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26 Nov 2016

The Olivers “Beeker Street - The Complete Recordings 1964 - 1971″ US Psych Garage





The Olivers “Beeker Street - The Complete Recordings 1964 - 1971″ US amazing…. Psych Garage..recommended…!
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The Olivers from Fort Wayne, Indiana are best known for their highly sought after 1966 Picture Cover 45 on Phalanx Records titled “I Saw What You Did b/w Beeker Street”. 
The single got picked up by RCA Records for nationwide release and is today rated as one of the best and most exciting double sided major label garage 
45’s of the 1960s. A planned second single and LP release for RCA never happened. Long standing rumours of a “Lost LP” however, were confirmed when a one-of-a-kind reference acetate of an unreleased GRT album by The Olivers was found recently. 
The album, recorded after several line-up changes in early 1969 at Dove Studios in Minneapolis turned out to be a psychedelic jewel. Unjustifiably shelved 40 years ago, this amazing organ drenched fuzzfest proves that the band does not only deserve the plaudit “Indiana Sixties Rock Heroes”, but also had the potential for the national breakthrough that never happened. 

This CD captures the incredible talent and versatility of the Olivers and features the band’s 1965 – 1969 recordings including their “Lost Dove LP”, their sole 45 from 1966, two rare 1965 single releases by pre-Olivers band “The Serfmen” plus a final 7" by post-Olivers formation “Triad”. A 12-page booklet documents the band’s career as told by its original members and a cache of unseen photos completes the group’s 1963 – 1971 history…………. 

. Tracks: 
The Serfmen 
01. Chills And Fever (Single B-Side) — 2:52 
02. (I Want You) Back Again (Single A-Side)- 2:50 
03. Cry (Single B-Side) — 3:08 
04. A Man Can’t Live Without Love (Single A-Side) — 2:16 

05. I Saw What You Did — 2:45 
06. Beeker Street — 2:04 
07. Ball Of Fire — 3:42 
08. Mushroom — 2:48 
09. Jessica Ryder — 9:28 
10. Someday Somewhere — 2:57 
11. The End — 5:07 
12. Free — 3:35 
13. Social Slavery — 12:24 

Triad 
14. The Only Way To Fly (Single A-Side) — 3:03 
15. Borderline (Single B-Side) — 2:23 

Personnel: 
Billy Franze — guitar, bass guitar, vocals (1965-1971) 
Mike Mankey — guitar, vocals (1966-1971) 
Chuck Hamrick — drums (1965-1969) 
Rick Durrett — keyboards (1967-1969) 
Jay Penndorf — guitar, vocals (1965-1966, 1968-1969) 
Carl Aldrich — keyboards, vocals (1964-1967) 
Kent Cretors — drums (1969-1971) 

Paul Masse “Motels And Stations” 1969 US Psych Folk Rock











Paul Masse  “Motels And Stations” 1969 US Psych Folk Rock
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Tracklist
A1 Motels And Stations 3:10
A2 The Way It Use To Be 2:38
A3 Where It’s At 2:24
A4 Candy 1:50
A5 The Bandana 3:33
A6 High On A Hill 3:05
B1 Lazy Wind 2:27
B2 There Is A River 3:25
B3 Love Won’t Come Easy 3:25
B4 Brambles And Flowers 2:02
B5 Season Sun 2:45
B6 Dragon Fly 2:05

Raven "Raven" 1969 US Psych Blues Rock






Raven - London, England - 1969 - (Weitz, Calire, Calandra, Galla and Mallaber)




Raven  "Raven" 1969 US Psych Blues Rock 
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watch story of Raven…..
Originating from Buffalo, New York, Raven recorded a great studio album in 1970. Raw and distorted, it’s heavy, unpolished, filthy, bluesy, moody rock – just the way I like it! Not quite the Small Faces or Procol Harum, it’s taken me a while to find something similar in the annals of my mind and my own collection.  But the analogy has finally bubbled up to the surface: it is not unlike Moore/Shiels/Bridgeman or maybe Gary Moore’s first solo album, “Grinding Stone” from 1973. Except it’s also got those haphazard keyboards – piano and organ – once again, so raw and distorted and played with such energy and abandon, they give the frantic guitar a run for its money. In that, as well as the bluesy, at times dishevelled vocals, it’s even more like Juicy Lucy and Toe Fat’s debut albums as well as “Cliff Bennett’s Rebellion” (1971). A pleasant surprise and a revelation, to say the least! 

Alex Gitlin 
November 2004 


Raven brought together the survivors of two earlier bands. Bass player Tommy Calandra and drummer Gary Mallaber had been members of Stan and the Ravens. Singer Tony Galla, keyboardist Jimmy Calire, and guitarist John Weitz had been members of Tony Galla and the Rising Sons. Coming together in 1967 the five members quickly released a series of local singles: 

- 1967’s ‘In Love’ b/w 'Guys Go for Girls’ (Swan catalog number S-4275-1) 

Credited to Tony Galla, the 'A’ side was a nice blue-eyed soul number showcasing Galla’s gritty voice. The flip side was a throwaway, beach-movie flavored slice of pop, I’m not sure where it was filmed and neither the video or sound quality are all that great, but YouTube has a nice 2007 performance of the tune at: https://www.youtube.com/watch?v=MMP5XgkK2PM 

- 1967’s 'There’s Nothing Going for Us’ b/w 'I’m Down’ (Upstate catalog US 600-45) 

Credited to The Risings Sons, the 'A’ side was an MOR-ish pop ballad saved by some nice jazzy Hammond B-3 from Jimmy Calire. 

- 1967’s 'No Turnin’ Back’ b/w 'Farmer’s Daughter’ (Sahara catalog number 112) 

Released on the small Sahara label and credited to The Raven’s, 1967’s David Lucas produced 'No Turnin’ Back’ was a Sir Douglas Quintet-styled, single. “farmer’s Daughter’ was an even better slice of garage rock. 

Signing former Shakey’s Blues Band keyboardist Marty Angelo as manager and now operating as Raven, the band relocated to New York City. With help from a live concert tape, Angelo caught the attention of Jimi Hendrix and manager Steve Paul. Paul subsequently hired the group as the house band for this New York club The Scene. They toured extensively over the next year, reportedly turned down contract offers from Michael Lang (who was interested in having them performer at the 1969 Woodstock concert - they’d played at the folk oriented 1968 show, only to be booed by the audience) and from Peter Asher and Apple Records. With help from producer David Lucas they ultimately decided on a five year deal with Columbia, releasing their debut LP in 1969. 

Produced by John Hill, "Raven” was one of those album’s that took awhile to grow on me. Their sound was buried in blues-rock, with an occasional jazzy interlude, but with an intense, raw edge, that made them somewhat un-commercial. Not that being un-commercial was necessarily bad. Galla had an outstanding voice; gruff and rugged and near perfect for the genre, but like a lot of singers, his natural reaction was to try to power his way out of corners, which occasionally turned things screechy (“Feelin’ Good’). As I said, the album didn’t have instant appeal when I first heard it. Yeah, their stab at getting funky ('Frumpy’) was fun, and 'Howlin’ for My Baby’ found them turning in a decent Willie Dixon cover. It just took awhile to get accustomed to their intensity … It was worth the effort though since there’s only one truly lame effort on the album - Calire’s throwaway blues number 'None of Your Jive’. Elsewhere there were lots of hidden treasures - the pounding blues rocker 'Neighbor, Neighbor’ and the extended closing blues ham 'Bad News’. As much as I’ve come to enjoy Galla, the band’s secret weapon was lead guitarist John Weitz. He certainly wasn’t showy, but when he got a crack at the spotlight, Weitz was consistently mesmerizing. Be sure to check out his work on the closing rocker 'Bad News’. 


"Raven” track listing: 
(side 1) 
1.) Feelin’ Good (Jimmy Calire - Tommy Callandra) - 2:52 rating: *** stars 
Showcasing Galla and Carlire on vocals, 'Feelin’ Good’ was a decent enough blue-rocker. In fact, I quite liked it, except for the fact the band sounded so earnest in the performance. I’ve seldom heard anything that sounded as forced which served to kind of squeeze the joy out of the performance. Columbia tapped the song as a single 
-1969’s 'Feelin’ Good’ b/w 'Green Mountain Dream’ (Columbia catalog number 4-44988) 
2.) Neighbor, Neighbor (A.J. Valier) - 4:27 rating: **** stars 
Normally straight forward blues numbers don’t do a great deal for me, but kicked along by some tasteful John Weitz lead guitar and Galla’s gritty voice, 'Neighbor, Neighbor’ was one of the exceptions. 
3.) Green Mountain Dream (Jimmy Calire) - 4:36 rating: *** stars 
'Green Mountain Dream’ was an unexpected country-tinged ballad. Equally surprising was how nice Galla’s voice sounded when he throttled the power back a little bit.4.) No Turnin’ Back (Tommy Callandra) - 3:34 rating: *** stars 
For some reason the band elected to re-record their 1967 debut single. Unfortunately, the original’s likeable Sir Douglas Quintet influences were dropped in favor of a harder rock edge. Still nice, but not as good as the debut 45. 
5.) Let’s Eat (instrumental) (Jimmy Calire - Tommy Callandra - Tony Galla - Gary Mallaber - John Weitz) - 5:46 rating: *** stars 
One of two group-penned numbers, 'Let’s Eat’ was a soul-styled instrumental that wouldn’t have sounded out of place on a Booker T. & the MG’s set. Hardly the most original composition on the set, but pleasant. 
(side 2) 
1.) Howlin’ for My Baby (Willie Dixon - C. Burnett) - 4:36 rating: **** stars 
'Howlin’ for My Baby’ was one of the first tunes the group recorded. Their drunken cover probably wasn’t going to make you forget the Willie Dixon original, but kicked along by Weitz’s excellent guitar, it wasn’t half bad. 
2.) Frumpy (Jimmy Calire) - 3:06 rating: **** stars 
Hum, the band trying to get down and funky … You wouldn’t have thought a bunch of white guys from Buffalo would have had in them, but they sounded pretty good on this one. Again, Weitz’s work was tremendous. 
3.) None of Your Jive (Jimmy Calire) - 3:32 rating; ** stars 
Plodding, keyboard powered conventional blues number that just never caught fire for me. 
4.) Bad News (John Weitz) - 10:00 rating: **** stars 
Normally a ten minutes blues-rock number should be sleep inducing and while 'Bad news’ was definitely too long for it’s own good, the combination of Weitz’s sterling guitar (if you ever wondered why Jimi Hendrix would have been impressed by the guy, check this one out), Calire’s Hammond B-3, and Galla’s rugged voice made it fly by in a heartbeat. Nice way to end the album. 


The band actually signed a five year, multi-album deal with Columbia, but falling victim to the usual personality conflicts, broke up before recording a second collection. Apparently pulled from material recorded for a planned follow-up album, Columbia released a non-LP, promo single in the States and the UK (where’d they toured the year before) 

- 1970’s 'Children at Our Feet’ b/w 'Here Comes a Truck’ (Columbia catalog number 4-45163) 

Time heals all wounds and the band reunited several times in the 1980s, 90s, and 2000s. 

Calandra died in 1998. 
Weitz died in August, 2012…..by…Seller’s ……….. 

«Raven» The band was formed in 1967 in Buffalo (NY). the band performed almost the entire US territory under the control of Marty Angelo manager, including such popular places like The Electric Circus (Nightclub), The Fillmore East, Steve Paul’s Scene, Unganos in New York, The Grande Ballroom in Detroit, Chicago’s Kinetic Playground and many others. The team was formed after the collapse in 1967, the group «Stan And The Ravens» and two of their party, Thomas Calandra and Gary Mallaber, joined Tony Galla, John Weitz and James Calire group «Tony Galla And The Rising Sons». they changed their name to «Raven» in 1968. In 1969, the band toured in England, where they were offered a contract with the «Apple», but they refused and have subscribed to the «Columbia Records». In late 1970, the band broke up due to personal reasons, breaking a five-year contract with Marty Angelo, «Associated Booking Corporation» and «Columbia Records». In addition to the studio, «Raven» also released a live album recorded in 1967 under the name «Live At The Inferno»……………. 



Personnel: 
Tony Galla — vocals, harp, flute 
John Weitz — guitar 
James Frank Calire — keyboards, vocals 
Thomas J. Calandra — bass 
Gary Mallaber — drums, percussion 


Tracks: 
01. Feelin’ Good — 2:52 
02. Neighbor, Neighbor — 4:26 
03. Green Mountain Dream — 4:35 
04. No Turnin’ Back — 3:33 
05. Let’s Eat — 5:46 
06. Howlin’ For My Baby — 4:35 
07. Frumpy — 3:04 
08. None Of Your Jive — 3:26 
09. Bad News — 10:00 

Albums: 
Live At The Inferno (Discovery 36133) 1967 
Raven (CBS CS 9903) 1969 

45s: 
Feelin’ Good/Green Mountain Dream (CBS 4-44988) 1969 
Children At Our Feet/Here Come A Truck (CBS 4-45163) 1970 

Robert Savage ‎"The Adventures Of Robert Savage Vol. 1"1971 US Psych Hard Rock










Robert Savage ‎" The Adventures Of Robert Savage Vol. 1"1971 US Psych Hard Rock 
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“The Adventures of Robert Savage” is a very obscure psychedelic rock band from the 70’s that hailed from California. There is a lot of heavy fuzz guitar here, excellent riffs and far-out solos, that this guy was obviously heavily influenced by the great Jimi Hendrix. 
The band consisted of three members. In 1971 they released an album called The Adventures Of Robert Savage, Vol. 1.Robert Savage was obviously influenced by Hendrix and his album is recommended to fans of hard rock trios with inventive guitar parts. It comes in an unusual mediaeval style cover featuring a dragon……. 

Released by Paramount Records, 1971’s “The Adventures of Robert Savage, Volume 1” is one of those albums that initially doesn’t seem to have a great deal going for it. The first time I spun it quickly faded into background noise. Luckily I dumped it into an ‘also ran’ pile that I came back to a couple of months later. Mind you, this set won’t change your life in any way, but namesake singer/guitarist Savage, bassist Don Parish and drummer Tommy Richards turned in what is a pretty impressive set of Hendrix-inspired hard rock and white boy blues. Whomever he was, material such as 'Amy (The Insane)’ and the instrumental 'Road Apples’ demonstrated that Savage was a pretty decent guitarist. On the other hand lyrically tracks such as 'Beaver Baby’, ’ A Hard One’ and 'Seven Days Drunk’ weren’t exactly Pulitzer Prize noteworthy, though they were goofy enough to be worth hearing (check out 'Amy (The Insane)’). It all comes together in the form of the bizarre 'Save Us from the Cyclops’….BadCat Records……… 

The Adventures Of Robert Savage is a very obscure psychedelic rock band from the 70’s that hailed from Californ-i-a. There is a lot of heavy fuzz guitar here, excellent riffs and far-out solos, that this guy was obviously heavily influenced by the great Jimi Hendrix…………. 

Don Parish (Bass, Vocals) 
Robert Savage (Guitars, Vocals) 
Tommy Richards (Drums) 

Tracklist 
A1 Beaver Baby 3:05 
A2 Milk Run 3:10 
A3 Don’t Run And Hide 4:03 
A4 A Hard One 3:19 
A5 7 Days Drunk 4:29 
B1 Save Us From The Cyclops 5:46 
B2 Amy 3:55 
B3 Lonely World 3:08 
B4 Road Apples 4:24 

Fat “Footloose” 1976 US Acid Psych Blues Rock







Fat  “Footloose” 1976 US Psych Blues Rock
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In the wake of being dropped from their recording contract by RCA the band returned to Massachusetts where they continued to plug away playing the club circuit through the late-1970s. Over the next six years the band underwent a series of personnel changes. Guitarist James Kaminski quit in 1974 and was replaced by singer Peter Newland’s brother Christopher Newland. Drummer William Benjamin was next to go, replaced by William Perry and percussionist Eduardo Vates. 

Six years after the release of the debut album, Fat returned with their self-financed 1976 sophomore set - “Footloose”. Produced by Ed Begley and released on their own Dream Merchant label, the album found the band trying to adapt to changing public tastes. With the exception of ‘Footloose and Fancy Free’ and 'Dirty Money’ which judging by the songwriting credits were apparently older Fat MK I selections, much of the album reflected a mixture of more commercial and polished, mid-1970s AOR sounds. These guys were too talented to turn in a horrible album and if you could get over their more commercial leanings, tracks like bar band rocker 'Down Home Girl’ and 'Get It While It’s Hot’ certainly weren’t bad. 'Course, the lite-jazzy instrumental 'Bistro City’ was almost criminal. Peter Newland’s voice and smart songwriting remained the band’s strengths (okay, the country-Caribbean lilted 'Highway Angel’ was pretty bad, but this time around songwriting chores were shared across the whole group, diluting the overall effect. The overall effect was that of a group trying to cover all of their bases living in fear they might not get a third change. Say 50% enjoyable, which meant it wasn’t nearly as stunning as the debut. Not a real rarity, but finding s copy in decent shape is surprisingly difficult to locate….by… RDTEN1 ...

Indie label release by Western Massachusetts' Fat, six years after the first self-titled album was released. Two original members left and were replaced (lead guitar and drums). This is a more polished (slick?) rock-n-roll record than their first album with less adventuresome arrangements and more upbeat and danceable tunes. Newland's vocals are just as strong as ever but his lyrics are less poetic and existential. A solid record. Get it While It's Hot is the highlight, starting side two, a longer high energy song with a great guitar solo. Bistro City is an interesting jazz-funk instrumental song with Newland on flute....by...The Dragonfly .........

Tracklist 
A1 Footloose And Fancy Free 3:50 
A2 Dirty Money 
Written By – W. Benjamin 
3:46 
A3 Highway Angel 3:59 
A4 Bistro City 
Written-By – W. Perry* 
3:54 
A5 Down Home Girl 
Written By – Lieber/Butler 
3:35 
B1 Get It While It's Hot 6:38 
B2 (You Make Me Nervous) 5:00 
B3 It Was An Elegant Time 3:50 
B4 Immediate Woman 3:47 

Granmax “A Ninth Alive” US 1976 Private Hard Rock










Granmax “A Ninth Alive” US 1976 Private Hard Rock. 
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debut album from Omaha (Nebraska). The band was formed in late 1975 by brothers McCorkle and Steve Meyers. All three had previously been dismissed from their previous bands for indiscipline, lateness and absenteeism rehearsals. But then the guys got down to business, and in 1976 recorded their first album «A Ninth Alive» in the style of hard rock…… 

Omaha, Nebraska was home to 70’s hard rock quartet Granmax. Formed in early 1975, the band gained quite a bit of exposure throughout the midwest which culminated in the release of “A Ninth Alive” on Pacific Records in 1976. By the end of the year, the band signed with Panama Records and their debut was reissued to reasonable success in the region. The band tirelessly gigged throughout the midwest for nearly two years, picking up slots on numerous tours before the addition of frontman, Nick Christopher. 

Revived and rejuvenated, the band entered the studio in early 1978 to record their sophomore album, “Kiss Heaven Goodbye”. With a clearly harder edged sound, the band once again saturated the midwest with promotional gigs and a full tour, but audiences just weren’t biting. The band returned to the studio to cut a third album, but things began to unravel during the sessions and Granmax came to a screeching halt before it could be completed. The post breakup activities of the members is unknown. 

One listen to this album and you’ll be scratching your head wondering why there’s so much fervor over Granmax. Most likely it is due to their legendary followup album from 1978, as this release is a rather pedestrian exercise in one dimensional hard rock. Sure the musicianship is tight enough and the production isn’t all that horrible, but the songwriting is terribly unoriginal and plodding. The average vocals do virtually nothing to help either. To their credit, there are many ideas that begin so well, only to fall flat by their conclusion. Ranging from hard boogie to folk rock to proto metal, Granmax never quite manage to manifest their ideas into anything memorable. However, since their 2nd album seems to get all of the attention online, it’s only fair to offer up this relic for your judgement………….. 

Personnel: 
Steve Meyers — guitar, vocals 
Tim McCorkle — bass, vocals 
Lewis McCorkle — drums 

Tracklist 
A1 Take You Away 4:41 
A2 U.S. Is Coming Around 3:47 
A3 Crumbling Towers 3:43 
A4 Bankers Bar 4:30 
A5 Find A New Day 3:20 
B1 Out On The Tide 3:56 
B2 Ceiling Wall 4:35 
B3 Glitter Boots Boogie 3:47 
B4 Let Me Know 3:20 
B5 Letters To Myself 4:45 

johnkatsmc5, welcome music..

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