Hank Williams is the father of contemporary country music. He was a superstar by the age of 25; he was dead at the age of 29. In those four short years, he established the rules for all the country performers who followed him and, in the process, much of popular music. Hank wrote a body of songs that became popular classics, and his direct, emotional lyrics and vocals became the standard for most popular performers. He lived a life as troubled and reckless as that depicted in his songs.Hiram King Williams was born in Mount Olive, AL, on September 17, 1923. When he was eight years old, he was given a guitar by his mother. His musical education was provided by a local blues street singer, Rufus Payne, who was called Tee Tot. From Tee Tot, Williams learned how to play the guitar and sing the blues, which would come to provide a strong undercurrent in his songwriting. Williams began performing around the Georgiana and Greenville areas of Alabama in his early teens. His mother moved the family to Montgomery, AL, in 1937, where she opened a boarding house. In Montgomery, he formed a band called the Drifting Cowboys and landed a regular spot on a local radio station, WSFA, in 1941. During his shows, Williams would sing songs from his idol, Roy Acuff, as well as several other country hits of the day. WSFA dubbed him "the Singing Kid" and Williams stayed with the station for the rest of the decade. Williams met Audrey Mae Sheppard, a farm girl from Banks, AL, in 1943 while he was playing a medicine show. The following year, the couple married and moved into Lilly's boarding house. Audrey became Williams' manager just before the marriage. By 1946, he was a local celebrity, but he was unable to make much headway nationally. That year, Hank and Audrey visited Nashville with the intent of meeting songwriter/music publisher Fred Rose, one of the heads of Acuff-Rose Publishing. Rose liked Williams' songs and asked him to record two sessions for Sterling Records, which resulted in two singles. Both of the singles -- "Never Again" in December 1946 and "Honky Tonkin'" in February 1947 -- were successful and Williams signed a contract with MGM Records early in 1947. Rose became the singer's manager and record producer. "Move It on Over," released later in 1947, became Hank's first single for MGM. It was an immediate hit, climbing into the country Top Five. By the summer of 1948, he had joined The Louisiana Hayride, appearing both on its tours and radio programs. "Honky Tonkin'" was released in 1948, followed by "I'm a Long Gone Daddy." While neither song was as successful as "Move It on Over," they were popular, with the latter peaking in the Top Ten. Early in 1949, he recorded "Lovesick Blues," a Tin Pan Alley song initially recorded by Emmett Miller and made popular by Rex Griffin. The single became a huge hit upon its release in the spring of 1949, staying at number one for 16 weeks and crossing over into the pop Top 25. Williams sang the song at the Grand Ole Opry, where he performed an unprecedented six encores. He had become a star. Hank and Audrey Williams had their first child, Randall Hank, in the spring of 1949. Also in the spring, Hank assembled the most famous edition of the Drifting Cowboys, featuring guitarist Bob McNett, bassist Hillous Butrum, fiddler Jerry Rivers, and steel guitarist Don Helms. Soon, he and the band were earning $1,000 per concert while selling out shows across the country. Williams had no fewer than seven hits in 1949 after the success of "Lovesick Blues," including the Top Five smashes "Wedding Bells," "Mind Your Own Business," "You're Gonna Change (Or I'm Gonna Leave)," and "My Bucket's Got a Hole in It." A string of additional singles followed in 1950, including the number one hits "Long Gone Lonesome Blues," "Why Don't You Love Me," and "Moanin' the Blues," as well as the Top Ten hits "I Just Don't Like This Kind of Livin'," "My Son Calls Another Man Daddy," "They'll Never Take Her Love From Me," "Why Should We Try," and "Nobody's Lonesome for Me." That same year, Williams began recording a series of spiritual records under the name Luke the Drifter. Williams continued to rack up hits in 1951, beginning with the Top Ten hit "Dear John" and its number one flip side, "Cold, Cold Heart." That same year, pop vocalist Tony Bennett recorded his own version of "Cold, Cold Heart" to popular acclaim, leading to a stream of covers from such mainstream artists as Jo Stafford, Guy Mitchell, Frankie Laine, Teresa Brewer, and several others. Williams had also begun to experience the fruits of crossover success, appearing on the Perry Como television show and joining a package tour that also featured Bob Hope, Jack Benny, and Minny Pearl. In addition to "Dear John" and "Cold, Cold Heart," Williams had several other hits in 1951, including the number one song "Hey, Good Lookin'" and "Howlin' at the Moon," "I Can't Help It (If I'm Still in Love with You)," "Crazy Heart," "Lonesome Whistle," and "Baby, We're Really in Love," which all charted in the Top Ten. Though his professional career was soaring, Hank's personal life was beginning to spin out of control. He had suffered a mild drinking problem before becoming a star, but it had been more or less controlled during his first few years of fame. However, as he began to earn large amounts of money and spend long times away from home, he began to drink frequently. Furthermore, Hank's marriage to Audrey was deteriorating. Not only were they fighting, resulting in occasional separations, but Audrey was trying to create her own recording career without any success. In the fall of 1951, Hank was on a hunting trip on his Tennessee farm when he tripped and fell, re-activating a dormant back injury. Williams began taking morphine and other painkillers for his back and quickly became addicted. In January of 1952, Hank and Audrey separated for a final time and he headed back to Montgomery to live with his mother. The move had little effect on his music career, however, with "Honky Tonk Blues" peaking at number two during the spring. In fact, he released five additional singles in 1952 -- "Half as Much," "Jambalaya," "Settin' the Woods on Fire," "You Win Again," and "I'll Never Get Out of This World Alive" -- all of which charted in the Top Ten. In spite of such success, Hank turned completely reckless in 1952, spending nearly all of his waking hours drunk and taking drugs. He also frequently destroyed property and played with gunsWilliams left his mother in early spring, moving in with Ray Price in Nashville. In May, Audrey and Hank were officially divorced. She was awarded the house and their child, as well as half of his future royalties. Williams continued to play a large number of concerts, but he was always drunk during the show, and he sometimes missed the gig altogether. In August, the Grand Ole Opry fired Williams for that very reason, explaining that he could return once he was sober. Instead of heeding the Opry's warning, the singer just sank deeper into his self-destructive behavior. Soon, his friends were leaving him, as the Drifting Cowboys began working with Price and Fred Rose no longer supported him. Williams was still playing The Louisiana Hayride, but he was performing with local pickup bands and began earning reduced wages. That fall, he met Billie Jean Jones Eshlimar, the 19-year-old daughter of a Louisiana policeman. By October, they were married. Hank also signed an agreement to support the baby -- who had yet to be delivered -- of one of his other girlfriends, Bobbie Jett, in October. By the end of the year, Williams was having heart problems and Toby Marshall, a con man doctor, was giving him various prescription drugs to help soothe the pain.
Hank was scheduled to play a concert in Canton, OH, on January 1, 1953. He was scheduled to fly out of Knoxville, TN, on New Year's Eve, but the weather was so bad that he had to hire a chauffeur to drive him to Ohio in his new Cadillac. Before they left for Ohio, Williams was injected with two shots of vitamin B-12 and morphine by a doctor. Williams got into the backseat of the Cadillac (allegedly with a bottle of whiskey), and the teenage chauffeur headed out for Canton. When the driver was stopped for speeding, the policeman noticed that Hank looked like a dead man. Williams was taken to a West Virginia hospital and he was officially declared dead at 7:00 a.m. on January 1, 1953. He had died in the back of the Cadillac, on his way to a concert. Ironically, the last single released in his lifetime was "I'll Never Get Out of This World Alive."
Hank was buried in Montgomery, AL, three days later. His funeral drew a record crowd, larger than any crowd since Jefferson Davis was inaugurated as the President of the Confederacy in 1861. Dozens of country music stars attended, as did Audrey Williams, Billie Jean Jones, and Bobbie Jett, who happened to give birth to a daughter three days later. "I'll Never Get Out of This World Alive" reached number one immediately after his death, and it was followed by a number of hit records throughout 1953, including the number ones "Your Cheatin' Heart," "Kaw-Liga," and "Take These Chains From My Heart." After his death, MGM wanted to keep issuing Williams records, so they took some of his original demos and overdubbed bands onto the original recording. The first of these, "Weary Blues from Waitin'," was a hit, but the others weren't quite as successful. In 1961, Hank was one of the first inductees to the Country Music Hall of Fame. Throughout the '60s, Williams' records were released in overdubbed versions featuring heavy strings, as well as reprocessed stereo. For years, these bastardized versions were the only records in print, and only in the '80s, when his music was released on compact disc, was his catalog restored to its original form. Even during those years when only overdubbed versions of his hits existed, Williams' impact never diminished. His songs have become classics, his recordings have stood the test of time, and his life story is legendary. It's easy to see why Hank Williams is considered by many as the defining figure of country music. (amg)
Disc: 1 1. Hey Good Lookin'2. I Could Never Be Ashamed Of You3. Why Don't You Love Me4. I'm Sorry For You My Friend5. Jambalaya (On The Bayou)6. My Love For You (Has Turned To Hate)7. Moanin' The Blues8. Honky Tonkin'9. Pictures From Life's Other Side10. Fly Trouble11. I'll Be A Bachelor Till I Die12. Just Waitin'13. My Bucket's Got A Hole In It14. I Won't Be Home No More15. On The Banks Of The Old Pontchartrain16. You're Gonna Change (Or I'm Gonna Leave)17. Too Many Parties And Too Many Pals18. Window Shopping19. Lovesick Blues20. I Can't Get You Off My Mind21. Wedding Bells22. I'm A Long Gone Daddy
Disc: 21. Move It On Over2. Mansion On The Hill3. Honky Tonk Blues4. Calling You5. I Don't Care (If Tomorrow Never Comes)6. Mind Your Own Business7. They'll Never Take Her Love From Me8. Settin' The Woods On Fire9. Take These Chains From My Heart10. Howlin' At The Moon11. Crazy Heart12. My Sweet Love Ain't Around13. Long Gone Lonesome Blues14. I Can't Help It (If I'm Still In Love With You)15. Everything's Ok16. Rootie Tootie17. Blues Come Around18. May You Never Be Alone19. Let's Turn Back The Years20. Ramblin' Man21. I'll Never Get Out Of This World Alive22. I'd Still Want You
Disc: 3 1. Pan American2. Dear John3. Half As Much4. When God Comes And Gathers His Jewels5. I'm So Lonesome I Could Cry6. My Heart Would Know7. Lost Highway Baby8. We're Really In Love9. Nobody's Lonesome For Me10. Cold Cold Heart11. Kaw Liga12. I'm Satisfied With You13. I Heard That Lonesome Whistle14. My Son Calls Another Man Daddy15. Please Make Up Your Mind16. Why Should We Try Anymore17. There'll Be No Teardrops Tonight18. You Win Again19. Your Cheatin' Heart20. I Just Don't Like This Kind Of Thing21. Six More Miles To The Graveyard22. I Saw The Light
Keith Richards endorsed freebie courtesy of Uncut magazine. Reggae ,Blues, Country, Soul and R&B Mix ... It's all good..
1. Amos Milburn - Down The Road Apiece /2. Jackie Brenston - Rocket 88 /3. Robert Johnson - Preachin' Blues (Up Jumped The Devil) /4. Muddy Waters - Rollin' Stone /5. Jimmy Rogers - Goin' Away Baby /6. Leadbelly - The Midnight Special /7. Clarence 'Gatemouth' Brown - Okie Dokie Stomp /8. Clifton Chenier - Ay-Te-Te=Fee /9. Professor Longhair & His Shuffling Hungarians - Mardi Gras In New Orleans /10. Little Richard - Good Golly Miss Molly /11. Billie Holiday - He's Funny That Way /12. John Lee Hooker - I'm In The Mood /13. Bob Marley & The Wailers - Jah Is Mighty /14. Hank Williams - You Win Again /15. Ike & Tina Turner - I Can't Believe What You Say /16. BB King - Everyday I Have The Blues /17. Bone Walker - The Call It Stormy Monday /18. Howlin' Wolf - Moanin' At Midnight /19. Blind Willie McTell - Talkin' To Your Mama /20. Clarence 'Bon Ton' Garlow - Bon Ton Roulet /21. Aaron Neville - Tell It Like It Is /22. Albert King - That's What The Blues Is All About /23. Irma Thomas - Ruler Of My Heart /24. Otis Redding - Pain In My Heart /25. Booker T & The MCs - Baby Scratch My Back /26. Al Green - Take Me To The River
Now this was more like it. Kicking off with the wickedly salacious "Burlesque," Bandstand was the best of the late Family recordings. For a band that for the most part eschewed riffs and hooks, both are in plentiful supply here. More important, by the time of Bandstand's release, Family had reconciled the war between their art-rock and hard rock tendencies; that is to say, there is more of the latter and less of the former. So, the record doesn't have the internal stress of their earlier releases, but what it does have is Chapman shouting like he could take on the world and Whitney playing like he must have when he formed the Farinas in 1962. A corker from the word go. (allmusic )
1.Burlesque - 4:04 2.Bolero Babe - 4:36 3.Coronation - 3:50 4.Dark Eyes (Chapman-Palmer) - 1:46 5.Broken Nose - 4:09 6.My Friend The Sun - 4:20 7.Glove - 4:49 8.Ready To Go - 4:36 9.Top of the Hill - 5:39
June 1970 , A recording session is convened in a basement of a shoe repair shop . This album is the result of the five hour session. Three hundred copies of the album are pressed. Most are given away from a street corner in Philadelphia one Saturday afternoon in August of the same year.. Hows that for counterculture... ....review below..
Experiment in Metaphysics is one of the rarest and most sought-after artifacts of the hippie era. Recorded live during a five-hour session in the basement of a shoe-repair shop in June of 1970, most of the 300 original copies of Experiment in Metaphysics were simply given away in one afternoon, yet, inexplicably, bootleg copies of the album later sprang up half-way around the world. The reason for the album's staying power is apparent: the music is gorgeous, first-rate progressive folk. In fact, Side Two of the original LP's label was given the title "Acid-Folk" (the other side was called "Kommercial"), probably one of the very first uses of that term. Perry Leopold creates a proto-gothic ambience full of dark and brooding imagery that is much less cartoonish than most of what passes as "acid," while maintaining that music's visceral punch. Like much of the youth countercultural scene of the times, Leopold can occasionally give into mystical pretentiousness. Experiment in Metaphysics has moments -- namely the spoken-word monologue in the middle of the mostly stellar opening cut, "The Absurd Paranoid" -- of philosophical meandering. Still, even those moments maintain a period charm. Experiment in Metaphysics is exquisitely intelligent and forward-looking. Leopold's mood is much more pious than most music that came out of the psychedelic era, and, indeed, extreme piety tends to be a product of youth, yet there is something aged and wise about Leopold's music. The "Kommercial" side, cryptically subtitled "SMOKE," is conceptually bleak, and after "The Absurd Paranoid," it takes on a much more palpable quality, grounded in experience ("Cold in Philadelphia" and the gorgeous "The 35th of May"). The "Acid-Folk" side (subtitled "DROP") opens with the stark, multi-part title track. Each of the three songs in this section is a virtual mini-suite, with the closing cut, "The U.S.S. Commercial," standing as the album's magnum opus. Experiment in Metaphysics shows some truly progressive and experimental songwriting, even for the time period. Each song, even the instrumental cuts, feels like a story, with beginnings and endings and all kinds of interesting ideas and storylines sandwiched in between. The album is a relic that has not lost one iota of its power. (amg)
1.The Absurd Paranoid 2.Cold In Philadelphia 3.And Then, The Snow Came 4.The 35th Of May 5.Experiment In Metaphysics 6.When You're Gone (Everything Goes) 7.The U.S.S. Commercial 8. Jets They Roar 9. The Prophecy 10. The Dawning Of Creation
More sonic other worldliness from the greatest ever rock'n'roll band . .Recorded 73- 87 .. 1.Flames of Ice 16:36 2.White Waking 5:53 3.A Memory Is Far 8:59 4.Field of Artificial Flower 5:27 5.Strong Out Deeper Than the Night 13:11 6.Flames of Ice 13: 02 7.Dream 7:07 8.The Kindness That Kills (A.K.A. Last One) 9:17 1 ,1 Nov 1973, Meiji University
.2 /3 .8 Apr 1975, Hana Matsuri, Gotenba
4/5/.6 .3 Nov 1975, Meiji Gakuin University
7 .25 July 1976, Yaneura, Shibuya
Tie in with the previous post. Done for Dutch Radio possibly from the Melkweg... Itfuckingrocks...
1. Monsters in the Parasol 2. Feel Good Hit of the Summer 3. You Would Know 4. You Think I Ain't Worth a Dollar, but I Feel Like a Millionaire 5. Hanging Tree 6. Song for the Dead 7. I Think I Lost My Headache 8.Avon 9. No One Knows 10. Mexicola 11. Tension Head 12.Regular John 13. Do It Again 14. God is Radio 15. .The Lost Art of Keeping a Secret
Josh Homme - Vocals/Guitar Nick Oliveri - Vocals/Bass Troy Van Leeuwen - Guitar Mark Lanegan - Vocals Dave Grohl - Drums
'Queens of The Stoneage' were touring 'Songs For The Deaf'. The band , the place were rocking seeing Dave Grohl behind the drumkit was a thrill in it self. Mark Lanegan ambles on stage steps up to the mike ....and....!.Fuck !!!. 'A Song For The Dead'. hits you..!!!..Blam ..!!!.. 'Screaming Trees 'Dust' was my introduction . . 'Dust' should have been massive . Before it was 'The Winding Sheet' , featuring an all star supporting cast including Krist Novoselic , Kurt Cobain . The music is stripped back behind Mark Lanegan's brooding vocal's. The sound that defines every one of his solo albums, all are heavy. Bloody good too..!!! 1.MOCKINGBIRDS 2.MUSEUM 3.UNDERTOW 4.UGLY SUNDAY 5.DOWN IN THE DARK 6.WILD FLOWERS 7.EYES OF A CHILD 8.THE WINDING SHEET 9.WOE 10.TEN FEET TALL 11.WHERE DID YOU SLEEP LAST NIGHT 12.JUAREZ 13.I LOVE YOU LITTLE GIRL
Jack Endino - bass / second electric guitar : Steve Fisk - organ / piano : Mike Johnson - acoustic guitar / electric guitar : Kurt Cobain - background vocal / electric guitar : Mark Lanegan - vocal/ acoustic guitar : Chris Novoselic - bass :Mark Pickerel - drums : Justin Williams - violin
Fourth album by Tyrannosaurs Rex , first one to feature Micky Finn on percussion. Original conga playing member Steve Peregrine Took split from Bolan in 1969. 'Beard of Stars' is a transitional album . Nearly all of songs have a quiet hippie folkie vibe. The exception is last track 'Elemental Child', a five minute plus freakout boogie . A taste of things to come....
1. Prelude – 1:04 2. A Daye Laye – 1:56 3. Woodland Bop – 1:39 4. Fist Heart Mighty Dawn Dart – 2:45 5. Pavilions of Sun – 2:49 6. Organ Blues – 2:47 7.By the Light of a Magical Moon – 2:51 8. Wind Cheetah – 2:38 9. A Beard of Stars – 1:37 10. Great Horse – 1:42 11. Dragon's Ear – 2:37 12. Lofty Skies – 2:54 13. Dove – 2:06 14. Elemental Child – 5:33
While Woodstock went global in 1969 a Kansas group called Morning Dew launched their self titled album to a market incensed with Hendrix, The Doors and Grateful Dead . The story of this incredibly gifted foursome started when the folk rock band The Toads disbanded and formed Morning Dew. The groups first pressing were two elusive singles “No More” and “Be A Friend” until their contract with Morris Levy’s Roulette Label during the early stages of 1969 and the launch of their self titled marvel. Mal Robinson’s sensational riffs were euphoric like the opening “Crusader’s Smile” or the abstract riffs that spearhead “Young Man”. The raga riffs that run through “Gypsy” are the best in the West since Wizard’s Of Kansas. Acoustic delights are tranquil as in the cello breathe of “Something You Say” with lots of abstract space. The group hailed from Topeka Kansas yet their music was farout psyche apart from “Country Boy Blues”. The album ends with a bluesy double take on the epic “The Mann” / “Death Is A Dream” filled with great acid lead and Flamenco stealth. Guitarist / pianist and future Kansas Ken Livgren at that time a member of Proto-Kaw penned his debut “Save Me” which the Dew included on the album. Bassist Blair Honeyman was the man who gave of his excellent backup vox to the solid drums of Don Sligar while Don Anderson rolled the organ, later replaced by Dave Howell for the Second Album. Guitarist Fredy Baumgart stepped in for the disappointing follow up. Various Morning Dew sessions were later released by Gear Fab such as the folky “Sing Out”. (hippy.com)
Outside 1 Crusaders Smile 3:42 2 Upon Leaving 2:12 3 Young Man 2:32 4 Then Came The Light 4:15 5 Cherry Street 4:09 Inside 1 Gypsy 5:48 2 Something You Say 4:29
3 Country Boy Blue 2:39 4 Save Me 3:40 5 Epic: The Mann / Death Is A Dream 4:33
1 .Mr. Walking Drugstore Man 5:27 2. Big Headed Woman 6:16 3. Stoned Out Of My Mind 6:03 4. Ode To The Bad People 4:55 5. M Glue 2:44 6 .Keep It Cool 4:18 7. Someday We'll All Fall Down 5:23
Speed, Glue & Shinki's landmark debut album, 1971's Eve, is one of the greatest contradictions of its time (maybe all time): a primitive, deranged, and at times downright sloppy mutation of acid blues and proto-metal, akin to the Bloomfield/Kooper/Stills Super Session crashing headlong into earliest Zeppelin and Sabbath records, as performed by musicians whose instrumental chops were actually beyond reproach…but you'd never be able to tell from this! In fact, guitarist and group linchpin Shinki Chen was often referred to as "the Japanese Hendrix," and both bassist Masayoshi "Glue" Kabe and drummer Joey "Speed" Smith possessed impressive résumés of their own before forming this unholy union under the guidance of Atlantic Records Japan executive Ikuzo Orita. As if you hadn't guessed, it was Speed, Glue & Shinki's mutual enthusiasm for various illegal pharmaceuticals that informed not only their crude garage rock aesthetic (the Stooges' debut album sounds almost civilized by comparison), but also the barefaced paeans to massive drug consumption that pass for their lyrics. Take "Mr. Walking Drugstore Man," Eve's opening statement of Neanderthal heavy blues, for example (and take these reds too, maaaaaan…), where Joey's dangerously distorted vocals plead their amphetamine craze-case to his pusher, or the shamelessly direct, musically tighter, and somewhat less lethargic "Stoned Out of My Mind," where Shinki's guitar mastery reflects the rising pulse and paranoia caused by, among other things, "all of the straight people staring" at the band's long hair. Sandwiched between these twin towers (containing nothing but 13th Floor Elevators) is the frankly hilarious "Big Headed Woman," which inhales Link Wray's "Rumble" through the bong that spawned Zeppelin's cover of "You Shake Me" at half-speed, and pillories the young lady who dared smoke all of Joey Smith's "stuff" while "balling another man at night." For shame! Another cut, "Keep It Cool," pretty much reprises this same, sordid cuckold tale just a little while later (and far less effectively), but "Ode to the Bad People" finally lays off the meds long enough to impart some typically utopian hippie messages against the album's most urgent, lucid sonic background. And while the instrumental bass solo, "M Glue," merely soundtracks Masayoshi Kabe's raging addiction to Marusan Pro Bond Glue, the album-closing "Someday We'll All Fall Down" takes a truly astonishing detour into Dylanesque acoustic guitars and soft-spoken philosophies that literally sound like the work of another band. What a trip! So don't be fooled by the innocent trio of schoolgirls gracing Eve's dust jacket; Speed, Glue & Shinki provided one of the most harrowing glimpses into rock & roll's heart of darkness with this lo-fi masterpiece.
The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics. That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in "Colours"; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends "Hang Out"; the out-of-nowhere distant, cornered-wolf yells of "A New Man"; the weird, slightly off-key plunks of "I Think It's All Right," which ring like a tapped wine glass; and the funk rock guitar of "I'm Crazy," which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ. Then there's the eight-minute "Once Upon a Time There Was a World," which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur.
1 Hang Out 2 P.S. Come Back 3 A Hole in My Life 4 Let Me Try 5 I Think It's All Right 6 Colours 7 Once upon a Time There Was a World 8 A New Man 9 I'm Crazy 10 I'm Here, He's Gone, She's Crying
Collection of 14 previously unreleased songs recorded 1971- 1985. Six of the tracks were recorded at Rusk State Mental Hospital where Roky was doing a three year stretch for marijuana possession. The rest is made up of home recordings and demos. The sound for the most part isn't the best . After a few plays I hardly noticed it .such is the quality of the songs throughout.
1. Unforced Peace 2. I Love the Living You 3. I Pledge Allegiance 4. Pushing and Pulling 5. Save Me 6. Think of as One 7. Birds'd Crash 8. Never Say Goodbye 9. Be and Bring Me Home 10. I've Never Known This Til Now 11. @2 Gone and Number 12. I Love the Blind Man 13. Something Extra 14. You're an Unidentified Flying Object
1. Thicker Than A Smokey 2. It Didn't Take Too Long 3. Windy Child 4. Telegraph Towers 5. Can't Sleep At Night 6. Cuckoo 7. I Pick Notes From The Sky 8. Stable The Spuds 9. Down On The Farm 10. Unable To Fly 11. Looking For June 12. Don't Ya Know 13. Last Great Sperm Whale
Red Hash , released in 1973 . Is now seen as a lost psych folk classic. Gary Higgins was about jailed after a drugs bust. The album received little if any promotion .Soon fell off the critical and public radar . The LP did get a positive reaction in the music press. This all changed in 2005 when 'Six Organs of Admittance' covered 'Thicker than a Smokey' on the 'School of Flower' Album....
Solo album from Randy California guitarist and leader of Spirit. California split from Spirit after ' Twelve Dreams
Of Doctor Sardonicus'.... 'Downer' a paen to Jimi Hendrix and one of only three originals kicks off proceedings in fine style..'Things Yet to Come' also acknowledges Hendrix's influence.. ( Bizarrely Noel Redding plays on the album listed as Clit McTorius for contractual reasons) .Track. two 'Devil ' could be a 'Sardonicus' outtake .A very good one that is. The middle section is given over to cover versions. Of these James Browns ' Don't Want Nobody' .and the Beatles 'Day Tripper" and "Rain" showcase Randy's considerable skill and inventiveness. .
Each generation goes thru a Doors phase. The
legend is kept alive by the endless cycle of
re-releasing the same six studio albums . Way back in 1983 a lot of excitement was generated around this release. The first Doors album in twelve years to feature new unreleased live material ...'You were my queen and I was your fool ' line occurs during 'Gloria' .Taken from a sound check at the Aquarius Theatre 1969.Great opening track.. It gets better during Light My Fire's 'Graveyard Poem' section after the extended solo is live perfection.. At the beginning of 'Little Red Rooster' a spliff is thrown on to the
stage. Morrision picks up says" Man that's what I call a New York
joint, you can pick your teeth with a New York joint" !. The myth is in the details.. !!!!
1. Gloria 6:17 2. Light My Fire 9:51 3. You Make Me Real 3:06 3. The WASP (Texas Radio & The Big Beat) 1:52 4. Love Me Two Times 3:17 5. Little Red Rooster 7:05 6. Moonlight Drive (Including Horse Latitudes) 5:34
There were several progressive psychedelic groups in Japan in the early '70s, including the short-lived Love Live Life + One. They played a handful of live shows and only released one LP in 1971, but that record, Love Will Make a Better You, is considered one of the classics of early Japanese psychedelia.Not too much documentation exists about Love Live Life + One, a group of nine musicians. The "Plus One" seems to refer to vocalist Akiri Fuse, who had been singing pop music since the mid-'60s and appearing on LPs since 1967. Otherwise, Love Live Life consisted of Hiro Yanagida on keyboards and organ and Kimio Mizutani on electric guitar, as well as K. Ichihara on flute and sax, T. Yokota on flute and soprano sax, T. Naoi on guitar, M. Terakawa on bass, C. Kawachi on drums, and N. Kawahara on percussion. Most of these musicians are obscure, except for Yanagida and Mizutani, who have had wider musical careers in other psychedelic groups. Prior to Love Live Life, Mizutani was in the band People with the rare 1970 LP Ceremony -- Buddha Meet Rock, and the same year that Love Will Make a Better You came out, he released his solo album, A Path Through Haze. Yanagida also released a solo album in 1971 called Milk Time. Prior to Love Live Life + One he was a member of the highly acclaimed Foodbrain, which released the album Social Gathering in 1970, and he was also in Strawberry Path, whose record When the Raven Has Come to the Earthcame out the same year as Love Will Make a Better You. Love Live Life's only record, like the other albums mentioned above, is a mix of blues-based psychedelic music that pushes into progressive and even avant-garde realms, while the skronky sax playing even recalls the edgier end of the jazz spectrum. The record was self-released in small quantities, and contained a side-long improvised piece with hippie poetry over very free-form music, with more song-oriented material on the flip side. The group did not last much longer after the LP was finished. The original album is extremely rare, but has since been reissued on LP as well as CD with a bonus live track. (allmusic )
1.The Question Mark (17:59) 2.Runnin' Free (3:41) 3. Love Will Make A Better You (4:23) 4. Shadows Of The Mind (8:43) 5. Facts About It All (2:57) Bonus Track
Geinoh Yamashirogumi is a Japanese musical collective , over one hundred members. Who are drawn from different backgrounds ,doctors, students, businessmen, journalists etc. The group was founded in January 1974 by Tsutomu Ōhashi. 'Yamato Gensho' is the collectives third album. The music is traditional and for the most part features vocals only. Giving the album a haunting quality. The sparse instrumentation when used adds to the mood. Things get funky and weird on the final track ' Yamashiro-Bushi: Tanuki' . If you like this Album. You can find the incredible two track debut 'Osorezan / Do No Kenbai' elsewhere on the blog.
'Ceremony, Buddha Meet Rock' recorded at a 'super session ' . Guitarist Kimio Mizutani is quite brilliant on this . He also excels on the equally fab 'LOVE WILL MAKE A BETTER YOU'.. .
. In a very real sense, Ceremony: Buddha Meet Rock is a knockoff album, a producer's attempt to cash in on a trend. But it's also an undisputed classic of the Japanese psychedelic underground. Given that a major locus for the said underground was the tumultuous, never-staged Japanese production of the musical Hair, maybe this shouldn't be that surprising. Credited to "People," the disc was organized by Hideki Sakamoto, Teichiku Records' A&R director, in an attempt to create a fresh version of what Polydor chief Ikuzo Orita had done on his so-called super-session LPs under band names like Foodbrain and Love Live Life + One. Creating a vague concept for the LP -- Buddhism! -- Sakamoto enlisted Orita's house guitarist, Kimio Mizutani, arranger Yusuke Hoguchi, and poet Naoki Tachikawa. For a super-session LP, though, and especially one featuring Mizutani, there is precious little shredding. Instead, the album focuses on gentle, droning jams. On "Prayer, Pt. 1," Mizutani's acoustic fingerpicking propels wordless harmonies, sounding more like freak folk than freak-out -- at least until "Prayer, Pt. 2," though, when Mizutani kicks out the jams while women moan orgasmically. For the disc's epilogue, Sakamoto semi-accidentally became arguably the first of many producers to sample jazz-funk arranger David Axelrod, though more out of necessity than invention. Reportedly, the project went over budget, and was completed by adding bird sounds and a few fresh layers of jams to Axelrod's 1968 recording "Holy Thursday." Like the album's broader knockoffery, it works astonishingly well. (allmusic)
1.Prologue (1:43) 2.Shomyo Part 1 (12:45) 3.Gatha (5:16) 4.Flower Strewing (5:45) 5.Shomyo Part 2 (5:50) 6.Prayer Part 1 (2:18) 7.Prayer Part 2 (4:35) 8.Epilogue (2:15)
This is without a doubt the best album FAR EAST FAMILY BAND has ever done. Unlike other albums where the band focused mainly on ballads influenced by PINK FLOYD, on "Parallel World" they decided to merge the prog rock style of the time with electronic music in the vein of Klaus SCHULZE. And just like their previous album, "Nipponjin", this album was also produced by SCHULZE, and you could swear he actually played on the album (he didn't). All the synth duties here are Fumio Miya[&*!#]a (who also played guitar and sang), Akira Ito, and Masanori Takasaki (who we all know as the future New Age star of the '80s and '90s, that is KITARO). For "Parallel World", the band went to England to record at Richard Branson'sManor Studios to strike a deal with Virgin Records Unfortunately Virgin rejected the album (their loss), so it was left released only in Japan (with two different album covers depending what you got, mines is the lesser known one with the peering eyes cover). About these two different album covers, I am unable to determine if what I own is a reissue, but probably is. Let's say this new electronic direction for the band was an excellent move as they produced their ultimate masterpiece. Here you get "Metempsychosis" which shows the band in a more experimental setting, complete with synth drones and percussion. "Entering" and "Times" will fool you for SCHULZE's own works, Shizuo Takasaki's drumming often reminds me of Harald Großkopf (WALLENSTEIN member who was often found playing on SCHULZE's albums), and it's packed with same kind of space electronic effects found on a SCHULZE album. It's the presence of guitar (from Fumio Miya[&*!#]a and Hirohito Fukushima) that separates this from a SCHULZE album. Then you have "Kokoro", which harkens back to their earlier works. This is basically a slow ballad, sung in Japanese that could easily fit on "The Cave: Down to the Earth". This is the only song like this on "Parallel World". And then you get the 30 minute title track that is just so amazing that it totally justifies the five star rating I give this album! Here the band goes on a lengthy jam, with the Akira Fukakusa's bass dominating with tons of killer synths, lots of great spacy string synths and Moog. After about halfway through this piece, the bass and drums gives away to straigh-up synth experiments. Somewhere you hear some chanting and references to Zen Buddhism. There are some truly mindblowing use of Mellotron that pop up on occasions, and this one synth solo I am pretty sure none other than KITARO is responsible for. I can't believe this album, it's hard to believe that a guy whose later music is often dismissed as New Age fluff (KITARO, that is) is on this album. Truly a wonderful album and if the description of this album sounds good to you, find a copy.
.Four of the six tracks here are covers. The band put their own stamp on 99 % of the material. 'Black Sabbath' being the exception which to these ears is a carbon copy of the Sabbath original. Acoustic guitars are out for a stripped down 'House Of The Rising Sun' . Pretty good version albeit one that doesn't set the pulse racing.. This can't be said about Muddy Waters' 'Louisiana Blues'. Underpinned by a driving rhythm section with blistering lead and rhythm guitar soloing from Hideki Ishima . Easily the best thing 'Anywhere' has to offer..
1. Anywhere -0:52 2. Louisiana Blues - 15:49 3. Black Sabbath - 8:53 4. House Of The Rising Sun - 7:41 5. Twenty-First Century Schizoid Man - 13:25 6. Anywhere - 0:57
Joe Yamanaka - Vocals, Harmonica Hideki Ishima - Guitar Jun Kozuki - Bass Joji Wada - Drums
Earth shattering riffs. Epic soloing . Solid rhythm section laying down a heavy groove.. . Track one 'Godspeed' is a sprawling sonic assault. Track two Sonic Prayer' . Has an epic psychedelic vibe held together with a rock solid groove. . Lastly there's a great cover of the Groundhogs proto- punk classic 'Cherry Red' ..
Guitar - Isiah MitchellBass - Mike EngintonDrums - Mario Rubalcaba - Organ - Tim Green
More cool Japanese psych - LSD March are led by singer and guitarist Shinsuke Michishita. Released in 2004 'Shindara Jigoku' is the groups fourth LP . Overall the album has a skeletal , sketchy feel.The album does have a couple of great songs . 'Gloomy Adonis' is quite magnificent. 'Clepsydra Flames' sounds like classic lost Velvets .
1.The Lamp - Tomorrow's Godard 2.Gloomy Adonis 3. Nude And Bizarre 4.Clepsydra Flames 5. When I Die, Hell Awaits 6. Yellow Sea
Primal Scream were the band for a while. I still like them a lot . Looking forward to the next album.. I got this on import. I think the title track is the ultimate re-mix. Put it another way . It doesn't get any better than this .. Produced by Kevin Shields .
1. If They Move, Kill 'Em (My Bloody Valentine Arkestra) 2. Darklands 3. Badlands
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