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2 Jul 2016

Zini “Better Than A Kick In The Teeth” 1977 US Private Hard Rock

Zini “Better Than A Kick In The Teeth” 1977 excellent US Private Hard Rock.

Very rare limited private issue of 500 from this 70’s Kansas City band with a great Neil Young & Crazy Horse, Buffalo Springfield, and early raw Eagles sound. Some really fine songwriting and layered electric guitar textures round it this obscure LP nicely..

Here’s one of my guilty pleasures from the vast US private press scene. You may see Zini listed as ‘psych’ or some such nonsense elsewhere, but in actuality it’s classic '70s guitar-rock from the American heartland. Like bands such as Tree Fox or Stagefright, this works as a unique snapshot of the local reality these guys lived in, hanging out, cruising around their small hometown, listening to the Allman Bros and the Doobie Brothers, and trying to get something going with their own band. In that scene, this is a very solid, above-average record. The guitar-work is strong throughout, but the tracks that grab me most are the melodic things like the opener and “The Line Of Fire”. Not for everyone, but an album that holds a place in my private collection, unlike a lot of other more 'cool’ stuff. Not terribly easy to find..

Warpig “Warpig” 1970 Canada Psych Hard Rock.

Warpig “Warpig” 1970 mega rare Canada Hard Rock.

This Ontario act have the distinction of being one of the few bands to release the same album on two different occasions on two different labels (the London Records version the following year) with different covers with both being worth nearly identical pretty pennies. I can’t really name another band/album withthat strange honor, so we’ll just call that the ‘fun fact’ of the review.

I’ve heard many different opinions about this rare album, mostly from people who were hearing it for the first time, spurting out influences from Deep Purple and Sabbath to Iron Butterfly and even Nektar. Honestly, I believe them to be a cross between Deep Purple and, during their faster moments, Uriah Heep. Perhaps it’s just the flowing, almost carefree vocals of Rick Donmoyer that remind me of UH. Maybe it’s the keyboard-choired hardness that is reminiscent of DP. At any time, these seven tracks (eight listed) can be ominous, then free-flying, and supposedly have sensitive lyrics (“…digging in the garbage heap…”, “…the dead begin to die…”).

“Flaggit” and “Advance AM” are speedy hookers that don’t have as thick a sound as Heap’s “Easy Living”, but are still great for blowing by station wagons on the highway. Threatening are the Sabbath-with-keyboards “Tough Nuts” and very Deep Purple-ish “Sunflight”. The wordless “Melody with Balls” almost harks ahead with a Handful of Rain-era Savatage sound at times, but the pre-80s keyboard twiddling brings it back into classic rock focus. “Rock Star” is a cool little number with a breaking melody nestled within an even-keeled rhythm, though they do overstate the chorus a bit. The finale, either “U.X.I.B.” or “The Moth”, is the true oddball of the group, swamped in sudden drum work, another ultra-breaking riff, and a bass-led melody that sounds like it’s running backward. Halfway through it bleeds into a very somber interlude that makes “Planet Caravan” sound energetic.

1 Flaggit 3:10
2 Tough Nuts 2:18
3 Melody With Balls 6:02
4 Advance Am 7:30
5 Rock Star 4:11
6 Sunflight 4:30
7 U.X.I.B 7:39
8 The Moth 5:08

A Joint Effort.“Final Effort” 1975 Canada, Psych Folk Rock.

A Joint Effort.“Final Effort” 1975 Canada, Psych Folk Rock.


A Joint Effort is a very rare psych folk album which was released out of Fredericton, New Brunswick. It was released on Little Records Ltd. and Red Rock Hotel Productions out of the University of New Brunswick. Side one is a more light folk rock side and relies on decent cover tunes; side 2 sounds like a few local browns and some smoke were added to the equation, a bit more rock and garage sound with some fuzz guitar. Only 200 copies were pressed. It is a very rare and sought-after album in the collector market. Interesting take on Oh! Canada. Came withan insert with lyrics.

“We started jamming in Rm 310, Bridges House, University of New Brunswick in 1973. The album was recorded in Fall of 1975, it was the last performance of the band, afternoon outside in front of the Student’s Union Building (all five of us blaring on acid) plus some cuts from a bar performance at the Lord Beaverbrook Hotel in Fredericton.

Rick and Grant are still in Fredericton and still play together periodically. My brother Tim is near Oshawa and he and his wife breed, raise, and train English Setters and Canadian Horses. Brian is still playing bass with Rawlins Cross and whoever, and I am entering my 4th decade soon playing for a living and having done 7 or 8 albums on my own.

Some guy in New Jersey got a copy of Final Effort from my brother and reproduced it. We each got ten copies.”
by Terry Tufts and Robert Williston...........

A Joint Effort
*Tim Tufts - Guitar, Vocals
*Rick Bastedo - Guitar, Mandolin, Vocals
Grant Ayrapetyan Harrison - Drums, Guitar, Vocals
Oleg Ponomarev Bourne - Bass, Guitar, Vocals
Ivan Markarov Tufts - Guitar, Vocals

1. Battle of New Orleans - 1:52
2. Molly and Tenbrooks - 3:37
3. Tequila Sunrise - 2:35
4. My Man - 3:11
5. Winter - 4:01
6. Hitchikers Dream - 3:02
7. Champagne Junction - 4:26
8. Bus Song - 5:09
9. Greed for Gold - 4:26
10.Oh! Canada - 3:59
11.Horse with No Name - 7:34

Oliver Klaus “Oliver Klaus” 1970 .Canada Garage Psych Rock.

Oliver Klaus “Oliver Klaus” 1970 first reissue 1995 by Capt.Moze Records.Canada Garage Psych Rock.

full album + extra bonus

Canadian pearl formed in Quebec in 1967 by brothers Bryan and Maurice Singfield , the trio Oliver Klaus released one album in 1970 with only 500 copies and quickly fell apart. In 2002 the album was reissued on CD with 10 bonus tracks. The CD Oliver Klaus 1967-70, that I post here, brings 21 tracks. There is mix of several styles, predominantly typical psychedelic rock of the late 60 as in version 8 minutes of “Season of the Witch”, passages of folk and acoustic in tracks “Walk In The Night” and “Traveling Song”, also hard rock, in the cover “Kentycky Woman” and “Islands in Waterloo Float”. Overall, great music, played by the classical and heavy “power- trio” seventies…

Jerry Cushen (baixo)
Bryan Singfield (bateria, backing vocal)
Maurice Singfield Jr. (guitarra, vocal)

01 For The Boys 3:17
02 Walk In The Night 2:27
03 Here Comes The Sun 2:23
04 Sunny Day 2:49
05 Feeling Groovy 3:04
06 Traveling Song 2:07
07 Kentucky Woman 3:52
08 Show Me The Place 4:02
09 Love You Baby 2:53
10 Season Of The Witch 8:34
11 Break Song 3:42

12 3/5 Of A Mile In 10 Seconds 3:42
13 Blackberry Side 4:11
14 Studio Chatter 0:45
15 Feeling Groovy 3:20
16 Here Comes The Sun 2:14
17 Great Place For Laughing 4:51
18 Islands Float In Waterloo 2:36
19 Going To Leave This Place 3:33
20 The Fuzz 6:47
21 Do Love Me Do 2:18

Riverson “Riverson” 1973 Columbia Records Canada Folk Psych.

Riverson “Riverson” 1973 Columbia Records Canada Folk Psych.

Riverson were a short-lived folk, psych band from Montreal, Quebec. They fortunately left us with one hell of an album and three 45’s in very limited quantities and all are highly sought after. The album cracks my top 100 Canadian albums of all time. Due to the high quality, amazing lineup of talent, and rarity, the value of this record has been steadily increasing over the past 20 years - now a NM copy will set you back about $400-$500 if you can find one. A sealed copy sold for $320 back in ‘03. That copy has likely doubled in value.

The gatefold album was released on Columbia ES 90136 in 1973 and was accompanied by “Clear Night b/w Winter Garden” on Columbia C4-3077; “Eleanor Rigby b/w Can’t Live Without You” on Columbia C4-3093; and “Sittin’ - Waitin’ b/w Chances” on Columbia C4-4003; the latter featuring two non-album tracks. All album tracks were original tunes, except for the one Beatle cover.

The band members were Frankie Hart (Freedom North, Life) on piano, acoustic guitar, recorder, lead vocals on “Can’t Live Without You”; Rayburn Blake (Mashmakhan) on Acoustic guitar, electric guitar, banjo, lead vocals on “Clear Night”; Brian Edwards (Mashmakhan) on bass, lead vocals on “Stoney Day” and “Between the Lines”; and Graham Lear (Santana, Paris Black, Truck, Paul Anka, REO Speedwagon) on drums. Raymond Blake was with the Quebec band Le Triangle and released a rare 45 picture sleeve in the mid 1960’s entitled “2 Miroirs b/w Les Montagnes Russes” on Gamma AA-1042. Both Rayburne Blake and Brian Edwards played and released “Transition” on Polydor 2424 071 with Cliff Edwards (member of the Five Bells) in the same year as the Riverson album, 1973. Rayburn Blake then went on to record with the Lisa Hartt Band, releasing “Starwatcher” on Rising RRLP 104 in 1976.

The Riverson album was produced by John Williams. It was recorded at Manta Studios in Toronto, Ontario. The engineer was Lee de Carlo. Produced by Riverson and Lee de Carlo. Management was Terry Flood. The album design was by Bob Lemm Promotional Agency Inc. The cover was by Freeman Patterson / Inside - Junior Brunet.

* Franki Hart (vocals, piano, acoustic guitar, recorder),
* Rayburn Blake (vocals, acoustic guitar, electric guitar, banjo),
* Brian Edwards (vocals, bass),
* Graham Lear (drums

1. Clear Night (Rayburn Blake) - 3:06
2. Winter Garden (Brian Edwards) - 3:19
3. Eleanor Rigby (John Lennon, Paul McCartney) - 4:14
4. I’ll Be There (Brian Edwards) - 3:15
5. Empty Sky (Rayburn Blake, Brian Edwards, Franki Hart) - 4:31
6. Take Me (Rayburn Blake) - 2:55
7. Stoney Day (Brian Edwards) - 4:28
8. Between the Lines (Brian Edwards) - 4:10
9. Can’t Live Without You (Franki Hart) - 3:07
10.Medallion Castle (Brian Edwards) - 4:27
11.Hermit Glen (Rayburn Blake) - 3:06
12.Sittin’ Waitin’ - 3:41
13.Chances - 2:21

The Jarvis Street Revue “Mr. Oil Man” 1970 Canadian Psych/Prog legend.

The Jarvis Street Revue “Mr. Oil Man” 1970 Ultra rare Original Columbia First Pressing Canadian Psych/Prog legend.

As they say - just arrived, sat down at once … Without washing of the holiday. The only album from the Canadian quartet hippy town of Thunder Bay (Province of Ontario). The province is the province … But the band - talented, so odnoalbomnaya … The paradox typical of the late 60’s … The group existed in 1970-71 and consisted of members of local groups, for example, Plague (1966-67) … The largest number of viewers in their concert was 445 people. In autumn 1999 ggoda group was reconstituted and performs under the name of Rock N Roll Revue. So hurry to get acquainted with their early works, while another Canadian guitarist did not ask me to remove a link to download … In the bonus - mostly singles …

The Jarvis Street Revue was formed in Thunder Bay, Ontario in the late 60’s around the talents of Tom Cruickshank, Wayne Faulconer, Tom Horricks and George Stevenson. Horricks and Stevenson had earlier been with the Toronto-based Plague and Horricks followed this with a spell in Lexington Avenue. Faulconer had been with the Winnipeg-based Satan and The D-Men.

In 1970 the band released their only album, Mr. Oil Man, which was recorded at DMG Sound Studios in Thunder Bay. It achieved minor hit status when issued as their first single. The gatefold has an amazing sleeve of Christ holding up an earth globe covered in toxic slime. The subject content of Mr. Oil Man is an environmental statement on the use and abuse of the oil reserves, the depletion of Earth’s natural resources and hazards of smoking.

The album is predominantly heavy rock with psychedelic overtones with a strong Jimi Hendrix influence in the guitar pieces. Ecological concerns mix with relaxed hippie reflections in a style similar to the Borealis LP, though the heavy acid guitar excursions on the 13-minute title track is what makes this trip worthwhile. The rest of that side is taken up by Mr. Business Man, another heavy rocker with some catchy high pitched guitar. The band are at their most psychedelic on Sally’s Hymn and 20 Years has a haunting intro and some nice brass…

Wayne Faulconer (gtr, vcls)
Tom Horricks (gtr, vcls, sax)
George Stevenson (bs, vcls)
Tom Cruickshank (drms, vcls)

A1 Mr. Business Man 2:38
A2 Mr. Oil Man 13:10
B1 20 Years 3:05
B2 Sally’s Hymn (Smoker’s Funeral Song) 4:42
B3 300-South 2:41
B4 Heidi-Ho (Let Her Go)

Ferron “Ferron” 1977 Canada Private Acid Folk Psych

Ferron “Ferron” 1977 Canada very rare original Private Acid Folk Psych only 1000 copies pressed.


By the 1970’s, the folk revival of the 60’s, with its combination of new, lyrically driven poetic songwriting and socially conscious topicality had morphed into the lush produced sound of James Taylor and Jackson Browne. The Women’s Music movement sprang up around the same time, partly in response to the fact that women’s issues were not being covered by the mainstream music of the time. Women like Holly Near, Meg Christian, and Cris Williamson were feminists, openly gay, and making a new type of music by and for women. Ferron debuted at a benefit concert in 1975. She had lived a hard life – running away from home when she was 15, supporting herself and learning write and sing. Her first two albums, in 1977 and 1978, were self-produced and financed, and enabled her to record a string of critically acclaimed, professionally produced albums starting in 1980. She toured extensively and built up a large following in North America. One night, she was playing a show in Pennsylvania, and a scruffy girl in army fatigues opened for her. The girl asked Ferron if she had any advice for starting out in the music industry. Ferron said “don’t ever sign with a label.” A few years later, Ferron signed to Warner, and a few years after that, wound up broke, her albums owned by Warner, her career in ruins. The girl in army fatigues was Ani DiFranco, who of course, founded Righteous Babe Records in 1989.
Ferron’s self-titled debut was self-released on Lucy Records in 1977. Only a thousand copies were pressed, and she has since expressed her dissatisfaction with it, and her second album, “Backed Up.” I do not know what the exact status of the album’s future is, but it seems highly unlikely that it will ever be re-released. I would be curious to know if she even still has the master tapes, and what state they might be in after thirty years. Now, to the album itself. I’ll describe some of the technical stuff, and then give a brief review of the content.Since it was only released on vinyl, I knew that it would be a somewhat tedious vinyl-to-mp3 ripping process. Things got even more complicated when I went to actually listen to it. According to her website, Ferron recorded the album with the help of some friends in a radio studio, using either a 2 or 4 track recorder. She’s right when she says that it was technically very limited. I don’t think they have much, if any, vocal compression at all. It doesn’t appear to have been mixed to vinyl properly, either. The engineer added a few reverb effects, and that’s about it. Usually, for commercial vinyl releases, there’s a lot of engineering that goes on in order to get the sound waves to fit properly onto the vinyl surface. The RIAA standard is to cut the low frequency waves (which take up too much space) and then boost the upper waves. When played back in a stereo system, this effect is compensated for, which is why older stereos all have a phono input – that particular circuit pathway reconstitutes the signal from the turntable by amplifying it, and cutting the highs and boosting the lows.
I have some technical limitations with my ripping process. I don’t have a stereo receiver, so I don’t have a simple way to compensate for the RIAA compression methods. What I do is plug my turntable (with my Ortofon cartridge) into my m-audio box, which interfaces with the USB on my laptop. The m-box has a built in preamp that is usually good enough to get the levels I need. I recorded to my hardrive as a high quality wav file, and only downconverted to mp3 after the signal processing was done.
After recording the album onto my hard drive, I then applied some noise reduction, and cut the highs and boost the lows using the graphic EQ settings on CoolEdit Pro. Now, if I had a better signal chain for all this, with more powerful sound processing software, I think the final product would have come out a lot better. I don’t pretend to know all of this stuff. One of the problems is that I don’t want to overplay the record itself in order to experiment with a bunch of different configurations. The vinyl surface is far from perfect, and seems to have a decent amount of wear on it. In addition, the low audio levels and lack of vocal compression and engineering means that what I got out of the rip was extremely noisy. It was barely listenable. In order to get enough volume, I had to crank the preamps all the way up, and this magnified the noise from the vinyl surface tremendously. To get around this, and to correct some very significant scratch sounds, I sampled a piece of ambient record noise and used the noise reduction plugins to get rid of that, and then pop/hiss eliminators to try to smooth the pops and crackles, of which there were many. You can still hear some noise, but most of the tracks are now pretty clean. The problem is that there is now some vocal distortion. In trying to cut the offensive frequencies, the noise reduction software got some of the good frequencies as well. More fine-tuning could eliminate this problem, but at this point, I had to basically give up.
There are a lot of ways to do a better job with this restoration work. All of them include money and equipment I don’t have. The vinyl could use a good cleaning, too. The best case scenario would be to find some enormously wealthy audiophile who has a laser turntable – the kind that uses a laser to read the disc surface and then reconstitute it as a sound, rather than trying to trace the path of the original cutting head with a mechanical stylus and cartridge.

The songs themselves are brilliant and touching. A few of them are classics that have endured on her repertoire, like “Who Loses,” “I Am Hungry,” and “Borderlines.” Others have never been re-recorded, and I don’t know if they are even played in concert at all, such as ‘Under the Weather,” and “Bourbon Street Vision.”

The overriding factor in these songs is starkness. It’s just Ferron and her guitar, which I think is really the way it works best. “Not A Still Life,” her live album from 1992, is my favorite album of hers. The emotional accessibility of her live performance is touching. Here, on her debut record, you can see that same charisma. Her voice is earthy and expressive, without needing to resort to pop star tricks – modulations and high notes and perfect autotune pitch.
Her lyrical content is raw, and often openly gay. Singing a love song about a woman in 1977 was cutting edge, and as she remarked recently in an interview, her music has since come to seem squarer than it was. In Bourbon Street Vision particularly, she grapples with her sexuality with an encounter with an older woman, who is clearly coming on to her:

She said “aren’t you in to a good time tonight?”
As the moon, badly placed made me feel so uptight
“Are you looking for something to make it all right?”
“No,” I said
She said “Look yourself in my eye, see how you lie,
I’ve been following scatters of heart-shapes to find you
And you’re in tune to color, you always have been
Mostly known for your crying for practice

Ferron in this song is scared and unsure, her fear palpable and confusing. In “Freedom,” she talks about this conflict from an early age:

Little girls in their dresses and boys in their guns
And me in some center just sitting
I’m neither the other nor neither this one
And I feel like a poem half written

There is always an undercurrent of paranoia and fear in her songs. Reviewers tend to emphasize her poetic imagery, or her graceful depictions of love, but to me what sets Ferron above the rest is the unsettling aspect to her songs. “I Am Hungry” is filled with an intense awareness of what she does not have. And even the bittersweet “Borderlines” is filled with confusion – sung with sweetness, but tinged with anger. These are uncomfortable emotions, not pat love songs. Relationships have always dominated the subject matter of her songs, as we can see here, but they are rarely straightforward. Seldom in her songs does she get what she wants.

She also doesn’t sing directly about things. I read a critic once who praised her directness, but I don’t see that being the case at all. She is direct with the imagery and the statements she makes, for sure. At the micro level she is direct. But stepping back and comprehending the totality of the songs reveals greater meaning and complexity.

This album, though rough and imperfect, shows her talent from the very beginning. In fact, its imperfections make it all the more endearing. Ferron has never been about creating a distancing polish. Instead she creates an accessible intimacy that few performers have achieved. And this little album, recorded at some radio station somewhere and sold out of her basement in Canada, is where it all began..

• O Baby
• Slender Wet Branches
• Who Loses
• Dead Men and Lovers
• Rollspin
• Under the Weather
• Fly On My Nose
• Just The Wind
• Luckie
• Burbon Street Vision
• I Am Hungry (How Are You)
• Borderlines
• Freedom
• In Retrospect
• Windblown Leaf

Huckle “Upon a Once Time” 1974 Canada Private Hippie Folk

Huckle “Upon a Once Time” 1974 mega rare Canada Hippie Folk.

The singer-songwriter known as Huckle (ne Kelly Cavanagh) was raised in Montreal and Toronto, but by 1973 the self-described freak ("...we didn't call ourselves hippies then - we were freaks") had shifted west to B.C.'s Gabriola Island, helping to organize two western tours by Perth County Conspiracy and performing as the warm-up act for some of the shows. The 19-year-old Huckle took to B.C. granola culture immediately. "I arrived in Nanaimo on bathtub weekend. They were pretty excited about my hair. We lived at the stump farm on Gabriola, a little log cabin way out in the woods - no electricity, running water, or car." 

In the spring of 1974 on the first of the Perth County tours, a live recording was made of eleven Huckle originals with Gary McKeehan engineering. After the soundcheck for a gig at Vancouver's Pender Auditorium in March, Huckle recorded nine songs live with a backing band (which included three Perth County members). Those tracks, as well as a couple more taped the following night at Gabriola Hall, would become the insanely obscure roots/folk debut Upon a Once Time. 

The record's home-spun quality is evident even in the primitive hand-written paste-on cover ("I did it with Tommy (Agostino) and Kjell, the photographer"). And with only 500 copies pressed up and hawked at shows for three bucks a pop, Upon a Once Time was destined to become a bit of a holy grail for Canadian folkies. Several tours and a second equally obscure LP followed, 1976's Wild Blue Yonder, as well as a spot on the national CBC radio show Touch the Earth with Sylvia Tyson and Bill Garrett. Huckle finally settled on nearby Salt Spring Island, where he lives as "a lapsed hippie", performing sporadically as KC Kelly over in Victoria, B.C. 
by Robert Williston........

We’re proud to present the first ever vinyl reissue project of Canadian hippy folker Huckle. This first album was recorded with only acoustic instruments in spring of 1974 with the help of some of The Perth County Conspiracy members and had a very limited release. This is one of finest psych folk albums of Canadian scene from the 70?s. 

An extremely rare and difficult to find record. It appears on Pokora’s Record Collector Dreams Book with 4 records, and collectors have paid more than 600$ for the originals of this impressive crossover between the first Dylan and the first Van Morrison. Beautiful songwriting and great performance for a folk masterpiece that includes “Flowers”, “Beyonder” and “The Sunshine Shuffle”. 
Mapache presents this vinyl reissue, digitally remastered from the original tapes, with original artwork, including the past-on cover and an extra insert with unseen pictures. 

Please, note that this is a very limited issue of 500 copies. Our first issues of Heron records received a vinyl package of the month on Mojo magazine treatment and were sold out really quickly. So order them fast if you’re interested on them!...............

The singer-songwriter known as Huckle (ne Kelly Cavanagh) was raised in Montreal and Toronto, but by 1973 the self-described freak ("...we didn't call ourselves hippies then - we were freaks") had shifted west to B.C.'s Gabriola Island, helping to organize two western tours by Perth County Conspiracy and performing as the warm-up act for some of the shows. The 19-year-old Huckle took to B.C. granola culture immediately. "I arrived in Nanaimo on bathtub weekend. They were pretty excited about my hair. We lived at the stump farm on Gabriola, a little log cabin way out in the woods - no electricity, running water, or car." .............

This is a rare, original copy of a Canadian hippie rural folk psych LP by Huckle. Private press LP with primitive paste-on cover and paste on lyric sheet/info on back. The title and artist’s name are handwritten on cover in pen (probably by Huckle or his girlfriend). So this is one very homemade record. Tracks are "Flowers", "Get Down", "Beyonder", "The Sunshine Shuffle", and more. With guitars, bass, banjo, flute, percussion, and female back vocals. This is an extremely rare hippie folk psych LP. Get it while you can............

*Huckle - Vocals, Guitar, Mandolin
*Richard Keelan - Guitar
*Michael Butler - Bass
*George Koumantaros - Congas
*Paul Gellman - Vocals, Fiddle, Guitar
*Wende Sinclair - Vocals, Bamboo Flute

1. April - 2:11
2. Flowers - 3:09
3. Get Down - 4:12
4. Beyonder (The Hymn) - 4:25
5. Sunshine Shuffle - 3:32
6. Hello Sunshine - 2:27
7. Good Morning - 2:54
8. Lady Goldberry - 2:31
9. Gabriola Day - 5:24
10.The Minstrel Song - 3:26
11.Ocean - 3:43

johnkatsmc5, welcome music..