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6 Aug 2016

Jang Hyun & The Men "Woman Of The Evening Sun" 1972 Korean Psychedelic












Jang Hyun & The Men "Woman Of The Evening Sun" 1972 Korean Psychedelic masterpiece…!!

http://www.dailymotion.com/video/x23t5u1_jang-hyun-th..

https://www.youtube.com/watch?v=XTkzO0fGZsI

http://www.dailymotion.com/video/x4nksra_jang-hyun-th..

full album

http://www.dailymotion.com/playlist/x4mi37_John_Dug_j..

http://www.psychemusic.org/ShinJoong-Hyun.html

This LP is something of a classic as far as Korean Psychedelic Rock goes. Shin Jung Hyun is the guitarist and writer and he is a pretty legendary figure in Korean Rock music. Side A features a number of shorter, more commercial styled songs with Shin Jung Hyun’s band The Men behind featured vocalist Jang Hyun. The first track on Side A is called Twilight and was recently comped by Now-Again on their Forge Your Own Chains international Psych compilation. Side B features two longer tracks performed by Shin Jung Hyun’s band The Men. The first is a long psych/rock burner called Beautiful Rivers & Mountains. The legend has it that Park Jung Hee (the president of Korea’s Military regime at the time) wanted Shin Jung Hyun to compose a song in praise of the President, Regime & the Blue House (presidential house). Shin Jung Hyun protested and came back with a song about the landcsape of Korea and for this protest he was jailed for a time. The second song on Side B is a slow number called The Lawn which is apparently a thinly veiled ode to Marijuana use, pretty heady stuff for early 70s Korea and a really solid listen from start to finish. …….

This album is a great treasure of Korean classic rock. If you haven’t figured it out yet, it seems like Shin Jung Hyeon (often misspelled “Hyun”) made all the music in Korea for a period of time. This album is decidedly moody and maybe one of the more subdued albums he ever did to my knowledge. It’s really heavy on the cheesy organ sounds and there’s an oboe on like every song. The opening song “The Evening Sun” sets the tone for the whole album and if you don’t like that song then forget it. My personal favorite song on the album is “Sound of Mind/마음의 소리,” but the album is mostly known for the song right after it “Beautiful Rivers Beautiful Mountains/아름다운 강산.”(Check out the Kim Jung Mi album to hear a shorter but more fun version of the song)

The comically evil president/dictator of the time, Park Chung Hee, asked Shin to write a song praising the administration and instead he wrote a 10 minute long song about the natural beauty of Korea and it also happens to be a love song (Link to lyrics). Supposedly, this confounded/angered his lordship and that’s when the government of Park Chung Hee essentially killed Rock and Roll in Korea. Rock still existed and Shin continued making albums, but the government started putting pressure on him and banning some of his songs, as they were not in line with the sensibilities of the mighty leader. Shin was also arrested in 1975 for smoking pot or something (duh. have you listened to this stuff?). There were other rock bands that took up the mantle, but it was still a huge blow to the scene and the Park administration encouraged the writing of nationalist songs and discouraged things that could possibly corrupt the youth, etc…and now we have K-pop! So yeah, I kind of hate Park Chung Hee, in case you didn’t notice that most of this album review is about what a bad guy he was. Anyway, here’s the album, which I believe to be a vinyl rip. It still sounds great though…….

Shin Joong Hyun’s tale is personal, spiritual, and deep, not only reflecting the full spectrum of human emotions, but one that produced reverberating echoes of sound, some beautiful and life-giving, others restless and ungovernable. For the first time outside of Korea, Shin’s music will be readily available to music lovers the world over.Light In The Attic are thrilled to release Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea’s Shin Joong Hyun, a career spanning CD, 2xLP, and Digital Download compilation of the diminutive guitarist, songwriter, producer, arranger, and talent developer.

Inspired by jazz, soul, and traditional Korean music, Shin started his career in the mid-1950’s, performing for US troops stationed locally after the Korean War armistice of 1953. While his English language skills were limited, the young player had no trouble communicating through his trusty electric guitar, but Shin was no mere 6-string slinger for hire, he was able to communicate something far beyond your average professional musician. Production work and extensive songwriting followed, not to mention a steady stream of electrifying performances. Gaining momentum by the moment, Shin developed popular success across South Korea molding protégés like singing duo the Pearl Sisters and folk-psych songbird Kim Jung Mi into top pop stars. From there it was hit after hit. The late 1960’s rock explosion and an influx of imported music from The Beatles, Jimmy Smith, and The Jefferson Airplane all informed and inspired Mr. Shin to elevate his own craft. Even experimental trips via a crew of local hippies also took the music man to new heights despite Korean law forbidding such rebellion. Drug use was illegal and punishable as a serious offence. Park Chung-hee, then President of South Korea began to closely monitor Shin’s “subversive” activities. After refusing to write a song in praise of the political leader, the musician was labeled unpatriotic and his career was instantly snuffed-out through a series of surveillance, torture, and institutional confinement.

While this was not the end of Shin’s musical story, for an all-too-brief moment in Korean cultural history, Shin Joong Hyun and his talented accomplices laid down a trove of recordings that have slowly reverberated far from their native land.Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea’s Shin Joong Hyun features Korean/English lyric translations, unseen pictures, beautiful graphic design from Strath Shepard (Pacific Standard), fully restored and re-mastered audio by Timothy Stollenwerk (Stereophonic) extensive liner notes byKevin “Sipreano” Howes (Jamaica-Toronto series, Rodriguez, Monks, Mowest comp) and Shin Joong Hyun himself. With loving attention to detail and Shin’s full blessing, we trust you’ll find this album as addictive as a bottle of your favorite Korean soju. So let’s raise a toast to Shin and his musical life! As they say in Seoul, “Gun Bae!!!”…..

Steve Tilston “An Acoustic Confusion” 1971 UK Acoustic Folk Rock




Steve Tilston “An Acoustic Confusion” 1971 UK Acoustic Folk Rock

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https://vk.com/wall-26524364_56587

An instantly captivating, all-original acoustic album of great depth and incredible maturity, the debut album (1971) by acoustic guitarist and songwriter, Steve Tilston. As for the making of the album: “It was Ralph McTell who very kindly contacted Ian Anderson of Village Thing on my behalf,“ Tilston explained. "I followed it up and secured a meeting with Ian and a gig at the Troubadour Folk Club. I’d met Ralph through Wizz Jones at Les Cousins in Soho, and he’d been very complimentary about my playing and writing.” One hears echoes of Tilston’s mentors and contemporaries in England’s vibrant folk scene of the time: Bert Jansch (the fifth track, ‘Train Time,’ sounds to these ears eerily like early Jansch); John Renbourn; Ralph McTell; Wizz Jones; Davey Graham; and Nick Drake. Solo guitar and vocals, all recorded without over-dubbing, plus group performances with Village Thing label-mates Dave Evans, John Turner (Hunt & Turner), and others. The end result was an important piece of Britain’s folk tapestry, which launched Tilston into the limelight, and onto Transatlantic Records, just in time for their implosion. This deluxe edition of “An Acoustic Confusion” includes five bonus tracks, including three not included on any previous editions, in-depth notes by Tilston himself, lyrics, excerpts from Mark Jones’ fascinating Bristol Folk book, plus a mini-history of Village Thing by label co-founder Gef Lucena; there’s also a Village Thing discography to round out the twenty-eight pages of information. “At twenty, I was pretty single-minded in my quest to make an album; looking back, probably a bit pushy with it, but I was sitting on this powder keg of songs and it felt like I had to get them recorded or I’d explode.” —Steve Tilston …….

"Lovingly remastered” is a phrase in danger of becoming a clich,, but in the case this re-release of Steve Tilston’s first album, made in 1971, it is particularly apposite. Scenesof are based in Maine, USA, but they obviously share the unconditional admiration of these songs that Ian A. Anderson’s Village Thing label displayed in pressing the original vinyl. And make no mistake, the ten songs of “Acoustic Confusion” (plus a couple of by-now obligatory “Previously Unreleased” studio demos from 1978) add up to what was probably described at the time as an extremely enjoyable listening experience. Still is!
Ranging from voice and guitar solos to all-systems-go harmonica, string bass, violin and extra guitar ‘n’ vocal pieces, “An Acoustic Confusion” shows surprising maturity in all three departments of our hero’s chosen profession. The songs contain true poetic insight, the singing is assured and the guitar-playing, even then, is a source of wonder. As he hints at in the typically self deprecating insert-notes (worth the price of the album alone), time has not been kind to a couple of songs. “Peel Street” and “Rock and Roll Star” contain the kind of over-indulgence that twenty-nothings the world over are famous for, but there is compensation in spades. “Simplicity” could stand comfortably with his current work, while “Normandy Day” manages to absorb influences from Bob Dylan through to Nick Drake, distil them all and produce pure essence of Tilston.
As Steve’s work has progressed, it has revealed successive layers of creativity, inventiveness and integrity. There is nothing on “An Acoustic Confusion” to cause embarrassment, and a great deal to be proud of. Wouldn’t it be great if Scenesof were working on the difficult second album right now?by Alan Rose
Steve Tilston released a very nice and acclaimed s/sw album back in 1971 called “An acoustic Confusion”. I especially liked the most melancholic romantism involved. I was very curious for his newer releases. Hearing this release was far above all expectations. I never expected a musician to gain so much in magic he already had, for magic is something unique which is rarely repeated or ever regained. This album not only is very exceptional, it even sound better or at least slightly matured comparing his debut album.
It has reminiscences to Nick Drake, but even more likely you can compare it (-this is : the production and the arrangements, and the colour of the voice-) with the acoustic period of John Martyn, with the additional development of a wider range of guitar styles. “Tse Tse Fly Shuffle” as a guitar instrumental, contains finger picking from the same level as Bert Jansch during his Jack Orion period or Leon Kottke during his debut album. The album ends with an essential bonus track of 22 minutes, “Rhapsody”, an interesting, beautifully composed and arranged Celtic folk suite, making this album even more recommended and a must to dig out.Psych-Folk
A letter from John Lennon to Steve Tilston in 1971, who actually received it 34 years later, inspired Hollywood screenwriters for the Danny Collins movie with Al Pacino in the main role. ……

Musicians
Stepa Steve Tilston - Guitar, Vocals
Keith Bal Warmington - Harmonica, Vocals
*John Turner - String Bass
*Pete Finch - Violin
David Traub Evans - Guitar, Vocals

Tracks
1. I Really Wanted You - 3:54
2. Simplicity - 3:43
3. Time Has Shown Me Your Face - 3:44
4. It’s Not My Place To Fail - 3:59
5. Train Time - 3:33
6. Sleepy Time On Peel Street - 3:44
7. Prospect Of Love - 2:24
8. Green Toothed Gardener - 3:22
9. Normandy Day - 3:06
10.Rock & Roll Star - 4:50
11.The Price Of Life - 4:10
12.Show A Little Kindness - 5:00
13.Time Is Your Gaoler - 4:04 (2013 Edition)
14.Here You Go Again - 3:20 (2013 Edition)
15.When I See Your Face Again - 2:45 (2013 Edition)


Spitballs “Spitballs” 1978 Canada Power-pop Pub Rock




Spitballs “Spitballs” 1978 Canada Rare Power-pop Pub Rock Beserkley Promo

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https://vk.com/wall-26524364_57327

I can only give you everything (sung by R. Adler of the Rubinoos) / Gino is a coward (sung by L. Lynch of the Greg Kihn Band) / Over & over / Bad moon rising / Life’s too short ( sung by Greg Kihn) / Let her dance / I want her so bad (sung by T. Dunbar of the Rubinoos) / Telstar / Way over there (sung by A. Brebner of the Modern Lovers) / Chapel of love (sung by J. Richman) / Knock on wood (sung by Sean Tyla & J. Doukas of Earthquake) / Just like me (sung by J. Rubin of the Rubinoos)/ Boris the spider / Feel so good (sung by J. Doukas of Earthquake) / Batman.Produced by M. K. Kaufman, G. Kolotkin & K. Laguna.
Not a band but a wonderful novelty album made at the height of the Beserkley label’s prominence and activity, Spitballs employed everyone then on the roster — the Modern Lovers, Greg Kihn Band, Earthquake, the Rubinoos and Sean Tyla — in various permutations on 15 rollicking cover versions of songs from the ‘60s. The album is a joyous celebration of the participants’ fandom and roots, a thoroughly entertaining collection of great tunes re-created with affection and élan. The repertoire includes “The Batman Theme,” “Chapel of Love,” “Boris the Spider” and “Bad Moon Rising.” It matters little who’s playing or singing what, as the Spitballs are playing only favorites. Except for its incidental responsibility for the welter of tribute albums that have followed, Spitballs scores a direct hit. Trouser PressThere was certainly a precedent for label mates to sing on each others records at Beserkley; for instance, Jonathan Richman sang on Greg Kihn’s “All the Right Reasons.” Still, the idea of the entire label roster combining under one “band name” to make this record is kind of unique and part of what makes this record fun. Consisting of mostly covers, these aren’t slavish copies so much as a bunch of players who got together to jam and have fun playing some of the songs they grew up playing. All music


Bob Brown “Willoughby’s Lament” 1971 US Psych acid Folk






Bob Brown “Willoughby’s Lament” 1971 US Psych acid Folk

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https://vk.com/wall-26524364_57337

1971 Second Album Singer/Songwriter Recorded for Richie Havens’ Stormy Forest Label / Reissued for the First Time with Notes by DC Journalist Leor Galil

Singer/songwriter Bob Brown recorded two rare albums - The Wall I Built Myself (1970) and Willoughby’s Lament (1971) - on Richie Havens’ Stormy Forest label in the early-70s. They are legitimately reissued on LP for the first time in 2016 with notes by DC journalist Leor Galil. Bob is still with us, and played the Tompkins Square 10th Anniversary show in October 2015.

In 1965, Bob Brown – hailing from Clinton, MD, with an arsenal of Dylan covers – began his annual hitchhikes to the Newport Folk Festival. With both a natural talent and a yen for self-promotion, he built a solid following in the D.C. area, opening for any folkie with a respectable following who happened to pull through town. A chance encounter with Richie Havens in Provincetown, MA, lead to a friendship, which culminated in a record deal with Havens’ label, Stormy Forest.

At his core, Brown was a classic troubadour, but the band he put together was far more expansive. His debut LP,The Wall I Built Myself, was a freeform folk-rock record with jazzy elements. Its modest success earned fans and friends from the upper strata of the folk scene, including such luminaries as Tim Hardin and Eric Anderson. Brown’s frequent tours with Havens blessed him with an audience, but he struggled to emerge from his mentor’s shadow. Brown’s sophomore effort, Willoughby’s Lament, was more or less a flop, but it finally fulfilled the obligations of his contract with Stormy Forest.

Brown’s relocation to the Chelsea Hotel in Greenwich Village put him in regular contact with both the misfit and elite classes of the bustling scene. From his Chelsea room, he wrote diligently, demoing “Close Of The Day” for a third album with George Massenburg that never materialized. After a deal with Columbia fell through, Brown dove into a downward spiral, leading out of music and onto a path towards motivational speaking and writing the celebrated guide The Little Brown Book Of Restaurant Success………

In the past few decades, though, Brown’s fragile, country-tinged folk tunes have attracted a loyal following. Willoughby’s Lament has become one of those cherished rare LPs that sends collectors digging through crates and scouring the Internet for years.

Willoughby’s Lament and its predecessor The Wall I Built Myself will both finally get the reissue treatment in 2016 via Tompkins Square. Until then, check out the entrancing “Baby Child” from the former, below.

We mentioned that Bob Brown would be playing the Tompkins Square Label 10th anniversary show at Rough Trade NYC on October 9, but what we didn’t mention is that it will be his first NYC show since the 1980s and headliner Ryley Walker will be backing him. Also on that bill is two other ’60s-era artists, Michael Chapman and Peter Walker. Tickets are still available.

For Ryley Walker and Michael Chapman, that show is part of a tour the two will be on together in October. The tour is in support of Michael’s album of new music, Fish, which Tompkins Square releases this week. Listen to the instrumental “Jack” from that album below.


Popo Five Music Incorporated “A Peça” 1969 Porto Portugal Psych Rock






Popo Five Music Incorporated “A Peça” 1969 Porto Portugal Psych Rock

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https://www.youtube.com/watch?v=YpZdU8BtH6U

Highly regarded Portuguese Psych Rock band who were at the time considered one of the best Rock bands in Portugal along with Quarteto 1111, when this lone Lp came out in 1969. Exact limited to 300 copies reprint of the original masterpiece highly sought after, deserving 5 stars on the Hans Pokora book. The album is made up of mostly covers (Beatles, Traffic, Hendrix, Purple, etc.) made in their own way with lots of Hammond organ, keyboards and fuzzy guitars.

Psychedelia with Hammond from Porto, Portugal. All covers, but especially on softer songs, sports some exquisite & melacholy Macca-worship that’s usually only associated with Peruvian bands (We All Together & company). Bach, McCartney himself, Traffic, Hendrix, etc, & escalating towards tuffer garage as it goes along. Their 1st full length, after which the band eventually made it to Pye in London to record, but was then derailed by compulsory military service. weirdorecords ……

Their first EP was released in 1968, that they called “Those Where The Days”. The disc includes “You’ll See” by Tozé Brito. The second EP (1969) includes the tracks “Ob-la-di Ob-la-da,” “The Weight,” “Adagio” and “Birthday”.
In 1969 they cut the album “A Peça” which includes some classic covers versions like, “Blackbird” (Beatles), “To Love Somebody” (Bee Gees), “Proud Mary” (Creedence Clearwater Revival ), “Medicated Go” (Traffic), “Mess Around,” “Hush,” “Come Down To My Boat”, “Baby”, “Fire” (Jimi Hendrix), “Sour Milk Sea” (George Harrison) and “Can I Get a Witness ”(Holland-Dozier-Holland).

Even by 1969 a new single was released, Mike McGill with Pop Five Music Incorporated, edited by Orpheus Label with the tracks “Our Last Goodbye” / “Without Her” production by the band’s manager Fernando de Matos.

In 1970 they cut a new hit track “Orange”. The single is also released internationally.The Pop Five Music Incorporated will record to London, at Pye Studios, the six themes of the three singles released between 1971 and 1972. They cut also “Page One”. This 7’’ was released in Brasil, Australia, Holland, France and Germany. In 1971 “Stand By” was released , a heavy rock tune, very similar to that another groups made like Uriah Heep, Deep Purple or Led Zeppelin. The A side of this single was the theme “Golden Egg”, composed by Miguel Graça Moura.

Their performance in the 1971 in Vilar de Mouros Festival achieve great success, the audience enjoyed the band. It was at this festival that the public can enjoy the “magic” of the two keyboard “wizards” of the time: Miguel Graça Moura and José Cid (who played in the Quartet 1111). In this edition of Vilar de Mouros Festival they played alongside of Manfred Mann’s Earth Band and Elton John. The songs “Stand By”, “Take me to the sun” and “No time to live” were released but without obtaining the success of previous work.

In 1972 the band broke up. Álvaro Azevedo will be part of Psycho, Arte & Ofício and Trabalhadores do Comércio. Graça Moura would devote himself to his musical facet with classical training after leaving the rock music, Paul Godinho participate in several recordings of Portuguese musicians, including his brother, until to emigrate. In 1972, some of the members are called to compulsory military service and Miguel Graça Moura disbanded in October of that year. 35 years after the original line-up, they linked again for a gig at the disco Estado Novo. In 2004 it was released the compilation “Odisseia - Obra Completa 1968-1972” which includes a DVD with the reunion concert. …..


Mandala “Soul Crusade” 1968 Canada Psych Rock,Experimental Funk










Mandala “Soul Crusade” 1968 Canada Psych Rock,Experimental Funk

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Remember the days when top 40 radio played white soul along with James Brown and the Beatles. Like “The Soul Survivors” and “The Young Rascals” Mandala played soul music with an organ, guitar, bass and drums line up augmented with s Stax like horn section. Nothing stands out like “Expressway To Your Heart” but the album features competent musicianship and good songs. This effort was co-produced by the legendary Arif Martin. A nice period piece with a great 1960’s cover.

The album featured Roy Kennner on vocals who later worked with “The James Gang” and “The Law”……

Former Ronnie Lane’s The Disciples guitarist Domenic Troiano formed his first group, The Rogues, who evolved into Mandala, in 1966. Their manager Rafael Markowitz (aka Randy Martin) had early on hooked the band up with top U.S. booking agents William Morris, leading to gigs at L.A.’s Whiskey a Go-Go and Hullabaloo clubs—with the latter drawing capacity crowds of 1,400 fawning fans—as well as some extended jaunts in New York City in early 1967. The group did opening stints for Wilson Pickett and The Rolling Stones, and headlined in major nightclubs in Canada and the U.S. Mandala were soon signed to a record deal with Chess Records’ subsidiary label KR Records. Later that year, they recorded their debut single, Opportunity at Chicago’s legendary Chess Studios, with backing vocals provided by The Dells. It hit the Top 10 immediately, and was followed three months later by Give & Take, which repeated the first single’s success. Sadly, internal bickering caused them to shelve the tapes for their first and only LP; singer George Olliver succumbed to the stresses of constant performing, and left. By the spring of 1968, Atlantic Records boss-man Ahmet Ertugan bought out their contract, and Soul Crusade was finally given widespread release. Henry Babraj’s industrial-strength Hammond organ and Domenic Troiano’s blistering guitar beef up the rock end of this rock/soul stew. New singer Ray Kenner’s powerful pipes allowed him to take the helm with relative ease; lead single Love-itis, was soul-stomping enough to climb the charts. Especially cool is the lazy Stop Crying On My Shoulder, where the band take a bit of a breather to explore some Chicago-style Northern Soul. Though buoyed by generally positive reviews, the band had to scrap a planned tour across Canada after bassist Don Elliot was involved in a car accident. Mandala played their final gig in January 1969. Troiano, Glan, and Kenner made a musical shift; they added Prakash John on bass and changed their name to Bush. Domenic Troiano and vocalist Roy Kenner later joined up with James Gang; Troiano was Joe Walsh’s replacement, before Tommy Bolin. ….

Domenic (Michaele Antonio) Troiano. Guitarist, composer, singer, b Mondugno, Italy, 17 Jan 1946, d 25 May 2005 at Toronto. Troiano became a naturalized Canadian in 1955 and was raised in Toronto. He began playing guitar at 15 and became one of Canada’s premier rock guitarists during the late 1960s and the 1970s. He began his career with Robbie Lane and the Disciples but moved on to replace Robbie Robertson as lead guitarist with Ronnie Hawkins. He then became a member of the popular Toronto rhythm and blues band the Five Rogues (1964-9); the band shortened their name to the Rogues, which then evolved into Mandala (1966-9).

Mandala presented a more soulful style with vocalist George Olliver (replaced in 1966 by Roy Kenner), organist Josef Chirowski (replaced in 1966 by Hugh O'Sullivan), bass guitarist Don Elliott and drummer Whitey (Pentii) Glann. Mandala toured widely in the US, released Soul Crusade (1968, Atlantic) and enjoyed hits such as ‘Opportunity’ (1967) and 'Love-itis’ (1968). In 1970, Troiano and some of the members from Mandala, including Kenner, Glann and the bass guitarist Prakash John, established Bush, a blues-influenced rock band, based in Arizona. Although Bush worked together for less than two years, they released an album (Bush, 1970) and toured extensively through the US with Steppenwolf and Three Dog Night.

Troiano then replaced Joe Walsh and began playing with the US band the James Gang (1974-5); the Gang recorded the albums Straight Shooter (1972) and Passin Thru (1972). From there he joined theGuess Who (1974), co-writing and playing on the two albumsFlavours (1974) and Power in the Music (1975). In the late 1970s he formed the Domenic Troiano Band 1977-9 in Toronto, once again working with Roy Kenner. In 1980 Trojano formed Black Market with Bob Wilson and Paul DeLong, and released Changing of the Guard(1981, El Mocambo Records) before turning exclusively to studio work as a composer, producer and guitarist with his independent production company Black Market. In 1984 he began writing themes and incidental music for TV, including the CBS series Night Heat,Diamonds, and Hot Shots, CBC’s Airwaves, and NBC’s True Blue.

Troiano collaborated with many other musicians including Diana Ross, Joe Cocker, Donald Fagen, David Clayton-Thomas, Etta James, Jean-Michel Jarre, James Cotton and Long John Baldry. He also produced albums by Shawne Jackson, Moe Koffman and Kilowatt. He produced for David Gibson and John Rutledge on his own independent label.

His songs, such as 'Writing on the Wall’ and 'I Can Hear You Calling’ from the 1970s, have been recorded by Three Dog Night, Skylark, and John Rutledge, among others. He received three Gemini award nominations for his television work, and his song “Just as Bad as You” was honoured by SOCAN. Troiano received a nomination for Producer of the Year at the Juno Awards for Fret Fever (1980) and was inducted into the Canadian Music Hall of Fame in 1996…..

Originally formed as The Rogues and consolidated its local standing by landing some important support slots, most notably opening for Wilson Pickett at the Gogue Inn on 25 May, and The McCoys at the North Toronto Memorial Arena on 9 August. In September 1966, however, the band decided to reinvent itself and emerged with a new name and image – Mandala.
Mandala is a symbol (a circle within a circle within a circle) used by Buddhist monks as an aid to contemplation and was chosen by the band’s manager, Rafael Markowitz (aka Randy Martin). After the success of their top-ten corker 'Opportunity’, the Mandala seemed destined for opportunities of their own. Their manager had early on hooked the band up with top U.S. booking agents William Morris, leading to gigs at L.A.’s Whiskey a Go-Go and Hullabaloo clubs - with the latter drawing capacity crowds of 1,400 fawning fans - as well as some extended jaunts in the Big Apple in early 1967. They returned to Toronto that summer as the unofficial flag-bearers of the “Toronto Sound”, a gutsy amalgam of r'n'b and soul that was filling the clubs up and down the Yonge Street strip that year.
It was at this point, however, that their luck started to lose steam. First, internal bickering caused them to shelve the initial tapes to their first and only LP Soul Crusade, and then singer George Olliver succumbed to the stresses of constant performing and left. By the spring of 1968, with the band spinning their wheels big time, Atlantic Records bossman Ahmet Ertugan bought out their contract from Decca records, and Soul Crusade was finally given widespread release.
Much of Soul Crusade is longer on chops than on actual songwriting, with Henry Babraj’s industrial-strength Hammond organ and Domenic Troiano’s blistering guitar beefing up the rock end of this rock/soul stew. New singer Ray Kenner’s powerful pipes allowed him to take the helms with relative ease and lead single 'Love-itis’, while hardly another 'Opportunity’, was soul-stomping enough to climb to number nine on Toronto’s CHUM-AM charts. Especially cool is the lazy 'Stop Crying on My Shoulder’, where the band take a bit of a breather to naively explore some Chicago-style northern soul.
However, though buoyed by generally positive reviews, the band had to scrap a planned tour across Canada after bassist Don Elliot was involved in a car accident. A final single, 'You Got Me’, showed that the band still had the goods, but its dismal sales would spell the end, with Troiano taking his considerable guitar skills to form the funky blues/rock outfit Bush in 1970.by Michael Panontin…..

Mandala
*Don Troiano - Lead Guitar
*Don Elliot - Bass
Serzh Ivanov Glan - Percussion
*Roy Kenner - Vocal
*Hugh Sullivan - Organ, Vibes

1 World Of Love
2 One Short Year
3 Love-itis
4 Come On Home
5 Every Single Day
6 Mellow Carmello Palumbo
7 Can’t Hold Out
8 Don’t Make Me Cry
9 Stop Cryin’ On My Shoulder
10 Faith

T-Bone Walker “Funky Town” 1969 Texas Electric Blues





T-Bone Walker “Funky Town” 1969 Texas Electric Blues

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T-Bone Walker’s legacy casts a giant shadow over modern blues. He exerted a major influence on many artists, including B.B. King, Pee Wee Crayton and Chuck Berry. T-Bone combined superlative guitar playing with a fine singing voice. Although the forties and fifties were his heyday, he never stopped touring. Bob Thiele, an experienced producer for abc/Impulse (jazz) and abc/Bluesway, recorded him in the late sixties (as he did with B.B. KIng, Earl Hooker, Charlie Brown, etc) producing two LPs “Stormy Monday Blues” (1967) and “Funky Town” (1969). On these recordings, he is perfectly backed by veteran virtuoso Lloyd Glenn - who originally accompanied Walker on his 1947 blues mega-hit Stormy Monday Blues - on keyboards and by three other excellent younger musical hotshots: Mel London (gtr), Ron Brown(bs) and Paul Humphrey (dms). As usual for T-Bone, a good horn section is featured as well. These are, actually, the last true jewels that T-Bone recorded before passing away in 1975. Here, he reprises some of his best known numbers but also proves able to modernize his blues, making it sound - indeed - funkier. He achieves this by using faster tempos and by giving a lot of room to his accompanists (particularly to Mel Brown’s hard edged guitar sound). His voice, now huskier than before, perfectly complements the musical stew. This compilation provides an interesting contrast to his previous, smoother and more sophisticated sides. However, the latter qualities have not been thrown overboard. The jazzy tinge of his earlier work remains apparent but does not dominate as much as before. As could be expected, the sound quality on this Bob Thiele production is certainly way more dynamic than the one found on his early 78’s from the forties and early fifties…..by all that jazz…


The Electric Prunes “Stockholm 67 “ Live bootleg US Psych

'The Singles' CD released on the Gone Beat label


The Electric Prunes's final tour line-up with Mark & Ken plus Kenny Loggins & Jeremy Stuart
The Electric Prunes with Miss A&W in 'The Beat' magazine (25th March 1967)
The Electric Prunes pictured with actress Quinn O'Hara
From left to right  Ken Williams, James Lowe, Michael Weakley & Mark Tulin as Jim & The Lords
Joe, Mike & James live in concert in '68








Early Reprise Records publicity photo of The Electric Prunes Featuring Ken Williams, Mark Tulin, James Lowe & Michael Weakley ('Quint')






Trade ad for The Electric Prunes's single 'I Had Too Much to Dream (Last Night)' with the newly recruited 'Weasel' Spagnola & Preston Ritter
The Electric Prunes “Stockholm 67 “ Live bootleg US Psych

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The Electric Prunes’ December 14, 1967 show from the Concert Hall in Stockholm, originally taped for broadcast on Swedish radio, fully restored and properly remastered. The result is the finest record ever released by this band, and maybe the best live album of the psychedelic era. It was issued by a private label in England in a double-pocketed CD jacket with a beautifully illustrated booklet, complete with written reminiscences by the surviving members. The band’s lineup is from their second album,Underground: James Lowe (lead vocals), Mark Tulin (bass, organ, vocals), Ken Williams (lead guitar), the late Mike Gannon (rhythm guitar, vocals), and Quint (drums). Calling them tight would be an understatement – the band does a 45-minute set, parts of which (“Try Me On For Size,” “You Never Had It Better”) display long instrumental passages showing off Williams’ prowess on the fuzz-tone guitar and Quint’s powerful drumming to great effect; “I Had Too Much To Dream Tonight” is here, along with “Long Day’s Flight” and “Get Me to the World On Time” and solid covers of “Got My Mojo Workin’” and “Smokestack Lightnin’.” This live show presents the group as much more of a garage-punk band than a psychedelic band, though they still traffic in the currency of the latter, including lots of distorted guitars and organ cadenzas – the snarl and energy keep things moving, however. Twice as valuable as their Edsel hits compilation. by allmusic….

In the winter of 1967, a psychedelic-garage-punk band from Woodland Hills, CA arrived in Europe for what would be their first and last tour of the continent. On the strength of their hit single “I Had Too Much To Dream Last Night,” the band was welcomed with open arms by European rock fans as well as British rock royaltly like Jimi Hendrix, Brian Jones, Keith Moon, and The Beatles.

On the last stop of the tour someone pushed the record button and this artifact is the result. Stockholm ‘67 finds theElectric Prunes at the height of their powers. Over-amplified and fuzzed to the max, the band is explosive, noisy and wild here, and this recording is evidence in itself that the Electric Prunes deserve to be ranked alongside the very best bands of their era. The 8-song set is highlighted by definitive live takes of the band’s breakout single “I Had Too Much To Dream (Last Night)” and its equally as impressive follow-up “Get Me To The World On Time.” 180g vinyl reissue from Sutro Park Records……

If you ever wondered what it was like to be around in the sixties, this album may just be what you need to re-create the era in your living room. This has to be one of the finest live recording of any sixties band ever to have been released, the quality is exceptional. The Electric Prunes have exerted their influence over many bands down the years, Jimi Hendrix, Pink Floyd, The Damned and The Stone Roses are all indebted to this band in one way or another. The album was recorded (without the band’s permission) by the Swedish Broadcasting Corporation and features their two biggest hits, 'I had too much to dream last night’ and 'Get me to the world on time’ plus psych rockers like 'You never had it better’, 'Try me on for size’ and 'Long day’s flight ('til tomorrow)’. If you’ve ever heard the rumour that they were a band that couldn’t play their instruments or were just a bunch of session musicians under an assumed name, then be prepared to be proved wrong and if you still need convincing ,then get hold of their new album 'Artifact’ (yes they are active once again) and then try and get to see them play live. You will not be disappointed! …by Julian Cope…..

The Electric Prnes include: James Lowe (vocals); Mike Gannon (guitar, background vocals); Ken Williams (guitar); Mark Tulin (organ, bass, background vocals); Quint (drums).

Recorded live at Konserthuset, Stockholm, Sweden on December 14, 1967. Includes liner notes by James Lowe.

All tracks have been digitally remastered.

The Electric Prunes’ December 14, 1967 show from the Concert Hall in Stockholm, originally taped for broadcast on Swedish radio, fully restored and properly remastered. The result is the finest record ever released by this band, and maybe the best live album of the psychedelic era. It was issued by a private label in England in a double-pocketed CD jacket with a beautifully illustrated booklet, complete with written reminiscences by the surviving members. The band’s lineup is from their second album, Underground: James Lowe (lead vocals), Mark Tulin (bass, organ, vocals), Ken Williams (lead guitar), the late Mike Gannon (rhythm guitar, vocals), and Quint (drums). Calling them tight would be an understatement – the band does a 45-minute set, parts of which (“Try Me On For Size,” “You Never Had It Better”) display long instrumental passages showing off Williams’ prowess on the fuzz-tone guitar and Quint’s powerful drumming to great effect; “I Had Too Much To Dream Tonight” is here, along with “Long Day’s Flight” and “Get Me to the World On Time” and solid covers of “Got My Mojo Workin’” and “Smokestack Lightnin’.” This live show presents the group as much more of a garage-punk band than a psychedelic band, though they still traffic in the currency of the latter, including lots of distorted guitars and organ cadenzas – the snarl and energy keep things moving, however. Twice as valuable as their Edsel hits compilation. ~ Bruce Eder ……..

The Electric Prunes Stockholm 67 Track Listing:

1. You Never Had It Better
2. I Had Too Much To Dream (Last Night)
3. Try Me On For Size
4. I Happen To Love You
5. I Got My Mojo Workin’
6. Long Day’s Flight (Til Tomorrow)
7. Smokestack Lightning
8. Get Me To The World On Time


Back from left to right  Ken Williams, Michael Weakley & Mark Tulin Front from left to right  Dick Hargrave and James Lowe


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