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No info, sorry.
Bass – Joe Hayden
Drums – Scott Asheton
Guitar – Gary Adams, Greasy Carlisi
Guitar, Vocals – Ron Asheton
Mixed By – Garry Henderson, Pete Bankerd, Ron Asheton
Percussion – Ron Cumbo
Vocals – Art Lyzak, Bootsey X
Vocals, Design [Cover Design] – Niagara
01. The Right Stuff
02. Anyone Can Fuck Her
03. Party Girl
04. I Love Livin' In The City
05. Street Of No Return
06. Just Another Mystery
07. Not Right
08. I Wanna Be Your Dog
09. These Boots Are Made For Walkin'
10. Dr Kick
11. T.V. Eye
12. Bomb For Whitey
13. You're Gonna Die
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Ron Asheton's project actually began during the hiatus of The Stooges before the lengthy sessions which produced "Raw Power." And when The Stooges imploded in early 1974, Asheton put away the bass and returned to lead guitar while enlisting the services of a number of friends from the Detroit rock scene, including drummer Dennis "Machine Gun" Thompson (MC5).
What ultimately doomed the band was the personal demons of the lead vocalists; Jeff Spry was derailed by legal troubles and Dave Gilbert saved his worst for the important showcase gig with a recording contract awaiting if they delivered the goods....he arrived minutes before the group was slated to take the stage and did not attempt to sing a note while standing like a statue by his microphone.
The original album was the demos that featured both singers, but the sound quality was muddy. This reissue also includes unreleased rehearsal recordings, which appears to be all the material available for release (or has the sound quality that can be considered for an authorized CD) and a portion of the demos as "bonus tracks." The highlight from the project is "Rock 'n' Roll Soldiers," which has been covered by several bands over the years.
Asheton had an excellent understanding of the emerging hard rock sound that would propel the record industry to incredible heights through the 1980s, but his vision became a victim of circumstances beyond his control.
01. Victim Of Circumstance
02. Sold For Cash Girl
03. Sex Drive
04. <1975> No Taboos
05. Never Be The Same Again
06. [Can't Quit Ya]
07. Sidewinder
08. Hit And Run
Bonus Tracks:
09. Lucky Strike
10. Declaration Of War
11. Hollywood Hollidays
12. Sidewinder
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Size: 98.9 MB
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Source: Japan SHM-CD Remaster
After Arthur Brown's Kingdom Come disintegrated following the release of the wonderful Journey, US keyboard player Victor Peraino somehow retained the name, releasing No Man's Land in '75 under the name Victor Peraino's Kingdom Come. It doesn't sound a million miles away from Journey, if you could imagine that album being played by a full band and sung by an American (go on - try). There don't seem to be any genuinely great songs on the record (although Lady Of The Morning's pretty good), but all the material's reasonable, in a hard rock/prog vein, although some of the tuning discrepancies between synths and 'Tron are enough to set your teeth on edge.
Peraino's Mellotron use is, again, quite magnificent, with lashings of strings, choir, cellos and brass all over the album. There are too many individual highlights to name, although Lady Of The Morning has especially good use on all fronts. Peraino frequently used two sounds at once (strings and choir being popular choices), although I doubt if he was able to reproduce this live.
Peraino was the American keyboard player for Arthur Brown's Kingdom Come, a band often overlooked in the pantheon of UK progressives. Following the group's final album 'Journey', Peraino returned to the States, and somehow retained the rights to the group name. Details are sketchy, but according to the legend only 100 copies of 'No Man's Land' were pressed, making this a major rarity selling for four figures more often than not. A follow-up EP "Were Next", containing a new version of the major hit "Fire", was recorded and released in 1981 which almost just as rare.
01. Sun Sets Sail
02. Demon of Love
03. Empire's of Steel
04. Tru
05. Lady of The Morning
06. Garden of Death
07. Run Through Your Life
08. At Last a Crew
09. We're Next
10. Demon of Love
11. Fire
12. Athena
13.The Stone
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Incredible Mexican mind expander from the late '60s that could have easily been on an 'Endless Journey' comp. Mind frying fuzz guitars, electronic psychedelic effects, swirling keyboards and drugged lyrics/vocals in English. A major find for fans of the genuine article.
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars.Yet mucho eccentricity and spontaneity make it more interesting than many such relics.
That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility.
Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands.
And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ.
Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur
01.Hang Out - 2.20
02.P.S. Come Back - 2.10
03.A Hole In My Life - 2.33
04.Let Me Try - 3.27
05.I Think It's All Right - 2.59
06.Colours - 2.36
07.Once Upon A Time There Was A World - 8.09
08.A New Man - 2.38
09.I'm Crazy - 3.33
10. - I'm Here, He's Gone, She's Crying - 2.27
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Size: 106 MB
Bitrate: 256
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Irish guitarist, singer and writer Vince McCusker had spent some months in London to find musicians for his musical ideas. Disappointed he returned to Belfast and recruted musicians to play his material: Miles McKee (lead vocals), Stephen Houston (keyboards/oboe), Peter Farrelly (bass/vocals) and Martin Foye (drums). They called themselves FRUUPP, the name is dreived from an Electroset Page, the band added an U and a P. FRUUPP signed a contract with Dawn Records and in '71 they released the debut album titled "Future Legends", in '74 followed by the "Seven Secrets" and "The Prince of Heaven's Eyes". The band was making real progress (good sales, succesfull gigs) but Stephen Houston left for religious reasons the band and was replaced by John Mason. In this line-up FRUUPP made their last but acclaimed LP "Modern Masquerades" ('74).
The best introduction to the very distinctive sound of FRUUPP is the compilation CD "Songs for a Thought (Sequel Records, '92) featuring 14 tracks from their four albums. FRUUPP showcases a great maturity in writing, combining several styles and showing lots of instruments and changing atmospheres: classic with oboe, folky with acoustic guitars and symphonic with propulsive interplay between electric guitar and organ. This CD also includes the previously unreleased track On a clear day: an alternating piece with powerful electric guitarplay, tasteful keyboards and strong vocals. The best comparison to the unique FRUUPP sound is YES-rooted band like Druid and England but FRUUPP sounds more sophisticated and more colourful.
I have a mixed feeling about "Fruupp". A good debut album and a follow-up which I really can not stand. Just hope that this one will belong to the former category.
And when you listen to "It s All Up Now" you immediately have the feeling that it will be so. It almost starts as "Pictures At An Exibition" and develops some marvelous symphonic moments. Gorgeous and melodic keys. Really sublime at times. Vocals are a bit naive but so smooth, so pleasant... This is a highlight not only of this album but for the whole of "Fruupp" 's work.
Not all the songs will be of that caliber of course. "Prince Of Darkness" is at times reminiscent of "Harold The Barrel" duirng the intro and outro. It has not the same power. But it is not too bad after all. After this, just press next to avoid the incredibely poor and dull "Jaunting Car". A totally useless instrumental.
But the truth is that the more this album advances, the more the feeling that only one wonder is featured emerges. The final of "Knowing You" though revives the good habits again. Just as "Crystal Brook" : a beautiful and delicate song. Very nice fluting and piano. Admirable melody, full of sweetness. The "Genesis" filiation is more than a feeling and "Camel" is not far either during the second half of the song. Another highlight.
From the last part of the album, only "The perfect Wish" deserves a mention. the longest track of this effort. Fully symphonic. It features some very pleasant but short guitar breaks. Some "Watcher" riff as well. It changes from mood several times which makes it the most sophisticated song of the whole (not talking about complexity here : "Fruupp" music is straight-forward, simple and accessible). It is the third highlight.
This album is much more pleasant than their previous release. I am somewhat reconciliated with the band. Three stars. [progarchives.com]
01. It's all up now (7:20)
02. Prince of darkness (3:48)
03. Jaunting car (2:23)
04. Annie Austere (5:14)
05. Knowing you (2:46)
06. Crystal brook (7:58)
07. Seaward sunset (3:08)
08. The perfect wish (9:49)
09. Prince Of Heaven (3:31)
Bonus Single:
01. Prince of Heaven - 3.37
02. Jaunting Car - 2.27
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Some people may disagree with me but I consider REALE ACCADEMIA DI MUSICA truly a one-shot band since their second album was done much more as a support for a singer (not a band member) and can also barely be considered as progressive. But here within the "Reale Accademia Di Musica", their self-title album, we have an almost perfect example of what Italian Symphonic Prog means. Really astonishing!
It's hard to talk about band's influences once this album was released in 1972 and in fact it seems better to nominate other acts that have been influenced instead - the sad point is that apparently RADM has been forgotten in the dust of time. Apart the skilful musicianship and fine arrangements I'd like to spot the exquisite and unique vocals, a bit different from the more acute vocals generally observed in other Italian progressive bands of the same period.
The friendly and relatively short 'Favola' opens the album nicely; bucolic and pastoral guitars are joined by poignant vocals that spread through the track in its entirety along with a catchy and beautiful middle section - there's magic in the air, and we go avidly to the next song.
'Il mattino' continues with the dream-like vocals, this time accompanied by incredible and unforgettable keyboards. But now the main gift is the solo part: a 5-minute dazzling intermezzo where piano, guitar, drums and bass provide a marvelous communion like shaped outside of the real world. Instruments run in crescendo, leaving hearts in suspension with so many musical magnificence and grandiosity. 'Ognuno sa', the next song, keeps high the atmosphere; an adequate follow-on for the previous marvel.
'Padre' starts with soft mellotron and hard guitars, just to blast into a short rock section introducing a sorrowful singing part. A good song, much more in a classic rock style however with neat progressive touches supplied by the ever-present keyboards. 'Lavoro in città' maintains the rock ambience conjugated with spices of avant-garde, blues and romanticism supplied by strange intro choir, crying guitars and harmonious vocals.
Vertigine' closes the album in a true and enjoyable prog-rock mood. This time, vocals appear more sharpened and incisive, while the band plays explosively. Instruments come and go in an amusing manner, always surprising the hearer - the real essence of the progressive sound. After listening to this ender and if I were there in 1972, I'd be eager for their next release which unfortunately did not happen, at least in the way we like.
After hearing and re-hearing, enjoying and tasting this work, in my opinion there are no doubts left about "Reale Accademia Di Musica": a masterpiece. [progarchives.com]
01. Favola (3:46)
02. Mattino (9:19)
03. Ognuno Sa (5:19)
04. Padre (8:41)
05. Lavoro In Citta' (5:56)
06. Vertigine (7:11)
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One thing is certain...when these guys said "Jammed Together", they MEANT it; what an awesome album this is! Here we have two of the blues' elder statesmen (Pop Staples & Albert King), and the young "whippersnapper" (Steve Cropper) all assembled in one place, and the results are fantastic; there's no doubt that the three of them had a great time making this album!
"Jammed Together" isn't an album of self-indulgent guitar solos and noodling to satisfy egos; the title tells you all you need to know: this is all meat, no filler, folks. Because each of the three guitarists have very distinctive playing styles and tones, you can literally pick them out as you listen to it.
A great example of this can be heard on the rocking instrumental "Big Bird", where Cropper, King and Staples each occupy the left, middle and right stereo channels respectively, but the stereo separation didn't really need to be done so you'll know who is who; as I said, you'll literally be able to identify them with each solo turn.
In addition to the fabulous guitar playing, all three take turns on vocals as well; King leads off with the Ray Charles classic "What I'd Say", Cropper turns in a rare vocal on "Don't Turn Your Heater Down", and Staples on the positively spine-tingling "Tupelo", where his soulful vocals and trademark tremelo-effected guitar give the track a swampy, ominous feel and mood. It's very obvious that this song influenced John Fogerty of Creedence Clearwater Revival, as evidenced by the CCR tracks "The Midnight Special" & "Born On The Bayou" alone.
Released on the Stax label in early 1969, "Jammed Together" is a genuine blues/soul classic; get it now!
01. What'd I Say 5:28
02. Tupelo 6:00
03. Opus De Soul 5:30
04. Baby, What You Want Me To Do 3:30
05. Big Bird 3:13
06. Homer's Theme 2:11
07. Trashy Dog 3:00
08. Don't Turn Your Heater Down 3:15
09. Water 3:06
10. Knock On Wood 5:02
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