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22 Jul 2017

Taurus "Swiss Rock History Vol. 3" 1996 recordings 1969-74 Swiss Heavy Prog







Taurus "Swiss Rock History Vol. 3" 1996 recordings 1969-74 Swiss Heavy Prog

Never released LP from the short-lived CH band Taurus (1969-1974).
Limited edition of 300 copies

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This is the 3rd and I believe last entry in the Swiss Rock History series which also includes albums by Lear and Exit. Taurus' sole work is clearly not ready for prime-time, and could best be described as raw demos. The songs themselves are early sketches of what was to be a full painting. Had they completed what was started here, Taurus' album would have most assuredly gone down as a masterpiece. They clearly had a lot of great ideas, along with some stellar vintage sounds (organ, guitar, etc...). So definitely worth releasing as an archival document for the curious. Perhaps the band could reunite and finish what they started?...by....ashratom .........

Obscure Pearl coming from Switzerland, active in the early 70's. Taurus didn't release an album at time, only in 1996 the old recordings came out on vinyl with 300 copies in the series "Swiss Rock History", by Blue Moon. History and members are still unknown.
The album Swiss Rock History Vol. 3 brings nine tracks recorded in 1973, all in an amateur way, in a small show or rehearsal. The sound is almost entirely composed of instrumental jams, led by "raw" guitar and organ solos, heavy drums and some vocals in English, showing influences of hard rock, psychedelic and even moments of krautrock. Key tracks are "Walking in This Time", "Tundra" and "Time Off". The quality is bad, but we heard an interesting and quite rare 70s rock'n'roll.

Credits
Bass Guitar – Peter Zingg
Drums – Thomas Grob
Lead Guitar – Thomas Kübler
Organ – Stefan Kilchsperger

Tracklist
A1 Indian Reservation 3:02
A2 Evolution 3:58
A3 Walking In this Time 9:19
A4 Sunrise 6:28
A5 Rain Forest 3:01
B1 Tundra 5:51
B2 First Impression 5:32
B3 Time Off 3:54
B4 Ocean 3:32 

Joël Daydé "J'aime" 1970 France Psych Blues Rock debut album








Joël Daydé "J'aime"  1970 France Psych Blues Rock debut album

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Joël Daydé was a vocalist in the band Zoo on their first album of 1969. After leaving Zoo Joel decides to test himself in solo and records the album J'Aime. The beginning was promising, it was a good-sounding, psychedelic psychedel, and the recording was attended by the guitarist of Magma, Claude Engel....

Pearl coming from France, the singer Joël Daydé was born in 1947 in the capital Paris. He was a founding member of the band Zoo in 1968, recording the first album the group the following year. After he left, released four albums until 1977, unfortunately turned his sound to mainstream pop in the past, unable to succeed.
Post here his first solo album, released in France and Germany in 1971 and counting with the participation of Jean-Pierre Lembert and Claude Engel, both former Magma. J'Aime consists of 10 tracks, most short, that mix of very interesting blues form, psychedelic rock and folk doses, with cover of Rory Gallagher's See Here. We heard several atmosphere changes, with well-crafted acoustic passages on the acoustic guitar, percussion and flute and other heavier. The lyrics are all in English, with Daydé's aggressive vocals and some female participants.
Pleasant surprise for blues rock and psych folk fans, recommended......

Tracklist
I'm Very Well (Part One) 2:15
Can I Live My Life 2:52
Confusion 3:10
See Here 3:30
Cocaine 8:30
Main Line 3:22
The Great Love 3:51
You Got Freedom 4:26
You Honey 6:28
I'm Very Well (Part Two) 1:47 

Albums

1969 : Zoo (avec Zoo)
1970 : J'Aime
1972 : White Soul
1976 : Ballades
1977 : HLM Blues
1995 : Spleen Blues

Cactus "Fully Unleashed / The Live Gigs Vol. II" Gilligan's Club, Buffalo, 1971) US Classic Rock,Blues Rock













Cactus "Fully Unleashed / The Live Gigs Vol. II" Gilligan's Club, Buffalo, 1971)  US Classic Rock,Blues Rock

Originally released 2007, Rhino RHM2 7751
Recorded live at Gilligan's, Buffalo, NY, 06-26-1971

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The first release in 2013 will be dedicated to the American group Cactus. June 26, 1971 the band performed at the Gilligan's Club in Buffalo, New York. This concert was recorded and released after 36 years on two discs entitled "Fully Unleashed / The Live Gigs Vol. II". The record of this concert was managed by none other than Eddie Kramer, who had worked a lot with the stars of the first magnitude.
Concerning the concert, I can say only one thing: the power of the game "from all the slots" :) The band did not want to leave the stage for a long time, on which the band's vocalist Rusty Day said "the group will play until you (the audience) want to get out of here" ......

Rhino Handmade's got blisters on its fingers from all of the Cactus it's been handling! With the last highly-collectible release of live mayhem from Cactus fully sold out, we mined the archives to create another super sonic treat to quench your thirsty ears, FULLY UNLEASHED: THE LIVE GIGS, VOL 2. Offered in an individually numbered, limited edition of 5,000 copies, the 2-CD set presents a live recording of the last ever concert performed at Gilligan's in upstate New York by the legendary supergroup's original line-up - Tim Bogert (bass), Carmine Appice (drums), Jim McCarty (guitar) and Rusty Day (vocals). The concert is presented in its entirety, and twelve of the thirteen full-tilt tracks are previously unreleased. The date was June 26, 1971, "when," writes veteran music journalist Bill DeYoung in his essay, "Cactus was at its take-no-prisoners peak. He later notes, "Cactus toured incessantly, sharing bills with the top bands from both sides of the Atlantic. There was never anything 'showbiz' about them; the goal, both onstage and off, was to rock like there was no tomorrow." In suburban Buffalo, New York, the now defunct Gilligan's - once upstate NY's hottest rock venue - may have been a non-descript, cavernous club, but the incendiary Cactus date captured here is nothing short of extraordinary. Behind the mixing board of the Electric Ladyland Mobile Unit that night was the venerable Eddie Kramer, who, in addition to Cactus, engineered and produced for a who's who of rock and roll greats including The Faces, Led Zeppelin, the Beatles and Jimi Hendrix, whose Electric Lady studios he helped establish. "When I first listened to tapes of this show," Appice says, "I thought, 'Man, what a great band.' I was just really proud of the fact that the band kicked such major ass. In those days, we blew everybody we played with off the stage." The music backs up the recollection. Always cranked to 11 for a Gilligan's gig, Cactus' breakneck blues-rock boogie and sheer decibel force blasts the senses on stand-outs including an epic version of Mose Allison's "Parchman Farm" - one of the band's signature songs - the originals "Down Easy," "Walkin'" and "Bro. Bill" and the classic "Long Tall Sally." One can only imagine that just as Cactus blew other bands away night after night, the capacity crowed must have been fit to be wiped off the beer-soaked floor at show's end. The seminal quartet incarnation of Cactus formed in 1969. Originally, Tim Bogert and Carmine Appice - Vanilla Fudge's former rhythm section - conceived it as a supergroup that would include guitar-slinger Jeff Beck and Rod Stewart on vocals. As things happened, though, Stewart went off to join the Faces and Beck was sidelined by a serious auto accident. They then enlisted ex-Buddy Miles and Mitch Ryder's Detroit Wheels guitarist Jim McCarty and former Amboy Dukes singer Rusty Day. Often called "the American Led Zeppelin," this powerhouse line-up delivered three albums - Cactus, One Way...Or Another and Restrictions - before McCarty and Day departed in '72. Appice and Bogert recorded one more album, 'Ot 'N' Sweaty, with a different line-up before leaving to form Beck, Bogert and Appice. Appice and Bogert have continued to collaborate over the years, and in 2006, reformed Cactus with Jim McCarty and singer Jimmy Kunes (Savoy Brown). Rhino Handmade's FULLY UNLEASHED: THE LIVE GIGS, VOl. 2 is available as an individually numbered limited edition of 5,000 copies for $39.98. It is dedicated to the memory of original Cactus lead vocalist Rusty Day, who died in 1982........

quite by coincidence I played Jimi Hendrix' "Live at Fillmore East" and Rolling Stones' "Get Your Ya Yas Out" before putting this new Cactus CD in the player. The result is stunning, even after 40 years, Cactus could play and blow away other artists who have grown to superstardom. Even Led Zeppelin could not stand in their shadow. This double CD is a whole different affair than the previous one with the same name hence the Volume II on this one, and is recorded in one take in an New York state club. Cactus in the original line up was a quartet but here they have expanded to a quitet with second lead and slideguitarist Ron Leejack (later of Wicked Lester, the pre KISS band) and that is a good choice. Leejack is also credited on a few songs on their than latest studio-album "Restrictions". Cactus seems to have the time of their live, playing with pleasure and full of humor, which cannot be said from many other acts who were deadseriously on stage. But apart from pleasure and humor (especially Rusty Day with his announcements and lyrics) the band plays full tilt with an enormous effort and drive. Jim McCarty shines througout with his formidable leadguitar (he could equally handle the acoustic guitar as shown on the 3 studioalbums) but he gives room to his partner in crime Leejack to blast his parts in the audience. Formely Vanilla Fudge rythmtandem Boogert on bass and Appice on drums plays their part and Rusty had not only the right vocals for this hard driven blues rock but plays harmonica as well and good. I would say this album is a must for all the music afficianodos in general and lovers of good (early seventies) rock music, with the extra dimension of a live recording. The only regretable thing about this is its release 4 decades later but now we can enjoy the better sound qualities. Strongly recommended.....ByJ. Talsma......

Having previously purchased the first "Live Gigs," I pondered long and hard whether "Live Gigs II" would offer enough different variety of performance to merit paying the big money for it. It absolutely does.
It features tunes like Mellow Down Easy, Feel So Bad, Walkin' Blues, and Token Chokin' which weren't on Gigs I; and add to that slightly-to-greatly different versions of Long Tall Sally, Parchman Farm, Oleo, Bro. Bill, and even a different version of the 20 min.+ No Need to Worry (Slow Blues on Gigs II.) Also included is a much clearer, more vibrant version of One Way Or Another than the version on Gigs I, which is taken from the 12:30 a.m. performance, as opposed to this concert, which is the 10:30 p.m. show. In fact, the sound quality of this entire recording is astounding, considering it's 37 years old.
A previous reviewer mentioned that his only beefs were; 1.Ron Leejack's guitar solos buried in the mix, and 2. Rusty Day's harmonica playing. He must have gotten a bad copy. I've listened to this CD on a state-of-the-art system, as well as a cheap boombox and, in both cases, Leejack's guitar was easily discernable. As for Rusty's harp playing, he's a serviceable blues /boogie harp player. He's no Magic Dick (who is?), but he beats the hell out of Bob Dylan and others.
One big difference in this concert is the addition of Leejack, giving the great Jim McCarty a baseline rhythm from which to soar as well as a nice counter to his leads. Leejack gets in a couple decent leads himself; in particular, a nice slide guitar lead on Walkin' Blues.
I have thouroughly enjoyed this CD and am very glad I decided to take a gamble on it.......By Kevinon .............

Praise the hard rockin' gods that Rhino Handmade decided to put out a second volume of CACTUS-Fully Unleashed!!! This was sure worth the wait and being that there are only 5000 copies it's worth whatever price you have to pay! Recorded live by legendary producer/engineer Eddie Kramer (Hendrix, Kiss, etc., etc.), CACTUS-Fully Unleashed Vol. 2 captures the band on fire in Buffalo, 1971. Unlike Vol. 1 which featured songs from multiple performances, Vol. 2 is just one singe show. One night with a band that could out-boogie anyone. CACTUS should have been as big as Led Zeppelin, but due to lack of band ego cohesion and over the top drug use, CACTUS never reached the mass audience they deserved. At any rate, this 2 CD set of almost 110 minutes of total balls out, hard rockin', proto-metal, post-blues, stoner boogie rock at its most intense, is another step towards finally giving CACTUS the recognition they deserve. And furthermore, it stands as a testament to one of the greatest blues/rock singers of all time, Rusty Day, who sadly departed earth for a better party many years ago now. Man could that guy sing/scream! Jim McCarty's guitar leads are absolutely savage as usual, and Ronnie Leejack's rhythm guitar (as well as a few killer leads of his own) just adds more power to the already overblown rhythm combo of Tim Bogart (one of the fattest bass sounds ever) and Carmine Appice's drum assault. There is not one single dull second in this show. This makes sense being that CACTUS lived and played hard to fight the dull moments. If only they could've kept it together longer. Thank god for this killer vault release! Perfect sound quality for the times, great packaging, and an unbelievably rockin' show in Buffalo! Rusty Day (R.I.P.)...ByT. Kasuboski..........

Carmine Appice: Drums, Background Vocals
Tim Bogert: Bass, Background Vocals
Rusty Day: Lead Vocals
Jim McCarty: Guitar
Ron Leejack: Guitar

Tracklist 

CD 1:

01. Intro/Tuning (Appice/McCarty/Day/Bogert)1:00
02. Long Tall Sally (Johnson/Penniman/Blackwell) 7:51
03. Parchman Farm (Mose Allison) 6:04
04. Mellow Down Easy (Appice/McCarty/Day/Bogert) 5:25
05. Feel So Bad (Chuck Willis) 7:00
06. Walkin' Blues (Appice/McCarty/Day/Bogert) 8:52
07. Scrambler/One Way...Or Another (Appice/McCarty/Day/Bogert) 8:28
08. Oleo (Appice/McCarty/Day/Bogert) 12:50

CD 2:

01. Bro. Bill (Appice/McCarty/Day/Bogert) 8:32
02. Token Chokin' (Appice/McCarty/Day/Bogert) 3:32
03. Slow Blues (Medley) 20:10
04. Heebie Jeebies (Jackson/Marascalco)/What'd I Say (Ray Charles) 12:17
05. Evil (Howlin' Wolf) 14:46

James Gang “Live Carnegie Hall, NYC 5/15/71” (bootleg) Unreleased material + “Live In Concert 71″ complete album US Southern Blues Hard Rock




James Gang "Live Carnegie Hall, NYC 5/15/71" (bootleg) US Southern Blues Hard Rock

Unreleased  material from same show as "Live In Concert"

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James Gang ‎ "Live In Concert 71" Probe Label US

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https://www.youtube.com/watch?v=Kq3Wmg4B4Ko

Amazing that only three musicians could make music that sounds this good and this full. Honestly, where were they hiding that fourth member?! Actually, that's the amazing Joe Walsh doubling up on guitar AND keyboards. Man, he's even more talented than I had thought. Plus, you have those distinctive vocals of his. The total package. I have to admit that I've been a fan of Joe Walsh and The James Gang for many, many years, but until earlier this year I had never thought to listen to this outstanding live album. Why didn't anyone tell me!? Needless to say, I'm very happy that I belatedly took the plunge and ordered this CD. This rocks and rolls and kicks and wails from start to finish. As another reviewer asked; where is the expanded version of this concert? There certainly HAS to be more in vaults where this splendid set came from.....ByDonald E. Gilliland............

My first introduction to the James Gang was courtesy of some friends of mine in a hometown band who played "Walk Away" at a teen function one Friday night. The first time I heard a recording of the James Gang was this album, and the first two songs were "Stop/You're Gonna Need Me". I have never been so captivated and riveted by a recording of any kind of music as I was by this. It started a love affair with hard blues/rock played with Les Paul guitars through Marshal stacks that continues to this day. The sound is so unique. The music presented on this live album is very different from their studio versions and, though I like both, I prefer these versions of the previously mentioned songs. "Lost Woman" does drag on a bit, but that was how concerts were in the early to mid seventies: everybody had a spotlight solo which extended certain songs...This album/CD is an absolute classic, and is for anyone who loves cranked up, crunchy hard rock played with the best guitar ever made, through the best amps (STACKS of 'em) ever made, by the best late 60's/early 70's rock band America ever made!...By jpgr862.....................

Live in Concert is a live album by the James Gang, released in September 1971. It contains highlights of performances at Carnegie Hall, New York City. This album is the last James Gang release to feature Joe Walsh as guitarist and vocalist and Bill Szymczyk as producer and engineer.

lewine wrote the album “Live in Concert captures much of the energy of their live performances, with Joe Walsh’s guitar solos catching fire on nearly every song. However, the record also makes it clear that he was beginning to outgrow the confines of the James Gang…” (by wikipedia)
Amazing that only three musicians could make music that sounds this good and this full. Honestly, where were they hiding that fourth member?! Actually, that’s the amazing Joe Walsh doubling up on guitar AND keyboards. Man, he’s even more talented than I had thought. Plus, you have those distinctive vocals of his. The total package. I have to admit that I’ve been a fan of Joe Walsh and The James Gang for many, many years, but until earlier this year I had never thought to listen to this outstanding live album. Why didn’t anyone tell me!? This rocks and rolls and kicks and wails from start to finish. As another reviewer asked; where is the expanded version of this concert? There certainly HAS to be more in vaults where this splendid set came from. (Donald E. Gilliland)......

Personnel:
Jim Fox (drums, vocals, percussion, guitar)
Dale Peters (bass, vocals, percussion)
Joe Walsh (vocals, guitar, organ)

James Gang "Live Carnegie Hall, NYC 5/15/71" (bootleg) Tracklist

1. Funk #49
2. Ashtonpark
3. Stop
4. You're Gonna Need Me
5. Take A Look Around
6. Tend My Garden
7. White Man, Black Man
8. Thanks
9. Garden Gate
10. Again
Disc Two - 46:30
1. The Ashes, The Rain, And I
2. Walk Away
3. Woman
4. Lost Woman
5. Johnny B. Goode
6. The Bomber

James Gang "Live In Concert 71"  

Tracklist
A1 Stop 4:05
A2 You're Gonna Need Me 7:30
A3 Take A Look Around 3:50
A4 Tend My Garden 3:45
A5 Ashes, The Rain & I 2:40
B1 Walk Away 3:30
B2 Lost Woman 18:20 

Terry Manning "Home Sweet Home" 1970 US Psych Rock




Terry Manning "Home Sweet Home" 1970 US Psych Rock

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https://vk.com/wall312142499_6519

Featuring the recording debut of Big Star's Chris Bell, this outrageously enjoyable blend of psychedelic rock, Memphis soul and dirty R&B kicks off with one of the most audacious and successful Beatles covers ever. Terry Manning was a key figure in '60s Memphis music-making -- from his experience at Stax (learning from the likes of Isaac Hayes, Ike & Tina Turner, Willie Mitchell, Booker T. Jones, Eddie Floyd, Al Green, Otis Redding, The Boxtops, Percy Sledge, The Staple Singers, Mississippi John Hurt, etc.) he became the Ardent Studios engineer/producer, and co-owner of the Ardent Records label that released the Big Star albums. Originally released on Stax's Enterprise label, this record is Manning's only solo work (he engineered, produced, and played almost all of the instruments) and features a feast of fuzz guitar, sweet vocals and funky rhythms that makes its long overdue CD debut here (complete with full liner notes and three bonus tracks), Home Sweet Home is a tongue-in-cheek blast from start to finish, and guaranteed to thrill fans..............

Terry Manning's 1970 solo album Home Sweet Home started off as something of a joke when he recorded a deliberately over-the-top psychedelic version of the Box Tops' "Choo Choo Train." When Stax Records asked for a whole album of such material, Home Sweet Home was the result. Like "Choo Choo Train" (included on the final LP), the album as a whole was over-the-top psychedelia, and indeed over-the-top mimicking of several manners of late-'60s trendy excess in hard rock, blues-rock, and soul music. There's a tongue firmly planted in its cheek, however, which keeps it from being as tough an exercise to sit through as the records it was poking fun at -- though only just. Whether it's a ten-minute version of the Beatles' "Savoy Truffle" (with early Moog effects), loving Manning-penned homages/satires of Jerry Lee Lewis ("Wild Wild Rocker") and late-'60s dance-soul ("Trashy Dog"), or knowingly slightly hysterical covers of old blues tunes ("I Ain't Got You") and, again, the Beatles ("I Wanna Be Your Man"), he plows his way through the tracks with the fervid energy of a man who can't decide whether he's pulling off an inside joke or a work of genius. As is so often the case with these kind of projects, however, it's much more an inside joke than it is a work of genius. That's not to say it isn't amusing, and it does hold some interest for serious Big Star fans for marking the first proper studio appearances by guitarist Chris Bell. Like many somewhat silly, somewhat inspired jokes, though, listeners will most likely find the humorous novelty wearing off after one or two listens.....by Richie Unterberger......

If you recognize Terry Manning's name, its likely a result of his work as an engineer and producer, including numerous projects for the Memphis-based Ardent Records were he worked with the likes of Alex Chilton and Big Star. With the exception of true hard core collector's, most folks probably don't know that Manning actually recorded an early-1970s solo LP.

By the early 1970s Manning was a fixture at Stax having engineered many of their recording sessions. While he wasn't known for his performing talents, a one off demo of a song intended for The Box Tops caught Stax VP Al Bell's attention and served to get Manning signed to the Stax affiliated Enterprise label. Manning subsequently made his solo debut with 1970's "Home Sweet Home".

A true solo effort, Manning produced, engineered and save drums, handled most of the instrumentation (Big Star's Chris Bell provided lead guitar on a couple of tracks). In terms of the music, anyone into the Big Star/Alex Chilton scene will find this album irresistible. Besides, how can you not like an album that starts out with an extended, fuzz-filled cover of George Harrison's 'Savoy Truffle'.

Manning's voice certainly didn't have Chilton's depth and breadth, but he used his limited talents well, turning in a uniformly impressive set that effortlessly blended blue eyed soul, R&B and garage rock moves. Simply a blast from start to finish, it was hard to pick out favorites, though 'Trashy Dog' (The B-52s could've had a hit with it), 'I Ain't Got You' and a fuzz guitar and harmonica propelled cover of The Beatles' 'I Wanna Be Your Man' were all worthy highlights. (Okay, I'll admit the Elvis-wannabe 'Wild Wild Rocker' was forgettable.) Sadly, the LP vanished without a trace, making it a sought after collectable. .....Bad Cat.........

Terry Manning was an engineer and producer who worked with a lot of Stax artists: Issac Hayes, the Staple Singers and much later, Lenny Kravitz.

This is a solo album he put out on Enterprise, a Stax sub label, in 1970.
Home Sweet Home is not soul or funk, but contains a lot of great, radically altered Beatles covers and other rock pieces. Check how Manning turns Beatle-Georges "Savoy Truffle" from a rock quick chestnut into a long psych jam essay. Manning knows what he is doing: at no point to the Fab covers become the pretentious art stabs so many other bands careened to when going to the holy grail.

The non-Beatle tracks here also work as psych jams, phase shifted and flanged as you may expect on an album like this in '70, but the playing is always in the pocket, and what could be an indulgent disaster turns into charming covers; for all the effects, Manning never forgets the songs.

This is not a classic, but collectors of the forgotten from this era will want to impress their friends with Home Sweet Home..............

When Terry Manning sings about his "dear old mother" in "Choo Choo Train", he doesn't give a damn about her. Written by Donnie Fritts and Eddie Hinton, "Choo Choo Train" is only marginally straighter in the Box Tops' version, which Manning engineered. Home Sweet Home is a record of magnificently conceived and beautifully recorded parodies, and it's not without overtones of something approaching real feeling. Originally released in 1970 on the Stax imprint Enterprise, Home Sweet Home gives George Harrison's "Savoy Truffle" and Jack Clement's "Guess Things Happen That Way" the Memphis anglophile treatment, with Richard Rosebrough's drums locked into a stiff post-soul-music groove. It illustrates how Manning, Chris Bell (who plays guitar on four tracks) and other Ardent Studios denizens created Memphis power-pop by letting local traditions collide with cosmopolitan abstraction. These heartfelt jokes point the way toward Big Star's #1 Record and Radio City..................

Terry Manning is mostly known as a producer and engineer, having worked behind the glass for everybody from Led Zeppelin and ZZ Top to Al Green and the Staples Singers. Home Sweet Home is the only album he ever made on his own account, and that was almost completely by accident. The story goes that Manning was engineering a 1968 recording session for Alex Chilton’s Box Tops, when one night he decided to stay overtime and play a joke on songwriter Eddie Hinton. Hinton had brought in a song for the Box Tops called “Choo Choo Train”, a hard chugging, Southern boogie song that he thought would be perfect for Chilton. Manning felt that Hinton was taking himself a little too seriously. So late one night, he recorded his own version of “Choo Choo Train”, purposely accenting the cut’s hard psychedelia. The next day he played his way-over-the-top version of the song for producer Dan Penn, Chilton and Hinton, and everyone had a good laugh. But later, when Manning brought the cut to Al Bell at Stax, the joke was on him. Bell asked him how long it would take to record an entire album of similar material, and the seeds of Home Sweet Home were sown.

Not that Manning ever took the record too seriously. He decided to make every song represent a different style, each, like “Choo Choo Train” pursued a little harder than normal. As a result, nearly every track will remind you of other artists…artists taking the piss at their own worst excesses. For instance, there’s a long, freaked out, solo-laced version of George Harrison’s “Savoy Truffle” to kick things off, an Elvis-strutting Johnny Cash cover called “Guess Thing Happen that Way”, and a slinky, organ-pulsing Booker T and the MGs tribute titled “Sour Mash.” Somewhere between pastiche and parody and genuine rock achievement, Home Sweet Home is a fascinating inside joke that nonetheless works as music. 
Part of the reason it works is, obviously, the musicians Manning was able to rally. You can hear a very young Chris Bell (soon to be of Big Star) trying out his Memphis soul leads in cuts like “Trashy Dog” and “Guess Things Happen That Way”. Robert Moog, inventor of his eponymous synthesizer, sits in on the sublimely excessive “Savoy Truffle”. And the Hi Hat Rhythm section, a band of southern soul vets who had backed Al Green and the Staples Singers, puts an irresistible groove under the live-recorded Ann Peebles cover “I Can’t Stand the Rain”. This last cut is one of three bonus cuts, not included on the original vinyl. Manning recorded it at Memphis State University, substituting at the last minute for George Thoroughgood’s opening act. 
The other two bonus tracks have similarly interesting back stories. A Beatles cover—“One After 909”—was one of Manning’s earliest efforts. He did it after receiving a demo of the Beatles version, before they had even recorded their more famous rendition. The demo was so raw, though, that it didn’t have all the words or guitar parts on it, and Manning filled in the best he could. It wasn’t until 2003 that he edited the cut, adding a guitar bridge that was originally missing, and finally finishing it. And “Talk Talk” by the Music Machine and Sean Boniwell was originally intended as the first cut on a follow-up album which was, sadly, never made.

Home Sweet Home‘s first side (“Savoy Truffle”, “Guess Things Happen That Way”, “Trashy Dog” and “Wild Wild Rocker”) is stronger than its second, where the goofiness begins to overwhelm the music. Still, the bonus tracks indicate that Manning might have had more in him, given time and resources. He was successful for the rest of his life, but he never made another record, and this one, given Stax’s difficulties in promoting pop, never reached a wide audience. Now, 40 years later, Home Sweet Home is a time capsule, with its aggressive psychedelic riffs and hard-edged soul rhythms. It’s also an oddity, an artifact, a sly joke ... but that doesn’t make the music any less fun.....by Jennifer Kelly.......

"Terry Manning is best known as an engineer and producer who spent the '60s and '70s in Memphis working for Ardent and Stax Studios on some of that city's most important records, from Isaac Hayes to Big Star. In 1970 he cut the album Home Sweet Home and it was released on the Stax subsidiary, Enterprise. Originally intended as a joke project, Home Sweet Home is now a highly regarded and collectible LP, praised for its innovative studio trickery and Manning's offbeat arrangements, especially the epic opening 10-minute version of George Harrison's 'Savoy Truffle.'"...............................

Musicians
*Chris Bell - Guitar
*Terry Manning - Vocals, Guitar, Bass, Keyboards, Percussion
*Steve Rhea - Drums
*Richard Rosebrough - Drums

Tracklist
A1 Savoy Truffle 10:05
A2 Guess Things Happen That Way 3:23
A3 Trashy Dog 3:00
A4 Wild Wild Rocker 2:27
B1 Choo Choo Train 4:38
B2 I Ain't Got You 3:12
B3 Sour Mash 5:04
B4 I Wanna Be Your Man 5:02

Atlantide “Francesco Ti Ricordi” 1976 Italy Prog Hard Rock







Atlantide “Francesco Ti Ricordi” 1976 Italy Prog Hard Rock

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The Atlantide  were a group of progressive Italian rock that had formed in Cirigliano, Basilicata. The group was made up of the Sanseverino brothers, all of them from the same country. In 1973, the Atlantis moved to Germany, more precisely in the town of Rottweil, where three years later they recorded their only album in 1976, entitled "Francesco ricordi", completely self-produced. In fact, their record company is called "S", like the initials of the Sanseverino brothers. The LP features a completely hard rock style, where Mimmo Sanseverino's distorted guitar is evident. One feature of this record is that of the dialect inflection of the singer. It starts with the track "The Man and the Dog", where you already notice the hard rock style of the disc. After the first verse, there is a very fast and drawn part. The song concludes with a slow part, much like the first verse. "Dirty of blood" also has a rhythm pulled, even in this song is evident the distorted guitar. The singer's voice is perfect with the rhythm. The track "When the Moon" is 11 minutes long, and is a kind of slow, very engaging in my opinion, and you hear a long part of Hammond organ, alternating with the electric guitar. Another long distorted guitar is present after the first verse. There are numerous rhythm changes in the track. "If I lost my life this way" instead it has a slightly more moderate pace, but there is always the usual hard style. The next song can remember the style of the 70's foreign hard rock groups with that rhythm. "Clown" is instead a trace that begins with a battery roll. The rhythm closely can remind you of the opening track, because the rhythmic structures are very similar. This song also has a fairly moderate pace. Here too there is a lot of distorted guitar. The song takes almost 7 minutes. The track that gives the album the name, "Francesco ricordi", has a very slow pace, like the third track, and it feels clearly a body and electric guitar plot, in my opinion very well executed. Musically, the album contains light progressive influences, as it is more oriented toward hard rock. One of the Sanseverino brothers, Leonardo, died in 2006. The remaining brothers are still in Germany, where they live. The album copies sold were few, some directly from the group. This was the reason that led the group to dissolve. Recently, from some German stores, many vinyl recordings of the album have been found and sold at very high prices. This fact dates back to the nineties. The Atlantis also did a popular shoulder-work by opening concerts of foreign hard rock groups such as Message, Atlantis and Scorpions. With this concerts work, the group in Germany had good reviews. To conclude, in my opinion this album I consider him the best hard rock Italian album ever. Word of a lover of rock progressive Italian sincere.......by...BY MICHELE SGAMBELLURI .........

Tracklist
A1 L'uomo Ed Il Cane 5:08
A2 Sporcandosi Di Sangue 5:05
A3 Quando La Luna 11:15
B1 Se Perdessi La Vita Cosi' 5:40
B2 Il Pagliaccio 6:53
B3 Francesco Ti Ricordi 7:18 

Line-up / Musicians

Mimmo Sanseverino - guitar, vocals
Leonardo Sanseverino - organ, synth
Mario Sanseverino - bass
Matteo Sanseverino - drums 

The John Street Rockets "Rock And Roll the Hard Way" 1979 US Private Southern Hard Rock





The John Street Rockets "Rock And Roll the Hard Way" 1979 US Private Southern Hard Rock

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https://vk.com/wall312142499_6512

Recorded LIVE in Albuquerque New Mexico in 1979. Great biker vibe with killer guitar!!!!!

The Permanent Records master diggers have unearthed yet another drool worthy private press gem. In this round we have original sealed 1979 stock of Albuquerque, NM's John Street Rockets "Rock And Roll The Hard Way". It's 6 tracks of killer 70's hard rock played by some really talented musicians. If you dig the Bone Head Crunchers comps, the Warfaring Strangers comp or the Chicago Triangle record we reissued, then snag one of these bad boys pronto! There is a very good chance that these are the last available copies, so act fast!....

Tracklist
A1 Southern Eyes
A2 Jamaica Shaker
A3 Road To Rock 'N Roll
B1 Soldier Of Fortune
B2 I Can't Stay Mad At You
B3 New Mexico Weighs

Cacme​mira "Jungla" 2017 Spain Heavy Psych


Cacme​mira "Jungla" 2017  Spain Heavy Psych

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More than most records, let alone most debuts, Cachemira‘s first offering, Jungla, gives the front-to-back impression of a live set. With “Ouverture” — French for “opening” — the Barcelona three-piece gradually bring the Heavy Psych Sounds release to life over the course of its first four minutes, and from there, it’s all about the naturalist chemistry that emerges as one song feeds into the next over the course of four pieces on two vinyl sides. When taken together, those two sides, “Ouverture” included, comprise a tight 30-minute set that showcases the band’s personality in what is apparently their formative stage. That is, while Cachemira may not sound like it as they round the hairpin turns of eight-minute tracklist centerpiece and side A closer “Goddess,” which follows “Sail Away” after “Ouverture,” they’re are a pretty new group.

The lineup has some measure of pedigree, as guitarist/vocalist Gaston Lainé has played in Brain Pyramid, bassist Pol Ventura in 1886 and drummer Alejandro Carmona in Prisma Circus, but Jungla is their debut outing together following a recorded early version of the album’s instrumental title-track and a posted leak of “Goddess,” which when taken together here comprise the whole of side B. I suppose one could call it boogie rock with all the scorching guitar-led shuffle in “Goddess” or “Jungla” itself, but the classic-rocking sensibility Cachemira elicit owes more to the likes of Radio Moscow than to Graveyard, and among the most appealing aspects of Jungla is its unpretentious, organic vibe.

Most especially for the heavy rock converted, it’s an easy listen that asks little of its audience other than they tag along for a slew of guitar solos and jam-based songcraft. Anyone who’s heard Prisma Circus can tell you Carmona is a monster shuffle-drummer, and he showcases some of that here, finding complement in the warm low tone of Ventura‘s bass as the band works in classic power trio construction — Carmona and Ventura the powerhouse rhythms section to Lainé‘s frontman presence. As recorded by Lainé‘s Brain Pyramid bandmate, Baptiste Gautier-Lorenzo, the spirit in “Ouverture” is immediately warm with a subtle underscoring of organ for the sweet guitar tone, and as they build toward “Sail Away,” transitioning via that same organ line, the groove that takes hold remains informed by the relatively patient start they give the album.
In terms of the basic elements at play, Jungla works in familiar terrain — guitar, bass, drums, vocals, some flourish of keys — but it’s really about what these players bring to it and how well they work together that lets Jungla impress in the way it does. The band has said outright that this is the product of their beginnings, some of their earliest work from about a year ago, and that may well be the case, but that also shows clearly that what they have most going for them at this point is the fluidity of the instrumental conversation between Lainé, Carmona and Ventura, as the smoothness of their delivery throughout becomes enough to even out the purposeful choppiness and bounce of their writing style such that even the more raucous back half of “Goddess” — drum solo and all — holds firm to its overarching languid mood. Even when they’re in a rush, they don’t sound like they’re in any rush whatsoever.

That’s not to say they don’t build some significant momentum throughout Jungla, because they most certainly do. Even as “Goddess” breaks before the side flip brings on the closing duo of “Jungla” and “Overpopulation,” the sense of motion to the songs is clear, and whether they’re running in circles as “Jungla” builds to a head in its second half, underscored by persistent, insistent crash from Carmona on drums and a steady throb from Ventura on bass, almost jazzy by the finish after a wah-soaked, forward-driven start, or squealing through the starts and stops and winding progression of the finale, that motion is as varied and multidirectional as it ultimately is maintained. If Jungla is to represent Cachemira‘s beginnings, then their beginnings find them not at all afraid of flying off the handle as they twist around complex rhythm structures, and proven that they’re right not to be.

Whether it’s from their collective experience in other outfits or just happenstance that they work so well together — or, I suppose, some combination of the two — the basic fact of the matter is Cachemira‘s debut offers explosive moments amid a liquid, welcoming, almost understated presentation for what they’re actually doing, and in addition to its own accomplishments, it sets them up to move forward and develop along the course they’re setting here. Primarily, though, it speaks to what would seem to be their force as a stage act, and though it’s a short set, there’s no question they leave their audience wanting more. One suspects it won’t be all that long until we get it, but until then, Jungla‘s balance between the head-spinning and the molten makes their first album a significant preach well worth engaging. It would be a hell of a live show........................



Believe me when I tell you that this record I have heard more than 20 times and every time it closes its closing "Overpopulation", a mysterious force pushes me to re-play, as if the musical spirit of these Kashmir, will take over your Soul and govern it at will.

Although this is not much to say, it is true that this new band from Barcelona get to fall in love in just over 30 minutes through the 5 songs that contain their great debut, "Jungla", the fruit of their long improvisations of direct from Italy , Various European cities, to their participation in prestigious festivals such as Sonic Blast Moledo, Crumble Fest or Cheapstock.

All the love for the music of the 70s, flows through the veins of these 3 musicians unfolding that heavy psych recognized in their previous lives, and is that we speak of an explosive combo that go back their studies to other projects like Brain Pyramid, 1886 or Prisma Circus. With these premises, obviously from here you can only get something incendiary, recharged in that instrumental technique full of pedal, redoubled, Hammond organs and all the musical wisdom of the time, that make the music of Kashmir as another timeless band more than the Time does not affect them.
"Jungla" picks up a central where they find their longest songs. Only 5 pieces have this debut album where songs like "Sail Away" become one of their most complete versions, like enjoying the enthusiasm of these musicians in different jam's of their essays and putting them into a single song. Practically instrumental, the different twists that contain this piece, make enjoy that psychedelic frenzy that discharge Kashmir with the greatest of virtues. However, beyond that characterized frenzy in the so-called heavy psych, musicians have moments to keep in the memory of this project and songs like "Goddess", collect those warm moments of lucidity with a Gaston Laine at the Strings well cared for and a musical spirit within the bosom of the band that grows louder with the mark of Alex Carmona in the patches and Pol Ventura in the four strings. Their are the many moments, where they demonstrate that in this type of bands the rhythm section is vital and in which they even have moments for their particular solos. The third piece in question of this intermediate section of the disc, is a soul mate to "Sail Away", with a somewhat blues background, notable high for Pol in the bass and the best of the improvisations that stands as main actor in the good To make Kashmir.
Nor have we talked about the songs that open and close the album. In the case of "Overpopulation" is a mix that brings the best of the first Brain Pyramid in that unforgettable "Magic Carpet" (review here) and the "Reminiscences" of Prisma Circus (review here). As a mark of the house within the tasks of these musicians, the fifth piece serves as the most original theme to get in touch with its atmosphere. Its initial opening, never better expressed as "Ouverture", are the tenuous moments that serve as welcome committee for all the arsenal that has to offer us this jungle in little more than half an hour. 

If they already knew the misdeeds of these 3 components in their previous groups, then they will know what they are going to find with Kashmir. A work that from my point of view, the only glitch I may have is its short duration as it is passed in a sigh, but it is a most hopeful start for the future of the state genre in this country. The best showcase to see how the Spanish psychedelic bands concentrate their best litter in the core of the city and put a band like Kashmir at the top of the throne. "Jungla" is pure nostalgia, skill that goes from his progressive compositions, his high creativity index and the love for this style cemented decades ago that these young people, without having lived in that time, would pass perfectly by the hoop and in the day of Today would serve as a source of inspiration for many. The musical growth in the last years of Gaston, Pol and Alex that with this debut, reaches its state of maturity....by....Ruben Herrera..........



Barcelona, Spain’s Cachemira explode with a stoner-friendly debut straight out of the Summer of Love. 


Ένα πολύ σφιχτοδεμένο late 60s/early 70s hard rock album κυκλοφορεί το Ισπανικό power rock trio των Cachemira. Το «Jungla» βγάζει έναν ωμό rock ήχο που οφείλει πολλά στους πρώιμους Deep Purple και στον Rory Gallagher. Ψυχεδελικά κιθαριστικά leads, βαριές παραμορφώσεις στη λογική που τις χρησιμοποιούν οι Radio Moscow, μπόλικοι αυτοσχεδιασμοί και τζαμαρίσματα και μια παραγωγή κατευθείαν από το χρονοντούλαπο της ιστορίας, σου χαρίζει μισής ώρα ποιοτικής ακρόασης. Η τριάδα των «Sail Away», «Goddess» και «Overpopulation» βάζει φωτιά στο player σου και δείχνει πως τα παλικάρια από την Βαρκελώνη έχουν μπροστά τους μέλλον. Μοναδική μου ένσταση η μικρή διάρκεια του δίσκου, κάτι που ελπίζω πως έχει να κάνει με την διάθεση της μπάντας να προσφέρει ένα κλασικό «βινυλιακό» album παλιάς κοπής..............



Jungla embraces psychedelia with the acid-tinged exuberance of late-‘60s Bay Area subculture. Gaston Lainé’s guitar recalls John Cipollina’s work with Quicksilver Messenger Service, as well as Big Brother and the Holding Company’s Sam Andrew and James Gurley, spurred on by the rhythm section of bassist Pol Ventura and drummer Alejandro Carmona, whose primal beats conjure Blue Cheer’s ferocity. Over five songs, the trio ranges from Jefferson Airplane weirdness to Kak intensity, allowing, of course, for the European tradition to fade in with nods to Roland Kovac and Sam Gopal. Put it together and what have you got? Bibbidi-Bobbidi-BOOM!!! 

The era of Cachemira has just begun, so light a match and blow the smoke from whatever that is dangling in your mouth out into the cosmos where the Akashic records will make them available to all, man..............





Credits 
Artwork By – Smoke Signals Studio 
Bass Guitar – Pol Ventura 
Drums – Alejandro Carmona 
Guitar, Vocals – Gaston Laine

Tracklist
A1 Ouverture
A2 Sail Away
A3 Ancient Goddess
B1 Jungla
B2 Overpopulation

johnkatsmc5, welcome music..