Bordel do Rock

Jimmy and The Soulblazers (also known as Change and Clockwork) are an American soul and funk band from Alliance, Ohio. Since 1966 they have played for audiences across the East Coast and Midwest of the United States.

Signed with Kapp Records (a division of MCA Records, now Universal Music Group) in 1970 as Change, they released two singles. In 1972, they called themselves The Joneses, and combined their Motown and R&B with more rock songs and their own compositions.

Although they were still performing as The Joneses, in 1973 they released a supposedly self-titled album of original songs and covers, Clockwork on Greene Bottle Records, a division of Famous Music. Clockwork was re-released in 2010, on the Homespun Records label.

Their vocals and musicianship have kept them a regional favorite for many years. In 2002, a new album, It's About Time, was released. A mixture of Motown hits with a few lesser known soul tunes, it also featured the Soulblazers' longtime cover of "Goin' Out of My Head" a Little Anthony tune, "With A Little Help From My Friends", a Joe Cocker cover, and a cover of "Grazin' In The Grass." They also have added a horn section to their lineup.

*Jim Korleski - vocals and keyboards

*Dave Sorge - guitar

*Mike Bugara - guitar and vocals

*Bill McCrea - vocals and percussion

*John Sineri - drums

*Mike Duruttya - flute, sax and vocals

*Gary Zeigler - bass

**Special thanks to Jim "Mud Dog" Miller - harmonica

Miguel Abuelo (whose real name is Miguel Angel Peralta) was born in 1946 in Argentina. At age 20 he met the poet Pipo Lernoud and inspired his poetry creates his first rock band called Los Beatniks, with which publishes several singles.

The political circumstances in Argentina beginning 70s Migel Abuelo lead to the fact that he was forced to leave their homeland and move to France. There he meets a patron who offers to finance musical activity Migelya: buy tools, rental of premises for rehearsals, the musicians are gradually.

The first rock band in France Migelya called Hijos De Nada (Children of the Void). Ingredients were recruited from the same immigrants from Argentina and Uruguay, and in 1974 the group made the first record.

As part of the Miguel Ángel Peralta (Miguel Abuelo) - vocals and rhythm guitar; Daniel Sbarra - guitar solo; Pinfo Garrigo - bass guitar; Carlos Beyris - cello; Juan Dalera -Play on Kuehne (Indian flute this); Diego Rodríguez - drums. In addition to these musicians participated in the recording of invitees: percussionist Luis Montero; Gustavo Kerestesachi played mini Muge; Teca y Verónica - create choral and Edgardo Cantor - electronic effects.

The CD was issued in 1975 (according to other sources in 1978), with the other name Miguel Abuelo & Nada, which translates looked very symbolic (Miguel Abuelo and void), because the group has ceased to exist. Poetic images of the tracks are very interesting, here are some translations of song titles: "Throwing stones into the river,""is too long a day for what would live", "Master Butcher" and others. In the fourth composition fragments of poems Persian poet of the XIII century - Rumi. The final composition with choral effects very clearly felt the impact of Uriah Heep. In the 80s Miguel resumed musical project with this name, but with other musicians, wandering through Europe and moved permanently to Spain.

Unfortunately, even while he was terminally ill. March 26, 1988, he died in hospital from AIDS.

The only full-fledged album, the remainder of its activities, perceived at one go, and is considered one of the best in the Argentine rock music.

Collecting the few singles released by the act in the early '70s, Turkey's Bunalim is notable for being a fairly unsettled group in terms of lineup only one performer, guitarist, and occasional vocalist Aydin Cakus, appear on all the singles. But the grab bag of styles that results throughout the disc is a good enough portrait of what the Turkish rock scene of the time was like occasional bursts of wild, rampant energy set against a calmer, more conservative interpretation labeled "Andalou rock," which, according to the liner notes, none of the main members of Bunalim were too thrilled about having to perform.

These tensions aside and allowing for the unstable lineup, this compilation never fails to be enjoyable; if many of the songs might be too staid for modern listeners there (or indeed elsewhere), as atmospheric heavyriffing freakouts with touches of traditional music they're simply marvelous.

Opening instrumental "Basak Saclim" could well have been the theme song to any biker movie of the time if it was set on the Anatolian plateau instead of Death Valley. Meanwhile, the Aside of the first single, "Tas Var Kopek Yok," is pure rough craziness, with barked vocals, sudden midsong silences and a martial, rolling beat that finds its own logic, even wrapping up with a random conversational snippet and a barking dog. Those songs in the Andalou rock style featuring traditional singing styles, such as "Hele Hele Gel," may lack in the total insanity department but are still wonderfully offkilter and if "Bir Dunya da Bana Ver" ends up with a more polite freakbeat style for most of its length, the opening seconds alone are chaos incarnate.

Bunalim (which means "depression" or "frustration" in Turkish), founded in 1969, was one of the most well-known underground groups on the Turkish music scene of the early '70s. Although their discography is limited to only a few singles, Bunalim is regarded as a seminal band in Turkish music history, who paved the way for its members to find fame later on in their careers (playing with Erkin Koray, Mogollar, Ter, Edip Akbayram).

Bunalim released 6 singles which are incredibly rare, and never completed a whole album. They were produced and managed by legendary Turkish rock musician and instigator of the Anatolian rock movement Cem Karaca, one of the most important rock singers in Turkey during the 1970s. This release is a blend of their work from 1970-1972, and features everything from American-influenced garage to early punk experiments to fuzzed-out psychedelic heavy Eastern drone, including a cover of Iron Butterfly's "Get Out Of My Life, Woman" ("Yeter Artık Kadın") sung in Turkish.

They say about the band: "God, they were crazy! Running all nude down the Istiklal Street, psychedelic light shows, crazy paintings all over the stage wall and screaming of LSD! LSD! in their live shows." As good as the best recordings from Erkin Koray, Bunalim are, even for most Turkish collectors, a well-kept secret. The LP version reissued by Shadoks sold out within a blink of the eye.

Ayet Aydin Çakus (guitar, vocals)

Ahmet Güvenç (bass)

Hüseyin Sultanoğlu (drums, 1969-70)

Nihat Örerel (drums, 1970-?)

Aziz Azmet (vocals, 1970)

Berç Yenal (guitar, 1971-72)

Melik Yirmibir (bass, 1971-72)

Mehmet Gözüpek (drums)

Nur Yenal (drums)

Cengiz Teoman (drums)

Sadun Aksüt (yayli tanbur)

Arif Sağ (bağlama)

Christmas was formed in 1969 in Oshawa, Ontario, Canada, out of the ashes of the cult underground psychedelic band Reign Ghost. In July 1970, Christmas released an independent self-titled debut that brought some media attention to the band and a contract with the Daffodil Records label.

In December 1970, less than six months after the release of the debut, Christmas released their debut Daffodil Records album entitled Heritage. Christmas was comprised of vocalist and multi-instrumentalist Bob Bryden, bass Tyler Raizenne, drummer Rich Richter, and Robert Bulger on guitars, all of whom were still in their teens.

The album gathered good reviews and was well received by critics but it was not commercially viable because the long songs and hard rock sound. It became an instant favorite in the underground music scene just about everywhere but in Canada.

Despite the international response to the album, Heritage proved to be the last release by the band under the name Christmas due to management problems and difficulty with the direction of the next album. Consequently, Christmas broke up in late 1971 only to resurface the following year, lineup intact, under the name the Spirit of Christmas.

In the late '80s and '90s, the original Heritage album became a highly sought after collector's item, especially in the U.S.A. and Europe because of the band's unorthodox style and progressive influences. While the original Heritage album contained ten songs in the heavy rock progressive style of music, this reissue features an extra four bonus tracks.

Tracklisting:

A1 Houdini
A2 One Night In Texas
A3 After The Storm
A4 Percy The Pimp
B1 Running Wild
B2 All In Your Mind
B3 Suicide

One of the best garage bands of the '60s, and one of the best teenage rock groups of all time, Zakary Thaks released a half-dozen regionally distributed singles in 1966 and 1967; some were hits in their hometown of Corpus Christi, TX, but none were heard elsewhere until they achieved renown among '60s collectors.

The band developed out of the Marauders, a teen group which included Chris Gerniottis (vocals), Pete Stinson (guitar), and Rex Gregory (bass), and who then became the Riptides, adding lead guitarist John Lopez.

By 1966, they had acquired a new drummer, Stan Moore, and had become the Zakary Thaks – the name being a mutated version of one seen in a magazine.

Influenced by blues guitarists as well as British and American groups of the period, the band soon gained local popularity.

Their first record, for the local J-Beck label, combined an original composition, "Bad Girl", with a Kinks song, "I Need You".

Released in mid-1966, it became a regional hit and was picked up nationally by Mercury Records. Its success won the band a spot supporting their heroes, the Yardbirds.

A second single, "Face To Face" was less successful, but the band continued to tour, supporting acts including Jefferson Airplane and the 13th Floor Elevators.

Their 1967 singles found the group moving into psychedelic territory; some songs betrayed a Moby Grape influence, and some good melodic numbers were diluted by poppy arrangements that recalled the Buckinghams and Grass Roots.

Later singles showed the band taking a more pop-focused approach. By 1968, Gerniottis had left the band for a while to join another group, the Liberty Bell, but returned later.

However, the band did not repeat its early success, splitting up in the early 1970s.

In 1979, "Bad Girl" was included on the Pebbles anthology of mid-60s garage bands, in addition to the similarly concepted Nuggets: Original Artyfacts From the First Psychedelic Era, and has maintained its renown among collectors of the genre. A compilation of the band’s singles was issued in May of 2001.

Drummer Stan Moore died in 2000. In 2004 and 2005, remaining members of the band reformed to perform at festivals. Bassist Rex Gregory died Jan. 18, 2008

*Chris Gerniottis - vocals
*Pete Stinson - guitar
*Rex Gregory - bass
*John Lopez - lead guitar
*Stan Moore - drums

When Sir Lord Baltimore released Kingdom Come in 1970, heavy metal was just a twinkle in Black Sabbath's eyes (the Birmingham legends' first album had only just hit record stores), and the term itself was years away from widespread acceptance as the definition of an entire category of rock music.

So much so, that present-day listeners might find this album's songs as comparable to those of so-called "early punks" The Stooges or MC5, as they are to other proto-metal outfits like Blue Cheer, Led Zeppelin, and certainly Sabbath themselves.

As was the case with every one of these acts, Sir Lord Baltimore's music was fundamentally rooted in unbridled aggression, deafening distortion, and raw power: like Nuggets, the next generation. In other words, there was little finesse to be found in savage album cuts like "Helium Head,""Hard Rain Fallin'," and "Pumped Up" -- just bludgeoning hard rock seemingly ever on the verge of spontaneous self-combustion under the command of vocalist John Garner's wild-eyed, howling, vocal acrobatics.

Clues of the group's influence by the classic '60s power trios (Cream, the Jimi Hendrix Experience, etc.) were evident on bluesier, but still reliably tee-total numbers like "I Got a Woman""Hell Hound," and "Lady of Fire"; while "Master Heartache" was jump-started by a monstrous bassline foreshadowing of Motörhead, and the leaden title track somehow managed to echo both the dying psychedelic movement and emerging doom.

Finally, there was album wildcard "Lake Isle of Innersfree": a shockingly sedate and civilized, Baroque combination of harpsichord and 12-string guitars topped by suitably psychedelic lyrics which, not surprisingly, was crafted with the help of the band's managers (namely future Bruce Springsteen Svengali Mike Appel, trivia fans).

As well as a true anomaly, the latter hinted at Sir Lord Baltimore's growing stylistic broadening which would both diversify and dilute their second and final album, leaving Kingdom Come to stand the test of time as the band's authoritative work. And, even though it was generally dismissed by critics and misunderstood by listeners of the day (as were Sabbath and the Stooges, of course), the album gradually grew in stature to become one of early heavy metal's best-loved documents, and most consistently sought-out cult items.

(Review by Eduardo Rivadavia)

Side 1
"Master Heartache"– 4:37
"Hard Rain Fallin'"– 2:56
"Lady Of Fire"– 2:53
"Lake Isle Of Innersfree"– 4:03
"Pumped Up"– 4:07

Side 2
"Kingdom Come"– 6:35
"I Got A Woman"– 3:03
"Hell Hound"– 3:20
"Helium Head (I Got A Love)"– 4:02
"Ain't Got Hung On You"– 2:24

Jeff Simmons, born May 1949 in Seattle, Washington, is a rock musician and former member of Frank Zappa's Mothers of Invention. Simmons provided bass, guitar, and backing vocals for the group between 1970 and 1971. He left The Mothers just prior to the filming of 200 Motels (where he was replaced in the film by Ringo Starr's chauffeur Martin Lickert) in mid 1971. Jeff later returned to the group for a time during 1972 and 1973. Zappa and Mothers albums he appeared on include Chunga's Revenge (1970), Waka/Jawaka (1972), Roxy & Elsewhere (1974).
Years later Zappa released a number of archival recordings made during this period that feature Jeff including You Can't Do That on Stage Anymore, Vol. 1 (1988), You Can't Do That on Stage Anymore, Vol. 6 (1992), and Playground Psychotics (1992). Jeff also appears in the Zappa movie The True Story Of Frank Zappa's 200 Motels (1989). Numerous Zappa bootleg recordings from the same era also feature Simmons.
Jeff's music career began in Seattle. In 1967 he became a member of the local group Blues Interchange which soon changed its name to 'Easy Chair'. The group self-financed their only recording, released by the regional Vanco label in 1968. The 12" one-sided, three-song album sold well in the independent record shops along University Way NE (known locally as The Ave) in Seattle's University District. Only about 1000 copies of locally produced Easy Chair record were pressed. It is now a highly valued collectible.
Easy Chair was then booked as the opening act for an August 24, 1968 concert by The Mothers of Invention at the Seattle Center Arena (renamed in 1995 to Mercer Arena.) During the sound check Easy Chair was discovered by Zappa, who recognized that the group's musical and lyrical aesthetic and sense of humor was compatible with his own.
The group followed Zappa back to Los Angeles. In December 1968 Easy Chair was a supporting act for Zappa and The Mothers for 2 concerts at the Shrine Auditorium. The concerts were organized to showcase Zappa's two new record labels, Bizarre Records and Straight Records. Other artists appearing at the shows included Alice Cooper, The GTOs, and Wild Man Fischer. But Easy Chair never had the opportunity to make a record in Los Angeles. After disagreements and unexpected delays the group broke up before any recordings were made.
Simmons stayed in Los Angeles and completed two solo albums for Straight. He co-composed the soundtrack for the biker film Naked Angels (1969). His second album Lucille Has Messed My Mind Up (1969), featured Zappa as producer. Zappa wrote two songs and played lead guitar under the pseudonym La Marr Bruister. The engineer was Chris Huston, who also worked on Led Zeppelin II at about the same time. Lucille was voted the 2nd best album on Straight Records by Mojo Magazine. Both albums were re-issued on CD in 2007 by World In Sound Records.
Simmons is one of only a handful of musicians to share a songwriting credit with Zappa. Their collaboration Wonderful Wino appears on Lucille Has Messed My Mind Up and also on Zappa's 1976 album Zoot Allures. The title song of the album Lucille Has Messed My Mind Up was also re-recorded in a completely different arrangement on Zappa's 1979 album Joe's Garage. Simmons is also listed as co-writer (with Zappa and Napoleon Murphy Brock) on Dummy Up from Zappa's 1974 album Roxy & Elsewhere. During a 1982 guest DJ spot on UK's BBC Radio 1 Zappa played some of his favorite recordings including Simmons' song I'm In The Music Business.
Jeff continued to play music with various groups in the Seattle area during the 1980s. He appeared in the 1988 movie Rock and Roll Mobster Girls which was produced on video tape in Seattle during the very early stages of the Grunge music scene. Jeff Simmons' most recent work is Blue Universe (2004).

The cult classic solo album from the long-time Mothers of Invention bassist! And, though Simmons cut this record before he officially joined the Mothers, the Zappa influence is profound; not only did this come out on Frank's Straight label, but he produced the album (under the pseudonym LaMarr Bruister) and played lead guitar. Zappa-ologists will also note that the melody to the title track was later used for 'Sharleena', and that Simmons' composition 'Wonderful Wino' was later added to the Zappa repertoire (Ian Underwood's on board, too).

But famous collaborators aside, this album is really Simmons' show, a tour de force of inventive songwriting and surprisingly powerful singing, and a fresh stab at the psychedelic rock genre that had by 1970 grown tired.

This is a rare slice of rock from the late 60's partially produced by the late, great Frank Zappa. Features some nice songwriting, plus FZ's guitar on a few tracks.

Born Javier Isac Medina Núñez in Tijuana, Javier Batiz (as he is known to the music industry and his fans) formed his first group in 1957.

They were called The TJ's and like many groups who pioneered the electric sound of music on both sides of the border, they were influenced by black musicians, blues, R & B and the emerging sound of rock. Batiz' influences include T-Bone Walker, Muddy Waters, BB King , Chuck Berry, Howlin 'Wolf, and James Brown.

In 63 Javier came to be invited to join the group Los Rebeldes del Rock, but joint that did not work, because Javier was completely influenced by the real rock, more specifically the black blues, while the Rebels only single recorded just for easy draw attention of youth.

Javier then decides to call two of his first band members to accompany you on your new journey. The contract earned Batiz appearances at major music festivals in Mexico, establishing it as a national icon, crowding his audience several politicians, artists, intellectuals and even Jim Morrison came to appear at a concert guitarist, a night off the tour of Doors , in those parts of Mexico.

An interesting detail was that Batiz came to teach music for big names like Fito de la Parra (drummer of the legendary American group Canned Heat).

By 1968 Javier's reputation won him an invitation to perform at the bar of the Terrace Casino, one of the most prestigious clubs in Mexico City.

In 1969 Javier Batiz was among the performers at Mexico's first open air concert. Licensed by the Department of the Federal District in Alameda, it drew a crowd of over 18,000 spectators.

Called by many the "Father of Mexican Rock", Javier Batiz has been a longtime friend of Carlos Santana and is said to have helped Carlos develop his distinctive style.

Javier now lives in his native Tijuana with his wife Carrie, who often accompanies him on drums. Over a career that spans more than five decades, Javier Batiz continues to travel and perform his music.

Scott Finch (guitar, vocals), Joe Steil (bass, vocals) and Gregg Slavik (drums, percussion, vocals), are an original blues-rock power trio that ingeniously construct their own identity and style.

When you open this gatefold (4 parts) CD and album, you will find a glorious tribute to Scott Finch & Gypsy. If you continue to read you will also find that Jimi Hendrix and the 60's psychedelic period of music is the entire focus of this project.

I really have come to appreciate the genius of Hendrix as time passes. I also realize for the short time that he was on this earth that he left us with some of the most incredible blues-rock that we have ever heard, or may ever hear again.

Scott Finch & Gypsy got together in Wisconsin back in the eighties to form a compelling and authoritative trio that reawakened our senses and re-ignited our interest in that important period of rock music.

Horizon Records (Akarma) recognizes the significance and the value of the music, and how the music buying public have become increasingly receptive to guitar oriented blues based rock. With all of those thoughts in mind, I proceeded to give this music an intense overview with my ears and mind.

I had to wonder if this CD/LP was going to live up to the elaborate critique that was so convincingly described by Jo Anne Green in the intense liner notes.

The story foregoing the recording is quite fitting to be sure. I found out immediately that this was not merely another Hendrix impressionist. Scott Finch (guitar, vocals), Joe Steil (bass, vocals) and Gregg Slavik (drums, percussion, vocals), are an original blues-rock power trio that ingeniously construct their own identity and style.

Finch plays and sounds like Jimi often enough during the course of this larger-than-life release that you may find yourself thinking that it's actually the man himself back from the grave for one more jam session. They readily summon images of the master at several points during the course of the entire 76 minutes found on this generous rock excursion.

In its entirety, this music is like watching several points of light coming together to create a supernova. Finch mentions in the liner notes that musical nirvana is the ultimate goal that the group strives to achieve. I think it's safe to say that musical nirvana is obtainable. Just listen to this music.

Bobby Liebling, strictly a singer, started the band "Pentagram" in the 70's. The band members played a mix of psychedelic hard-rock and sometimes heavy metal (Geof O'keefe would even be involved later in a project called Bedemonwhich was probably closer to Doom than 70's Pentagram), but it's important to remember that Bobby Liebling was the primary songwriter, and he was more of a Blue Cheer nut than a Sabbath nut. So the songs from this era will be much closer to Summertime Blues than War Pigs.

Pentagram first came into existence in 1971 in Woodbridge, VA, when singer Bobby Liebling met guitarist/drummer Geof O'Keefe. In the coming months, the duo played with a variety of local musicians, including guitarist John Jennings, bassist Vincent McAllister, and drummer Steve Martin, but by early 1972, McAllister had switched to guitar, O'Keefe took over on drums, and Greg Mayne joined on bass guitar.

This lineup of Liebling, McAllister, Mayne, and O'Keefe would remain intact for the next six years, and though they occasionally performed under different names, including Virgin Death, Stone Bunny, and Macabre (the last of which graced their first single, "Be Forewarned," in 1972), they always inevitably returned to Pentagram. Another element of stability was their musical direction, which never strayed too far from the distorted psychedelic hard rock of heavy metal pioneers like Blue Cheer and the Groundhogs.

A set of independent 7" recordings, "Human Hurricane" and "When the Screams Come" (this last was never released) preceded their first live performance on December 15, 1973, by which time a visible Black Sabbath influence had begun to take hold. Second guitarist Randy Palmer joined their ranks mid-1974 and his addition coincided withPentagram's most prolific period of the decade, including close calls with record deals from both Columbia and Casablanca Records. But by 1976, Palmer was out (briefly replaced by Marty Iverson) and all of the band's professional prospects had dried up, leaving Pentagram to grind to a halt at the end of the year.

After years of silence, Liebling was finally encouraged to resume his career in mid-1978, when he met a musical soul mate in local drummer Joey Hasselvander, but it wasn't until Halloween 1981 that Pentagram was truly brought back from the dead. By then, Hasselvander had joined a new group called Death Row, which featured a young,Black Sabbath-obsessed guitarist named Victor Griffin.

When Liebling stopped by for a jam, creative sparks flew almost immediately and with the addition of bassist Martin Swaney, the group officially assumed the Pentagram name once again. More years of hard work playing in clubs and composing new material followed, but in 1985,Pentagram finally recorded a full-length, self-titled debut (minus Hasselvander, who was replaced at the last minute by drummer Stuart Rose).

Later retitled Relentless, the record may have been dedicated to Blue Cheer, but its contents owed an almost singular stylistic debt to Black Sabbath and along with its even more accomplished 1987 successor Day of Reckoning, it helped set the stage for the looming doom metal movement. Not fast enough for Pentagram to capitalize, however, and following another lengthy hiatus, a new contract from Peaceville Records finally led to another comeback via 1994's Be Forewarned LP (featuring a reinstated Hasselvander). But the musical climate of the time was very unfriendly to heavy metal of any kind, and the doom scene had never managed to coalesce as expected, leading Pentagram to another, seemingly final breakup.

In 2008, a now sober Bobby returned with a new Pentagram line-up, this one consisting of Gary Isom (drums), Russ Strahan (guitar), and Mark Ammen (bass) and, for the first time in years, the band began performing live and touring. Eventually, Strahan, Ammen, and Isom would drop out of the band, but Pentagram continued on and began preparing to work on a new album, called "Last Rites" with former Pentagram guitarist Victor Griffin, bassist Greg Turley, and Tim Tomaselli lending assistance.

01. "Forever My Queen"-2:25 (Liebling)
02. "When the Screams Come"-2:59 (Liebling)
03. "Walk in the Blue Light"-5:35 (Liebling)
04. "Starlady"-5:15 (Palmer/Liebling)
* Recorded September 4, 12 and 23, 1976 at Underground Studio
05. "Lazylady"-3:48 (Liebling/O'Keefe)
* Recorded July 6, 1972 at The Fireplace
06. "Review Your Choices"-2:57 (Liebling)
07. "Hurricane"-2:05 (Liebling)
* Recorded June 13,1973 at Bias Recording Studios
08. "Livin' in a Ram's Head"-2:16 (Liebling)
* Recorded live June 5 and 14, 1974 at National Sound Warehouse
09. "Earth Flight"-2:51 (Liebling/Mayne)
* Recorded live June 5 and 14, 1974 at National Sound Warehouse
10. "20 Buck Spin"-4:57 (Liebling)
11. "Be Forewarned"-3:27 (Liebling)
* Recorded July 6, 1972 at The Fireplace
12. "Last Days Here"-6:08 (O'Keefe/Liebling)
* Recorded live Summer 1974 at the rehearsal warehouse

Thanks a lot to original uploader:"OZROCK"

Plan 9 is an American neo-psychedelic band from Rhode Island formed in 1979.

It does something to see how groups who for years have been ignored by the public, considered as incurable nostalgic, are now elevated to the role of talented artists that often is not its responsibility. As always in these cases, the truth lies in the middle, between the delirious exaltations of some criticism of today and the few words for the occasion of those who until recently they deemed recovery Sixties as an operation so pleasant and fun as outmoded and poorly creative.

Everything is part of the theory sometimes mistreated courses and resorts, which unites and connects firmly, in rock, Gene Vincent to the Rolling Stones, the Seeds to New York Dolls, the Ramones to unrecognized Hypstrz, the Lyres or these Plan 9.

It is a general discussion and short on detail, I admit, but in my opinion makes the idea of what could be a valid approach - albeit moderate - against the avalanche of Sixties-oriented products that are currently flooding the market. Listening Dealing With The Dead, published by Plan 9 after a fairly nourished individual, mini-LP (Frustration for Voxx) and participated in collections, one has the impression of being in front of a band very much tied to the '60s .

it has almost ceased to play old songs but he has learned to compose new buckling directly to the past; the track, of course, it's the psychedelic garage, occasionally mediated with the Sixties-punk but more often quiet, fascinating and evocative. Rather than propose songs in pop with psychedelic shade variations more or less present, however, the Plan 9 prefer to delve into sounds richer and processed in an attempt to offer songs wider; the use of many instruments (the group consists of eight quirky characters) is therefore much more hypnotic and magnetic than other formations, and also set a slow, sour and hallucinatory compositions contributes decisively to make the 'together really suitable for a trip perhaps not too present, but certainly exciting.

Among the nine tracks on the album, all of good quality, stand out as gems I Like Girls, White Women and Gone, demonstrating unequivocally the attitude of the musicians, perhaps ethically questionable but technically flawless and emotionally. A disc of great value, full of charm and feeling, with just one (significant or not, depending on personal tastes) flaw: the date 1984 on the label and back cover. It was a reprint of an old LP of '67. we would perhaps appreciated even more. (Federico Guglielmi)

A1. I Like Girls (Stumpo, DeVault) 4:03

A2. B-3-11 (Stumpo) 3:52

A3. White Women (Stumpo) 2:59

A4. Dealing With The Dead (Stumpo) 6:05

B1. Step Out Of Time (Williams) 3:29

B2. I'm Gone (Stumpo) 2:55

B3. Beg For Live (DeMarco) 3:35

B4. Can't Have You (DeMarco) 3:23

B5. Keep On Pushin' (DeAzevedo, Youshock) 3:02

There are some contemporary blues bands who are just wanabees, some who are mediocre, a rare few who are quite superb ... then there's the Climax Blues Band, the pinnacle of talent in the genre.

There aren't many bands who can equal their depth and diversity of skills, from no-frills pure blues, to slow blues, hard driving blues, or ripping into jazz riffs and scorching instrumental solos in Climax originals.

Climax Blues Band was one of the best blues oriented rock bands of their day, and this album had some of their most memorable tracks. They weren't concerned about doing semi-faithful covers of old delta blues songs as was the case with many UK bands of the late '60's, but rather did original rock music with the blues genre only as inspiration.

The production/sound engineering on this album is a joy to play on serious audio equipment, with, by today's standards, a minimalist recording style. Each instrument and voice seems very discreet, tight, and up front on playback, and you can even hear dead silence for split seconds sometimes on upbeats.

They had an excellent feel for song arrangements, without the self indulgent, overdone, overly long solo bits that are too common on classic rock albums, and Climax Blues Band had no focus on a rock star front man.

Audio of this quality makes you want to turn up the volume, as opposed to cluttered modern mixing that often makes higher volume an annoyance.

A1 Hey Mama 3:30
A2 Shoot Her If She Runs 3:30
A3 Towards The Sun 3:18
A4 Come On In My Kitchen (Written-By – W. Payne) 6:32
A5 Spoonful (Written-By – Dixon) 3:53
B1 Who Killed McSwiggin 5:00
B2 Little Link 1:35
B3 St. Michael's Blues 9:53
B4 Bide My Time 3:17
B5 That's All 2:10

This is absolutely irresistible stuff from an incredibly influential band that has been largely forgotten. The Crazy World Of Arthur Brown was built on the talents of manic showman Arthur Brown and his even more talented cohort organist Vincent Crane, two of the greatest (and ultimately unfulfilled) talents in the world of progressive heavy rock.

This album was released in 1968 and must have sounded like nothing else around at the time (come to think of it, it still sounds pretty damn unique!). Despite significant chart action (the single Fire was a #1, I believe), the group imploded after this one near-perfect album and while both Crane's Atomic Rooster and Brown's Kingdom Come went on to make great music, you can't help but feel that they were most complete with each other.

Brown's songwriting is steeped in Gothic horror, with mystical fire-based themes usually playing a strong part in his lyrics. As a singer he was part R&B raver, part crooner, occasional narrator and sometime blues shaman who specialised in proto-metal screams (that had a clear influence on Deep Purple's Ian Gillan). A theaterical live-wire on stage he wore helmets and robes (Peter Gabriel, anyone?) and wasn't afraid to set himself on fire for the sake of his art.

Vincent Crane was one of the first great organists in rock music and his musical contributions to The Crazy World Of Arthur Brown cannot be underestimated. Aside from co-writing most of the songs with Brown, he also did all the crucial orchestral arrangements on this album (that help give it a progressive flavour).

Musically he was the main man in what was essentially a keyboard-based trio that was more than a match for the likes of The Nice. It has to be said that while bass player Sean Nicholas and drummer Drachen Theaker do provide Brown and Crane with sufficient support, neither one makes much of an impression on me (Incidentally, legendary prog drummer Carl Palmer joined The Crazy World Of Arthur Brown only after this album was recorded, playing on a live tour before departing with Crane to form Atomic Rooster).

Another small thing to be aware of ... My version of the album features 5 bonus tracks in the form of mono versions of some tracks here. Oddly enough they are stuck at the front of the CD, so make sure you skip them as the atmosphere that builds through this particular album is critical to its enjoyment.

The album itself begins with Brown's rock-horror anthem Prelude-Nightmare which features an atmospheric classical introduction which is "intruded upon" by some great heavy organ work from Crane. It is followed by the Gothic poem/song Fanfire - Fire Poem that echoed the kind of work Jim Morrison and Ray Manzarek were doing accross the Atlantic with The Doors. Brown then sends the album into the stratosphere with Fire, a great pop single with some very nice classical runs from Crane and both brass and woodwind contributions from the orchestra.

The atmosphere of the album should already be well-established by the time you hit the classic fourth track Come And Buy, and if Brown's "God-brother, you lied" line that kicks it off doesn't send chills down your spine, you might well have missed the point. A mixture of mesmerizing melodies (highlighted by the chorus and the imploring "Why is it so cold in here?" line that recurs throughout the album), soulful crooning and an excellent orchestral interlude (which Crane would re-use on Winter, a brilliant track from Atomic Rooster's first album) make this one of the album's best progressive moments. The brooding, glockenspiel-heavy (!!!) Time/Confusion takes the album to an even darker, heavier place that fans of Vanilla Fudge will certainly be familiar with.

A fierce cover of Jay Hawkins' blues classic I Put A Spell On You is so fitting that the track could almost have been written by Brown and Crane. It helps that Theaker's drumming is rather tasty here, too. Unfortunately the album's filler material then starts to kick in. Spontaneous Apple Creation is the album's weakest track and it really sounds like an experiment gone wrong ... it may be creative, but it's damn irritating to listen to. It's followed by the mildy funky Rest Cure which has some nice moments on strings and organ, but still sounds like a track that Petula Clark could have cut! Thankfully the extravagant drum-roll that heralds a cover of James Brown's I've Got Money proves to be a sign that the high-octane manic style of Brown is back.

The curtain closes with another true highlight in Child Of My Kingdom, a flowing piece that begins with a brief pantomime-style melody, moves in some moody verses with excellent piano playing from Crane, a frantic chorus, a jazz-blues instrumental section, and then some more delectable piano work that closes out this thrilling album on an eerie note. ... 88% on the MPV scale

1 Prelude - Nightmare (Written-By – Arthur Brown)

2   Fanfare - Fire Poem (Written-By – Arthur Brown, Vincent Crane)
3   Fire (Written-By – Arthur Brown, Michael Finesilver*, Peter Ker, Vincent Crane)
4   Come And Buy (Written-By – Arthur Brown, Vincent Crane)
5   Time (Written-By – Arthur Brown)
6   Confusion (Written-By – Vincent Crane)
7   I Put A Spell On You (Written-By – Screamin' Jay Hawkins)
8   Spontaneous Apple Creation (Written-By – Arthur Brown, Vincent Crane)
9   Rest Cure (Written-By – Arthur Brown, Vincent Crane)
10   I've Got Money (Written-By – James Brown)
11   Child Of My Kingdom (Written-By – Arthur Brown, Vincent Crane)

Bonus Tracks

12 Prelude - Nightmare (Mono Version) Written-By – Arthur Brown

13   Fanfare - Fire Poem (Mono Version) Written-By – Arthur Brown, Vincent Crane
14   Fire (Mono Version) Written-By – Arthur Brown, Michael Finesilver*, Peter Ker, Vincent Crane
15   Come And Buy (Mono Version) Written-By – Arthur Brown, Vincent Crane
16   Time / Confusion (Mono Version) Written-By – Arthur Brown, Vincent Crane

Even though it contained no hits, The Man Who Sold the World, for most intents and purposes, is the beginning of David Bowie's classic period.

Working with guitarist Mick Ronson and producer Tony Visconti for the first time, Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie's strangled, affected voice.

The sound of The Man Who Sold the World is odd, but the music is bizarre itself, with Bowie's bizarre, paranoid futuristic tales melded to Ronson's riffing and the band's relentless attack.

Musically, there isn't much innovation on The Man Who Sold the World — it is almost all hard blues-rock or psychedelic folk-rock — but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums.

01. The Width Of A Circle (08:00)
02. All The Madmen (05:29)
03. Black Country Rock (03:33)
04. After All (03:50)
05. Running Gun Blues (03:13)
06. Saviour Machine (04:27)
07. She Shook Me Cold (04:14)
08. The Man Who Sold The World (03:57)
09. The Supermen (03:40)

In the '73 Sunbury Festival featured Mighty Mouse, as well as a Matt Taylor "solo" slot. Phil and the two Barrys, augmented by second drummer Kevin Murphy backed Matt for this gig. On Mushroom's triple-album document of the event, The Great Australian Rock Festival Sunbury 1973, Mighty Mouse weigh in with the lengthy "Sunset Song", while Matt's set is represented by his own composition, "Brisbane To Beechworth".

He had already recorded with his Sunbury line-up (minus Murphy, but with "Sleepy" Greg Lawrie on board) for his debut solo album Straight As A Die. Also a Chain record in all but name, and showcasing Taylor's own rollicking, witty compositions, this album was a Top-20 seller and in September yielded Mushroom Records' first placing in the national Top 10 singles list, "I Remember When I Was Young" a song that, like "I'll Be Gone", "Eagle Rock" and "Most People I Know", has become a perennial 70s OzRock anthem.

With so much activity involving so many Chain alumni, it was inevitable that Mighty Mouse would evolve into yet another Chain -- by now the 15th permutation of the band!. Signing to Mushroom, this line-up issued two singles, the medium-tempo "I Thought You Weren't My Friend" (August) and the gruff shuffle-blues "I'm Gonna Miss You Babe" (November).

Neither was particularly successful, but the reconstituted group did impress on the touring circuit, appearing in March at yet another large outdoor gathering, the Down Under Rock Festival in Melbourne (again, all the usual suspects were on a bill that featured – surprise – headliners The Aztecs). During May, Chain toured the country as support to the Muddy Waters Band and soon after teamed with that band's James "Peewee" Madison (guitar, vocals) and George "Mojo" Beauford (vocals, harmonica) for recordings that would form part of Chain's next LP, Two Of A Kind.

One of Melbourne's premier "head" venues around this time, along with the T.F. Much Ballroom, was the Garrison Disco in Prahran, the venue which had served as the unofficial HQ for Madder Lake. Local council pressure forced Garrison's closure in June 1973, and as one of its most popular and regularly-performing acts, Chain was fittingly invited to be among a handful of select bands that paid tribute to the place in its final days.

Two Chain songs ("Grab A Snatch And Hold It" and "Do What You Wanna Do"), recorded live there on 7 June, appeared on the various artists' album Garrison: The Final Blow Vol. 2, along with "Roberta" by Taylor and Lawrie as a duo. Other songs recorded that evening were released in other formats: the single "I Thought You Weren't My Friend", b/w "Elephant", an edit of the extended soloing jam "How To Set Fire To An Elephant", which appeared in its full 18-minute form on Two Of A Kind. (http://www.milesago.com/artists/chain.htm)

1. Two Of A Kind (James Madison) - 4:44
2. Reconsider Baby (Lowell Fulsom) - 4:39
3. Everybody Has To Lose Sometime (Traditional) - 8:22
4. Blues With A Feeling (Little Walter Jacobs) - 4:47
5. How To Set Fire To An Elephant (Ian Clyne) - 19:22

Chain
*Phil Manning - Guitar, Vocals
*Barry Sullivan - Bass
*Barry Harvey - Drums
*Ian Clyne - Keyboards
*Mal Capewell - Sax, Flute
with
*James "Peewee" Madison - Guitar, Vocals
*George "Mojo" Beauford - Vocals, Harmonica

Originally this extraordinary heavy-psychedelic-blues rock album was recorded in L.A., in 1969.

The album contains 8 original cuts of 42 mins playing time, and presents the "NEW" dark, haunted and aggressive progress in electric music of the end-sixties.

The band name was a creation, to credit the two founding members, so the C (Carey) K (Kewley) Strong caravan began in the summer of 69, a bit later Geoff Westen, the second guitarist joined and the creative unit CK(W) Strong was born.

There was a big hope, that this extremely talented group will breakthrough, as the liner notes on the cover express: "Hearing is believing, but even then, you'll come away shaking your head in disbelief...everything original, everything ebullient and everything "strong" in modern-day record production.

Miss Carey is worth the price of admission, even if she didn't sing. A radiating, well-endowed blonde, her pyromagnetic caroling scans three octaves. To these ears she's at least the equal of Janis Joplin.

Our guess is that C.K. Strong will be one of the major chart acts of '69." Lynn Carey, who also contributed to the cult-soundtrack of "Valley Of The Dolls", left the group shortly before the production of the second album started, to evolve into a solo career as "Mama Lion", Jefferson Kewley later joined the Alice Cooper Band and toured also with Jerry Garcia, together with Geoff Westen both performed with Mac Davis.

Westen performed also with the underground psychedelic band, "The Other Half", but soon became owner of Oz Studios in L.A. This re-issue is carefully re-mastered and expresses freshly the natural and open sound of this amazing production, contains a bio and cool "unseen" photos from the musiciansarchives, this is a must-have album.

01. Stormbird (03:07)
02. Baby Let Me Out (07:17)
03. Affairs (02:55)
04. Trilogy (09:18)
05. Been So Long (03:45)
06. Mean Hearted Man (08:11)
07. Rolling Down The Highway (04:00)
08. Daddy (04:38)

C. K. Strong:
*Jefferson Kewley - guitar, leslie guitar, chorus
*Geoff Westen - guitar, organ, piano, vocals, chorus
*Chistopher Brooks - bass, chorus
*Ron Grinell - drums
*Lynn Carey - vocals, chorus

Joel was born in Paris in the Fourth Arrondissement near Notre Dame, in a legendary "Hotel Dieu", the oldest hospital in the capital ...

If he was born in England or the United States, it could have been called Joe Cocker, Eric Burdon and ... because the Blues is in him ...

At age 15, age 16, he founded together with friends and made a small band of street music. 1967: real beginning of his career, he formed a band called Les Tombes, winner of Tremplin, Golf Drouot.

In May 1968, three musicians are aware of him, he played for one season at the Club Med, then he founded the band ZOO, 1969 at Barclay takes his first album.

In 1970 Joël Daydé leaves the band to under his own name at BARCLAY RIVIERA album "J'aime" record. February in 1971, this album is the favorite drive of the week in Pop Club by José Arthur.

In 1972 in London, recorded at Barclay with Rick Wakeman, the pianist of the band YES and King Crimson drummer Mike Giles, the album White Soul.

Daydé

01. I'm Very Well (Part one) [02':11"]
02. Can I Live My Life [02':30"]
03. Confusion [03':10"]
04. See Here [03':28"]
05. Cocaine [08':34"]
06. Mine Line [03':18"]
07. The Great Love [03':53"]
08. You Got Freedom [03':55"]
09. You Honey [06':28"]
10. I'm Very Well (Part two) [01':45"]

White Soul
11. A Better Place [02':57"]
12. Soul Snatching Woman [03':19"]
13. The End Is Pretty Hard To Take [03':28"]
14. Years Of Solitude [02':35"]
15. Overtime [02':34"]
16. Evil Lady Loving [03':10"]
17. City People [02':38"]
18. Pipriac Song [01':48"]
19. Them [03':24"]
20. Do It Now [02':38"]
21. Jesahel [03':12"]

Dead Man is a 13th Floor Elevator descent headlong into southern-fried bloody Sabbath. Released on the Hookah imprint in 1970, the LP’s gaping cranium cover, sludged-up blues, and bone-bleached riffs outsold Let It Be, if only locally, being far “too psychedelic” and skull-crushing for Houston’s International Artists label to touch. A Texas-bound band except in tracking Dead Man inside the furnace of Phoenix, Josefus strode loud and longhaired amid the oil fields, peddling their own brand of black gold.

As US involvement in the Vietnam War peaked and human boots sunk into lunar dust, Josefus powered across the Texas plains, shaking its coliseums awake as openers for the Grateful Dead and Quicksilver Messenger Service. Heavier by tonnage than both the Stones they cover and “I Want You (She’s So Heavy),” Doug Tull, Pete Bailey, Ray Turner, and Dave Mitchell watched their 17-minute funeral pyre title track burn through statewide airplay, glorying in the evil looseness of the FM format.

Read no further than the replica back cover of our JR reissue, which sends Josefus “emitting from the darkness of obscurity, bursting forth with the drive and impact of a celestial happening.” A clattering and prescient skeleton of a record—a deceased Zeppelin reanimated by four lost and darkened country boys—Dead Man truly should be played loud.

One of the classic early seventies, intelligent yet utterly wasted, hard acid rock albums. It's a chunk of funk which includes a version of the Stone's "Gimme Shelter", but it's the simultaneously sludge-heavy and melodic, seventeen-and-a-half minute title track that serves very much as a blueprint for other bands to follow. This album invented Stoner Rock....... KILLER.

A1. Crazy Man (Written-By – Mitchell, Tull, Bailey, Turner) 3:44
A2. I Need A Woman (Written-By – Mitchell, Tull, Bailey, Turner) 4:25
A3. Gimme Shelter (Written-By – Mick Jagger And Keith Richards) 4:08
A4. Country Boy (Written-By – Mitchell, Tull, Bailey, Turner) 3:17
A5. Proposition (Written-By – Mitchell, Tull, Bailey, Turner) 4:46
B1. Situation (Written-By – Mitchell, Tull, Bailey, Turner) 1:58
B2. Dead Man (Written-By – Mitchell, Tull, Bailey, Turner) 17:29

The year was 1970 and Dave Williams was done with his stint at one of Texas's finest barbed wire facilities. The same path that had landed Roky Erickson at Rusk Stale Hospital had put Dave behind bars. Five years earlier, Dave was a founding member of the Headstones, McAllen Texas's answer to teen angst driven rock music. Not content with being the usual 'cover’ band, Dave began to write original tunes and worked long and hard in rehearsal sessions to perfect them.

After releasing legendary singles on the Pharaoh label and being courted by numerous major labels, the band called it quits in 1968. Dave formed the short-lived band The Meat" in 1969 just prior to his marijuana possession conviction that made him a guest of the State of Texas for the next year. Always an innovator, Dave formed SEOMPI as a three piece, 'no guitar* band, with Dave and Patrick Rockhill on bass, and Bill Reid on drums. Seompi was an acronym for 'Serf Expression On Musically Potential Instruments" and a synonym for 'loud’.

This dual bass attack released their first 45 "Summer's Comirv On Heavy” b/w "Lay On The Floor' on the Black Star label and later re-cut it adding guitarist Mitch Watkins to the mix for a more accessible sound. Mitch was a phenomenal guitarist and stayed who with the band and can be heard on their other material on this CD. During 1971, the band moved to Austin which would remain their home base. They built a solid local following and were best known for their awesome sound system, loud playing, and Purple Tour Bus.

Local soundman David Gardner worked closely with the the band, manning the soundboard lor their many live gigs which included opening for ZZ Top, Buddy Miles, Foghat, and Trapeze. Their sound system included the heavy duty Kustom triple 15" woofer, "Ice Box' style amps and later added an even more powerful Altec Lansing Sound System to allow for the vocals to catch up to the levels of the instruments. Dave also recorded many of the band's tedious rehearsals at which they would experiment with intricate time changes and 30+ minute songs.

This was NOT your typical three chord heavy rock band. By 1974. Seompi was ready to call it quits. Just prior to their final demise Mitch Watkins had been replaced by Billy "Skirt" Rowe on guitar. Other band members included Lee Manley on drums. Mitch has gone on to have a very successful career in the "New Age" music field and has a large following in Europe. Drummer Bill Reid moved back to his hometown of McAllen where he remained close to the music biz by working in speaker design and manufacturing. Pat Rockhill could not be contacted to participate in this project but was last known to be on trie West Coast and out of the music business.

Dave Williams continued to play in 'The Remaining Few* from 1974- 1978 with Lance Woodbum on guitar, and ex-Headstone Winston Logan on drums. Today, Dave plays with his band "Free Wine' and is looking forward to his final release from incarceration in the near future. His efforts have spanned a period of over 30 years and, represent some of the finest music the State of Texas can claim as their own. While he may not have received the recognition that some of his Lone Star brethren received, those who were lucky enough to see or play with Dave appreciate his awesome talent. Hopefully, with this release his music will live on and entertain future generations of music.

*Dave Williams - Bass
*Patrick Rockhill - Bass
*Bill Reid - Drums
*Mitch Watkins - Guitar
*Billy "Skid" Rowe - Guitar
*Lee Manley - Drums

Clockwork (Jimmy and The Soulblazers) - Clockwork (1973 usa, fantastic classic rock & rhythm & blues, vinyl rip) Flac 24-bit

Miguel Abuelo & Nada - Nada (1973 argentinian, excellent hard/psychedelic & folk rock) Flac

Bunalım - Bunalım (1971 turkish, stupendous Anatolian acid psychedelic rock) Flac, vinyl rip

Christmas - Heritage (1970 canadian, splendid hard/psychedelic rock) Flac

Stray - Live At The Marquee (1984 uk, stupendous hard rock) vinyl rip, Flac 24-bit

Zakary Thaks - Form The Habit (1966-1969 us, great garage/psychedelic rock) Flac

Sir Lord Baltimore - Kingdom Come (1970 us, tremendous hard/heavy & psychedelic rock, vinyl rip) Flac 24-bit

Jeff Simmons - Lucille Has Messed My Mind Up (1969 us, wonderful psychedelic/blues rock) Flac

Javier Batiz - Coming Home (1969 mexican great electric psychedelic blues rock, reissue in mini-lp style jacket) Flac

Scott Finch & Gypsy - Haze Of Mother Nature (us great psychedelic bluesy rock heavily Hendrix-influenced, 2001 Akarma reissue) Flac

Pentagram - First Daze Here (The Vintage Collection) [2002, us awesome hard/doom metal rock] Flac

Plan 9 - Dealing With The Dead (1984 us, brilliant garage/psychedelic rock) vinyl rip, Flac

Climax Blues Band - Tightly Knit [1971 uk, fantastic blues rock, vinyl rip 24-bit) Flac

The Crazy World Of Arthur Brown - The Crazy World Of Arthur Brown (1968 uk, astonishing progressive/psychedelic rock, japanese reissue) Flac

David Bowie - The Man Who Sold the World (1970 uk, amazing hard/psychedelic & blues/acid rock) Flac

Chain - Two Of A Kind (1973 australian, brilliant blues rock) Flac

C. K. Strong - C. K. Strong (1969, us great heavy/blues and psychedelic rock, feat. Lynn Carey, 2010 reissue) Flac

Daydé - Daydé (J'aime) + White Soul [1971/1972 french wonderful psychedelic blues-rock) Flac

Josefus - Dead Man (1970 us, fabulous hard/psychedelic rock) vinyl rip, Flac 24-bit

Seompi - Awol (1970 us, great hard/heavy acid rock) Flac