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Tuesday, 19 June 2018

Savoy Brown "Chicago and Connecticut College" 1969 Live (bootleg) UK Blues Rock


Savoy Brown  "Chicago and Connecticut College" 1969 Live  (bootleg) UK Blues Rock
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JerryRocks noted: 

Chicago: I dug this vintage really good recording from my reel to reel vault. It is a really nice partial performance, good quality for the period. 

Connecticut: Here’s another great sounding one for the era… 50 minutes of pure rock-blues, with a 24-minutes Louisiana Blues version. 

Cincinnati: I happily saw and downloaded the recent 1972 SB show… That made me think of the earlier Chris Youlden years, which to me, epitomized this very long-running band. I did a search of what was currently on the tracker from that early SB band, and found that this soundboard was not up at the moment. I’m certain it must’ve been in the past. I got my copy in a trade long ago. I did once see the “Looking In” version of SB (aka “early Foghat” with Kim Simmonds), but never got to see this version with Youlden. I know that he went on to do a couple of solo albums that are certainly worth seeking out. He had a great voice and I think it all meshed really well at this point for the band. Since the longest track on this show is Louisiana Blues with a Lonesome Dave vocal, this doesn’t feature Youlden as much as a couple of the other shows that pop up from this era. Still, this is a very good show. Please support these musicians by paying to see them live and by purchasing their commercially released output.


Chicago 1969 
Line-up: Kim Simmonds, Chris Youlden, Dave Peverett, Roger Earl, Tone Stevens

Tracklist: 
01. May Be Wrong 
02. A Hard Way To Go 
03. A Little More Vine 
04. Rock ‘N’ Roll Boogie 
05. Shake Rat 'N’ Roll

Connecticut College 1969

Line-up: Kim Simmonds, Chris Youlden, Dave Peverett, Roger Earl, Tone Stevens

Tracklist: 
1. TrainTo Nowhere 
2. Louisiana Blues 
3. Instrumental 
4. I’m Tired 

Strangefish "The Spotlight Effect" 2018 UK Neo Prog


Strangefish  "The Spotlight Effect" 2018 UK Neo Prog 
full vk
https://vk.com/wall312142499_10962

full spotify

https://open.spotify.com/album/1egK9Esz8cuiIFkXnq0wOr

Strangefish on soundcloud

https://soundcloud.com/strangefish-1

facebook

https://www.facebook.com/strangerfish/

official website

http://www.strangefish.co.uk/main.htm


Having a harder and at times darker feel to its 2006 predecessor `Fortune Telling`, `The Spotlight Effect` has the different aspects of the human condition as its overriding theme. It focuses on the media-driven world we find ourselves in today, where every move we make is analysed then picked to pieces. There`s nothing sacred anymore; all things are considered fair game for an `entertain-me` hungry audience…..~


Line-up: 
Steve Taylor - vocals 
Paul O`Neill - keyboards 
Bob - guitar 
Dave Whittaker - drums 
Jo Whittaker - vocals 
Carl Howard - bass


Tracklist: 
1. Death Of Common Sense 
2. Progress In Reverse 
3. Iconacon 
4. Summer Slips Away 
5. Delicate 
I. Now Is Not The Time 
II. Half The Battle 
III. The Light At The Other Side 
6. Spotlight Effect 
7. Reverse Switch 
8. Up To You 

Max Creek "Rainbow" 1980 US Private Psych Folk Rock


Max Creek  "Rainbow" 1980 US rare Private Psych Folk Rock
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discography

https://maxcreek.com/music/


Max Creek’s 1980 studio gem! In the length of an album Rainbow manages to capture and highlight both the band’s great songwriting and adventurous jamming. All seven of the songs on Rainbow are still staples of Max Creek shows…..~


In those rare instances that a band reaches its fourth decade, it’s usually because of super-stardom. It’s easy enough to keep things together when each member has a jet and techs on retainer and the world tour rolls around every few years. But that’s not how Max Creek has done it. In 40+ years Max Creek has been small, big, regionally-huge, medium, and any other size one can think of; they’ve never graced the cover of Rolling Stone, but you’d be hard pressed to find a music fan in the Northeast that hadn’t heard of them. 

Well then, how did they do it? 

If you knew Max Creek you’d answer simply, “they just did.” Creek lacks pretense; there is no hip style or genre-title that can define them. From the beginning they’ve mixed anything they liked-rock, country, reggae, soul, calypso-in with their own excellent songs and it’s all just come out sounding like Creek. As such they’ve never been the hot item in the flavor-of-the-year club yet they’ve also never gone out of style. Moreover, Creek exudes confidence but lacks ego; each member is an incredible musician but that’s never been what it was about. 

But that is all things Creek is not, and what Creek is is far more important. The band is certainly joyous, and their stage is full of smiles and laughter, both during and between songs. All one has to do is glance into the crowd to see that the feeling is contagious. Creek is also much more engaging than the average five-guys-with-instruments, sculpting lengthy shows on-the-fly from their 200+ song catalog with rockers, ballads, deep jams and crowd sing-alongs all tucked into their perfect places. And Creek is, most definitely, a family. 40-odd years in, the audience is a multi-generational stew; it’s not uncommon to witness old-school Creek Freeks getting down with their teenage (or older!) kids. 

Creek itself is multigenerational. Though the “front line” of guitarist Scott Murawski, keyboardist Mark Mercier and bassist John Rider has remained intact since the mid-70s, the back line recently shifted. Long time drummers Greg Vasso and Scott Allshouse both moved on from group, opening the door for the drums and percussion team of Bill Carbone and Jamemurrell Stanley, neither of whom were alive when the band was founded…..~

Members of Max Creek at The Rocking Horse in Hartford. This 1973 lineup featured (from left) drummer Bob Gosselin, guitarist Dave Reed, keyboardist Mark Mercier and bassist John Rider.



In the spirit of … Max Creek The band on stage, probably in the late 1970s, (from left) Scott Murawski, John Rider, Mark Mercier and Amy Fazzano.



Credits 
Bass, Vocals – John Rider 
Congas, Percussion – Rob Fried 
Drums, Other [B.f.d.] – Bob Gosselin 
Guitar, Vocals – Scott Murawski 
Keyboards, Vocals – Mark Mercier 
Vocals – Amy Fazzano



Tracklist 
A1 Silver Jack 6:48 
A2 Heartbeat 5:50 
A3 Fire & Brimstone 4:28 
A4 Truck Drivin Blues 3:35 
B1 Cocaine Lady 3:56 
B2 The Field 8:02 
B3 Rainbow 7:24 

Zipps "Be Stoned! Dig: Zipps" 1999 -2011 LP- CD Compilation of their singles + “Ever Stoned And Live!” 2015 LP Record Collector Magazine, Dutch Psych freakbeat Garage Rock


Zipps "Be Stoned! Dig: Zipps" 1999 -2011 LP- CD Compilation of their singles + “Ever Stoned And Live!”  2015 LP  Record Collector Magazine, Dutch Psych  freakbeat Garage Rock
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https://vk.com/wall312142499_10953

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https://www.deezer.com/en/album/12880416

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https://open.spotify.com/album/7AgMQPOJchogVg6CMiiQdH



19 Tracks - Includes LSD 25 Interview - one of the most important Dutch ‘60s psych bands get all of their singles compiled onto one disc! The Zipps made some incredible 7" records and they are all here including, “Marie Juana” (the best dope song ever written), “Lotus Love”, “Kicks and Chicks” and the bizarre “The Struggle For Ice-Cold Milk Of Benzi The Bassplayer Or How To Promote Original Dutch Milk”. A unique style that mixed beat with all the bands own unique take on psychedelia…..~


Another one of those numerous lesser known Dutch psychedelic bands that never got their just due. 'Be Stoned!’ looks to be a nineteen track compilation of the band’s complete repertoire - keep in mind that the Zipps never did put out an actual album in their initial existence of the late '60’s. 'Be Stoned!’ is a must-have collection of all their singles. Tunes that I thought truly deserved endless spins are “Kicks And Chicks”, their two seven-minute epics “Beat & Poetry, Part 1” and “Beat The Poetry, Part 2” - which both feature narration rather than singing, as well as “Struggle For The Ice-Cold Milk”, the awesome blues rocking “The Beer Hall Song”, “Venez Voire Comme On S'Aime” and “Lotus Love”. Personnel: Jan Beck - vocals, Philip Byron - guitar, harmonica, flute & vocals, Peter Nuyten - guitar, Rund Van Seventer - bass and John Noce Santoro - drums. I knew this band’s name was familiar - they have a song on the 'Nuggets II’ 4-CD box set. Saw on someone’s blog somewhere that the Zipps were (sort of) like Holland’s reply to the Electric Prunes. I encourage you to check out a reunion The Zipps did fairly recent on You Tube, you won’t regret it. Might also draw in fans of the Rattles, Acid Gallery, the Birds and possibly the Pink Fairies. Essential.by….Mike Reed…..~




Though the Zipps didn’t release many records, their scant official discography – all of nine tracks – is contained on this reissue, which is boosted to a running time of more than an hour with the addition of some demos, previously unreleased live recordings, a couple previously unissued stereo versions, a couple cuts on which they backed French singer Philippe Salerne, and an interview. While the cocky beat-punk rebellion of their most famous single, “Kicks and Chicks,” has a deserved reputation among '60s Eurobeat collectors (and a place on the Nuggets, Vol. 2 box set), it’s not entirely typical of the group’s recorded repertoire. Their previous single, “Highway Gambler”/“Roll the Cotton Down,” has a more pronounced folk-blues influence, albeit with a similar punkiness. As more of a contrast, their two-part epic “Beat & Poetry” seems like a stream of consciousness narrative, much of whose artistry will be lost on international listeners as much of it’s related in Dutch. Things take a more Baroque psychedelic direction on “Marie Juana,” with risqué (if quite ambivalent) lyrics about marijuana – the group, interestingly, tells the evil weed to go back to where it belongs, rejecting it in favor of music. This and other late-period songs like “The Struggle for Ice-Cold Milk of Benzi the Bassplayer” or “How to Promote Original Dutch Milk” indicate these guys might have had a surreal sense of humor that doesn’t wholly translate well decades down the line, especially as they have heavier Dutch accents than the average '60s group from Holland. All of this might be a longwinded way of saying that this isn’t such a fine or consistent listen, and that there isn’t anything else here as memorable as “Kicks and Chicks.” But it’s OK if you go for this sort of rebellious attitude-heavy Eurobeat thing, and if you do like “Kicks and Chicks” prepare yourself for three versions (the original, the previously unreleased stereo variation, and a live recording)…..by Richie Unterberger…..~


Their music’s fine in a basic mid-'60s garage kinda way (some tunes are quite catchy), but the real distinguishing characteristic of The Zipps is singer/guitarist Philip Elzerman’s English-as-a-second-language vocals, which are either nonsensical, or obscured by his thick accent. Or both. In the Ramones-y titled, Byrds-y sounding “Kicks and Chicks” Elzerman claims that he “read all the books of Jack Kerouac,” but he pronounces that Beat icon’s name as “Ker-acky.” Two lengthy tracks called “Beat and Poetry” are live all-Dutch language spoken word over peppy rock music, not jazz. An odd combination. Tho in the hysterical “Hipsterism,” one of the greatest, funniest '60s nuggets I’ve heard lately, Elzerman says “I always like to listen to good jazz/You’re a square! And you don’t like it, I guess!” Followed by a solo on that most rock'n'roll of instruments, the flute. Having said that, the groovy a-go-go instrumental version of “Lotus Love” is one of my faves off this career-spanning collection. Wish I could hear all of “LSD 25” minus the interview on top of it, it’s a great Seeds-y proto-punk stomper…..~


Compilation of their singles (7"). A and B sides. 
As well as two previously unreleased live tracks (B5 and B6) and a previously unreleased live version (B7). 


Credits 

Bass, Backing Vocals – Ruud Van Seventer (tracks: 9), Theo Verschoor 
Drums – John Noce Santoro*, Wim Klein (tracks: 10, 16) 
Harpsichord [Guest] – Job Maarse (tracks: 7, 14) 
Performer [Guest] – Ben Katerberg (tracks: 5, 6), Cees Boender (tracks: 5, 6), Simon Vinkenoog (tracks: 5) Job Maarse (tracks: 3 to 9, 11 to 15, 17, 18) 
Remastered By – Peter Van ’t Riet 
Rhythm Guitar, Lead Guitar – Dick Visschers (tracks: 9), Peter Nuijten* 
Vocals, Rhythm Guitar, Harmonica, Flute, Tambourine – Philip Elzerman





























Tracklist
1 –The Zipps Highway Gambler 2:08 
2 –The Zipps Roll The Cotton Down 2:43 
3 –The Zipps Kicks And Chicks 3:11 
4 –The Zipps Hipsterism 3:08 
5 –The Zipps Beat & Poetry Part 1 7:06 
6 –The Zipps Beat & Poetry Part 2 7:40 
7 –The Zipps Marie Juana 3:15 
8 –The Zipps The Struggle For Ice-Cold Milk Of Benzi The Bassplayer Or How To Promote Original Dutch Milk 2:23 
9 –The Zipps When You Tell It, Tell It Well..! 3:10 
10 –The Zipps Lotus Love (Demo - Vocal Version) 2:51 
11 –The Zipps Walking On This Road To Mine Town (Previously Unreleased Live Track) 2:48 
12 –The Zipps The Beer Hall Song (Previously Unreleased Live Track) 4:54 
13 –The Zipps Kicks And Chicks (Previously Unreleased Live Track) 3:35 
14 –Philippe Salerne* & The Zipps Avec De L'Italie 2:09 
15 –Philippe Salerne* & The Zipps Venez Voire Comme On S'Aime 1:30 
16 –The Zipps Lotus Love (Instrumental - Previously Unreleased Demo Version) 2:56 
17 –The Zipps The Struggle For Ice-Cold Milk Of Benzi The Bassplayer Or How To Promote Original Dutch Milk (Previously Unreleased Stereo Version) 2:22 
18 –The Zipps Kicks And Chicks (Previously Unreleased Stereo Version) 3:10 
19 –The Zipps LSD 25 Interview 6:28 
19.b –Unknown Artist (Silence) 7:00 
19.c –The Zipps (Untitled Hidden Track) 0:15

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“A Revolutionary New Triumph in Tape” 1958

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