Saturday, 28 October 2017

Five Day Rain “Five Day Rain”1969 25 copies pressed (10 throw away) 15 copies survived in original pressing of a Private acetape Uk Phych Rock


Five Day Rain  “Five Day Rain”1969 25 copies pressed (10 throw away) 15 copies survived in original pressing of a Private acetape Uk Phych Rock
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http://www.dailymotion.com/video/x2lkow5

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One of the rarest UK albums; just 15 copies of this album were put out but soon after someone circulated ‘white label’ copies of it so beware of these. Graham Maitland had earlier been in Scots Of St James and Hopscotch. He was also in The Fleur de Lys in their final days. The album contained some adventurous pop compositions often with a taint of psychedelia but it was eventually put out as a private pressing in a plain white cover because no label was interested in it. Notable cuts are the 11-minute instrumental Rough Cut Marmalade, which is the album’s most psychedelic offering; the catchy Sea Song and keyboard driven Leave It At That. 

The CD reissue omitted Too Much Of Nothing and tampered with Marie’s A Woman. Graham Maitland was later in Glencoe but the other members quit the music business…


Five Day Rain formed in late 68 as Iron Prophet, a heavy trio comprising Rick Sharpe, Clive Shepherd and Dick Hawkes. They changed their name to Five Day Rain in early 1970, with the arrival of Graham Maitland and the beginning of the recordings we are presenting here. 

The usual disagreement between musicians, management and producers led the album to be shelved (only a few acetates were pressed) and the band to split. Rick Sharpe, Shepherd and Maitland formed the short-lived Studd Pump before taking separate ways, with Sharpe joining glam rockers Streak and Maitland resurfacing with Glencoe. Five Day Rain was issued for the first time on CD a dozen years ago, with nice John Hurford artwork made for International Times magazine, but without both musicians and illustrator permit. 

Our issue, made with the essential contribution of Rick Sharpe, uses the original running order and is enriched by a few bonus tracks: a Bob Dylan cover (Too Much Of Nothing) and four tracks recorded at the time but left off the purposed LP. Factory/Fleur de Lys connected early 70s UK psych monsters with all the right moves. Sounds like the aforementioned bands with a dash of Ogden-period Small Faces. Great guitar work particularly on the long trippy instrumental Rough Cut Marmalade.“ …


This is the first authorised issue of one of the best English albums on the edge between psychedelia and progressive: Five Day Rain. The band formed in late '68 as Iron Prophet, a heavy trio comprising Rick Sharpe, Clive Shepherd and Dick Hawkes. They changed their name to Five Day Rain in early 1970, with the arrival of Graham Maitland and the beginning of the recordings presented here. The usual disagreement between musicians, management and producers led the album to be shelved (only a few acetates were pressed) and the band to split. Rick Sharpe, Shepherd and Maitland formed the short-lived Studd Pump before taking separate ways, with Sharpe joining glam rockers Streak and Maitland resurfacing with Glencoe. 
Five Day Rain was issued for the first time on CD a dozen years ago, with a nice John Hurford artwork made for International Times magazine, but without both musicians and illustrator permit. This new issue, made with the essential contribution of Rick Sharpe, uses the original running order and is enriched by a few bonus tracks: a Bob Dylan cover (Too Much Of Nothing) and four tracks recorded at the time but left off the purposed LP. These, which have been completed by Rick Sharpe with a few overdubs in November 2005, are the only recorded proof of the original heavier Iron Prophet sound. The 12 pages booklet features the band’s detailed story, with never-seen-before photos and Sharpe’s own funny anecdotes, while John Hurford has generously created a brand new artwork, elaborated by Loriana Martin.(By pinkmoon)…



Factory/Fleur de Lys connected early '70s UK psych Sounds like the aforementioned bands with dash of Ogden’s period Small Faces. Great guitar work particularly on the long trippy instumental "Rough Cut Marmalade”.This tasty re-issue contains bonus tracks tracks as well, four or them never heard before. They were recorded same time of the album but never completed. Ricky Sharpe added some vocal and a bit of guitar only and they are heavier then the already known ones! The 12 pages booklet features the band’s detailed story, with never-seen-before photos and Sharpe’s own funny anecdotes, while John Hurford has generously created brand new artwork for the cover






Personnel: 
Graham Maitland - keyboards, vocals, moog and mellotron. 
Rick Sharpe - Lead/rhythm , six and twelve string acoustic guitars, harmonica and vocals. 
Clive Burges - bass 
Kim Haworth - drums 
Sharon Tandy – backing vocals 
John Holbrock (Guitar) 
Gerry Beckley, Dewey Bunnell & Dan Peek - Backing vocals


Tracklist: 
01. Marie’s A Woman - 2:54 
02. Don’t Be Mislead - 2:20 
03. Good Year - 4:03 
04. Fall Out - 3:32 
05. Leave It At That - 5:22 
06. The Reason Why - 4:44 
07. Sea Song - 4:13 
08. Rough Cut Marmalade - 11:05 
09. Lay Me Down - 1:16 
10. Too Much Of Nothing - 3:38 
11. Antonia - 3:14 
12. So Don’t Worry - 3:28 
13. The Boy - 5:46 
14. Wanna Make Love To You - 4:58 

Monkey Diet "Inner Gobi" 2017 Italy Prog Rock


Monkey Diet  "Inner Gobi" 2017 Italy Prog Rock
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A certain feeling of eager anticipation overcame me, even before playing a single note of this cd, such reasoning behind this enthusiasm being the combination of a) The stunning homemade lavishly styled artwork so reminiscent of times gone by of when psychedelic / progressive rock albums were adorned with the most beautiful and intricate of covers. b) The wondrously stupid band name of “Monkey Diet” so ridiculous it draws you in for further inspection c) The pedigree of Italian bands and their propensity for producing thoughtful melodic psychedelic /progressive music, which over the past forty years has been so well tried and tested receiving much critical acclaim and in this case under auspices of the “Black Widow” label which has been paramount in maintaining this trend. 

So how close did I think this unknown band meet such expectations of mine:- 
Well, in the first instance, the colourful three part CD artwork is simply quite beautiful, a joy to behold and a treat for the eyes. I suppose you could say it looks a little bit on the homemade side but never-the-less it is wonderfully colourful and a quite informative. 
The name “Monkey Diet”, as far as I could detect (I could be wrong here), is totally meaningless but thinking about so many other great bands with ridiculous names, Spoks Beard for example, it hardly matters because at least it is somewhat different and quite catchy in a funny kind of way. 

The music too didn’t disappoint and it has to be said that none of the tracks are, in anyway, first time listening. It was only after about the third play that the music started to piece together in my mind and make any kind of sense. Whilst the lead guitar erupts endlessly with fiery staccato chord sequences, finite riffs, trills and heavy bursts, the bass guitar all the while engages in a series of beautifully melodic jazz structured runs but these are carried out strangely to the fore and hardly ever in the shadow of the lead guitar. In fact I would conclude that the bass guitar is employed in this band rather more as a second lead instrument. As the various tracks expand into full flow both the lead and bass guitars complement each other as they weave their intricate musical patterns together supported with some wonderful percussive time keeping from the drum department. The term Psychedelic Rock, seemingly quite rare these days, certainly applies in this case and snippets of the UK Band “The Bevis Frond “ comes to mind in terms of both style and delivery although of course without any vocals. 

Summary: A fascinating, well-constructed album which requires several plays to get fully into and then on subsequent plays you continue to discover many facets of hidden musical delight to keep you coming back for more. 

Artwork: Glorious in every respect, beautifully put together and well, it’s just very cool……by….Geoff Penn 



Monkey Diet is the outcome when you put the former bass player of Italian jazz rock band Accordo Dei Contrari, a psychedelic progressive guitar player and a drummer for a Genesis tribute band all together, with the goal to create music that is purely improvised. 
Inner Gobi is the first result of the co-operation of those three musicians. 

When the reference is a complete improvised album, thoughts swiftly go to projects like Liquid Tension Experience, Attention Deficit or more lately, some of the Moonjune recordings. Monkey Diet has a bit of both I guess. Guitar player Gabriele Martelli is more an inventive fusion player as he is the ultimate progressive metal shredder. Bass player Daniele Piccinini does have some Tony Levin chops up his belt and drummer Roberto Bernardi is both a steady drummer as well as adventurous in his rhythmic playing. But still the overall impression is that we get to listen to a real band, more than during some of the aforementioned projects, which sounded a bit “forced to be creative”. Sometimes the progressive music shows some hunches of post rock, like in Sorry Son…(I’ve Lost Your Car) or Slidin’ Bike. But the majority of the tracks are nice and melodic and although the focus mainly goes to Gabriele’s guitar , both Roberto as well as Daniele do get enough attention and get the chance to show their skills. The track Moth has a vocal minded intro, which does add a special touch to this tune. Similar extra’s would have been nice to spice things up and take away the serious undertone of the compositions. The final track; Viking is a very pleasant sounding track, only the last three and a half minutes are kept in silence, except for a final comical outburst. 

Inner Gobi turned out to be a very interesting album, both fusion aficionados as well as instrumental progressive rock fans would find some of their likings here. For me Inner Gobi has that nice intensity that will bring them on the right path towards a band like LTE. Well done…… Background magazine…


Line-up: 
Gabriele Martelli (PropheXy): Guitars, Synths 
Daniele Piccinini (Accordo dei Contrari): Bass, Synths 
Roberto Bernardi: Drums

Tracklist: 
1 Ego Loss 
2 Inner Gobi 
3 Slidin’ Bikes 
4 The Endless Day of Robby the Ant 
5 Moth 
6 Sorry Son…(I’ve Lost Your Car) 
7 Moonshine 
8 Seppuku 
9 Viking 

Sage “Sage” 1970 US Private Southern Psych Rock


Sage “Sage” 1970 US ultra rare Private Southern Psych Rock
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https://vk.com/wall312142499_7717


Super rare original 1976 private pressing LP entitled “SAGE BY SAGE” on legendary “ILLUSION Records” (CM 2004), featuring a flowing hard psych groove reminiscent of early ‘Allman Brothers’! 


Sage’ was a Tampa, FL based band that was founded in 1967. Sage began playing local dances and clubs which eventually brought the band to the attention of Blues Image’s Mike Pinera who signed them to his small Illusion label. It is widely rumoured that Illusion was some sort of a tax scam with albums by Sage and stable mates Hopney being given away or destroyed immediately upon release. 

There probably is more than just a small grain of truth in this rumour, as this particular album is spectacularly rare and almost never comes up for sale. Sage By Sage is a strong album with some first-rate playing and excellent song writing. …by Adamus67…


John Cameron — guitar 
Hilda Williers — bass 
Ray Williers — guitar 
Rodger Stephan – drums
Duane Allman was suspected to play on track 1


Tracks 
1. My Girl - 3:10 
2. Lovely Lady - 4:08 
3. Don’t Stop Loving Me - 4:09 
4. No One But You - 3:52 
5. I’m Satisfied With You - 3:27 
6. I Believe In You - 4:27 
7. Morning Dove - 5:54

Goat "Fuzzed In Europe" Release Date: 27/10/2017 Sweden Psych Rock new album


Goat  "Fuzzed In Europe"  Release Date: 27/10/2017 Sweden Psych Rock new album
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bandcamp

https://goat.bandcamp.com/album/fuzzed-in-europe

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https://open.spotify.com/album/5MFQS6yKouBEV4TqBuz9Tn


Limited edition of 2.000 copies on GREEN/BLACK SPLATTER VINYL. When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote its then recently released third album ‘Requiem’, the band decided to record every show. Once back home, the members painstakingly went through all the recordings and selected six tracks for release on the live album 'Fuzzed In Europe’. …….


Swedish psychedelic hero’s Goat have selected six of their favourite live recordings from their 'Requiem’ tour. Green and black splatter indie store only vinyl version…


When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote their then recently released third album Requiem - the band came up with the idea to record every show. On returning back to their home town of Korpilombolo, Goat painstakingly went through all the recordings and have to picked out 6 tracks to be released on for limited live album Fuzzed in Europe. 

Goat picked these 6 tracks in particular as they are different versions to what is found on the releases the songs originally came from and the band liked the idea that these versions are documented onto vinyl. Goat’s live reputation is second to none – since their first public shows in 2012 they have stunned audiences across the globe. The bands brand of dancable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds – Goat know how to create music that is made for the ‘head’ as well as the ‘body’. 

There are rumours of Goat disappearing into the hills – that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, we don’t know, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish, it celebrates band completely at the top of their game. The eye popping beautiful artwork for Fuzzed in Europe was created by the great poster artist Adam Pobiak – who has worked with everyone from Soundgarden to the Justice and Swans to Flaming Lips…


On October 27th Rocket Recordings will be releasing a limited edition vinyl and digital recording of six live tracks recorded by Goat during their 2016 tour, promoting their third album Requiem. (This being Rocket Recordings the physical album comes in very tempting coloured vinyl options, so hurry!) The six tracks included have been chosen by the band as they are markedly different from the studio recordings and show the band at the full extent of their powers. 
I was lucky enough to catch them live earlier this year, and for me, it’s where the band really make sense, their performance turning me from mildly appreciative into a proper fan of the band. Goat’s heady live mix of psych rock, world music, theatre and ceremony; the masks, the robes, and the dervish-like lead singers all combined to give me the chills in a similar fashion as to when I used to see Jane’s Addiction during their heyday. It’s more than rock a show, cult-ish but inclusive, a celebration of otherness and the mysteries of the universe.
Things begin in perhaps, expected fashion with ‘Talk to God’, wah wah guitars, chanted vocals and rock drumming, growing in power with muscular bass and an urgent Tinariwen-esque guitar riff into a full on freak out. Lovely stuff. 
With all six tracks being of considerable length I was expecting every one to be a full on blow out of Sufi-spin psych but next track ‘Time For Fun’ wrong foots you in a delightful manner. Almost skeletal in it’s make-up, it is based on incredibly hypnotic afrobeat drumming and mere shades of synth and a lonely, desolate sounding guitar licks. It highlights the incredible musical skill of the band, perhaps sometimes obscured by the imagery and energy. Nothing else here is as impressive, although every track is equally enjoyable. 
‘Gathering of Ancient Tribes’ wins out as the most giddily, danceable song in a very strong field, even seeing off live favourite ‘Run To Your Mama’, which does though have stonkingly great fuzzy riffs. Yes, Goat really can rock with the best of them. 
I’m not actually much of a fan of live albums, but if your chances of catching Goat in concert anytime soon are remote then you can certainly get a feel for them on Fuzzed in Europe. Just play loud and add friends, robes and intoxicants for the full effect…..by Chris Ball …


I went through a tough period of my life when I really disliked Sir Isaac Newton. Obviously, I never met the guy, but he did lay gravity and calculus on the world. And he just seemed to me to be the kind of person who wanted nothing more than to figure everything out and take the surprise out of life. I bad-mouthed him to anyone who would listen. But then, and this was a pleasant surprise, I found out he spent most of his time with alchemy, which is the art of taking basic stuff and magically transforming it into gold. 
That’s what ritual does: It levitates reality into the heavens. 
And the music of Goat is very ritualistic. It levitates us all into the heavens. Their first record, World Music, is a classic of powerful guitar rock, folk artifacts, ethnic percussion, harmonized and chanted female vocalizing, and psychedelic wah wah sounds. The album has alchemy in its grooves. It’s in the tradition of other Swedish greats such as Archimedes Badkar, Kebnekaise, and Algarnas Tradgard who all specialized in breaking the sound barrier of world music boundaries. A second album Commune followed with more of the same, with, perhaps the rough rock edge diminished a bit in favor of magical harmonized guitar work. It did, however, provide the ears of the world with the song “Talk to God” which is pretty much the band’s intent and, by the way, also the purpose of ritual. 
In all fairness, it should be noted that repetition is very much part of this music. But, as my friend, Kilda Defnut, always says, “Repetition reveals the nuances of life; and clever repetition reveals the nuances of the universe.” In fact, she created her own theology and her Sacred Maxim XV states, “Rock music must be about repetition, life, and the universe, but not necessarily in that order.” 
So to this Goat live album Fuzzed in Europe: well, it’s an all you can hear guitar buffet. Imagine Clapton’s guitar solo in “Presence of the Lord” from his Blind Faith days stretched over the entire length of the album. “Talk to God,” which in its former self was intricate in its guitar work, has morphed into wah wah pedal overdrive that bends the song into some sort of hypnotic dancing serpent. Quite frankly, I love both versions of the tune. “Time for Fun” is funky as the bass and percussion propel the track. I am reminded of how much I loved dub when I discovered the music of Linton Kwesi Johnson. The keyboards, which played such a big part in the band’s first album World Music, hover for moment but seem to disappear into the night. That was strange. My friend, Kilda Defnut (See above), suggested that somebody in the band pulled a Rick Wakeman during the Tales from Topographic Oceans tour and told a roadie to nip out for a curry for him to eat while the others carried on. I don’t know about that, but this is high octane electric guitar rock from the 70’s territory. 
That’s odd because they were touring their third studio release, Requiem, which was quite acoustic with a lot of Simon and Garfunkel “El Condor Pasa” flutes. Oh, guitars rear their heads once in a while, but for the most part, that record sounds like some rag tag conglomeration of world musicians playing in a deep Swedish forest grove without an electric circuit to their collective name. 
But despite all the rediscovered voltage, this is ritualistic music. It isn’t a soundtrack to a party. This music isn’t bloated with the gravity that Sir Isaac Newton discovered. No. This stuff is inflated with his much preferred alchemy that levitates the ordinary into the sublime. 
The show continues with “Sing in Silence.” The flutes from the Requiem version are all gone. The guitars take the lead as the song shuffles along in a 70’s early Steely Dan mode. I’m thinking about “Bodhisattva” from Countdown to Ecstasy. In a way, underneath all the ethnic percussion and chanting, this is really is a great rock album. On Commune, “Gathering of Ancient Tribes” added a pretty heavy exclamation point to the end of the record. This live version follows suit, with once again, that hypnotic serpent dancing to the sinewy guitar. “The Sun The Moon” simply rocks. And “Run to Your Mama” extends and, once again, levitates this world electric boogie music into the heavens. 
So what about all of the tribal masks and costumes? If you haven’t seen them live or on You Tube, it’s worth your time. Yeah, it’s been done before: Peter Gabriel dressed as a flower; The Art Ensemble of Chicago; David Bowie as Ziggy; Ian Anderson in minstrel tights and codpiece, and, of course, the great Arthur Brown hosted on a crucifix with or without fire coming out of his head. (Notice how I didn’t reference Kiss or Insane Clown Posse?) And I’m not sure if all the tribal attire has any really deep psychological Jungian archetypal significance. But that doesn’t stop all of this from being really cool. And this music is, hopefully, more about travelling into your soul than looking for stupidity. 
Now, there may not be much of a difference between soul searching and stupidity, but that much matters a lot when it comes to ritual. 
This Fuzzed in Europe album is different from all their other records. I really love that first one, World Music. But this one has serpents dancing in the aisles. And I like to think that good old Sir Isaac Newton, if the smart geezer were alive today, would put down his William Blakean Mundane Shell of gravity and calculus for the moment, lose the preverbal wig, let his hair down, discover the music of Linton Kwesi Johnson, buy a concert tee shirt, kick up the sawdust, get into the front row, and dance with those serpents who are always able to bend the beauty of time and space, and just like this album, bring every one of us a little bit closer to the exact pleasure of the universal perfect circle…..by Bill Golembeski …





Tracklisting: 
1. Talk To God 
2. Time For Fun 
3. I Sing In Silence 
4. Gathering Of Ancient Tribes 
5. The Sun The Moon 
6. Run To Your Mama 



watch....

Goat “World Music” 2012 Sweden Psych Rock,Afrobeat,Afro Psych debut album

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Goat “Requiem” 2016 Sweden Psychedelic Rock,World 

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Goat “Commune” 2014 Sweden Psych Space Rock 

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Goat “Live Ballroom Ritual” 2013 Swedish Psych Rock 

Pride “Pride” 1970 US Psych Folk


Pride “Pride” 1970 US Psych Folk
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A lost treasure from David Axelrod – an obscure 1970 rock project, and one that’s almost even hipper than his work with the Electric Prunes! The style here is rock, but the sound is very much in an Axelrod mode – quite spacious, and with this wonderful undercurrent of funk – bubbling up beautifully from the drums, and given plenty of room between the guitars in the mix, which appear to be both electric and acoustic. 

There’s some slight Latinesque tinges in the guitar – very much in keeping with the barrio image on the cover, yet different than other Chicano rock of the time – and the whole album’s got a really poetic feel, with lightly flowing lines that almost remind us a bit of Tim Buckley at points, but with a definite Axlerod twist. Titles include “A Hope”, “The Truth”, “In The Wilderness”, “Proud Sorrow”, and “Song Of The Pirate”. …


The obscure self-titled 1970 LP by Pride will mostly be of interest to David Axelrod collectors, as he produced it and wrote all the material with his son Michael Axelrod. It’s passable mild psychedelic pop with a Baroque folk-rock slant, distinguished a little from other similar records of the time by the prominent use of a Spanish guitar. There are also numerous passages where a 12-string electric comes to the fore, sounding heavily influenced by the kind of jagged leads the Byrds’ Roger McGuinn took on the instrument around 1966 and 1967, as well as some keyboards with a classical tinge. Although no musicians are credited on the sleeve, it’s been reported that Nooney Rickett (who briefly played with Love) is the singer, and while he has a pleasantly light and airy voice, the songs are rather trifling semi-mystical psychedelic observations. A pleasant period sound is crafted here, but it’s one that pales in comparison to more heavyweight masters of who worked in the gutsier sectors of this general territory – like the Byrds and Love….. by Richie Unterberger…


Pride never existed, it was just a name to cover the work of sessions players: Earl Palmer, Don Randi, Lou Morrell again, plus Tommy Tedesco and Al Casey on guitar, Arthur Wright on bass, Gary Coleman on percussions, and Nooney Rickett did the three voice parts, overdubbing himself. Axelrod’s son, Michael, wrote the lyrics. The album was recorded for Warner, as Axelrod’s then manager, Joe Sutton, project (he walked in Warner, said he has a group, Pride, and got a deal ! Nobody checked the group did not even exist!)…



Pride 
*David Axelrod - Composer, Producer 
*M.T. Axelrod - Composer 
*Nooney Rickett - Vocals 
Musicians 
*Lou Morrell - Guitar 
*Don Randi - Keyboards 
*Carol Kaye - Bass 
*Earl Palmer - Drums




Tracklist 
A1 Proud Sorrow 3:10 
A2 A Hope 3:05 
A3 The Death Of Juan Diaz 3:20 
A4 The Truth 2:49 
B1 In The Wilderness 2:34 
B2 Worthless Pleasures 2:55 
B3 Returning Home 3:40 
B4 Song Of The Pirate 2:53 

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