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If any Austin group of the late '60s could be called the Vulcan Gas Company's de facto house band, it would have to be the Conqueroo. That, despite the fact that the Vulcan was self-billed as a psychedelic concert hall and the Conqueroo was hardly psychedelic although certainly a hippie favorite. If any musical genre could have been attached to the eclectic Conqueroo, it would have been not one but a fusion of many: folk, rock, jazz, and blues. Nonetheless, the Conqueroo was a regular at the Vulcan -- featured prominently on many Vulcan handbills and posters -- from the hall's opening in October 1967 until its closing in mid 1970. Sonobeat owners Bill Josey Sr. and Rim Kelley (Bill Jr.) first heard the Conqueroo perform with the 13th Floor Elevators at Austin's Doris Miller Auditorium in January 1967. But ultimately it was the Conqueroo's regular performances at the Vulcan that convinced the Joseys they had to record the group.
Recording sessions at the Vulcan Gas Company -- initially in December 1967 and again in March '68 -- yielded Sonobeat's fifth release and third rock single, a pairing of Conqueroo Ed Guinn's I've Got Time (featuring an enigmatically dramatic, yet strangely reserved, duet) and 1 to 3 (featuring an equally dramatic but uninhibited vocal by its composer, Bob Brown). No fancy recording techniques were used; the single is nothing short of two great songs performed passionately by great musicians, captured just a little raw at one of Sonobeat's favorite venues. It remains the only commercial single release by the original incarnation of the Conqueroo, who often shared the Vulcan stage with the Elevators, Johnny Winter, or Shiva's Headband.
Sonobeat issued the Conqueroo's single with a two-sided black and white picture sleeve designed by legendary Austin illustrator Gilbert Shelton (who lived with the Conqueroo and half a dozen other assorted characters in a large house just off the University of Texas campus).
A stunning image by celebrated Austin photographer Belmer Wright (not to be confused with another great Austin photographer, Burton Wilson) completed the sleeve, which has a bit of the look and feel of one of those famous Vulcan Gas Company handbills of the '60s. Both sides of the sleeve are identical, except for the song titles, hand lettered by Shelton. A banner flowing through the OOs in "Conqueroo" proclaims "Recorded Live at the Vulcan Gas Co.", but the single was not actually recorded before a live audience. Shelton's sleeve art refers to "The Conqueroo", but the group was later known as just "Conqueroo".
Originally scheduled as Rs-104 (which collectors will note is etched in the single's dead wax), the Conqueroo release moved up a notch on Sonobeat's schedule after Shiva's Headband had second thoughts about the release of their single, also recorded at the Vulcan and originally scheduled for release ahead of the Conqueroo's. Bill Josey Sr.'s handwritten notes on the Conqueroo master tape box indicate both songs were recorded using two 2-track Ampex recorders. The second recorder was used for vocal overdubs that were recorded immediately after the band laid down the instrumental tracks. There is an ethereal "other worldness" to these recordings, imparted by the band itself but enhanced by the vast acoustics of the Vulcan Gas Company.
While cataloging the Sonobeat master tapes in 2008, we discovered two instrumental tracks that the Conqueroo recorded during the March '68 session. Both are instrumental tracks that probably were supposed to have vocals but were never completed. One song may be titled None of Your Business, Waitress. Unfortunately, there's no additional information about these tracks in the Sonobeat archives, so we're uncertain why they were never completed and released.
One of Austin's best-loved bands of this era they opened their own club, The Vulcan Gas Company in 1967 and among its attractions were the 13th Floor Elevators and many of the best black blues singers of the era. The club lasted until 1970. Their 45 appeared in a picture sleeve and featured some fine 'acid' guitar work. Indeed the band have been referred to as Austin's Grateful Dead. They moved to San Francisco for a while and whilst there Brown and Guinn also worked as The Angel Band. Disillusioned The Conqueroo split and returned to Texas. They reformed briefly in the mid-seventies.
Their retrospective album is a live recording from 1968. It features fine guitar work on Passenger and Banana And The Cat but is patchy overall so primarily for archivists. Ed Guinn and Bob Brown also cut a long demo tape about early 1967 of entirely fresh material, but this hasn't resurfaced to date. They also helped back comic artist, and Austin resident Gilbert Shelton on his sole 45.
Powell St. John went from Laredo to Austin, Texas in 1959, a harmonica playing, beret wearing beatnik kid who had a hunch that something was going on somewhere. Powell began his musical career in Austin in the early 1960's, playing at parties and clubs around the University of Texas campus. Eventually he came to work with Kenneth Threadgill of Austin's Threadgill's Bar, performing with Janis Joplin and Lannie Wiggins in a small trio called The Waller Creek Boys. Later, in answer to a request for material from Tommy Hall of the 13th Floor Elevators, St. John wrote six songs for their two first albums. In the late 60's, Powell formed a blues and rock band with Tracy Nelson named Mother Earth.
Some of the most famous musicians in the world have recorded Powell's songs, such as Janis Joplin (Bye, Bye Baby), Boz Skaggs (I'll Forever Sing), Tracy Nelson (Livin' with the Animals), Roky Erickson (Right Track Now) & Doug Sahm (You Don't Know).
01. Passenger
02. Banana and the Cat
03. Words Are not as Strange
04. 1 to 3
05. Walking Blues
06. Midnight Hour
07. I've Got Time
08. Get Out of My Life Woman
09. I Think About It
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Over-amplified and fuzzed to the max, the Prunes here are explosive, noisy and wild. This recording proves that the Electric Prunes deserve to be ranked alongside the very best bands of the era. 8 tracks recorded by the Swedish Broadcasting Corporation at the Concert Hall in Stockholm, Sweden December 14th 1967. TREMENDEOUS SOUNDQUALITY A++
The Electric Prunes' studio albums are pretty ethereal and arty, so you might be shocked at the Raw Power displayed on this aural document. Soundwise, it has more in common with The Who's Live at Leeds than any garage or psychedelic record you can think of from the '67 era. It's still very psychedelic, but seriously heavy. As the other reviewers noted, the sound quality is great -- what's amazing is that the band seemed to think that the recording didn't capture their full energy and power!
It starts off with a smokin' version of "You never had it better" with a wicked guitar solo. You also get strong versions of their better known songs, including the infamous "I had too much to dream last night," plus psychedelicized versions of blues standards "Smokestack lightning" and "I got my mojo working." It ends with a deliciously extended rave-up on "Get me to the world on time," wherein the Prunes raise up a massive "Sister Ray"-ish wall of speaker-melting feedback. Essential. Reviewer: Robert Schell (Townsville, Texas)
01. You Never Had It Better
02. I Had Too Much To Dream (Last Night)
03. Try Me On For Size
04. I Happen To Love You
05. I Got My Mojo Workin'
06. Long Day's Flight (Til Tomorrow)
07. Smokestack Lightning
08. Get Me To The World On Time
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The original Spike Drivers were together from 1965 to 1967. The founding members included Mary Carolbrown-vocals, Sid Brown-guitar, Ted Lucas-guitar and vocals, Richard Keelan-guitar, and drummer Steve Booker. Larry Cruise replaced Steve Booker in late 1965. The name of the band came from a song by Mississippi John Hurt called the Spikedriver Blues.
The group began working in clubs in the Detroit, Michigan area and shared the bill with performers such as Joni Mitchell, Phil Esser, and Del Shannon. The band traveled to New York City and landed a recording contract with Warner Brothers Reprise Records where they put out two 45's featuring "Strange Mysterious Sounds" with "Break Out The Wine" and "Often I Wonder" with "High Time."
The band also showcased at many clubs in the New York area with the high point occurring when they opened for Eric Burdon and the Animals at the Rheingold Central Park Music Festival in 1966.
Ted Lucas left the band in 1967 along with Richard Keelan. Together they formed The Misty Wizards.
01. Often I Wonder
02. Strange Mysterious Sounds
03. Baby, Let Me Tell You
04. Blue Law Sunday
05. Baby, Can I Wear Your Clothes
06. Got The Goods On You
07. High Time
08. Portland Town
09. Grocery Store
10. Everybody´s Got That Feeling
11. I Know
12. Time Will Never Die
13. Sometimes
14. Can´t Stand The Pain
15. I´m So Glad
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Released in 1968 this is the second release by Them after the departure of Van Morrison and the bands relocation to California. The band had really started to incorporate the best that the West Coast scene had to offer and the album shows this to good effect, with sitars and loads of trippy effects. The CD contains bonus non LP singles in the original mono. Fully detailed booklet is included within the package. Highly recommended!!
The third part of our THEM trilogy finds the California bound edition of THEM, having explored softpop, psych, full-on garage punk and even their Maritime Club roots on NOW AND THEM (CRREV29), plunging full on into the Psychedelic maelstrom they helped create.
Being on the same label as The Chocolate Watchband was just a red rag to these Belfast boys!.... Like The Shadows Of Knight, these upstarts will have to learn who are the real Daddies!..... THEM!.....produced once more by Texas rockabilly maverick Ray Ruff, this is the sound of THEM through the bizarro filter of California Acid tests..from a psychpunk historical perspective, Van Morrison made a BIG mistake leaving...though his buddy Kenny McDowell does the job just fine
With a bonus of as many non-LP singles as we can cram on, this is THE essential lost artifact of Irish Psychedelia....just the sleeve is worth the price of admission!!
Classic psychedelia first time on CD anywhere, plus bonus non-LP singles in the original MONO! Plus the usual full-monty Rev-Ola remastering extravaganza...it never sounded so good! Including Extensive linernotes by Jon 'Mojo' Mills of the celebrated "Shindig!" magazine, fearturing input from band members.... Essential for all fans of quality Psychedelia, Garagepunk and 1960's psychpop...also all THEM and Van Morrison collectors, and the entire population of Belfast!...see what it was all about!
Track Listings
01. Time Out for Time In
02. She Put a Hex on You
03. Bent Over You
04. Waltz of the Flies
05. Black Widow Spider
06. We've All Agreed to Help
07. Market Place
08. Just on Conception
09. Young Woman
10. Moth
11. But It's Alright
12. Square Room [2nd Single Version]
13. Dirty Old Man [2nd Single Version]
14. Corinna [Single Version]
15. Dark Are the Shadows [Single Version]
16. Dirty Old Man [Original Single Version]
17. Square Room [Original Single Version]
18. But It's Alright [Original Single Version]
19. Square Room [Single Edit/Remix]
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Official reissue of this rare 1973 German/Hungarian prog-psych record. A blend of Pink Floyd like space rock and progressive folk rock with flute, violin and keyboards this is a great album that really is filled with 'variety' from trippy muiscal voyages through folk to blues. The underlying theme is psychedelic improvistaion and the band are red hot throughout. This reissue features detailed sleeve notes 2 bonus tracks and the original female-nude oil projection sleeve. English vocals. Far out.
THINK came from Marl, Germany and its members had already experiences in some other bands. Progressive rock was played with guitar, flutes, piano, organ, violin, bass, drums and vocals. The name of the band is its leitmotif. The music is a joint effort showing the band´s conformity. The English lyrics, full of images and metaphors, are musically arranged in such a way that everyday problems become apparent through symbols. In 1972 the only LP was recorded at the small Menga-studio at Gelsenkirchen in an edition of 500 copies.
01. VARIETY
02. WATERCORPS
03. DROPS
04. DRAW CONCLUSIONS FROM
05. LAST DOOR
06. MORE DROPS (BONUS)
07. ALL THAT I REMEMBER (BONUS)
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The St. Louis band which rivaled the MC5 in their support of the Anti-War Movement. The 1969 Street Suite LP,all their 45 releases, and Three Unreleased songs from the LP sessions.
A local St. Louis, Missouri band. Only 100 copies of their album were pressed and the above two non-LP 45s were often given away free with it. We're talking an ultra rarity of the highest order here. There are a couple of throwaway country tracks (Happy Face and Got To Keep Travelling On) and the finale, Gettin' Off, is marred by a tedious drum solo but the rest is for the most part mindblowing psychedelia. The best of these are Catfish, with some bluesy psychedelic guitar work, and two social commentary songs, Get A Gun and Let's Keep The Children On The Streets, a song about the riots of the sixties.
Ray Schulte had earlier played in Bob Kuban and The In Men in 1962, before helping to form The Guise and, with his brother Jerry, an act called The Sheratons. Tiring of the pop and R&B scene, Touch were formed in mid-67, to create a more powerful fusion of psychedelic blues, and they quickly picked up support slots for acts such as Steppenwolf, Cream and Iron Butterfly, also playing at a free festival with Big Brother & The Holding Co. and Hourglass in '68.
Shortly after their album was recorded, Paulette headed West to join a commune, and Ovid quit. A new line-up recorded two further 45s, which feature some good fuzzy guitar work and in particular their version of Light My Fire, which is slower and fuzzier than The Doors', comes off well.
One final session in 1970, with Royal on electric harpsichord and lead vocals and David Surkamp (later of Pavlov's Dog) on rhythm guitar, resulted in three songs that have been included on the Gear Fab reissue. In particular The Magic Inside You is noteworthy for some fine lyrics, echoing the changing times. Incongruously, the band then landed the job as back up band for Tony Orlando & Dawn, who were riding high on a wave of commercial success from hits such as Tie A Yellow Ribbon.
Today, Royal and Ray Schulte are still performing in the St. Louis area as The Essence.
01) Stormy Monday Blues
02) Round Trip +
03) Day to Day Man+
04) Light My Fire+
05) Lady Of The Universe
06) The Magic Inside You
07) Rainbow++
08) Happy Face
09) Beginings
10) Get A Gun
11) CAtfish
12) Got To Keep Travelin' On
13) Let's Keep The Children On The Streets
14) Motor City's Burning
15) Gettin' Off
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Extraordinary heavy-rock-trio, which had been influenced by JIMI HENDRIX, HAWKWIND, EGDAR BROUGHTON etc. Progressive fuzzbluesrock with long instrumental passages. Legal digipak reissue with poster insert and perfect sound quality.
Seeing that the images from the same photo session were used as the artwork all over their sole two albums, I get the distinct feeling that Tiger B. Smith was not a going concern for any longer than three years, tops. And I get an even stronger feeling that they never toured -- forget even copping an TV appearance on “Musikladen” in their native West Germany -- or did anything to promote their records except to doll up massively for the aforementioned photo shoot. Ha -- guitarist/vocalist Holger Schmidt’s get up is as outrageously glam-bang as anything donned by The Sweet in their prime, which is a pretty tall order (And speaking of tall, Schmidt’s silver boots are not only just that but he’s also wielding a fake third pant leg with YET another matching boot -- just like The Sweet’s guitarist did on their performance of “Blockbuster” on Top of The Pops, come to think of it -- AND all three bear the group name running up the sides) while letting loose with a hammed up “roar” for the camera through parted purple lips from his bearded, afro-topped head. The other two members of the tiger gang visually come on just as strong: moustachio-ed bass player Klaus Meinhardt displaying Iggy’s “Raw Power” cheetah head jacket design on the front of his shirt (visible in-between the part of his flowing cape) as drummer Karl-Heinz Traut looks every inch a campy nightmare while his tiger skin barely keeps adhered to his puffed out chest. Makes you think they look INTENSELY silly as well as casting the group as possibly nothing more than a trio of aging session men caught in a last desperate attempt at stardom, unashamedly caught in the act of sacrificing what little self-esteem, pride and common sense they had left kicking around in their heads upon the old 15 minutes altar of fame.
Dismissing the possible theory of blackmail and despite (or because) of all the above, I believe in Tiger B. Smith. Not only because they rock up a storm heavier than glam on “Tiger Rock”, but I also love the how far out of their way they went to look so embarrassing -- because the only people it embarrassed were infernal snobs and straights lacking any vision as well as (more importantly) a sense of humour. And despite several ill-advised ballads and damp-as-a-fart-in-a-birdcage “progressive” forays they inserted into their otherwise fine second LP two years later, I think they knew EXACTLY what they were doing. Which makes them even funnier, far more likeable and (face it) totally rock’n’roll. “Tiger Rock” was their first and most consistent album, as it held a far greater ratio of inspired heavy rock centerpieces whose base tracks were all performed live and caught within the confines of the Dierks Studios in Stommeln…with audio guru Dieter Dierks producing, no less.
Five tracks comprise the album, and the Tiger bunch are nothing less than on the prowl for the bulk of it. Kicking off with “Tiger Rock” as roaring sound FX slyly open up the proceedings. Schmidt’s abrasive, near-antiseptic riffing intro cuts in to signal the band to break into a full-tilt, hardened boogie approximating the same pace and strength of Neil Young’s “Sedan Delivery” (Which is to say it’s not the usual “feel-good-at-a-mid-pace-tempo-while-we-amp-up-slow-and-dumb-down-the-blues-like Humble-fucking-Pie-and-make-you-feel-alllllll-right!-in-the-process” boogie nonsense far more streamlined and simple and minus any fussy blues allegiance…although THAT comes into play full force when the last track of the album derails an otherwise superb album with an obligatory and far too long blues exposition.) Tiger B. Smith just pummel it out so moronically forceful and insistently, it’s beyond mere standard blues-boogie --its savageness is a far more bloodying stomp-fest, mirrored by Schmidt’s repeated breakdown chorus of “Won’t do it!/ Won’t do it! / Won’t do it! / I will not do it! / I will not do it! / Just leave me alone!” and the abundance of double-time drum rolls which to the overall sense of abandon both fretfully defiant and willfully absurd at the same time.
The plodding, near-“Iron Man” sensibility of the rhythm guitar of “These Days” juxtaposes itself against a stoic drum pattern clipped with Dierks’ industrial effects which translates them into a sound at once deceptively hollow though thundering with hugeness and overall bass throttling from Klaus Meinhardt. Several times it collects into small, pounded-out mini-thrashes on the beat only to explode back into the even slower paced trudge “theme”. A middle section picks up speed, only to fall back with the added appearance of organ tones. Again and again the brief thrash sessions return as much to annoy as to excite and serve to break up the track’s otherwise super-drag quality as well as adding a sense of perfectly timed stupidity.
The next two tracks comprise nearly half of the album with a collective running time of about sixteen minutes and it’s Tiger B. Smith at their furiously and witless best, propelled by a voluminous fuzz bass line as they rock out with furious insistence. “Everything I Need” is six-and-a-half minutes of rant’n’roll with that reoccurring overamped bass throbs pulsating yet holding their ground during the whirlwind of Traut’s near-constant drum fills and Schmidt’s slashing rhythm guitar as he roars out his lyrics of need: “I’m searchin’ for all the things I need! / To satisfy my human greed! / I got a lot / But not enough! / ’Cuz baby all I need is your sweet love!” The last word of each line is extended painfully as though barely keeping the imminent cracking of his voice in check. “Everything I Need” keeps returning to the same moronically repeated, midget riff cycle with only the occasional gearshift change in the form of outright instrumental breakdown to interrupt it. But it continually returns to swell back to top speed with that unbending bass line just because it feels right in the simplest manner possible. “To Hell” opens with a prominent wah-wah guitar lead/rhythm anchored by a one-fingered fuzz-bass throttling against a pounding drum pattern akin to like Joy Division attempting a blaxploitation version of “Dead Souls” as a three-piece. It would be a total late night, car cruising instrumental if not for the overdubbed spoken proclamation that is all but rendered incoherent via Dierks’ echoed treatment that fans the words out into a quick, slapback rippling effect.
But it's an odyssey nevertheless, continuing as Meinhardt’s lumbering bass lines and Traut’s drum patterns keep the background taut for Holger Schmidt as he blasts off with further wah-wah extrapolations, whammy bar vibrato and just generally letting loose with a continuing series of punk freak outs. At one point it drops off to near-silence but for over-amplified bass flatulence notes and now-thinned out drums, but the Tiger guys become uncaged once more as they start to fall behind a riiff Schmidt has just hung some wah-wah upon on, and they’re already off at top speed. The bass latticework increases, as does Traut the Kraut’s doubling up on the double bass drums until it sounds once more like an instrumental Joy Division track, only this time at the speed of the 90 degree incline of “Insight”. It soon blows apart with repeated tom-tom rolls, although it doesn’t mean anything to Schmidt, who continues on and trails beyond his two comrades into a slowly crumbling silence.
If only “Tiger Rock” ended here, but no: an extended electric blues (entitled imaginatively as “Tiger Blues” and complete with mouth harp a-wailing) I mentioned earlier does, and it’s totally out of place with the rest of the record’s exhaustive excursions into dum-dum repetition. Its only saving grace is when a final, unaccompanied tiger roar FX gets thrown in to end it all. But although both of Tiger B. Smith’s two albums fall short of being perfect their highlights are insanely rockin’, totally liberated of self-consciousness and just plain hard to ignore. (Reviewed by The Seth Man, 27th June 2002)
01. Tiger rock
02. These days
03. Everything I need
04. To hell
05. Tiger blues
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A middling late-sixties psychedelic group, Twentieth Century Zoo were the first such band from Phoenix to get an album released and nationally distributed, even if that LP was on a small L.A. label, and not many people would hear it. The band evolved from the Bitter Sweets, which had a couple of local singles in 1966 and 1967. In 1967 and 1968, Twentieth Century Zoo had a couple of singles on the small Caz label, the first of these, "You Don't Remember, " being respectable psych-punk in the mold of the Music Machine.
In late 1968, the group recorded an album in Los Angeles for Vault Records, Thunder on a Clear Day. Featuring elongated fuzz-sustain riffs and heavy organ, somewhat in the manner of Fever Tree, there was little to make it stand out from the crowd of similar late-sixties American albums. At times there was also a hard blues-rock feel, which could break into tedium on longer tracks, such as a ten-minute cover of Little Walter's "Blues with a Feeling." Twentieth Century Zoo got to open for several bigger bands in Phoenix, such as Iron Butterfly and Blue Cheer, and did one more single for Vault before breaking up in 1970. Their album was reissued by Sundazed in 1999, with non-LPs singles and outtakes tacked on as bonus tracks.
01. You Don't Remember [Single Version]
02. Clean Old Man
03. Love in Your Face [Single Version]
04. Tossin' and Turnin'
05. Quiet Before the Storm
06. Rainbow
07. Bullfrog
08. Love in Your Face
09. You Don't Remember
10. It's All in My Head
11. Blues With a Feeling
12. Only Thing That's Wrong
13. Stallion of Fate
14. Country
15. Hall of the Mountain King
16. Enchanted Park
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The old adage “timing is everything” certainly applies in the case of Jerry Penrod. Had the singer-songwriter recorded the single Junkie John a few months earlier, Penrod, whose albums appeared under the name of his alter-ego, Tim Dawe, would surely have become a major star. However, as misfortune would have it, just as Junkie John, a catchy psychedelic rock tune, was beginning to achieve serious airplay, America’s dreaded FCC launched a crack-down on all drug-related music, thereby denying Junkie John the commercial success it was surely destined to achieve. Penrod, for his part, was philosophical “I had a great fifteen minutes while it lasted” he later opined.
Penrod, which originally appeared in 1969 on Frank Zappa’s vanity label, Straight Records, (STS 1058) along with albums by Tim Buckley, Judy Henske, Captain Beefheart and Alice Cooper, is justifiably regarded as one of the greatest psychedelic albums of all time. Stuffed full of folk-rock, varied keyboards and inspired acid guitar, the album contains what are now regarded as four self-penned masterpieces, and although Dawe/Penrod only added one further album to his canon of recorded work (Timothy And Ms Pickens With Natural Act, released on Half Moon Bay Records in 1976), he contributed a number of songs to albums by It’s A Beautiful Day, Rod Taylor, and even Iron Butterfly, of which he was an early member.
In every sense, from its idiosyncratic cover art to its incredible music, Penrod is a psychedelic classic. Highly recommended
01. Scarlet Woman - 2.28
02. Nite Train Home - 3.24
03. Nothing At All - 4.30
04. Little Boy Blue - 2.31
05. Junkie John - 7.34
06. Sometimes Alone - 4.09
07. No Exit (Cafe And Gallery) - 5.30
08. I´m Coming - 2.55
09. Some Other Time - 3.07
10. Didn´t We Love - 5.08
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Rare private press from 1975 by this buch of dudes from Californi-ay who made a rural rock album in the style of Dead meets the Eagles variety.The opening title track has a beautiful psychy lead guitar hook and great melody throughout.This is mellow country rock with great steel guitars and the appropriate tuneful vocals,with the occasional fuzz guitar putting in a welcome appearance.
Back in 1975, a bunch of dudes from Boulder Creek, California, found themselves in a recording studio and decided to make a rural rock album of a sort of Dead-meets-Eagles variety. The result, Hellbound Highway, an obscure private pressing made its appearance on Renegade Records the same year, but as only about 100 copies were pressed, very few have experienced the delights of this laidback recording. Some of the songs are terrific, particularly the opener and title track, with its psychy lead guitar hook, a clever twist in the chorus and a great melody, and the side-closers are both outstanding.
In between, we're treated to some mellow country rock of the Outlaws variety, with some excellent steel guitar and some highly appropriate and surprisingly tuneful vocals, and the occasional fuzz guitar putting in a welcome appearance."
01 - Hellbound Highway - 4.42
02 - Tantra Queen - 3.42
03 - Pass The Bottle' - 3.46
04 - Just One Quart - 3.58
05 - Nobody On The Streets - 4.39
06 - Stoned Cold Turkey - 3.58
07 - Fallen Angel - 4.05
08 - Tom Haley - 2.48
09 - If I Had The Trength - 3.23
10 - Hell In The Hills - 6.19
Bonus (Never released)
01 - Cody
02 - Harry
03 - Landslide
04 - Pas Fool Son
05 - Silver Ribbons
06 - Tom Haley
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First reissue from Australia on WIS, The Yeah Captain album was recorded in 1969 and it was the first album of its type produced in Australia, a milestone. Music ranges between heavy psychedelic rock and poetic acid folk, both in an outstanding level.
Trevor sang and played all instruments, creating a perfect full band sound, that really blows. An original album, is near impossible to find. Also included 2 bonustracks by Trevors 45 record, that was also recorded on Nationwide Recordings Adelaide. A piece by one man with various talents -- an absolute must
Extremely rare Australian album released in 1969. Playing all instruments Trevor creates a sound part way between acid rock and folk rock with multi-layered fuzz guitar mixing with acoustic guitar simple percussion and bass. At times the sound is a bit like UK band Fresh Maggots.
01 - Silver - 3.29
02 - Waking - 0.37
03 - The Gun - 2.44
04 - 15 - 1.00
05 - Jackie's Thing, from the Pop Opera 'Piano' - 2.27
06 - Joseph Blackwell - 2.53
07 - Riding to Athenbury - 1.47
08 - Yeah Captain Part 1 - 4.10
09 - Now - 2.12
10 - P.I.P - 1.28
11 - Cavalier - 1.10
12 - Digging - 1.05
13 - I'm Very Sane Thank You - 0.54
14 - Black Girl - 2.27
15 - Sinners - 0.48
16 - Living on a Strain - 1.47
17 - Yeah Captain Part 2 - 2.32
18 - Morocco - 3.21
19 - Country Corn - 3.42
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Superb previously unreleased album by a band that was formed from the remains of "Them" and toured and lived in late '60s America. Great late '60s psychedelia.
Truth, Of Them and Other Tales (Epilogue). Although Truth never released an LP while they were together, in 1995 this 68-minute CD was salvaged from 1969-70 recordings. Most of them were made for a soundtrack of an obscure film, with three other tracks coming from a Chicago studio session during the brief time in which Ray Elliott was in the band. Perhaps to the surprise of some listeners aware of Truth's Them connections, there's not much of a hard R&B-blues-British Invasion influence. It's far more reminiscent of late-'60s California guitar psychedelia, along the lines of some of the more economic and harmony-driven bands in that style, like Moby Grape and (more distantly) Love. In this respect, Truth recall Fat Mattress (Noel Redding's group), another act with heavy British Isles roots that took major cues from West Coast harmonized psych, though Truth and Fat Mattress aren't extremely similar. Truth play late-'60s psychedelic rock with a breezy lightness, yet with some guts, anchored by extremely versatile guitar lines by the underrated Jim Armstrong. The songs might not be classic, but they're very pleasant go-with-the-flow period sequences of images, with one vocal (on "Blackboard Words") closely approximating the sound of late-'60s Roger McGuinn. On "Sonic Sitar," the group expands upon the raga-rock explored in the post-Van Morrison Them's best cut, "Square Room," and in fact "Archimed's Pad (Squared Room)" is an impressive instrumental remake of "Square Room" that's an underrated highlight of the whole raga-rock genre, with its hypnotic drawn-out interplay of drones and Indian-influenced guitar melodies. The three songs recorded with Ray Elliott on flute and piano go into jazzier grooves with good effect, adding nice icing to a record that's on the whole better (and certainly more consistent) than either of the late-'60s Them albums on which some of the Truth musicians played.
I was surprised to learn that this magnificent CD, one of the best retrospective releases of the mid-1990s, is still in print. Apparently a second run was made for a licensing deal which then fell through, leaving the good people at Epilogue with a big stack of CDs for a release that had already run its course on the home market. The good news is that 8 years down the line a new generation of heads have an equal opportunity to jump into this exhilarating roller coaster ride of west coast-style guitarpsych at its finest.
TRUTH is one of the more obscure twigs on the amazingly vast tree that grew out of a 1964 Belfast hoodlum r'n'b act first (and last) known as Them. You've heard the great Van-era recordings, the even greater Belfast Gypsies recordings, the inconsistent but occasionally brilliant Texas-era recordings -- but prior to this CD you're unlikely to have heard this Chicago-based franchise, featuring guitarist Jim Armstrong and vocalist Kenny McDowell from the Belfast/Texas incarnations of the band, lured back to the US by a music biz impresario circa 1969. The ex-Themers teamed up with two local musicians and Truth was born, rehearsing like crazy and playing local Windy City gigs with some success. I'll refer to John Berg's very detailed liner notes for the full story and move on to the music.
The bulk of the 14 songs contained on the CD are 1969 recordings made for a movie titled "College For Fun And Profit" in which the band can actually be spotted in one scene. The remaining tunes come from a 3-track acetate recorded for a prospective Epic LP that never happened. According to Jim Armstrong "Truth was the best band I ever played in. There was no pulling in different directions". It's not hard to believe him, because that's what Truth sounds like -- skillful musicians delivering music that radiates warmth, harmony and synchronization. If this sounds a bit like vintage Grateful Dead then all the better, because there is a distinct similarity between the Dead of, say, "China cat sunflower", and the airy, good-natured guitarpsych of Truth. Not much is said about the band's influences in the liner notes but if I were to define them in terms of a pin placed on a wall-map of the USA, the spot would be Highway 1 halfway between LA and the Bay Area. There is already a pin there, marked Stalk-Forrest Group, and apart from the Dead that's one band that Truth remind me of.
Impressive credentials for sure, but Truth needn't be embarrassed in this company, because their music is faultless and at its best outright stunning. So very few bands manage to play music that allows space for the members full range of versatility without degrading into prog or fusion; Truth manage to do so and still deliver melodic, open-ended music. The opening "Music is life" is a program declaration as good as any; complex rhythms and bold chord shifts, yet as inviting as a Byrds 45 with McDowell's joyful vocals setting the tone for all that follows. "6 O'Clock Alarm" is your standard white-collar grind lament except with a 5-minute Garcia/Lesh-style jam in the middle, before the vocals pull you back to planet Earth.
I have to refrain myself from describing every track in detail but all of it progresses along the superb '69 Dead/Stalk-Forrest axis described above; an exquisite sitar track adds a foreign flavor, while the 10-minute revisit to the Texan Them's "Square room" shows just how good raga rock can be if done with serious intentions -- like a sequel to "East-West" by the Butterfields 3 years earlier. There is another great track called simply "HIGH!" which is how you feel when hearing it, and a take on "Circle round the sun" that suits the band very well. The CD closes with the 3 tracks off the aforementioned acetate, and they're just as swell, bringing in organ and flute and a slight British influence (think Traffic) to produce one of the very best tracks on the entire CD, the powerful "Castles in the sand" that is likely to blow anyone's head off. There is some very minor surface noise on the acetate tracks while the earlier recordings are crystal clear and can be played loud as fuck!
Most of the unreleased 1960s-70s stuff that appears is disappointing and shows mainly why it wasn't released in the first place, but this Truth CD is the perfect antithesis of that cynicism -- just like Stalk-Forrest Group it's better than almost anything that WAS released at the time.
01 - Music Is Life (4'13")
02 - 6 O'Clock Alarm (9'14")
03 - Mysterios (1'21")
04 - Music From Big Puce (4'27")
05 - Country Funk (0'39")
06 - Blackboard Words (2'47")
07 - Sonic Sitar (3'18")
08 - High! (6'35")
09 - Archimed's Pad (Square Room) (11'4")
10 - Getting Better (5'27")
11 - Circle 'Round The Sun (5'19")
12 - Ride The Wind (6'37")
13 - Castles In The Sand (7'18")
14 - October ´68 (The Tears That You Cry) (5'23")
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Size: 78.6 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Incuded
West, Bruce and Laing were a blues-rock power trio super-group consisting of Leslie West (guitar and vocals), Jack Bruce (bass, harp, keyboards and vocals) and Corky Laing (drums and vocals). In 2009 West and Laing teamed up with Jack Bruce's son, Malcolm, and began touring as West, Bruce Jr. and Laing.
The trio formed in Chicago in the spring of 1972 following the breakup of Mountain, West and Laing's previous band. In the 60s Bruce had been a member of legendary British rock band Cream, whose sound had strongly influenced that of Mountain (Mountain's bassist/vocalist Felix Pappalardi previously had produced all but one of Cream's albums, and also performed with them as a sideman).
The trio toured extensively and released two studio albums, 1972's Why Dontcha and 1973's Whatever Turns You On. They disbanded shortly before the release of their live album Live 'n' Kickin' in 1974.
West and Laing reunited in a reformation of Mountain in 1985 and have continued playing together ever since.
In 2009 West and Laing teamed up with Jack Bruce's son, Malcolm Bruce, and will be touring as West, Bruce Jr. and Laing. This new group is being considered a reformation of West, Bruce and Laing as most venues are describing Malcolm as "filling in" for his father and they have been rehearsing several Cream as well as West, Bruce and Laing songs.
The album features "The Doctor," which received heavy FM radio airplay upon the album's release and became a signature song in live performance for the band. Other noteworthy tracks include "Out Into the Fields," which Jack Bruce continued to perform in concert following West, Bruce and Laing's breakup (and which he re-recorded for his 2002 album Shadows in the Air), and "Love is Worth the Blues," a song loosely based on the chords and structure of The Rolling Stones' "Play With Fire".
Why Dontcha was West, Bruce and Laing's most successful album, reaching #26 on the Billboard U.S. album chart.
01."Why Dontcha" (West/Bruce/Laing) - 3:04
02."Out Into the Fields" (West/Bruce/Laing/Brown) - 4:41
03."The Doctor" (West/Bruce/Laing/Palmer) - 4:29
04."Turn Me Over" (West/Bruce/Laing) - 2:45
05."Third Degree" (Eddie Boyd/Willie Dixon) - 5:14
06."Shake Ma Thing (Rollin' Jack)" (West/Bruce/Laing) - 3:17
07."While You Sleep" (West/Bruce/Laing) - 3:24
08."Pleasure" (West/Bruce/Laing/Brown) - 4:01
09."Love is Worth the Blues" (West/Bruce/Laing) - 4:12
10."Pollution Woman" (West/Bruce/Laing/Brown) - 4:28
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Size: 72.7 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Following the exits of bassist/producer Felix Pappalardi and keyboardist Steve Wright, remaining Mountain members Leslie West (guitar) and Corky Laing (drums) forged a new alliance with ex-Cream bassist Jack Bruce. The hard rock supergroup's debut LP, Why Dontcha, appeared in 1972, followed a year later by Whatever Turns You On. The Bruce, West and Laing trio proved short-lived, however, dissolving prior to the 1974 release of the Live 'n' Kickin' concert set.
WBL have often been unfairly compared to Cream, and except for the Jack Bruce/Felix Pappalardi link and the fact that both bands were a power trio format, I think this is unfair. They had their own sound, and this excellent live outing showcases them in all of their glory. The sound quality is excellent, and there are only 4 tunes on the album, because of their length (which begs the question which vault the rest of the live tracks are languishing in -- this should have been originally released as a two album set), and they include:
Play With Fire: The Stone's classic is given a heavy metal finish, with Jack and Leslie trading off on vocals and Corky doing an inventive drum solo.
The Doctor: The live outing of one of the studio tracks on their debut album, Why Dontcha', featuring searing slide work by Leslie.
Politician: Better than the live outings by Cream, no kiddin'.
Powerhouse Sod: This track features an absolutely mind-bending bass solo by Jack, which I found both surprising and long overdue given the fact that he never really did any bass solos when he was with Cream, except for a brief one on one of the takes of "Steppin' Out" from the Cream at the BBC CD.
The bottom-line is that if you are a fan of Mountain, Leslie West, Jack Bruce, Cream, or any in your face heavy rock, you will eat this up with a spoon and write the label to demand that they release the rest of their live inventory. (By Lawrence A. Strid)
01. Play With Fire
02. The Doctor
03. Politician
04. Powerhouse Sod
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Size: 105 Mb
Bitrate: 256
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Ripped By: ChrisGoesRock
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Mega-rare previously UNRELEASED recordings from the mid. 70's by this dark UK underground doom band. We are talking no-nonsense heavy duty SABBATH style occult rock by a group of drug-crazed muse's with a genuine interest in witchcraft and the black arts. A nice homely bunch to introduce to the vicar when he comes over for tea and fairy cakes on a Sunday afternoon. Probably the heaviest Audio Archives release to date, more potent than Dark and more doomy than Black Widow. Includes additional live material, full band history and magnificent medieval war-cry artwork.
The one all lovers of downer-rock have been waiting for!! Mega-rare previously unreleased recordings from the mid 709's by this dark UK Underground doom-metal band. We're talking no-nonsense heavy-duty Sabbath style rock by a group of drug-crazed muso's with a genuine interest in witchcraft and the black arts. A nice homely bunch to introduce to the vicar when he comes over for tea and fairy cakes on Sunday afternoon.
Probably the heaviest Audio Archives release to date, more potent than Dark and more doomy than Black Widow. Includes additional live material, full band history and magnificent 'medieval war-cry' artwork.
01. Jasmin Queen (1977) - 4.26
02. Explorer (1977) - 5.51
03. Face Of The Sun (1975) - 6.10
04. Warlord (1975) - 3.48
05. Lady Killer (1975) - 5.10
06. To The Devil A Daughter (1974) - 3.29
07. Devil Drink (1975) - 4.23
08. Wild Africa (1975) - 7.05
09. I See The Warlord (1975) - 4.47
10. Face Of The Sun (1975) - 4.45
11. The Ring (1975) - 4.12
12. Warlord Part II (1975) - 2.19
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Size: 131 MB
Bitrate: 256
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Ripped By: ChrisGoesRock
Artwork Included
Sir Lord Baltimore are a pioneering American heavy metal band from Brooklyn, New York, formed in 1968 by lead vocalist/drummer John Garner, guitarist Louis Dambra, and bass player Gary Justin. They are notable for the fact that a 1971 review of their debut record, Kingdom Come, contained the first documented use of the term "heavy metal" to refer to a style of music. Additionally, Sir Lord Baltimore featured a drumming lead singer, traditionally a rarity in rock and metal music. The group have been called "the godfathers of stoner rock."
In 2006, Garner and Dambra reunited as Sir Lord Baltimore and released a new album, Sir Lord Baltimore III Raw. However, the band now has an overt positive moral focus not found in their earlier work. Justin, who is no longer an active musician, did not participate.
Sir Lord Baltimore's career is divided into two distinct periods: their original formation, during which time they put out two studio albums and started a third; and lead vocalist/drummer John Garner and guitarist Louis Dambra's reunion in 2006.
Having first met in high school, Garner (the band creator), Dambra, and Justin started rehearsing together in 1968. At the time of their formation, Dambra (as Louis Caine) was also playing for a group called The Koala, who released an eponymous LP in 1969. Additionally, Justin has cited Cream's Jack Bruce as an influence on his early career choice.
After a relatively short time, the new band auditioned for Mike Appel, who was then working as a talent scout and would later launch and manage the career of Bruce Springsteen. Appel agreed to mentor them, reportedly gave them the name Sir Lord Baltimore, and would later co-write the lyrics also co-arranged and co-produce their debut album.
That album, Kingdom Come, was recorded at Vantone Studios and engineered by Nick Masse from the lengendary "Four Seasons" West Orange, New Jersey, with Jim Cretecos serving as Appel's co-producer. Additional tracks, mixing, & overdubbing were done at New York, New York's Jimi Hendrix Electric Lady Studios with legendary engineer Eddie Kramer, better known for his work with Jimi Hendrix, KISS, and many others. According to Appel, British psychedelic rock band Pink Floyd had the opportunity to hear Sir Lord Baltimore during these sessions, and were reportedly impressed.
Released on Mercury Records in 1970, Kingdom Come featured very fast-paced rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass, and extensive multi-tracking to further enhance the guitar sound.[10] Though this style of rock 'n' roll would become popular in later years, it was considerably different from the majority of that era's contemporary rock music.
On February 19–20, 1971, Sir Lord Baltimore played consecutive nights at New York's Fillmore East as the opening act on a bill that included The J. Geils Band and Black Sabbath, as part of the latter's Paranoid tour. (Sir Lord Baltimore played additional dates on this tour, as well.)[12] A photo of the band used in the Fillmore East's programs was later used as the cover of their 2006 reunion album, Sir Lord Baltimore III Raw.
In May 1971, Mike Saunders (of later Angry Samoans fame) wrote a favorable review of Kingdom Come for Creem magazine. Of historical note was Saunders' assertion that "...Sir Lord Baltimore seems to have down pat most all the best heavy metal tricks in the book." To date, this appears to have been the first printed use of the term "heavy metal" to reference a musical genre.
Issued the same year, and again on Mercury, Sir Lord Baltimore marked a change in direction, with Kingdom Come's frenetic pace giving way to slower-tempoed songs more reminiscent of music produced by the band's hard rock peers. Sir Lord Baltimore expanded to a four-piece for this album, with Louis Dambra's brother, Joey Dambra, joining as a second guitarist. Sir Lord Baltimore contains the supposed live recording, "Where Are We Going" which was actually recorded at Mercury Studios. The audience was dubbed in since the producer thought it was a good idea to include a "live" track.
Their career started to fade after Sir Lord Baltimore's release, and Mercury dropped them shortly thereafter. The band publicly blamed drugs on its initial downfall, with low record sales and non-payment of royalties also being cited. However, the band did start work in the mid-1970s for an unreleased third album originally scheduled for 1976, and music written for that project was eventually used on Sir Lord Baltimore III Raw.
In 1994, Kingdom Come and Sir Lord Baltimore were reissued on a single compact disc, Kingdom Come/Sir Lord Baltimore, from PolyGram, However, the track listing on the combined CD differs from the original recordings. Kingdom Come was issued again separately as downloads in 2007, this time on Anthology Recordings,
Some 30 years after the band's break-up, Garner and Dambra reunited to record and self-distribute a new Sir Lord Baltimore album, Sir Lord Baltimore III Raw, on JG Records in July 2006. Garner produced the album. The majority of the album's bass guitar lines were performed by Tony Franklin, with guitarist Anthony Guido and bass player Sam Powell being credited as guest musicians. Though the album's music was originally written for the aborted 1976 release, the lyrics were modified to present a subtle Christian viewpoint.
As of February 2007, Sir Lord Baltimore III Raw is lacking a distributor and has not been released for sale. In addition to his modern day work with Sir Lord Baltimore, Dambra is an active pastor who ministers to homeless families in Los Angeles, California. To date, he and Garner have not announced any future projects.
Since 2007, John Garner & Swedish guitar player Janne Stark of Overdrive and Locomotive Breath Band recorded a modern version of "Woman Tamer" from SLB's 2nd Album since neither Louis or Joey are active members at this point. In March 2008, it was announced that John Garner & Janne Stark with a selected bass player will make an appearance at Rock Festival in Sweden in June 2008, But mitigating circumstances, plus lack of pay prevented it.
When the subject of heavy metal pioneers comes up (and one gets past the obvious bands like Black Sabbath, Led Zeppelin, and Deep Purple), several lesser-known but still remembered bands are invariably mentioned, and one of them is Sir Lord Baltimore,
who hailed not from Baltimore but from New York. The formed in the late 60's and managed two albums before giving it up (confusingly, the self-titled album is their second, not first). Given that these were released in 1970-1971, one shouldn't expect modern crushing guitars, but this was pretty heavy stuff for the time (particularly the debut), a wild, psychedelic hard rock sound that occasionally brings to mind early Budgie as well as the aforementioned Zep.
They may have been the first hard rock band whose drummer was their lead singer, still a rarity in heavy metal. When modern stoner bands are referenced as "70s-influenced", this is the kind of band they're referring to.
***** Kingdom Come is the first studio album by American heavy metal band Sir Lord Baltimore, released on Mercury Records in 1970. It was reissued on PolyGram in 1994, on Red Fox in 2003, and on Anthology Recordings in 2007. The 1994 and 2003 re-releases also contained 1971's Sir Lord Baltimore, and were titled Kingdom Come/Sir Lord Baltimore.
This album is notable for the fact that its 1971 review in Creem contained the first documented use of the term "heavy metal" to refer to a style of music.[1] It features very fast-paced, rhythm & blues-based rock 'n' roll with high levels of distortion in the guitar and, in some cases, the bass. Though this style of rock 'n' roll would become extremely popular in later years, it was considerably different from the majority of that era's contemporary rock music. Kingdom Come also makes extensive use of multi-tracking to enhance the guitar sound.
All of the songs on Kingdom Come were co-written and arranged by Mike Appel, who would later become Bruce Springsteen's manager. Co-produced by Appel and Jim Cretecos, the album was recorded at Vantone Studios in West Orange, New Jersey, before being mixed by Eddie Kramer and Kim King at Electric Lady Studios in New York, New York. Kramer is well-known for his work with such artists and bands as Jimi Hendrix, The Beatles, The Rolling Stones, KISS, Led Zeppelin, David Bowie, Curtis Mayfield, and many others.
***** Sir Lord Baltimore is the second studio album by American heavy metal band Sir Lord Baltimore, released on Mercury Records in 1971. It was re-issued on PolyGram in 1994, and on Red Fox in 2003. The 1994 and 2003 re-releases also contained 1970's Kingdom Come, and were titled Kingdom Come/Sir Lord Baltimore.
This album marked a change in direction, with the frenetic pace of the earlier Kingdom Come's giving way to a slower-tempo. Sir Lord Baltimore expanded to a four-piece for this album, with Louis Dambra's brother, Joey Dambra, joining as a second guitarist. Sir Lord Baltimore contains the band's only officially released live recording, "Where Are We Going."[Wikipedia]
01. Kingdom Come (Kingdom Come)
02. I Got a Woman (Kingdom Come)
03. Hell Hound (Kingdom Come)
04. Helium Head (I Got a Love) (Kingdom Come)
05. Ain't Got Hung on You (Kingdom Come)
06. Master Heartache (Kingdom Come)
07. Hard Rain Fallin' (Kingdom Come)
08. Lady of Fire (Kingdom Come)
09. Lake Isle of Innersfree (Kingdom Come)
10. Pumped Up (Kingdom Come)
11. Chicago Lives (Selftitled)
12. Loe and Behold (Selftitled)
13. Woman Tamer (Selftitled)
14. Caesar Lxxi (Selftitled)
15. Man from Manhattan (Selftitled)
16. Where Are We Going? (Selftitled)
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