Bordel do Rock

Although ultra rare & expansive i'm really not impressed. Sounds mostly like a cheap Rock'n'Roll band.
~lomboklombok

I too, was a little disappointed with this. Their choice of names just led me to believe they had something more to offer. It's basically garage driven, country flavored rock, and rather undistinguished at that. Still, in the right frame of mind, this can be enjoyable. Grades - 1 B+, 1 B, 3 B-'s, and 2 C+'s. The album has been booted.
~tymeshifter
*** rym ***

Side One:
A1     I Am A Loser
A2     Lectric Music Revolution
A3     Future Is Past
A4     Open Road Man
A5     I Wonder
Side Two:
B1     Funny Little Girl
B2     Let Yourself Go
B3     Tanya Canya
B4     Live Today Tomorrow'S Not For Sure

Original Line-Up:
Jack MacDonald - Guitar, Vocals
Manny Slauenwhite - Lead Vocals, Guitar
George Smith - Keyboards
Wayne Pottie - Drums
Dennis Richardson - Bass, Vocals

Lectric Music Revolution - Open Road Man - 1969 (Canada)

Lectric Music Revolution - Future Is Past - 1969 (Canada)

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The band initially formed as the Classics (1964) in Vancouver, British Columbia, but later changed the name to The Collectors(1966). Their psychedelic self-titled debut album yielded the minor hit "Lydia Purple". Their second album was based on the musical score written by the band for a stage play by Canadian playwright George Ryga, Grass and Wild Strawberries.

Chilliwack effectively began with the departure of vocalist Howie Vickers from the Collectors in 1969; however, the band didn't change their name until 1970, to Chilliwack, a Salish term meaning "going back up" and the name of a city east of Vancouver in theFraser River valley. With lead guitarist Bill Henderson now providing most of the vocals and doing most of the composing, the band released several records that were moderately successful in Canada. Hit singles in Canada included "Lonesome Mary", which entered Cashbox January 22, 1972 "Crazy Talk" and "Fly at Night". The album track "Rain-o", a blues-based composition that appeared in different versions on the Chilliwack debut album and the later Dreams, Dreams, Dreams, was a well-known concert favourite.

Their album 'Riding High' on Goldfish Records (Terry Jacks' Label) contained one of their biggest hits, Crazy Talk which was produced by Terry Jacks.

However, Chilliwack had a difficult time sustaining any success because of their constant label changes. The two Collectors albums were on Warner Brothers, and Chilliwack's first five albums were on four different labels in Canada: Parrot, A&M, Goldfish, and Casino Records. When the band finally found relative stability and success with Vancouver's Mushroom Records, with distribution throughout North America, the label went bankrupt so abruptly in 1979 that Chilliwack's third album for the label, Breakdown in Paradise, was barely released.

In 1978, Brian MacLeod (guitar, drums, keyboards) joined the band for the Lights from the Valley album, and Ab Bryant (bass) joined the band for Breakdown in Paradise, with the other members except for Henderson departing. Chilliwack then signed with Solid Gold Records in Canada and Millennium Records in the U.S. as a trio and enjoyed its greatest success with this new lineup, releasing the albums Wanna Be a Star and Opus X. The singles "My Girl (Gone, Gone, Gone)" (1981), "I Believe" (1982), and "Whatcha Gonna Do (When I'm Gone)" (1982) were popular both in Canada and in the U.S. Rolling Stone Magazine wrote:

"At their best, Chilliwack was the finest Canadian rock band, outrocking BTO and outwriting Burton Cummings. But a lack of consistency kept it from international success."

Henderson and MacLeod received a Best Producer Juno Award in 1982 for Opus X. However, echoing the Mushroom problems, Millennium Records then collapsed. MacLeod and Bryant left the band soon after, and Chilliwack's last new studio recording was released in 1984 with Henderson as the only continuing member. Henderson continued to tour as Chilliwack with other players until December 1988. In 1989 Henderson went on to form the folk-rock supergroup UHF. Henderson also continued touring with Chilliwack, releasing a new live album in 2003.

2005 saw Chilliwack play Voyageur Days Festival in Mattawa, Ontario, Canada (near North Bay) with other Canadian bands Moxy, Toronto, Trooper, Goddo, Killer Dwarfs andRay Lyell for the thirtieth anniversary for release of the debut album by Moxy.

Bass player Ab Bryant's son Matt Bryant is the singer/songwriter and founding member of Canadian roots/folk band Headwater. (wikipedia.org)

Dreams, Dreams, Dreams is the sixth album by the Canadian rock band Chilliwack. After Chilliwack's failure to find an audience with Rockerbox, this album (with the same lineup) marked the band's return to the top 10 in Canada with "Fly at Night", while "California Girl" and "Baby Blue" were also Top 40 hits there. "Rain-O" was a remake of Chilliwack's first hit.

http://www.gonegonegone.com/

The group started out as The Souvenir Badge Factory, but shortened their name to The Factory and signed to MGM and then CBS. The group's members were Ian Oates (guitar and song), Jack Brand (bass and song) and Bill MacLeod (drums).

Sixties UK freakbeat legends get a new legit re-release of their complete available recordings and Guerssen is the proud new home for them.

A cult freakbeat and psychedelic group, well-known for such all-time classics as Path Through The Forest andTry A Little Sunshine, Factory released only a couple of 45s (both of them obscenely rare, rarely showing up anywhere).

Here we get the four tracks appearing on these 45s, plus a couple tracks taken from acetates (killer covers of Family’s Second Generation Woman and Fairport Convention’s Mr. Lacey), as well as a new mix of Path Through The Forest that includes the original psychedelic effects that were supposed to make it to the actual release, but were dropped out by the MGM label supervisor. Remastered sound (Second Generation Woman comes from a previously though destroyed acetate that does suffer some from wear!) and with liner-notes by Factory’s producer Brian Carroll.

A nice surrealist looking cover, and the music to back it up. Some rather cool psych, with plenty of blues rock jams and some hard rockers as well. Neon has passed the acid test. Produced by Tommy James

~ music_emporium (discogs)

Don't know much about this early-1970s quartet (guitarist Peter Brannigan, keyboard player Francis Crabtree, drummer Russell Leslie and bassist Fung Porter). Their prime claim to fame seems to rest with the fact their 1970 debut album was produced by Tommy James and Bob King (the pair also handled musical arrangements and contributed one song to the set). In spite of the dumbs*it cover, "Neon" is actually a surprisingly good heavy rock album. With Crabtree penning the majority of the material, the set offered up a nice blend of guitar rock ('Mountain Baby' - ignore the ponderous drum solo) and more commercial moves (check out the Tommy James and the Shondells-styled harmonies on 'Hold Back My Tears'). Personal favorites were the band's cover of James''Dark Is the Night' (always liked that 1960s sitar sound), the rocker 'Can't Stop Myself (From Loving You)' and the mildly psychedelic 'Magic Man'. Listening to the album a couple more times, the set sounds like something The Shondells might have done had the ever elected to go for a tighter, AOR audience - that's meant as a compliment. A pleasant surprise and a bargain at the asking price ... (The album was originally released with a gatefold sleeve.)

~badcat

Side One:
A1    Mountain Baby    6:26
A2    Hold Back My Tears    3:24
A3    Dark Is The Night    3:26
A4    Can't Stop Myself (From Loving You)    6:20
Side Two:
B1    Magic Man    7:31
B2    Nobody Nowhere    7:30
B3    Funny Kid Of Feelin'   5:12

Neon:
Fung Porter - Bass, Lead Vocals
Peter Brannigan - Guitar, Vocals
Francis Crabtree - Keyboards, Vocals
Russell Leslie - Percussion, Lead Vocals

Producer - Tommy James

Neon - Mountain Baby

Neon - Nobody Nowhere

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Upon the demise of the 1960s, it was not uncommon for the folkies of that decade to embrace the rural rock movement of the early 1970s. That is, if they hadn't already picked up electric instruments and started rockin' after the release of Bob Dylan's Bringing It All Back Home in 1965. In the case of Judy Roderick, who had put out two highly regarded mostly acoustic albums for Columbia and Vanguard in the mid-1960s, Nevada Jukebox was the product of a 1971 recording session with her new group, 60,000,000 Buffalo. Her signature voice was still there, although years of woodshedding in her adopted home state of Colorado throughout the latter half of the 1960s clearly had an effect on her delivery, which showed the influence of Janis Joplin and other female vocalists of similar ilk. The album photography shows her looking somewhat like a less appealing Bonnie Bramlett along with a man who is probably either bassist Brent Williamson or guitarist Don DeBacker. What a pity that the ravages of living through the 1960s deprived Roderick of her elfin beauty that was readily apparent on the cover of her Woman Blue LP.

The story behind the group's name is unclear. Perhaps it has something to do with the number of buffalo that lived on the North American continent prior to their near extinction brought about by the colonization of white people. I've read that some folks compare this group with another Colorado band, Zephyr (which featured a very young Tommy Bolin on lead guitar). But other than the superficial fact that the two outfits both featured female lead vocalists (Zephyr's was the caterwauling Candice Givens), I don't think they have much in common in regard to music. While Zephyr was very much a rock and blooze band, Roderick's folk background clearly had a strong influence on 60,000,000 Buffalo's more rootsy sound

Most of the album's songs were written by Roderick and her husband William Ashford. The opening cut, the brief "Royalty Rag" segues into the cowbell-laden and quintessentially early 1970s ode to blow, "Cocaine Shuffle.""Canyon Persuasion" is a pleasant laid back piece featuring Roderick's strummed acoustic guitar and DeBacker's Leslie speaker-amplified electric instrument. "Lovely Ladies" is more of an all-out rocker with some somewhat herky-jerky time signatures, while "Denver Dame" may very well be an autobiographical piece that deals with Roderick's life experiences in Colorado. The traditional "Maid of Constant Sorrow" is definitely Nevada Jukebox's highlight and, in fact, just might be the heaviest version of this particular song ever committed to wax. Folk rock was a dying breed by the time this album came out, but bands like this weren't going to let the genre go down without a fight. Seriously, this rendition of this venerable warhorse fuckin' rocks, especially with the outstanding guitar interplay between Roderick and DeBacker. "Shake It and Break It" is a decent cover of a song originally done by prewar Delta blues legend Charlie Patton and features the boys in the band - DeBacker and Williamson - handling the lead vocal duties. More early 1970s vibes and plenty of cowbell are to be found on the rock-meets-folk-meets-country-meets-funk piece "Callin' You Down." After a fine arrangement of the traditional "Country Girl Again," there is some really nice slide guitar work on "American Money Blues." The closer, "Do What I Tell Me To," is a tune in the same bag as "Cocaine Shuffle" and "Callin' You Down" - definitely a product of its time.

While no masterpiece, you could definitely find worse ways to spend 40 minutes of your life other than listening to Nevada Jukebox. Check it out

~~record-fiend

... read more

Side One:

A1 Royalty Rag

A2 Cocaine Shuffle

A3 Canyon Persuasion

A4 Lovely Ladies

A5 Denver Dame

A6 Maid Of Constant Sorrow

Side Two:

B1 Shake It And Break It

B2 Callin' You Down

B3 Country Girl Again

B4 American Money Blues

B5 Do What I Tell Me To

60.000.000 Buffalo:

Judy Roderick - electric & acoustic guitar, vocals

Brent Williamson - bass, vocals

Don De Backer - electric & national guitar, vocals

John Kernz - drums, percussion, howl

Produced - Bill Szymczyk

60.000.000 Buffalo - Maid Of Constant Sorrow

60.000.000 Buffalo - Do What I Tell Me To Do

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fixed new CUE sheet

Released in 1970 on a tiny Reflection UK label, the only Dogfeet LP (now worth well over 1200 euro) included a typical for this period mixture of progressive sounds based on heavy-ish rock, blues and psychedelic folk, sometimes similar to Peter Green's Fleetwood Mac (from 1969 'Then Play On' album), early Wishbone Ash and even Quicksilver.

Unfortunately the original master tapes were long lost, so near mint original vinyl (although with some usual pressing imperfections) was used instead. The album was very carefully and accurately remastered and now sounds better than ever - without annoying compression!

Their 1970 LP is a highly unusual beast, with subdued dual guitar dualing, echoing vocals and atmospheric percussion and bass….

Dave Nicholls (bass)
Alan Pearse (guitar, vocals)
Derek Perry (drums)
Trevor Povey (guitar, vocals)

I’ll normally buy an album on Motown’s Rare Earth subsidiary without knowing anything about the artist since the results tend to be entertaining. That was the case when I stumbled across it at a yard sale …

Frankly I can’t tell you much about this group. Even an Internet search yields little in the way of bibliographical information. Based on the back cover photo they were a quintet – five rather pensive looking white guys; one with atrocious tastes in neckwear. Co-produced by Guy Fletcher and Doug Flett (who also co-wrote the six non-cover tunes), 1971’s “Brass Monkey” had its moments. Whoever he was, the lead singer was pretty good with a versatile voice that was equally at home across the entire album while the rest of the band were never less than competent. Their genre of choice was hard rock, with tracks like ‘Goodbye Birds’ and the bluesy instrumental ‘Strange Days’ showcased a mild English influence. Elsewhere the required social commentary ‘All Fall Down’ was surprisingly tuneful and subtle. Certainly not the most original thing you’ve ever heard, but with the exception of the four throwaway covers (including an apparently Motown-mandated ‘You Keep Me Hangin’ On’), the collection wasn’t half bad. Be warned the album began to run out of steam on side two, which is where three of the four covers were. Rare Earth also tapped the LP for an instantly obscure single: ‘Sweet Water’ b/w ‘You Keep Me Hangin’ On ’ (Rare Earth catalog number 5022)

~~badcat

Side One:

A1 Sweet Water

A2 You Keep Me Hangin' On

A3 Goodbye Birds

A4 All Fall Down

A5 Strange Days

Side Two:

B1 Keep A Little Bit Back

B2 Stay With Me Baby

B3 Proud Mary

B4 Bang Bang (My Baby Shot Me Down)

B5 Sing Sing Sing

Brass Monkey:

Ben Case - Vocals

Ken Summer, Mike Morgan (9) - Guitar

Les Hurdle - Bass Guitar

Dougie Wright - Drums

Brass Monkey - You Keep Me Hangin' On

Brass Monkey - Strange Days

[Rip and Scans by gigic2255]

/ couple of washing => still distorted sound /

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This small band existed during the years 1972-1974 as a separate project of musicians who were deeply involved with the folk music scene. This sole album representing their achievements was recorded in year 1973, but it wasn't released until 1994 as a CD. The sound of the recording is average but still pleasant, and there is some analog hiss audible and few softly muted parts detected, probably due the affections of entropy towards the original tapes. The material is similarly well produced and sincere sounding ancient romanticism. All of the musical possibilities and variations of a small acoustic ensemble are exploited here in professional manner.

The opener "Sanctuary Stone" presents the pretty voice of Jill Child, and it is immediately clear that this is a quite purist medieval oriented folk record. Some light percussion accompanies the classical guitar chords, and the only modern instrument here is the amplified bass guitar. "To Find a Reason" has tender male vocals, an acoustic guitar, a pretty simplistic flute a totally wonderful descending melody, and is one of the brightest highlights of the album for me. "The Skater" has a Celtic sound on the guitar and vocal melodies. The voices have a slight echo on them creating a feeling of large space, and the droning rhythm is accompanied by a mouth harp, flute and tablas. The "Scarbrough Fair", which was made famous for the bigger audiences by the folk duo Simon & Garfunkel, is here arranged for several vocals in a rustic ancient style. "The Oak Tree Grove" is then a bit similar tune with the album opener, and "Dirge" sounds like an animistic ritual music, having a primitive guitar, tambourine and a flute. Though the basic melodies of "Maids And Gentleman" is also medieval styled, there's some soloing with electric guitar from the blues scales here, slightly breaking the dogmatic line of the record, but still being pleasant for the ear. "The Waters of Sweet Sorrow" is then another beautiful tune for several acoustic guitars, and as it's accompanied with the sweet singing and brilliantly composed verse, it's no wonder that this song's name was selected as the title of this album. "All Things are Quite Silent" is played with raw, ancient sounding mandolins, and when they unite with soft female voice, an interesting contrast is borne. This song brought me a visual association of a small medieval European village covered in wintertime snow. "The Two Sisters" has a nice conversation dialogue with the guitar and tender flute, and it also has both male and lady vocals. Later also distorted but silent solo guitar accompanies this religious themed composition. The album is closed with "Winter Song", which is a quite simple but has very beautiful arrangement for guitar and several voices, bringing up great choral harmonies at the end of it.

My interest towards this record was caught by its cover, which is a painting named "The Lady of Shalott" from John William Waterhouse. This scene is from a poem by Arthur Hughes, and the basic principle of Pre-Raphaelite artistic movement was to look back in time when seeking inspiration and themes. The romantic folk music of Midwinter does the same, so the cover painting selection fits here better than wonderfully. This record is recommended sincerely to fans of both folk music, and to those who are interested of bands with a lady singer on lead vocals.

~progarchives(by Eetu Pellonpaa )

Side one:

A1 Sanctuary Stone

A2 To Find A Reason

A3 The Skater

A4 Scaborough Fair

A5 The Oak Tree Grove

A6 Dirge

Side two:

B1 Maids And Gentlemen

B2 The Waters Of Sweet Sorrow

B3 All Things Are Quite Silent

B4 The Two Sisters

B5 Winter Song

Midwinter - The Two Sisters

Midwinter:

Jill Child - Vocals, Recorder, Autoharp

Ken Saul - Vocals, Guitar, Dulcimer, Banjo

Paul Corrick - Guitar, Recorder, Mandolin, Vocals

Dick Cadbury - Bass

Mick Burroughes - Percussion, Jew's Harp

Recorded at Gt. Yarmouth Sound Studios, Summer 1973

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First time on CD for this 1971 album. Kindred were a Rock/Soul group from the early 1970s lead by singers Gloria Giano and Marty Rodgers.

This is an incredible album!! This band was produced by Chuck Negron of Three Dog Night. They had a blazing blend of rock 'n' soul that should have filled arenas, but somehow didn't connect with the public at the time. Do yourself a favor and GET THIS NOW!!!!

Bis auf den richtig guten Song "Hard Times (Nobody Knows Better Than I)" bietet dieses Album für mich nicht viel. Eine Mischung aus Rock, Pop-Rock & Roll, wenn's denn so etwas gibt, und etwas Boogie Rock. Alles ziemlich trocken abgemischt im guten alten Seventies-Style. Die Texte sind ansprechend und führen bei Muttersprachlern wahrscheinlich zu guter Bewertung, die Musik an sich durchschnittlicher Durchschnitt.

Anspieltip: "Hard Times (Nobody Knows Better Than I)"

Kaufempfehlung: Würde ich nicht noch einmal kaufen.

~EugenOhneland

Ive hunted for this record for awhile and finally nabbed a copy on ebay.

All I can say is WOW. The cover of Death Letter by Son House and

Down in The Flood by Bob Dylan are good enough reason to buy the album

by there are also some great originals. Also the cover of Ray Charles' Hard Times

really kills. I have all of Mike Finnigan's albums and his voice gets stronger and stronger

through each record and this is his third and I think his voice is the strongest here. Check out

Down in The Flood for evidence of that. Jerry Wood is a guitar player who shouldve been known

a bit more. Its a shame more people dont know about this album!

~groovebassist

Despite the fact that I like this record a lot, I notice my rating is among the lowest in the rating list. Don't let this fool you; it's a good album! But apparently, many others like it way more than I. To me, a number of tracks on this LP have a distinct soul-rock flavor, at times even mildly reminiscent of Sly & Family Stone, what with the horns and everything. Some other cuts are good boogie blues. Not exactly the type of record one might expect from the two hayseeds on the cover. Though it's getting scarce, this does turn up on ebay fairly regularly, and I highly recommend grabbing a copy if you can. These crazed hipsters really did their hometown of Lawrence, KS. proud! Grades - 3 B's, 3 B-'s, and 3 C's.

~tymeshifter

Finnigan and Wood's Crazed Hipsters is one of the best records to come out of the early 70s. It's a damn shame this has not been issued on CD. Known as a cult classic, the covers of everything from Dylan to Son House show a depth far beyond the capability of most artists over the decades. A collection of high speed boogies, solid blues, great choices of lyrics, and very creative covers of a whole bunch of great songs. This is a must-hear for anyone serious about knowing the history of rock.

~KerryIrons

I had Crazed Hipsters on vinyl years ago. This was the album that caused my love of the blues. I loved all the songs on it, but the ultimate song had to have been "Death Letter".

~thrillisgone

I have had this album for over 30 years and still love it!

~mlg

*** rym ***

Side one:

A1 Rock and Roll Show 2:50

A2 Highway 5:57

A3 Laughing Eyes 2:43

A4 Tend to Your Own Business 4:18

A5 Hard Times (Nobody Knows Better Than I) 5:00

Side two:

B1 Lady Lady 2:51

B2 Death Letter Blues 5:40

B3 My, My, My 4:52

B4 Don't Cry No More 2:45

B5 Down in the Flood 3:43

Finnigan and Wood - Death Letter 1972

Personnel:

Mike Finnigan - Keyboard, Harmonicas and Vocals

Jerry Wood - Guitar and Vocals

Don Clarey - Drums

Dave Gates - Bass

Ray Loeklie - Tenor Sax

Ray Bagby - Drums on "Don`t Cry No More"

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10" 33rpm gatefold with insert. Originally 600 copies pressed (300 x Black & 300 x Purple Sparkle), an incredible find we have unearthed.

Hailing from Kitchener, Canada, this awesome late 60s/ early 70s Psychedelic heavy rock band Ax. Will appeal to fans of Blue Cheer and Black Sabbath, topped off by killer vocals of Gary Gross who has melodic snarl that brings to mind early Ozzy meets Howard Werth of UK art rockers Audience.

Despite being a popular draw in their local area, these guys sadly faded into obscurity without ever releasing anything... until this. Amazingly the master tapes of these three killer tracks, recorded in 1970, were salvaged by baking and mastered for the first time ever, in order to bring you this true classic of an EP from the golden era of rock music that is so adored today.

This 1975 instrumental guitarsynthesizer-driven album by Orion is an exceptional collection of clever takes on some of the bigger hits of the day, with some originals sprinkled in between. Opening with Barry Manilow's "Mandy" and closing with the Rolling Stones'"Gimme Shelter" ought to give you a clue as to the scope of the recording. Remember when Keanu Reeves was interrogated in the film The Matrix by "the agents," and they made his mouth disappear while his face was blank? Like Reeves, the two cover models with hairless bodies (except for the all-white Ian Hunter hairdos on both the man and woman) have no mouths -- thus the title Sometimes Words Just Get in the Way. Bob Marley's "I Shot the Sheriff," resplendent in flutes, is a lot of fun, while Helen Reddy's "Emotion" comes off like folk Muzak, if there is such a thing. It's a beautiful blend of synthesizers, drums, guitars, and strings -- very nicely done, a magical kind of escapade that is different than what you'd expect for what is generally a middle-of-the-road type work. Less than Switched on Bach but more than Mantovani, there are some clever passages on George Harrison's "While My Guitar Gently Weeps," especially when you realize it is a synthesizer weeping for the late Beatle. Instruments used include the ARP 2000 synthesizer, grand piano, drums, acoustic guitar, Hammond organ, trumpet, flügelhorn, alto saxophone, banjo, mellotron, Fender Rhodes, ARP string ensemble, mandolin, melodica, conga drums, toy piano, and tons of other instruments, creating a dense and impressive work that is great background listening.

~~Review by Joe Viglione (allmusic)

Side one:

A1 Mandy 3:55

A2 While My Guitar Gently Weeps 5:25

A3 Sometimes Words Just Get In The Way 5:59

A4 Carnival 1:03

A5 Street Visions 5:13

Side two:

B1 I Shot The Sheriff 5:28

B2 Drifting 2:29

B3 Emotion 5:03

B4 Gimmie Shelter 7:50

Orion - While My Guitar Gently Weeps (US,75)

Orion credits:

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CASA DAS MÁQUINAS (meaning 'house of wonders') are a mid-70's Brazilian band from São Paulo borne out of the disenchantment of two musicians from glam/dance pop band OS INCRÍVEIS, namely drummer/percussionnist Netinho and guitarist/vocalist Aroldo who wanted to take a less commercial route. Recruiting three other musicians, they recorded 3 albums between 1974 and 1977; a compilation disk was also released in 2000. Their material is mostly heavy, bluesy hard rock with complex arrangements and thick guitar leads. The vocals are in Portuguese.

Their debut and self-titled album, released in 1974, is plain old hard rock. Their second, "Lar de Maravilhas" (1975), however, is considered a national prog classic. Donning a slick production, it incorporates the intensity of the first album with more sophisticated elements such as stronger melodies, better arrangements and an emphasis on spacious, multi-layered symphonic keyboards (particularly the synths). It is a strange collection of tunes in that it ranges from superb symphonic flights to some very banal pieces. Their third album, "Casa de Rock" (1976), reverts to their more primitive hard rock style, featuring two drummers and no more spacey keyboards. The compilation cd "Pérolas" is made up of 16 tracks taken from the second and third albums (tapes of the first are lost forever).

Reissue of one of the ten rarest psych albums from the USA, with sleeve notes by the group's leader and keyboardist Vinny Kusy. 2xCD packaged in a Stoughton tip-on gatefold mini-LP sleeve, with a 24-page booklet and an OBI, in a mylar outer sleeve.

Once upon a time, when the music business was more music than business (but only just), there was a lean, mean, and super tight band who created a quintessential dose of New York sixties psychedelia: one perfect album, loaded with heavy swirling organ, ferocious fuzz guitar, and powerhouse vocals.

That band was Odyssey. Their album, Setting Forth, did not take them from support slots in their native Long Island to the major label heights of other local bands like Vanilla Fudge. But it is that same Odyssey Setting Forth album that is one of the greatest guitar-heavy psych records in the world, and as a result one of the most sought after (and expensive) psychedelic rarities ever pressed on wax.

Now it has been painstakingly remastered, repackaged for this 2xCD deluxe edition, ready for true psych fans to devour.

This is truly one of the pinnacles of underground psychedelic music, recorded in 1969, originally released in an edition of fewer than 100 copies, and impossible to find as it only came in a plain white cardboard sleeve; an incredible, musically accomplished, hard rocking album of originals that jumps right out of the speakers and grabs you, from its opening In-A-Gadda-Da-Vida-esque riffs right to the grooving end.

The 24-page booklet that accompanies this two-disc set has the complete band history by Odyssey leader Vinny Kusy, as well as rare photos from his own archive. Bonus tracks on disc one are three ''basement recordings'' from the Setting Forth era.

The second disc contains Odyssey Live at Levittown Memorial Auditorium: 1974, a live recording that was never really meant to be, recorded by Odyssey's sound engineer on a portable cassette recorder. It is the only document of Odyssey in their progressive rock phase, just before sometime Odyssey keyboardist Tom Doncourt and band-member Fred Callan recorded their legendary, Cathedral Stained Glass Stories album. The original Live at Levittownrecording has been remastered by Tom Doncourt of Cathedral.

Andy Fernbach is a folk/blues singer and guitarist from Bournemouth whose first recordings are on 'Me And The Devil' compilation (LP, 1968); 'Duckin' And Dodgin', 'Broken Down Engine' and'Hard Time Killing Floor' (he's backed by Nick Whiffen on harmonica on the first two) were interesting arrangements of traditional tunes.

This album (featuring J.D. Langer on guitar) 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.

A1. Hard-headed woman 03:51
A2. Have your bags soon ready 04:09
A3. Someday 04:56
A4. Woman goes from man to man 03:36
A5. By and by 02:59
B1. If you miss your connexion 03:47
B2. That’s all right 04:51
B3. Hanging around (for something th happen) 03:05
B4. Varying speeds 02:57
B5. Moving on 02:57

Frank van der Kloot started his musical career in a band called Bobby's Children. He played with them from 1971 until 1972. He then formed the band Drama with whom he recorded an album.

In 1973 he formed his own band Fontessa, together with the Drama drummer Shel Schellekens. In 1974 they recorded an album and a year later a single was released, A look in your eyes/Where have you been.

After the decline of Fontessa Van de Kloot recorded a solo album, in 1976, also titled Fontessa.

Then, in 1978, a second solo album is released. He is currently the owner of a guitar shop in the Hague.

Musicians::

Frank van der Kloot: Electric and acoustic guitar, vocals
Shel Schellekens: Drums
Richard Hamilton: Voice
Jan Visser: Bass guitar (on [1,2,3,5]
Peter Vink: Bass guitar (on [4]
Eric Tagg: Fender piano (on [5]

KGB were the supergroup of the supergroups, the creme de la creme, a mid seventies collective featuring of the most impeccable musicians in the UK and USA, they created a controversy, a mystique and a collectability that has endured and grown for almost 30 years. Even today, rumours persist that Grech's old mucker Stevie Winwood contributed anonymously to the recordings although no one has ever confirmed this.

Complete with the original sleeve artwork, it makes for fascinating listening, particularly since it reveals Bloomfield as a team player, one member of an allband effort. This may well have been dictated by his growing discomfort with celebrity. Given his gift for the guitar, he would ve been forgiven for running riot all over the album, but he doesn't. What he does do is tasteful and awe-inspiring.

On the opening track. "Let Me Love You", a Ray Kennedy co-wnte. his playing wheels and soars around the solid, funky structures, and there is no guitar solo. Nor is there one in the laid-back, pianolaced blues of Paul Rosenberg's "Midnight Traveler". Already, Kennedy's singing has stamped its character on the KGB. His is a soulful, blues-rock voice, confident and flexible enough to carry any song on its own. Sometimes he's joined by a group of female backing singers who are there to help build atmosphere and drama, or to add a gospel flavour where necessary.

Three tracks in, things get seriously strange with a cover of The Beatles'"Let It Be" track. "I've Got A Feeling". Bloomfield's piercing and eccentric guitar work in the intro continues throughout the song, an intricate and slightly mad arrangement of changing tempos and moods and vocal theatrics. It shouldn't really fit together as compellingly as it does. By contrast, "High Roller", written by Daniel Moore, is a gently rolling ballad with Bloomfield's guitar lines curling round the edges of the melody, while "Sail On Sailor" revels in its anthemic punchline and a full-blown orchestral outburst.

"Workin' For The Children", a reggae number cowritten by Bloomfield and Goldberg, fades out with a guitar solo, as does Kennedy's "You've Got The Notion". Here, a delicate, frosty opening gives way to an amiable swing that incorporates a steel guitar and some vivacious piano flashes. The guitar playing is barely noticeable on "Baby Should I Stay Or Go", another Bloomfield/Goldberg composition. Essentially, this is a vocal and piano epic, a spectacularly angst-ridden ballad. Funking things up again, "It's Gonna Be A Hard Night", written by Goldberg and Will Jennings, sees
Bloomfield playing along in the general, dancey melee, only taking the limelight towards the end with some trademark high-flying licks. "Magic In Your Touch", another Kennedy song, closes the album in shades of midnight blue, a moody, melodic, string-laden love song with a big slow burn to the climax.

Both Bloomfield and Grech left KGB after the album's release, and the group recorded another LP, "Motion", with replacement musicians before disbanding. Bloomfield carried on through the 70s with a series of under-achieving blues albums and film soundtracks while his health declined, allegedly due to drug abuse. In November 1980.

Bloomfield joined Bob Dylan onstage in San Francisco for a popular rendition of "Like A Rolling Stone", a song they had recorded together for "Highway 61 Revisited". Three months later, on February 15. 1981, Bloomfield, still in San Francisco, was found dead from a drug overdose. He was buried in LA- ironically, a city he disliked - and Goldberg gave the eulogy at the request of Bloomfield's family. Goldberg later declared: "I say a memorial prayer when the anniversary of his passing comes up. Not a day goes by when I don't think about him. He's still very much alive inside of me."

A1. Let Me Love You (R.Kennedy, J. Conrad) - 3:22
A2. Midnight Traveler (Paul Rosenberg) - 5:10
A3. I’ve Got A Feeling (John Lennon, Paul McCartney) - 4:03
A4. High Roller (Daniel Moore) - 3:40
A5. Sail On Sailor (B. Wilson, R. Kennedy) - 3:14
B1. Workin’ For The Children (B. Goldberg, M. Bloomfield) - 3:20
B2. You Got The Notion (R.Kennedy) - 3:34
B3. Baby Should I Stay Or Go (B. Goldberg, M. Bloomfield) - 5:05
B4. It’s Gonna Be A Hard Night (B. Goldberg, Will Jennings) - 2:49
B5.Magic In Your Touch (R.Kennedy) - 4:45

Credits:

*Michael Bloomfield - Guitar
*Ray Kennedy - Sax, Vocals
*Barry Goldberg - Keyboards
*Rick Grech - Bass
*Carmine Appice - Drums

Curtiss Maldoon is a folk music duo from England, formed by Dave Curtiss and Clive Maldoon (born Clive Skinner).

They first began working together in the band Bodast in 1968 which also featured Steve Howe (Yes, Asia, GTR) on guitar and Bobby Woodman Clarke on drums. They recorded one album produced by Keith West whom Howe had worked with in UK psychedelic band Tomorrow (known for their hit "My White Bicycle"), but it remained unreleased until it came out in truncated and remixed form in 1982 as The Lost Bodast Tapes.

A full re-issue featuring the original 1969 mixes came out under the title Spectral Nether Street on the RPM label in the 1990s.

Although not very active on the live circuit as they preferred to spend their time writing and rehearsing, Bodast played a legendary show called the Pop Prom in 1968 where they were on the bill with the Who and acted as Chuck Berry's back-up band for the night.

Curtiss Maldoon were on Purple Records, the label started by Deep Purple. Their connection to Deep Purple came out of Dave Curtiss short-lived involvement with an early incarnation of the band known as "Roundabout" where Curtiss was the vocalist (and Bobby Woodman Clarke was the drummer). No recordings have come to light of this line-up. Dave Curtiss (under the name "Dave Curtis and the Tremors") recorded several beat singles in the mid 60s for various labels.

Their first LP features Steve Howe on lead guitar, Tony Ashton, and musicians from Mighty Baby, including Roger Powell.

Curtiss Maldoon did some touring after the release of this album bolstered by a rhythm section. They played shows with Badfinger in the US and also did a well reviewed concert at Lincoln Center where they were on the bill with vocalist Merry Clayton.

Their 2nd LP came out under the name Maldoon as Curtiss asked that his name be removed from the project and that it be a Clive Maldoon solo album. It came out on the Purple label as well, this time distributed by Warner Brothers.

After this album, Clive Maldoon continued trying to establish himself in the music world but ran into a series of managerial and contract problems. He died in 1978 of complications from prescription medications.

01. Man From Afghanistan

02. Fly Like An Eagle

03. So Nice

04. Long Long Time

05. Ibiza Beach Song

06. Warm On The Ridge

07. Sepheryn

08. I'm Waiting

09. You Make Me Happy(And You Make Me Sad)

10. Find A Little Peace

[BONUS TRACKS]

11. Amber Man

12. Ah It's A Feeling

13. Still Is The Night

14. It's Alright

Murphy Blend (named after a pipe tobacco) early-1970's German rock group from Berlin who changed into Hanuman and then Lied Des Teufels.

Murphy Blend were quite a mystery. They were also a rarity in early German rock, as they combined the psychedelic Krautrock sound with heavy rock, blues and classical musics.

Their music had hints of early Jane and Pell Mell, but apart from that they had a unique style, with a strongly accented vocalist, topical lyrics and heady instrumentals, heavily featuring chunky Hammond organ.

They were responsible for one of the best albums released on Polydor's legendary Kuckuck label. They were a quintet comprising Wolf-Rodiger Uhlig (organ, cembalo, grand piano, vocals), Wolfgang Rumler (guitar, vocals), Andreas Scholz (bass) and Achim Schmidt (drums). "First Loss" was recorded in Union Studio, Munich, during October — December 1970, produced by Jonas Porst (the manager of Ihre Kinder!) and engineered by Thomas Klemt.

Murphy Blend revealed a fine blend in which Uhlig utilised his keyboards to incorporate classical themes into their heavy progressive music. He had studied classical music for three years in Berlin. The songs were melodic, textured by heavy guitar and organ riffs.

The album contained six proper tracks (mostly written by Uhlig) and the shortest German song of all time: the 3/10 of a second long "Happiness"! It's impossible to name highlights as all material is truly great!

Sadly, Murphy Blend disbanded soon after recording this album. Andreas Scholz went on the heavy progressive Blackwater Park in 1971. Wolf-Rudiger Uhlig guested on Frumpy's third album "By The Way" in 1972.

Wolf-Rodiger Uhlig — Organ, Cembalo, Grand Piano, Vocals
Wolfgang Rumler — Guitar, Vocals
Andreas Scholz — Bass
Achim Schmidt — Drums

A1. At First (4:32)
A2. Speed Is Coming Back (5:58)
A3. Past Has Gone (7:30)
B1. Pradudium / Use Your Feet (5:31)
B2. Firt Loss (7:44)
B3. Funny Guys (3:38)
B4. Happiness (0:01)

The Sid Rumpo album 'First Offense' was released in 1974. By this time my guitar playing was getting stronger, I almost felt I could play. Somehow this band just evolved. We started talking about in 1971 but two of the guys were students finishing off degrees.

When we eventually gathered together late in 1971 at a house in Mount St, Claremont, we were Bob Searls - guitar and vocal, Ken Wallace - piano and percussion, Owen Hughes (ex Jellyroll Bakers) - bass, and myself on guitar and harmonica. We were lacking a drummer. I think we tried out a few local guys and either we didn't like them or they didn't like us. This led to placing an ad in the musical section of the local Sunday paper.

The results were well worth it. The day Noel Herridge walked though the door it was a dream come true. He been driving around Australia in a Kombi and just happened to be in Perth at the right time. He had great experience playing with Broderick Smith and Paul Lever in blues bands in Melbourne. He had an awesome feel, just what we were after so it became Noel Herridge - drums.

To cut a long story short, we were very successful in Perth. We were lucky to have three of us who were constantly writing songs; Bob, Ken and myself. We played a lot of gigs and I think opened up the rock scene in Perth to the extent that more venues were booking more rock bands. We won a Hoadley's Battle Of The Bands (not too sure if I should have mentioned that), and in November 1972 we moved to Melbourne to try out in the "big smoke".

We arrived in Melbourne late in 1972 and quickly went about trying to become established in the local scene. We were signed by Mushroom pretty quickly and appeared at Sunbury1973. We also recorded some live gigs at the Garrison.

A trip back to Perth allowed us to be the support band for John Mayall at the WACA. I got to talk with his drummer Keef Hartley, who made some fabulous albums with his own band. In our early days, we did a couple of his tracks. His first few albums are just great, I still listen to them.

By about August 1973 I was pretty burned out or freaked out or whatever and decided to return to Perth. I was a partner in 78 Records and went straight back into the business.

The guys picked up a great new guitarist, Mick Elliot, who I think was a better fit than I was. I wanted to improvise and the other guys wanted to rock a lot more. Mick was a great rock guitar player and the band progressed to recording an album, known as First Offense that charted. They also played Sunbury 1974. (by John Hood)

*Mick Elliot - Guitar, Vocals
*Robert "Rob" Searls - Guitar, Vocals
*Ken Wallace - Piano, Percussion
*Noel Herridge - Drums, Percussion
*Owen Hughes - Bass
*John Hood - Guitar

Lectric Music Revolution - same (1971, Can, garagepop, RE-Marathon vinylrip, single flac + cue + splitter, DR8, artwork)

Chilliwack - Dreams, Dreams, Dreams (1976 canadian, fabulous classic/blues rock) vinyl rip, 24bit Lossless

The Factory - Path Through The Forest (uk 60s, killer psychedelic freakbeat rock, 2008 issue) Flac

Neon - same (1970, US, psychrock, Paramount vinyl rip, single flac + cue + splitter, DR15, artwork)

60.000.000 Buffalo - Nevada Jukebox (1971, US, juicybluesyrock w/great Judy voice, Atco vinylrip, single flac + cue + splitter, DR13, artwork)

Dogfeet - Dogfeet (1970 uk, awesome hard/psychedelic & blues rock) vinyl rip - Flac 24bit lossless

Brass Monkey - same (1971, US, Rock, Rare Earth vinylrip, single flac + cue + splitter, DR13, artwork)

Midwinter - The Waters Of Sweet Sorrow (1973, UK, folkrock, Porcelain vinyl rip, single flac + cue, DR12, artwork)

Kindred - Kindred (1971 us, fantastic hard rock 'n' soul, 2009 reissue) Flac

Finnigan and Wood - Crazed Hipsters (1972, US, bluesyrockingsound, Blue Thumb vinyl rip, single flac + cue, DR13, artwork)

Ax - You've Been So Bad (1970 canadian, astonishing heavy/psychedelic rock - 10" EP) Flac 24bit lossless

Orion - Sometimes Words Just Get In The Way (1975, US, guit/synth based instroprogsound, London vinylrip, single flac + cue, DR13, artwork)

Casa Das Máquinas - Casa De Rock (1976 brazilian great hard/psychedelic rock) vinyl rip, Flac 24bit lossless

Odyssey - Setting Forth (1969 us amazing hard/heavy psychedelic rock) [2-CD Deluxe Edition] Flac

Andy Fernbach - If You Miss Your Connexion (1969 uk splendid psychedelic blues rock - vinyl rip) Flac 24bit lossless

Fontessa - Fontessa (1973 holland stupendous progressive psychedelic/blues rock - 2014 reissue) Flac

KGB - KGB (1976 uk, brilliant hard/blues rock - vinyl rip) Flac 24bit lossless

Curtiss Maldoon - Curtiss Maldoon (1971 uk, amazing classic rock / folk-rock - 2008 Japan Mini LP CD) Flac

Murphy Blend - First Loss (1970 germany brilliant hard/progressive rock - vinyl rip) Flac 24bit lossless

Sid Rumpo - First Offense (1974 australian, great hard/blues rock with progressive touches) Flac