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24 Jun 2017

Crossbones "Wise Man" 1976 Zambia Psych Rock









Crossbones  "Wise Man" 1976 ultra rare Zambia Psych Rock

Psychedelic masterpiece from Zambia. Pokora Rarity Rating: 6  coming soon from  Strawberry Rain Music.....

Tracklist
Lizi
Fever
Say That You Love Me
You Always Get Me Wrong
Mavuto
Wiseman
Rain & Sunshine
Mwebalume Bandi
Highway
Your Mama Hates Me
Really
Easy

The Pilgrims "Spooky Time" 1972 Japanese Rarest Private Prog Psych reissued from Shadoks




The Pilgrims "Spooky Time" 1972 Japanese Rarest Private Prog Psych reissued from Shadoks

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http://www.dailymotion.com/playlist/x4ik6w_John_Dug_the-pilgrims-spooky-time-1972-japan/1#video=x4bj971


From Japan circa 1972. “Still unknown incredible rare album of mellow Underground with english vocals. Good and rare as gold dust. A beautiful concept album, far away from any avantgarde tunes. The recording was great but the mixing was weak. This album make you shiver. Great artists and performers, electric guitar, piano, drums, bass, beautiful english vocals, all original compositions influenced by the London Underground scene and bands such as Procol Harum. If you think “Martha” is a good album you will like this one a lot.” Shadoks. 180gram vinyl limited to 450 numbered copies.......

Japan Prog- Still unknown incredible rare album of mellow Underground with english vocals. Good and rare as gold dust. A beautiful concept album, far away from any avantgarde tunes. The recording was great but the mixing was weak. This album make you shiver. Great artists and performers, electric guitar, piano, drums, bass, beautiful english vocals, all original compositions influenced by the London Underground scene and bands such as Procol Harum. If you think "Martha" is a good album you will like this one a lot.'..............

Tracklist
A1 Spooky Theme 1:43
A2 Spooky Time 1:57
A3 Spooky Field 6:39
A4 Lonely Woman 3:25
A5 Woman 5:55
B1 Universe 4:55
B2 Spooky Two 3:15
B3 Hell 1:19
B4 Like A Small Stone At The Roadside 4:46
B5 Largo 3:04 

Left End "Spoiled Rotten" 1974 US Hard Glam Rock









Left End "Spoiled Rotten" 1974 US Hard Glam Rock

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https://vk.com/wall312142499_6166

Why was this band not huge?? The had all the ingredients: awesome, theatrical lead singer (Dennis T. Menass), a solid guitar player in Tom Fignisky and rhythm guitar player Jim Pullah, and a rock solid rhythm section of drums (Pat Palombo) and bass (Roy Guerrieri). Their live shows are of legend and were kick ass back in the day. The song lyrics aren't even bad and the songs themselve kick major ass. Their cover of the Beatles "EVERY LITTLE THING" is gold and is one of the finer beatles covers. They were possibly the most commercial sounding heavy rock band of the 70s, that didn't make it. To make things quick, get this cd while you can. Go to rockadrome records.com and they have a sweet deal. It usually gets out of stock fast, so get it while you can. It's a rare classic and deserves to acknowledged more. It took me 7 months to find this bad boy and i am not letting go!!!

if you like Foghat, Humble Pie, Nazareth, Aerosmith, Grand Funk, this is the shit right here! ......by.......queen12 ..................

I could write volumes about this ill-fated theatrical shock rock act from Youngstown, OH. The Left End were a hybrid of Kiss, New York Dolls, Alice Cooper, Led Zeppelin, The Tubes and Grand Funk. With a bottom heavy punkish sound and the formidable vocal chops of Dennis T. Menass, Left End made huge waves in the midwest before Polydor signed the band in late 1972. Upon the release of their sole album, the band were set on a non-stop cycle of sharing the bill with many of the legendary bands from the era. Audiences were left speechless and all of the major magazines were emphatically proclaiming their love for the band. All seemed perfect until Polydor began undergoing major reorganization in 1975, resulting in the dismissal of the key personnel responsible for promoting the band. As a result, Left End were sent packing back to their hometown where they spent several more years headlining smaller venues in the region. Eventually, the band vanished from the scene, though in recent years they have enjoyed a revival in the area and have performed regularly to packed houses.

This albums demands to be heard, so I suggest you check out this hard rock nugget and listen in awe at one of the midwest's most unsung treasures. Long live Left End!...................

"The Left End were a snotty bunch of ‘plastic-punks’ from Youngstown - just down the road from the habitués of Messrs. Carmen and Thomas - with a stage-act to rival the Tubes and a sound crude enough to make James Taylor shit blood. Informed and equally enamored of the New York Dolls, Kiss, Aerosmith and Slade, the Left End didn’t so much cut through the chaff of Seventies rock as they did ridiculously exaggerate and entangle themselves in its many clichés. Kiss make-up, towering platforms, glitter, audiences pelted with live frogs… negative musical chops, lyrics about violence, bad women and alcoholic demons, a blitzkrieg death-ride through the Beatles’ ’Every Little Thing’ - this is the sublime sound of effortless street-level caricature - cartoon punk - thug rock of the highest/lowest prehensile order. But what the Left End may have lacked in sonic competence and originality, they made up for in outrage and bile; their collective spirit of irreverence being perfectly embodied in their imperfect lead singer, the inimitable Dennis T. Menass - a ’secret weapon’ of the classic Dick Manitoba style, possessing vocals like a Frankenstein Steve Marriott (or maybe Eric Carmen on steroids). Oh, it was pain from the start… Yet, somehow, in this ugly hick mass of fat and balding malcontents, A&R guru and all-around good egg, Paul Nelson, thought he saw the future - got the boys a deal, got their names written up in all the happenin’ papers. The Left End promptly responded to this rash display of good faith by throwing their benefactor down a flight of stairs. I’m sure Paul - a dude notorious for backing beautiful losers (New York Dolls, Blue Ash, et al) - couldn’t help, but appreciate the gesture. We can’t all get lucky like Landau, Paul - there are only so many Springsteen’s to go around (thank God).

Too dumb to rock smart and too inept to rock stupid, The Left End are to hard rock what inbreeding was to the royal families of Europe - a tragedy in hindsight, but seemed like a great item at the time. Their sound is Woodstock Nation, six years on - like the Music Machine had Jim Bonniwell cut his teeth in mid 70’s Ohio, weaned on Quaaludes instead of acid and speed. If your heart is large enough to lodge Burton Cummings and Sir Lord Baltimore, it’s more than roomy enough for Dennis T. Menass and Co. They’ll crash anywhere. The Left End’s lone album from ‘75, ‘Spoiled Rotten,’ (Polydor 6022) is highly recommended." .............

The rain continued to fall on a September Friday evening in downtown Youngstown, Ohio. The thick air made the last chords of the last song ring on beyond their normal cry. It was over. The young rock group Cherry Paup had finished their last gig. Guitarist Tom Figinsky, keyboardist Fred Dolovy, bassist Rod Buckio and drummer Pat Palombo had come to the end of their four years together. They were billed as The New Teen Sensations from 1964 through 1969…from high school freshmen to now graduating high school seniors. Now, it was a time of passage…from boys to men, from the dreams of rock & roll to the challenges of the real world… from high school heroes to regular faces in the crowd.

It was during a break at the Apartment Nightclub on Youngstown’s south side in the summer of 1972 that an articulate, brash, boastful and at times vulgar gentleman walked into the group’s dressing room. He announced himself as Steve Friedman and confidently told the group he wanted to manage them. At first, the guys took Mr. Friedman as just another hawker that was not to be taken seriously. But Friedman’s obvious knowledge of the music business and his arrogance were appealing to the group. After a couple of meetings, LEFT END had a management/production contract with Steven Friedman.

The group recorded more demos and Steve began meeting with record company executives in New York City. By October of 1972, Friedman landed the group a recording contract with Polydor Records. The contract gave the group a lucrative recording budget that included a minimum of two singles and one album a year for five years. LEFT END could choose any studio at which to record. The group unanimously selected Cleveland Recording in Cleveland, Ohio. Why? Because that is where Grand Funk recorded its early albums with the great engineer Ken Hamann. The group finished its winter engagements while writing and testing new material for an album. Polydor released “Bad Talkin Lady” on its label and the single began to sell nationally.

In the late spring of 1973 LEFT END began recording their first album. The group continued to perform during this period. The group recorded on Monday through Thursday. One night with a few guests on hand, someone noted the total chaos and mess at the large hotel dining table that had been created by sliding several tables together. There were beer bottles and mixed drink glasses lying on their side surrounded by stacks of china and half-eaten desserts. The guest said, “Boy, you guys are really spoiled rotten.” That was it…the perfect name for LEFT END’s first album…Spoiled Rotten. To fit the image, Dennis changed his name to Dennis T. Menass.

The Spoiled Rotten LP was released by Polydor Records in the late fall of 1973. It went to #1 on “Album Pix” charts in the tri-state area of Ohio, Pennsylvania and West Virginia over night.

The album picked up momentum and began to sell throughout the Midwest. LEFT END’S live performances also picked up dramatically and they began playing concert venues to “standing room only” crowds. Steve Friedman strongly supported the group’s spoiled rotten image by equipping the group with dead frogs to throw into the crowd, ping pong ball firing canons and suckers with wrappers that boldly read “YOU SUCK!” Below in smaller print it read LEFT END. The group did a mock slow ballad called, “Your Mine” or “The Pimple Song” in which a large weather balloon filled with water, whipped cream, and mustard was wheeled onstage in a small red wagon. At the end of the song Dennis T. Menass would burst the balloon and those against the front of the stage got the worst of the exploding pimple.

Battles on stage with giant gorillas and “staged” attacking fans that Dennis T. would subdue with beer bottles, whips and clubs became a standard. The press labeled them “Big Time Wrestling Meets Heavy Rock.” The group wore lavish “glam rock” costumes of bright silver, gold, black and red. When in New York City, the group would head to Greenwich Village and SoHo to find the most outlandish boots, belts, and leather outfits. Dennis T. would change outfits several times during a concert set. Certain songs commanded a special look. Of course, the group continued closing their shows with flash pots and pyrotechnics. LEFT END was known for their introduction tapes that were played prior to the group appearing on stage. These were comical thematic collections of live and taped recordings compiled by Thomas John and Jerry Starr of what was then WSRD FM Radio (The Wizard). These intros became very popular with LEFT END fans. The Cleveland press dubbed them, “The Monster That Ate Cleveland.”

Soon after the Spoiled Rotten album was released, Polydor released the single “Loser” from the album. The group began performing in large concert venues with the likes of the Eagles, the J. Geils Band, Brownsville Station, the New York Dolls, Trapeze, George Clinton and the Funkadelic Parliament, and dozens of others. LEFT END appeared in Rolling Stone, Cash Box, Billboard, Cavalier and other national magazines. They were frequently featured in local periodicals in the tri-state area.

Polydor held a big reception for LEFT END after the group performed in concert at Cobo Arena in Detroit. The concert was a great success. LEFT END finished the set with the usual flash pots on stage and added a full blown fireworks display. The crowd went crazy and literally attacked the group. Later, at the reception for the group, Polydor executives, still buzzing from the concert, began to lay out plans for the group. LEFT END had captured the Midwest and there was great interest from east and west coast cities. Their plan was to take the group to Europe where it was felt that they would be an instant success and then bring them back here as “The Monster That Ate Europe.”.................

I have waited a decade for this vinyl LP to appear on CD format, finally a company out there has the moxy to release it. This was a Cleveland band from Youngstown, Ohio. They were the bomb on the club circuit in the early 70's. This album, "SPOILED ROTTEN" was released in 1974, by Polydor Records. They played with an attitude, their singer Dennis T. Menass was hysterical, he sang with a growl, prowled the stage, had makeup with a black eye painted on--- he reminded me of
Alice Cooper. They were confident on stage, they knew they were going to make it big, Polydor blew it, this band was lost in the shuffle when their label was reorganizing. Left End got very little publicity and promotion. Who else would put out a song called "THE PIMPLE SONG, or something like that, roll out a giant pimple on stage and pop it. They were all about shocking an audience.

The highlites on this CD are LOSER, BAD TALKIN' LADY, the title song SPOILED ROTTEN, TAKE IT IN STRIDE, WHISKEY & RYE, and TAKIN' TIME. These were classics by Left End in their live sets. I saw them along with my friends at the House of Bud, and Cyrus Erie. My two younger brothers also loved this album when I played it at home. Straight ahead, power rock n roll, the closest comparison I can think of would be Alice Cooper & Motley Crue (with less glossy studio production). No keyboards, just two guitarists, bass and a drummer making a statement- with singer Dennis T. Menass at the controls. ....ByFrank Rocker.........................

Left End
*Dennis T. Menass - Vocals
*Patsy Palombo - Drums, Percussion
*Tom Figinsky - Lead Guitar
*Jim Puhalla - Rhythm Guitar
*Roy Guerrieri - Bass

Tracks
1. Loser (Figinsky, Menass) - 3:38
2. Bad Talkin' Lady (Guerrieri, Menass, Palombo) - 2:28
3. Spoiled Rotten (Figinsky, Menass, Palombo) - 4:15
4. Take It In Stride (Figinsky, Guerrieri, Menass, Palombo) - 5:04
5. Sweet Lovin' (Figinsky, Guerrieri, Menass, Palombo) - 2:59
6. Every Little Thing (Lennon, McCartney) - 3:06
7. Mary-Jo (Figinsky, Menass) - 3:59
8. Takin' Time (Figinsky, Menass, Puhalla) - 3:24
9. Whiskey And Rye (Figinsky, Guerrieri, Menass, Palombo) - 3:55
10.It's Over (Left End) - 4:08

Sargon Gabriel East Bird "Atturiyah" 1978 Iraq (Assyria) Private Folk Psych Oriental







Sargon Gabriel East Bird "Atturiyah" 1978 Iraq (Assyria) Private Folk Psych Oriental

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Here is a great private release by vocalist Sargon Gabriel joined by the band East Bird on the LP Atturiyah Awesome, hard to find Assyrian music. Interesting rock sound on some tracks from backing band, making some songs have a garage band feel. 

Beggars Banquet “Hard Treatment” 1976 Japan Private Psych Punk








Beggars Banquet  “Hard Treatment” 1976 Japan mega rare Private Psych Punk 

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Around around 75, 6, when a new movement of punk began to occur in New York, Japan also had a band with punk attitude in Niigata and was doing live. The band is called BEGGARS BANQUET.


On September 26, 1976, the "Feast of the Waste" live performed in Niigata Prefecture. The state at that time is recorded in LP "HARD TREATMENT" which is the only sound source of BEGARDS · banquet. If you listen to this you can feel their "fever". certainly.

Hate · Attitude & Frustration The lyrics of the full opening are already the best punk, and this Jake! It has a great sense. All is already too early.

Listening to this is not in a band like a garbage that will be as many as the number of stars currently called "punk" as it is now, as soon as I heard something seems to stab my throat and something like that I feel a sense. It is not good or bad. I can not say it well ... but this band has "terrify". It is persuasive. There is no such band.................

Credits
Bass – Kensuke Wakatsuki
Drums – Yushi Mikuni
Guitar – Makoto Ortake, Yukinori Kameda
Producer – Aquirax Aida
Recorded By – Love Sounds (2)
Vocals – Akira Honma

Tracklist
A1 The Stupid (Theme Of Beggars Banquet) 4:22
A2 Touch Of Evil 2:47
A3 Hard Treatment 3:18
A4 Lewed Woman 3:43
A5 Ballad For The Ruins 8:20
B1 Angel Of Sorrow (Crying Dancer) 4:18
B2 Rock'n'Roll Freak Boogie 5:28
B3 Silly Town, Silly People 6:20
B4 Crazy Life Forever 8:26
B5 Last Time Follie 1:01 

The Electric Underground "Guitar Explosion" 1967 US Psych Freakbeat,Surf Rock,Doo Wop









The Electric Underground  "Guitar Explosion" 1967 US Psych Freakbeat,Surf Rock,Doo Wop

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https://vk.com/wall-26524364_61808

Get ready to FREAK OUT with this collection of mind-melting psychedelic...uh Surf Rock Songs. The titles, the 1967 date, the wording, everything about this suggests full-on-fuzzed guitar trip-outs for the NEW GENERATION but really you get some pretty mediocre covers of surf songs. ..........

Tracklist
A1 The Ultimate Trip
A2 Psychedelic Snow
A3 Heaven Is Too High
A4 Sound Of Flowers
A5 Down With It
B1 Underground Freakout
B2 Aerial Flipout
B3 Milt's The Man
B4 Granny's Act
B5 Flower Spots

The Peep Show "You Servant Stephen / Mazy" 1967 UK Psych Pop single 7"









The Peep Show "You Servant Stephen / Mazy" 1967 UK Psych Pop single 7"

100 GREATEST Psychedelic Records (Record Collector Magazine)


Tracklist
A Your Servant, Stephen
B Mazy

Cream "I Feel Free / N.S.U." 1966 UK Psych Rock single 7"







Cream "I Feel Free / N.S.U." 1966 UK Psych Rock single 7"

100 GREATEST Psychedelic Records (Record Collector Magazine


Tracklist
A I Feel Free
B N.S.U.



The AeroVons "The AeroVons" 1969 US Psych Pop Beat mega rare unreleased Lp reissue limited edition 200 copies






The AeroVons "The AeroVons" 1969 US Psych Pop Beat mega rare unreleased Lp reissue limited edition 200 copies recorded at the legendary Abbey Road Studios

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https://www.youtube.com/watch?v=z9uQ6R0D7Ns

The Aerovons, Parlophone, 1969. Unreleased U.S. pop-psych outfit recorded at the legendary Abbey Road Studios. This came out in the late 90s, made in the UK, and limited to 200 copies (this is #127/200). This is a legit release with full liners on the band's history by Aerovons' guitarist Tom Hartman. Super hard to find these days. Nice clean pop-psych sound with some fuzz and baroque instrumentation. Heavily influenced by Revolver era Beatles.............

Here is one of the great missing 60`s Psych LP`s recorded at Abbey Road in 1969 by US Band `The Aerovons` for Parlophone. Costing around £35,000 to record and under the guidance of George Harrison, Alan Parker, Geoff Emerick etc it remained unreleased until 2003 when it surfaced on CD. This was due to various personal band issues. There were 2 singles issued (World of You R5804 & The Train R5790) but the full album just sat as test pressings with various members of the band. What is truly exciting about this album is the fact that the band actually modelled themselves so completely on the Beatles that as a result wrote what is too many another Beatles album of its time. Why not subscribe as I add new rarities regularly................

The Aerovons' story sounds like a fairytale, and in most respects it was a fairytale come true, except for the anticlimactic grim ending. It was probably the dream of millions of teenage American boys to meet the Beatles and record at Abbey Road Studios in the late 1960s. The Aerovons, unlike virtually every other such band, did so. Personnel instability intervened, however, and the group only got to issue a couple of rare singles before splitting up. They did record an entire album of promising material heavily influenced by the late-'60s Beatles, which finally saw release on CD in 2003.The Aerovons were formed in 1966 in St. Louis, and in late 1967guitarist/pianist Tom Hartman recorded a demo of his composition "A World of You" at the instigation of his mother. The demo was heard by a representative of Capitol Records, and though he offered the group a session in Los Angeles, Hartman's mother told him the band wanted to record in London. In early 1968, the still-young Aerovons — Hartman was 16 — flew to London to play their demo for EMI. EMI was impressed enough to sign them when Hartman and his mother returned to London in August 1968, and the Aerovons even got another offer at the time with Decca. The whole band came back to London in March 1969 to record.Over the next few months the group cut about an album's worth of material at Abbey Road. Unsurprisingly considering the surroundings, and considering that the Beatles were the group's heroes anyway, the material sounded much like the Beatles did circa 1967-1969, though on the lighter side of what the Beatles themselves came up with. More surprisingly, the album was produced by Hartman himself, who also wrote most of the songs laid down in the studio. Though the sessions were quite well-produced and well-arranged, with some of the settings also reminiscent of the late-'60s Bee Gees or (more distantly) Hollies, the songs were still too derivative to have stood much chance of making a big mark had everything been issued at the time.In a perfect world, perhaps such a young group should have been given some more time to hone a more original sound. It was and is an imperfect world, however, and before an album could even be released, fate intervened to end the Aerovons' brief career. The sessions had themselves been done as a three-piece, although they'd come over to London as a quartet, when guitarist Phil Edholm left before recording began. Shortly after returning to St. Louis in mid-1969, drummer Mike Lombardo left. EMI, concerned about the personnel shifts, canceled the album, and the band split up shortly afterward, though a couple of rare singles were issued on Parlophone in 1969. Hartman did a single for Bell in 1970 before abandoning the record business to go to college, though he later got into writing music for television, radio, and film. The Aerovons' canceled album was issued on CD by RPM in 2003, with both tracks from a non-LP single, a demo, and an unreleased song added as bonus cuts.


The dozen songs that would have been on the Aerovons' album had it come out (though a couple of the songs did come out on a 1969 single) form the core of this release, Resurrection,the U.K. bonus edition also tacks on four bonus tracks. The Aerovons' unusual story — a band from the American Midwest recording in Abbey Road in 1969, led and produced by their 17-year-old singer-songwriter — might be the main reason there was interest in excavating these sessions, but this CD is not a mere curio. It's quite respectable late-'60s Beatles-style pop/rock, if a little green around the edges and pretty derivative. In fact, in a couple of spots it's downright imitative, with "Say Georgia" taking licks from "Oh! Darling," and "Resurrection" itself lifting from "Across the Universe." (Neither of those songs had yet been released by the Beatles at the time of the sessions, but the group heard them by virtue of working in Abbey Road.) Fortunately, those are the only blatant cops, though Beatles comparisons abound throughout, particularly in the Paul McCartney-esque piano-playing. Songs like "With Her" and "The Years" recall the acoustic outings of both John Lennon and Paul McCartney on The White Album, while "Bessie Goodheart" uses McCartney's more vaudevillian Sgt. Pepper-era outings as an obvious launching pad, and "Something of Yours" brings to mind "Michelle." To this list you could also add the very Lennon-esque echo on the vocal of "The Children." The Aerovons leaned more toward wistful and sadness-tinged moods than the Beatles did, though. One of the best tracks, "World of You," brings out that quality very well, recalling the better late-'60s orchestrated Bee Gees opuses. The bonus tracks include both sides of a non-LP 1969 single ("The Train," their poppiest number, which echoes both the Hollies and the Bee Gees), the outtake "Here" (very much like McCartney's piano ballads), and a demo of "World of You." (allmusic.com) ......................

Bob "Ferd" Frank - guitar
Phil Edholm - guitar
Mike Lombardo - drums
Bill Lombardo – bass
Tom Hartman - piano, guitar

Side 1
1. World Of You
2. Resurrection
3. Say Georgia
4. With Her
5. Quotes And Photos
6. Words From A Song
Side 2
1. Bessy Goodheart
2. Something Of Yours
3. She's Not Dead
4. The Years
5. Everything's Alright
6. The Children
• plus
1. Train [single A-side]
2. Song For Jane [single B-side]

johnkatsmc5, welcome music..