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25 Feb 2017

Gary Walker & The Rain “Album no 1"1968 UK mega rare Psych Pop Rock Garage Beat that was only released in Japan in Philips label the rare of the rarest..!

Gary Walker & The Rain “Album no 1"1968 UK mega rare Psych Pop Rock Garage Beat  that was only released in Japan in Philips label  the rare of the rarest..!
Digitally remastered and expanded edition of this 1968 album, previously only released in Japan. Gary Walker was the drummer in the legendary Walker Brothers and this is was debut, and only, solo album. The least-likely-to Walker Brother cut this hard-hitting, Who-inspired, Pop Psych album with an excellent, hand-picked band and is purportedly the first to ever be recorded in '3D'. His band, The Rain, featured future Badfinger guitarist Joey Molland. This is the first time it has been officially out on CD, and includes the extremely rare single 'Gary's Theme' as a bonus. Universal. 2009............

"If You Don't Come Back" is an absolute MONSTER heavy psych track, hiding away on this super-rare psych pop/rock album. The rest of the tracks range from iffy (30%) to good (40%) to excellent (30%).

Worth finding for psych pop fans, and seriously worth finding for heavy psych rugrats like myself who're always looking for some random track that doesn't really sound like the rest of the album on account of how preposterously heavy it is............

Finally a legitimate release has appeared for this superb album. As unlikely as it may seem, The Walker Bros.' drummer Gary (who actually brought the group together) initiated a solo career that, as the excellent liner notes contained herein state, was every bit as notable as Scott Walker's, even if it was short-lived. Judging from the music here, it is a shame the band only lasted for one album and a pair of singles. The music is on a par with the best psychedelic and pop music of the time period. It was only due to record company indifference in the UK that prevented the band from going further. As The Walker Brothers were huge in Japan, Gary travelled there with his new band and the album was released in that country, but as the two singles the band did (both covers, and rather uninspired compared to the first-rate album tracks) flopped in the UK, the album wasn't released in England. What a shame, as one listen will blow your mind. Only a muddy-sounding bootleg of this album has appeared prior to this, but the sound here is crystal-clear and gorgeous, rendering the boot absolutely unnecessary. For lovers of psych/freakbeat, late 60s UK pop, "Album No. 1" by Gary Walker and The Rain (featuring Paul Crane from The Cryin' Shames of "Please Stay" fame and Joey Molland, future Badfinger guitarist) is a must-have.....ByFredric A. Cooper.........

Gary Walker & the Rain comprised ex Masterminds Joey Molland, ex Universals bassist John Lawson, rhythm guitar Mike Williams and Paul Crane previously with the Cryan Shames who co-wrote the freakbeat "If You Don't Come Back", oodling in crescendo feedback. Gary Walker & the Rain put out their debut "Spooky", previously an original hit for Classic IV. Further tracks like "View", the Badfinger template "Thoughts Of An Old Man" and "The Market Tavern" hit the charts in Japan, while covers included Bonnie Dobson's "Morning Dew" and Tim Hardin's "If I Were A Carpenter". Slowly Joey Molland's buzz guitar infiltrated Crane's repertoire namely "Francis", a dampening effect on the solitary electric harpsichord of "I Promise To Love You" or "The Sun Shines". The demise of the Rain had everything to do with the gifted Joey Molland who had written superb psychedelic material like the dazzling "Magazine Woman" and "Take A Look". Joey's was predictably hi-jacked by Badfinger while Lawson defected to Lace, a group that evolved from Honeybus.............ByF. N. Noone............

Originally released in 1968, as this was the British Invasion band's only record. Better than what I had expected. Tracks that make this CD a keeper are "Magazine Woman" (has a good beat and a cool psychedelic vibe to it), "Sun Shines", their cover of the Classics IV's "Spooky" (band gives a nice touch to this gem), "If You Don't Come Back" and the sort of Byrds-like "Whatever Happened To Happy". Couldn't locate much info online about the band, but I do know they featured guitarist - future Badfinger member Joey Moland. Recommended for fans of the Herd, Kinks, early Who and John's Children.......ByMike Reed.......

Brilliant LP, the Japanese version here is a lovely piece of artwork/packaging. I did have the standard Euro version but found out it was a bootleg with resultant crap audio quality.... it is hard not to be duped into a bootleg as many sellers are selling the unofficial version as if it were the official release. The sound quality on this Japanese version is stunning. Very happy to finally listen to this as it should be listened too.........By S. Kelly...............

The Rain’s reign was brief, but they left behind a genuine “lost” album which has only recently seen the light of day outside Japan and which will come as a pleasant surprise to aficionados of Brit psych.

Gary Leeds was only ever a third wheel to the Walker Brothers, a non-singing drummer thumping the tubs on live dates and TV appearances and providing a further piece of eye candy for the photo shoots. However, such was the impact of the Walkers in Europe and Japan that, when the trio folded, Gary was easily convinced by conniving manager Maurice King to put together a new band in England on the basis of his kudos as a former Walker. He was fortunate enough to recruit two capable Merseybeat veterans, Joey Molland (vocal, lead gtr) and Paul “Charlie” Crane (vocal, keys, gtr), plus reliable London bassist John Lawson.

Allegedly Molland’s interview ran thus. Leeds: “You look like Paul McCartney. Can you sing like him?” Molland: “Yes”. L: “Can you play guitar like Eric Clapton?” M: “Yes”. L: “You’re in.” Serendipitously, he really could do both, besides proving an adept songwriter. Lawson got the job on the basis of his Gene Clark-like good looks and his orange jacket and purple loons; such are the vagaries of rock showbiz. Unashamedly cashing in on Leeds’s celebrity, the outfit would be known as Gary Walker and the Rain.

The band’s recording career kicked off with a passable cover of “Spooky” that failed to show in the UK or America but sold well in Japan, where the Walkers had belatedly achieved godlike status. On the basis of this UK Polydor permitted them to record an album, but then inexplicably refused to release it. Only in Japan, where the band’s local label, Philips, was crying out for further product, did it hit the shelves; its title there was Album No. 1, which follows a Japanese penchant for such unambiguous nomenclature whilst appearing pretty humdrum to Western sensibilities.

On the ensuing tour of Japan the band were mobbed by teenage girls, with the lion’s share of the attention going to the drum-stool god rather than to the talented but unknown front line. Sadly, Beat Era heroes were less in vogue in the UK by 1968; the gigs dried up, two subsequent single releases tanked, and the band called it a day just a year after coming together. Molland went on to be a cornerstone of Badfinger, while Crane became a noted music publisher. Leeds enjoyed a brief renaissance when the Walkers reunited in the mid-70s.

The album itself proves gratifyingly to be a distinctive pop-psych set falling somewhere between a pre-Tommy Who, an un-flanged early Status Quo and a nascent Badfinger. The slightly hazy production was by ex-Four Pennies bassist Fritz Fryer, who enlisted much inventive studio trickery to enhance the uncompromisingly basic eight-track recording facilities. The leadoff track “Magazine Woman” sets out the stall, with choppy rhythm, stun-gun lead guitar, delightful rough-edged harmonies and “Taxman” rip-off bassline.

The ensuing tracks move from late Merseybeat through freakbeat to proto-metal, some played straight, others psychedelically treated. Notable are “Thoughts Of An Old Man”, distinctly Pepper-ish musically and lyrically; “Francis”, a crunchy, stereo-tastic garage rocker chronicling the adventures of an elderly philanderer; and a totally wigged-out cover of Lieber and Stoller’s venerable “If You Don’t Come Back” in best Jeff Beck Band style with thudding backing and shards of barely controlled guitar feedback. The original album closes with two ballads: the harpsichord-driven pop-baroque “I Promise To Love You” and the gentle countrified acoustic “Whatever Happened to Happy”.

The album finally hit the Western World as a CD in 2009, boosted by the band’s sole post-album track and both sides of a single recorded earlier by Gary with some Japanese musicians styled the Carnabeats. The B-side of this is unselfconsciously wet-yourself hilarious. Why? I ain’t telling; you’ll have to get the album to find out.
by Len Liechti...........

Ex Walker Brother's member Gary, tunes on in to the Psych era with this ULTRA rare, Japanese only Lp (....recently reissued on vinyl**) which mostly is pleasant, decent Psych Pop but not too distinctive....with the exception of the lead in track "Magazine Woman", a killer 60's psych track with some truly awesome fuzz guitar work, and which lyric wise keeps good company alongside The Who's "Pictures Of Lily" in the popular "ode to masturbation" sub-category of 60's rock.

Band member, Joey Molland, later joined "Badfinger"...............

Suprised I'm the first to write a review of this great album. This is a true lost classic of the British Psychedelic era. When I first listened to it I wasnt very impressed, but trying it againabit later, I was floored. Most of the tracks are amazing, some of the highlights incude Market Tavern, and the mind blowing track The View. Thier cover of Spooky is almost as energetic and great as Classics IV's version. Orignally released only in Japan, getting an original of this LP is next to impossible, but reissues on vinyl and CD are pretty much easy to find, well worth exploring!! .........

Review: Gary Walker & The Rain Album No. 1 is a classic album from the late '60s period of Jimi Hendrix inspired psychedelic rock and pop music.

The lead-off track, Magazine Woman, features Joey Molland on lead vocals and distorted lead guitar and Paul Crane on piano. John Lawson's bass guitar is prominent in the mix here, as well as during most of the album. The song is similar in style to The Who's Armenia City In The Sky from their "Who Sell Out" LP from late 1967. As a lead-off track for the album, it is rather weak musically and goes on way too long (nearly five minutes). It's hard to imagine how this got released as a single in Japan.

The second track, The Sun Shines, is a pretty straightforward song with a bouncy beat that doesn't use any musical gimmicks. This track falls under the Power Pop category. It features most of the group singing together, and has no lead guitar or solo. Joey Molland plays rhythm guitar throughout the entire track.

Doctor, Doctor, the album's third track, features an interesting bass line from John Lawson. This song may also be inspired by The Who; a track of the same title written by John Entwistle was released in 1967 as the B-side to The Who's Picture Of Lily. Paul Crane sings lead for most of the track.

The 4th track on the CD, I Can't Stand To Lose You, was originally released as the B-side of the Rain's first single, Spooky. It is one of the most commercial sounding tracks on the album, and many critics believe it should have been the A-side, especially in the U.K. where Spooky was a commercial flop on the Pop charts. I Can't Stand To Lose You features Paul Crane's piano playing as the main instrument and has no lead guitar part. Gary Walker's drum fills keep the song's driving beat going without a break.

Market Tavern is the story of all the actual people who frequented the pub at 144 York Way as narrated in song by Paul Crane. A phasing effect is used sporadically throughout the track, sometimes applied to the cymbals and sometimes to the entire recording. Joey's guitar licks, played occasionally during the song, are played straight, without any distortion or effects.

Track 6 is the first of three cover versions on the album. Spooky was recorded as the first single and was an American hit at the beginning of 1968 (also peaking at #3) on the Imperial label by the Jacksonville, Florida pop band, Classics IV. It has now become a perennial Halloween classic. Gary Walker & The Rain's version is a straight copy of the hit version featuring Paul Crane's smooth lead vocals, making this into a #3 song in Japan. To faithfully reproduce the original version of the song, this song required a rhythm/lead guitar line-up, rather than piano/lead guitar, and of course, added on top of all of this is the "spooky" keyboard part. In place of the original sax solo is Joey Molland's fairly simple guitar solo. In my opinion, this version is superior because of the overall better sound & vocals, despite the missing saxophone.

The next track, Take A Look, is another Joey Molland composition. This is one of the highlights of the entire album, with its catchy guitar hook and group harmonizing. It's just a shame that this is also the shortest track. The instrumentation here features a second guitar again instead of the piano.

The View, a Gary/Joey collaboration, is another album highlight, with another excellent Crane lead vocal and some tasty guitar licks from Joey. This song documents the scene where a man is contemplating suicide from a 13th floor ledge of a building. The instrumentation here sounds the same as the previous track.

Track 9 is my favorite on the album. If You Don't Come Back is a psychedelic, Jimi Hendrix inspired cover of The Drifters recording of this little known Leiber & Stoller composition, which was originally issued on the "Under The Boardwalk" LP in 1964. John Lawson does an amazing job singing this in the same style as The Drifters, and Joey Molland expands the length of the original song by jamming with the band for several minutes, making generous use of controlled guitar feedback [The original song had no solo and was only 2:39]. The song also allows Gary to demonstrate his drumming abilities.

Track 10 is another narrative type song like The View and another Gary/Joey collaboration, this time sung by Joey. The lyrics tell the tale of a sad old man's life. Unfortunately, Thoughts Of An Old Man is one of the weakest and most uninteresting tracks musically by Gary Walker & The Rain. The piano is featured here again, in place of a second guitar.

Francis, track 11 on the LP, is a group composition. The song really rocks out, with Joey playing his best Eric Clapton guitar licks, and is probably the best song that the group self-penned. It's hard to believe that this ended up on the B-side to their final release in January of 1969, Come In, You'll Get Pneumonia, which was a huge flop in the U.K. Francis is a "Can't Buy Me Love" type song about a rich womanizer who can't get himself a wife.

The following track is the lightest sounding of the entire LP and borders on Bubblegum music, probably the most extreme change in styles you're ever going to hear from one track to the next on any album. Paul Crane's, I Promise To Love You, features harpischord as the main instrument and a rhythm track of piano and acoustic guitar.

Finally, the end of the album brings us to the third cover version on the album, Gary Bonner & Alan Gordon's composition, What Ever Happened To Happy? Bonner & Gordon are well known for writing The Turtle's biggest hit, Happy Together. Two versions of this song were issued early in 1968, one by female singer, Jackie DeShannon and the other by San Francisco group, the Mojo Men. Being a more "Folkie" type of song, this track features acoustic guitar, finger snaps, and hand claps.

Overall, Gary Walker & The Rain Album No. 1 is a very diverse album as far as musical styles, and probably has at least one song that appeals to everyone, whether you like straight rock, psychedelic rock, power pop, light pop, or folk.

Bonus Review: Come In, You'll Get Pneumonia, the last song recorded and issued by Gary Walker & The Rain is a non-LP single released in January of 1969. It was a single written & released by the Australian group, The Easybeats, who are most well known for their hit single, Friday On My Mind. The Rain's version is pretty much an exact copy of the arrangement that The Easybeats used with almost the exact same orchestral parts. This song failed as a single for Gary Walker & The Rain, as it's not a very commercial song, being more of a novelty song than the standard pop music fare.
Tom Brennan, May, 2007.................

Gary Walker And The Rain
*Gary Walker - Drums, Vocals
*Paul Crane - Lead Vocals, Guitar
*Joey Molland - Guitar, Vocals
*John Lawson - Bass

A1 Magazine Woman
A2 The Sun Shines
A3 Doctor Doctor
A4 I Can’t Stand To Lose You
A5 Market Tavern
A6 Spooky
B1 Take A Look
B2 The View
B3 If You Don’t Come Back
B4 Thoughts Of An Old Man
B5 Francis
B6 I Promise To Love You
B7 Whatever Happened To Happy

El Trébol "Buscándote"1974 Peru Fuzz Psych

El Trébol  "Buscándote"1974 very rare Peru Fuzz Psych

1 Algun Dia Alcanzaremos 4:10
2 Llamandote Fuerte 3:35
3 Guitarra Mia 3:50
4 El Viento Pregunta Por Ti 3:17
5 Buscandote 2:50
6 Caballo
7 El Condor Pasa
8 Soy Parte De Ti
9 Misa Maria
10 Saltemos La Cerca 

Tormentors ‎ “Hanging Round” 1967 US Psych Garage Rock

Tormentors ‎ “Hanging Round” 1967 ultra rare US Psych Garage Rock

formed in 1967 in Los Angeles. Released only album of the pilot (at the time) crazy light rock with a bias in the garage a bit, with good vocal harmonies, strange sounds bizarre background and superimposed on it all rather whimsical psychedelia............

A truly experimental psych/rock/pop album from 1967. Featuring some very good garage, psych, and British Invasion sounds. Fuzzed out guitar, great vocal harmonies, and some really bizzare background sounds!!...........

Long awaited Void release of 1967 California garage folkadelia with some fuzz. Features the moody "Childhood Memories" and the rockin' "Cause You Don't Love Me" alongside a nice Beau Brummels cover. The Tormentors Hanging Round is mega rare as an original and sought after the world over. Exact cover design for this vinyl reissue..............

The Tormentors were another great yet undiscovered band from the 1960's. All we know is that they were based out of the Los Angeles area and had several singles out on the Royal and Kenwood labels. Of those 45s, the track "Motate" was the only one not included on this LP.

Fantastic garage psyche and rollicking, with sweeter moments, too – getting off a number of modes this one album, which would make a lesser group sound aimless – but they manage to pull it all off! Some tunes have a raw, no frills garage sound, others have sweeter, but still kinda gritty melodic vibe with some organ in the mix, and still others steer towards moody psychedelia..........

The Tormentors were another great yet undiscovered band from the 1960's. All we know is that they were based out of the Los Angeles area and had several singles out on the Royal and Kenwood labels. Of those 45s, the track "Motate" was the only one not included on this LP.

Fantastic garage psyche and rollicking, with sweeter moments, too – getting off a number of modes this one album, which would make a lesser group sound aimless – but they manage to pull it all off! Some tunes have a raw, no frills garage sound, others have sweeter, but still kinda gritty melodic vibe with some organ in the mix, and still others steer towards moody psychedelia.

Bass, Organ – Dan Davis
Drums – Tim Daley
Electric Guitar – Mark Davis
Guitar – Lee Harper
Vocals – Lee Harper, Tim Daley

A1 Didn't It Rain 2:22
A2 Capricious Lolita 2:37
A3 Blue Blooded Lady 2:51
A4 Childhood Memories 2:21
A5 Still In Love With You Baby 1:48
A6 What's Goin' On 2:24
B1 Black Coffee 2:42
B2 She's Gone 2:32
B3 'Cause You Don't Love Me 2:05
B4 Hey, Hey, Little Girl 2:34
B5 It's Not Over 2:07
B6 Sounds Of Summer 2:17

Michael Kegg Party ‎ “100% Prime Filet Rock” 1980 US Private Hard Rock

Michael Kegg Party ‎ “100% Prime Filet Rock” 1980 US Private Hard Rock

Raw basement hard rock with a 70s vibe and heavy guitar riffs 
Power trio out of Long Beach, CA that took heavy influences from the early 70’s hard rock scene, add a basement vibe and you have a killer private pressing. The closer ‘Attitude Altitude’ is a guitar riffing scorcher!!………….

A1 When The Weekend Comes
A2 Before It’s Too Late
A3 Last Love
A4 Wild Bunch
B1 Explorer
B2 Always
B3 Yousta-Be-A-Punk
B4 Attitude Altitude 

The Lijadu Sisters “Danger” 1976 Nigeria Afrobeat,Afro Funk,Beat,Soul

The Lijadu Sisters “Danger” 1976 Nigeria Afrobeat,Afro Funk,Beat,Soul
Lovely album from 1976 by the nigerian twins Taiwo and Kehinde Lijadu. Groovy afrobeat with arrangements from Biddy Wright. …………. 

the lijadu sisters were the most successful female group in nigeria in the 1970s, whose influences ranged from female soul singers such as aretha franklin, the pointer sisters & miriam makeba to the afro-beat of fela anikulapo kuti as well as the juju music of ik dairo & the highlife of victor olaiya. this album brings together the best of the identical twins’ previously impossible to find tracks from the 4 albums recorded for the afrodisia label in nigeria - ‘danger’ (1976), ‘mother africa’ (1977), ‘sunshine’ (1978) & ‘horizon unlimited’ (1979). …. 

Afro-Beat fans might want to check this one out: The Lijadu Sisters were practically the only female stars of the Nigerian 1970’s pop scene… Sisters Kenhinde and Taiwo Lijadu were relatives of the legendary Fela Kuti, performing for several years behind the scenes as session vocalists before recording their own first single in the late 1960s. They later toured with prog-rock drummer Ginger Baker during his early 1970s foray into African music. The Lijadus released four albums in the 1970s, all produced by and featuring the music of multi-instrumentalist Biddy Wright, whose distinctive funk-meets-psychedelic guitar work gives an unusual edge to this debut album. The sisters also have fabulous voices and gorgeous harmonies, particularly on the opening tracks (the album’s second half is a bit ragged, but the opening track, “Danger” is awesome…) A genuine gem from the classic Afro-Beat scene. This disc is the first of four straight-up reissues of their music, and is definitely worth tracking down. (DJ Joe Sixpack, Slipcue Guide To World Music)…………. 

Lijadu Sisters didn’t produce as much material as Fela Kuti, Nigeria’s ruling musical monarch during the ‘70s, but their groove-laden Afro-beat was just as hard-hitting – and, on their 1976 debut Danger, even more interesting to listeners outside of Africa. The steely, clattering beats and deep, nimble bass are close to Fela trademarks, but the title track here has compelling work from organist Johny Wood and an extended solo on distorted guitar from Biddy Wright. Although most of the songs are extended groove workouts, Lijadu Sisters also vary the tempo, slipping into a midtempo groove for the wailing “Amebo.” A worthy companion to Nigeria’s musical masterpieces of the '70s… John Bush………….. 

The Lijadu Sisters debut album, Danger (originally released in 1976), is as funky and mellifluous as it gets, the twins gorgeous harmonies underpinned by a solid Afro-rock beat and framed by Biddy Wright’s funky organ and guitar work. Danger has a vibe of uplifting positivity which would be a feature of all four of the Lijadu Sisters albums. Lyrically, most of the songs address social and political issues, sometimes directly, sometimes through metaphor and allusion. 

Twins Taiwo and Kehinde were born in Jos, in northern Nigeria, on October 22, 1948. They enjoyed singing from an early age, and remember with special fondness discs by Aretha Franklin, Ray Charles and, Fela Kuti (their second cousin!). 'All our records include songs with deep messages,’ says Kehinde. 'Artists should be the voice of the world. Not just of their own people, but of the wider world, for a problem which faces one, faces all.’ 

Through their career, the sisters met the British drummer Ginger Baker (Cream, Blind Faith, Airplane), who in the first half of the 1070s was a frequent visitor to Nigeria. In 1972, the Lijadu Sisters performed with Baker’s band at the cultural festival accompanying the Munich Olympics in Germany. 

Another fortuitous encounter was with the multi-instrumentalist Biddy Wright. Wright co-arranged and played on all four of the classic 1970s Lijadu Sisters albums, which are now being re-released by Knitting Factory Records Danger (1976), Mother Africa (1977), Sunshine (1978) and Horizon Unlimited (1979). Assisted only by traditional drummers and percussionists, Wright played most of the instruments on the three discs. Wright, along with Taiwo and Kehinde, were able to flawlessly bring traditional and electric styles together…………… 

I heard a song by the Lijadu Sisters on a compilation last year and was impressed enough to seek out a full album by them, this 1976 recording being my first choice. Overall, I like it, but I don’t think it’s quite the great lost afro-beat album that some listeners might expect. However, I do like the variety of sounds on here, from upbeat, funky tunes to much slower, more haunting numbers. 

The Lijadu Sisters were in fact real sisters, and twins at that! They have been described in reviews, and in the liner notes that come with this CD, as having “ravishing voices” and “gorgeous harmonies.” Well, their singing voices are pleasant enough, but quite frankly I’m not knocked out enough to proclaim their voices as quite that wonderful. For my money, I think the Mahotella Queens are much better at singing and harmonizing. That observation aside, there is still a lot to like on this album, although it’s a short one at only 32 minutes. As noted previously, some of the tracks are indeed lively and infectious, while other tunes are slower and moodier. Some very interesting, socially-concsious lyrics too. One of the real strengths to this group, was the unheralded man who played the organ and guitar on all the songs: Biddy Wright. He also produced this album. His talents and production flourishes, in my opinion, really make this album a winner. 

One of the more interesting songs on this album is “Bobby,” a tune that exudes a breezy ska-like vibe, almost like something you’d hear on the second album by the Specials. A very distinctive track, as is the closing number, the long and atmospheric “Lord Have Mercy.” 

The CD comes with a thin 4-page booklet that includes a biography about the Lijadu Sisters and details about this album. Sadly, no photos of the sisters or the talented Mr. Wright. Still, this is impressive enough that I’ll be seeking out the other studio albums by them that Knitting Factory has reissued….ByDonald E. Gilliland……….. 

Alto Saxophone – Felix Shittu 
Bass Guitar – Ade Jolaoso 
Design Concept – Ideas Organisation 
Engineer [Recording] – Emmanuel Akpabio, John Malife, Jubril Ogungbade, Lak Adeniran 
Keyboards – Johnny Wood* 
Lead Guitar, Rhythm Guitar, Tenor Saxophone, Percussion, Bass Guitar, Producer – Biddy Wright 
Written-By, Arranged By – Lijadu Sisters 

A1 Danger 5:47 
A2 Amebo 4:00 
A3 Life’s Gone Down Low 4:50 
B1 Cashing In 5:57 
B2 Bobby 4:20 
B3 Lord Have Mercy 7:08 

Pavol Hammel, Marián Varga, Radim Hladík “Na II. Programe Sna"1976 Chechoslovakia Jazz Rock Art Rock

Pavol Hammel, Marián Varga, Radim Hladík “Na II. Programe Sna"1976 Chechoslovakia Jazz Rock Art Rock

The result of cooperation pillars of the Czech progressive music - Pavol Hummel from "Ponds”, Marian Varga of “Collegium Musicum” and Radim Hladik from “Modra efect”.

1 Na Druhom Programe Sna
2 Náhle
3 Letia Husi
4 Voda
5 S Chodníkom Na Chrbte
6 Ľalia Poľná
7 Papageno Z Novej Vsi
8 V Zelenej Pamäti
9 Na Schodoch Gymnázia
10 Správne Žiť
11 Z Ofsajdu
12 Lodička Z Papiera
13 Až Túto Moju Pieseň Dohrajú 

Chenaniah “Chenaniah” 1977 US Private Christian Folk Rock

Chenaniah “Chenaniah” 1977 very rare US Private Christian Folk Rock

Minnesota certainly seems to have had its share of cool Jesus music lps, and Chenaniah is a prime example. The group consists of Bruce Muckala, Stephen West and Kenny Ronning. They have a wonderful homespun rural rock sound featuring gentle vocals overtop 6 and 12-string acoustic guitars, electric guitar backing/leads, bass and drums. They often strike a resemblance to the country-rock side of Harvest Flight and Rainbow Promise, while mixing in some of America’s melodic optimism. Nice upbeat mid-tempo electric tracks like ‘Water Of Life’, ‘Hold Me’, ‘Out Comes The Polish’ and ‘Day After Day’. Beautiful acoustic ballads as well, including the dreamy flute-accompanied ‘Gift Of Love’, ‘September’ with moving cello backing, and the graceful Leo Kottke-ish instrumental ‘Chenaniah’. A touch of the Flying Burritos/Byrds style on ‘A Real Love’. All original songs. The band derived their name from a character in I Chronicles 15:22, described as a minister of song. Glorious purple and green fantasy cover illustration. 500 made. (The Archivist, 4th edition by Ken Scott). 

Private Press LP put out in 1977. Only 1000 were issued. I don’t know much about how to describe a record but this is in very good condition. I’ve only played it twice (even though one of the musicians is my relative)….the plastic seal is still around most of the album cover. There is a small tear on the back cover, approx. ½" in lower left. Garage/rock band group from Bagley, Minnesota. Here is what Acid Archives says about the record: “Little-known Christian 1970s melodic folkrock at the commercial westcoast end of the spectrum, comparable to Harvest Flight. Opens with excellent psych-vibe track….nice arrangements with guitar tapestries and smooth CSN/America vocal harmonies, some countryrock moves, listenable OK with a relaxed, non-preaching attitude….a few lowkey folk tracks with acoustic guitar and strings project an appealing Tim Hardin feel.” ...

1 Water Of Life
2 Dont Let Me Wonder
3 Tear In Eye Broken Heart
4 A Real Love
5 Hold Me
6 Gift Of Love
7 Out Comes The Polish
8 September
9 Day After Day
10 Chenaniah
11 Rest And Comforter
12 Parable Of The Kingdom 

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