Friday, December 31, 2010

V.A. - Its Midnight Xmess Part III (1987)

V.A. - Its Midnight Xmess Part III (1987)
[Midnight Records, MIR LP 137]

01. Reindeer n' Whiskey - The Iguanas
02. Celebrate! - Whooping Cranes
03. "Yuh, Xmess" - Gorhounds
04. My Sears Catalogue - Sharky's Machine
05. Xmas Will Never - The Love Pushers
06. Merry Christmas, Baby - The Senders
07. Mrs. Claus Has Menopause - The Sterilles
08. Staring in the Eye of God - The Woofing Cookies
09. Are You Ready for Christmas - Luther n' B.B.B.'s
10. One Winter's Night - The Brood
11. December Mourning - Crocodile Shop
12. Christmas Comes to Those Who Wait - Dimentia 13
13. The Last Noel - John Frankovic

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V.A. - Its Midnight Xmess Part III (1987)

V.A. - Oh! No! Not Another... Midnight Christmas Mess Again!! (1986)

V.A. - Oh! No! Not Another Midnight Christmas Mess Again (1986)
[Midnight Records, MIR LP 135]

01. Hazy Shades of Winter - The Slickee Boys
02. Christmas I'll Be Home - The Vipers
03. Star - The Cheepskates
04. Santa is Comin' Down Again - The Psycho Daisies
05. Santa Ain't Santa - Woofing Cookies
06. Jesus Christ - The Love Pushers
07. O Tannenbaum Now - Das Furlines
08. Blue Christmas - The Ravens
09. Wreck These Halls - Howard & Jag's X-mas Vacation
10. Sleighbell Bop - The Holidays
11. Coal in My Stocking - The Backbones
12. Christmas Eve at KNL (Kansas Neurological Institute) - The Iguanas
13. Snow is Falling - Dementia 13

In the late fall of 1984 Midnight International, an NYC based record label which catered to the growing Garage/Psych movement released its first Christmas compilation LP featuring thirteen different acts on fifteen cuts. The compilation proved to be so successful two more volumes were later released. "Oh No, Not Another Midnight Christmas Mess Again" was the second one featuring the outstanding Cheepksates, the Vipers, the Slickee Boys and more.
~ by Angelo.

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V.A. - Oh! No! Not Another... Midnight Christmas Mess Again!! (1986)


V.A. - A Midnight Christmas Mess (1984)

V.A. - A Midnight Christmas Mess (1984)
[Midnight Records, MIR LP 106]

01. Christmastime Here (Could Never Be Like That) - Wednesday Week
02. On Comet - The Point
03. Christmastime With You - The Cheepskates
04. Here's What I Want on a Christmas Day - Justin Love
05. Christmas Dance - Johnny Rabb
06. Gotta Get Lucky for Xmas - Johnny Rabb
07. Xmas Time (It Sure Doesn't Feel Like It) - The Dogmatics
08. Last Minute Rush - The Cheepskates
09. Merry Christmas - Plan 9
10. Christmas Tyme (Baby) - Yard Trauma
11. Forget It - Nadroj & The Wolrats
12. Schizophrenic X'mas - The Suburban Nightmares
13. Gloria (in Excelsis Deo) - The Tryfles
14. It's Christmas (A Time for Giving) - Screamin' Jay Hawkins
15. Silent Night (J.D.'s Salute to Phil Spector) - Droogs

Other than a few too-pop or rockabilly clunkers on side one, we are left with an excellent '60s-punk type compilation of various contemporary groups. There's killer stuff from YARD TRAUMA,NADROJ & THE WOLRATS (doing the SONICS' "She's Waiting" with new lyrics), CHEEPSKATES, among others. There's even Midnight owner, JD, doing his tribute, à la Phil Specter's Xmas LP, to the season.
 ~ Tim Yohannan (from Maximum Rocknroll #19, November 1984).

Download Link:
V.A. - A Midnight Christmas Mess (1984)


Wednesday, December 29, 2010

Sam Gopal - Escalator (uk 1969)

Sam Gopal - Escalator (uk 1969)

Formed:  United Kingdom

* Sam Gopal (tablas, percussion),
* Roger D'Elia (lead guitar, acoustic guitar, rhythm guitar),
* Phil Duke (bass),
* Ian "Lemmy" Willis (vocals, lead guitar, rhythm guitar).

Producer: Trevor Walters.

Also Known As: The Sam Gopal Dream

Genres: Psychedelic Rock

01. Cold Embrace
02. The Dark Lord
03. The Sky Is Burning
04. You're Alone Now
05. Grass
06. It's Only Love
07. Horse
08. Escalator
09. Angry Faces
10. Midsummer Nights Dream
11. Season Of The Witch
12. Yesterlove
13. Back Door Man

Sam Gopal Dream was the soft and trippy raga ensemble fronted by tabla player Sam Gopal. Around the same time they used to play at the UFO in London, Ian Willis (aka Lemmy) was a roadie for Jimi Hendrix, after leaving his Mod band The Rocking Vicars.
The band Sam Gopal plays acid rock for stoners favoring the dark side. Sam Gopal fronts the band and still plays tabla, but Lemmy's voice is the loudest thing in the mix, and his fuzzed-out guitar is all over the disc. He also wrote most of the songs. This record originally came out in 1969 on Stable Records, an obscure label formed by Simon Stable. This label only put out two releases: the Sam Gopal record and The Deviants Disposable.
~ by Verybadboy.
Late-period British psychedelia with snaky psychedelic-blues guitar lines, anguished vocals, a bit of an Eastern-folk bent to the melodies and a sheen of stoned mysticism to the lyrics.
You have to be a very good group to pull this off well, and Sam Gopal were not very good; they were adequate, at best. Not terrible, but they definitely sound like a bill-filler, likely to be found as the opening band for much more interesting musicians in the U.K. in the late 1960s. The songs sound too similar to each other, but it is more low-key than you'd expect given Lemmy's later resume. Fave cut is "Midsummer Night's Dream," which puts the "You Really Got Me" riff to good use in a late '60s psych context (it sounds better than it reads). The CD reissue, taken from "original LP mixes," adds both sides of a non-LP single as bonus tracks.
~ Review by Richie Unterberger [amg].

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Sunday, December 26, 2010

Sweetwater - Melon (us 1971)

Sweetwater - Melon (us 1971)

Warner Reprise still had faith in the band and gave them another chance so they released "Melon", an album described by some people as a blend between Jethro Tull, Santana and Jefferson Airplane, but the time had passed and they were not so advanced in 1971 as in 1968 and without Nansi they were unable to regain their lost audience, so they disbanded after a short tour.
~ Iván Melgar Morey - Perú (

Personnel on this album:
* Nancy Nevins (lead female vocals, acoustic guitar),
* Fred Herrera (bass, vocals),
* Alex Del Zoppo (piano, keyboards, harmonica, vocals),
* Albert B. Moore (flute, vocals),
* August Burns (cello),
* Elpidio Cobian (conga, percussion),
* Alan Malarowitz (drums on tracks: 04 & 10),
* Ricky Fataar [courtesy Brother Records] (drums on all other tracks).

01. Get It When You Can (Alex Del Zoppo) - 3:42
02. Don't Forget (Nancy Nevins) - 3:00
03. It Ain't Easy (Albert Moore) - 3:20
04. I'm Happy Today (Alex Del Zoppo) - 4:17
05. Rejoice... The Smile Of Man (Fred Herrera) - 4:53
06. Take It From The Splice, Boys (Fred Herrera) - 6:48
07. Naturally (Alex Del Zoppo) - 3:35
08. Don't Give A Hoot (Albert Moore) - 2:22
09. Faith (August Burns) - 0:38
10. Join The Band (Alex Del Zoppo) - 5:30

That old cliché "you can't tell a book by its cover" may have been true for the Guess Who's Road Food LP, a repulsive album jacket and inner sleeve housing a gem like "Star Baby," but the lesser-known Sweetwater beat the Guess Who to the punch by three years with a watermelon on the front of the Melon LP, and its remains on the back. The music inside is unsettling, but not without merit; Fred Herrera's "Rejoice...The Smile of Man" plays like a less annoying "White Bird" two years after It's a Beautiful Day unleashed that FM staple. Herrera goes off key, but that adds to the charm. Nansi Nevins does not come up with a "White Rabbit" with "Don't Forget," but still manages to sound like Grace Slick on her songwriting contribution. It's the Jefferson Airplane's "Lather" by way of H.P Lovecraft. "Take It From the Splice, Boys" is Jethro Tull meets Santana while predicting the dawn of the Electric Light Orchestra, that mix not flowing well into the countryish "Naturally," which could be Nick Gravenites' version of Big Brother & the Holding Company. Flute, cello, conga, and acoustic guitar should all combine to make for a delicious musical feast, but there are only glimpses of possibilities on Melon, an album that is disjointed, and in desperate need of a song that can raise it to the next level. Wiley Brooks' production is clear and precise, and the feel of the band isn't bad at all; it's just that when they step up to the plate, they hit a few foul balls, and on some tunes, like "Don't Give a Hoot," they simply strike out. "Join the Band" is a real strange one; The Monkees did this much better with "Listen to the Band," the punk vocals mixed with an off-key gospel chorus is certainly interesting, and somewhat amusing, to the point where it could be slipped into a radio show and listeners might say "what the heck was that"? As a novelty, it is wonderful, but after repeated listenings its charm would wear off and you may find yourself looking to hear Mike Nesmith's song again. Alex Del Zoppo's "Get It When You Can" is not as direct as Janis Joplin's "Get It While You Can," which came the year before, its preachy vibe not as much fun as Joplin's tour-de-force lecture. He fares better copping Lou Reed's "Cool It Down" from the Velvet Underground's Loaded LP on "I'm Happy Today." The band puts everything but the kitchen sink into this album, and the telling turntable spindle on the plate with seeds and melon crusts imagery by photographer Annette Del Zoppo kind of sums it up. Just when a song like "It Ain't Easy" makes you want to hit "reject," an intriguing musical passage makes the curiosity factor kick in. An odd presentation for sure, and deserving of some kind of recognition --exactly how much is the question.
 ~ Joe Viglione, Rovi.
In 1995 they were invited for Woodstock II and reunited without Albert Moore, Alan Malarowitz and August Burns who had already died neither Elpidio Cobian who despite their efforts was impossible to find.

One more album (Live at Last 2002) has been released since then and a movie about the band filmed for the 30th anniversary of Woodstock.

I'm sure that if it wasn't for Nansi Nevins accident, SWEETWATER would have kept evolving and probably be considered one of the early icons of USA Prog, but despite that destiny didn't allowed them to reach this status they deserve a place in Prog Archives.
 ~ Iván Melgar Morey - Perú (

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Saturday, December 25, 2010

Sweetwater - Just For You (us 1970)

Sweetwater - Just for You (us 1970)

Formed 1968, Los Angeles, CA, United States

Sweetwater was a rock band originally from Los Angeles. They were the act scheduled to play first at the Woodstock Festival in 1969, although due to problems within the band, solo folksinger Richie Havens became the first performer. Sweetwater performed next, becoming the first band to play the festival.

* Albert Moore (flute),
* Alan Malarowitz (drums),
* August Burns (cello),
* Elpidio Cobian [aka Pete] (conga),
* Nancy Nevins (lead vocals),
* Alex Del Zoppo (keyboards),
* Fred Herrera (bass),
* Joe Bruley (guitar),
* Mike Williams (drums),
* Henry Arias (percussion).

A1. Just for You 8:35
A2. Day Song 2:12
A3. Windlace 4:35
B1. Compared to What 5:49
B2. Song for Romeo 2:35
B3. Without Me 4:13
B4. Look Out 3:19

An unusual rock group in both the size of their lineup (which numbered eight), the instrumentation employed, and the eclectic scope of their material, Sweetwater didn't quite get the first-class songs or breaks necessary to make them widely known. Lead singer Nansi Nevins was backed not just by conventional guitar, bass, drums, and keyboards, but also flute (Albert Moore), conga (Elpidio Cobian), and cello (August Burns). Their self-titled debut album was the kind of release that could have only been the product of the late '60s, with the music flying off in all directions, and a major label willing to put it out. Sweetwater blended Californian psychedelia with jazzy keyboards and a classical bent, especially in the flute and cello, but did not cohere into a readily identifiable aesthetic, or write exceptional songs, although they were okay. Perhaps Reprise was willing to give such a hard to market and classify band a shot, figuring that in the midst of psychedelic rock scaling the charts that would have seemed unimaginably weird just a couple of years before, who knew what would sell now? Sweetwater was formed from a group of friends that jammed at coffeehouses in Los Angeles in the mid '60s. Harvey Gerst, who had written a Byrds song with Roger McGuinn ("It Won't Be Wrong"), was an unofficial member of sorts, sometimes acting as road manager and playing guitar. For their debut album they were produced by Dave Hassinger, who had worked, as recording engineer and producer, with the Rolling Stones, Electric Prunes, and the Grateful Dead. In the late '60s they opened for a lot of big-time acts, and played a bunch of festivals without breaking into the headliner ranks. In fact, they were the very first band to take the stage at Woodstock.
In December 1969, twenty year old Nansi Nevins was in a serious car accident in which she suffered severe brain trauma and damaged her vocal cords, putting her in a coma for weeks and necessitating physical therapy for years. Although she had recorded a couple of tracks on their second Reprise album, she was unable to rejoin the band, which had to stop touring and lost any career momentum it had developed. Producer Richard Perry tried working with them, but that didn't pan out well, although the second album was completed with other members of the band taking lead vocals. A more folk-oriented production, Melon, was their third and last album in 1971; they broke up in the summer of that year. The surviving trio of Nevins, keyboardist Alex Del Zoppo and bassist Fred Herrera reunited Sweetwater in 1997, and two years later -- to coincide with the 30th anniversary of Woodstock -- cable network VH1 produced and broadcast a film about the group, with Felicity co-star Amy Jo Johnson cast as Nansi Nevins; the picture sparked a considerable resurgence of interest in the group, and that same year Rhino released Cycles, a limited-edition retrospective of their work for Reprise.
~ Richie Unterberger, Rovi.
The recording of Sweetwater's second album was hindered by Nanci Nevins' injuries in a serious car accident, which for a time rendered her incapable of performing with the band, although she does sing on much of Just for You. A more serious problem was an overall lack of strength or focus to the material, which covers a lot of bases of 1969-1970 album oriented rock without staking a markedly identifiable patch of its own. The eight-minute title track is indicative of the band's strengths and weaknesses, as the song mixes Latin-influenced percussive grooves, gospel, jazzy flute and violin, and a dreamy Nevins-sung opening passage without really arriving anywhere in particular. At times the music's loose flow is a little similar to the Californian hippie rock of It's a Beautiful Day, especially when Sweetwater uses violin. But it's not as good as even that erratic standard, and the sole non-original manages to make Gene McDaniels' classic soul protest song "Compared to What" over into a blandly strained soul-rocker. A couple of briefer, gentle Nevins-led interludes ("Song for Romeo" and "Day Song") that go into more sparsely arranged, poetic singer/songwriter territory outshine the more ambitious, jam-prone surroundings.
~ Richie Unterberger, Rovi.

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You can find their 1st album here:

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Sweetwater - Just For You (us 1970).rarSweetwater - Just For You (us 1970).rar (75.15 MB)

Thursday, December 23, 2010

Short Cross - Arising (us 1971)

Short Cross - Arising (us 1971, & Bonus tracks)

Formed: 1970, Sandston, VA, United States
Disbanded: 1972 //

* Gray McCalley (drums, percussion, vocals),
* Butch Owens (organ, piano, Moog, Hammond, vocals),
* Velpo Robertson (vocals, lead guitar, piano),
* Steve Hicks (bass),
* Dudley "Byrd" Sharp (bass, backing vocals)

Related Artists: The Reactors, The Outlaws

Also Known As: The Hustlers

01. Nothin' but a Woman 5:24
02. Wastin Time 3:46
03. Suicide Blues 7:01
04. Just Don't Care 4:27
05. On My Own 4:56
06. Till We Reach the Sun 4:53
07. Ellen 5:50
08. Hobo Love Song 4:46
Bonus Tracks:
09. On My Own (stereo mix of A-side of 45*) 2:50
10. Marching off to War (stereo mix of B-side of 45*) 2:57
11. That's Her Train (unreleased stereo mix) 2:54
12. Bomb (unfinished demo - mono) 4:04
13. Before It Rains (unfinished demo - mono) 3:28

"We haven't been able to dig up much about Short Cross, though we know they were based in Sandston, Virginia (a suburb of Richmond). Originally known as The Hustlers, by the late-'60s drummer Gray McCalley, keyboard player Butch Owens, singer/guitarist Velpo Robertson and bassist Bird Sharp had metamorphosed into Short Cross. The band made their debut with a little known single on the small Colpar label - "On My Own" b/w "Marching Off To War" (Colpar catalog 54-1005). The following year they got an opportunity to record an album. Recorded in Richmond's ''Alpha Audio'' Studios and released by the small local Grizzly Records label, 1971's "Arising" teamed the group with producers Dave Herren and Rhett Riddle. Judging by the liner notes, Robertson was the band's mainstay. In addition to serving as lead singer and lead guitarist, he was responsible for penning all eight tracks (drummer McCalley co-wrote one track). So what about the music? Well, over the years we've seen this one listed on several high priced psych/progressive sales lists. If you're looking for those genres, don't bother reading the rest of this. The majority of "Uprising" offers up a surprisingly accomplished set of mainstream guitar-rock. Overlooking the occasionally irritating horn arrangements ("Nothing But a Woman"), material such as the organ-propelled "Till We Reach the Sun" (sporting a nice Santana-styled Latin vibe), the bluesy "Suicide Blues" and "On My Own" was tuneful and rocked, fitting in well with conventional early-'70s rock. Sporting a modest Allman Brothers feel and a great rhythm pattern, "Wastin Time" was our personal favorite. While you won't find anything particularly original or earth shattering here, Richardson had a good voice and was a first-rate guitarist (check out his solo on "Just Don't Care"). Some of you may not take this as a compliment (it's meant to be), but we play this LP far more often than anything from Grand Funk Railroad ... The fact it was released on a small label with limited distribution capabilities spelled instant obscurity for the album (and apparently the band itself)."
~ by BadCat Records.
From Sandston, Virginia, this band evolved out of the Hustlers, whose members included, at various stages, ex-Reactors Steve Hicks and ex-Outlaws Butch Owens alongside core members Velpo Robertson, Gray McCalley and Ben Luck. The latter left to join the Barracudas, of A Plane View LP fame.Their rare album can best be described as heavy psychedelic blues, at its purest on Suicide Blues. There's plenty of good guitar work throughout, Wastin' Time, Just Don't Care, Till We Reach The Sun and Hobo Love Song all have their share, whilst Ellen is a slow bluesy ballad. The album lacks sufficient originality to make it special but if this musical genre is where you're at you shouldn't be disappointed.
~ by (Max Waller / Roger Maglio).

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Monday, December 20, 2010

Aubrey Small - Aubrey Small (uk 1971)

Aubrey Small - Aubrey Small (uk 1971)

* Peter Pinckney (lead guitar, vocals),
* Allan Christmas (guitars),
* Rod Taylor (keyboards, vocals),
* David Yearley (bass),
* Graham Hunt (drums, guitars, vocals).

01. The Loser (bonus - single) - 3:20
02. Country Road - 4:20
03. Gardenia - 2:46
04. Trying To Find My Way - 2:11
05. For My Lady - 3:23
06. It's Morning - 3:57
07. Why? - 2:21
08. Love On - 4:16
09. Born To Be - 3:22
10. If I Were You - 3:16
11. Oh! What A Day It's Been - 3:00
12. Smoker Will Blow - 3:06
13. Wonderful - 1:34

Aubrey Small was another extremely talented group in the long list of British progressive rock artists that appeared on the scene with much hope and promise and quickly disappeared without a trace. From England's south coast, gigs with Kevin Ayers, Free, Stackridge, ELO, Hawkwind and a UK wide tour with Supertramp failed to ignite much interest in Aubrey Small although copies of their only LP are a serious collector's item, but unlike many such albums this one is worth a listen or three.
The Songs:
What makes this record so enjoyable for this reviewer is Aubrey Small had a strong melodic sense. With one foot in progressive rock and a big toe in pop, this style of music always puts me in a good mood not to mention the obvious comparisons to late period Beatles and the wow-o-meter hits eleven. Throw in some Barclay James Harvest and Moody Blues influences and you have a quintessentially English record that is truly a delight to the ears. Favorite tracks include the haunting 'It's Morning', the 'All You Need Is Love' influenced 'Love On' complete with Pepper-esque strings and 'Smoker Will Blow' which takes on the Moody Blues at their own game and pulls it off admirably with delicate orchestration and cosmic vibrations. These highlights aside as a whole Aubrey Small's record is remarkably good throughout and a satisfying listen.
In Summary:
Recently reissued on CD from the Elegy label, it seems the group, or at least one member now relocated in France has claimed it's far from legitimate and has started legal action. Good luck with that. Aubrey Small has also been doing some reunion gigs at their old haunts by the sea in the last few months as well as recording some new material which is available on 'iSound'. While I can't say the recent stuff holds up very well in comparison to the debut, it's nice to see new life from a band that deserved so much better.
~ By glorydazemusic.
Good, solid early 70's crossover pop-psych record. A fair amount of memorable hooks and instrumentation, recalling, at times, Joey Molland penned Badfinger songs, only with bits of trippy production surrounding them. I doubt anyone will jump up and down with joy over this, but true pop lovers will find much enjoyment scattered throughout these tracks.
~ By latenight (RYM).
This little known UK progressive album from 1971 features a selection of well crafted melodic rock music with orchestration, multi-layered three part harmonies and strong guitar work. Mellow and heavier material combined to great effects. The bonus track "The Loser" was originally a single track.
~ By Lizardson.
Aubrey Small came from the south coast of England, and made this album of commercial pop/rock in 1971. ‘The Loser’ is a good example of this style, although they do a nice take on laid-back guitar-based rock with ‘Country Road’, and a gentle ballad with just a touch of early Strawbs in ‘Gardenia’. ‘Trying To Find My Way’ is another jaunty pop/rock piece, while ‘For My Lady’ is a lovely ballad which ends up a being one of my favourites on the album. ‘It’s Morning’ is one of their more progressive efforts which works very well, while ‘Why’ goes in entirely the opposite direction with a country-tinged ballad. ‘Love On’ makes use of a brass band style horn section, although it is not anywhere near as bad as that sounds, but ‘Born To Be’ is a little too twee for its own good. ‘If I Were You’ has some great fuzz-guitar work, and ‘Smoker Will Blow’ is their most progressive effort, with liberal use of strings and a feel of trying to do something different. On the whole this is an extremely good example of Beatles-esque pop and rock, and the CD re-issue is well worth the investment if you like your rock on the melodious side.
~ By

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Wednesday, December 15, 2010

Lifesmyth - Music For The Third Ear (us 2003)

Lifesmyth - Music for the Third Ear (us 2003)

- Label: Camera Obscura CAMCD058
- Release Date: 2003-07-22
- Release Country: Australia

Debut official release follows a slew of underground cassette/cdr releases for young Syracuse, NY native Scott Smith who makes vintage acid cum progressive folk. His compositions have the musicality of the twilight period of UK psych pop when they were giving way to early prog. His vocals hold a similarity to early Robert Wyatt whose songs brim with w/cosmic themes. Fans of the Tower Recordings/PG Six school will be ecstatic.

* Scott Smith - (vocals, guitar, mandolin, sitar, keyboards, bass, drums),
* Derrick Acker - (vocals, tambourine),
* Denise Arram, Rashad Arram - (sitar),
* Rebecca Zlyatt (cello).

* Derrick Acker (tambourine).
* Derrick Acker.

01. Approaching
02. Being Alive
03. Ride, The
04. We Have Come from the Earth
05. Alone We Go
06. It's All the Same Forever You Know
07. What I Came With
08. Polish Question, The
09. Beyond a Star
10. Watcher of the Skies
11. Sailing on the Way Home
12. Last Chance

It is fitting that the first of Scott Smith's home-brewed progressive psych-folk to be officially released is "Music for the Third Ear" because it comprehensively showcases Smith's playing and writing skills, both solo and with collaborators. His compositions have the timeless fluidity and musicality of the twilight period of UK psychedelic pop, around about the time when fairground trip-scapes were giving way to the expansive fields of early progressive rock. His vocals, whether straight or multi-tracked into divine choruses, have something of the quality of the early Robert Wyatt. "Third Ear" bursts with invention and surprising twists, from the short introductory instrumental redolent of Soft Machine, to lilting folk-rock like the "Being Alive" (recalling the legendary folkies Fresh Maggots with its acidic burst of electric lead guitar), and the intricate and dynamic "Alone We Go", on which Scott is assisted by friends to expand the instrumental palette - the duel between electric guitar and sitar at the conclusion of this track is worth the price of admission alone. Cosmic themes are micro-dotted throughout as the titles suggest - "We Have Come From the Earth", "Beyond a Star", and the stunning "Watcher of the Skies". This is definitely a CD for lovers of new folk by artists such as Greg Weeks, P.G. Six, Tower Recordings, Pothole Skinny and Six Organs of Admittance. (It's could even be said that these 2000 recordings were somewhat ahead of the game.)
~ By
Scott Smith, the one-man operation behind the moniker Lifesmyth, already had four home-brewed albums under his belt when Music for the Third Ear became his first official release. Concocted and privately released on CD-R in 2000, this album showcases Smith as a storyteller. Between "Approaching" and "Last Chance," the first and last tracks, he sketches the journey of a lifetime -- from birth to death -- and ties it with a cosmic/extraterrestrial theme that gives the album its psychedelic feel. The drums, alternately programmed or stiff, trap the music inside too cold a cage; it deserved to be warmer, looser at the ground level. Keyboards, guitar (electric and acoustic), sitar, and mandolin form the main instrumentation, along with Smith's low, dreamy vocals. The odd dynamic shifts recall some of the artists revolving around the American underground avant psych-folk scene (Tower Recordings, Sunburned Hand of the Man), although Lifesmyth's songs are always more defined and somehow straightforward. It is their grouping into what can only be called a concept album that produces such a strange, destabilizing atmosphere. The D.I.Y. production means that most listeners will find half of the tracks endearing and the other half annoying, but no two persons will separate them the same way or for the same reasons. Composition-wise, Music for the Third Ear is an intriguing proposal. If Smith can find a few good, likeminded musicians to straighten up the performance, he'll become an addictive fellow.
~ By François Couture.

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Thursday, December 9, 2010

Andy Fernbach - If You Miss Your Connexion (us 1969)

Andy Fernbach - If You Miss Your Connexion (us 1969)

* Ken Pustelnik - Drums (also of The Groundhogs)
* Andy Fernbach - Guitar, Main Performer, Vocals
* Peter Cruickshank - Bass (also of The Groundhogs)
* Chris Elvin - Harmonica
* J.D. Fanger - Guitar
* Dave Fernbach - Keyboards

01. Hard-Headed Woman (3:51)
02. Have Your Bags Soon Ready (4:09)
03. Someday (4:56)
04. Woman Goes From Man To Man (3:36)
05. By And By (2:59)
06. If You Miss Your Connexion (3:47)
07. That's All Right (4:51)
08. Hanging Around (For Something To Happen) (3:05)
09. Varying Speeds (2:57)
10. Moving On (2:57)

Fernbach's style is akin to acoustic Mississippi delta blues mixed with traditional Anglo-folk.
Both acoustic guitar and piano are featured throughout the LP with outstanding arrangements,
where the piano and/or guitar are used very effectively to provide bass accompaniment.
~ by Truncheon (RYM).
Stand-out tracks are the title track and 'Hangin' Around'.
This album "If You Miss Your Connexion" from 1969 by acoustic folk/blues singer "Andy Fernbach"
is not just a rare find, it is ultra rare. The vinyl for this out of print album fetches $500
sometimes. And for those collectors who know their stuff, it is probably worth it. So enjoy this
sweet rarity folks. And this one goes out to sosgotcha, who has this on his wishlist and left
comments on electricflower blog recently. Enjoy this charming album folks for the FIRST time in
a long time. The only other blogger to have posted this deleted their blog.
~ internet source.

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Saturday, December 4, 2010

Roky Erickson And The Aliens - I Think Of Demons (us 1987, Edsel ED 222)

Roky Erickson and the Aliens - I Think of Demons (us 1987, Edsel ED 222)
[first released as "Roky Erickson and the Aliens (5 Symbols)" 1980, CBS 84463]

Born: July 15, 1947 , Dallas, TX, United States

Currently: Austin, TX, United States

Member of: The Spades, 13th Floor Elevators, Roky Erickson and the Aliens, Roky Erickson and The Resurrectionists, Roky Erickson & The Explosives, Roky Erickson & 27 Devils Joking

Also Known As: Roger Kynard Erickson [birth name]

Roky Erickson And The Aliens formed: 1978, San Francisco, CA, United States

* Roky Erickson - Vocals, Guitar,
* Bill Miller - Electric Autoharp,
* Steven Morgan Burgess - Bass,
* Fuzzy Furioso - Drums,
* Jeff Sutton - Drums,
* John Maxwell - Bass,
* Duane Aslaksen _ Guitar, Backing Vocals * Andre Lewis - Synthesizer, Keyboards [Electronic] (tracks: A2, A3, A5, B2, B4, B5)

A1. Two-Headed Dog (Red Temple Prayer) 3:20
A2. I Think Of Demons 2:47
A3. I Walked With A Zombie 4:13 (Backing Vocals - Brian Marnell)
A4. Don't Shake Me Lucifer 4:00
A5. Night Of The Vampire 2:53 (Organ [Hammond] - Link Davis)
A6. Bloody Hammer 4:22 (Bass - Stu Cook Drums - Jeff Sutton)
B1. White Faces 5:26 Drums - Scott Matthews
B2. Cold Night For Alligators 2:34
B3. Creature With The Atom Brain 3:11
B4. Mine Mine Mind 2:49 (Backing Vocals - Brian Marnell)
B5. Stand For The Fire Demon 4:19
B6. The Wind and More 3:58

- Engineer - Bill Steele , Scott Church
- Engineer, Remix - Karl Derfler
- Executive Producer - Craig Luckin
- Leader [Musical Director] - Duane Aslaksen
- Other [Equipment Manager] - Ray Francois
- Producer - Stu Cook
- Artwork By: Captain Colourz
- All songs Written By: Roky Erickson

Track A6 is only featured on the bootleg version of this LP.
The original/legit one doesn't have it.

Roky was raised in Austin, Texas. His father was Danish, and his mother was of German descent. His mother was an operetta singer. In 1958, she recorded (privately) a Christmas single together with her son...
Truly amazing Album from a man with a story that put all others to shame. If you don't know his story you should check it out. Its worth the read...
~ by Josh Lazie.
Like Syd Barrett, a common point of reference, Roky Erickson rose to cult-hero status as much for his music as for his tragic personal life; in light of his legendary bouts with madness and mythic drug abuse, the influence exerted by his garage-bred psychedelia was often lost in the shuffle. Born Roger Kynard Erickson on July 15, 1947, in Dallas, TX, he began playing the piano at age five; by age 12, he had also taken up the guitar. The child of an architect and would-be opera singer, Erickson dropped out of high school to become a professional musician. In 1965, he penned his most famous composition, "You're Gonna Miss Me," which he first recorded with a group called the Spades. The song and his high, swooping tenor brought him to the attention of another area band, the psychedelia-influenced 13th Floor Elevators, whose lyricist and jug player Tommy Hall invited Erickson to join; the Elevators soon cut their own version of "You're Gonna Miss Me," and took the single to number 56 on the pop charts in 1966. The record's success earned the 13th Floor Elevators a deal with International Artists, but as their fame grew, so did their notoriety with local law enforcement officials, who took exception to the group's heavy experimentation with (and public support of) marijuana and LSD. The Elevators became the subject of considerable police harassment, and after Erickson was arrested for the possession of one lone joint in 1969, he pleaded insanity to avoid a prison term. A three-and-a-half year stint in the state's Hospital for the Criminally Insane followed; Erickson was diagnosed as a schizophrenic, and subjected to extensive electroshock therapy, Thorazine, and other psychoactive treatments. Though released from the hospital in 1973, Erickson was never the same person; he returned to performing with a new band, the Aliens, but his songs -- a series of horror film-influenced records including "Red Temple Prayer (Two-Headed Dog)," "Don't Shake Me Lucifer," and "I Walked With a Zombie" -- found little success. He did retain a devoted cult following, however, but his popularity was fully exploited by managers who took advantage of his instability to draw the singer into a series of unfair publishing contracts that resulted in a steady stream of unauthorized releases from which Erickson earned not a cent. In 1982 he signed a legal affidavit declaring that a Martian had taken residence in his body, and gradually disappeared from music as the decade wore on. By the 1990s, Erickson was struggling to survive on a $200 monthly Social Security stipend; after an arrest on mail theft charges (later dropped), he was re-institutionalized. In 1990, however, artists like R.E.M., ZZ Top, John Wesley Harding, and the Jesus and Mary Chain recorded his songs for the album Where the Pyramid Meets the Eye: A Tribute to Roky Erickson, which brought his work to a wider audience than ever before. In 1993, Erickson performed publicly for the first time in many years at the Austin Music Awards; a few months later, he returned to the studio with guitarists Charlie Sexton and the Butthole Surfers' Paul Leary to record a number of new songs. In 1995, Leary's bandmate King Coffey released Erickson's All That May Do My Rhyme on his Trance Syndicate label; four years later, Trance issued Never Say Goodbye, a collection of rare private recordings or unreleased Erickson compositions. (Coffey claims Erickson told him he was the first person to ever give him a royalty check for his music.) In 2001, Sumner Erickson, Roky's brother and a successful classical musician, obtained custody of Roky, who had fallen into poor health. Under Sumner's watch, Roky began receiving proper medical and dental care for the first time in years, as well as more effective treatment for his psychological problems. Sumner also set up a charitable trust to help finance his brother's care, and with the help of sympathetic lawyers attempted to sort out the legal red tape that prevented Roky from being paid for his music. A fit and relatively lucid Roky Erickson began making occasional public appearances in Austin, Texas, and in March 2005 Roky spoke as part of a panel discussion on the 13th Floor Elevators at the South by Southwest Music Conference. Roky also made a brief musical appearance with a reunited lineup of the Explosives, and a documentary on Erickson, You're Gonna Miss Me, premiered at the affiliated South by Southwest Film Festival. This burst of activity coincided with the release of I Have Always Been Here Before: The Roky Erickson Anthology, a two-disc career overview compilation. Halloween, a set of live recordings from 79-81 with the Explosives was released in early 2008.
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more infos:
~ Alfaios.

Download links:
...and also...
Roky Erickson And The Aliens - I Think Of Demons (us 1987).rar (92.12 MB)