Saturday, 2 December 2017

Rock Town Express ‎ “Rock Town Express” 1974 Nigeria Afrobeat,Afrofunk,Afro Rock first album


Rock Town Express ‎ “Rock Town Express” 1974 ultra rare Nigeria Afrobeat,Afrofunk,Afro Rock first album

In 1973, EMI Records Nigeria released the 45 rpm disc “Fuel for Love” b/w “Soundway,” credited to a mysterious band called Wrinkar Experience. The record was a finely-crafted gem of pop-rock and funky soul as had never before been heard coming out of the country’s nascent rock scene, and it ended up being the biggest selling Nigerian single up until that point. The success of Wrinkar Experience effectively demonstrated that was a market for homegrown pop and rock, and sent record labels scrambling to sign similar bands, kicking off the Nigerian rock revolution that is still being celebrated and discovered by new generations today. 

But while Wrinkar Experience launched the movement, the group itself would be short-lived: after another hit single in 1973, the band’s frontman Danie Ian split for a solo career. The remaining principal players in the group—Cameroonian musicians Ginger Forcha and Edjo’o Jacques Racine—tried to keep the Wrinkar name going before giving it up and rebranding themselves as Rock Town Express. 

Rock Town Express’s debut LP Funky Makossa was recorded in 1974 for ARC Records, the cutting-edge studio and label established in Lagos by English drum legend Ginger Baker. The album showcased in long format the qualities that had only been hinted at on the Wrinkar Experience singles: bright, confident pop melodies, articulate lyrics, and darkly potent funk-rock. 

Comb & Razor Sound is proud to present a new, fully-authorized reissue of Funky Makossa, ready to be enjoyed by a new generation of listeners eager to consume the sounds from Nigeria’s golden age of popular music…~


Reissue of Rock Town Express’s debut LP of 1974, ‘Funky Makossa’ that was recorded for ARC Records, the cutting-edge studio and label established in Lagos by English drum legend Ginger Baker!..~


Do yourself a favour and hop on board the Rock Town Express, for a direct line to Afro-funky good times. Funky Makossa is the first LP by this group that grew out of Wrinkar Experience, and it bristles with both muscular grooves and exciting pop. Recorded in 1974 and now reissued by Comb & Razor Sound, with added bonus tracks from a later single….~




Tracklist 
A-side 16:44 
Funky Makossa
Tell Me My Life
Dear Doctor
B-side 18:40 
No One Else (But Me)
We’re Makin’ A Hell
If You Love Your Neighbour You No Go Die
Sweet Rock Town 


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Rock Town Express “Rock Town Express” 1977 Nigeria Afro Psych Funk Second Album

The Fraternity Of Man “Get It On!” 1969 US Psych Stoned Blues


The Fraternity Of Man “Get It On!” 1969 US Psych Stoned Blues
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Fraternity Of Man is the band that forms the link between Frank Zappa and The Mothers, Lowell George & The Factory, Little Feat, and Captain Beefheart and His Magic Band. In its short period of existence between these ancestors, relatives and descendants, the band managed to record two albums, ‘Fraternity Of Man’ in 1968, and 'Get It On’ in 1969, before fragmenting. 

Elliott Ingber had joined the fifth lineup of The Mothers in time to participate in the recording of their first album 'Freak Out’ in August 1966, the landmark double album produced by Tom Wilson. According to Zappa, he had to fire Ingber at the end of 1966, and in the course of 1967 the guitarist linked up with Warren Klein, Martin Kibbee and Richard Hayward, who had been three quarters of The Factory. Along with fourth member Lowell George, The Factory had been recording (with Zappa producing) in the latter half of 1966 and early 1967. (See the Edsel Records CD by Lowell George and The Factory 'Lightning Rod Man’ 

With the inclusion of Lawrence 'Stash’ Wagner (rather than George) on lead vocals, Fraternity Of Man set about their first album with Tom Wilson in the producer’s chair. 'Fraternity Of Man’ was released on ABC Records in 1968 and featured a cover of 'Oh No I Don’t Believe It’ by Zappa (which he had yet to release himself), and 'Don’t Bogart Me’ which was subsequently featured in the film 'Easy Rider’ and its huge-selling soundtrack album, issued in 1969. 

The second album, again with Tom Wilson producing, was released on Dot Records in 1969, and featured credited session help from Lowell George and pianist Bill Pavne. By the end of 1969, however, Fraternity Of Man were no more. Richard Hayward found himself in a studio with Lowell George again, and with Bill Payne and bassist Roy Estrada (another ex-Mother), the first Little Feat line-up was complete. Elliott Ingber joined Captain Beefheart’s Magic Band, appearing first on 'The Spotlight Kid’ album in 1972, now with the monicker of 'Winged Eel Fingerling’. ….CD-Liner notes…~



The short-lived Fraternity of Man is undoubtedly best known for the pro-pot anthem “Don’t Bogart Me,” which showed up during an unforgettable scene in the genre-defining biker film Easy Rider (1969). The original quintet included an overhaul of the Lowell George-led Factory, featuring Martin Kibbee (bass), Warren Klein (guitar/sitar/tamboura) and Ritchie Heyward (drums/vocals). George split and became a very temporary Mothers of Invention member, while the other three joined up with Freak Out (1966) era Mother Elliot Ingber (guitar). The personnel was completed with the addition of Lawrence “Stash” Wagner (vocals/guitar) and the band recorded its 1968 self-titled release Fraternity of Man. Another Frank Zappa connection could be found in the guise of Tom Wilson, who produced the Mother’s earliest studio efforts. As one might anticipate, there are several prominent musical dynamics carried over into the Fraternity of Man from its former incarnation. The stoner wake-n-bake anthem “In the Morning,” as well as “Blue Guitar” and “Plastic Rat” retain the psychedelic garage rock that pervaded much of the Factory’s sound. The band’s variation of Zappa’s “Oh No” – titled “Oh No I Don’t Believe It” – is a gassed-up rocker replete with Ingber’s nimble lead fuzz fret work. Those decidedly more belligerent outings are contrasted by the intricate and Baroque qualities of “Wispy Paisley Skies” and the aforementioned steel guitar-driven “Don’t Bogart Me.” However, the comfortable misfit rockers “Candy Striped Lion’s Tail,” “Field Day,” or the slightly perverse R&B-flavored “Bikini Baby” are among the best sides on the album. The latter was revived on the utterly dismissible dash for cash EP titled X (1995). The Fraternity of Man issued one follow-up, Get It On (1969) for Dot Records, prior to its dissolution in the waning months of the decade…..by Lindsay Planer ..allmusic…~


The Fraternity of Man is an American blues rock and psychedelic rock group from the 1960s.They are most famous for their 1968 song “Don’t Bogart Me” which was featured in the 1969 road movie Easy Rider.Its original members included three members from the Lowell George-led group “The Factory"–Richie Hayward of Little Feat,Warren Klein and Martin Kibbee,who joined Elliot Ingber from The Mothers of Invention and Larry Wagner.Blues leads were handled by Elliot Ingber and psychedelic leads were played by Warren Klein including "Oh No I Don’t Believe It” (widely attributed to Elliot due to his association with the Mothers).The band broke up after recording two albums….~


Released by Dot, 1969’s “Get It On” wasn’t a major change in direction. Reunited with producer Wilson, the band sounded a little more confident throughout (and for better or worse, with the exception of “Mellow Token” a little less stoned). Musically the set remained diverse, offering up another mixture of blues (a cover of Sonny Boy Williamson’s “Don’t Start Me Talkin’”), mainstream rock (“Trick Bag”), mild country touches (“The Throbber”) and occasional touches of psychedelia (“Pool of Tears”). Among the odder efforts, the lounge act “Coco Lollipop.” Nowhere near as likeable as the first set, unlike the debut, their sophomore effort vanished without a trace, followed in short order by the band…Bad Cat…~




The Fraternity of Man was an American blues rock and psychedelic rock group from the 1960s. They are most famous for their 1968 song “Don’t Bogart Me,” which was featured in the 1969 road movie Easy Rider. Its original members included three musicians from Lowell George’s band The Factory – Richie Hayward later of Little Feat, Warren Klein, and Martin Kibbee – who joined Elliot Ingber from the Mothers of Invention and Larry Stash Wagner. Blues leads were handled by Ingber, and psychedelic leads were played by Klein, including “Oh No I Don’t Believe It” (widely attributed to Ingber due to his association with the Mothers). The band broke up after recording two albums….~


The Fraternity Of Man 
*Lawrence “Stash” Wagner - Guitar, Vocals 
*Elliot Ingber - Guitar 
*Warren Klein - Guitar, Sitar 
*Martin Kibbee - Bass 
*Richard Hayward - Drums 
With 
*Lowell George - Guitar 
*Bill Payne - Piano



Tracklist 
A1 Boo Man 3:14 
A2 Don’t Start Me Talkin’ 2:40 
A3 Pool Of Tears 2:46 
A4 The Throbber 3:40 
A5 Cat’s Squirrel 3:20 
B1 Too High To Eat 3:35 
B2 Forget Her 3:34 
B3 Coco Lollipop 3:00 
B4 Trick Bag 2:38 
B5 Mellow Token 5:33 

The Morrigan “Rides Out” 1990 UK Prog Folk, Celtique


The Morrigan “Rides Out” 1990 UK Prog Folk, Celtique
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The Morrigan rides high! 
Five years after their debut album, The Morrigan returned with this album in 1990. The sound of the band had evolved considerably in the meantime and this album was a major step forward for the band. The Celtic and British Folk influences are still here to the same degree, but this is a radically more energetic, rocking, eclectic and progressive effort than the debut was. Steeleye Span and similar classic British Folk Rock bands are still the primary influences, but there is a much broader set of influences this time. This is Prog Folk as opposed to just Folk Rock. Still, this album manages to hold together really well and better so than subsequent albums by the band. Their eclecticism never goes out of hand and they seem to have a clear picture of where they wanted to go with this album. While the first album was rather anonymous and not very original (but still a good album of its kind), here the band seem to have found their own little niche and as such they could perhaps be seen as the predecessors of many more recent female-led bands that mixes Celtic Folk with progressive Rock. 

One of the major changes compared to the debut is the addition of two additional band members, a drummer and another vocalist/keyboardist. While the debut album didn’t have drums at all, the addition of a drummer to the line-up helps a lot to make the sound of the band much rockier. But it is not just traditional Rock drums, but also a plethora of more “exotic” percussion instruments. Another change is the stronger presence of various keyboards and Collin Masson’s electric guitars. This brings with it a certain Camel resemblance. The mix between electric and acoustic and between traditional and modern elements is very successful and appealing. The presence of harpsichord, flutes and (what sounds like) accordion make for a full and interesting wall of sound. But the most important factor is the nature and quality of the material. The compositions are much more elaborate, much stronger melodically and thus more memorable and the nature of the music is a lot more energetic, lush and loud. It is hard to pick out specific songs as all of them are very good! 

There are several people providing vocals to this album, but the fact that this album does not alternate between female and male lead vocals on different songs but mainly sticks with female lead vocals throughout makes it a lot more coherent and consistent than the other albums by the band. It is unclear to me who sings lead on what as all five members are credited for providing vocals as well as two guests also credited for vocals, but Cathy Alexander is presumably the lead vocalist and the others adding background and harmony vocals. 

Rides Out was a major improvement over the previous Spirit Of The Soup and a major statement in its own right. This album is for me The Morrigan’s best effort and an excellent one that deserves many repeated listens. It is really a shame that this band remains so overlooked. …Highly recommended!…by SouthSideoftheSky …~

On paper at least, England’s The Morrigan doesn’t sound like my cup of tea. In essence, The Morrigan play rocked out versions of English traditional folk songs. Or self-penned tracks that sound like English traditional folk songs. Fortunately I happened upon “Rides Out” not long after the CD release, and was captivated immediately. Not only are these spirited reproductions - or originals - but there is definitely a psychedelic/heavy rock slant to their approach (and guitar sound), reminding me of some of the early 70s greats like Mellow Candle or The Trees. The female vocals and recorders - heck the entire production - are crystal clear and one can be forgiven for breaking into a jig mid-song. It’s apparent the band has roots in the UK Festival scene of the mid 80s, though by 1990 the band had honed their sound to a professional level. Not surprisingly I found myself enjoying the original material best, but if in a positive mood, the whole album works well together. A wonderful find, especially if you tire of the endless “Public Broadcasting Company” tepid vision of said sound…by….ashratom …~


With the debut ‘Spirit Of The Soup’, British folk rock group The Morrigan proved that they were indeed full of potential, but still had a very scattered and somewhat aimless approach to what they did. As is expecting of all sophomores, The Morrigan has polished up their work somewhat. Instead of the haphazard collection of musical ideas presented in 'Spirit Of The Soup’, The Morrigan’s second record 'Rides Out’ is more fucused, and allows the band to show themselves in a more professional light. Unfortunately, somewhere over the process of tightening up the reins, they have lost some of the magic that was so evident in parts of the debut. 

The most evident change in the band’s sound is the addition of many more rock influences than was ever heard on The Morrigan’s first record. The Celtic folk here still runs strong and defines almost everything The Morrigan does, but it is now commonplace to hear the band play some riffs that wouldn’t sound out of place on the typical rock album. The need for more energy in the music was always something I felt ground against the debut, but the heavier guitar riffs here often do not really feel as if they mesh too well with the beautiful Celtic instrumentation. 

The showcase of many songs is the brilliant and appropriate voice of Cathy Alexander, but the instrumentation is often strong in parts. Bassist Cliff Eastabrook has some great parts in the Celtic reggae crossover 'Night Comes Closer’. Colin Masson’s generally fantastic guitar skills are not represented here too well, but there is some beautiful acoustic guitar work that pops up every so often. While the album’s sense of cohesion and energy have been both kicked up a notch, it does feel as if The Morrigan has lost something in the course of developing. There were a few brilliant tracks on 'Spirit’ that make me wish the same sort of standout tracks were here as well. In part, it may be because The Morrigan does the mellow thing better than they do energetic rock, but the overall impression is that there is not quite as much of an improvement here as I may have wished. 'Rides Out’ has still been quite a pleasant experience from these Celtic prog rockers, in any case…by Conor Fynes …~

Ever since FAIRPORT CONVENTION timidly dipped their toes into Celtic folk rock oceans in 1968, bands have expounded upon, indeed shattered the template many times over, and deftly carved progressive veins into their rock. Without pretensions to exhaustiveness on my part, STEELEYE SPAN and HORSLIPS broke more ground in the 1970s, MOVING HEARTS and RUNRIG in the 1980s, and the MORRIGAN in the 1990s. The feminine voice is no gimmick here. While Cathy Alexander’s do hit the mark, this would be just as good with a male lead singer, arguably unlike MOSTLY AUTUMN and KARNATAKA, who were never full time Celts anyway. 
This is electrified high energy music that blasts out jigs, reels, ballads and rock songs in a decidedly organic manner. Lead guitar and a host of plugged in keyboards lean appealingly against the varied traditional instrumentation and melodies and aggressively squeeze out their essence like that juicer you never thought you would need again. 

While all but a few of the more objective interpretations are appealing, I especially enjoy hearing well known tunes put to hitherto unanticipated lyrics and beats. Among these are the reggae splashed “Night Comes Closer”; the vocal harmony stunner “The Well Below the Valley”, which I never thought I would want to hear again in any form; and “Tom O'Bedlam”, the creepy centuries old tale of an insane asylum. But the unfamiliar ones have become fast friends - “Girls will you Take Him/Four Time Over” and “Corpus Christi” solidify the choral and arranging skills of the band, the latter particularly in the bass and percussion department. 

Rare are the bands with one foot entirely in the past and the other boldly in the future, but this is where the MORRIGAN stands comfortably and more than a little edgily….by kenethlevine …~

Oooh! What if Parcel of Rogues-era Steeleye Span had merged with Gryphon circa Midnight Mushrumps? They’d be prog-folk-rock juggernaut The Morrigan, a little-known UK festival band of the early '90s. I’m very impressed with Rides Out, which could well be the last word in this style of music. I’ll even overlook the finger-wagging eco anthem about the evil of oil spills(!), since The Morrigan’s amped-up reels slash and burn with such incredible vigor and Cathy Alexander’s voice is so strong. Quite a find….by..echoinggrove …!

The Morrigan’s “Rides Out” album was originally released on vinyl in 1990 and established their very English brand of folk rock. Now re-released on CD for the first time with an additional bonus track in “The Well Below The Valley”, the album projects a style of Elizabethan drama mixed with folk rock and progressive rock overtones. Chorpus Christi is subject to an ethereal almost ghostly treatment with Melanie Byfield and Cathy Alexander’s creating a breathy otherworldly atmosphere. “Buskett’s Folly ” resembles a French courtly dance with a 70’s prog undercoat and “Girls Will You Take Him” is the most obviously Celtic influenced piece on display here. “Rides Out” is an undiscovered masterwork now given a new lease of life. 
John O’ Regan. Rock and Reel magazine, Great Britain. 
This five piece English electric folk band comes off as a cross between Fairport Convention and Jethro Tull. The material is mostly traditional, with keyboardist Cathy Alexander (sounding much like Cathy Le-Surf) doing most of the lead vocals. Along with bass, guitars, and drums, are keyboards and various woodwinds mixed together and superbly played. Much more interesting than most 90’s folk-rock material and certainly worth a listen for any fan of the genre. 
Dirty Linen magazine, USA….~

THE MORRIGAN - “Rides Out” CD '97/'90 (English Garden, Eng) - Having already reported on this English band’s excellent “Masque” CD below, as well as giving a serious thumbs-up to a couple of their older discs, it was cool to receive this one from 1990. This is the band’s early foray into more electric rock, as it’s predecessor “Spirit Of The Soup” (a great one, by the way!) did not feature a drummer. The wonderful blend of Celtic folk and prog that blossomed so on “Masque” is seen here in a bit more basic form, yet it is still quite impressive in stuff like “Night Comes Closer,” “The Well Below The Valley” & “The Black Nag.” Interestingly, this CD is also previous to guitarist Dave Lodder’s entry into the group (note my commentary on his work on “Masque” below). That allows the listener to hear that main-man Colin Masson is no slouch on the 6-string himself and, once again, the whole thing is tied together by Cathy Alexander’s wonderful vocals. Highly recommended, like all THE MORRIGAN’s stuff. 
Ray Dorsey , Chaos Realm website USA. …~


Line-up / Musicians 
- Cathy Alexander / vocals, keyboards, recorder, harpsichord, EWI 
- Melanie Byfield / vocals, keyboards, tambourine 
- Cliff Eastabrook / vocals, bass guitar, tambourine 
- Colin Masson / vocals, electric & acoustic guitars, treble recorder 
- Archie / drums, bells, bodhrán , African drum, triangle, electric percussion, vocals 

With: 
- Cath Watkins / fiddle (3) 
- Gary Miles / vocals (5)

Songs / Tracks Listing 
1. The Morrigan Rides Out 
2. Night Comes Closer 
3. The Rakes of Kildare / Bedtime Stories 
4. The Black Nag 
5. Girls Will You Take Him / Four Times Over 
6. The Well Below the Valley * 
7. Busketts Folly 
8. Corpus Christi 
9. Tom O'Bedlam / Allemande 

Los Acidos “Los Acidos” 2016 Argentina Psych Rock Neo Psych


Los Acidos “Los Acidos” 2016 Argentina Psych Rock Neo Psych
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Talk about the perfect color scheme within the album art to lure us in. This album cover alone deserves a purchase on vinyl with a conversion to framed art. Kudos to artist Lex Percepied. Well not only is the color scheme appealing to the eye, but the 10 track full length debut by Los Acidos is quite soothing to the ear. Hailing from Argentina, Los Acidos show tremendous maturity in their love for psychedelic garage rock. The band infuses quite a diverse sound with the infusion of great guitar work, impressive keyboards, and periodic harmonica/brass along with other psychedelic effects. The vocals are not overwhelming and contain just the right amount of echo. The 10 tracks weave together to provide the listener with a unique euphoric trippy endeavor. Los Acidos blend influences from the 60s and current age rock influences that blend a perfect texture….~


This team from Buenos Aires debuted in 2010 with a 2-track instrumental single “Exceso de Psicodelia (simple)”, two years later released a 3-song EP in Spanish “El Maravilloso Estanque”. From year to year LOS ACIDOS changed the format and musicians. As a result, by the end of the fall, the 2016 had grown to its first full-length recording, which was recorded in the quartet format: Miguel Piermarini (vocals, guitar), Sebastian Gentile (keyboards, vocals), Javier Foppiano (drums) and Cesar Tullio (bass).
The 40-minute album “Los Acidos” included 8 new songs with lyrics in Spanish and 2 instrumentals. Following the original idea - to try myself in the most diverse areas of psychedelic rock music - LOS ACIDOS on the new album offered a playful and original neo-psychedelic blend of garage rock, acid rock, kraut-rock, gap-rock and pop-beats. For the past four years, the band has followed a solid course for melodic song rock, but almost every room, despite the relatively low timing, still manages to fit the expanded instrumental section.
Personally, these instrumental sections, which are, as a rule, short-term improvisation for the main melodic theme, appeared on the album as the most interesting. Singing in “Kislot” is quite typical for the teams of neo-psychedelic movement - such a spatial distance-vocal. But instrumental and even proto-orchestrated roll-calls of the guitarist and keyboardist duel, when they stop singing, are really cunning and original. In pure form, the instrumental experiments of “Jinete Psicodélico” and “Espejos” do not yield to the numbers of the vocal-instrumental properties in the content-artistic plane. And from the vocal-instrumental numbers, in turn, there are quite a few that would pull independent radio stations, such as Paseo, Blusas, or El Habla, into the hit-action fighters.
Impressions from the album are the most positive - it sounds stylish and listens easily. Yes, and the writing-performing level of LOS ACIDOS did not leave me indifferent. I recommend it in one word. …. by raigor ….~ 



  “Los Acitos” is the Psychdelic slice with the lemon fresh! Argentine joie de vivre, carefully prepared for the whole family and mixed in the best conditions with moderately potent raw food hallucinogens, so that their children wriggle on the beach only when they step on a fire jellyfish. 

This self-titled album is a little sensation. Rather unobtrusively it runs the listener in the ear, without being deposited there too long. At first, it does not make any big catchy tunes and no melody that gets tangled up in an endless loop. Certain moments do want to arouse association with the BEACH BOYS, but in the next moment one rejects this idea, because it turns out to be absurd. But the repeat button activates itself almost automatically when the disc stops. 

The music of the Argentines sounds new, although no unusual ways are trodden. If you were to set a cold breeze that conveys a pleasant lemon fragrance, then it would sound like this album. Simply good….~ 






Members: 
Miguel Piermarini: Vocals and guitar 
Sebastian Gentile: Keyboards and vocals 
Javier Foppiano: Percussion 
Cesar Tullio: Bass 
Rocío Rodriguez: Chorus on the last track


Track listing: 
1- Viajes (3:17) 
2- Al Otro Lado (5:54) 
3- Excentricidad (4:30) 
4- Paseo (3:04) 
5- Jinete Psicodélico (3:20) 
6- Blusas (3:34) 
7- Perfume Fantasma (4:17) 
8- El Habla (3:58) 
9- Espejos (2:08) 
10- Empatia de Cristal (5:54) 

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