Bordel do Rock

Freedom was a psychedelic rock band active in the late 1960s and early 1970s, formed initially by members of Procol Harum.

Ray Royer and Bobby Harrison, who had performed on the hit Procol Harum single "A Whiter Shade of Pale", were kicked out of the Harum by vocalist Gary Brooker, and replaced by Robin Trower and Barry Wilson. Royer and Harrison then formed Freedom with Steve Shirley and Tony Marsh, who was immediately replaced by pianist / organist Mike Lease, releasing two German singles and the soundtrack for the Tinto Brass/Dino de Laurentiis film Attraction (original title Nerosubianco, also known as Black on White).

In 1968, Harrison entirely overhauled the group's membership, and the new line up began recording with more of a hard rock sound, scoring tour dates with Black Sabbath,Jethro Tull, and The James Gang. They achieved great renown for their excellent version of the Beatles song "Cry Baby Cry" on their second album Freedom at Last. Further lineup changes occurred before the band finally splintered in 1972, with Harrison going on to Snafu.

Freedom's album 'Freedom' original released on vinyl in 1970. This is the follow up album to 'At Last' and is the 2nd album from the power trio of Bobby Harrison, Roger Saunders and Walter Monagham and has been a long sought after item by collectors.

*Bobby Harrison - Vocals, Drums
*Roger Saunders - Guitar, Vocals
*Walt Monaghan - Bass, Vocals

This Cleveland-based trio won't knock your socks off, but by the same token drummer Carmen Castaldi, singer/guitarist Leroy Markish and bass player Charles McLaughlin turned in an album that's quite diverse and entertaining and in some ways better than other higher priced and better known releases on the Mainstream label.

Produced by Bob Shad, 1970's "Electric Holy Man" differed from a lot of other early-1970s Mainstream releases in that it showcased a progressive streak rather than the popsike sound that was common to the label.

Moreover, for a trio these guys sported a surprisingly full sound, helped in no small measure by Markish's impressive voice. Not being a big jazz fan, I'll be among the first to admit that I was surprised at how entertaining the group's jazzy forays were. 'Mr. Fear', their Traffic cover and the extended title track showcase that interesting jazzy streak with some stunning work from un-credited jazz guitarist Bill DeArango.

Mind you there was still plenty of fuzz driven guitar (check out the second half of the title track), but it didn't come close to these other highlights and the group's most commercial effort; the ballad 'Lady Of Day' was also the album's most disposable offering.

01. Country son

02. Mr. fear

03. Electric holy man

04. Dear Mr. fantasy

05. Lady of day

06. Penfield town

Henry Tree:

*Charles McLaughlin - bass guitar

*Leroy Markish - guitar & vocals

*Carmen Castaldi - drums

Guest:

*Bill DeArango - additional guitar on track 3

Guitarist Moody and his schoolfriend Paul Rodgers began their careers together in The Roadrunners, playing pub gigs. In 1967 they moved to London's Finsbury Park and renamed themselves The Wild Flowers, joined by Bruce Thomas on bass. The group disintegrated and Rodgers went his own way to form Brown Sugar and later to join Free.

Moody then teamed up with John McCoy* (vocals/harmonica), Terry Sidgewick (bass) and Terry Popple (drums) of the bluesband Real McCoy. The band changed their name to "Tramline" and, through McCoy's contacts with Island Records, secured a two-album deal.

This is the 2nd and last album by the excellent but little known and short-lived British Blues-Rock band Tramline, which included the extraordinary guitarist Mick Moody, who would later become famous as member of such bands as Juicy Lucy, Snafu and Whitesnake. This album was produced by the late Guy Stevens and he suggested the unusual name, for which guitarist Micky Moody confesses he has no explanation. (Stevens had also suggested such names as Procol Harum and Mott The Hoople, and so 'Moves Of Vegetable Centuries' was just another flight of Stevens' fancy!).

The band was getting into its stride with the addition of sax player Ron Aspery and bass guitar virtuoso Colin Hodgkinson from progressive group Back Door.

They add a boost to such performances as the Tramline version of Traffic's 'Pearly Queen' and the old Yardbirds' favourite 'I Wish You Would'. Here is R'n'B Sixties' style with high energy and strong musicianship.

The band, in contrast to most other Blues-Rock outfits at the time, played mainly original material, which was quite excellent. This little gem was completely lost in the vaults for many years and this reissue gives us the opportunity to appreciate it, saving it from oblivion. A classic

Thank you so much to original vinyl ripper: "UGO"

Formed in 1973, Zipper was the first band to release an album (simply called 'Zipper') on Fred and Toody's newly started Whizeagle Records label in 1974. It's basically heavy rock with Led Zep-overtones, raw and rocking. The album, quite rare in its original form now, was re-released in 1994 as an LP/CD with two additional tracks. There were other early seventies bands Fred was in, like Albatross, but so far no recordings have surfaced.

Screw the American Idol aesthetic, Fred Cole’s ragged pipes are among the world’s most heavenly despite what many naysayers have to say (the same people probably hate Ron House and Jad Fair too).

Cole’s current trio Dead Moon continue to thunder around since the 80’s, and while they got left behind in the big green Northwest Grunge cash-in, you would no doubt have seen Mark Arm, Kurt Cobain, and Eddie Vedder all worshipping at Big Fred’s altar at various DM gigs.

The recent Dead Moon biopic is truly inspiring, not just for the fact they are rockin’ grandparents still doing it, but for their conviction to the whole DIY-ethic, building their own house, studio, guitars, and even vinyl-press while fearlessly rocking the world as only they know how. Before Dead Moon, Cole was in the Rats, and before that (but after his very Arthur Lee-inspired group the Lollipop Shoppe) came the band Zipper, circa 1975 but recently in WFMU’s new bin.

Needless to say, those with low tolerance for total dude rockist lyrics won’t be amused (some of this stuff would make Jim Dandy do a double-take maybe), but this is righteous rock to the max, full of chunky, proto-punk riffery and blowout solos that never stray too far from a punk aesthetic despite the cock-rockery leanings.

01 - Bullets (3:24)

02 - Born Yesterday (4:07)
03 - The Same Old Song (3:19)
04 - Face Of Stone (5:19)
05 - Ballbustin Woman (3:02)
06 - Scars (3:20)
07 - Rollin And Tumblin (2:44)
08 - Worry Kills A Woman (3:44)
09 - Let It Freeze (3:38)
10 - Behind The Door (3:36)
11 - Racing For A Dollar (2:38)

Fred Cole - Vocals;
Lorry Erk - Drums;
Jim Roos - Guitar;
Greg Shadoan - Bass.

Patrulha Do Espaço is a Brazilian band of hard rock and progressive rock, formed in 1977 in São Paulo. The band was created in 1977 by Arnaldo Baptista (former Mutantes), along with drummer Rolando Castello Junior (who had previously played with the Made in Brazil and the Aeroblus, Argentina), bassist Oswaldo "Cokinho" Gennari and Irish guitarist John Flavin (ex-Secos & Molhados).

Patrulha Do Espaço, heading the instrumental song "Honky Tonk" of Arnaldo Loki disk, premiered on 1st Concert Latin American Rock, Gym Ibirapuera in São Paulo, in September 1977, becoming one of the main expressions of São Paulo rock and Brazil in recent decades.

With the departure of Arnaldo Baptista, in 1978, the band now has the participation of Percy Weiss on vocals and conducted the recording of their debut album, which was the first rock of independent disk Brazil, known as Disco Preto in where the hits "Arrepiado" and "Vamos Curtir uma Juntos" marked the success of the eight tracks released on vinyl.

From 1979 to 1985, the band has established itself as the first Brazilian hard rock trio, performing hundreds of shows. During this period, they recorded three albums and an EP containing songs like "Columbia", "Festa Do Rock" and "Não Tenha Medo".

In 1983, opens for the band Van Halen in Sao Paulo, when he received personal praise from Eddie Van Halen [citation needed].

During this phase, the band had the participation of the Argentine guitarist Pappo (Pappo's Blues, Riff and Aeroblus), which resulted in the recording of the album Patrulha 85, launched in 1985 in 12 format "EP, released including Argentina, with the songs "Olho Animal" and "Robot".

They resumed the work in 1992 with the release of Primus Inter Pares, a posthumous tribute to bassist Sergio Santana. After this album, the band withdrew from the music scene, driven by activity drummer Rolando Castello Júnior, ahead of the production of cultural events and how their coordinators, speaker and music producer.

In 1997 and 1998, the first three volumes of the series Dossier builds that presented the work of the band were released in CD format, chronologically telling the story of the band.

The Fleur de Lys were one of the most talented underground guitar bands of the sixties and deserve far more recognition than they have received to date. They underwent many line-up changes and their story is a complex one.

They originally formed as Les Fleur de Lys in Southampton during the Autumn of 1964. They established a small following locally, playing at youth clubs, parties and pubs, but were signed by Immediate in 1965 after being spotted at a London gig.

With a young Jimmy Page in charge of their recording sessions, the outcome was a beat version of Buddy Holly'sMoondreams. It made little impression and disillusioned, the group disintegrated, leaving Keith Guster (the only ever-present member in their various line-ups) to reform the band. Phil Sawyer had previously been in The Cheynes and Shotgun Express. With this new line-up and Page again producing, they recorded a superb version of Pete Townshend's Circles, which was notable for some fine psychedelic guitar work from Sawyer.

By now the group were known as The Fleur de Lys and they were building up a good reputation on the club circuit. Indeed The Animals' Hilton Valentine got them involved in a session he was producing with fellow Animals' recent discovery Jimi Hendrix. Two tracks were put down, one was a cover of The Impressions' Amen, but they weren't used, although Pete Sears has a copy of the recordings in his own collection.

To give the group an up-front vocalist Chris Andrews, who'd been a child actor (his roles included The Artful Dodger in the London production of 'Oliver' in 1964), was added and the group signed to Polydor in the Summer of 1966. Pete Sears left soon after to join The Sam Gopal Dream. He later went to the US West Coast and progressed through Stoneground, Silver Metre and Copperhead finally ending up in Jefferson Starship. Phil Sawyer joined the new-look Spencer Davis Group and, briefly, the group were a three-piece prior to Bryn Haworth being recruited. He'd previously played with a number of local bands in Darwin (near Blackburn), including The Mustangs, The Railroaders and The Mike Taylor Combo, but none of them made it onto vinyl. Mud In Your Eye was recorded, featuring Haworth's fine guitar work.

A chance meeting with producer/manager Frank Fenter led to the group backing young South African singer Sharon Tandy on studio and live work. As a session group they also toured Holland with Aretha Franklin, backed Isaac Hayesand recorded and album with Barney Kessel in this era. It was also Fenter who arranged for the group to embark on a new psychedelic project, Rupert's People. With friend and guitarist Rod Lynton they wrote and recorded Hold On. Lynton came up with the Procol Harum-influenced Reflections Of Charles Brown to accompany it, but only Chris Andrews liked the song so he left to continue with the Rupert's People project and the band continued as a three-piece.

They re-cut Hold On in the studio, with Sharon Tandy on vocals. They also recorded Daughter Of The Sun at the same session. Hold On figured as the 'B' side to her next single but both songs were coupled on a 1968 45.

There's no Sharon Tandy entry in this book so here's the discographical details of this line-up's involvement with her:-
The band guested on John Peel's 'Top Gear' radio programme in October 1967, along with Sharon Tandy. The Fleur de Lys performed Neighbour, Neighbour, Go Go Power and Cross Cut Saw and backed Sharon Tandy on Always Something There To Remind Me, Our Day Will Come and a belting version of Hold On.

In 1968 they started work on an album. Their next 45, Gong With The Luminous Nose, a Gordon Haskell song based on the famous nonsense rhyme of Edward Lear, came from this session, with Haskell handling the vocals. Again featuring ace guitar work from Haworth. The 'album' included many cover versions from Ray Charles to The Young Rascals, but it was never issued and the tapes have never been relocated. The group did, however, complete an album with John Bromley, backed Donnie Elbert on an album and worked with William E. Kimber on a rare and beautiful single as Waygood Ellis (which may be another pseudonym).

Gordon Haskell left the group during 1968, eventually joining King Crimson in late 1969. He also cut a solo album in 1970. The Fleur de Lys switched to Atlantic and released a Stax-style 45 Stop Crossing That Bridge. Shortly after, they released a second 45, Butchers And Bakers, under yet another pseudonym, Chocolate Frog. There was also a version by The Staccatos (which may have been The Creation in disguise), but the song wasn't too good and both versions sold poorly. They also backed Sharon Tandy on some of her 45s and a Tony and Tandy collaboration, Two Can Make It Together (Atlantic 584 262) 1969. The Fleur de Lys are credited on its 'B' side, The Bitter And The Sweet. The 'Tony' in question here was Fleur de Lys' Tony Head.

The Fleur de Lys' final 45, You're Just A Liar, penned by Haworth and Polydor songwriter Brian Potter, saw them go out on a high in a haze of hot guitar work. Haworth left and headed for America's West Coast, where he formed a band with ex-Blue Cheer member Leigh Stephens, recording an album which was never released. Former Scots Of St. James' member Graham Maitland joined the band in its final days and he was later in Five Day Rain.

Les Fleur De Lys
*Frank Smith - Guitar, Vocals
*Alex Chamberlain - Organ
*Gary Churchill - Bass
*Keith Guster - Drums
*Gordon Haskell - Bass
*Pete Sears - Keyboards
*Phil Sawyer - Guitar
*Chris Andrews - Vocals
*Bryn Haworth - Guitar, Vocals
*Tony Head - Vocals
*Graham Maitland - Guitar
*Tago Byers - Bass

Southern Cross was an Austalian heavy rock band formed by ex-Buffalo members Alan Milano and John Baxter.

Milano was co-vocalist on Dead Forever while John Baxter was responsible for Buffalo's heavy rock guitar sound. By the time this recording came about Baxter had left to be replaced by Bruce Cumming.

Alongside the likes of Finch, The Angels, Kevin Borich Express, Rose Tattoo, and Chariot, Southern Cross swiftly became one of the most popular hard rock bands on the Sydney scene.

They were signed to the independent Living Sound/Laser label where they issued their debut single towards the end of 1976, followed by their self-titled debut album in early 1977.

The album features melodic, raunchy hard rock in the vein of Billy Thorpe and the Aztecs and UK band Bad Company. It mixed flat out riff-rockers with moody rock ballads.

The album scored only minimal sales, despite its strong content and by 1978 they had broken up with Cumming and Brouet moving on to The Press, another Sydney based band with a punk edged heavy metal sound.

01. Money Maker (04':31")
02. You Need It (05':10")
03. Jessie (05':12")
04. What Am I Waiting For? (05':19")
05. Harris Street (04':42")
06. Story Teller (05':12")
07. Games (08':58")
08. Stormy Lady (04':51")

Southern Cross:
*Bruce Cumming - guitars
*Jeff Beacham - drums
*Michel Brouet - bass, vocals
*Alan Milano - vocals

Brainbox was a Dutch rock group from the late 1960s/early 1970s. It was founded in Amsterdam by guitarist Jan Akkerman, drummer Pierre van der Linden and singer Kazimir Lux (Kaz). Their debut single was "Down Man", which established their progressive blues sound.

They had several hit singles in the Netherlands, including "Between Alpha and Omega", "Doomsday Train", Reason to Believe and "Smile". Soon after they released their first album, Akkerman and van der Linden left the group to join Focus. After van der linden and Akkerman left, Brainbox bass player Cyril Havermans also followed to join Focus, replacing the original Focus bass player.

They were replaced by guitarists Herman Meyer and Rudie de Quelijoe and drummer Frans Smit. Meyer was later replaced by John Schuursma. After Kaz Lux left the group in 1971, their popularity waned and they split up in 1972. In 2004, Kaz Lux reassembled the band (though without Jan Akkerman) and they performed in the Netherlands.

The music of Brainbox is best described as progressive blues rock with a psychedelic vibe. The main attraction is of course the guitar playing of Jan Akkerman, but the soulful vocals of Kaz Lux are very distinctive for the music as well. Added with the powerful bass of Andre Reynen and the creative, jazzy drumming of Pierre van der Linden this is a great album.

It opens with one of their most progressive tracks, "Dark Rose". This is a sort of proto-Hocus Pocus (the Focus hit). There are some very fast and furious guitar breaks by Akkerman and a wonderful flute solo played by Solution member Tom Barlage. It takes some time to recover from this one, so the next song is a not so interesting cover of a Tim Hardin song. This is followed by a nice blues tune with some typical Akkerman chords. The adaptation of Scarborough Fair has again a progressive flavour. Akkerman plays acoustic guitar and Barlage again adds his beautiful flute. On the album is also a version of the classic Summertime. This is one of the better versions, with again a brilliant guitar solo. Sinner's Prayer is another typical blues song.

On the CD release you can also find the a- and b-sides of their first two 45s. "Down Man" is a good original song, "Woman's Gone" is a sad blues song with the piano played by Rob Hoeke and bass by Akkerman, because at that time they didn't have a bass player. The second single is an edit of the long "Sea of Delight", paired with a rock song with a wah-wah drenched guitar.

01. Dark Rose 05:22
02. Reason To Believe 02:24
03. Baby, What You Want Me To Do 02:37
04. Scarborough Fair 06:25
05. Summertime 04:23
06. Sinner's Prayer 02:32
07. Sea Of Delight 17:03
Bonus Tracks:
08. Woman's Gone 04:21
09. Down Man 02:37
10. Amsterdam - The First Days 03:11
11. So Helpless 02:38
12. To You 03:29
13. Cruel Train 02:32
14. Between Alpha And Omega 02:28
15. Doomsday Train 02:54
16. Good Morning Day 03:12
17. The Smile (Old Friengs Have A Right To) 03:08
18. The Flight 03:24

The band was formed in Los Angeles in 1967, by guitarist Tom Marshall, bassist Brent Block, second guitarist Glenn Schwartz (previously of The James Gang) and drummer Charlie Allen, who had previously played in the band Bluesberry Jam. When it became clear that Allen was the best singer in the new group, he became the front man, and Frank Cook, previously of Canned Heat, came into the band on drums.

Schwartz was so good that the rock and roll world predicted the end of the James Gang. Interestingly, Schwartz was soon replaced in the James Gang by none other than Joe Walsh and the band continued on.

Originally known as the Pacific Gas and Electric Blues Band, they shortened their name when they signed to Kent Records, releasing the album Get It On in early 1968. The record was not a success, but following the band's performance at the Miami Pop Festival in May 1968 they were signed by Columbia Records.

Their first album for Columbia, Pacific Gas and Electric, was issued in 1969, but they achieved greater success with their next album, Are You Ready in 1970. The title track reached # 14 on the Billboard Hot 100.

After the album was recorded, Cook was injured in a car accident and was replaced on drums by Ron Woods, Cook staying on as manager. Glenn Schwartz, shortly there after, announced at a concert that he had found God and he soon departed the band moving back to Ohio to join other Christian musicians to form "The All Saved Freak Band". Schwartz was replaced in the band by guitarist Ken Utterback.

Schwartz was an excellent guitarist whose riffs sound as good today as when they first rang from his guitar 30 years ago and Charlie Allen's soulful and powerful vocals were ahead of the times.

Unusually for the time, the band contained both black and white musicians, which led to rioting and gunfire on one occasion when the band, who toured widely, performed in Raleigh, North Carolina.

In 1971, the band changed their name to PG&E, following pressure from the utility company of the same name. The band also expanded, Allen, Woods, Petricca and Utterback being joined by Jerry Aiello (keyboards), Stanley Abernathy (trumpet), Alfred Galagos and Virgil Gonsalves (saxophones), and Joe Lala (percussion).

A final album using the name, Pacific Gas & Electric Starring Charlie Allen, was recorded by Allen with studio musicians and released on the Dunhill label in 1973.

1. Are You Ready? (Charlie Allen, John Hill) - 5:46
2. Hawg for You (Otis Redding) - 4:42
3. Staggolee (Charlie Allen, John Hill) - 3:49
4. The Blackberry (O'Kelly Isley, Ron Isley) - 5:31
5. Love, Love, Love, Love, Love (John Hill, Donald Cochrane) - 3:51
6. Mother, Why Don't You Cry? (Charlie Allen) - 5:06
7. Elvira (Charlie Allen, Brent Block, Frank Cook, Glenn Schwartz) - 1:58
8. Screamin' (Brent Block) - 4:27
9. When a Man Loves a Woman (Andrew Wright, Calvin Lewis) - 4:31

Originally known as The Great American Dream, this Philadelphian quintet were local legends who’d opened for The Who, Jefferson Airplane, Santana and many others.

Packed with snappy songs and infectious good humor, their sole album was taped in New York’s just-opened Record Plant in the fall of 1969, and marked Todd Rundgren’s debut as producer.

Issued in February 1970, it stands as one of the best pop-rock albums of its time, and makes its long-overdue CD debut here.

Todd Rundgren produced this lost Philadelphia band’s only album back in 1970 off the Ampex record label. The American Dream’s album blends power pop, lite psychedelia, blazing hard rockers, folk-rock and roots music effectively throughout its 12 songs (almost 50 minutes of good music!).

Key influences are not a surprise, as listeners may hear strands of Crosby Stills Nash and Young, the Nazz, and the Beatles.

The playing is full of youthful energy and the band manages to balance out hard rockers with attractive folk-rock power ballads.

Raspberries has a slight psychedelic hangover, as it begins with a phased drum intro and showcases some wigged out guitar playing. Other quality songs like the Other Side, Storm (full of great Beatles-like melodies), I Ain’t Searchin’ and I Am You are predominately acoustic, tastefully arranged and have some great hook laden CSNY harmonies.

Good News, a song that begins with a telephone conversation, eventually segues into some pretty country-rock harmonies. It’s a typical relationship hard rocker in which the band humorously shouts out “don’t be a jerkoff” at the end of the chorus.

The third track of the original lp is the real highlight of this very solid collection. Big Brother has classic late 60’s psych lyrics (“listen to the words he is saying, conjuring the games he is playing”) and intense early Who power chords (it really sounds like an excellent Nazz outtake) that make it a real killer and a treat for fans of British rock.

The American Dream stood out from the local crowd with their strong, exciting songwriting and 3 guitar lineup.

01. Good News (3:48)
02. Big Brother (3:53)
03. The Other Side (3:41)
04. Credemphels (2:30)
05. Storm (3:31)
06. Cadillac (4:09)
07. My Babe (2:51)
08. I Ain't Searchin' (4:34)
09. Future's Folly (2:47)
10. I Am You (3:40)
11. Frankford El (1:50)
12. Raspberries (6:44)

Acanthe was a French Classic Rock/Prog band in activity in the mid 70’s (from 73 to 77), but that has never seen its music reflected on a official release. For obscure reasons, this band was never given the effective opportunity to see its work properly published.

Well, more than 30 years after their disbanding, the merits of the band have been finally recognized (and assembled) by homeland label Musea, which continues a long tradition of recovering some of the long lost, rare and unsigned progressive rock bands of that period in time.

The first set of conclusions a listener can take while listening to Someone Somewhere is that it seems really strange that this band has never had its work released while in activity, as the band shows composure and talent that goes way beyond many of the indeed signed bands from that time. It becomes then inevitable for the listener to ask himself how many more bands with (at least, if not more) this quality have been lost in time, with no chance of seeing their work (finally) recognized.

Acanthe played a sound that circled around the classic rock and the symphonic prog. A sound that can be reviewed with references to such apart names as Pink Floyd, Ange, Pulsar, The Doors and Procol Harum while maintaining an original signature.

The music here is dynamic and full of personality, with emphasis on the instrumental parts (some come very close to brilliant). Singing in both French and English, the band is always capable of delivering good melodies and good vocal work in both languages.

The overall sound, though obviously framed within the time window where it was first recorded, it does not sound as dated as the majority of the recordings from the same period. This said, despite distinctively vintage, this is an album that can still be tremendously enjoyable by the contemporary community of progheads that still feed from the 70’s musical legacy.

Someone Somewhere has many ingredients in what concerns its musicality: keyboards that sound like The Doors and Procol Harum, guitar work more close to Pink Floyd and a rhythm section that seems closer to Genesis or fellow French legends Ange.

This results on a joyful album to be discovered by the nostalgic fans of the classic sympho prog. In fact, this miraculous release becomes essential to those who still prefer the real deal progressive (70’s bands) to that faction of contemporary bands that prefer to emulate that style, therefore becoming regressive.

An album to be discovered and fully appreciated by the die-hard 70’s prog rock fans! (by prognosis.com).

*Frédéric Leoz: Guitar, Keyboards, Vocals
*Michel Gervasoni: Guitar
*Pierre Choirier: Drums
*Christian Gendry: Bass

Lincoln Street Exit's sole album is one of those efforts that's generated considerable attention throughout the collecting community over the years.

Formed in 1964, the original line up consisted of Paul Chapman, drummer Lee Herres, singer/guitarist Michael Martin and bassist Mac Suazo.

A rarity in that it was one of the few mid-1960s native American rock bands (all four members were New Mexico Sioux) to actively tour and record, the group struggled for six years with little recognition; managing to release three instantly obscure singles during that timeframe.

By the time the band was signed to the Detroit-based Mainstream label, Chapman had died replaced by guitarist R.C. Gariss. Teamed with producer Brad Shad 1970's Drive It! served to showcase material from Martin and non-member Tom Bee.

Sure the band's anti-war sentiments ('Man Machine' and 'Time Has Come Gonna Die') weren't particularly original or noteworthy. Similarly their isolated stab at pseudo-Gospel ('Going Back Home') was at best misguided. On the other hand, propelled by Martin's likeable voice, tracks such as 'Dirty Mother Blues,''Teacher Teacher' and 'Straight Shootin' Man' offered up a compelling set of blues-oriented hard rock. Ironically the most impressive track was also one of their most commercial effort - the pop-oriented 'Soulful Drifter' (which was released as an unsuccessful single).

Gariss, Herrera, Martin and Suazo subsequently continued their musical collaboration, reappearing as Xit recording a series of mid-1970s LPs for Motown.

*Michael Martin - Lead Vocals, Lead Guitar
*Mac Suazo - Heavy Bass Guitar
*Lee Herres - Drums And Percussion
*R. C. Gariss - Second Lead Guitar

In 1969 SAINTE ANTHONY'S FYRE was the ultimate hardrock powertrio from Trenton, New Jersey. Band leader, guitar wiz and vocalist Greg Ohm was heavy into music since childhood, having played classical music in elementary and high school (1st violin Trenton High’s Orchestra). He also took some music classes in college and ended up with the group Peter's Precious Soul, who were very popular locally. But Greg grew tired of playing Top 40 cover songs and decided to start his own band.

While cleaning his grandmother's attic one day in 1967 he found an old newspaper with the headline, "Ste. Anthony's Fyre Strikes French Town." A wheat crop had developed ergot, which is a fungus disease that affects rye and other plants, and was contaminated. The wheat was used to make bread and sent the whole town on an LSD-like trip that lasted nearly three weeks. This was the perfect name for the group Greg had in mind and thus Sainte Anthony's Fyre was born.

Greg recruited two skilled local musicians, and friends of his; Tom Nardi (previously in the bubblegum band Marshmallow Way) on bass and vocals and Bobb Sharples on drums. In 1968 they started rehearsing in the cellar of a boutique in downtown Trenton called the Hip-Pocket. Greg was extremely innovative and played weird positions, inverted chords, and off-key tuning on his customized Gibson Firebird guitar.

He would only use Marshall’s, three 100-watt heads with six cabinets. Greg also considered himself a fashion plate and always wore a grey felt cowboy hat, a scarf tied around his left knee, and bedroom slippers when he played. Tom used a Sunn 2000S with four 15'' JBLs, four Sunn 412S cabinets with two Sunn Sorado heads, one Sorado head with a 610 cabinet, and one 15'' cabinet, to blow eardrums left and right. He also sported a cartridge belt around his waist. Bobbie always had a double bass drum set. This was a real power trio.

One of the owners of the Hip-Pocket and his business partner decided to manage the band and used the profit from the clothing store to promote them. They started Zonk Productions and managed to get Sainte Anthony’s Fyre booked as an opening act for bands like MC5, Wishbone Ash, Grass Roots, Rare Earth, Fleetwood Mac, and Joe Cocker.

About this time they met a black promoter named Dickie Diamond who wanted to bankroll them. He said he knew everyone and would take care of everything. He was putting on shows with black acts and had the band opening for them. They also had to fill in as backup players for an impressive rooster of artists like James Brown, Jackie Wilson, the Coasters, the Drifters, the Four Tops, Kool and the Gang and others!

As Sainte Anthony’s Fyre’s fan base grew Zonk Productions decided it was time to put out an album. It was recorded around the end of 1969 in a studio in Pennsauken, New Jersey which was run by the bass player from the Lovin' Spoonful. Unfortunately he had no idea how to record this loud bunch.

They refused to go directly into the board or use small amps so the sound board kept blowing up. Then finally they just set the amps up facing the back wall and hung two microphones on the far wall. They did some overdubbing at Nise Studios in Philadelphia and after mixing, the tapes were sent to Motown for pressing, who according to the band totally screwed it up. United Artists then pressed about 1000 copies of the Zonk. Because the record was an independent release no radio stations would play it.

In the meantime Dickie had some crazy schemes going. He wanted to put them on tour as Led Zeppelin (he called them "Zefflin"), he said no one would figure it out because Zeppelin was from England and nobody knew what they looked like. He also started booking shows, selling the tickets, and then canceling the shows. Nobody knew what they were doing but Dickie said he would make it up to the band. So he got some time at Electric Lady Studio in New York to re-record the album in January 1971. But before Chris. Ultimate wasted slimy speed freak vortex of polluted psychedelic hard rock from the greasy wasteland of inner city Jersey.

The most wicked manic garage power trio to end them all. Raw gnarly drugged guitar, cavernous bass, drums beat to a pulp and psychotic vocals. Beyond early Blue Cheer, this record is so wasted, toxic and heavy! One look at the pictures will tell you how they sound. A highly sought after collector piece.

1. Love Over You - 4:54
2. Get Off - 3:10
3. Summer Fun - 3:38
4. Star Light - 5:36
5. Lone Soul Road - 4:43
6. With Your Beau - 3:10
7. Chance of Fate - 4:09
8. Wet Back - 3:02

Sainte Anthony’s Fyre
*Tom Nardi - Vocals, Bass
*Gregory "Greg Ohm" Onushko - Vocals, Guitar
*Bob Sharples - Drums, Percussion

Their music was partly inspired by American acid rock, but heavy and blues based like a mixture of Black Sabbath, Cream and Led Zeppelin. November started in 1968 at Tegelhögen, a youth club in Vällingby (a Stockholm suburb).

At this club Christer Stålbrandt and Björn Inge played together with two friends as The Imps. After a few months Stålbrandt left the group to form a new group called Train. Björn Inge joined shortly after. Train also included Snowy White on guitar. In the early autumn of 1969 Snowy decided to return to his native homeland, England, and Richard Rolf joined as their new guitarist.

On November 1st, 1969 they supported Peter Green's Fleetwood Mac at the Que-Club in Gothenburg, and therefore they decided to call themselves November.

November was one of the first Swedish rock bands with Swedish lyrics. Most of the lyrics were written by Stålbrandt, influenced by the 60's flower power movement. Despite the Swedish lyrics, November was quite popular in England. While touring in England the lyrics was often translated to English, the crowd, however, insisted on the band performing with Swedish lyrics.

November recorded three albums which all reached high places on the Swedish charts. After their last concert at club Domino on New Year's Eve 1972 the band split up and had up until 2007, only performed once, namely during the release party for the CD November-Live 1993 (recorded on tour in 1971) on 30 Nov 1993.

Christer Stålbrandt moved on starting the group Saga, Björn Inge joined jazz rockers Energy, and Richard Rolf was one of the forming members of Bash and later on joined Nature.
On the 27th of January 2007 they performed at the Mellotronen 20th anniversary party. More gigs have been played.

01. Starka Tillsammans 3:43
02. Februari 2:49
03. Runt I Cirklar 4:37
04. Rödluvan 3:31
05. Så Svårt Att Lämna Dig 3:26
06. Allt Genom Dej 6:13
07. Jorden Gråter 2:41
08. Kommer Långsamt 8:09
09. Vännerna De Dyra 2:07
bonus:
10. Cinderella 3:17
11. Tillbaks Till Stockholm 3:43
12. Nobody's Hand To Hold 4:09
13. Mount Everest 3:42
14. Misstag 5:34
15. En Ny Tid Är Här 4:35

Richard Rolf – guitar
Christer Stålbrandt – bass, vocals
Björn Inge – drums
+
Sylvia Olin – piano (05)
Marko, Kofi, Mocka – congas (05)
Rikard Sundstedt – vibes (09)
The Ballet – choir, percussion (04)

Non-hippie devastating guitar-psych and PCP induced hard-rock!

ANGEL DUST PSYCHEDELIA is a “100% killers, no fillers” compilation featuring obscure and unknown 45s / unreleased acetates from the US, most of them released on private labels.

Many local underground bands of the late 1960s-early 1970s lacked the money and/or material needed to make a full-length album, and would put out a self-released 45 instead. Record collectors and writers have been slow to understand this treasure of vintage private press singles, with music that is every bit as good as hallowed underground LPs like Mystic Siva or Boa.

14 tracks including the monster acid-punker “Time gone to waste” by Local Traffic, post-Stereo Shoestring band Red House with an unreleased track, the mega rare acetate by Matchbox from Houston, tremendous acid-psych by Dick St John and Ragweed Patch, raw hard-rock by Masque and Zoo and more.

The perfect companion to those legendary 80s psych comps like Brain Shadows, Acid Dreams, Endless Journey…

Remastered sound for a stunning in-your-face heavy guitar experience. Limited to 500 copies.

A1. MASALLA - Burning Feeling

A2. MATCHBOX - Metaphysical Composition

A3. OBO REED - Here By Me

A4. DICK ST JOHN - Lady Of Burning Green Jade

A5. LOCAL TRAFFIC - Time Gone To Waste

A6. RED HOUSE - Mary- Ann

A7. MASQUE - Wake Up In The Morning

B1. ZOO - 4- 44

B2. RAGWEED PATCH - Burn The Midnight Oil

B3. LIFE - This Time

B4. FIRST STATE BANK - Mr Sun

B5. MASQUE - Lady Of The Land

B6. PUNCH - Death Head

B7. FLINTLOCK - Hope You're Feeling Better

Venezuelan fuzz-rock outfit Tsee Mud was the brainchild of guitarist José Romero, who made his name in the 1960s playing in local bands like LSD and Bacro (whose meager output of recorded music is all included in this compilation) and in the US by a stint with the Del-Vikings. Romero was heavily influenced by the guitar gods of his day, namely Jimi Hendrix and Cream-era Eric Clapton, and those influences are all over this disc. It’s easy to forget—at least for Americans—that the cultural inventiveness and upheaval of the era spread far beyond the Anglo-American sphere, but Tsee Mud and Romero’s other projects provide ample evidence that the gospel of rock spread deep into Latin America, long before the internet made everything ubiquitous.

The songs on this collection are taken from all three of Romero’s Venezuelan projects. LSD was the first of the lot, and the tunes reflect plenty of Hendrix influence, both in the syrupy guitar tone and the languid vocals. The songs aren’t bad musically, with “When I Was a Boy” offering a nice scratchy guitar tone, and “One Day to the Week” working plenty of fuzz into the mix. Both songs are let down by weak vocals, however. No singer is specified in the liner notes, so presumably this is Romero’s voice, and he just isn’t up to the task of battling with the raging guitars and relentless rhythm section. Especially on “One Day to the Week,” his yelps of “Save me baby!” come off as comical more than anything else.

The five tunes from Romero’s last band, Bacro, avoid this particular pitfall by simply dispensing with vocals altogether. This wasn’t by choice; according to the excellent, extensive liner notes, the newly-formed bands simply hadn’t located a suitable singer by the time they recoreded these basic tracks, and so they have remained unreleased until now. Nonetheless, they are solid and sometimes excellent. “I Am a Happy Man” is a particular standout, with its chugging rhythm and dexterous fretwork. “Down with the War” is nearly as engaging.

Probably the most complete songs here, in terms of both composition and production, are the four tracks from Tsee Mud. With Jesus Toro recruited for vocals this time, the songs are (slightly) less derivative and more commanding, while the ensemble playing is stronger than anything else here. Romero shreds nicely on both “Amandote Esta Dios” and “What’s the Matter with You Jane?” while “Mundo” provides the strongest vocal performance on the entire album.

As mentioned above, the liner notes are thorough, with a 16-page booklet providing background info which (in both English and Spanish) crucial to understanding these long-obscure bands. Plenty of photos liven up the presentation too. Enrique Rivas Viniegra’s appreciative essay waxes a little breathless at times, but given that none of these tracks has ever seen a CD release before, his enthusiasm can be forgiven. The amount of background he has dredged up on Romero and his work is impressive.

There is little enough on this album that hasn’t been done many times over, usually by more famous performers than these. But for fans of the genre, or of the era, or of the geographical location, this latest Shadoks Music release makes for an intriguing little package. It’s far from crucial, but engaging nevertheless.

1. When I Was A Boy [LSD] (2:45)
2. Amandote Esta Dios [Tsee Mud] (5:07)
3. What's The Matter With You Jane [Tsee Mud] (3:07)
4. I Am A Happy Man [Bacro] (4:48)
5. If You Want To Be Aliue [Bacro] (5:06)
6. One Day To The Week [LSD] (3:27)
7. Down With The War [Bacro] (4:17)
8. This Natural Place [Tsee Mud] (4:30)
9. Mundo [Tsee Mud] (2:46)
10. Odelin [Bacro] (4:08)
11. Show Me [Tsee Mud] (3:47)

- Joséito Romero (guitar)
- Luis Emilio Mauri (bass)
- Raúl Rivas (drums)
- Jesus Toro (vocals)

Originally known as The Nomands and based in Houston, Texas, they became known when they changed the band name to Smoke in mid-1968.

Their music can best be described as “psychedelic boogie”. Semi-hard blues rock, loads of energy, jiving vocals, good guitar solos and powerful organ parts. “At George´s Coffee Shop” is a tad better than their debut, a lost treasure for the biker blues crowd.

*John Orvis - Vocals, Guitar, Banjo
*Richard Floyd - Bass, Guitar, Vocals
*Eddie Beyer - Keyboards
*Earl Finn - Bass, Keyboards, Guitar
*Phil Parker - Drums

Although formed in Davis, California, Kak were based in San Francisco for a good part of 1968, when they recorded their only album.

Lead singer, guitarist, and primary songwriter Gary Lee Yoder and lead guitarist Dehner Patten had been in the Oxford Circle, an obscure early Northern Californian psychedelic band that had cut one garage/psych single ("Foolish Woman"/"Mind Destruction") and played some shows on the San Francisco psychedelic circuit, while bassist Joe-Dave Damrell had been on a 1965 single on Scorpio Records with Group "B".

The self-titled Kak LP was minor-league San Francisco psychedelic rock colored by a lot of influence from bigger Bay Area bands, particularly Moby Grape; the vocal harmonies and curling guitar work on tracks like 'Disbelievin'" and "Everything's Changing" in particular sounded like a more pedestrian Moby Grape.

There were also more distant echoes of Quicksilver Messenger Service (in the guitar work) and the Grateful Dead (in faint traces of country-blues-rock). Kak were best, and least derivative, at their quietest, as on the gentle country-tinged rocker "I've Got Time, " the good-time wistful psych-folk-rock of "Lemonade Kid, " and the harpsichord-decorated ballad "Flowing By, " which was as derivative of Donovan as much of their other songs were of Moby Grape.

Kak's album was barely promoted and sold little. It didn't help that the band played less than a dozen shows before breaking up in early 1969, Damrell having already quit prior to the split.

Yoder did a single for Epic and and then joined Blue Cheer. The Kak album eventually became a pricey collector item, and was reissued on CD by Big Beat (with the new title Kak-ola) in 1999 with plenty of bonus cuts, including previously unreleased acoustic demos and Yoder solo tracks from the late sixties.

A1   HCO 97655   1:35
A2   Everything's Changing   4:02
A3   Electric Sailor   3:04
A4   Disbelievin'   3:56
A5   I've Got Time   3:37
A6   Flowing By   3:55
A7   Bryte n Clear Day   3:47
B1   Trieulogy   8:12
B2   Lemonade Kid   5:52
B3   Flight From The East   4:14
B4   Good Time Music   2:17
B5   When Love Comes In   2:48
B6   Lonely People Blues   4:12

When Brussels band Four Of A Kind split-up in august 1969, Wim Hombergen and Roger Wollaert formed Kleptomania. Guitar player / singer Michael Heslop (original from the UK) kept the heavy bluesrock-spirit alive in his new venture called Burning Plague. He got together with Roger Carlier (bass), Alex Capelle (guitar & piano) and Willy Stassen (drums and harmonica).

They soon had crafted some extraordinary blues tunes, so when appearing at the clubs, they made quite impression. A few support slots made their star rise as they supported Pink Floyd and Yes when those two visited Belgium. In June 1970 they played at the then famous Puzzle P. (in the “rue des bouchers”) along Kleptomania, Doctor Downtrip, Jenghiz Khan, Waterloo and Belgian hit-wonder Wallace Collection. And also the prestigious Bilzen Rock & Jazz festival put them on their bill in august 1970 (also with Black Sabbath and The Kinks).

Burning Plague 1970 wim luyten Eventually, Burning Plague signed a contract with CBS thanks to the Belgian “production company RAZA” (who already did business with Carriage Company). The album, recorded with producer Jean Huysmans (from The Cousins), was released by the end of 1970 and did get really good reviews.

Télémoustic magazine readers voted it to the first place on their “pophot” list. It surely sold reasonable amounts but main composer Heslop was disappointed by the lack of support from the record company and decided to end the band and to join Doctor Downtrip.

But it wasn’t all finished course Heslop,Carlier and Capelle got on stage in a Brussels club to jam with Doctor Downtrip drummer Paul Van De Velden. They decided to give it another try. In 1994 former Machiavel drummer Marc Isaye stepped in and finally twenty-five years after the original album, they released a new cd called “two”.

It was clear now that they abandoned their rock leanings to launch headlong into the blues. Most of the songs featured great guitar playing but weren’t strong enough to make their mark on the blues scene. The well known classic “A38” from the first record was re-recorded but it was “The Only One Guilty Is You”, a slow “Good Lookin’ Woman” and the melodic “The touch” who made a good impression. The band, now with guitar player Alain Pire (from the band Such A Noise) who already contributed on “two”, replaced Alex Capelle and continued to play a lot of shows the following years.

In 1998 Marc Isaye had to leave as he got to busy with the also reunited Machiavel. Mario Zola replaces him, but after a new cd “live at last” (still with Isaye on drums) their last sign of life was an appearance on the Rhythm & Blues festival in Peer. The majority of their last live set can be heard on this last live cd as it contained three new songs, as well as five cover tunes as a homage to the blues standards they liked themselves.

BURNING PLAGUE was born in August 1969, played BLUES, and had no money ...
Many people came to listen to our music, ... some appreciated.
Many people tried to get money out of us, ... some succeeded to do so ...
Some people say we're the least complexed group of the country ... and we think they're right
because, when we play on stage, it usually looks like the following tragedy:

1 st act: Before the show
- behind the stage, 4 musicians and 25 road-managers are trying to tune up 3 guitars
- these 4 musicians don't know what they're going to play, but they're drinking their 15th bottle of beer
- everybody's having a good time
2nd act: During the show
- 4 musicians are playing something (loud) but they don't know exactly what
- they're having a good time and so does the audience
- only 1 road-manager tries to repair 2 broken speakers
- cheers!
3rd act:After the show
- 4 musicians are looking for more beer
- 24 road-managers have disappeared
- 6 managers try to run away with the money!As we write these lines, we hear for the 126th time rumours saying we're splitting up! ... Once again it's untrue because in November 1970, Burning Plague does still exist, still plays BLUES, and is still as broke as in August 1969! ...Burning Plague

1. Night Travellin' Man (Heslop) [5:17]

2. First Time I Met You (Heslop) [4:36]
3. Life Is Nonsense (Heslop/Capelle) *A-M [4:21]
4. Will I Find Somebody (Heslop) *M-M-A [5:38]
5. A 38 (Heslop) *A-A-M [2:46]
6. She Went Riding (Heslop/Capelle) *M-A-M-A [8:12]
7. Follow That Road (Heslop) [3:24]
8. Hairy Sea (Heslop/Capelle) *A-M-A-M-A [6:20]

*Order of guitar-solos
(M) Michael Heslop
(A) Alex Capelle

Michael Heslop - guitar, slide-guitar and vocal
Roger Carlier - bass
Alex Capelle - guitar and piano
Willy Stassen - drums and harmonica

When the Brazilian band Os Canibais went into the studio to record its second album, they left the Jovem Guarda (the country’s answer to beatlemania) days behind and came out with a new name, Bango, and a new sound – that comprised psychedelia, hard rock, pop, soul and even Brazilian country music. Bango’s only LP was released in 1970 but besides being well recorded and having an inspired repertoire, had little success.

After a few concerts, the group broke up and the record went into obscurity (later, some of the band members became notorious producers for Brazil’s biggest record companies). With the years, Bango self-titled album (the band’s name is an old slang for money but also a plant used to make hashish) became a legend in its own right and started to gather attention. The reason is obvious: songs like Inferno no mundo and Motor maravilha are killer tracks with amazing use of fuzz and wah-wah, gritty Hammond organ sounds, loud drums, catchy chorus and crazy moods that listeners will dive in even if they don’t understand the (Brazilian Portuguese) lyrics. And, of course, its beautiful monstrous cover art.

On the other eight songs of the LP, the band goes from hard psych to soft ballads, from irreverent to phantasmagoric, from Heaven to Hell. If you like bands like Os Mutantes and the lost Brazilian bands from the late 1960s/early 1970s like Spectrum, Liverpool and A Bolha, you will definitely dig Bango! This forgotten gem have been re-released once by a German label but was out of stock from years. Portugal’s Groovie Records is now putting Bango’s LP out with an exclusive and never before released bonus track, a cover of Elephant’s Memory Mongoose.

A1. Inferno No Mundo (Hell In The World)
A2. Mas Senti (But I Felt)
A3. Rollin' Like A Boat
A4. Motor Maravilha (Motor Wonder)
A5. Marta, Zeca, O Prefeito, O Padre, O Doutor E Eu (Marta, Zeca, The Mayor, The Priest, The Doctor And I)
B1. Rock Dream
B2. Geninha
B3. Only
B4. Vou Caminhar (I’ll Walk)
B5. Ode To Billy
B6. Mongoose (bonus - Elephant’s Memory Cover)

Aramis Barros (vocals and guitar)

Elydio Barros (vocals and bass)

Max Pierre (vocals and drums)

Roosevelt Tadeu (vocals, organ and piano)

Fernando Borges (guitar).

Freedom - Freedom (1970 uk, amazing hard/progressive rock - 2000 reissue) Flac

Henry Tree - Electric Holy Man (1968 us, brilliant psychedelic acid rock monster with jazz touches - 2007 reissue) Flac

Tramline - Moves of Vegetable Centuries (1968 uk, splendid psychedelic/blues rock - reissue vinyl replica) Flac

Zipper - Zipper (1974 us, great hard/garage rock) vinyl/CD rip, Flac

Patrulha Do Espaço - Dossiê Vol. 2 (1982-1983) [1998 brazilian, great hard rock] {compilation} Flac

Les Fleur de Lys - Reflections (1965-69 uk, fantastic hard/beat/psychedelic rock) Flac

Southern Cross - Southern Cross (1976 australian, great hard/heavy rock) Flac

Brainbox - Brainbox + 11 Bonus tracks (1969 dutch, astonishing psychedelic blues rock) Flac

Pacific Gas & Electric - Are You Ready? (1970 us, amazing blues rock, vinyl rip) Flac 24-bit lossless

The American Dream - The American Dream (1970 us, fabulous psychedelic/pop rock) Flac

Acanthe - Someone Somewhere (1973 french, great classic/progressive rock) Flac

Lincoln Street Exit - Drive It! (1970 us, awesome garage/heavy psychedelic rock) vinyl rip [24-bit] Flac

Sainte Anthony's Fyre - Sainte Anthony's Fyre (1970 us, stupendous heavy/psychedelic rock) Flac

November - 6:e (1972 swedish, superb hard/doom/progressive rock) Flac

Various Artists - Angel Dust Psychedelia (1968-1972 us, astonishing garage/hard/psychedelic rock) vinyl rip, Flac 24-bit

Tsee Mud...Bacro....LSD - Tsee Mud...Bacro....LSD (1968-1971 venezulean, awesome acid/hard/psychedelic rock) Flac

Smoke - At George's Coffee Shop (1969 us, rousing blues rock, 2012 reissue) Flac

KAK - KAK (1969 us, superb garage/hard/psychedelic rock - vinyl rip) Flac 24-bit

Burning Plague - Burning Plague (1970 belgian, brilliant psychedelic blues rock) Flac

Bango - Bango (1970 brazilian hard/pop/psychedelic rock - vinyl rip) Flac 24-bit