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Julian Jay Savarin was a British author who wrote his share of music. In the early '70s, he also involved himself in music, by applying his sci-fi know-how to lyrics and playing organ. He assembled a band called JULIAN'S TREATMENT, with him on organ, Australian-born Cathy Pruden on vocals, and a couple other guys handling the usual (guitar, bass, drums, flute). "A Time Before This" originally released in 1970 on the Youngblood label, is an interesting combination of prog and late '60s psychedelia, with spacy organ, and of course, sci-fi oriented lyrics. I've heard this band compared with everything from EARTH & FIRE to SANDROSE to The United States of America (the late '60s psychedelic electronic rock act with Joe Byrd and Dorothy Moskowitz).
"The Coming of the Mule" is an instrumental piece with guitar that sounds like it came off a FOCUS album, as well as classically-influenced organ. "Phantom City" has more of that late '60s psychedelic vibe, complete with phasing (like you hear from the Small Faces' "Itchycoo Park" or the BEATLES' "I Am the Walrus"). "The Black Tower" is a bit more laid back, showing that Cathy Pruden was truly the lady for this album. "Alda, Dark Lady of the Outer Worlds" has Pruden singing like an evil lady. "Altarra, Princess of the Blue Women" is another mellow piece, with that cosmic atmosphere. "Fourth From the Sun" has a somewhat more jazzy-bent, especially from the drum department.
Anyways, original LPs of "A Time Before This" don't exactly grow on trees, but recently, Akarma had reissued this on CD with the original artwork, in a wonderful digipak (that is, featuring miniaturized LP-type packaging), but unfortunately they forgot to give us information on who was in the band, or the lyrics to the songs. Also they wrongly give the album a 1972 copyright (perhaps 1972 was the year of the album's American release, which was released here on Decca, with a totally different cover - 1970 was the original British release on Youngblood). Anyway, this is truly a wonderful, forgotten prog/psych gem worth looking for.
Julian's Treatment absorbs all the juiciness, art heaviness, kind craziness and inspirational pleasantness out of the late 60s/early 70s period, to create an album that's stunning as a complex and eurhythmic progressive rock fundamental spice, as a psychedelic (the archaic, bluesy, kaleidoscopic or hard-taunting kinds, it doesn't matter; maybe a bit neurotic as well, though you grow rather reluctant to that impression) adventure, as a hard fantasy and as a gulping powerful, dominating, yet also expressive and passioned music moment. I can't even name it a debut, not only because Julian's Treatment released only two storming and (en)chanting - without being a...
(en)chant(ment) - the second being credited as Savarin's, but because it sounds just like taken from the oven, in a hot and strong taste: music with drops of dazzle, rock with hard work and special feelings smoking out of it, plus a sort of eclectic taste that can't stay like that without being called, at least, artistic. Perilously and mystifyingly, that is.
With the above euphoric paragraph concluded, I think we can put a reminder on the fact that this album, as well as Julian's Treatment itself, can't be called an easy thing up in the treasures of progressive rock, but it sure is lovely to discover, out of the depths of the genre. It's considerably far from classic prog rock, though it, complexly, belongs to that authentic time and development. In rest, it doesn't defy in styles, it only focuses on them with a compelling lush. A Time Before This is most likely the best of the two that you can adore, notable being its "Plus Version" re-release in 1990, marking how well, clairvoyant, apart from their time and taste, but also obscure and hard to prefer these guys were - mostly thanks to this epic music-gram.
A Time Before This struggles a bit, being full-bounded and complicated, with its styles and shapes, but pulls in the end a victorious mount. The most living ideas are that J'sT plays psychedelic with spae airs, without fragility and never with absurd spots, plus that it plays an untypical kind of hard prog rock, keen on caramelizing its strong roots rather than jamming with thirst. Despite these already good reflection, there is a crave for many other flavors, the most kicking one being symphonic - in fact, the first "chapter" can be called psych, but the next ones fade in favor of art rock or symphonic fantasy. Was earlier mentioning that the psych can also contour some dark blues, one that's not impressive, but neither wrong. Folk happens to break into more than the "musical story", lovely flutes arousing like jasmine contrasts, a dance occasionally breathing out melancholic emotions. A main thought will also becomes that of A Time Before This being a concept of mystic, fantastic themes, still music turns out greater. Reading that the band is using sci-fi ideas, I like to believe character like "Adia", the "Oracles" or "the Mule" are good for a story-tale or for a mythical expression. Lastly, the musicians of Julian's Treatment are ones you couldn't write enough about - very talented. Savarin seems the prog genius, but for sure Cathy Pruden is a vocalist I truly love.
With all this, A Time Before This sounds of an impeccable creativity. And, given the influences, they're one step close to having originality as well. I guess Earth & Fire, Sandrose or Rare Bird are good/fit analogies, though I've yet to find out how they sound. Pink Floyd and Omega touch some psych spots, but they're absolutely the wrong prog idols to talk about (same with the small folk being Tull-ish, this folk is beyond popular taste). As a strange thought, I hear some ELP twisted fuses and jams - instead, two pieces are convincingly close to Aphrodite's Child and 666's own rock tale, thanks to powerful narration. Ending on the same loose note, I haven't heard such dark-flavored, candle-burning moments of fantasy and improvised poetry (incantations-like) since Os Mundi, which was a long time ago. All the twelve chapters are generous and have craft, they flow intensely, they charm you possessively. It can be a fascinating world, musically adapted, if you like your prog deeper, more reaming, and close to breathless. [progarchives.com]
01. First Oracle
02. The Coming of the Mule
03. Phantom City
04. The Black Tower
05. Alda, Lady of the Outer Worlds
06. Altarra, Princess of the Blue Women
07. Second Oracle
08. Twins of the Centauri
09. Alkon, Planet of Centauri
10. The Terran
11. Fourth from the Sun
12. Strange Things
13. A Time Before This
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Liberty Records was pleasantly surprised when Julie London's debut album was such a big hit. Julie Is Her Name did contain the hit single "Cry Me a River," but each featured mellow jazz guitar and bass backing — which was considered commercial suicide in 1955. So, instead of changing direction and recording the follow-up Lonely Girl with a full orchestra, Liberty wisely allowed London to strip the accompaniment down even more on the album by dropping the backing down to one instrument. Lone guitarist Al Viola plays gentle Spanish-tinged acoustic behind the hushed vocalist, and it suits London perfectly.
While the singer was often chided for her beauty and lack of range, she deftly navigates these ballads without any rhythmic underpinnings to fall back on. London's intense focus on phrasing and lyrics recalls Chet Baker's equally telescopic approach. So while most of the album contains the usual midnight standards, London sings them in her own way. The title track is the one unfamiliar tune here, and it's a real gem, penned by Bobby Troup (he was London's producer, paramour, and future husband). The low-key Lonely Girl beat the sophomore slump and initially did almost as well in the charts as Julie Is Her Name. Instead of stripping away the guitar in order to make London's next release be the first a cappella torch album, Troup crafted Calendar Girl, a big-budget orchestral affair that was more in keeping with the thematic pop albums released at the time.
01. Lonely Girl Troup 2:32
02. Fools Rush In Bloom, Mercer 2:07
03. Moments Like This Lane, Loesser 2:38
04. I Lost My Sugar in Salt Lake City Lange, Rene 2:34
05. It's the Talk of the Town Livingston, Neiburg, Symes 2:34
06. What'll I Do Berlin 1:55
07. When Your Lover Has Gone Swan 1:53
08. Don't Take Your Love from Me Nemo 2:43
09. Where or When Hart, Rodgers 2:34
10. All Alone Berlin 1:48
11. Mean to Me Ahlert, Turk 2:09
12. How Deep Is the Ocean? Berlin 2:09
13. Remember Berlin 1:47
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Julie London wasn't really a jazz singer, but she possessed a definite jazz feeling and many of her finest albums (such as Julie Is Her Name and Julie...At Home) feature small-group jazz backings. About the Blues was aimed at the 1950s pop market, but it may just be her best orchestral session. Since downbeat torch songs were London's specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths instead of against them.
Likewise, Russ Garcia's clever arrangements bleed jazz touches and short solos over the solitary strings and big-band charts. Like June Christy, London usually included a couple of new songs in with a selection of standards, and her husband, Bobby Troup, wrote two excellent numbers for the album. One of them, the emotionally devastating "Meaning of the Blues," is the album's highlight, and was turned into a jazz standard after Miles Davis recorded it the same year for Miles Ahead.
A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck and Rock Hudson in various films, and was married to Jack Webb of Dragnet fame for seven years before marrying songwriter Bobby Troup ("Route 66"). London performed her biggest hit, "Cry Me a River," in the Jayne Mansfield film The Girl Can't Help It. After recording her last album, Yummy, Yummy, Yummy, in 1969, she continued to act — playing a nurse on the NBC medical drama Emergency from 1974-1978. Despite her "sex symbol" image — London was known for her sexy LP covers, which make them collector's items — she was surprisingly shy, and left show biz altogether in the late '70s. In the mid-'90s London suffered a stroke, which led to a half-decade of poor health and ultimately contributed to her death on October 18, 2000.
01. Basin Street Blues Williams
02. I Gotta Right to Sing the Blues Arlen, Koehler
03. A Nightingale Can Sing the Blues Charles, Marks
04. Get Set for the Blues Karnes
05. Invitation to the Blues Fisher, Gershwin, Roberts
06. Bye Bye Blues Bennett, Gray, Hamm, Lown
07. Meaning of the Blues Troup, Worth
08. About the Blues Hamilton
09. Sunday Blues Lutcher
10. The Blues Is All I Ever Had Troup
11. Blues in the Night Arlen, Mercer
12. Bouquet of Blues Hamilton
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Calendar Girl was an LP album by Julie London, released by Liberty Records under catalog number SL-9002 in 1956. In keeping with the title, each of the first twelve tracks had a month in its title, completing the album with a song entitled "Thirteenth Month." Two of the songs were composed especially for this album by London's husband, Bobby Troup, who also produced the album, as he did many of her albums.
Jazz critic Will Friedwald has stated that Julie London's records were so popular in the 1950s mainly because she looked so drop-dead gorgeous on the album covers. The marketing hook behind Calendar Girl may just be the main example for those critical of London's musical career, since its sleeve has made it a prized collector's item. The famous wraparound cover depicts cheesecake shots of London posed for every month of the year, while original issues of the album included a more-than-suggestive insert photo of the singer stretched out in bed. While Friedwald's correct about London's physical beauty, he's wrong in suggesting that the vocalist didn't have the talent to go along with her looks. Like Chet Baker, Julie London had an extremely limited vocal range but she did the most with what she had, possessing a special knack for torch songs that cast her in the role of a woman constantly being destroyed by love in general and by men in particular.
The cover concept of Calendar Girl is carried over from the concept album, which features a narrative of romance lost and found for each month of the year before ending with one final tune called "The Thirteenth Month" (which is illustrated by that insert picture of London in bed). Since there aren't quality standards for every month of the year, one of Calendar Girl's pleasures can be found in the numbers written especially for the album, particularly those penned by Bobby Troup, London's husband. The jazz-oriented Troup hit pay dirt with such fine compositions as "Route 66," "Daddy," and "The Meaning of the Blues," but too few of his smart, witty songs have been widely recorded. Calendar Girl is a fun, if often bittersweet, ride and a must-have for fans of classic vocal pop and lounge music.
Thankfully, EMI has reissued this album on CD in a two-fer package with the more traditional London session Your Number Please.., which, oddly enough, also features a very suggestive photo of London in bed.
Calendar Girl, an Lp with twelve songs, six on each side, one for each month of the year (there's another version of this lp with an extra song thrown in... I think the British edition must have logically thrown that one back out... or something) and on the cover Julie London herself poses in idiomatic costume twelve times, one for each month.
Maybe it was her famous Cry me a River turning up on the V for Vendetta soundtrack that brought her recently back to mind. That was a track from her first Lp, which had a pristine and perfect pared down accompanimant of only guitar (the first rate jazz guitarist Barney Kessel) and base, and was a big success against the odds in the year that rock'n'roll arrived in the public consciousness, 1955. It was produced, as were her first handful of albums, by her husband Bobby Troup, himself famous as writer of the song Route 66. Her second album, Lonely Girl was even more sparse, with just a soft guitar. Calendar Girl was her third, and an orchestra was brought in this time. Half of the numbers were standards and the rest were written specially including two by Troup himself and two by the guy who wrote Cry me a River.
While googling around i found a chap named Godfrey King mulling over one of these,
'FEBRUARY BRINGS THE RAIN' (Troup)
breaks the Winter's icy chain,
that's a song I heard so long ago"
I think he must have been recalling Sara Coleridge's (1802 - 1852) poem known as 'The Months'...the second line goes
"February brings the rain, Thaws the frozen lake again". It is at least an adaption from it and, as her father ST Coleridge
is my favourite poet , the song becomes a shared memory beautifully sung by Julie.
The album affects people like that.
I recently was able to retrieve it to some extent when it appeared on a cd, but it was paired with her 1959 album which had an orchestra arranged and conducted by a young Andre Previn in a godawful syrupy style. After Calendar Girl they started mucking about trying to find a winning approach, and there was an occasional return to form, but the 1955-57 albums are the best. My favourite Chet Baker session went for the same kind of simplicty. Dated 1957 it was probably carefully taking note of London's first outing. That's on Embraceable You. The record company apparently decided that wasn't saleable and put it in the vault for thirty eight years.
I scanned the above piccies from the cd booklet, but there's a site here with a far superior scan of the original lp sleeve, and lots of information on Julie London and her recordings.
My brain turned to Calendar Girl in 1997 when I needed a story for the Bacchus serial Banged Up. The set-up was that Bacchus was in jail and each of the various characters he meets there has his own story. Thus the book becomes a little set of short crime stories, including the man who killed santa Claus, the punk who pissed on the grave of Elvis, etc. This story was titled The Snatching of Miss July. An old inmate finds that his favourite pin up has been stolen out of a calendar that he has kept for years. The other pinups comment on the stituation:
Miss June: "I was looking the other way at the time."
Miss August: "It happened right under my nose but I aint saying nothin. More than my life's worth."
Miss December: "you ask me, she got what she deserved. She was so up herself, all that flag wavin' an' bugle blowin'."
It turns out in the end that Miss July was the old geezer's wife of twenty-odd years ago, and he's still doing time for her murder.
The attraction of the story was that I was able to draw on one of Pete Mullins' strengths, the depiction of that kind of period style cheesecake, and have him do a great deal of the art on that chapter. We had a lot of fun with it. You can just see my drawings of Bacchus and his cockeyed mayhem behind the pin-up of Miss January, which appears to have been left lying over the artwork. It wasn't unlike the kind of tricks Eisner used to pull in the great days of the Spirit. [Source: http://eddiecampbell.blogspot.com]
01. "June in January" Ralph Rainger/Leo Robin
02. "February Brings the Rain" Bobby Troup
03. "Melancholy March" Dory Langdon
04. "I'll Remember April" Gene de Paul/Patricia Johnston/Don Raye
05. "People Who Are Born in May" Earl Brent
06. "Memphis in June" Hoagy Carmichael/Paul Francis Webster
07. "Sleigh Ride in July" Johnny Burke/James Van Heusen
08. "Time for August" Arthur Hamilton
09. "September in the Rain" Harry Warren/Al Dubin
10. "This October" Bobby Troup
11. "November Twilight" Paul Francis Webster
12. "Warm in December" Bob Russell
13. "Thirteenth Month" Arthur Hamilton
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Shooting at the Moon is the second solo album of Kevin Ayers.
In early 1970, Ayers assembled a band he called The Whole World to tour his debut LP Joy of a Toy that included, a young Mike Oldfield, David Bedford, Lol Coxhill, Mick Fincher, the folk singer Bridget St. John and Robert Wyatt. After a UK tour, Ayers took the Whole World into the studio to cut an LP, produced, like his debut, with Peter Jenner.
The line-up produced a heady mixture of ideas and experimentation with two distinctive styles emerging; carefree ballads like “Clarence In Wonderland” and “May I?” abutted the avant garde experimentation of songs like “Reinhardt and Geraldine” and “Underwater”. The album has since become a best seller in Ayers' catalogue.
Although The Whole World disbanded shortly after the release, the nucleus of the group would contribute to Ayers next LP, Whatevershebringswesing. Ayers released a single of exclusive material at the time "Butterfly Dance" coupled with "Puis Je?" (a French language version of “May I?”)
Gorky's Zygotic Mynci, who were big fans of Ayers, referred to 'Shooting At The Moon' as "the best album ever made" in the sleeve notes to their 1994 album 'Tatay'.
01."May I?" (Ayers) (4:01)
02."Rheinhardt & Geraldine" (Ayers) / "Colores Para Delores" (Ayers) (5:41)
03."Lunatics Lament" (Ayers) (4:53)
04."Pisser Dans un Violon" (Ayers) (8:02)
05."The Oyster and the Flying Fish" (Ayers) (2:37)
06."Underwater" (Ayers) (3:54)
07."Clarence in Wonderland" (Ayers) (2:06)
08."Red Green and You Blue" (Ayers) (3:52)
09."Shooting at the Moon" (Ayers) (5:53)
10."Gemini Child" (3.16)
11."Puis Je?" (3.41)
12."Butterfly Dance" (3.45)
13."Jolie Madame" (2.26)
14."Hat" (5.27)
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Joy of a Toy is the debut solo album of Kevin Ayers, a founding member of Soft Machine. Its whimsical and unique vision is a clear indication of how Soft Machine might have progressed under Ayers' tenure. He is accompanied on the LP by his Soft Machine colleagues Robert Wyatt, Mike Ratledge and Hugh Hopper.
After a Soft Machine tour of the USA with the Jimi Hendrix Experience, Ayers had decided to retire from the music business. Hendrix however, presented Ayers with an acoustic Gibson J-200 guitar on the promise that he continue his songwriting. Ayers repaired to a small London flat where he composed and arranged a whole LP which was then presented to Malcolm Jones' fledgling Harvest label where it was recorded by Peter Jenner for the then exorbitant sum of £4000.
Joy Of A Toy features many of Ayers' most enduring songs from 'The Lady Rachel' to 'Girl On A Swing', the latter still, regularly covered by artists to this day like Candie Payne and The Ladybug Transistor. It was on Joy Of A Toy that Ayers developed his sonorous vocal delivery, an avant-garde song construction and an affection for bizarre instrumentation that would have a deep influence far into the 1970s and indeed the present day.
As the Soft Machine's first bassist and original principal songwriter, Kevin Ayers was an overlooked force behind the group's groundbreaking recordings in 1967 and 1968. This, his solo debut, is so tossed-off and nonchalant that one gets the impression he wanted to take it easy after helping pilot the manic innovations of the Softs. Laissez-faire sloth has always been part of Ayers' persona, and this record's intermittent lazy charm helped establish it.
That doesn't get around the fact, however, that this set of early progressive rock does not feature extremely strong material. Ayers' command of an assortment of instruments is impressive, and his deep bass vocals and playful, almost goofy song-sketches are affecting, but they don't really stick with the listener. It's no accident that some of the tracks recall early Soft Machine: Robert Wyatt drums on most of the songs, and "Song for Insane Times" is virtually a bona fide Soft Machine performance, featuring actual backing from the group itself. A likable but slight album that is at its best when Ayers is at his folkiest.
01.Joy of a Toy Continued - 2:54
02.Town Feeling - 4:54
03.The Clarietta Rag - 3:20
04.Girl on a Swing - 2:49
05.Song for Insane Times - 4:00
06.Stop This Train (Again Doing It) - 6:05
07.Eleanor's Cake (Which Ate Her) - 2:53
08.The Lady Rachel - 5:17
09.Oleh Oleh Bandu Bandong - 5:35
10.All This Crazy Gift of Time - 3:57
Bonus material:
11.Religious Experience (Singing a Song in the Morning) Featuring Syd Barrett [bonus track] - 4:46
12.The Lady Rachael - Extended First Mix - 6:42
13.Soon Soon Soon [bonus track] - 3:23
14.Religious Experience (Singing a Song in the Morning) [bonus track] - 2:50
15.The Lady Rachael Single Version [bonus track] - 4:51
16.Singing a Song in the Morning - Single Version [bonus track] - 2:52
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The South London-based Killing Floor was originally a pop duo formed by lead guitarist Mick Clarke and vocalist/harmonica player Bill Thorndycraft. During the British blues boom of 1968-1969, they decided to form a "straight blues" group, recruiting prospective members from the classified pages of Melody Maker. Joining them were piano player Lou Martin, bassist Stuart MacDonald, and drummer Bazz Smith. Taking their name from Howlin' Wolf's "Killing Floor" (Wolf's cover was itself a version of Robert Johnson's "The Lemon Song"), the band played just one gig before ex-Radio Caroline DJ and ardent blues fanatic John Edward offered to manage them.
Edward's connection with the Southern Music publishing company led to them signing with Southern's Spark Records imprint. The band was booked into Pye Recording Studios and with Edward aboard as "producer," they recorded their self-titled debut in 12 days' time. Most of the material was re-configured Chicago blues classics, except for a cover of Willie Dixon's "You Need Love." Killing Floor was released in the U.S. on new London subsidary Sire.
Meanwhile, Edward booked the band gigs at Dunstable's California Ballroom, where they supported Ten Years After, Jethro Tull, Chicken Shack, and the Herd, to name a few. He also helped them get gigs at the Marquee, where they supported Yes and the Nice, and in 1969, they also toured with Texas bluesman Freddy King on two U.K. tours, which helped further their growing reputation. The band also appeared on all the contemporary British radio rock shows and toured solidly around the U.K. Lou Martin left after the release of Killing Floor and a handful of BBC Radio sessions and the group continued as a four-piece band. There were additional lineup changes in 1970-1971, at which point the group included ex-Juicy Lucy vocalist Ray Owen, drummer Rod D'Ath, and bassist Mick Hawksworth (ex-Fuzzy Duck/Andromeda/Ten Years Later).
A second Killing Floor album, Out of Uranus, was released in 1971 on Penny Farthing Records, this time with executive producer/label honcho and the Troggs' manager Larry Page overseeing the sessions. By mid-1972, Killing Floor had disbanded. The various members became Toe Fat and began backing Cliff Bennett. Thorndycraft retired from music and Bazz Smith continued to play in jazz trios. McDonald formed a band called Peace (with ex-Free vocalist Paul Rodgers) before returning to his native Wales and playing in local bands. Former piano player Martin joined Rory Gallagher's band, toured with Chuck Berry, and later played with Blues 'N' Trouble. In 1974, guitarist Mick Clarke formed legendary pub rockers S.A.L.T. with "Little" Stevie Smith. In 1983, he had his own group, the Mick Clarke Band, who have released numerous LPs.
The sheer toughness -- and overall derivative -- nature of Killing Floor's debut album, issued six months after Led Zeppelin's debut in 1969 on the Spark label, is a wondrous contrast to the overly slick treatment American blues were given by British artists. All of these tunes, with the exception of one, are revamped versions of songs from the blues canon with different words. The lone "cover" in the set was written by Willie Dixon titled "Woman You Need Love," the tune Zep ripped for "Whole Lotta Love." Despite the fact that this set was issued before by Repertoire, the Akarma version is definitive in that it features the original cover artwork in a heavy cardboard gatefold sleeve, and killer sound. This is a raw, immediate, overdriven, psychedelic blues record that offers an interesting historical counterpoint to the immediate impact of Page and Plant and Co., but it also offers a great contrast to the recent 1990s versions of American groups trying to rock up the blues in like style: Jon Spencer Blues Explosion immediately comes to mind. They also provide a heavier, less reverent, and altogether heavier update of the Yardbirds rave-up sound.
01. Woman You Need
02. Nobody By My Side
03. Come Home Baby
04. Bedtime Blues
05. Sunday Morning
06. Try To Understand Blues
07. My Mind Can Ride Easy
08. Wet
09. Keep On Walking
10. Forget It!
11. Lous Blues
12. People Change Your Mind
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Out of Uranus is rawer and more irreverent than most second-line British blues-rock of the late '60s and early '70s, as indicated by the title itself. That doesn't mean the all-original songs are that good, that they're especially imaginative players, or that Bill Thorndycraft's semi-barked vocals are so special. But it makes for a refreshing change from the normal not-so-well-known British blues-rock albums of the era, with a brash streak to both the lean arrangements (particularly in the frequent rushed tempos and Bas Smith's crisp drumming) and lyrics missing from many of their peers.
Slight nods to the world of underground rock outside of the blues form are heard in the yearning hippie ethos of "Soon There Will Be Everything," where the violin of Paul Spencer Mac again takes them a little outside of the standard framework for the genre. The countercultural mindset of the time is occasionally reflected in numbers like "Call for the Politicians" and the wittily titled "Fido Castrol," somewhat in the bluntly sardonic manner of another band of the day, the Deviants.
01. Out of Uranus
02. Soon There Will Be Everything
03. Acid Bean
04. Where Nobody Ever Goes
05. Sun Keeps Shining
06. Call for the Politicians
07. Fido Castrol
08. Lost Alone
09. Son of Wet
10. Milkman
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Walls and Bridges was recorded during John Lennon's infamous "lost weekend," as he exiled himself in California during a separation from Yoko Ono. Lennon's personal life was scattered, so it isn't surprising that Walls and Bridges is a mess itself, containing equal amounts of brilliance and nonsense. Falling between the two extremes was the bouncy Elton John duet "Whatever Gets You Thru the Night," which was Lennon's first solo number one hit. Its bright, sunny surface was replicated throughout the record, particularly on middling rockers like "What You Got" but also on enjoyable pop songs like "Old Dirt Road." However, the best moments on Walls and Bridges come when Lennon is more open with his emotions, like on "Going Down on Love," "Steel and Glass," and the beautiful, soaring "No. 9 Dream." Even with such fine moments, the album is decidedly uneven, containing too much mediocre material like "Beef Jerky" and "Ya Ya," which are weighed down by weak melodies and heavy over-production. It wasn't a particularly graceful way to enter retirement.
01. Going Down On Love
02. Whatever Gets You Through The Night
03. Old Dirt Road
04. What You Got
05. Bless You
06. Scared
07. #9 Dream
08. Surprise Surprise (Sweet Bird Of Paradox)
09. Steele And Glass
10. Beef Jerky
11. Nobody Loves You (When You're Down And Out)
12. Ya Ya
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Source: Japan 24-Bit Remaster
Sound of Music is the second studio album by The Adicts. It was re-released by Captain Oi! Records in 2002 and by SOS Records in 2006, each with different bonus tracks. In 2002, Taang! Records re-released the album along with Smart Alex and bonus tracks as The Collection, and the same Sound of Music disc with bonus tracks was released individually in 2004.
The Adicts are an English punk band from Ipswich, Suffolk, England. One of the more popular punk rock bands in the 1980s, they were often in the indie charts at that time. Their song "Viva La Revolution" was featured in the video game Tony Hawk's Underground. It was also featured in a commercial for the E! channel advertising their reality television show Pop Fiction. It remains one of the band's most well known songs.
The Adicts originated as Afterbirth & The Pinz in late 1975. They soon changed their name to The Adicts and became known for their distinctive Clockwork Orange droog image, which, along with their urgent, uptempo music and light-hearted lyrics, helped set them apart from other punk bands. In the 1980s, they temporarily changed their name to 'Fun Adicts' and 'ADX', mainly to coincide with children's TV appearances.
Their music has catchy melodies and lyrics, and often features extra instruments and sound clips, such as carousel music in "How Sad", violin played by Derick Cook in "Joker in the Pack", and gongs and keyboard percussion by Anthony Boyd in "Chinese Takeaway".
The musicians wear all white[disambiguation needed], with black boots and black bowler hats. The singer, Keith "Monkey" Warren, wears joker make-up, and his clothes were usually wild, patterned suits (such as checkerboard or polkadot), flared trousers and colorful dress shirts. He also tends to wear a bowler hat and gloves. Along with the look come stage shows involving items such as streamers, confetti, playing cards, beach balls, joker hats, toy instruments, bubbles and glitter.
Still an active and popular live act they appeared at the 2012 Punk Rock Bowling music festival over Memorial Day weekend in Las Vegas, Nevada.
01."How Sad"
02."4-3-2-1"
03."Chinese Takeaway"
04."Johnny Was A Soldier"
05."Disco"
06."Eyes In The Back Of Your Head"
07."Joker In The Pack"
08."Lullaby"
09."(My Baby Got Run Over By A) Steamroller"
10."A Man's Gotta Do"
11."Let's Go"
12."Easy Way Out"
13."Shake Rattle, Bang Your Head"
+ Bonus Tracks
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https://rapidshare.com/files/3861964342/The_Adicts_1982.rar
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http://uploadmirrors.com/download/0WNYNU3D/The_Adicts_1982.rar
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Size: 232 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster
Wattstax: The Living Word is a two-CD document of the all-day festival of Stax acts in Los Angeles in 1972 contains decent performances by the Staple Singers, Eddie Floyd, the Bar-Kays, Carla Thomas, Rufus Thomas, Albert King, the Soul Children and Isaac Hayes. It's not remarkably different from what you'll find on those artists' records, however, and Isaac Hayes does none of his more popular singles, his contribution being limited to a 17-minute cover of Bill Withers' "Ain't No Sunshine."
Check out the Bar-Kays' outrageous eight-minute soul-rock workout on "Son of Shaft," though, which goes into some Santana-like grooves in the middle; Rufus Thomas launches into three dance novelties in a row ("The Breakdown," "Do the Funky Chicken," and "Do the Funky Penguin"). Note: a couple of these cuts (the Staple Singers' "Oh La De Da" and "Lay Your Loving on Me"), although programmed as if they were recorded live at the event, are actually versions that were re-recorded in the studio.
Disc 1
01. Staple Singers, The – Oh La De Da 4:56
02. Staple Singers, The – I Like The Things About Me 6:10
03. Staple Singers, The – Respect Yourself 4:35
04. Staple Singers, The – I'll Take You There 5:25
05. Eddie Floyd – Knock On Wood 3:34
06. Eddie Floyd – Lay Your Loving On Me 5:05
07. Carla Thomas – I Like What You're Doing To Me 3:31
08. Carla Thomas – Gee Whiz 3:43
09. Carla Thomas – O Have A God Who Loves 5:09
10. Rufus Thomas – The Breakdown 4:06
11. Rufus Thomas – Do The Funky Chicken 4:55
12. Rufus Thomas – Do The Funky Penguin 5:50
Disc 2
01. Bar-Kays, The – Son Of Shaft/Feel It 11:00
02. Bar-Kays, The – I Can't Turn You Loose 3:59
03. Albert King – Killing Floor 4:00
04. Albert King – I'll Play The Blues For You 5:34
05. Albert King – Angel Of Mercy 5:52
06. Soul Children, The* – I Don't Know What This World Is Coming To 6:49
07. Soul Children, The* – Hearsay 7:28
08. Isaac Hayes – Ain't No Sunshine 17:36
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Size: 96.8 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan 24-Bit Remaster
Rock n Roll Animal is a live album by Lou Reed, released in 1974. In its original form, it features five songs from different periods of his creative career, including several songs by the Velvet Underground. The songs are all re-arranged into a powerful glam rock set. The musicians were Pentti Glan (drums) and Prakash John (bass) of the contemporary Alice Cooper band, Ray Colcord (keyboards), and Dick Wagner and Steve Hunter on guitars. The album was recorded live on December 21, 1973 (1973-12-21), at Howard Stein's Academy of Music in New York.
A remastered version was released on CD in 2000. It featured greatly improved sound quality, including two tracks not included on the original LP or 1990 CD release.
Further excerpts from the same concert were released in 1975 as Lou Reed Live. This live album's stereo mix differs from its counterpart in that guitarist Dick Wagner is heard on the left channel, and Steve Hunter is on the right; this arrangement is reversed on Rock 'n' Roll Animal.
In 1974, after the commercial disaster of his album Berlin, Lou Reed needed a hit, and Rock N Roll Animal was a rare display of commercial acumen on his part, just the right album at just the right time. Recorded in concert with Reed's crack road band at the peak of their form, Rock N Roll Animal offered a set of his most anthemic songs (most dating from his days with the Velvet Underground) in arrangements that presented his lean, effective melodies and street-level lyrics in their most user-friendly form (or at least as user friendly as an album with a song called "Heroin" can get).
Early-'70s arena rock bombast is often the order of the day, but guitarists Dick Wagner and Steve Hunter use their six-string muscle to lift these songs up, not weigh them down, and with Reed's passionate but controlled vocals riding over the top, "Sweet Jane," "White Light/White Heat," and "Rock 'n' Roll" finally sound like the radio hits they always should have been. Reed would rarely sound this commercial again, but Rock N Roll Animal proves he could please a crowd when he had to. The revised CD reissue of Rock N Roll Animal released in 2000 offers markedly better sound than the album's initial release, along with two bonus cuts that give a better idea of how this band approached the material from Berlin on-stage, as well as an amusing moment of Reed verbally sparring with a heckler.
01."Intro/Sweet Jane" (Steve Hunter, Reed) (7'55)
02."Heroin" (13'05)
03."White Light/White Heat" (5'15)
04."Lady Day" (4'00)
05."Rock 'n' Roll" (10'17)
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https://rapidshare.com/files/3852515112/Lou_Reed_1974.rar
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http://uploadmirrors.com/download/0JVEOTPY/Lou_Reed_1974.rar
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Size: 83.2 MB
Bitrate: 256
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Source: Japan 24-Bit Remaster
Cressida was a British art rock band formed at the tail-end of the 1960s in the shadow of (and their music very much in thrall to) the Moody Blues, with a heavy organ and Mellotron sound courtesy of keyboard player Peter Jennings. The original lineup of Jennings, Angus Cullen (vocals, guitar), John Heyworth (guitar), Kevin McCarthy (bass), and Ian Clark (drums) was signed to Polydor's progressive rock imprint, Vertigo Records. The group had a dense, lyrical sound, and Cullen's singing was of a pleasing, almost pop nature, in a vein similar to Justin Hayward, Paul McCartney, et al.
Their self-titled debut album was filled with hauntingly beautiful melodies and relatively accessible, straightforward song structures. It was somewhat derivative of antecedents such as the Moody Blues, but it did well enough to justify a follow-up in 1971. Heyworth had departed by the time of the second album, entitled Asylum, replaced by John Culley and Paul Martin Layton (of the New Seekers) on guitar, and with Harold McNair added on flute as well. That album, produced by Ossie Byrne, was more ambitious instrumentally and, surprisingly, given Byrne's previous work with the Bee Gees and Eclection, less focused on Cullen's vocals.
By 1972, however, the group had run out of steam and recording contract, and they never really had a chance to develop a history. Ian Clark moved on to a brief stay with Uriah Heep and John Culley became a member of Black Widow.
More highly melodic progressive rock, this time built around longer songs and extended instrumental passages — among the latter, "Munich," which was alternately titled "Munich 1938: Appeasement Was the Cry; Munich 1970: Mine to Do or Die," was surprisingly accessible at nine minutes and change, built on Peter Jennings' extended organ cadenzas embellished with John Culley's crisp electric guitar flourishes, all wrapped around a pleasing array of melodies that easily carry the song's length.
The three extended numbers that comprised the original LP's side two also make for fascinating listening, Angus Cullen's McCartneyesque vocals calling to mind the Moody Blues in their prime, while the band's hard, at times slightly jazzy, instrumental attack evokes echoes of Caravan with, perhaps, a touch of the most energetic of Deep Purple's Jon Lord-spawned classical experiments. The group's downfall may have been their reliance on virtuosity, as opposed to raw wattage and brute force in their attack — with Emerson, Lake & Palmer, Keith Emerson was bringing crowds of 20,000 teenagers at a time to their feet by abusing his organ, while as part of Cressida, Peter Jennings on "Let Them Come When They Will" plays the kind of break that would have wowed them in a club in front of maybe 200 people (while Cullen's singing takes on a resemblance to Jim Morrison in the middle of the track). It's all sort of the difference between relating to one's music and audience on a retail basis, as opposed to wholesale — Cressida never got past the former, and it makes Asylum a very pleasing album but also a very demanding one.
01. Asylum Cullen 3:34
02. Munich (Munich 1938; Appeasment Was the Cry, Munich 1970; Mine to ...) Jennings 9:33
03. Goodbye Post Office Tower Goodbye Cullen 2:50
04. Survivor Cullen 1:34
05. Reprieved Jennings 2:28
06. Lisa Cullen 5:08
07. Summer Weekend of a Lifetime Cullen 3:25
08. Let Them Come When They Will Heyworth 11:46
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Size: 99.2 Mb
Bitrate: 256
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Source: Japan 24-Bit Remaster
This is one of the most sought-after UK psychedelic albums. It's a fine amalgam of psychedelia and heavy R&B though not all the material is good. Their first two 45s are included and these four tracks are among its finer moments. The most psychedelic being The Otherside and Buffalo Billycan. The most commercial being Doctor Rock, a straight-ahead rocker, and Let's Take A Trip Down The Rhine.
There are also a couple of good Yardbirds' covers - Rock Me Baby and Psycho Daisies - and a competent effort at the Lovin' Spoonful's Sporting Life. Not as inventive as the Open Mind LP, for example, but with just a couple of throwaway tracks, it does deserve to be up there as one of the gold nuggets of British psychedelia. Recently sold at ebay for: 911 USD
01. Let`s Take A Trip Down The Rhine
02. Doctor Rock
03. The Otherside
04. Mr.Jones
05. The Mayville Line
06. Queen Of Hearts Blues
07. Rock Me Baby
08. Buffalo Billycan
09. Photograph
10. Psycho Daisies
11. Sporting Life
12. Pretty Girl Love You
13. Let`s Take A Trip Down The Rhine [Single Version]
14. Buffalo Billycan [Single Version]
15. Doctor Rock [Single Version]
16. The Otherside [Single Version]
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https://rapidshare.com/files/3429858773/Apple_Album_1968.rar
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http://uploadmirrors.com/download/SAL9QKKU/Apple_Album_1968.rar
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