Saturday, 29 July 2017

Brinsley Schwarz "It’s All Over Now" 2017 UK Pub Rock last unreleased album


Brinsley Schwarz  "It’s All Over Now" 2017  UK Pub Rock last unreleased album

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https://megadodo.bandcamp.com/album/its-all-over-now



Recorded in the Autumn of 1974 at Rockfield Studios.  the "It's All Over Now", which is went unreleased but was completed.

In 1974 Brinsley Schwarz’s began work on It’s All Over Now, the album intended to relaunch their career in the United States, but things did not go as planned. At that time the band was breaking up with members going in multiple directions, but they managed to keep things together long enough to record the album. However, it was the end of the band and the album languished in the studio’s tape library for years until rescued from the dumpster by the band’s guitarist Ian Gomm. Ian mixed the album and almost released it in the 80s, but withdrew it before it could be distributed. Several years ago Ian offered the album on his web site as a CDr, and as of April 28, 2017 it is officially available on Mega Dodo Records in several formats: limited edition orange vinyl LP, black vinyl LP, CD, and cassette. Now to the music. The album is roughly a 50/50 mix of original and cover songs. Overall the music is a collection pretty lightweight pop, soul ,and love ballads with a couple of rockers thrown in. Of note is the title track, a dub version of the Rolling Stones’ hit that works remarkably well, and the rocking instrumental “Do the Cod” that also appears on their recently released live album. Those of us long in the tooth will recognize the covers of late 60s pop tunes: The Buckingham’s “Hey Baby (They’re Playing Our Song),” Tommy Rowe’s “Everybody,” and William Bell’s “Private Number.” Nick Lowe provided lead vocals on most the songs and the album includes the Lowe/Gomm tune “Cruel to Be Kind” that was intended to be their hit single. This album is for the Brinsley Schwarz completist.....by Henry Schneider............


Brinsley Schwarz released a string of classic Pub Rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launched the group in America, but like their much-hyped visit to New York it didnt go as planned. Indeed, the album languished in Rockfield Studios tape library for years until rescued by the bands guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Until now. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version on limited vinyl and CD. The best Brinsley Schwarz album you have never heard now sounds even better.....


Great album, more soulful than their previous LPs. Could have done without the 'Direct Metal Mastered' crap of course, especially on a vinyl record! No recording information, no liner notes, (I know, I know, look it up on the web), awful title track sounding like a totally unnecessary micky take of, you've guessed it, Mick Jagger! (Please fellers, leave the parodies to Mick, he's the expert, innit Mick). Apart from those few caveats, another tasty Brinsley Schwarz to enjoy any time of the day or night; almost as much fun as their 1974 'Live Favourites', released in 2016, but not quite. They were always at their best playing live. I bet they still are! I've said it before & I'll say it again, ain't none of us getting any younger, so digitum exractum est please. Come on sleepyheads, get outta that bed & make some noise with the pots & pans!...ByG H..



Originally scheduled for release in 1975, It’s All Over Now was supposed to be Pub Rock legends Brinsley Schwarz’s commercial breakthrough………….Rescuing their career after the infamous “Brinsley Schwarz Hype” PR disaster, the band had retreated to London’s pubs where they built a solid reputation as one of the best live bands on the circuit playing a mix of good time, self-effacing Rock & Roll, Soul and Country Rock, releasing a handful of well received but commercially disastrous LPs. Despite strong reviews and a dedicated fan base, the Brinsleys never managed to escape cult status, yet they influenced a legion of other artists, creating an underground, back-to-basics movement that laid the foundation for Punk Rock. By 1975, there was a seismic change in the air………….the Pub Rock bands were soon to be swept away by Punk bands and there is sense that Brinsley Schwarz knew a change was coming. The band split up not long after the recording sessions and before the record was due for release, seeing the album binned by United Artists (the album almost made the shops in the 80s but was withdrawn just before release) and it has remained officially unreleased ever since. The archive diggers at Mega Dodo have rescued this gem of a record, given it a good dusting down and will be releasing the album on vinyl as originally intended with copies also available on CD and, for that proper retro vibe, on cassette. 

For fans of the band, It’s All Over Now is an essential purchase……………….the record was recorded with Brinsley Schwarz cohort Dave Edmunds in the producer’s chair and a eye on the American market. The album contains several strong Nick Lowe/Ian Gomm penned songs (including the original version of ‘Cruel To Be Kind’ which was to be a massive hit for Lowe a few years later), a studio version of the live favourite William Bell's ‘Private Number, a groovy instrumental Soul stomper ‘Do The Cod’ and a Reggae version of the Bobby Womack song/Stones big hit ‘It’s All Over Now’………hey, it was 1975 and everybody was doing at least one Reggae influenced cut on their records. The album is effectively Pub Rock’s last stand and harks back to a time in the 70s when rootsy Americana, cod Reggae and blue eyed Soul side to side on the same record was not deemed strange…………………Dr Feelgood had made such a impact on the scene and as Nick Lowe said about the era “When the Pub Rock scene started going downhill, largely due to Dr Feelgood, who were so great they spawned many duff copyists, it was time to move on”. It’s All Over Now is a record of it’s time, how it would have fared if it had been released back in 1975 is anyone guess………………being a Brinsley’s record it would have no doubt died on it’s arse……but it has aged well for being near 40 years old. One to check out for fans of Graham Parker, Elvis Costello and the ton of bands Brinsley Schwarz’s classy blend of no nonsense Rock, Roots and Soul have influenced. 

Due for release on 28/04/2017, the album will be available in limited edition orange vinyl (150 copies), black vinyl (350 copies), cassette (50 copies) and CD...



Missing in action to one degree or another for over forty years, 70's country-rockers Brinsley Schwarz’s final album will properly see the light of day on Mega Dodo on April 28th. The aptly named 'It’s All Over Now' was recorded at Rockfield Studios with producer Steve Verocca, who was brought in to steer the project toward an American audience. 

Despite Brinsley Schwarz’s management’s legendarily disastrous attempt to break America the first time, with a badly planned press junket and publicity event surrounding their Fillmore East debut, they were determined to give it one last try with this album. It may well have done so, too, with a pub rock by way of Nashville sound and the first recording of singer Nick Lowe and guitarist Ian Gomm’s song 'Cruel to Be Kind'. The problem was that the band was also in the process of breaking up. 

The album was shelved for the first time and languished on a shelf at Rockfield Studios. Meanwhile Brinsley Schwarz had launched the successful careers of its members: Nick Lowe and Ian Gomm as solo artists, guitarist Brinsley Schwarz and Bob Andrews as the nucleus of The Rumour, and Billy Rankin as a member of Big Jim Sullivan’s Tiger. 

In a rescue effort that should earn Ian Gomm a service award for the arts, he prevented the album’s master tapes from being destroyed in the 80s. “When I came to Wales to work at this recording studio, and help build it, Royal Studios it’s called, we had a sixteen-track recorded there that took two-inch tape,” Gomm says. “We’d wired the studio up and wanted to test it, and I thought two-inch tape, that’s what that Brinsleys album was recorded on. So I phoned up Kingsley Ward at Rockfield Studio and said ‘Do you remember that Brinsleys album that never got finished?’ And Kingsley said: ‘Funny you should mention that we’re clearing out the tape library this week and that’s going in the dumper.’ So I got in my car and I drove that afternoon to Rockfield and rescued it. Then I mixed it down because I had the studio time.” 

'It’s All Over Now' was again scheduled to be released in the 80s but was then withdrawn – for a second time. Undaunted, Gomm sold CD-Rs of the album for years on his website. 

The album sounds like a bar band on the verge of a massive breakthrough, but the choice of material designed to achieve that breakthrough in America is somewhat odd. There is the expected country-tinged rock, but there’s also a strange glut of AM radio sweetness emphasizing sugary harmonies and nods to early soul. The band’s interpretation of white soul works best on their brilliant version of Garnet Mimms’ 1966 hit 'I’ll Take Good Care of You' but is baffling on 'God Bless (Whoever Made You)', recorded by Jona Lewie a few years later. 

Nick Lowe’s voice is rich and unabashedly sentimental, somehow cutting through the heavy orchestral backing on 'As Lovers Do' (written by Dave Edmunds) and 'Hey Baby (They’re Playing Our Song)' that seem taken from early 60's American pop vocal groups. Lowe uses his effective and now well-established narrative voice of a wayward lover, who is well aware that he is a bit of a bastard, swanning back into someone’s life on 'We Can Mess Around' and 'Private Number', either of which could have been an early Rumours song. 

The lovely early version of 'Cruel to Be Kind' here is much mellower and less choppy than the well-known hit from Nick Lowe’s solo album 'Labour of Lust'. A similar version was recorded for the B-side to Lowe’s 'Little Hitler'. It’s by far the strongest original track and undoubtedly would have been the first single off 'It’s All Over Now'. Glimpses of Rockpile to come, 'Everybody' and 'Give Me Back My Love' are the hardest rocking and least treacly moments on the record. There is a pointless instrumental, 'Do The Cod', and a silly reggae version of Bobby Womack’s 'It’s All Over Now' that was hopefully recorded when they were all very high indeed. ....by........ Kimberly Bright ..






Vinyl LP pressing. Archive release from the pub rock band featuring Nick Lowe, Ian Gomm, Billy Rankin and future Rumour members Brinsley Schwarz and Bob Andrews. Brinsley Schwarz released a string of classic pub rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launch the group in America, but like their much-hyped visit to New York, it didn’t go as planned. Indeed, the album languished in Rockfield Studios tape library for years until rescued by the band’s guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn’t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Until now. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version. The best Brinsley Schwarz album you have never heard now sounds even better. .




 1. We Can Mess Around 
2. Cruel to Be Kind 
3. As Lovers Do 
4. I'll Take Good Care of You 
5. Hey Baby (They're Playing Our Song) 
6. Do the Cod 
7. God Bless (Whoever Made You) 
8. Everybody 
9. Private Number 
10. Give Me Back My Love 
11. It's All Over Now

Vivian Stanshall & biG GRunt "In Session" 2016 Recorded for the John Peel Show on BBC Radio 1 on 16/03/1970 transmitted 21/03/1970


Vivian Stanshall & biG GRunt "In Session" 2016  Recorded for the John Peel Show on BBC Radio 1 on 16/03/1970 transmitted 21/03/1970

First official release of these historic recordings.
Includes the previously unreleased Cyborg Signal.

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Recorded on March 16, 1970 for the BBC’s legendary John Peel Show on Radio 1, Big Grunt (Dennis Cowan – bass, Roger Ruskin Spear – saxophone, Vivian Stanshall – vocals & euphonium, Ian Wallace – drums, Bubs White – guitar) emerged from the break-up of the Bonzo Dog Doo-Dah Band. Stanshall was a wild performance artist and psychedelic rocker, and Big Grunt combined excellent rock chops with wild costumes, robots, and enough trippy lyrics to make your head spin.

The Peel Session was only four tracks, but they’re all a neat slice of early 1970’s British psych-rock. “Blind Date” is a quirky, weird track full of Stanshall’s goofy humor about meeting a woman from a dating service. “11 Mustachioed Daughters” is probably the band’s biggest hit, and it’s easy to hear why with Wallace’s big drums, Cowan’s killer bass line, White’s near-stoner rock guitar, and Stanshall raving like a mad druid.

“The Strain” is about trying to poop as Stanshall sings from the perspective of whatever’s inside him and needs to get out and then about his grief as the phone rings and people knock on the door. White’s surf guitar is outstanding on the track. “Cyborg Signal” is a cool instrumental that shows the band weren’t just a one-trick pony that made songs about sitting on the crapper..........

Between the years following the split of the weird and wonderful Bonzo Dog Doo-Dah Band (the Dadaist wing of Psychedelica Britannia) and really getting his mojo back with the deliciously surreal Sir Henry At Rawlinson End broadcasts on the John Peel show, Vivian Stanshall was involved with various short lived musical projects that have more than often been relegated to little more than a footnote in articles and books about him. Somewhat overshadowed by his drunken, and often hilarious, escapades with drinking chum Keith Moon (which included touring the drinking dens of Soho dressed in full Nazi regalia……bad taste for even the early 70s), biG GRunt where one of the many collective alter egos/bands fronted by Stanshall post split………….. If you have ever considered what the Bonzo’s would of sounded like stripped of Neil Innes’s pop smarts but with Vivian Stanshall’s fertile imagination and penchant for musical experimentation given free reign then biG GRunt were that band. Including former Bonzo’s, bassist Dennis Cowan and saxophonist Roger Ruskin Spear (in addition to having been the most manic member of The Bonzo Dog Doo-Dah Band onstage and after Stanshall and Innes the third most prolific songwriter of the band, was also a self-styled inventor who built bizarre robots, exploding props and absurd mechanical contraptions for their live shows) along with guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo Dog Doo-Dah Band's road crew, plus powerful drummer Ian Wallace (who was later to join King Crimson and then drummed for a whole host of 70s/80s rock A-listers), even without biG GRunt having played a note of music in public, the background of the individual members made it clear that they were a formidable prospect both musically and as performers. Tipped for “very big things”, music press interviews of the time caught Stanshall enthusiastically discussing his ambitious plans for the band, aiming to create “a fusion of serious music with avant-garde humour and over-the-top visuals” However, Stanshall's well-documented personal problems made it difficult for him to give the project his full attention and keep the line-up together, so by the summer of 1971 biG GRunt were unofficially but obviously defunct. Leaving a slight legacy of a few well received live shows, a B-side of a single which had the dubious honour of being produced by Keith Moon, a berserk live performance on "Marty Amok" (a BBC1 special featuring the comedian Marty Feldman) and a lone session for John Peel, biG GRunt disappeared, reduced to mere mentions when Stanshall was finally recognised as “The Greatest Living Englishman” before his untimely death in 1995 ……..until now. The biG GRunt Peel Session, after languishing in the BBC vaults for nearly half a century, has been dusted down for the first official release of these historic recordings by the good folk at Mega Dodo. What is surprising is that these tracks remained in the vaults for so long with the Bonzo’s/Innes/Stanshall outstanding work from the 60s/early 70s has never being recognized with a full on, deluxe packaged retrospective box set when lesser lights of that era have had every single note of music of varying quality exhumed…….it has taken the musicologists at Mega Dodo to unearth this gem. 

Broadcast on 21/3/1970, the biG GRunt Peel Session saw the band perform four tracks of mostly brand new material, each of tune as exciting and invigorating as the initial promise had suggested and totally justifying the buzz around the band at the time. ‘Blind Date’, a track later to turn up as a the B side of a cover of the Elvis Presley tune ‘Suspicion’ by Vivian Stanshall & Gargantuan Chums, is typical of the mannered, over-articulated material Stanshall would write for the Bonzo’s………….a C&W shuffle through a first person tale of boy meets girl for a blind date at Waterloo Station with the twist being that it is a primate and a pygmy monkeying about before the narrator is captured and returned to Whipsnade Zoo. There is an apocryphal tale that ‘Blind Date', had been “written when Vivian Stanshall, for some bizarre and unexplained reason, was asked to provide a song for the wholesome easy listening crooner Matt Monro. The singer's management, who were presumably expecting something more in the style of the Bonzo's crooner parody 'Canyons Of Your Mind' were understandably less than pleased to be presented with a song that, while undeniably catchy, was about a gorilla and a pygmy being introduced by a dating agency”. Revisiting the Avant-Jazz shronk of ‘11 Mustachioed Daughters', a hypnotic and rhythm-heavy track with strange lyrics concerning witchcraft, paganism and voodoo which had originally appeared on The Bonzo Dog Doo-Dah Band's second album "The Doughnut in Granny's Greenhouse" in 1967, biG GRunt retool the tune as an Beefheart-esque psychedelic wig out with dynamic guitar riffs, funky bass and massive drumming underpinnng Stanshall's demented vocal delivery. This is a tantalizing taste of the direction that Stanshall and biG GRunt may have taken if the band had lasted more than twelve months…………ditching the vaudevillian whimsy of the Bonzo’s and moving towards a heavier, far out “Art Rock” sound which has a proto-Prog/Psych vibe, it is unknown whether biG GRunt actually recorded any more material in the studio, but it's tempting to speculate what may be gathering dust in the vaults. Also recorded for this session was 'The Strain'……..another song associated with the Bonzo’s which turned up on the lacklustre 1972 contractual obligation reunion album Let's Make Up And Be Friendly. However, it started out as a biG GRunt number and was noticeably different in its original incarnation, as presented here. The Peel session version is far more rough and ready than the version that the Bonzo’s recorded with a basic good-time Pub Rock boogie feel. The track that is going to get the hardcore Bonzo/Stanshall fans drooling is the final track on the EP, the previously unreleased instrumental ‘Cyborg Signal'. Although its melodic motif would later form the basis for 'Strange Tongues' on Stanshall's solo album Men Opening Umbrellas Ahead, ‘Cyborg Signal’ has, up till now, not been heard since the session was originally broadcast……………………unlike anything you would normally associate with Viv Stanshall, this track is a Progressive Rock outing to the stars and back in time for tea, cramming more interesting and complex compositional ideas into a five minutes than some early 70s bands managed over six sides of vinyl. Light years ahead of its time, this astonishing track is a firm reminder that there was so much more to this man than the eccentric “ginger geezer” who cropped up on John Peel during the 70s and 80s with tales of the gloriously dysfunctional Rawlinson’s and what a genuinely exciting musical project biG GRunt were…………..if not for Stanshall’s unfortunate personal problems at the time, in an era of long haired, ex-Army greatcoat/afgan wearing ProgHeads, biG GRunt couldda bin serious contenders. As Tim Worthington wrote in Issue 26 of the Arts and Culture magazine Paintbox, “For a brief but invigorating moment, they appeared to be doing something that was genuinely intriguing and pioneering. It could be said that it's easy to speculate about what might have been, but the band's Peel session is evidence of what actually was, and it still sounds thoroughly exciting to this day”. 

Due for official release towards the end of September as a limited edition run of 500 copies on 12” yellow vinyl, the biG GRunt In Session EP will be available to pre-order in August from the Mega Dodo website……so keep ‘em peeled. It goes without saying that this is an essential purchase for the legion of Bonzo Dog Doo-Dah Band/Vivian Stanshall fans out there.......

By the time that The Bonzo Dog Doo-Dah Band played their final live dates early in 1970, the individual members had been planning their next move for several months. While for Rodney Slater this meant a career in social work, the others had a more musical direction in mind - and, predictably, nobody's plans were more inventive, ambitious or downright eccentric than those of Vivian Stanshall. 

In the months leading up to the band's split, both Stanshall and Neil Innes had formed new bands and had already started recording, but while Innes' new project The World had released an album (the superb "Lucky Planet") by the end of 1970, Stanshall's Sean Head Showband, a loose collection of musicians which included Eric Clapton, only managed to put out one single. 'Labiodental Fricative'/'Paper Round' was certainly an impressive single - particularly the a-side, with its ringing guitars, dreamy middle eight and absurd tongue-twister lyrics - but the Sean Head Showband was clearly never intended as anything more than a short-term stopgap project. Barely a month after the release of 'Labiodental Fricative', the Sean Head Showband were effectively defunct and Stanshall announced the arrival of his major new project - biG GRunt.

In addition to Stanshall as lead vocalist and multi-instrumentalist, biG GRunt included two other former members of The Bonzo Dog Doo-Dah Band in their ranks, demonstrating that Stanshall was playing as close attention to the band's visual style and use of humour as he was to the music. Bassist Dennis Cowan, who at that time was also a member of The World, was a reliable musical anchor and renowned by his former bandmates for his highly distinctive sense of humour. Saxophonist Roger Ruskin Spear, in addition to having been the most manic member of The Bonzo Dog Doo-Dah Band onstage and the third most prolific songwriter of the outfit (after Stanshall and Innes), was also a self-styled inventor who built bizarre robots, exploding props and absurd mechanical contraptions for their live shows. The other members of biG GRunt were guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo Dog Doo-Dah Band's road crew, and powerful drummer Ian Wallace. Even without biG GRunt having played a note of music in public, the background of the individual members made it clear that they were a formidable prospect both musically and as performers. .........


How do you explain The Bonzo Dog Band to people who have never heard of The Bonzo Dog Band? More complicated, how do you explain Vivian Stanshall’s Big Grunt?

The Bonzo Dog Band were one of the premier Outrageous/Spoof Rock bands of the 1960s. Alumni included members who eventually became members of Monty Python’s Flying Circus. More recently The Rutles. In between, offered some of the enduring classics, such as Can The Blue Men Sing The Whites? The Intro and The Outro, Canyons Of Your Mind, I Am The Urban Spaceman – and on and on. One of their classic songs, Death Cab For Cutie, was featured in The Beatles Magical Mystery Tour movie and eventually became the name of another band of admirers who are currently making the rounds.

So you kind of know who they are – even if you can’t put your finger exactly on how.

Formed in the early 1960s, the Bonzo Dog Band took to reworking songs of the 1920s and 1930s as their model. They quickly gained a reputation as one of the most outrageous bands to perform on stage, and were subsequently hugely admired by everyone from Paul McCartney to Steve Winwood. Vivian Stanshall’s association with The Who’s Keith Moon became the stuff of legend and Stanshall was later credited as the Narrator on Mike Oldfield‘s legendary Tubular Bells. And that doesn’t begin to tell the whole story.

After The Bonzos called it a day in early 1970, Vivian Stanshall along with ex-Bonzo’s Dennis Cowan and Ruger Ruskin Spear formed the short-lived Big Grun in March of that year and this session was one of the first (and only) from the new band, recorded for John Peel‘s program on March 16.

If you’re familiar with the work of Vivian Stanshall, you probably know this session – even though it’s rather obscure. If you don’t know who Vivian Stanshall was, or who the Bonzo Dog Band were – Big Grunt might give you some idea......BY GORDONSKENE ·.........................

This August, Mega Dodo unleashes the debut John Peel session by Vivian Stanshall & biG GRunt. For those of you unfamiliar with the band, here's a short history by Tim Worthington.
By the time that The Bonzo Dog Doo-Dah Band played their final live dates early in 1970, the individual members had been planning their next move for several months. While for Rodney Slater this meant a career in social work, the others had a more musical direction in mind - and, predictably, nobody's plans were more inventive, ambitious or downright eccentric than those of Vivian Stanshall.

In the months leading up to the band's split, both Stanshall and Neil Innes had formed new bands and had already started recording, but while Innes' new project The World had released an album (the superb "Lucky Planet") by the end of 1970, Stanshall's Sean Head Showband, a loose collection of musicians which included Eric Clapton, only managed to put out one single. 'Labiodental Fricative'/'Paper Round' was certainly an impressive single - particularly the a-side, with its ringing guitars, dreamy middle eight and absurd tongue-twister lyrics - but the Sean Head Showband was clearly never intended as anything more than a short-term stopgap project. Barely a month after the release of 'Labiodental Fricative', the Sean Head Showband were effectively defunct and Stanshall announced the arrival of his major new project - biG GRunt...by..John Blaney ......................

biG GRunt was one of Bonzo Dog Doo-Dah Band lead singer and celebrated eccentric Vivian Stanshall’s first post-Bonzos bands following their break-up in early 1970. This band came fast on the heels of his brief projects the Sean Head Showband, Bonzo Dog Freaks, and Gargantuan Chums (with Keith Moon). 

For biG GRunt the very restless Vivian recruited drummer Ian Wallace, two Bonzos – the frenetic and underappreciated saxophonist and inventor Roger Ruskin Spear and bass player Dennis Cowan – and two former Bonzos roadies – Bubs White and Borneo Fred Munt. Vivian said at the time of the band’s formation that he wanted it to be much more musical and experimental than the Bonzos but still contain visual gags and costumes, as well as a machine – created by Spear, of course – that pumped smells into the audience.

'In Session' contains four songs biG GRunt recorded in a live session on John Peel’s Radio 1 show in March 1970, which have somehow taken 46 years to be officially released, despite their historic significance. Troubled genius that he was, Vivian’s post-Bonzos output was unfortunately small, so it makes previously hidden songs like these that much more valuable.

In a Radio 4 documentary about Vivian in 2014 John Peel producer John Walter described how biG GRunt ended up on the show:

“Viv, after the Bonzos, kept calling me and wanting to come on the Peel show. Frankly he had nothing he could do. He’d start to, he’d get a band together. biG GRunt was one of them, I can’t remember all the others, but then he’d ring round all these mates, Stevie Winwood and people who’d do him a favour, because people loved him, really. I mean, it’s quite amazing.”

The four songs here are an abbreviated display of Vivian’s surreal humor, quicksilver Dadaist wordplay, and brilliant mastery of parody. “Blind Date” was originally written for old school crooner Matt Monro, whose manager took the Bonzos’ 'In the Canyons of Your Mind' at face value and expected something similar, not a talking blues backed with country-rockabilly guitar about the blind date of a recently escaped gorilla (with a flawless American accent) and a pygmy: “I softly brushed your lips in the fur-tongued horror of a kiss/They were filthy.” 'Blind Date' ended up as the B-side on the Gargantuan Chums’ single 'Suspicion'.

'The Strain' was described by Tim Worthington in Paintbox as Vivian’s “bizarre attempt at creating a dance craze involving lavatories.” The song is dominated by Vivian’s echoey constipated grunting that sounds like he’s on the verge of rupturing something. 'The Strain' appeared in a different form on the Bonzos’ reunion album 'Let’s Make Up and Be Friendly' two years later.

'11 Mustachioed Daughters' is a free and unrestrained version of the slightly witchy, mystical original that appeared on the Bonzos’ second album 'The Dougnut in Granny’s Greenhouse'. Both versions contain the heavy African percussion Vivian loved so much, but this remake with drummer Ian Wallace is wilder by far. None of the song’s elements would be out of place on an Arthur Brown album. Like much of his work, it brings to mind Captain Beefheart, a friend of his with whom he had frequent marathon transatlantic telephone conversations. (That scenario alone is worth a play.) The surprise on the album is the delightfully strange spacey prog rock jam instrumental 'Cyborg Signal', a colourful swirl of Vivian’s euphonium, Spear’s sax, and Bubs White’s guitar, held together by Ian Wallace who, not surprisingly, went on to join King Crimson.

biG GRunt was short-lived, due to Vivian’s psychological breakdown and hospitalization shortly after a few live gigs, Peel’s show, a Marty Feldman television special, and the Easter edition of 'The Peter Cook and Dudley Moore Show'.

This release on the Mega Dodo label is a very limited one, with only 500 copies in yellow vinyl being pressed. Perhaps it’s time for all the Vivian Stanshall odds and ends in the BBC archives and elsewhere to be gathered up into a box set? ....By:Kimberly Bright ....................

On 12-inch vinyl, here's a historic biG GRunt John Peel session from the early '70s, featuring former Bonzo Dog Doo-Dah Band-members Vivian Stanshall (vocals and various instruments), Dennis Cowan (bass) and saxophonist Roger Ruskin Spear. The other members of biG GRunt were guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo's road crew, and drummer Ian Wallace. For fans of the Bonzo Dog Band's music and witty humor, this 12-inch is a must have.........................





Tracklist 
A1 Blind Date
A2 11 Mustachioed Daughters
B1 The Strain
B2 Cyborg Signal

Tír na nÓg "Dark Dance" 2014 UK Prog Folk



Tír na nÓg  "Dark Dance" 2014 UK Prog Folk
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official web site..
Irish duo TIR NA NOG came to prominence as a part of the Irish folk revival in the late ‘60s, and during some hectic years in the early '70s they established themselves as a popular and influential band as recording artists as well as a live band, opening for artists such as Jethro Tull and ELP in a hectic and ongoing tour schedule, and also developing their material to a more progressive rock oriented sound along the way. Some time after their third album “Strong in the Sun”, released in 1973, the project disbanded. While they would reform occasionally, it wasn’t until a few years ago that the band decided to reform as an ongoing venture again. “The Dark Dance” is their first studio album since that event took place, and was self-released by the band in 2015. 
A new studio album by Tir Na Nog is an event. Perhaps first and foremost for those with an interest in folk music and progressive folk music, but any band with a certain status '70s that release an album after a 42-year long pause from releasing new material will cause an interest from this as an event in itself. In this case it is a successful album as I regard it, with one half catering for those with an interest in the more advanced material of the band and one half with a stronger focus on the more purebred folk material, both sides coming across as well worked out and with a sustainable quality to boot. An album well worth checking out by those with an interest in the folk music-oriented part of the progressive rock universe…… by Windhawk ……… 


Tír na nÓg, the Irish songwriting duo of Leo O’Kelly and Sonny Condell, wrote and recorded some of the finest music to come out of the early 70s folk scene. After releasing three fine albums they separated to embark on new projects before recapturing their muse in recent years. 
Since then they’ve released tantalising snippets of new material and have now issued ‘The Dark Dance’, their first studio album in 40 years. It can stand proudly with their work on Chrysalis Records all those years ago.As before, this marriage of equals inspires the duo to their best work, with four tracks a piece and two covers. Sonny’s ageless folk melodies are treasured in Ireland and embodied here with the reflective ‘You In Yellow’ and ode to the Irish institution ‘The Angelus’.Leo mixes humour and wisdom with the instantly memorable ‘I Pick Up Birds At Funerals’ alongside the touching ‘Time Is Gone’. Leo’s ‘Ricochet’ also revisits their psych prog sound, and also heads up another great single on Fruits de Mer that also has an exclusive live version of their classic track ‘Tir na nOg’.Dipping back to the album we close with the set’s title track, the traditional sound of Elly Lucas’s ‘The Dark Dance’, a wonderfully gothic folk instrumental. A fitting end to a superbly strong set……..By Jason Barnard……. 

Line-up / Musicians 
- Sonny Condell / vocals, acoustic guitar, bongos, instruments 
- Leo O'Kelly / vocals, acoustic guitar, bongos, instruments 

With: 
- Garvan Gallagher / bass (7,9), autoharp (7) 

Tracklist 
1 You In Yellow
2 I Have Known Love
3 The Angelus
4 I Pick Up Birds At Funerals
5 Ricochet
6 Andria
7 Sympathetic Love 
Autoharp – Garvan Gallagher 
Bass – Garvan Gallagher 
8 The Gangway
9 Time Is Gone 
Bass – Garvan Gallagher 
10 The Dark Dance 

Various ‎"Forever Changing A Tribute To Love’s Forever Changes"The Active Listener ‎label Compilation 2014 Psych Rock


Various ‎"Forever Changing  A Tribute To Love’s Forever Changes"The Active Listener ‎label  Compilation  2014 Psych Rock

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https://theactivelistener.bandcamp.com/album/forever-changing-a-tribute-to-loves-forever-changes-al025


To celebrate the second birthday of the Active Listener website, I asked a stack of my favourite artists to take a crack at recording their favourite songs from Love's "Forever Changes" (and a few other contemporary Love tracks).
"Forever Changes" has long been a favourite of mine - if you don't have a copy you should go and buy one pronto! Hopefully "Forever Changing" will encourage you to do so...
Thanks to everyone who's taken the time to record a track for this, to Martin Butler for the sleeve art, and to everyone who's read the Active Listener over the last two years.

The Active Listener has just posted an excellent 17-number compilation tribute to Forever Changes, the heralded album by Sixties flower power heroes Love. Below are our favorites from a most redolent bouquet. Forever Changing is available as a free download for a limited time, so take a whiff and act accordingly........

The start of November sees the Active Listener reach the ripe old age of two, and to celebrate I'm putting together a tribute to Love's "Forever Changes".
"Forever Changing" will be available as a free download through the Active Listener's Bandcamp page.
Basically any track from the original album is up for grabs, as well as both sides of their 1968 single.
I put some feelers out through the Active Listener's Facebook page yesterday and had an overwhelmingly positive response both from people who want to be involved, and from readers who are keen to hear the results - some quality acts are already confirmed, but I still welcome more artists to feature......

Tracklist
1 –The Magnetic Mind Alone Again Or 3:36
2 –The Red Plastic Buddha A House Is Not A Motel 3:05
3 –Earthling Society And More Again 3:40
4 –The Smoking Trees The Daily Planet 3:28
5 –James McKeown Old Man 2:44
6 –The Hypnotic Eye Red Telephone 2:37
7 –The Green Tambourine Band Maybe the People Would Be The Times Or Between Clark and Hilldale 5:13
8 –39th And The Nortons Live & Let Live 2:59
9 –Sky Picnic The Good Humor Man (He Sees Everything Like This) 3:22
10 –Crushed Purple Bummer In The Summer 4:22
11 –Doug Tuttle You Set The Scene 7:34
12 –Flower Drums Old Man 2:41
13 –The Solar System (3) Maybe the People Would Be The Times Or Between Clark and Hilldale 4:08
14 –The Chemistry Set A House Is Not A Motel 3:03
15 –Kitchen Cynics Signed DC 2:28
16 –The Blue Giant Zeta Puppies Laughing Stock 3:16
17 –The Rowan Amber Mill The Daily Planet (Meadows In Space mix) 4:37

Montaña Electrica “Selvas y Trópicos ” 2017 Brazil Psych Prog Latin Rock


Montaña Electrica “Selvas y Trópicos ” 2017 Brazil Psych Prog Latin Rock

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Montaña Electrica facebook

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Who said classic rock had its days counted? The quintet Montaña Eléctrica, owners of a peculiar style that fuses Latin psychedelia, jazz touches, blues and sixties rock of interesting development, recently unveiled its new work of study, of name Forest and Trópicos, second album of the band. 

With several years of activity and venturing from the classic rock with touches of doom to the new blues and Latin flavor of the present, the 13 songs of Jungle and Tropics (Fauna Records, 2017) show a remarkable evolution of the group and a creativity that nuances influences Decades ago with a sound of the present.



Matias Carranza - Voice, Electric & Acoustic Guitars 
Nicolas Granado - Electric Bass 
Matias Lombardo - Drums & Accessories 
Matias Oliveira - Keyboards, Organs & Synthesizers 
Leonel Calo - Tenor Sax 

Francisco Paz - Percussion & Accessories 
La Negra Monjó - Voice in "Plaza Constitución" 
Maxi Leivas - 12 String Acoustic Guitar in "La Semilla"













Selvas 01:20
Los Metros (un diablo más) 04:27
Un Ejercito de Ciegos 04:04
Plaza Constitución 03:47
Mujer Fuego 01:12 
Tropicos de Capricornio 03:49 
Jazzinto 03:59 
La Semilla 04:20
El Chaqueño 00:39 
Tacones Lejanos 04:44 
Oda para mi negra 05:53 
Falso Ropaje 03:08 
Tropicos 00:59


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“A Revolutionary New Triumph in Tape” 1958

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