Earthen Vessel - Everlasting Life (1971)

Earthen Vessel

Jan & Lorraine - Gypsy People (1969)

Jan & Lorraine

John's Children - Orgasm (British Mod Invasion 1970)

Because Marc Bolan -- soon to become T. Rex -- was briefly a member, John's Children are perhaps accorded more reverence by '60s collectors and aficionados than they deserve. Still, they were an interesting, if minor, blip on the British mod and psychedelic scene during their relatively brief existence (1965-1968), although they were perhaps more notable for their flamboyant image and antics than their music. Yardbirds manager Simon Napier-Bell recalled that they were "positively the worst group I'd ever seen" when he chanced upon them in France in 1966, yet he was conned into taking them on as clients. Not proficient enough to be trusted to play on their own records, their first single, "Smashed Blocked"/"Strange Affair," was recorded with sessionmen in late 1966. This disorienting piece of musical mayhem, opening with a crescendo of swirling organs and an otherworldly over-reverbed vocal, was one of the first overtly psychedelic singles. Their improbable saga was launched when the single actually reached the bottom depths of the U.S. Top 100, cracking the Top Ten in some Florida and California markets. The group's U.S. company, White Whale, requested an album, which they shelved when it was received -- an LP with the then-unthinkable title of Orgasm. The actual album consisted of mediocre studio material smothered in audience screams lifted from the A Hard Day's Night soundtrack, and was, bizarrely, actually released in 1971 (and reissued a decade later). Their second single, "Just What You Want -- Just What You'll Get"/"But You're Mine," reached the British Top 40 and featured a guitar solo by recently departed Yardbird Jeff Beck on the B-side. A brief German tour followed, during which they managed to upstage the headliners, the Who (with their theatrics, not their music). At this point, Marc Bolan joined the group for a time as their principal singer and songwriter; details are hazy, but he recorded at least one single with the group, "Desdemona" (which was banned by the BBC for the line "lift up your skirt and fly"), as well as several unreleased cuts that have surfaced on reissues. Bolan departed in a squabble with Napier-Bell, and the group released a couple more flop singles before disbanding in 1968. Their half-dozen singles rank among the most collectible British '60s rock artifacts, and the group -- who managed some decent modish power pop once they learned their way around their instruments a bit -- were acclaimed as pre-glam rockers of sorts by historians. Andy Ellison (the group's lead singer except during Bolan's brief tenure) recorded some decent pop singles at the end of the '60s, and members of John's Children were involved with the obscure British groups Jook, Jet, and Radio Stars in the '70s.

AMG Review by Richie Unterberger

Brian Auger's Oblivion Express - Brian Auger's Oblivion Express (Great Jazz-Rock Fusion 1970 - debut album)

The first outing by Brian Auger's jazz-rock ensemble the Oblivion Express, first issued in 1971, is one of the great masterpieces of jazz-rock fusion. Auger, having just disbanded his longtime band the Trinity in 1970, still had plenty of rock and roll in his system. His yearning for the open frontiers of electric jazz was certainly the driving force -- in the same way that it was for Miles Davis on A Tribute to Jack Johnson, and Lifetime was for Tony Williams -- but it was anchored in the visceral application of rock. With guitarist Jim Mullen, bassist Barry Dean, and drummer Robbie McIntosh, Auger charted into the unknown. This album fits like a glove, each tune moving ever forward into the next. From the opening knotty, rhythmic twists in "Dragon Song," to the subterranean counterpoint in "Total Eclipse," to the band's theme song that closes the album with its pumping bass and guitar interludes, and Auger's Lemmy Kilmister-like vocals, Oblivion Express is a classic in its genre. There is a rawness in passion and intent here that is balanced by wondrously imaginative arrangements for rock band instrumentation, and an aesthetic that is disciplined and visionary.

AMG Review by Thom Jurek

Smith - A Group Called Smith (1969 Los Angeles Blues Rock with a touch of Soul)

Basically a mainstream pop/rock band with hard rock and soul-influenced arrangements, Smith hit the Top Ten in 1969 with their drastically revised cover of the Shirelles' "Baby It's You." Featuring three lead singers and a B-3 Hammond organ, their strongest asset was their most frequent vocalist, Gayle McCormick, an accomplished female blue-eyed soul belter. Most of their material consisted of covers of popular rock and R&B tunes, and they broke up after a couple of albums, though the singles "What Am I Gonna Do" (co-written by Carole King) and "Take a Look Around" made the middle of the charts. McCormick had a couple of small hits in 1971 and made a few albums in the early '70s as a soloist.
Their debut album, featuring "Baby It's You." The CD reissue adds five significant bonus tracks: the singles "Take A Look Around" and "What Am I Gonna Do," Gayle McCormick's solo singles "Gonna Be Alright Now" and "It's A Cryin' Shame," and Smith's version of "The Weight," which was included on the Easy Rider soundtrack.

AMG Review by Richie Unterberger

Happenings - Piece of Mind (1969 US Sunshine Pop)

Geez, if you'd asked me about The Happenings I probably would've smirked at you and said something along the lines of 'lame assed, Tokens-styled pop group'. Shows you that I don't know squat. Actually, for the most part my snide com- ments would have been right on the mark. What I didn't know is that late in their careers the group somehow managed to record one all but ignored killer album.

1969's self-produced "Piece of Mind" is simply unlike anything else in their catalog. Like many of their contemporaries (The Four Seasons and The Tokens readily come to mind), this album was apparently a last ditch effort to modernize the group's sound in the hopes of expanding their rapidly dwindling audience. The results aren't perfect, but anyone who knows these guys for hits such as 'See You In September' and 'Go Away Little Girl' will be amazed to hear original material such as 'Heartbeat', 'Living In Darkness' and 'Be My Brother' . With bassist Dave Libert and guitarist Bob Miranda responsible for the majority of the twelve tracks, the band turned in surprisingly impressive slices of lite-psych and rock. An impressive blend of their patented harmony vocals and some interesting studio effects, the set's high points are probably the rocking 'Don't You Think It's Time' and the six minute plus 'Imagine'. In addition to an inter- esting song structure the latter even sports a cool Eastern-flavored Bernie LaPorta guitar solo. One more song like that and the LP would've warranted four stars. Besides, ever imagine you'd hear these guys singing a song entitled 'Where Do I Go / Be In (Hare Krishna)'? Mind you, old habits die hard and it was probably too much to expect the group to totally abandon their old ways. 'Cold Water', 'New Day Comin' and the country-flavored 'Piece of Mind' were suffi- ciently schmaltzy to appeal to their older fans. The bizarre cover art is almost worth an additional half star.~~~~ Editors response: Growing up in the late 60s rock and pop harmony didn’t fit in most record buyers head’s. You were either into melody and harmony or you hated it and wanted sceamin’ guitar chords and pounding beat with as little melody as possible. After all this was new and innovative. This has persisted today with many as this reviewer shows. But many who loved melody and perhaps rejected rock at the time can now see how the blend the Happenings tried on this album was a fine mix of old qualities with new...and by retaining a sense of humour with ‘Cold Water’ and ‘Piece of Mind’ the group obviously caught this reviewer ‘cold’. Maybe he will in time appreciate what the Happenings where and what they became. Both were excellent.

When I got this photo from John Paiva of the group in 1972 I thought it must be one of the earli- est examples of a touched up photo. That ‘hair’ cannot be real....no-one with hair like that could be taken seriously. John Paiva corrected us... “All genuine hair....and original fashions. The long blond hair guy is Ted Clancy (Guitar) who is today a music professor at a NJ Uni. The guy with the big hair (totally real by the way,) was David "Chico" Ryan (bass). He was a wonderful funny guy who lived life at a very fast pace. He was offered a gig with "Sha-na-na" of "Wood Stock" fame and after joining them became quite famous as they toured and eventually had a weekly TV show.
When Dave was offered the gig he told me about it and asked what he should do. I told him that if he didn’t go to the audition, that I would, so the next morning he drove to the city and nailed down the gig. Unfortunately later on he met with a sad acci- dent and choked on food in Las Vegas. Due to oxy- gen starvation he spent the next couple of years in a coma. A truly sad ending to a great guy.
The fashions are I think pretty cool. I am wearing a top that a girl I met on Cape Cod made for me. It was a real fashion statement. In the middle is Frank Marcario (drummer) with whom I still have contact. Maybe in a follow on article he will be able to contribute.

http://www.thehappenings.com/

Pepper Tree - You're My People (Flower Power/Psychedelic Rock from Canada 1971)

Band formed in 1967 by Garagan (Friends Of The Family), former "Lost Children " members, Brennan and Richmond, Argent (Outcasts) and Oulton and played first gig at the Shore Club in Hubbards, N.S. Oulton left and band continued as a Quartet. Keyboardist Quinn was brought in to replace Argent. After Doug Billard (Central Nervous System, Five Sounds) joined, the band was spotted by a talent scout in the summer of 1969 and suggested they make a demo tape. This led to them being signed by Capitol Records.
First two singles were recorded in Toronto with Jack Richardson producing. Capitol wanted only original material and band supplied Everywhere/Mr. Pride which both charted. Second single was not as strong as first. Band was encouraged to move nearer record label and moved to Toronto. Billard, Brennan and Richmond all left for various reasons. Band met up with White (Central Nervous System, Five Sounds) in Toronto and Cornerbrook, Newfoundland native Brockway was found after placing newspaper ad. Garagan assumed lead vocal chores.
This line-up moved to a farmhouse in Alliston, Ontario in October of 1970 to prepare for recording of their "You're My People" album. Album was recorded at RCA's Toronto Studio and produced by Jack Richardson. Six songs were Quinn/Garagan compositions, three were Quinn/Garagan/White/Brockway compositions and one Quinn song. All songs were commercially viable with the exception of live favorite "Airplane" which clocked at over five minutes and included organ solo in it's middle section. Keith Jollimore did the horn and string arrangements.
Album made White a local guitar hero in Halifax as all the budding guitarists in the area had to learn the guitar licks on the album particularly the opening bars of "Airplane".
Record company felt band should have a frontman and Matt Minglewood (Moon - Minglewood and The Universal Power) was brought in for six months. When White left, band contacted Halifax guitarist Zemel who packed up and joined the band in Ontario. Minglewood left to form "Cold Duck" and was replaced by Terry Hatty who stayed for 3 months in 1971. After the departure of Minglewood and Hatty, Garagan once again assumed lead vocals. Zemel was the guitarist on the Quinn penned "Love Is A Railroad" single. Zemel was replaced by another Halifax guitarist, Edgett who played on this line-up's last two singles. These songs were written by individual members including Garagan's "Midnight Lady", Quinn's "Teach Me How To Fly" and "Put A Smile Upon Your Face" and Brockway's "Funky Music". Garagan left the band in 1972 and Quinn left the following year.
The final lineup of the band were all Newfoundlanders when Brockway brought in MacLeod (Played guitar in "Garrison Hill"), Parker (Garrison Hill) and Butler.
In 1974, a band called Peppertree (not Pepper Tree) released a single on Aquarius Records (Montreal). The tracks were Take Back My Love and Knowing How You Feel and both were written by P. Pruneau. The single was produced by Jack August of Moonquake fame. There does not seem to be any connection
between this Peppertree and Pepper Tree. 
Brockway went on to play with Rhinegold, Telemann (which later became Wrabit), Hanover (AKA Hanover Fist), Lee Aaron and is currently in Big Smile. Garagan and Quinn both joined Molly Oliver for a couple of years after Pepper Tree. Garagan still plays occasional gigs. Quinn wrote songs for Roger Whitaker among others and formed Quincepts Productions Ltd. Brennan passed away in the late 70's. Richmond went on to play with the Truro based band "Horse" and then became a minister. Billard had a hit single with the song "I've Lost My Place" on United Artists in 1975. Zemel is still playing and involved in CD production and graphic design with SVP Productions. Edgett also still plays in the Halifax area. Brian "Too Loud" MacLeod went on to play with Chilliwack and The Headpins before succumbing to cancer in the mid 80's.

http://nsclassicrock.8m.com/peppertree.html

Ant Trip Ceremony - 24 Hours (1968 Great US Psychedelia)

How did such a wonderfully strange name such as Ant Trip Ceremony come about? The band's name came from Steve DeTray. He entered Oberlin College in Ohio in 1964 but took a hiatus from college in 1966 and part of 1967. He went to stay with his brother in Logan, Utah. There Steve formed a band and needed a name. By chance he mentioned it to an English professor at the nearby University in early 1967. The professor suggested a phrase, "ant trip ceremony", from an American novel whose title Steve can't recall. The author described modern societal life as an ant trip ceremony. Steve thought it spoke to the alienation felt by many of the younger generation in 1967, and the name stuck. So in essence there were two different groups with the name Ant Trip Ceremony. The first one Steve formed in Utah in early 1967 and then the second one which he formed at Oberlin in the fall of 1967.

Steve left Utah in the summer of 1967 and headed back for a tour of duty at Oberlin College. The band he had in Utah had broken up and Steve wanted to put together another band at Oberlin. Steve put out the word that he wanted to form an electric rock and roll band. Gary Rosen was playing in a blues band with George Galt and Mark Stein. Stein, a multi-talented instrumentalist, was a flute major at the Oberlin Conservatory. Roger Goodman was a brilliant keyboard player, but refused to play it while in Ant Trip Ceremony and only wanted to sing. All the members for the new band were from Oberlin with the exception of Jeff Williams who was a local sixteen year old up and coming jazz musician.

The Ant Trip Ceremony album was recorded during two sessions. the first session was in February of 1968 in a rented hall at Oberlin. Steve was there for the first sessions but had left Oberlin by the spring of 1968 and was not present for the second recording session. The album was called "Twenty Four Hours"because that was the feeling behind the sessions (ie.that it took what seemed like twenty four hours to record). The machinery used for the recordings was primitive. The band used a KLH tape deck for playback and a two track Roberts reel to reel for recording. When they wanted to multi-track they would record on one side of the tape and then record on the other side as well. Then they would mix it down to the KLH. The reason the album sounds somewhat imbalanced is because the KLH had one faulty speaker and thus the speaker balance leaned heavily to the left. This ended up affecting the final mix-down.

How were the songs chosen for the album? The band felt ready to record their original songs. These were performed live before student audiences. During live shows, the band was wild, but sadly no live tapes exist. Thus the original songs done on the album when performed live were more psychedelic and improvised. Where did the band play live? Mostly at Oberlin and at off campus parties. The band was known for getting into strange and long jams. Furthermore no song was ever done twice exactly the same. They were, in some ways like the Grateful Dead of the region. When the band played it was a happening, a genuine psychedelic event. Shows went on for hours, with the audience in a wide variety of states of consciousness.

Three hundred copies of the album were pressed and one hundred were sold for $3.00 each!! The album's expenses was shared equally by the band members. The artwork and production was done at Oberlin for free. Why was the album done? Steve was leaving Oberlin, and the band wanted to capture some of the magic they had collectively created anything could happen in those days, that there were no limits. The producer of the album was David Crosby, an Oberlin student and good friend of the band who was very much into music production and sounds. Sadly, he passed away during the making of this reissue and will be missed greatly. The artwork for the album was of its time with psychedelic-mind-zapping art work. It was without a doubt a counterculture statement!!
What are the songs about?

"Elaborations"-a great example of Steve's development of the Indian Raga form, with his guitar tuned to get a sitar sound. He had also been to Berkeley in the summer of 1967 and was wowed by bands such as The Grateful Dead, Jefferson Airplane, and Quicksilver.
" Pale Shades Of Gray"-.words were written by Steve's first wife, with some Procol Harum influence, is about the pain of alienation.

"River Dawn"- George wrote this song about escaping the restrictions of campus life by sitting on the banks of the Ohio River when the sun was coming up.
"Locomotive Lamp"- Garyís first song as a singer-songwriter. It was a forerunner to the Grateful Deadís train/drug imagery. ìLittle Babyî- a blues cover song that was done by Gary and George's blues band before Ant Trip Ceremony.

• Violets Of Dawnî- the band members were fans of Eric Anderson and covered the song, that was also done by the great Northwest group, The Daily Flash.

• Hey Joeî- the band loved Jimi Hendrix (of course) and did this cover version in his honor. ìFour In The Morningî- a weird but strangely ethereal song that bears a striking similarity to ìHey Joeî with its despondency and desperateness.

• Outskirts- A song about alienation, has words by Oberlin poet, Sandy Lyne and music by pianist, Neal Evans.
• What the matter nowî- written by George's friend , Jack Lee. Lee used to play with Mother Earth. George got the tune from Jeff and added different words to it.

• Get Out Of My Life Womanî-a then popular cover song that west coast bands such as ìThe Doorsî were performing.
• Whatís The Matter Nowî-a lovely psychedelic number that predates the background vocal effect John and Yoko were doing in 1969 and 1970. ìSometimes I Wonderî- no available comments on this blues flavored melody.

Ant Trip Ceremony lasted for about one year, then disbanded upon the memberís graduation from Oberlin College. In their wake they left this fine artifact from their oeuvre and forty years after ì24 Hoursî was first released it sounds as good as ever.

01.Outskirts
02.Pale shades of gray
03.Hey joe
04.Four in the morning
05.What's the matter now
06.Elaborations
07.Riverdawn
08.Violets of dawn
09.Locomotive lamp
10.Little baby
11.Sometimes I wonder
12.Get out of my life woman

Post by CGR

 

ΟΧΙ δε θα με πάρει από κάτω!!!

Eire Apparent - Sunrise (Irish Prog/Psych produced by Jimi Hendrix 1969)

For an album that never had a hit to drive it, by a group that isn't too well remembered on its own terms, Eire Apparent's Sunrise is amazingly well known, at least as an artifact among Jimi Hendrix fans, owing to the fact that the guitarist produced it (and played on parts of it). But one wonders how many people have ever actually listened to the album -- as it turns out, it's a pleasing, tuneful, and occasionally bold psychedelic pop/rock excursion, similar in many ways to the Yardbirds' Little Games album, except that Eire Apparent were apparently far more comfortable with psychedelic pop stylings here than Keith Relf, Jimmy Page, et al., were on that Yardbirds record. The mix of lyrical acoustic and electric guitar sounds, some tasteful light orchestrations (strings and horns), and trippy lyrical conceits all works extremely well; this is a surprising psychedelic pop release, gently trippy most of the way through with a few searing contributions by Hendrix. Almost as important are the hints one gets of Ernie Graham's subsequent songwriting range in embryonic form on numbers such as "Rock & Roll Band" and "Magic Carpet" -- his work is rootsier and mostly more accessible than that of Mick Cox, the other major songwriter in the group (though he does make a pleasing contribution with "Let Me Stay"). Between their best songs, the group's overall musical facility, and Hendrix's contributions, the whole album ends up extremely strong and consistent, and well worth hearing on its own terms, even if it wasn't breaking any new ground musically. The record should have done better than it did, but its release by Buddah (which had virtually no presence in England) limited its overseas impact -- and, in any case, the group had lost most of its British audience by then. Also, American radio probably didn't know where to place it, since it straddled both the pop and psychedelic categories (and in very bold terms), along with elements of roots rock. And it missed an opportunity as well -- the original LP release was missing the single B-side "Rock & Roll Band," which covered a lot of the same territory that the Hollies were to parlay into a Top Ten hit a couple of years later with "Long Cool Woman (In a Black Dress)." Juxtapose that with numbers like "The Clown" -- which plunged into psychedelic/metal in a pop framework that distantly echoes both Hendrix's music and that of the Yardbirds of "Happenings Ten Years' Time Ago" -- and one can see the range this group had. It's all admirable music, but was apparently too tough to sell easily without a hit single to pull people in. And it's all still worth hearing, even four decades on. [The 1991 Repertoire Records CD included "Rock & Roll Band" as a bonus track.]

AMG Review by Bruce Eder

Vibrators - Pure Mania (British Punk/New Wave 1977)

Were the Vibrators real punks? Maybe not, but then again, were the Stranglers? Or Eddie and the Hot Rods? Even more to the point, was Steve Jones? Plenty of rock careerists jumped onto the punk/new wave bandwagon in the wake of the Sex Pistols' success (and more than a few folks, like Jones, stumbled into the new movement by accident), but unlike most of them, the Vibrators took to the fast/loud/stripped down thing like ducks to water, and both Knox (aka Ian Carnarchan) and Pat Collier had a genius for writing short, punchy songs with sneering melody lines and gutsy guitar breaks. If the Vibrators were into punk as a musical rather than a sociopolitical movement, it's obvious that they liked the music very much, and on that level their debut album stands the test of time quite well. Pure Mania boasts a bit more polish (and less politics) than many of the albums from punk's first graduating class (such as Damned Damned Damned or The Clash), but if you're looking for a strong, satisfying shot of chugging four-square punk, cue up "Yeah Yeah Yeah," "No Heart," "Petrol," or "Wrecked on You" and you'll be thrown into a gleeful pogo frenzy. Maybe Pure Mania isn't purist's punk, but it's pure rock & roll, and there's nothing wrong with that.

AMG Review by Mark Deming

Spherical Objects - Further Ellipses (Great Manchester scene Post-Punk 1980)

Further Ellipses was recorded with an entirely different personnel than the first two S.O. albums. By 1980, guitarist John Bisset-Smith quit the group to concentrate on his work in Grow Up, and the rest of the band followed suit, citing various other reasons. The first lineup of Spherical Objects had performed live only a few times, including one gig opening for Magazine, during which they were booed and spat on by an impatient audience. Perhaps it is not surprising, then, that it was so easy for the band to move on to other projects. In their place, Solamar recruited guitarist Roger Blackburn (also from Grow Up), and session players drawn from the ranks of the Manchester Musicians' Collective. (It's worth noting that the MMC was an organization that Solamar actively promoted during his time in the music business, releasing a compilation LP called A Manchester Collection on Object that showcased the work of these young artists.)
Not least because of the fact that right around the time of its release, Solamar finally made the decision to become a woman, Further Ellipses has the feel of a transitional work. As an album, it is neither here nor there, and for much of the time, the session musicians seem like they are anywhere but present as they are playing. It's hard to escape the lackluster feeling of much of the record, and even virtuoso touches like the Spanish guitar on "The Final Part" or the saxophone solo on "Regular Condition" sound terribly corny with the benefit of hindsight; competent, but poorly conceived. Even Solamar's lyrics feel a bit wedged into the melodies here, unlike the first two records, where he was rarely off his game.
Even with its obvious flaws, there are some interesting moments here, mostly because Solamar's identity crisis has reached its zenith, and the tense, self-interrogating lyrics attest to this intense emotional state. On "Regular Condition," he speaks ironically about his gender dysphoria: "Don't worry, this is a regular condition/Thousands of people have to deal with this every day." On "The Root," he sounds like a man frantically searching for a solution to an unresolvable paradox: "I wish I could get to the root of the problem." On "Don't Worry About Me," Solamar sings: "Don't worry about me, I've got my therapy/The image in my mind's eye, it just frees me." Though all of these lyrics certainly could be expressing universal emotions, it seems unavoidable to relate this to Solamar's transgenderism, and this pervasive, unconscious theme succeeds in redeeming the album, which otherwise has not aged particularly well.

http://brainwashed.com/index.php?option=com_content&task=view&id=7333&Itemid=64

Be a Caveman: The Best of the Voxx Garage Revival (Garage/Psych/Indie compilation)

From 1979 onward, the Voxx label has been the home of more 1960s garage revivalist bands than any other company, although the label's activities tapered off in the early '90s. This is a 27-song survey of Voxx's output (excluding the actual '60s garage bands whose material it reissued occasionally). Many of these names were among the best-known groups in this rather insular movement, such as DMZ, the Crawdaddys, the Barracudas, Plan 9, the Unclaimed, the Pandoras, the Tell Tale Hearts, the Fuzztones, the Cynics, and the Chesterfield Kings. There are a few names that might be unfamiliar to those steeped in the style, like the Time Beings, the Leopards, the Event, and the Laughing Soup Dish. But even if you're the purist who only wants to hear the original 1960s garage recordings, you'll probably recognize most of these bands, if only because so many of them advertised in (and wrote for) fanzines detailing obscure 1960s garage music. The music on this disc? It's a cliché by now to note that it's not as exciting as the obscure 1960s recordings it's modeled on, but that's no less valid a statement than it ever was. Those songs that are covers of old nuggets don't match the original versions; much of the original material sounds like form without the content. Some non-standard garage influences peek through occasionally, such as surf, punk, and polished late-'60s British psychedelia, but for the most part it's bluesy, simple 1966-style ranting. the Leopards' late-'60s Kinks-style vaudeville-mod satire "Psychedelic Boy" really stands out (refreshingly so) in this context as something a little different. Should you want just one overview sampler of the genre, though, this -- despite the absence of some of the more celebrated names, such as the Lyres -- has got to be the best one out there.  

Track List

1. Left In The Dark - Vertebrats

2. Can't Stand The Pain - DMZ

3. There She Goes Again - Crawdaddys

4. This Ain't My Time - Barracudas

5. I'm Not There - Plan 9

6. Run From Home - Unclaimed

7. Melvin - Pandoras

8. Spooky - Gravedigger V

9. It's Not Me - Tell Tale Hearts

10. One Step Closer To You - Miracle Workers

11. Why Don't You Love Me - Time Beings

12. Green Slime - Fuzztones

13. I'll Make You Sorry - Odds

14. Nothing's From Today - Vipers

15. Waste Of Time - Cynics

16. Are You Gonna Be There - Chesterfield Kings

17. Dr. Syn - Stomachmouths

18. Bye Bye Baby - Wombats

19. Teenage Lima Bean - Laughing Soup Dish

20. Midnight Hour - Hypstrz

21. Fun In The Summer - Surf Trio

22. She Only Knows - Eyes Of Mind

23. Can't Get Enough - Things

24. Psychedelic Boy - Leopards

25. Living So Dead - Steppes

26. She's Our Girl - Event

27. Be A Caveman - Dwarves

AMG Review by Richie Unterberger

Manuel Göttsching - Inventions for Electric Guitar (1975 Ash Ra Tempel frontman solo album Kraut/Space Rock)

This album is sometimes credited to Ash Ra Tempel, but the music was composed and performed by Manuel Göttsching alone. All sounds were created with guitar, but Göttsching's use of echo, delay, and assorted treatments give these pieces the flavor of sequenced synthesizer music, occasionally reminiscent of Tangerine Dream's work from the period. The opening "Echo Waves" is a trance-inducing space guitar masterpiece, with repeating rhythm figures and gradual phase shifts creating a warped sense of time. The first 14 minutes of the track consist of short, subtly changing melodic phrases, until Göttsching questionably chooses to close with a searing, acid-fried guitar solo. "Quasarsphere" is much more contemplative, with Göttsching processing his guitar to sound like a synthesizer in the vein of Robert Fripp. The closing "Pluralis" consists of endless variations constructed around a simple guitar sequence; it possesses a structure similar to "Echo Waves" (down to the late-breaking blast of psychedelic soloing) with a bit more space and a slower tempo. In some respects a precursor to the groundbreaking proto-techno of E2-E4, Inventions for Electric Guitar is an essential document for space rock enthusiasts.

AMG Review by Mark Richardson

Magma - Mekanïk Destruktïw Kommandöh (Great Prog/Jazz/Fusion 1973)

There is definitely quite a large step from Magma's second LP, 1,001 Degrees Centigrade, to this one, their third. At the same time, MDK represents a transitional period: drummer/composer Christian Vander has definitely abandoned the jazzier leanings of the previous opuses and has now dived head first into martial hymns and a new form of progressive devotional music -- extraterrestrial gospel. But he has also chosen to retain the brass section that gave Kobaïa and 1,001 Degrees Centigrade their signature sound. Therefore, the music has yet to become the relentless rhythmic kaleidoscope that the future would promise. MDK was introduced in the LP's original liner notes (an illuminated delirium by Vander, who rechristens himself Zebëhn Straïn dë Geustaah -- his text, the essence of which is a revelation transmitted to him by the Prophet Nebëhr Gudahtt, is the key text in Magma's mythology) as the third movement of Theusz Hamttaahk, but it was the first one recorded. The previous two movements are "Theusz Hamttaahk" itself, often performed live but not recorded at the time, and Würdah Ïtah, which would become the group's next album. All three album-length pieces share elements (some lyrics, rhythmic cells, and chord sequences), but they are individual stand-alone pieces. MDK showcased for the first time the incredible range of singer Klaus Blasquiz and introduced the ground-moving work of bassist Jannick Top, with and for whom Vander will develop an increasingly rhythm-heavy style, already present here. Between the meticulous developments of "Hortz Fur Dëhn Stekëhn West," the possessed free-form screams in "Nebëhr Gudahtt," and the hymnal chorus of "Mekanïk Kommandöh," MDK is one giant creative blow to the guts, and unsuspecting listeners will be left powerless at the end of its onslaught of mutated funk, pummeling gospel rock, and incantatory vocals in a barbaric invented language. It remains one of Magma's crowning achievements (together with Kohntarkosz) and the best point of entry into Christian Vander's unparalleled musical vision. And if the literary concept bothers you, just ignore it: the music has more than enough power to do without it.

AMG Review by François Couture

The Alan Bown Set! - Outward Bown (Wonderful UK Psychedelic Pop 1967)

Everybody who's followed the convoluted career of Jess Roden, Britain's best-kept blue-eyed soul-shaped secret for more than 30 years, should close their ears right now. The man who turned "I Can't Get Next to You" into one of the most dramatically passionate rock workouts of the '70s is completely up a bubblegum tree here, running through an album of light-psych whimsy that has as much to do with his future as...name your poison: Peter Frampton and the Herd, Status Quo and "Matchstick Men," Traffic and its debut album. It's great pop, of course -- as great as any of those and many more. Blissed out mini-classics like "Magic Handkerchief," "The Violin Shop," and "My Girl the Month of May" are as delightful as only second-division British psych can be, a collection of semi-detached suburban Ray Davies observations full of vaguely Edwardian lifestyle concerns, peopled by pretty girls who wash the dishes, toys that talk, and love that flies from the rooftops with the clouds. Signs of the band's (and band members') brilliance are all over the place. "Penny for Your Thoughts" is garage land Small Faces, underpinned by freak guitar and the brilliant brass of Bown and future Supertramp mainstay John Anthony Helliwell, while a version of Dylan's "All Along the Watchtower" melds Hendrix' arrangement to a Sgt. Pepper's-ish style. And it's all so impossibly sweet, so implausibly twee, and so utterly a child of its times that you can't help but wonder just how humanity survived the '60s. Let alone Roden himself!

AMG Review by Dave Thompson

Ash Ra Tempel - Schwingungen (Kraut-Rock 1972)

Ash Ra Tempel's second album featured the first of several personnel changes, Klaus Schulze having departed for other realms and replaced as a result by Wolfgang Muller. A few guest players surfaced here and there as well, with one John L. taking the lead vocals -- another difference from the self-titled debut, which was entirely instrumental. The general principle of side-long efforts continued, though the first half was split into two related songs, "Light" and "Darkness." "Light" itself sounded halfway between the zoned-out exploration of "Traummaschine" and bluesy jamming, a weird if not totally discordant combination that still manages to sound more out there than most bands of the time. Gottsching's fried solo, in particular, is great, sending the rest of the song out to silence that leads into "Darkness." Said song initially takes a far more minimal approach that bears even more resemblance to "Traummaschine," fading out almost entirely by the third minute before a full band performance (including Uli Popp on bongos and Matthais Wehler's sudden alto sax bursts) slowly builds into a frenetic jam. John L.'s vocals become echoed screams and yelps not far off from Damo Suzuki's approach in Can, and the overall performance is a perfect slice of Krautrock insanity, sudden swirls of flanging and even more on-the-edge solos from Gottsching and Wehler sending it over the top. "Suche & Liebe" takes up the entire second side, the performers this time around concentrating on the quiet but unsettling approach, Gottsching's massive soloing kept low in the mix but not so much that it doesn't freak out listeners. The song concludes on an almost conventionally pretty band jam, something that could almost be Meddle-era Pink Floyd, only with even a more haunting, alien air thanks to the wordless vocal keening.

AMG Review by Ned Raggett

Ash Ra Tempel - Ash Ra Tempel (Innovative Kraut-Rock 1971)

In light of the 1990s post-rock scene and the often clear links back to Krautrock of all stripes, Ash Ra Tempel's monster debut album stands as being both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms. Featuring the original trio of Enke, Gottsching and Schulze, Ash Ra Tempel consists of only two side-long tracks, both of which are gripping examples of technical ability mixed with rock power. If more progressive music was like it, there wouldn't be as many continuing complaints about that genre as a whole. "Amboss" contains the more upfront explosions of sound, though it mixes in restraint as much as crunch. Starting with Gottsching's extended guitar notes and Schulze's cymbals, it begins with a slow, ominous build that is equally haunting, as mysterious as the cryptic artwork of temples and figures found on the inside. Quick, rumbling drums slowly fade up some minutes in, with more crashing guitar mixing in with the previous tones, creating a disorienting drone experience. The active jam then takes over the rest of the song at the point, the three going off just as they want to (Gottsching's soloing in particular is fantastic) before all coming back together for an explosive, shuddering series of climaxes. "Traummaschine," in marked contrast, is a quieter affair, with Gottsching's deep drones setting and continuing the tone throughout. Fading in bit by bit, the guitars are accompanied by equally mesmerizing keyboards from Schulze, creating something that calls to mind everything from Eno's ambient works to Lull's doom-laden soundscapes and, after more distinct guitar pluckings start to surface, Flying Saucer Attack's rural psychedelia. Halfway through, soft percussion blends with the music to create a gentle but persistent intensity, cue for a series of shifts between calmer and more active sections, but all kept more restrained than on "Amboss."

AMG Review by Ned Raggett

Climax Chicago Blues Band - S/T (1969 Wonderful Blues-Rock)

In the grand tradition of Peter Green's Fleetwood Mac, the Aynsley Dunbar Retaliation, John Mayall's Bluesbreakers, The Keef Hartley Band, T.S. McPhee's Groundhogs, early Rod Stewart, early Led Zeppelin and a dozen others, the British blues scene of 1967-1969 was hot.
And the best of the best was the Climax Chicago Blues Band (they dropped 'Chicago' after this first album). Though rooted in the American blues tradition, they gave it their own distinctive British twist, producing some of the finest modern blues music around in their first 4 or 5 albums. After that they began to slide into a pop MOR format (as many of their contemporaries also did), making them less interesting, but oh, those first albums!!

When this lp came out in 1969 I stumbled across it and fell for their killer versions of Mean Old World and Insurance. I was completely impressed by the fact that Peter Haycock (guitarist non-pareil) was rumored to be only 13 years old (he was actually 17) when they recorded this album and he had to sneak out of the house to play. A must-have for any blues collection. [Amazon]

01. Mean Old World
02. Insurance
03. Going Down This Road
04. You've Been Drinking
05. Don't Start Me Talking
06. Wee Baby Blues
07. Twenty Past One
08. Stranger in Your Town
09. How Many More Years
10. Looking for My Baby
11. And Lonely
12. Entertainer [Bonus]

Post by CGR

Novalis - Novalis (Great German Prog-Rock 1975)

Normally, progressive rock bands that hail from Germany play an aggressive, forceful type of music, with brash keyboard and guitar interplay leading to hardened rhythms and tempos. Novalis is one of the exceptions, and on their second album they maintain an even tighter fusion of folk-rock and classical elements, topped off with lush, prolific vocals that soften the music even more. With their debut album entitled Banished Bridge in 1973, the lyrics were entirely English, but Novalis has the band switching to their native tongue, which, in turn, sounds more free-flowing and poetic. But it's the way in which the keyboards maintain a dreamy, romantic air throughout the songs that gives the album some personality, especially in the nine-minute "Wer Schmetterlinge Lachen Hort," which roughly translates into "Those Who Hear Butterflies Laugh," as the tones float and descend, with some light guitar playing dancing in the background. "Impressionen" is the track most closely related to classical music, as there is some familiar relation to Bruckner's Symphony No. 5 in the synthesizer's riffs. Even if the vocals can't be understood, they are beautifully cohered to the instruments to produce a vivid fairy-tale effect that is quite mesmerizing the whole album through, making it one of their best.

AMG Review by Mike DeGagne

Bachman-Turner Overdrive - Not Fragile (Superb Classic Rock album 1974)

After gaining some recognition from the success of the band's previous album, Bachman-Turner Overdrive got around to recording Not Fragile. Not only had one of the three Bachman brothers (Tim, the rhythm guitarist) left the band to BTO's advantage, but Randy Bachman and C.F. Turner had clearly grown musically. To the album's benefit, most of the material on Not Fragile are the band's much-liked rock anthems, ranging from the hyper-distorted title track, through the famous but far more timid song "You Ain't Seen Nothing Yet." Indeed, for hard rock fanatics, it doesn't come much better than on Not Fragile. Randy's electrifying lead guitar is here more raucous than ever before, as are his rowdy vocals (particularly noticeable on the predictable, but fun "Sledgehammer"). The man steals the show on Not Fragile through his extensive and often astounding guitar solos. Generally, though, Bachman-Turner Overdrive are at their prime as a whole, both in songwriting and playing terms. As regards the mixing, it's hard to find fault with this release. The drums are clear but not so prominent that they dominate the recording, while the guitars, along with the bass, are kept rigidly in their place. Not Fragile is one of the finest arena rock albums of the era, featuring all the hallmarks of what makes a classic release in the genre. Randy's impressive guitar work and typically boisterous vocals complement the overall framework of the album superbly, as do the crunchy rhythm guitars. This release will astound fans of the genre and band, while those thoroughly against stadium rock may find something to convert their views.

AMG Review by Ben Davies

Koala - Koala (1969 Garage/Psych)

The Koala were a late 60's group from New York who released one album on Capitol Records, where some genius decided to market the group as a bunch of Aussies...without getting anyone's permission first! The group got wind of this, after the fact, and broke up soon after the album's release. guaranteeing it a life of obscurity for the next few decades. Now that the market for 1960's psych/garage obscurities is strong, Fallout Records has put the group's one album out on cd for the first time ever, and it's a surprisingly good listen.

The Koala may be a cute and fuzzy animal, but this band was the exact opposite, playing snarling and aggressive music that was influenced by Hendrix, The Who and The Small Faces. This is no run of the mill period piece though, thanks to the leering vocals of Jose Mala (who went on the front 70's glam-rockers The Magic Tramps and played in The Joe Perry Project) and the innovative psychedelic guitar playing of Joey Guido and Louis Cane. When it's all added up you get an album that predates 1970's hard-rock and punk, and The Koala serves as proof that there's still some undiscovered gems sitting in record company vaults.

01. Don't You Know What I Mean?
02. Look At The Way She Comes
03. Poor Discarded Baby
04. Nothing's Changed
05. She's A Lady
06. Colours Of Our Rainbow
07. Poppa Duke Tyler
08. Strange Feelings
09. Elizabeth
10. You Say
11. Yesterday's Rain
12. Lady Dressed In White
13. Scattered Children's Toys

Post by CGR

Albert Collins, Etta James & Joe Walsh - Jump the Blues Away (Superb Live 1989)

Nothing if not eclectic, the Jazzvisions series veers completely away from jazz on its blues installment. The idiom is blues-rock, the headliner is the once and future Eagles star Joe Walsh, and his co-partners are electric bluesman Albert Collins and the indestructible singer Etta James. Within that idiom, though, this is a strong program captained by experts in the arts of blues licks and working the crowd. Collins is terse and stinging on guitar, full of bent-note soul; James is right in her element, laying on the double entendres, whipping up the audience in her experienced manner; and Walsh, aside from the inevitable "Rocky Mountain Way," does well in the blues guitar idiom, even giving a tip of the cap to Collins, "Thanks for all the licks!" The backup band roars in the traditional journeyman electric blues-rock form, with strong piano and organ work and pumping drums. At its best, especially when Collins and James are on, this concert at the indoor Wiltern Theatre has much of the celebratory flavor of a jumping outdoor blues festival. Available on LP, CD, cassette, laserdisc and VHS video.

AMG Review by Richard S. Ginell

Big Star - #1 Record (Superb debut album 1972)

The problem with coming in late on an artwork lauded as "influential" is that you've probably encountered the work it influenced first, so its truly innovative qualities are lost. Thus, if you are hearing Big Star's debut album for the first time decades after its release (as, inevitably, most people must), you may be reminded of Tom Petty & the Heartbreakers or R.E.M., who came after -- that is, if you don't think of the Byrds and the Beatles, circa 1965. What was remarkable about #1 Record in 1972 was that nobody except Big Star (and maybe Badfinger and the Raspberries) wanted to sound like this -- simple, light pop with sweet harmonies and jangly guitars. Since then, dozens of bands have rediscovered those pleasures. But in a way, that's an advantage because, whatever freshness is lost across the years, Big Star's craft is only confirmed. These are sturdy songs, feelingly performed, and once you get beyond the style to the content, you'll still be impressed.

AMG Review by William Ruhlmann

Abwärts - Der Westen Ist Einsam (Germany Punk/Post-Punk/New Wave 1982)

Early masterpiece from Germany's ABWÄRTS featuring their unique sound combining the raw energy of punk with the experimental sounds of new wave. Originally released in 1982 made available digitally for the first time through Rodrec - the label of DIE ÄRZTE bass player Rodrigo Gonzáles - and Cargo Digital.