalyptic drug haze, and anchored by Art Jackson’s mutated guitar lines. The then 22-year-old anti-guitarist echoes the saxophone's signature riff, before breaking out a short, maniacal solo that defies explanation. Part barbed wire tension, part angular noise, and sounding not unlike he’s pulling the strings off his guitar. The response to the group's explosive introduction to European audiences, however, was instantaneous and unanimous... a testament to the Atrocity's sheer power in performance. Not long after this 1975 recording, both Jackson and bassist Artis Killins would be incarcerated in Stockholm for heroin possession, putting an end to the Atrocity's European tour, and inspiring the independently released 1975 LP's front cover art.
THE CONTINUUM (4:55)A uniquely subdued, druggy anti-drug track, featuring the unlikely duet of Art Jackson's spacey psych guitar explorations and Eric Gaye's wandering clarinet improvisations. Bassist Artis Killins greets the audience with a call-to-arms... to join together and combat the scourge of Angel Dust. Not so ironically, the band's drug of choice. But the intro-ending laughter and the music that follows is a clear repudiation of that notion, as The Atrocity bass-walks into a psychedelic mist of intertwining improv, featuring another uniquely bizarre Jackson guitar solo… one with little contemporary precedent in the 1970's.
DEATH TRAIN TO NUREMBERG (4:06)A balls-out, free-form, demolition derby of instrumentation that's solemnly punctuated by the ghostly, atmospheric effects of German transport trains. A crashing, chaotic collision of sound whose theme confronts the Deutschland head on... on its own turf. The master tape of the original 1975 LP accidentally cut off the last 20 seconds of this recording (as does this reissue), so we don't get a chance to hear the audience response to this repudiation of Germany's past, though "#31994" and side two's "Birds On Fire" suite were both enthusiastically received by the same German crowd.
BIRDS ON FIRE (7:59)BIRDS ON FIRE, PART 2 (11:14)"Birds On Fire" and "Birds On Fire, Part 2" may have gotten their names, in part, from Mahavishnu Orchestra's "Birds Of Fire," but each tracks' auspicious characteristic is Art Jackson's unhinged, feedback-laden guitar work, which punctuates both halves of this two-part suite. That and the frantic, schitzo co-soloing from Atrocity keyboardist, Pharaoh Keyes, whose keyboard work is astounding. These performances pull out each and every possible stop, as The Atrocity careens from swing-driven bastard-jazz to hard-blowin' free-form noisemaking, all tempered by dizzying shifts in tone and tenor. Together, the two performances are tour de force examples of the avant-jazz that was typical of Art Jackson's Atrocity's live, brutal and raw audacity.
Link: Art JacksonEmbeddable Players
Background info
http://werelateforclass.blogspot.com/2016/03/71-art-jacksons-atrocity-gout-2016.html
To you from Willard's Wormholes by ChrisGoesRock
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Jonathan Kelly will be familiar to some of you as the Irish folk singer who made waves in Britain in the first half of the 1970s, following an apprenticeship on the Dublin scene in the previous decade. His absence from the charts, and his disappearance after 1976, has hidden his story from the mainstream while at the same time fostered a cult following for the handful of albums he recorded. To call him a folk singer is to miss the broad progression of his style, from whimsical pop through lush folk and unexpectedly delving into funk rock late in his career. One characteristic of his song-writing, which remained remarkably consistent through all these changes, was his finely tuned social conscience. As frontman of The Boomerangs in 1966, at a time when his contemporaries were singing about lovely girls and hucklebucks, Jonathan’s first single, ‘Dream World’, instead looked at Cold War tensions and the hope that “east and west did reunite / and Mars did cease his endless flight.” Earnest without being pretentious, Jonathan’s lyrics became increasingly angry and political during the next decade before abruptly halting at the peak of his talents. There’s more to his story which can be found elsewhere, but this article will look at his still-relevant and still-stirring lyrics on war, religion and inequality.
Jonathan Kelly was really Jonathan Ledingham from Drogheda. Although he never addressed it directly during his recording career, it seems his experience as a Protestant growing up in a Catholic state left him somewhat alienated and perhaps gave him an outsider’s perspective. At the end of 2013 a new CD collected demo versions of unreleased songs recorded during his years in musical exile. One of these songs, ‘Eileen’, recounts the pressure of having to separate from an early sweetheart because of religion: “I was your secret boyfriend when you were just seventeen. / Eileen, my sister was right when she said we could never be, / I was all in orange and you were all in green” (incidentally, Jonathan’s manager informs me that he is still trying to track down the long-lost Eileen, who worked at a department store in Dublin). Another recent song, ‘I Wanted To Be’, states: “I lived in a land where I never belonged, / where I was mistreated and where I was wronged.” He added in a 2006 interview, “I just looked around the world as a young man, I saw all the institutions that I was told to revere, religious institutions and nationalist institutions, and I saw so much hypocrisy and so much self-pleasing and so much violence and hatred” and “I began to question the rather racist teachings that I received from older people in my growing and nurturing environment regarding people of other races who were meant to be inferior, that certain nations were better than others and that war is justified.” Finding an outlet in Rock & Roll, Jonathan played guitar or drums in several short-lived bands, including The Saracens and The Boomerangs. Already influenced by protest singers like Bob Dylan, Jon Ledingham embarked on a solo career with his 1967 single ‘Without An E’ (the odd title apparently refers to the lack of an E string on his guitar) and ‘Love Is A Toy’ in 1968, also writing songs for Johnny McEvoy, The Johnstons and The Greenbeats. The B-side of ‘Love Is A Toy’ was ‘Thank You Mrs. Gilbert’, a jaunty anti-war song worthy of Donovan, in which an army officer writes a letter to the mother of a new recruit: “He says that he is fighting for peace throughout the world. / It’s an interesting thought, though it’s really quite absurd. / He’ll soon find out the reason why we have so many wars. / Without them our economy would fall right through the floor.”
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At this point Jonathan’s career entered another phase. Although popular in Dublin, where he often played in Liberty Hall, he decided like so many other Irish acts that there were limited opportunities in Ireland, and after a farewell concert in the Gresham Hotel in 1968 he moved to London, where he was playing in a hotel in 1969 when he was spotted by Colin Petersen, the soon-to-be-fired drummer of The Bee Gees. Colin offered to produce him, with his wife Joanne Petersen becoming Jonathan’s manager. He adopted the surname Kelly, perhaps (as with Eire Apparent) to use his Irishness as a selling point. A deal with Parlophone was quickly followed by the single ‘Denver’, with the B-side the heartbreaking ‘Son Jon’, in which worried parents reach out to their faraway son. Colin called in some of his industry contacts for the follow-up single ‘Make A Stranger Your Friend’, recorded in January 1970 by a chorus including Spike Milligan, Peter Sellers, Mick Taylor, Klaus Voorman, Madeline Bell, Carl Wayne and members of The Family Dogg. The well-intentioned song asked, “How can it matter what country I’m from? / What colour’s my skin? To what faith I belong? / If all the world were one nation, one people, one race, / there’d be no-one to say ‘man, you’re in the wrong place’”. Jonathan described it as “just about ending human conflicts and racism. Racism is the ugliest face of mankind that people express.” As part of the promotion, management asked Jonathan to write letters to Ian Paisley and Enoch Powell pleading for tolerance.
The next single in a busy 1970 was ‘Don’t You Believe It’, a song about the hypocrisy of parental morality which featured Eric Clapton. Tim Staffell attempted to recreate Clapton’s part for a live Top of the Pops appearance. Staffell had been bass player and singer with London band Smile but had since left and been replaced by Freddie Mercury as the group evolved into Queen. As none of these singles charted, Petersen’s next move was to form a trio of himself, Kelly and Staffell, named ‘Humpy Bong’ after an Australian school he attended with the Gibb brothers. The group recorded one single and another Top of the Pops appearance before fizzling out.
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The contract with Parlophone ended here and Jonathan spent 1971 gigging and writing before returning with the ‘Twice Around The Houses’ LP, released on RCA in 1972 (after a deal with Warner Brothers fell through). His writing had matured greatly in this short time and tracks like ‘Madeleine’, ‘Sligo Fair’ and the wonderful ‘Ballad Of Cursed Anna’ would prove to be some of his most popular and enduring songs. Elsewhere, ‘We Are The People’ contained his most directly political lyrics to date: “Do you hear the brass band playing? / Do you hear the tramp of feet? / Twenty thousand working men / are coming down the street. / Will you listen to what they’re saying? / Will you listen to their song? / One man may not be right / but can all of these be wrong?” It has been suggested that the lines “now I hear the prison walls / are growing without relief / for locking up people without a trial, / jailed for their beliefs” are in reference to internment in Northern Ireland at the time, although Kelly’s political standpoint was by now more concerned with radical socialism rather than nationalism or patriotism, which he equated with “bloodshed and violence”. In the frantic ‘The Train Song’ he seems to takes a subtle dig at religion with the line “I was friends with the vicar, his mother and son, / till one day I rolled up with a time machine gun / and blew them all back to around 20 BC / to show them the traitors that they’d turn out to be.”
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1973’s ‘Wait Till They Change The Backdrop’ continued in the same style, blending ballads like ‘Down On Me’, the folk fairy-tale ‘Godas’, and more pointed material such as ‘Turn Your Eye On Me’, in which he characterises political leaders who, forty years later, are still sadly familiar: “Heard of a man, lost in his notions, / sent out his bombers far across the oceans / to kill and to maim his brothers and sisters. / What you doin’? What you doin’ to me, mister? // You make the poor on this world pay / for how you live and what you say. / Only time you make your move / is when your business friends approve.” ‘Turn Your Eye On Me’, ‘Down On Me’ and other tracks on this album notably featured Gary Moore on guitar. After this it was time for another change in direction. Quoted in ‘The Bee Gees: Tales Of The Brothers Gibb. (2009), Kelly recalls separating from his management: “Colin and Joanne were different to me; different, different, different! They loved the fame and glory and being in the midst of the pop industry. I hated the pop industry actually. I saw it as totally ruthless and callous.” He goes on to recount an incident where a restaurant owner was giving his partisan opinions on the Arab-Israeli conflict to Kelly and the Petersens: “they weren’t political at all, I don’t think they thought politically. I did! I couldn’t help it, and this guy was talking all this racism at my table… I said, ‘Can you please go away from this table’. I will not sit joined to somebody who is talking racial hatred… But I was awkward and a troublemaker and I understand from their point of view that was a real problem.”
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Despite the quality on offer, the album wasn’t a success, largely because his existing fan-base and the music press were expecting another folk album. By this time Jonathan had developed a drug habit that was taking a toll on his health, his judgement and his performances. Nevertheless, he seems to look back very fondly on the camaraderie of touring with a band and the excitement of playing music that people could dance to. On tour, ‘Outside’ comprised Kelly, Sheen, White, Tim Staffell on backing vocals and percussion, Kuma Harada on bass and Darryl Lee Que on congas. Kelly also became involved with Gerry Healy’s Workers Revolutionary Party, which at that point was actively recruiting high-profile converts such as actors Vanessa Redgrave, Corin Redgrave and Frances de la Tour. Today, he explains, “I saw the sad victims in the parts of the world not favoured by the current world-dominant economic system. Because they were outside the pale they were deprived or they weren’t meant to benefit from Earth’s resources as much as others were… I’m thinking, there’s a lot wrong here, and some people thought it was fine, that’s the way it is. I couldn’t deal with that, I couldn’t let myself off the hook so easy. I could see that the way that the economic system is structured is to favour those favoured by the economic system, so that was very self-serving, and I could see how much damage and carnage it produced as a result. I could only think that the only way that the world was going to be put to rights is if the power was wrested out of the hands of those who had shown such disregard for humanity and for the survival of the planet, and the ecology, and this whole beautiful planet. I thought that’s the only way, so I became a communist.” The breaking point for his involvement with the WRP was when he was told he should be prepared for armed revolution, something incompatible with his pacifist principles. Jonathan recorded one more solo LP, the rather subdued ‘Two Days In Winter’ in 1975, with some of his former bandmates and a cover design by Staffell. The fragile album reverted to gentler styles, including an unsubtle ode to ‘Mary Jane’.
At a low ebb personally and financially, and disillusioned with both politics and the music industry, Jonathan lost interest in performing in 1976 and took a job in a London record store, although his official website (which preserves a vast array of photos, clippings and flyers from his time in Drogheda and Dublin) notes that he played drums for the group ‘Instant Whip’ in the Phoenix Park around this time with Tim Booth, Ed Deane and Steve Bullock. Looking back on his time as a professional musician via the same website, Jonathan reflects, “I hated capitalism. How could an artist do his work for monetary reward? Art is unselfish and seeks no reward save the joy of creating works of art that are honest and innocent of greed and done only to add beauty and reason to our beautiful earthly home.” Jonathan recalls what happened next: “A man came to my door and said ‘I’m looking to talk with people who’d like to see a change in the world. What I mean is, an end to war and poverty and hunger. Do those things concern you?’ I said, ‘Come in.’” Despite his previous animosity – “I certainly didn’t think religion had any answer, in fact, like many people say today, I saw religious institutions of the world as being the most reprehensible element in the whole universe, for the hypocrisy of them.” – Jonathan became a Jehovah’s Witness and found some of the peace of mind he had been looking for. “You see, when you find the answer to all your questions, why go on searching anymore?” As Jonathan Ledingham, he started a family and a carpet cleaning business in rural England. He effectively vanished until tracked down by long-time fan Gerald Sables in 2002, who reconnected him with his die-hard fans and persuaded him to come out of retirement for a series of small solo acoustic shows between 2004 and 2008, following which he returned to his private life.
This renewed activity, and CD reissues of Kelly’s RCA albums, led to talk of a new Jonathan Kelly studio album, but as those plans seem to have been put on ice, the ‘Home Demos’ collection was released a few months ago with demos of the new songs recorded over recent years. On these, Jonathan’s youthful rage has largely given way to contemplation of life experiences. In ‘I’ve Been Down That Road You’re On’, he remembers, “So you join the revolution, you’re tired of sitting on the fence, / you never did like the bourgeoisie and all their fake pretence / so you join the cause for freedom and you start setting up some tents / and learning the philosophy and it all makes so much sense / till your friend comes ’round and says ‘here’s your guns and armaments’ / and you turn around to him and say I didn’t know there’d be violence.” Yet there remain flashes of his earlier moral outrage; in ‘No Words’ he describes seeing a man accused on TV of treachery to his country, and the ‘poisoned words’ used to condemn him: “I thought about that man, that revolutionary, / and his defiance in the face of a nations animosity, / and I thought of his accusers, seemed like church folk to me, / singing hymns and praying on bended knee, / and reading their bible and their liturgy, / but I don’t think they’ve learned a single thing, you see.” It seems that Jonathan’s current faith is based more on making a positive contribution to society through voluntary work than on joining the conformist establishment he had railed against in his youth; rather than doing a simple about-turn on religion he retains his deep ethical principles. Sables recounts that one of Jonathan’s oldest friends once remarked to him that “Jonathan was the most well balanced person I ever met….. he had a chip on both shoulders!” When asked if this was true, Jonathan replied, “Oh Yeah!…Still is!”
01. Denver02. Son Jon03. Tom Bodey04. Sailor05. Mrs. Gilbert06. Don’t You Be Too Long07. Don’t You Believe It08. Julia09. That Grand Old Uniform Of Mine10. Another Man’s Wife11. Daddy Don’t Take Me Down Fishing12. Sunday Saddle
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Jonathan Kelly - Twice Around The Houses (UK 1972) (@256)
01. Madeleine 02. Silgo Fair 03. Were All Right Till Then 04. Ballad Of Cursed Anna 05. Leave Them Go 06. We Are The People 07. Rainy Town 08. The Train Song 09. I Used To Know You 10. Hyde Park Angels 11. Rock You To Sleep1.
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Size: 90.3Bitrate: 256mp3Ripped by: ChrisGoesRockArtwork IncludedSource: Japan 24-Bit Remaster
The world’s leading scientists recently declared in unison: time travel can no longer be considered fiction but reality! Neither did their certainty originate from hypothetical thought experiments, nor from years of testing in isolated laboratories. It was the record of a rock trio from Berlin, Germany, that had dropped into the professors’ laps out of the blue and led them to proclaim joyfully: “Warm, intense, authentic – doubtlessly a gift from bygone times!”
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It was already with 2012’s eponymous debut album that KADAVAR casted a spell on all fans of solid riff-driven yet doom-like 70’s hard rock à la BLACK SABBATH or PENTAGRAM. Marrying this with the spacy psychedelic approach of early HAWKWIND and mixing in a distinct own touch while preserving their icon’s warm vintage charm can doubtlessly be considered the trio’s key to success – astoundingly high vinyl sales and support shows for bands such as SLEEP, SAINT VITUS, PENTAGRAM and ELECTRIC WIZARD as well as stunning festival gigs at “Stoned From The Underground”, “Yellowstock” and “Fusion Festival”, among others, underline KADAVAR’s status as one of the scene’s most exciting acts.
Carrying the experiences of dozens of played live shows as a source of inspiration inside them, KADAVAR entered the timeless space of their studio end of last year to procure supplies for their ever growing fan base that was starving for more – in the form of their second full-length album and debut on Nuclear Blast. “After last year’s final show had been played in mid-December, we started writing new songs”, drummer and studio owner Tiger recalls.
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“We’ve already had a couple of finished tracks in May 2012, but those were eventually released on a split-LP with AQUA NEBULA OSCILLATOR in November 2012, which is why we started at square one again. As we knew that there was no procrastination and no going back for us, we sat down for two weeks straight to finish composing with total commitment. We’re perfectly happy with the outcome – I’d even say that “Abra Kadavar” comprises the best compositions we’ve created to date. The songs are more diversified, the ideas feel more spontaneous. Moreover, we’ve tried to capture much more of our live energy, which is why we’ve recorded almost everything all together in one room, with the amps turned up to the max – solely the vocals and a handful of guitar solos were added afterwards.”
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There’s time until April 12, 2013 to grow a full beard, resole your platform shoes and iron your bell-bottoms. From then on, KADAVAR invite us to escape the 21st century’s soulless musical mishmash once again by entering the realms of “Abra Kadavar“ – down-to-earth handmade classic rock from a time when music still used to be true art!
01. Come Back Life 05:0202. Doomsday Machine 04:4703. Eye Of The Storm 06:0404. Black Snake 04:2405. Dust 04:1206. Fire 05:1807. Liquid Dream 04:1208. Rhythm For Endless Minds 04:1609. Abra Kadabra 03:02
Bonustrack10. The Man i Shot (Japan Only) 07:041.
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Aussie trio Arrowhead have announced that their new album ‘Desert Cult Ritual’ is released worldwide on vinyl/digital on 21st October and on CD on 4th November via Ripple Music. Their new single of the same title has been unleashed in anticipation of the new album.
Rising from the underground of Sydney’s stoner rock scene, the brotherhood of Arrowhead fire an explosive, all killer/no filler triptych of volume, attitude and down-tuned grooves.
Having paid their dues as a band since late 2009, the iniquitously titled ‘Desert Cult Ritual’ is the latest addition to the power trio’s quiver and first for the Californian label Ripple Music, following the release of their self-titled EP in 2010 and ‘Atomsmasher’, their storming full-length debut from 2013.
Hitting you harder than a Frank Frazetta-airbrushed panel van travelling at 100mph, Arrowhead is very much a band defined by the riffs that raised them. Fronted by guitar player, vocalist and chief songwriter Brett Pearl – the son of a self-confessed “hippy-dippy mom” with a record collection to die for – Brett was brought up on a staple diet of classic rock with Hendrix, Zeppelin, Floyd and Sabbath rarely leaving the turntable. Joined by fellow purveyor of low-end grind in bass player/Viking Dave Lopez and steel backbone, Matt Cramp on drums, all three feed into the Arrowhead-approved vision of hard rock reverie via Hollywood monsters and science fiction cinema.
Bio:Rising to the cream of the crop of the Sydney stoner rock scene is Arrowhead. Arrowhead – the deadly triangular ammunition of the bow. Or in this case a triumvirate, a brotherhood, a heavy rawkin’ power trio. Whether on stage or recording, Arrowhead is equally explosive. Purveying a powerful blend of infectious riffs and raw, down-tuned grooves, Arrowhead has the proverbial proof in the pudding to soar to the top of the international influx of retro hard rock bands. Having paid their dues in the Sydney pubs, Arrowhead delivers the goods and is poised to garner global attention.
Birthed in 2009, Arrowhead has battered listeners with a self-titled EP and a full-length album, Atomsmasher. They have grasped the attention and positive reviews from sites such as Planet Fuzz and Hellride Music. On the live front, Arrowhead has shared the stage with Monster Magnet Earthless, Acid King, Unida, Atomic Bitchwax,Cough and Dave Tice’s Buffalo Revisited.
At the forefront of Arrowhead is guitarist/vocalist and main songwriter, Brett Pearl. The obligatory comparison of half Osbourne and half Iommi is there, but Arrowhead do far more than ape the founding fathers of heaviness. No frills, but plenty of thrills. That’s what you can expect from Brett’s 6-string slinging and solid singing. No gimmicks, no trends, just straight-up riffage and vocals that are sure to remind you of the aforementioned Ozzy.
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Next in line is bassist Dave Lopez, a massive Viking of a muso. Smiling away as he lays down a fat slab of bass guitar. Dave’s low-end grind holds the fort together for Brett to unleash still more fuzzy flurries. Dave is the super glue bridging the gap between Brett’s guitar and Matt Cramp’s mauling and masterful drumming. Dave cites late Blue Cheer bassist Dickie Peterson as a personal fave.
The always energetic Matt Cramp is the backbone and arranger of Arrowhead, the man behind the drum skins. Matt’s cranking limbs do far more than just keep time. His furious hands and feet plough through rolls and fills effortlessly. Always returning to the backbeat of the song. Among Matt’s big influences are Thin Lizzy’s Brian Downey, Zeppelin’s John Bonham and Sabbath’s Bill Ward.
Members♦ Brett Pearl – Guitar/Vocals♦ Matt Cramp – Drums♦ Dave Lopez – Bass
01. Desert Cult Ritual 05:2202. Hell Fire 05:3903. Hypnotiser 05:2304. Bone Mountain 05:2805. Maneater Blues 07:2606. Weed Lord 07:1207. Rogue Asteroid 03:3108. Dragon Whips it's Tail 06:341.
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Age of Man are an El Dorado-based rock trio comprised of Matt Benson on lead guitar and vocals, Brandon Borden on drums, and Eric Stone on bass. Their thick and muddy brand of blues-steeped guitar rock is reminiscent of a simpler time, stripped of modern musical conventions and cleverly re-imagined from its very core.
Taking us for a trip through electric-rock…and through their own catalogue as the revitalise and come out swinging with the updated production on the tunes from their Ebeneezer EP, released back in 2013. What a trip to be able to hear these tunes again with the tweaks and improvements…they might have a ‘garage-rock’ sound to them, but the overall tightness in About Time has certainly shown that they’ve spent a considerable amount of time in the studio too. Considering the name of the album…I’d say just on the border of ‘too much’ time for the El-Dorado based three-piece!
So maybe it all took a little longer to get recorded & put out than they would have liked…it’s here…About Time…and besides, isn’t it like that for all of us? AND…when the end result is getting something that captures the vision and sound of a band as you’ve always pictured it sounding in your heads…well…that’s worth waiting for right? From where Age Of Man started with Ebeneezer way back when, it was completely rad to hear them tighten the corners on their loose-feeling music and put out the record I can only imagine they’ve been wanting to all along.
Awesome it was, to head back into the live-sound of Age Of Man, recorded so strongly. It begins with the punched-up “Gimme A Sigh” – a tune that has single written all over it. Guitars cut through the air from every angle and the drums come out ready, willing and able to take on the complexity of this opening cut. It really is a confident sound created by Age Of Man – they own their badass & rad-rock completely.
The first of the new-tunes on About Time, “Blind” takes a slide guitar for a wicked run…you can just hear the strings all bending away perfectly finding their way to the right notes and riffing it up with outright passion overtop of this clever stop/start beat. The guitar sounds around the 2:15-2:20-ish mark are basically the musical form of the exact reason I do what I do – what a SOUND! I’m honestly not sure if it’s even repeatable…there might be a couple of terrifically happy accidents through the amazing tones that come from the guitar; personally I don’t care how they got there…I’m just glad they EXIST when it comes right down to it! First new song from Age Of Man has certainly got me excited for the others to follow – “Blind” has a wicked amount of crunch & deep, deep hooks to pull you into the sound.
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Rolling back through their past & updating them into the present, the middle of About Time is largely filled-out with cuts from the Ebeneezer EP. Solid bass-tones fill “No Woman” to the brim around the crisp & clear guitar, styled-up vocals and steady beat. I’d say it’s a healthy mix between The Grateful Dead and Pink Floyd… Keeping the bass rolling along, Eric Stone puts the smoothness into “You Sea” and really puts the blues influence into this rock music of Age Of Man. “You Sea” has that kind of wonderfully-loose feel to the way the lyrics come out…you can hear that this would be the perfect song for Benson to talk & sing-out anything on his mind in, pump-up the crowd…or maybe just not even sing at all at times and just let the solid groove take him where it may.
“I Found You,” at least for my ears…probably couldn’t have come out ANY better this time around. Not are the guitars from Matt Benson some of the craziest and best you’ll hear recorded this year, but the surrounding bass from Eric Stone and steady beat from Brandon Borden have really gelled this track perfectly together. Letting Benson wander wherever in the hell his guitar will take him, the approach and attack on this performance is astounding, straight-up. I know I’ve been on and on about the movie Frank in a recent review of the band TKO…but this is like the rock version of that band of my big-headed buddy. Both “I Found You” and “Whatchado” still manage to retain their looseness within very coordinated & complex parts.
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Like – listen to the amount of shifts & changes Stone makes as this cut rolls through! The last minute of “Whatchado” becomes a solid highlight with an extremely tight-solo bringing out the best in Benson at his most focused & controlled as opposed to the best of his psychedelic-influences taking hold of the massive solos in “I Found You.” In any event – these songs do end up sounding tighter, but not out of place in amongst the new tunes; they’ve updated them perfectly in production to match, and have four brand-new tunes that carry the vibe right on.
Here comes one of them now! “Been Stuck Blues” is a wicked run through a rock-blues style, more so than the rest as the title implies. Short & stuck right where they want to be, this track grooves & rocks with the blues-element running throughout but never fully giving in. For being ‘stuck’ anything, this track does nothing but MOVE ya! This is an absolutely killer addition to the new line-up of songs that make up the rest of About Time…I appreciate its shortness…but damn do I want MORE of this right away every time I hear it come on again!
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I’m a big-fan of FUZZ. Honestly…I don’t have much of a choice…I’m covered in the stuff, so it was either learn to love it or be fully consumed by it slowly taking over my skin and hate life. But in this particular case, I’m talking about guitar-fuzz…and just LISTEN to the sound & tone that Benson gets going on in “Better Half.” Definitely one of the best of the new tunes; recorded, produced & performed as immaculately as you could ever hope for – the mini-explosion just before a-minute in that will repeat and come back later on as the instruments drift in and punch back…just an absolutely awesome idea carried out with flawless execution…NBD! Age Of Man have found themselves some real moments on About Time – another notable being the re-cut on “Needles In Hay.”
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Age Of Man creates a highly memorable ending by switching up the vibe just a little more on this final-cut. Incorporating a tinge of funk and grunge in amongst the blues, the rock, the psychedelic…”Sun & Rain” could easily be the titular synonym for ‘we just went ahead and added like, EVERY sound and everything we do RIGHT, we added the kitchen sink even.’ I’d also go as far as to say that this last song also really shows some growth, progression and passion – and that it’s still on the rise for Age Of Man as far as their career is concerned. It’s an awesome final dose of Age Of Man’s powerful new output with a collection of ten wild songs that will really hit the mark for blues-rock fans. About Time indeed!
♣ Bass Guitar, Organ, Acoustic Guitar, Backing Vocals – Eric Stone♣ Drums, Percussion – Brandon Borden♣ Guitar, Vocals – Matt Benson ♣ Mixed By, Mastered By – Jason Tedford
01. Gimme a Sigh 02:0602. Blind 03:2303. No Woman 03:5104. You Sea 03:2505. I Found You 04:5106. Whatchado 04:3507. Been Stuck Blues 01:5308. Better Half 03:2309. Needles in Hay 03:0410. Sun & Rain 03:191.
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Size: 79.2 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Three dudes crawled into a garage-turned-studio and dug out some tracks from the nether realms of Sabbath, Priest, Toad, Zeppelin, and other '70s rockers. Infusing those with a multitude of other musical entities, they subsequently slithered out as Salem's Bend.
As Ozzy once famously said to Tony Iommi during one of the 1972 recording sessions for Black Sabbath's Vol. 4 album, "I've had enough drugs at the moment, thank you, just pass me the coconut water- and Bill, can you play that funky beat again? Oh and Geezer, pass me those fruit-shaped maracas, I have an idea." Shortly thereafter, true genius flowed onto tape and history was made. Of course, nothing like this was ever actually said, but these are the things that Los Angeles-based trio SALEM'S BEND likes to think about while sweating bullets in their garage-turned studio.
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This heavy rock band has musical influences that run the gamut from '70s classic rockers to the modern heavy-hitters in the desert, doom, and stoner rock scene, along with any music from any decade or genre that grooves and/or rocks. Having cut their teeth in various bands around LA for the past 5 years, the time was right in mid-2014 to coalesce in the studio and start turning heavy riffs and beats into catchy tunes. Seven songs made the cut onto the self-titled debut album 'Salem's Bend', which was released on Bandcamp in the tail-end of December 2015.
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The album garnered some early praise at heavy music blogs, with one great reviewer commenting: "You want dynamics? Salem’s Bend is practically a liquid. 'Dynamics' is just a buzz word until it’s wielded by these sprightly upstarts." Another reviewer graciously wrote, "They have forged their own searing, raucous guitars; intense, deep bass; and athletic, punctuated stickwork around some of the most intelligently interesting melodies to float through the stonersphere in quite some time."
Salem's Bend subsequently signed their debut album with Ripple Music, who will be giving it a world-wide release on multiple formants as well as pressing vinyl. In the actual words of Ian Gillan, "Buy real records in real shops, or I'll come round your house and scream at your mother."
Band:♦ Bobby - Guitar and Vocals♦ Kevin - Bass and vocals♦ Zach - Drums
01. Balshazzar 04:1702. Queen of the Desert 04:1503. Silverstruck 04:1704. Losing Sleep 02:5305. Sun and Mist 05:1606. Mammoth Caravan 05:2507. A Tip of Salem 06:051.
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Golden Void is led by Isaiah Mitchell of Earthless with Camilla Saufly-Mitchell (Assemble Head In Sunburst Sound), Justin Pinkerton, and Aaron Morgan. Golden Void is the new face of Bay Area psychedelic music, their songs firmly rooted in melody and not afraid of exploration. The band’s hooks get stuck in your head and their riffs transport you to the astral plane.
The members of Golden Void have been connected musically off and on since they were teenagers. After playing in various bands together and apart throughout high school and the intervening years, Isaiah Mitchell (guitar/vocals, also of Earthless), Aaron Morgan (bass), and Justin Pinkerton (drums) coalesced as Golden Void after Mitchell’s move to the Bay Area in 2009.
When the group realized they needed a keyboard player, the addition of Camilla Saufley-Mitchell seemed only natural. Listening to their self-titled debut album, the high level of musical kindredship that only comes from playing music together during those formative years is instantly apparent. In an age of the internet’s infinite mirror that rewards pointless novelty rather than substance, Golden Void has succeeded in creating a record that exists beyond bloggable tropes of the present and expands upon the traditions of the past.
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The album was recorded with Phil Manley at Lucky Cat Studios in San Francisco, and was recorded live to tape with few overdubs. It was mastered and cut from tape by Roger Seibal at SAE mastering. Although the songs drift into moody and dark territories, the prevailing sentiment is optimistic. Golden Void is a record of unpretentious, extremely well crafted, totally addictive rock and roll. Turn it up!
Shop: Golden Void's Shop
Members:★ Isaiah Mitchell★ Aaron Morgan★ Justin Pinkerton★ Camilla Saufley-Mitchell
01. Art of Invading 04:1502. Virtue 05:2303. Jetsun Dolma 05:1904. Badlands 04:2205. Shady Grove 04:3106. The Curve 04:4507. Atlantis 07:47
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Size: 87.2 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
A band formed on the premise of reigniting authenticity, iconicism and style in today’s rock’n’roll scene, Biters have set themselves a pilgrimage to Mordor and back. However, their latest release cherry-picked from their upcoming album ‘The Future Ain’t What It Used To Be’ is a milestone on completing this journey. Boasting a deliciously arrogant, strutting guitar riff, tumbling rhythm and captivating vocal growls and howls, Stone Cold Love is a texturally intricate treat that indisputably echoes Marc Bolan’s T.Rex. Stone Cold Love is a worthy reward following the eye-roll inducing, rock’n’roll cliché opener Let It Roll that comprises lyrics salvaged straight from Def Leppard’s Let It Go: “let it rock and let it roll”.
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Truth be told, for a band striving for authenticity, Biters wander dangerously close to the lyrical clichés that only Whitesnake can pull off. However, via recycling lyrical schematics whilst blurring the boundaries between pop rock, sleaze punk and glam rock, Biters have created an album wholly accessible to the musically ignorant and musically savvy. Despite its failings, such as the seemingly tokenistic ballads Hollywood and Goin’ Back To Georgia, ‘The Future Ain’t What It Used To Be’ is utterly anthemic such that listening to it through any means other than a Colosseum built entirely of Marshall speaker stacks oozes injustice.
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In a world where the golden gods of rock music are fast approaching extinction, the future definitely ain’t what it used to be. Could Biters get us back on track for the musical future we were promised in the seventies? Probably not. But they’re sure making a damned good attempt at it.
Presenting the brand new album from Georgia's most dangerous rock 'n' roll band, "The Future Ain't What It Used To Be"! Packaged in a deluxe digipak case containing a stunning fold out poster with lyrics to the whole album, complete with a printed booklet with liner notes and complete lyrics for the album.
Expanding upon the unmistakeable sound that made their full length debut, "Electric Blood", a top 10 Album Of The Year in Classic Rock and earning them a 'Best New Band' nomination at the Planet Rock awards last year, Biters' are blazing a trail across the world with their galvanizing live shows and growing in notoriety.
Loud and fiery but also unashamedly afraid of pop hooks and sweet harmonies, their modern twist on electrifying rock 'n' roll is paradoxically fresh and tinged with nostalgia, reminding us of times when bands looked like bands and acted like gangs. With a cynical lyrical social commentary on the state of the world and a knack for a catchy feel-good chorus, Biters are set to destroy and suggestions that rock 'n' roll is dead with their hunger for anarchy and partying hard!
The band were invited to open the Kerrang Tour 2016 with Frank Carter & The Rattlesnakes and pop-punk icons Sum 41, which saw them play to sold out crowds of over 18,000 over 8 raucous and memorable live performances across the UK. With a brand new 24-date European tour with Atlanta label mates Blackberry Smoke coming up this year, and many dates having already sold out months in advance, "The Future Ain't What It Used To Be" promises to firmly plant the flag of rock 'n' roll back on the map!
01. Let It Roll02. Stone Cold Love03. Callin' You Home04. Don't Turn This Good Heart Bad05. Gypsy Rose06. No Stranger To Heartache07. Vulture City08. Hollywood09. Chasin' The Feeling10. Goin' Back To Georgia1.
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Size: 98.9Bitrate: 320mp3Artwork Included
Hailing from Berlin, Germany, Kadavar is a trio of stubborn Rip Van Winkles who refuse to let go of their ‘70s proto-metal dreams. The credits on the band's eponymous debut for Teepee Records may read 2012, but it's always 1972 inside these timeless vinyl grooves -- no matter what digital format happens to be reproducing them. To quote Saint Vitus, these dudes were literally born too late.
Too late, certainly, to have personally imbibed from the foreboding lysergic fountain of Black Sabbath, Leaf Hound, Pentagram, and other forefathers of their chosen musical blueprint; so the Kadavar boys obviously had to make do with the more recent chemical concoctions of neo-traditionalists like Witchcraft, Graveyard, and possibly Dead Meadow.
These bands' heavy-handed but still Spartan attack and somnambulant daze definitely play a role in first half tracks like "All Our Thoughts,""Black Sun," and the roiling "Forgotten Past." But subsequent numbers like "Goddess of Dawn" and "Creature of the Demon" tap into a far more aggressive, head-banging energy, suggesting fret-board scorchers old and new -- think Buffalo, Captain Beyond, the Atomic Bitchwax -- also infiltrated Kadavar's iPod playlists.
The LP's closing extended acid jam, "Purple Sage," throws Hawkwind's hypnotic, deep space dementia into the mix, and to cap off Kadavar's dual-decade influences, Wolf Lindemann's vocals blend the shamanistic charisma of a Bobby Liebling with the monochromatic slacker-isms of the Sword's J.D. Cronise -- go figure.
All of which boils down to a consistently entertaining, nostalgia-inducing listen, and never mind the fact there's obviously very little originality involved. Don't forget though: it's actually 1972 in Kadavar's minds, and back then, this was cutting-edge stuff.
Steeped in the bluesy, brooding, bottom-heavy traditions of bands like Black Sabbath, Hawkwind, and Led Zeppelin, German psych-rock trio Kadavar spin '70s hard rock tropes into contemporary, stoner metal gold. Formed in Berlin by Christoph Lindemann (guitar, vocals), Simon Bouteloup (bass) and Christoph Bartelt (drums), the immaculately bearded retro-rockers released their eponymous, Teepee Records-issued debut in 2012.
The band inked a deal with Nuclear Blast the following year, the home of like-minded acts Witchcraft and Graveyard, resulting in their sophomore long-player Abra Kadavar (2013) and chart-topping 2015 follow-up Berlin.01. All Our Thoughts 04:3502. Black Sun 06:1303. Forgotten Past 05:3804. Goddess Of Dawn 04:1305. Creature Of The Demon 04:4806. Purple Sage Theremin – Shazzula 08:12
Bonustrack07. Living In Your Head 07:001.
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Dear Dopetrotters,
'Reap The Storm' Double LP out Sep 29th 2017
After we have spent months in the studios developing, recording and mixing the new record, we are beyond stoked to finally tell you that our
80 minutes Double LP 'Reap The Storm', also aviable on Compact Disc & and a very limited Japan Mini LP CD Edition.
Will be out on Sep 29th 2017 via MIG music. Yup, it's a lot of music we have coming up for you!
Francis: "With this record we took what musically developed and just became apparent on our first LP 'Sow The Wind' to the next level. 'Reap The Storm' is not just a snapshot of our own personal and emotional state at this point, but the logical follow up to all our previous work."
And damn, we are excited for you to hear the outcome! This time we'll have two German songs, one of them being an acoustic ballad, one a politically/ socially critical piece and two songs longer than 15 minutes, that'll take you on an adventurous trip through the fields of Psychedelic and Progressive Rock. Plus the Heavy Flute Rock tunes that shaped our style in the past.
Buy here: Wucan - Reap the Storm 2017Buy here: Wucan - Sow The Wind (Japan Mini LP) 2015
Side AWie Die Welt Sich DrehtEbb And Flute/ The Eternal GrooveOut Of Sight, Out Of MInd
Side BI'm Gonna Leave YouThe Rat CatcherFalkenlied
Side CAging Ten Years in Two Seconds
Side DCosmic Guilt
We truly hope you guys will enjoy the results of our and our team's hard work!
Yours truly,Wucan
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Size: 152 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Scraping out of the grit of Brunswick (Melbourne, Australia), The Ivory Elephant are a 3-piece playing Heavy Blues. Joining the Blues/Rock renaissance of bands such as The Black Keys and The White Stripes, and with a sound often likened to Jimi Hendrix and Led Zeppelin, The Ivory Elephant bring their own thing to the style.
From the depths of Melbourne’s underground, The Ivory Elephant exist in a space of late nights and loud sounds. Music that harks back to the greats of 70s rock n’roll, saturated with heavy psych and down-home delta blues.
Melbourne trio, The Ivory Elephant are releasing their first full-length LP Number 1 Pop Hit on Kozmik Artifactz (Child, Buried Feather, The Heavy Eyes, Ruby the Hatchet).
Despite the name, the new album explores the darker side of blues-rock, and delves deep into three-piece psychedelia.
Recorded at Melbourne’s iconic Soundpark Studios (Paul Kelly, Clairy Browne, Dave Graney) Number 1 Pop Hit was tracked over three days on the bands usual shoe-string budget.
Opening with the title track, Number One Pop Hit, is what could best be described as “slackerpsych”, the album then shifts to a rootsy gear for “Ballad of Wild Bill” and “In My Pocket”, whilst experimenting with heavy hypnotic blues in “We’re Gonna Find You” and “Torn Up Chewed Out”, along with the all out psychedelic guitar onslaught of “Psych Jam” and “Let’s Do This Again”.
Having emerged from the depths of Melbourne's underground, The Ivory Elephant revels in late nights and loud sounds. The band's music harks back to the greats of '70s rock'n'roll, saturated with heavy psych and down-home delta blues vibes. Despite the title, this album explores the darker side of blues-rock and delves deep into three-piece psychedelia.
Link to their site: http://www.theivoryelephant.com/
The Band:♣ Trent Sterling - Guitar ♣ Arthur Witherby - Bass ♣ Don Sargood - Drums
Album: Number 1 Pop Hit01. Number 1 Pop Hit 02:5402. Ballad of Wild Bill 03:0903. Ivory Theme 2nd Movement in D minor 01:4904. Ho Ha 03:2605. We're Gonna Find You 03:1706. Like a Dog 05:1907. Psych Jam, Captured By Confusion 09:0908. In My Pocket 02:3809. Torn Up, Chewed Out 03:2110. Let's Do This Again 05:23
Bonus Album: The Ivory Elephant EP11. Election Blues 03:5712. Taxi Driver 03:5213. Like a Dog 04:2914. What's Good For You 02:3115. Here to Stay 04:3316. Be Bad 03:421.
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Size: 111 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Berlin is the third studio album by German rock band Kadavar, released on 21 August 2015 by Nuclear Blast. It was the first album to fully feature new bassist Simon Bouteloup.
After working for four months in the studio, the band finalized the production process of the new album on June 1, 2015, according to their Facebook page.
Drummer and producer Christoph "Tiger" Bartelt commented: "About 10 years ago, when we - independently of one another - moved to Berlin, we just wanted to break free from home and do something new. I thought it was comfortable, to blend in and just live from day to day. A lot of very long nights and so many completely different people at one place. Where there are opposites you can always ground yourself. We’re all different, come from different places but have managed to create something together we all like. I think the Berlin lifestyle has influenced our band very much and therefore fits perfectly as the album’s title."
The 11th and final track on the album, "Into the Night," was chosen by pro skateboarder Riley Hawk for his Scion AV compilation album Riley Hawk: Northwest Blow Out EP.
If there‘s one certainty KADAVAR have internalized for eternity, it‘s that success will run like sand through your fingers when you chicken out after suffering a setback. It was in 2013 in the heart of the USA of all places - where the desert sun preserves deeply-furrowed faces and rusty cars in a picture of Wild West-ish glory - that an infernal series of events kicked off which would make even Berlin‘s internationally most acclaimed rock band of today falter.
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It started with the notorious US-American visa agency complicating the band‘s long-awaited first arrival to the United States. Subsequently, several thousand hard-earned dollars literally went up in smoke as the engine of a 1964 Ford Galaxy, specifically bought for the 'Come Back Life' video shoot, burst into flames after only a couple of miles on New Mexico‘s highways in blazing heat. And finally, when the guys had just shaken off California‘s dust from their jeans to seamlessly start into the biggest European tour in band history following their second album »Abra KADAVAR«, their bassist bailed out. Other bands would have packed it all in at this point. KADAVAR didn‘t.
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The enormous emotional energy that was unleashed show after show once the rough times were over and done with was witnessed by tens of thousands of fans over the course of the following tour with more than 200 shows in Europe, the US, Latin America and Australia played non-stop in one and a half years.
Whether in front of 3,000 sweating Mexican souls, in a remote pub in the Macedonian mountains or facing huge European festival crowds - every single night, KADAVAR performed as furiously as a tremendous tempest hailing down on earth! It was a daredevil, ecstatic time on the road that saw KADAVAR not only cheered on zealously by their friends in THE SWORD and WOLFMOTHER, but also by some of the heroes of their youth such as MONSTER MAGNET‘s Dave Wyndorf and PENTAGRAM‘s Bobby Liebling.
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'The Old Man' and 'Last Living Dinosaur' deliver post-modern madness at its finest. And vocalist Lupus Lindemann provides insights as personal as never before, like in 'Restless': “I never stay. I never pray. My life is meant to go along this endless road, it’s winding round and round.“ In 2015, KADAVAR‘s songs have evolved to become the ultimate reanimation of the seething primordial soup rock music has once emerged from. Explaining why the three-piece wanted to memorialize the city of Berlin and their roots in the album title, drummer Tiger states: “We‘re different people from different places but in this city, we‘ve somehow managed to create something we all love.“ For the restless trio - luckily alive and well - it‘ll be back on the road again shortly after the album release in autumn: The next world tour is calling.
♦ Christoph Lindemann – vocals, electric guitar♦ Simon Bouteloup – bass♦ Christoph Bartelt - drums, percussion, production, engineering, mixing
01."Lord of the Sky" 04:2802."Last Living Dinosaur" 04:0503."Thousand Miles Away From Home" 04:5304."Filthy Illusion" 03:4505."Pale Blue Eyes" 03:2806."Stolen Dreams" 03:5707."The Old Man" 04:0508."Spanish Wild Rose" 04:3009."See the World With Your Own Eyes" 04:0710."Circles in My Mind" 03:4711."Into the Night" 04:301.
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At the dawn of 2017, can you name one rock'n'roll band, not from the 80s, who has the pretention and audace to release a Live Album? Hard Rock revivalists RUSTED from Canada are back with a 14 tracks album recorded in Montreal. We really wanted to capture the live energy of the band, the essence of RUSTED,the power and rawness of the live performance that many poeple would prefer to the studio album", said lead singer Tony Rust. So here it is, in the spirit of the greatest classic hard rock bands, RUSTED keeps the flame burning with a killer energitic album, featuring one bonus studio track.
RUSTED is a Hard Rock band from Montreal. They are bringing back the style, the energy and the music of the 80's hard Rock, 70's Glam rock era with powerfull catchy choruses, badass heavy metal guitars riffs and some loud pounding drums to bang your head to!
Review:As I was interviewing Rusted guitarist ManiaK last month and listening to his answers to my questions, I couldn’t help but be a little embarrassed about silently agreeing with him. I had only had the opportunity to experience Rusted once in a live setting but those memories from that concert in the summer of 2014 still persist that I witnessed an absolutely amazing show from two of the best younger bands out there (Rusted and Hessler). Rusted exuded so much energy and their songs really came to life for me during that fateful night. As I was interviewing ManiaK, he mentioned that Rusted had noticed that their live energy was missing from their prior studio releases. I couldn’t agree more. ManiaK‘ went on to say that many Rusted fans would tell the band members that they loved Rusted live but never really listened to the group otherwise. I didn’t verbalize my agreement in that regard to ManiaK but yes, I was guilty of that myself. My memories of seeing Rusted live were still strong in my mind but I really didn’t listen to their studio albums Hit By and Rock Patrol that often (even though I do enjoy them). Why is that I wondered? The answer lies when I listened to Rusted‘s new live album Live Wild & Free.
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Before I get into Live Wild & Free, the ultimate example in my mind of a band sounding completely different in a studio setting compared to a live one had always been early KISS. Both Alive! and Alive II are two of my favorite live albums hands down but listening to KISS‘ first six studio albums and especially the first three — KISS, Hotter Than Hell and Dressed To Kill — feels like listening to outdated slowed down, sometimes even boring, versions of what can be found on the shock rockers’ first two live records. The difference between the songs on Rusted‘s studio albums and new live record are definitely not as stark as the ones between KISS‘ first six studio albums and first two live records but there are definitely some similarities in that Rusted‘s infamous high “energy” finally comes through on Live Wild & Free.
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What has surprised me the most while listening to Rusted‘s live album is that the band truly possesses a lot of great songs and way more than their likely two most well known songs “Rock Patrol” and “Young Wild & Free.” Live Wild & Free boasts 14 live tracks plus one brand new studio track — the aptly named “Hittin’ The Road” — and frankly all of the songs stand up quite nicely. In other words, there are no songs that I think about skipping when listening to Live Wild & Free, which if you’ve read some of my past reviews is no easy feat. Just like when I saw Rusted live in the summer of 2014, lead singer Tony Rust warns the Montreal crowd after the first song on Live Wild & Free that they are going to get their asses kicked! When I had interviewed ManiaK last month, he also spoke about how Rusted live was a little dirty and not perfect, and I couldn’t agree more. Rusted‘s songs sound so much faster, heavier and simply better live and the glam rockers have now captured their magic on an album. Rust will not be mistaken as the next Rob Halford on Live Wild & Free but his singing has a lot of passion and enthusiasm to it which I really like.
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Rusted offer one new bonus studio track called “Hittin’ The Road” at the end of Live Wild & Free. While I definitely enjoy the song, which is a bit heavier than the usual Rusted fare, I find it would have been actually better not to include the track as it is a bit anti-climatic after the rousing live finale of “Young Wild & Free.” I think I have always felt that way about the inclusion of studio tracks at the end of a live record because even though I find that there are some really good studio tracks such as “Rocket Ride” and “Larger Than Life” at the end of KISS‘ Alive II album, I have always found it a bit of downer to listen to those tracks after such a splendid live album.
It’s been more than two years since Rusted first launched their fund raising campaign for a live album so it definitely took longer than expected for Live Wild & Free to come out.
That being said, good things are worth waiting for and Rusted‘s Live Wild & Free is a splendid live record that was totally worth the wait! All I know is that since obtaining a hard copy of Rusted‘s Live Wild & Free album last week, it has been getting played in my CD player pretty much all day while I’m working.
When I had interviewed ManiaK last month, he indicated that Rusted wanted to have a live album like the great bands from the ’80s. I think that Rusted have come up with a live record in Live Wild & Free that stands up very well to all those great live albums from the ’80s.
♫ Tony Rust – lead vocals♫ ManiaK – rhythm and lead guitar♫ Tommy D. Eagle – lead guitar♫ D. Izzy – drums♫ Mark Shark – bass
01. Partners In Crime 04:2102. Just A Dream 04:5803. Two At A Time 03:4604. Earthquake 04:2605. Rock Patrol 03:4906. Last Stand 04:3807. Scream In The Night 04:2008. Tsunami 05:3409. Traveler 04:4310. So Far So Strong 04:5011. Wanted Man Boogie 03:4412. Midnight Man 04:2413. Summer Day 03:1414. Young Wild & Free 05:49 15. Hittin' The Road 03:051.
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August 17, 2017, 10:56 pm
Size: 154 MBBitrate: 320mp3Found in OuterSpaceSom Pictures Included
The husband-and-wife duo of Delaney & Bonnie Bramlett created some of the most distinctive and unique music of the early '70s, but their alchemical sound -- equal parts blue-eyed soul, blues, country, and gospel -- was often marginalized by the attention instead paid to the contributions of their famous "friends," including rock icons like Eric Clapton, Duane Allman and George Harrison.
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Delaney Bramlett was born July 1, 1939 in Pontotoc County, Mississippi, later befriending fellow aspiring musicians Leon Russell and J.J. Cale. On their recommendation he relocated to Los Angeles, briefly landing with the Champs before he was hired to play guitar with the Shindogs, the house band on the popular ABC television variety series Shindig. Bonnie Lynn O'Farrell, meanwhile, was born November 8, 1944 in Alton, Illinois and raised in nearby East St. Louis; as a teen she backed blues acts including Albert King and Little Milton, before signing on as the first-ever white Ikette behind Ike & Tina Turner. She eventually migrated to Los Angeles as well, and met Delaney while the Shindogs were moonlighting at a local bowling alley. Within a week, the couple were married.
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After signing to the famed Memphis soul label, Stax, Delaney & Bonnie recorded their debut LP, 1969's Home. Though cut with the aid of Stax linchpins like Booker T. & the MG's, William Bell, and Isaac Hayes, the record went virtually unnoticed and the duo were released from their contract. They landed with Elektra to release the follow-up, Accept No Substitute -- recorded with a superb backing band including keyboardist Bobby Whitlock, bassist Carl Radle, and drummer Jim Keltner, the album was another commercial failure, but the couple's gritty, soulful vocals and earthy sound earned the appreciation of fellow musicians at home and abroad, not to mention an invitation to serve as the opening act on British supergroup Blind Faith's 1969 U.S. tour.
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Blind Faith's superstar guitarist Clapton was soon a fixture aboard Delaney & Bonnie's tour bus, regularly jamming with the Bramletts and their band. When Blind Faith disbanded after the tour ended, Clapton joined Delaney & Bonnie full-time, assuming a sideman role and actively avoiding the spotlight on-stage and off. The group eventually toured the U.K., where Clapton friends like Harrison and Dave Mason occasionally popped up on-stage -- a late 1969 show in Croydon was released the following year as On Tour with Eric Clapton, becoming the duo's best-selling LP when it cracked the American Top 30.
Now dubbed Delaney & Bonnie & Friends, the group briefly joined up with John Lennon's Plastic Ono Band and toured Europe before returning stateside in 1970. When Clapton dropped out to begin working on his debut solo album -- a record that introduced a bluesy, raw vocal style clearly indebted to Delaney -- audience interest began to dissipate. Worse, Leon Russell lured away Radle and Keltner to join Joe Cocker's Mad Dogs & Englishmen tour, forcing the couple to cancel a planned tour of their own.
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Nevertheless, the backing band assembled for 1970's Tom Dowd-produced To Bonnie from Delaney was first-rate, including guitarist Duane Allman, bassist Jerry Scheff, pianist Jim Dickinson, and saxophonist King Curtis. 1971's Motel Shot was another all-star affair, highlighted by Delaney & Bonnie's biggest U.S. pop hit, "Never Ending Song of Love." The following year's D & B Together yielded another Top 20 hit, a reading of Dave Mason's "Only You Know and I Know." However, the LP was Delaney & Bonnie's last -- when their marriage fell apart, so did their musical collaboration.
After the couple's divorce, Delaney recorded a pair of solo albums, 1972's Something's Coming, and 1973's Mobius Strip, to fulfill their contract with Columbia Records; after 1978's Delaney Bramlett with Steve Cropper, a collaboration with the legendary Stax house guitarist recorded for Motown's Prodigal subsidiary, he largely disappeared from sight, overcoming a battle with alcoholism to become a born-again Christian and making a living by writing commercial jingles.
In 2000, he returned with a new solo album, Sounds from Home, with Sweet Inspiration following in late 2003. Bonnie, meanwhile, made her solo debut with 1973's Sweet Bonnie Bramlett, recorded with the Average White Band. She then cut three little-noticed albums for Capricorn, and while touring with Stephen Stills in 1979, made headlines when she punched out Elvis Costello in a Columbus, Ohio bar after the British upstart reputedly called Ray Charles a "blind, ignorant nigger.
" She later changed her professional surname to Sheridan, found Jesus, and was, for a short time, a supporting cast member on the hit 1990s sitcom Roseanne. Bonnie returned to recording with I'm Still the Same. In 1993, Bekka Bramlett, Delaney and Bonnie's daughter, joined Fleetwood Mac, replacing Stevie Nicks.
Delaney, Bonnie and FriendsA&R Recording Studios July 22, 1971(FM WPLJ Broadcast) New York, NY
The Band:♦ Bonnie Bramlett - Vocals♦ Delaney Bramlett - Guitar, Vocals♦ Duane Allman - Slide Guitar♦ Greg Allman - Piano, Vocals♦ King Curtis - Saxophone♦ Kenny Gradney - Bass♦ Sam Clayton - Congas♦ Joe Johansen - Guitar♦ Chuck Morgan - drums♦ Daryl Leonard - Trumpet♦ Larry Britt? - Trombone♦ Jerry Jummonville - Saxaphone♦ Gordon De Witty - Piano, organ
01. Annoucer/sponsor02. Talk03. Goin'Down The Road Feeling Bad *04. Talk05. Poor Elijah *06. The Ghetto *07. Annoucer introduces musicians/tuning08. Livin'On The open Road09. Better Relations 10. My Man11. Talk12. Don't Want Me Around13. Talk/tuning14. Only You Know & I Know
* acoustic, Duane Allman on Slide1.
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August 24, 2017, 11:00 pm
Size: 169 MBBitrate: 320mp3Ripped by: ChrisGoesRockSome Artwork Included
Hailing from the barrier dunes of Virginia, this quartet blends heavy riffs, a rolling groove, and soulful guitar melodies to produce the sound that is Freedom Hawk. Their brand of heavy rock coupled with a high energy live show, leaves many wondering if they’ve stepped through a time warp that has taken them to rock’s heyday of the 70’s by the power of their dark music fueled by the sun.
Born from similar timbre as Black Sabbath, Zeppelin and Fu Manchu, Freedom Hawk wedges in psychedelia with groove heavy rock and roll. The band knows how to shake ground and be thunderous but also when to ease back, to wallow in the groove, the funk, the palatial sweep of shapely and echoing guitar riffs.
Sunlight transcends the genre, offering more than simply metal for the masses or the skate, surf and stoner crowd. There's no further proof than 'Going Down', a sultry, sexy slow groove that boasts fuzzed out guitar, gentle beats and T.R. Morton's vocals seemingly coming from another dimension. The track is a complete surprise, buried beneath the entire swagger and power found on Sunlight.-- Heavy Planet
Sunlight” is the excellent full-length debut from Virginia hard rock outfit Freedom Hawk. This group is solid. Driven by powerful drum beats and excellently crafted guitar work, Freedom Hawk have composed nine exceptional hard rock tracks that dabble in metal and psychedelic and have a certain timeless quality to them. Attributing to this timelessness is the lead singer’s vocal performance. His melodic high-pitched vocals are reminiscent of Ozzy Osbourne with traces of Robert Plant.
The songs are a lot of fun, meant to be played loud, and will immediately have you either bobbing your head or using your lap as a drum kit. “Sunlight” is well-produced, clean and ready to boom out of a pair of speakers. The title track, “Sunlight,” is a fun track with a great rocking arrangement that gets your head bobbing and features some great drum and guitar work. “Going Down” is a stripped down track with a slow drum beat and minimal guitar work that displays the fantastic vocal capabilities of the lead singer.
“Sunlight” takes us back to a time where making hard rock wasn’t about making a lot of noise but rather about making very good music. Freedom Hawk have crafted a gem, and fans of Black Sabbath, Led Zeppelin, and classic hard rock are going to want to pick this one up.
Freedom Hawk is: ★ T.R. Morton: Vocals, Guitars, Organ ★ Lenny Hines: Drums ★ Matt Cave: Leads, Guitars ★ Mark Cave: Bass
01. Executioner 04:1902. Land of the Lost 03:3203. Sunlight 04:5504. Stand Back 03:1905. Lightning Charge 03:5006. Going Down 04:4907. Palomino 05:1608. Grab a Hold 06:0809. King of Order 11:39
Bonus Tracks:10. Living For Days 03:4911. Edge Of Destiny 04:1212. North Swell 04:0113. Indian Summer 04:1514. Blood Red Sky 04:581.
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September 1, 2017, 11:57 pm
Size: 139 MBBitrate: 320mp3Ripped by: ChrisGoesRockArtwork Included
Look at the dudes on the cover. With their far-out lady fabrics and their strung-out 1000 yard stares Kadavar look like the elders of a particularly disreputable pan-European love cult, sizing up potential recruits. Flip the gatefold open and we’re presented with a garlanded, feathered skull fetish, it’s a great photograph in the style of a 18th century still life.
Then, excuse me this is where my palms get a little sweaty, check out the buttery yellow vinyl. Add in the fact that the LP, Abra Kadavar, has one of the best titles I’d heard in a while and you can see why I leaped on it.
Okay, needle in the groove … that’s when my problems start. Take a look at this note on the sleeve: I like the cojones, this is a band who can clearly really cut it live and don’t mind you peering through to the bare bones within. However in practice on record, what this means for this three-piece is that the sound is often far too thin and wavery, particularly the vocals – making something that really sounds like it could, with the proper production, move mountains, sound like something straining to move its bowels at times.
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Kadavar’s sound is very much a German amalgam of all those hoary old progressive doom stoners like Pentagram, Black Sabbath and Leafhound*. There’s nothing at all wrong with that, it’s just that on Abra Kadavar they don’t bring enough of their own personality to the show. I own plenty of LPs that I enjoy that wouldn’t score very highly on the Originalideaometer**, but if that is going to be the case you need to bring something and Kadavar, for all their great 60s and 70’s stylings, don’t on this album.
The best track on Abra Kadavar is ‘Doomsday Machine’, where the band speed it up and heavy it out more so than any other song here. I do like the way that the rhythm section have that Sabbath lightness of foot about them, rather than just an all-out pummeling that so many metallers adopted.
What makes Abra Kadavar a frustrating album for me is that there are a few tracks here that sound like they could be excellent, if better produced like ‘Black Snake’ and ‘Come Back Life’, as Spotify is messing me around at the moment*^ have a look at the quite groovy video to the latter – they get bonus points for having a ‘God Bless Johnny Cash’ bumper sticker.
I had hoped that one day I would plonk Abra Kadavar on the turntable and I’d suddenly just get it, but I haven’t and I don’t think I will now. Maybe it’s a limitation of imagination and/or subtlety on my part but this really could have done with being heavied up. It really is a shame but I need to think, groovy object or not, how much I really want to keep hold of this one. Is one track on a lovely looking LP enough to make it a keeper?^ Hmm.
01."Come Back Life" 05:0202."Doomsday Machine" 04:4703."Eye of the Storm" 06:0404."Black Snake" 04:2405."Dust" 04:1206."Fire" 05:1807."Liquid Dream" 04:1208."Rhythm for Endless Minds" 04:1609."Abra Kadabra" 03:02
Hidden Track10."The Man I Shot" 07:041.
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September 12, 2017, 12:24 am
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