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11 Feb 2017

Edition Spéciale "Horizon Digital “ 1978 France Prog Fuzion,Jazz Rock











 Edition Spéciale  "Horizon Digital “ 1978  France Prog Fuzion,Jazz Rock
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 Their third album was rather like ALIQUANTE, only more of it. Ann Ballester's singing voice gained in confidence, making this quite pleasing to listen to as she sings on three of the album's six tunes (I don't know if I'd quite consider the chanting on "Confluence" "singing" exactly). She's replaced her old ARP Omni (glorified string-synth) with an Oberheim polyphonic, allowing for an expanded palette of synthesizer tones. The Weather Report comparison creeps ever closer.
An extended guest-appearance by Gong's Mireille Bauer on marimba, vibes and other percussion really make this album soar. Really, one of the better fusion items from France, and highly recommended. I was disappointed to see two tracks from this tacked onto the end of Muséa's ALIQUANTE CD, a practice that practically screams out, "We have no intention of reissuing this in its entirety." A grave pity, as it's clearly their finest hour......by Progbear ...........

After the almost awesome Aliquante, ES came back the following year with a fairly different album, one that would be recorded in Chateau D'Hérouville and recorded by Laurent Thibault (see his section elsewhere in PA), with a very different line-up. Only the Lorenzini-Ballester couple remains with Gouillard on drums, bassist Turquenne passing through Magma (little wonder) and being replaced by Grillot and the group brings in ex-Gong Mireille Bauer (vibes & perc) as a sort-of guest on the way to Catherine Ribeiro & Alpes. It's my guess many progheads will prefer this present album over Aliquante, and no doubt the gatefold artwork will work subliminally for Horizon Digital, but you should trust (blindly) me on this one, go for Aliquante
One of the differences you will hear is a more Zappa-esque feel to HD, due to Mireille Bauer's vibraphones, this as noticeable on the fast tracks (Aurore) than on the slower moments (intro of Camara), giving a more Mother-esque feeling than a Gong-ian tone. Another difference is the much greater presence (and more intrusive) of Ballester's Steely Dan-esque vocals laced with weaker second-rate Zeuhlian influences. So overall the ES formula is returning to a sung popier format, Ballester's synths choices not being as successful as previously, and the group is even closing the album with a needless blues track.

If on the strictly vinyl album comparison point, Aliquante is a much better album than HD, once you get to the Cd reissues, Musea actually renders things more difficult, by adding five bonus tracks that were supposed to be ES's fourth album and recorded in 80. While remaining musically roughly in line with their third album, the group was now only a duo consisting of Lorenzini and Ballester plus guests, and by that time, they had been caught by a lot trends of the times, and tried to be much more song- oriented (as in commercially-oriented songs) with Ballester's voice returning to the fore, but the back up she got made the whole thing sound like Steely Dan and this time not just vocally, but musically as well. Actually the five tracks of the fourth unreleased album make a rather nice accompaniment to Horizon Digital's eight, but you will find a degradation of quality and inspiration, the pop thing being furthered even flirting with a reggaeish funk. Better first start with Aliquante and if that pleases you enough to find more about them, come to this one (and its successor as bonus) and then move to the debut if you're still interested....by Sean Trane ............

Line-up / Musicians
- Marius "Mimi" Lorenzini / guitar, keyboards, vocals
- Ann Ballester / keyboards, vocals
- Mireille Bauer / vibraphone, marimba, percussion
- Francois Grillot / bass (1 - 6)
- Alain Gouillard / drums (1 - 6)

- Thierry Tamain / Fender Rhodes, clavinet (7 - 11)
- Emmanuel Binet / bass (7 - 11)
- Frank Raholison / drums (7 - 11)
- Fernand "Titi" Pena / vocals (7 - 11)

Songs / Tracks Listing
1. Aurore (5:42)
2. Camara (9:25)
3. Ma Vie Dégénère (2:58)
4. Daisy (7:04)
5. Jungle's Jingle (6:32)
6. Confluence (4:46) 

Donn Tarris “Party” 1977 Canada Private Psych Folk Rock




Donn Tarris “Party”  1977 rare & excellent Canada Private Psych Folk Rock…recommended…!
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Donn Tarris began as a bass player in a band that he and three friends have started when they were in high school. He began writing his own songs around 1972 and put out his first album, Party, in 1977. The self-penned, self-produced set is an excellent collection of ballads and folk rock with Jazz & Latin overtones in tight unit. The highlights are 'Lonely Man', 'Chambermaid' and 'Walking Thoughts' with his fresh vocals and lyrics more life in song. At that time he was the bass player, co-producer and engineer for the band Airborne. That band went in to Ocean Sound Studio in North Vancouver in the summer of 1977 to record their debut album Songs for a City (also reissued on Beatball Music Group). Originally on Remembering Records, 1977 CANADA. First official release. Sound from original master tape with 2 bonus tracks. LP miniature sleeve including obi. Exclusive retro-style inner sleeve.. .......

Wonderful folk-rock song "Marsha" captivated me with their uniqueness and solid impurities psychedelia. Name of its artist, Canadian singer and songwriter Donna Terrisa (Donn Tarris) did not say anything to me and I made the search for information about him, hoping to also find some more of his works. And partly it has been rewarded!

  First, I recognize that "Marsha" was placed on a gramophone record Terrisa "Party", which was published in 1977 on the label "Remembering Record", and then found and a brief biography of the Canadian. It is reported that Donne began his musical career as a bass player in a part of the student quartet, where all the musicians were his friends. In 1972, he began to compose his own songs. But their first album "Party" for some reason, let alone five years. Four more years and we see Donna again as a bass player, and in combination - producer and sound engineer, as part of the Vancouver team The Wet! With this group he recorded chetyrёhpesenny mignon and I was surprised to learn in his own studio, which was called "Buttertree Sound" (in Richmond). For many years, Donne wrote the song, but his next solo albums recorded very late in the '90s - "Twilight" and "When Night Has Fallen" (2002, both re-issued?).

  Could not clarify the nature of vzamodeystviya Donna Terrisa with such ensembles as the Arrival. As for Airborne (also from Vancouver), then they Donne joined in 1977. And here he not only played and sang, but also engaged in producing.

  In 2010, the debut solo album Terrisa was reissued on CD Korean label "Beatball" (with the addition of two bonus tracks, and re-replicated with the same label in January 2014?), And in 2011 - the Japanese label "Zoom" . By the way, the Japanese in 2010 and re-released one album Airborne "Songs For A City" (just before leaving in 1977 with a circulation of 2 thousand. Ind.).

  Songs Donna Terrisa 70s - returned by a miracle. Now the dream is to find and listen to the whole album and his debut EP The Wet !, and Airborne me something is not liked.........

Tracklist
Lonely Man
Marsha
Tahitian Love Song
Giving
That Kind Of Star
Beaches
Song For Lorraine
Chambermaid
Conversation Piece
Waking Thoughts
Party

The Hangmen “Bitter Sweet"1967 US Psych Garage Pop Rock













The Hangmen “Bitter Sweet"1967 US Psych Garage Pop Rock
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One of Washington D.C.'s most popular and successful sixties bands, their story began with an act called The Reekers who were formed by guitarist Tom Guernsey in 1964. Following the release of their debut 45 - Don't Call Me Flyface / Grindin' (Ru-Jac 13) in early 1965, Bob Berberich was recruited on drums and The Reekers laid down early versions of What A Girl Can't Do and The Girl Who Faded Away. No 45 resulted.After more personnel changes the band re-emerged as the Hangmen in April 1965, with vocalist Dave Ottley - a British ex-pat working as a hairdresser in DC. The band re-recorded the Reekers' tracks for their first 45 and What A Girl Can't Do is a classy girl-put-down belter.
The 45 was a local hit, and an in-store appearance at the Giant Record Shop in Falls Church, nearly caused a riot. Billboard magazine reported the near riot in Feb '66, when 400 teenagers gathered to hear The Hangmen play at the store, with a further 1,500 packed outside the shop. The police had to disperse the crowd after 15 minutes, with traffic being disrupted in the street. The shops owner told Billboard he'd sold 2,500 copies of What A Girl Can't Do.
The follow-up, the stunning Faces, is also a five-star mean'n'moody fuzz-rocker with Who power chords and obtuse lyrics - PLAY LOUD. This 45 featured new bassist Paul Dowell and Ottley moved on soon after its release to be replaced by Tony Taylor (ex-Roaches).
The third 45 was a taster for the album that appeared at the turn of the year. Bittersweet includes rather lame reworkings of What A Girl Can't Do and Faces and for fans of the first two garage-punk 45s it may be a disappointment. It's good, but not that good, despite a five-minute-plus version of Gloria, and will appeal more to pop fans with tracks like the dreamy version of the Everly Brothers' Let It Be Me.
By the Summer of '67 the band's direction shifted to psychedelia and their name changed to The Button. Daly and Dowell had been replaced by guitarist George Strunz and Alan Fowler, former bassist of the Mad Hatters. Founder Tom Guernsey left soon after and The Button relocated to Greenwich Village where they evolved into Graffiti.
When Berberich left The Button, he returned to DC. There he reunited with Dowell and Daly to form (Paul Dowell and) The Dolphin. Their line-up was completed by a young and talented guitarist called Nils Lofgren. Berberich also sat in with Puzzle for a while when their drummer was injured in a car accident.
In 1968, Tom Guernsey produced a 45 by The Piece Kor. He was also reunited with Reekers vocalist Joe Triplett, writing and producing a 45 for The Omegas. In the seventies he returned to performing with brother John in the band Claude Jones. Dave Ottley returned to the U.K. and is now a hairdresser in Barnet, London...................

Clearly an underated album but with mixed reviews. It's too pop for the garage heads and I've been put off buying it for years when I read that the re-recordings of 'Faces' and 'What A Girl Can't Do' were deemed to be not as good as the single versions.

I was tempted a few times to buy the bootleg on Radioactive but I've never been a fan of their CD masterings. Tom Guernsey sent me a copy of the album on CD recently and I was suitably impressed by the music to go out and seek an original copy on vinyl.
Some prices were in the region of $100-$130 but I managed to locate one (not on ebay) for $50 and it was in mint condition, aswell as being the important MONO release.By the way, here's some trivia for you. The trippy picture of The Hangmen on the cover of the album was taken in the bedroom of Tom Guernsey's apartment in 1967. Tom is hiding behind the self portrait.The psychedelic influence for graphics was evident with the logo for the 'Bittersweet' album. This colouful lettering brightened up the back cover.....

1960s Washington, D.C.-based cult band ... (Okay, they actually hailed from Rockville, Maryland.)

While attending high school in Montgomery, County Maryland (a Washington DC suburb), drummer Bob Berberich and guitarist Tom Guernsey had been members of The Reekers. The Reekers managed to record an obscure 1964 Guernsey-penned surf-rocker that was released as a single for the small Baltimore-based Ru-Jac label. The single did nothing and before a follow-on could be recorded the band called it quits when the members when off to college.

- 1964's 'Don't Call Me Flyface' b/w ' Grindin' (Ru-Jac catalog number 45-RJ-13)


Berberich and Guernsey enrolled in Montgomery Junior College where they found kindred spirits in fellow students George Daly (rhythm guitar) and Mike West (bass). If you believe the story, the four decided they wanted an authentic British singer. Reaching out to the British Embassy, they were put in touch with Scottish-born singer/hair-stylist Dave Ottley.

Active playing battles of the bands, local dances and club scene (La Salle Teen Club, The Rabbit's Foot, etc.), in 1965 band managers Mike Klavens and Larry Sealfon played a Hangmen demo for Monument's Records founder Fred Foster. Foster was impressed, signing the band to Monument. Over the next year they releasing a first rate pair of garage rockers:

- 1965's 'What a Girl Can't Do' b/w 'The Girl Who Faded Away' (Monument catalog 45-910)
- 1966's 'Faces' b/w 'Bad Goodbye' (Monument catalog number 45-951)

Touring up and down the East Coast, opening up for a slew of national acts increased their profile and sales of the singles proved strong in their Washington D.C. home market. That provided enough commercial promise for Monument to finance an album. With former The Roaches lead singer Tony Taylor replacing Dave Ottley and Paul Dowell taking over bass for Mike West, 1967's "Bitter Sweet" found the band teamed with songwriter/producer Buzz Cason. Recorded in Nashville, the album offered up a mixture of band originals, including remakes of the two earlier singles, and a couple of outside covers While a lot of folks were less than enamored by new singer Taylor, to my ears he wasn't half bad. I just didn't see where the loss of an authentic English singer made much difference to their sound. About half of the album was quite good. Their cover of Cindy Walker's 'Dream Baby' was slinky and enjoyable. 'Terrible Tonight' had a nice lysergic feel. The band original 'Isn't that Liz' held on to their earlier garage roots and they turned in a nice cover of Van Morrison's 'Gloria'. While pale compared to the original 45, their re-recorded version was still energetic. Unfortunately, exemplified by the re-recorded singles, Monument seemed determined to recast the band as a faceless pop entity. To that end producer Cason saddled the group with sappy, over-produced ballads such as 'Let It Be Me' and the Lovin' Spoonful-influenced 'I Wanna Get To Know You'. Certainly not a bad debut, but you had to wonder what they could have accomplished given more artistic freedom....by ...RDTEN1............

A very good mixed covers + originals psych-garage-pop offering by the one-album DC local-danceband-makes-good... We find the screamy freak jam closer 'Gloria' overblown/skip-able and could live w/out slow-dancer 'Let It Be Me' but most the other songs seem good to essential, if late '60s are your like my bag...Another famous cover is the opener [a nice folk-garage-sitar-spiced 'Dream Baby'] They also do a Jack Bryant of The Fallen Angels' song which that group didnt release until their reunion alRain of Firebum [which only I in the whole world seem to own].
Try & blog the thing; the CD company is ?ably honest and they charge too much..by...okeyeye .........

With Mike Henley and Joe Triplett away at college, Tom and Bob Berberich joined another band, the Hangmen, with bassist Mike West and rhythm guitarist George Daly, fellow students at Montgomery Junior College. The same month the Reekers were getting attention around DC with Don't Call Me Flyface, a photo of the Hangmen appeared in the April 3, 1965 Evening Star with a caption explaining the Hangmen had lost a battle of the bands at the Shirlington Shopping Center to the Shadows. Tom confirms the story that needing a singer who sounded English, George called the British Embassy asking for someone who could sing! The singer they found was Dave Ottley, a hairdresser variously reported as being from Liverpool, London or Scotland.
In early summer of '65, a friend of Tom's named Larry played What a Girl Can't Do for Fred Foster of Monument Records. Lillian Claiborne graciously released Tom from his contract with her and Foster signed him - only Tom as he was the songwriter and leader of the Reekers. Since Joe Triplett and Mike Henley were committed to college, Tom decided, against his own preferences, to work with the Hangmen as his band. Monument then released the Reekers' recordings of What a Girl Can't Do and The Girl Who Faded Away under the Hangmen's name, even though only Tom and Bob Berberich had played on them.
Some sources report that the Hangmen rerecorded the The Girl Who Faded Away for the Monument 45. A close listen shows that the Hangmen's Monument 45 version is actually the same recording as the Reekers' original Edgewood acetate, except that the acetate had a long ending that was cut from the Monument 45. Confusion also exists about What A Girl Can't Do. The Monument 45 version released under the Hangmen's name is the Reekers. In 1966 the Hangmen recorded their own version of the song for their LP, which sounds much different.
Arnold Stahl, a lawyer, and Mike Klavans of WTTG formed 427 Enterprises to promote the band. Their connections landed gigs for the Hangmen in embassies and a mention in Newsweek. One memorable event was playing a party for Robert Kennedy's family and getting drunk in their kitchen!
Despite these connections, the Hangmen were still primarily a suburban band, playing for kids at parties and shopping malls but not getting into the clubs like the big DC acts like the British Walkers and the Chartbusters. This would change as the Monument 45 of What A Girl Can't Do started gaining momentum locally.
The Hangmen recorded a fine follow up, Faces, and this time Monument put some money into promotion, taking out a full page ad in the trade magazines. Propelled by fuzz guitar and a heavy bass line, Faces is a tough garage number with a fine vocal by Ottley. Tom points out that the song finishes quite a bit faster than it starts, making it difficult for those on the dance floor to keep up! The flip is another Guernsey/Daly original, Bad Goodbye, which features studio musician Charlie McCoy on harmonica.....Garage Hangover........


Tracklist
A1 Dream Baby 2:25
A2 Guess What 2:10
A3 Crazy Man 2:21
A4 Let It Be Me 3:05
A5 Terrible Tonight 2:20
A6 Faces 3:35
B1 I Wanna Get To Know You 2:32
B2 Everytime I Fall In Love 2:18
B3 What A Girl Can't Do 2:27
B4 Isn't That Liz 1:59
B5 Gloria 5:37

Joy “Thunderfoot” 1972 US Private Prog Psych







Joy “Thunderfoot” 1972  US  Private  Prog Psych…recommended
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With a line up consisting of drummer Ralph DeSimone, lead guitarist Bob Di Piero, bass player Don Di Piero, singer Billy Joe Shina and keyboardist Ralph Vitello, the group was signed by the Louisiana based Paula label, debuting with the single ‘Get Outta My Mind’ b/w ‘Your Mama’ (Paula catalog number 341).

Self-produced, 1972′s “Thunderfoot” is interesting for a couple of reasons, least of all that fact it’s unlike anything else I’ve heard on Paula Records. While most Paula associated acts I’ve heard sport a pop or blue-eyed soul sound (John Fred, The Uniques), Joy are out and out rockers. Featuring all original material, tracks such as ‘Cross Country Woman’, ‘Things Are Gonna Be Alright’ and the three section suite ‘Hasufel’ offered up a mix of hard rock and progressive moves.

Mind you, I’m not talking ELP-styled doodling, rather song structures such as ‘Ride the World’ were more complex than most of the stuff you’re accustomed to hearing on this label. Other positives included the fact Shina had a nice voice and the band’s guitar and keyboard attack generated more than its share of successes.

Highlights included the opener ‘Mother Nature’, ‘Cross Countty Woman’ and ‘Brothers’. On the down side, nothing here really jumped out at you and after awhile it all began to blend together. The LP also sported one of the year’s uglier covers courtesy of Carolyn Armacost. (Bad Cat) ....

Classic US release from this band who were called Joy apparently and not Thunderfoot as some people maintain. A great blend of progressive psych rock with a hard organ and guitar sound. I guess these guys were moving away from the overtly psychedelic sound of the mid-sixties to more complex progressive compositions. An odd album to be relased on the Paula label......

I've seen this obscurity listed under the name 'Thunderfoot' with the album entitled "Joy", but it's actually the other way around. There's also at least one on line reference that has these guys peed as playing jazz! Regardless, this early 1970s five piece is pretty obscure. I've looked through various references, but there simply isn't much information to be found on them. Based on the fact their album was recorded in Shreveport, Louisiana I'm guessing they were from the area, but who really knows.

With a line up consisting of drummer Ralph DeSimone, lead guitarist Bob Di Piero, bass player Don Di Piero, singer Billy Joe Shina and keyboardist Ralph Vitello, the group was signed by the Louisiana based Paula label, debuting with the single 'Get Outta My Mind' b/w 'Your Mama' (Paula catalog number 341).

Self-produced, 1970's "Thunderfoot" is interesting for a couple of reasons, least of all that fact it's unlike anything else I've heard on Paula Records. While most Paula associated acts I've heard sport a pop or blue-eyed soul sound (John Fred, The Uniques), Joy are out and out rockers. Featuring all original material, tracks such as 'Cross Country Woman', 'Things Are Gonna Be Alright' and the three section suite 'Hasufel' offered up a mix of hard rock and progressive moves. Mind you, I'm not talking ELP-styled doodling, rather song structures such as 'Ride the World' were more complex than most of the stuff you're accustomed to hearing on this label. Other positives included the fact Shina had a nice voice and the band's guitar and keyboard attack generated more than its share of successes. Highlights included the opener 'Mother Nature', 'Cross Countty Woman' and 'Brothers'. On the down side, nothing here really jumped out at you and after awhile it all began to blend together. The LP also sported one of the year's uglier covers (courtesy of Carolyn Armacost).

Elsewhere two singles were pulled from the album:

- 1971's 'Ride the World' b/w 'For What it's Worth' (Paula catalog number 348)
- 1971's 'Things Are Gonna Be Alright' b/w 'Yes My Friend' (Paula catalog number 359)

At least two of the members seem to have stayed in music. Bob Di Piero's a well known country songwriter and was a member of the short lived country band Billy Hill. He's got a web presence at: ....by..RDTEN1 ............

- Ralph DeSimone -- drums, percussion
- Bob Di Piero -- lead guitar, backing vocals
- Don Di Piero -- bass
- Billy Joe Shina -- lead vocals, percussion
- Ralph Vitello -- keyboards, guitar

Track Listing

Mother Nature
Sea Green Symphony
Your Friend And Mine
Dreams
Cross Country Woman
Ride The World
Thing Are Gonna Be Alright
Ragged Old Man
Brothers
Hasufel a. Sky Bound b. The Journey c. Arrival

Pop Music Team“Society is a Shit" 1969 Unreleased Mexico Fuzz-Psych Rock




Pop Music Team  “Society is a Shit" 1969  Unreleased Mexico Fuzz-Psych Rock
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buy from anazitisis records
To bring them a dark and unknown band from Mexico: Pop Music Team, yes sir: The Pop Music Team. Of course with that name one tends to think: What did you bring Miguel, bubblegum? No no. And not because I do not like or enjoy my music Op. I enjoy it very much. Like every genre. But it disturbs me to suppose that what can happen to me, when I found this record, an afternoon that walked the teltecas streets of Lavallino Vergel, I came across an antiquarian that many curiosities wove. I entered, as my curiosity always dictates, to the business and I prepared to review and to revolve the material. I tell you that there was everything: CDs, cassettes and records. Also posters and t-shirts of famous groups. And that was what bothered me, the same groups as always, the same faces of rockers with silver and silver, well paid and satisfied, away from the people and close to power. Great was my disappointment. However, as it was tedious to walk (because in tourist plan my bróder was walking and, for me, being a tourist is walking and walking, to really know the people, the colors and without tastes that singles the place) I started to check. The place was an extensive and rectangular room, no more than five meters wide and fifteen long. (Sub) divided by an arc of a half point to the center. In the first part, stuck in rotating shelves, there were CDs. Phew, Rabbi, as he walked gingerly. Suddenly I recognized a color, a perfume and a year: Tuesday Mint and next The Visitors and later, that masterpiece of rock puntano : Immanent of Houdini Shit! Maybe it’s not a bad shop, I thought. Then, my simple and friendly moods were prepared to look with more skill and delicacy. I found to Tonolec, a great trip hop duet that I left there, in wordpress ; Also a great compiled one that has left on the rock of salta And some more things that I will tell you when I publish them. 

But not now, because the important thing is the Pop Music Team . It is that back, in a dark area and full of pains and penumbras, arranged in long inns as the waiting of you; On the floor, and, finally, scattered all over the place were discs. A lot of. I craved it would be unreasonable to check each and every one of them, not just because they were vast Like time, no; If not also because Wirtis is a man entered in years, that passed the youth subjecting the body to the punishments - Sweet and entrancing - that vice returns with time. Thus, I find it extremely burdensome efforts that involve crouching under the knee. However, as much as I like music and, moreover, I am very proud; I decided that I was not going to go without looking, without stirring a little that material that the vendors had discredited back there. It was then that I decided to sit on my legs like an Indian and grab everything that was far away. Good things there were bróders, very good. Although I do not know if all will be of your pleasing Or, for me, yes, but that’s because I’m not demanding and simple tastes. And it was between them that I found this cute album, with a promising cover and suggestive title. Of course, as I had started to tell, I was not sure what I would find myself with: Pop Music Team, I said to myself, will it be good? The year, the origin could not augur bad music. Except the album title: “Society is a shit” But equally hesitated. That’s why I went to the counter. A grumpy young man and Could you reproduce this, brother? I asked. The brat looked at me from top to bottom, bending a jet-black bangs and stared at me. Smiling, incredulous and socarrón: I do not have a record player. Motherfucker, I mumbled under my breath, how much is this? East? The asshole answered, I do not know, you’re the first one to carry it. Well, I take it the same How much do you want, kid? I told. I do not know, give me a load for the tantrum, he answered. And, literally like that I did: I gave a weight and I went to look for my girl and a place to listen The new acquisition. And the truth is what piece of music the Pop Music Team , a group that opened the door to The Doors , who recorded the best bill that, due to problems of censorship and government ignorance - as always - could not edit. But do not worry that Wirtis brings them to you, directly from Lavalle; Pop Music Team !!!!……………. 

Pop Music Team were among the first psychedelic bands in Mexico, writing original material influenced by Iron Butterfly, Jefferson Airplane, and the Doors (they even opened for the Doors at the Forum in Mexico City). 

This is a reissue of their legendary unreleased album, recorded for Orfeon in April 1969, with killer fuzz guitar and organ, mostly sung in English. 

This music should be known to all psych music heads, but it isn’t: so what happened? It’s simple. A demo recording of the band’s track •Tlatelolco 68 was broadcast on the radio in 1969. The Mexican government heard the track, and immediately quashed the release of the album; their objection: the song described the brutal repression of the student movement in Mexico (students were slaughtered at La Plaza de las Tres Culturas in Tlatelolco, Mexico City). For a long time, about 36 years to be precise, no one knew that an entire album had been recorded, or where to find the masters. But here it is, psychedelic garage jams with sweet fuzz and farfisa, including •Tlatelolco 68, which turns out to be a 10-minute freaked out long jam. 

Sure, the cover art looks like a bubble gum packet (there was no original jacket art, since the album was never released), but don’t let that or the band name scare you. This is wonderful stuff!…………….. 

Unreleased killer psychedelic rock from 1969 in Mexico! What a sound these guys had! All original tracks with killer fuzz guitar and organ, mostly sung in English……. 

Tracklist: 
01. PRESENTACION 
02. TLATELOLCO 
03. ODA A LA CHICA FRESA 
04. THE SECOND SMOKE 
05. IT’S TRUE AT LAST 
06. WHOM I`M GONNA TALK TO 
07. LOVE IS BUSINESS 
08. LA NOCHE FINAL 
09. LITTLE PITTY 
10. NASHVILLE 
11. WHOM I`M GONNA TALK TO (Instrumental) 
12. IT`S TRUE AT LAST (Instrumental) 
13. LOVE IS BUSINESS (Instrumental) 
14. LA NOCHE FINAL (Instrumental) 
15. THE SECOND SMOKE (Instrumental) 
16. TLATELOLCO (Instrumental)

Shakey Legs “Shakey Legs” 1971 US Psych Boogie Rock







Shakey Legs “Shakey Legs” 1971 US Psych Boogie Rock
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"Shakey Legs" formed in 1969 Ted Demos and Jack Bruno, otkolovšisʹ by the Boston group "Apple Pie Motherhood Band". Signed zaklûčili with "Paramount", but the company DID click on another bostonskuû group "Milkwood" Poetomu "Shakey Legs" tak and dobilisʹ success, and in 1974 group raspalasʹ. Jack Bruno later played in akkompaniruûŝih Composition with Tina Turner and Joe Cocker.....

Drummer Jack Bruno and lead guitarist Ted Demos had been members of the Boston-based C.C. and the Chasers. Along with singer Michael Sorafine they also recorded a pair of late-'60s albums as members of Boston's The Apple Pie and Motherhood Band. When that group called it quits in 1969 they eventually moved on to The Shakey Legs Blues Band which quickly abbreviated the name down to Shakey Legs.
Fronted by singer/keyboardist Nick Lauritzen, Shakey Legs featured a professional, if someone under-whelming mixture bar band boogie, blues, and FM rock moves. That was enough to get the group signed by Paramount, which quickly put them in the studio with producer Dave Blume. Rounded out by bassist Tom Enright, "Shakey Legs" certainly didn't sound bad, but if you were expecting Apple Pie Motherhood-styled psych moves, or were looking for something that was going to rock your world - well, this probably wasn't the album to buy. Lauritzen had a nice enough voice that was well suited for the band's blues-rock, but for some reason he seemed interested in mimicking BS&T's David Clayton-Thomas. Check out tunes like the ballad 'Voices', 'We Might Give You Your Freedom', and 'Give Your Man a Little Faith'. Having listened to the album dozens of times over the years, I'll tell you it is a collection that sounds better in snippets. Played all at once the LP has a tendency to simply blend into the background, but if you pay attention, there are four or five performances that stuck with you ('We Might Give You Your Freedom', the should've-been-a-single 'I'm Gonna Make It', and the blazing rocker 'You Say You Love Me'). Perhaps because it sounded like an early Steely Dan tune, 'Where In the World' was the album's oddest and most interesting tune.

Again, 'Shakey Legs" wasn't a monumental album, but it's actually quite a bit better than what the isolated reviews would have you believe. Worth checking out since you can still find copies for a reasonable price....Bad Cat.......

Ted Demos - guitar
Tom Enright - bass
Nick Lauritzen - keyboards, vocals
John Mastory - guitar
Jack Bruno - drums

Tracklist
A1 Dirty Dog Woman 2:47
A2 Voices 3:35
A3 Back In Line 3:11
A4 Where In The World 4:35
A5 We Might Give You Your Freedom 4:00
B1 I'm Gonna Make It 2:45
B2 Give Your Man A Little Faith 5:26
B3 Everybody's Got Something On Me 3:28
B4 Ever Since The Light Went Out 2:01
B5 You Say You Love Me 3:37
B6 In A Real Bad Way 2:21

Giorgio Valentinuzzi “Cosa Dici Allla Sera"1981 Italy Private Prog Psych








Giorgio Valentinuzzi “Cosa Dici Allla Sera"1981 Italy Private Prog Psych
full
Continue our tour in the Italian musical singularity of the past decades in the company of our host, the great Anonymous Benefactor. We deal this time of George Valentinuzzi, multifaceted artist unknown to most people, which churned out as many as 5 album in five years 1981/85. Besides dealing with music, this artist has been involved in many other art forms. To learn more about the career you Valentinuzzi rhyme to his personal website Icontemporanei.it. A study on its exquisitely musical career instead is traceable to Musicartisti page. Although there appears that all the lyrics and music of this album were the same Valentinuzzi, patent s.i.a.e. and the tracks are owned by Carlo Barbiera, one of the musicians involved in the recording of the album (curiously this information is given on the inlay of the album, as pictured below). Musically, a real cacophony of rhythms and styles characterizes this album. I walked around for a rapid analysis of the individual tracks, the opening ( "What about the evening") is really appreciable, both text level of musical plots; "I killed a spider" is a dive "reggaeggiante" in no sense, a remarkable and unexpected electric guitar solo in the middle; always on reggae rhythms traveling the following "The party left the usually empty." "Not here," spoken after a false start in Neapolitan, is a blood rockaccio with serratissime bass parts to support the pace; follow-like Gucciniane "Short late summer song" and "They were yesterday our steps". "Song for N.B." is a really nice guitar from blues plots; "Song by a Franco" is a sweet fairy tale sung and is a prelude to the real gem of the album, or the toxic rock mantra "Eroin Anfetamin Cocain", which is also the longest song with its nearly 6 minutes in duration to close the whole.....Verso la Stratosfera........

Credits
Bass – Alberto Geatti
Electric Guitar – Sergio Romano
Keyboards – Edi Antoniolo
Percussion – Gigi D'Angelo
Voice – Giorgio Valentinuzzi

Tracklist
A1 Cosa Dici Alla Sera 5:32
A2 Ho Amazzato Un Ragno 4:37
A3 La Festa Ha Lasciato Il Solito Vuoto 6:29
A4 Qui No! 5:15
B1 Breve Canzone Di Fine Estate 2:46
B2 Erano Di Ieri I Nostri Passi 3:46
B3 Canzone Per N.B. 5:55
B4 Canzone Da Un Franco 4:00
B5 Eroin Cocain Anfetamin 6:00 

10 Feb 2017

Chick Churchill "You & Me" 1973 UK Prog Rock






Michael George "Chick" Churchill is a classically-trained pianist best-known as on/off keyboard man with Ten Years After, possibly the archetypal British blues/rock band, featuring Alvin Lee's lightning-fast guitar work.

You and Me is Churchill's only solo album, is an unfairly forgotten rock gem with quite strong, progressive influences. A bevy of famous friends Jethro Tull's Martin Barre, Cozy Powell, Leo Lyons, Rick Lee, Roger Hodgson, Bernie Marsden, Garry Pickford Hopkins, it’s really hard to imagine a better configuration on one record. ...............

Besides singer/guitarist Alvin Lee, the only other member of the British blues-rock band Ten Years After who has ever released a solo album is keyboardist Chick Churchill. Churchill’s only solo album, titled You & Me, was released in 1974, when the original breakup of his usual band was all but final. Churchill wrote and produced the ten songs; besides playing the keyboards, he also arranged the strings. Two of his usual bandmates (bassist Leo Lyons, drummer Ric Lee) assisted on some tracks, as did Rick Davies and Roger Hodgson of Supertramp, Martin Barre, Cozy Powell, Bernie Marsden, and Bill Jackman. Churchill only sang the lead vocals on two tracks, “You’re Not Listening” and “Falling Down an Endless Day”. The other tracks were sung by journeyman vocalist Gary Pickford-Hopkins, who performed on Rick Wakeman’s Journey to the Centre of the Earth album that same year.

As you might have guessed after reading the names of the supporting players, the music on You & Me suggests that Churchill was considering a solo career in the then-dominant progressive rock genre. The album mainly consists of mellow art-pop. Although it’s not as stodgy as some entries in that genre, You & Me is also not particularly stimulating. Churchill’s playing distinguishes the material only slightly; it’s most effective on the pretty ballad “Dream of Our Maker Man” and the instrumental “Chiswick Flower”. The opening track “Come and Join Me” resembles a Rod Stewart song from the period, but has less vigor than Rod the Mod would have delivered. Churchill is able to carry the tunes on his two vocal turns, but he was wise to tap a professional to sing on the rest of the tracks.

Churchill did not continue to pursue a solo recording career. After the breakup of Ten Years After became official in 1976, Churchill continued to work in the music business as a publisher and promoter. Since then, Ten Years After have regrouped – but that’s another story.....................

Chick Churchill ( born Michael George Churchill, 2 January 1946 , Ilkeston, county Derbyshir) started playing the piano at age 6 and studied classical music. With 15 years of interest in blues and rock music. Nottingham formed his first band "Sons Of Adam". Churchill then met Alvin Lee of '' The Jaybirds''. Cnachala he joined the band as a manager, but soon became the keyboardist . In November 1966 the name was changed to "Ten Years After". With this group, Churchill played at major rock festivals , including Woodstock in 1969, and Isle Of Wight Festival ( 29 August 1970 ) . In 1973 he recorded a solo album, "You & Me". '' Ten Years After'' broke up in 1976. Churchill then became a professional manager to '' Chrysalis Music''.....................


Chic Churchill (Ten Years After, Alvin Lee) on keyboards
Cozy Powell (Bedlam, Rainbow, Whitesnake, Black Sabbath) on drums,
Martin Barre (Jethro Tull) on guitars,
Leo Lyons (Ten Years After) on bass,
Bernie Madsen (Whitesnake) on guitars
and
Gary Pickford-Hopkins (Ancient Grease, Wild Turkey) on vocals.  

Chick Churchill - Piano, Organ, Moog, Mellotron, Vocals on 7,10
Gary Pickford-Hopkins - Vocals
Martin Barre - Guitar on 1,2,5,9
Rodger Hodgson - Guitar on 3, Bass on 3,4,6,7
Bernie Marsden - Guitar on 4,6,7
Leo Lyons - Bass on 1,2,5,8,9
Cozy Powell - Drums on 1,5,8,9
Ric Lee - Drums on 2
Rick Davies - Drums on 3,4,6,7
Bill Jackman - Sax on 1,3

Tracks
1. Come And Join Me - 5:10
2. Broken Engagement - 3:09
3. You And Me - 4:41
4. Reality In Arrears - 7:02
5. Dream Of Our Maker Man - 2:58
6. Ode To An Angel - 4:06
7. You're Not Listening - 2:39
8. Chiswick Flyover - 2:54
9. The Youth I Dreamt In Slipped Away - 4:31
10.Falling Down An Endless Day - 3:06

johnkatsmc5, welcome music..