Gila were one of the foremost exponents of cosmic rock .The group formed out of a Stuttgart hippie- political commune in 1969 . They first called themselves Gila Fuchs . Live shows featured poetry,slide shows and film. The group played free form rock . A two year period of experimentation led to the shortening of the band name and the recording of their mainly instrumental debut album in 1971 .
1. Aggression (4:33)
2. Kommunikation (12:47)
3. Kollaps (5:30)
4. Kontakt (4:30)
5. Kollektivitat (6:40)
6. Individualitat (3:36)
Conny Veit – guitar, synthesizer, vocals Walter Wiederkehr – bass
Daniel Alluno – drums, percussion
Fritz Scheyhing – guitar, keyboards
Led by guitarist Conny Veit, Gila is an ensemble that generated a great contribution to the krautrock scene back in the early 80s, before Veit shifted toward the ranks of Popol Vuh and Guru Guru. "Free Electric Sound" is Gila's debut release, and it certainly indicates quite clearly the reasons why this band is so important to krautrock lovers. The band's line of work is based on the confluence of psychedelic, mesmerizing jams (a-la Amon Düül II) and jazz-friendly nuances bearer of distinction (a-la Agitation Free). Indeed, there is room for expanded guitar soloing in exhibitions of robustness, but there is also a careful treatment of these visceral explorations within the confines of well-defined scheme. With sounds of wild wind and rain 'Aggression' gets started on a funky-jazz mode, displaying a psychedelic jam with heavily Hendrix-esque guitar and lysergic organ flows delivered by Scheyhing. With its 12+ minute timespan, 'Kommunciation' is the longest piece in the album. This track is stated on a slow tempo and a very noticeable jazzy vibe, which makes the band lean quite close to Agitation Free and early Embryo. The bass guitar flourishes incorporate a very interesting variety beyond the rhythmic function, while the drummer and keyboardist's labors cry out the "Ummagumma" influence. The last 90 seconds are filled with beautiful flute mellotron and slide guitar, which make a captivating epilogue. 'Kollaps' starts the album's second half, with a very languid mood that helps to state a mysterious, even creepy atmosphere. The sound of a baby crying suggests the notion of man's soul drowned in desolation and confusion among a dark environment. This piece sort of makes Gila close to post-"Phallus Dei" Amon Düül II. 'Kontakt' takes things to a very different dimension, one of candidness and serenity: the prevalent acoustic guitar sets a mixture of Eastern flavors and country airs, aimed at the exploration of our potential of mental piece. The weird noises at the beginning seem not to be a source of restlessness but a special preparation for contemplating attitudes. When the aforesaid jam shifts to an electric mode, it is the time for 'Kollektivität', which emphasizes the Eastern exoticism in both the guitar deliveries and the organ layers. The album's climax is brought up by the powerfully ethnic 'Individualität', a multi-percussive extravaganza focused on tribal frameworks in a very celebratory tone. The synthesizer adornments augment the exciting atmosphere quite effectively, creating a very interesting mixture of Osibisa, Ibliss and early Popol Vuh. Overall balance: "Free Electric Sound" is an excellent exposure of krautrock, a must in any good prog collection with aspirations to become very good. (progarchives)
Another Mojo freebie. Seamless mix of old and new psych ...Great stuff..!!!!
1 Pop Levi - Blue Honey 2 The Yellow Moon Band - Entangled 3 July - Dandelion Seeds 4 The Amorphous Androgynous - Falling Down 5 Dungen - Sätt Att Se 6 Donovan - Three Kingfishers 7 Can - Flow Motion 8 White Noise - Love Without Sound 9 Betty Davis - Game Is My Middle Name 10 Ed Askew - Love Is Everyone 11 Jean Claude Vannier - Les Mouches 12 Comus - Diana 13 Shogun Kunitoki - Mulberg 14 The Amorphous Androgynous - Opus Of The Black Sun
The Creation released one album only. The band's influence on UK rock musicranges from Led Zeppelin tothe Sex Pistols.GuitaristEddie Phillips was the first guitarist to use a violin bow with a guitar. A techniqueused later by Jimmy Page .The Sex Pistols covered 'Through My Eyes' . . . Most of the twenty four tracks assembled on this compilationare top notch..
1. Making Time /2. Try And Stop Me /3. Painter Man /4. Biff Bang Pow /5. If I Stay Too Long /6. Nightmares /7. Cool Jerk /8. Like A Rolling Stone /9. I Am The Walker /10. Can I Join Your Band /11. Hey Joe /12. Life Is Just Beginning /13. Through My Eyes
14. How Does It Feel To Feel (US Version) /15. How Does It Feel (UK Version)/16. Tom Tom /17. Midway Down /18. Girls Are Naked /19. Bony Moronie 20. Mercy Mercy Mercy/ 21. For All That I Am /22. Uncle Bert /23. Ostrich Man/ 24. Sweet Helen
What else can be said about White Riot? It's a post-Ramones three chord blast which probably still gets taken the wrong way by some racist fools. The single version isn't as raw or good as the album version, which I think probably represented the Clash in all their early dissonant glory (blame Strummers telecaster, it creates some of the most lovely horrible noise I have ever heard, the "NOISE" sticker he had on it was very apt), this version is slower and has cheesy siren effects. It's a great song though, and it's a shame Mick Jones ended up being so embarrassed by it and refused to play it, because it's a true punk anthem, but you have to walk before you can run. On the B-side of this single however, the group were already running.If you're a Clash fan and you haven't heard 1977, well, I wouldn't exactly state you're not a Clash fan but I'd say you've been definitely been missing out. Apart from "Complete Control" it's probably the finest song from the groups first three years (yeah yeah maybe not the more I think about it, but it's certainly up there there - and it's certainly better than anything on London Calling, yeah, you heard).It starts with a phat dual guitar riff that only seems to make sense when the rhythm section join and Strummer begins yelling - "In 1977, I hope I go to heaven!" followed by some other stuff being on the dole and not being to work at all (I think... fans of the Clash should also know how hard it is to make out the words to Strummer's spluttered vocals around '77) before Mick Jones joins for the classic "No Elvis, Beatles or the Rolling Stones!" line which now, when taking into consideration the direction the band would take over the next few years, seems purposely naive, but at the time (and even now in many ways) it was absolutely necessary.There's another verse with "ain't so lucky to be rich!" being the only line I can properly make out (note - when I sing along to this and other early Clash stuff I tend to just make up nonsensical lines as I go along, you should do the same) which is followed by a brief (of course) guitar solo. Another verse, this time quieter with lots of restrained tension evident and Strummer bearing his snarl to give away his more natural speaking voice - "In 1977... we're on the Never Never... you think it can't go on forever... but the papers says (sic) better!" Then boom! We're loud again! "I don't care! *something that rhymes with care*! NO ELVIS, BEATLES OR THE ROLLING STONES!"Now we're approaching the end with speed and power, everything's at full throttle, Strummer begins shouting year after year and predicting the future - "1977 - something to believe!" "In 1978 - ..." the band anticipate the underwhelming reception to Give 'em Enough Rope. "In 1979 - *something that I swear to God sounds like "Spanish Bombs!" "In 1980 - ..." Sandinista.. "In 1981 - the toilet don't work!" Yeah nothing to do with the band here "In 1982 - ..." Combat Rock was a success wasn't it? Bad Prediction, Clash. "In 1983 - pick up the breeze!" Eh? "In 1984!"
And on the last syllable of that final year, they're gone. Just the echo of Strummers voice left. Not only was 1984 the year the Orwell dystopian classic of the same name was set it was also the year the band completely broke up for good. Weird that. (Judas Springsteen)
.....enjoyed reading this again.....great stuff J (earl)......
Originally released in 1976. Produced by Yabby U , mixed by King Tubby . Horn section, bass and hi-hats drenched in echo . Even without lyrics this is the earth shattering sound track to the end of days as told in the Book of Revelations .Vivian Jackson aka Yabby U and King Tubby team up to make one of the great Dub albums .
The Raincoats formed in 1977. Split in 1984. Released three studio albums in between . Mention post punk these days . It's the usual suspects .. Joy Division !!. I like Joy Division as much as the next person ...But.... Post Punk is a diverse genre. Very little to do with four guys with skinny ties . The best albums from the time are dub influenced ,Metal Box, Y ,Cut and 'Odyshape' ..
1. Shouting Out Loud 2. Family Tree 3. Only Loved At Night 4. Dancing In My Head 5.!!!!!!( Odyshape) 6. And Then It's O.K. 7. Baby Song 8. Red Shoes 9. Go Away
1. Sleep 2. Paper Hats 3. Triumph 4. S.P.Q.R. 5. Cenotaph 6. Shrink Wrap 7. Radio Prague 8. Makeshift Swahili 9. Independence 10. New Kind of Water 11. Hi Baku Sho (Suffer Bomb Disease)
This Heat were many things, but popular was never one of them. It's almost funny to see this record getting so much deserved attention recently due to its reissue, because before now, I only knew a few people who had even heard of the thing. It's especially strange to see all the praise in light of Gareth Williams' death on Christmas Eve last year. He wasn't a person who ever really wanted to be famous or even known as a musician, and yet will doubtlessly be better known henceforth than he'd ever been during This Heat's existence. English drummer/vocalist Charles Hayward (fresh from working with Brian Eno and Phil Manzanera in the avant-prog/fusion outfit Quiet Sun) formed This Heat with Charles Bullen (guitar, clarinet, viola, etc.) and Williams (bass, keyboards, tape manipulation, etc.) around 1975. Hayward had worked with a fairly broad array of jazz and prog bands (and post-This Heat, would continue to do so), though Bullen and Williams were much less traveled, even as they were accomplished musicians. Hayward and Bullen had been playing together as a duo for a few years prior to This Heat, and began playing with Williams only after Hayward completed his duties with Quiet Sun. Williams would actually leave the band before this album, Deceit, was released, and maintain a very busy career as an engineer for John Barry and various symphonic recordings. His interest in recording techniques may have provided the impetus for This Heat to experiment with tape loops and editing, which would play very large roles in their studio output. This Heat's sound was something like a confrontation of prog, free-jazz and contemporary electronic music (think early Stockhausen, not Kraftwerk). They often get lumped into the post-punk (or even just "punk") camp, for no better reason other than they started at the same time. They certainly sounded as if they were angry about something, and taking a glance at the lyric sheet for this album (and you'd better, as often the vocals seem more musical element than communicative force), they had fairly intense political/social statements to make-- though pinning down their position is often as hard as pinning down their sound. In any case, they were "progressive" in the literal sense of the word, and though they came up with the first wave of punk, they didn't really sound like anyone else of the time (save a few other English radicals like Henry Cow or Art Bears, occasionally). Deceit was the band's second and final album (not counting posthumous releases, including the excellent BBC session release Made Available). As odd as it sounds on the surface, it's actually the more immediately appealing of their two albums, at least partially because of a greater emphasis on drive and something like song structure (though the music here is quite a ways from typical "songs"). The vocals-- mostly handled by Hayward-- were probably the weakest link for This Heat, though they don't really take away from the music so much as push it into yet a stranger realm. "Sleep," the first track, is actually an atypically calm song, almost like a fractured lullaby. Layers of what sound like African percussion, and a simple piano line support a very low-key melody, wherein lines like, "Softness is a thing called comfort/ Doesn't cost much to keep in touch/ We never forget you have a choice," make me wonder if there isn't some kind of subversive commentary about consumer ethics and advertising at work. This shortly leads to the rave-up "Paper Hats" with its brawny, pouncing rhythms and subtly acrobatic guitar lines. This is a piece with several sections, none of them having too much to do with each other. Some, like the lengthy outro, sound like archetypical math-rock, with repetitive, complicated rhythmic patterns, while the brief middle section is more viscerally dynamic, or perhaps even "noisy." Lyrically, the band was as eclectic: "Well, what do we expect?/ Paper hats?/ Or maybe even roses?/ The sound of explosions?/ Oh no." I'd like to know what they expected, but I'm not sure what they got instead, and am certainly in the dark about to whom they protested. "Triumph" is a Dadaist collage of various noises, musical and otherwise. There's a brief accordion intro, leading to what sounds like a kazoo lament accompanied by someone scraping a few pieces of metal and wood together. Then, Hayward mentions something about the angles being reversed, and the garbage symphony makes its grand conclusion-- all in less than three minutes. Perhaps this was a prologue for "S.P.Q.R.," which throws out any ideas of abstract noodling in favor of pure rock expression. The high-speed beat threatens to overpower a droning duo vocal line ("We organize via property as power/ Slavehood and freedom imperial purple/ Pax Romana!"). This track doesn't run through a myriad of stylistic changes; it makes its case via sheer persistence. Hayward's interest in all manner of world rhythms and percussion manifested itself in tracks like "Shrink Wrap" and "Independence" (words provided by one Thomas Jefferson), where kinetic drum orchestras and ancient rain forest flutes and strings lent the music an otherworldly quality which further removed it from recordings by This Heat's angry peers. "Radio Prague" features more electronic trickery, and what sounds like someone actually tuning in and out of a Czech radio broadcast. There's a steady pitter-patter underneath, and some rather dark drones in the background (along with a haunting cello), and though I'm tempted to say this could have influenced Godspeed You Black Emperor!, it's more likely an isolated vignette. In a way, the entire album seems removed from typical musical happenings-- even the underground. Maybe that's why it's taken so long for This Heat to start receiving their due. The band got its digs in once more for "A New Kind of Water," expressing the rage that seems to have been implied throughout the record, though rarely shown directly. Phrases like, "We were told to expect more/ And now that we've got more/ We want more, we want more," offer some of the only clear ideas about the feelings behind Deceit, and the music is appropriately insistent (crashing drums, wailing group vocals, very precise, discordant guitar lines). Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring. I don't know that Hayward, Bullen and Williams were trying to inspire (and that they debated over whether to release their music at all could be evidence to support that they weren't), but the overall feeling I take away from this album is that of revolution and a very creative form of protest. That's what I call punk.
(Pitchfork -2002 )
1 Globus 2:56 2 In The Same Boat 2:05 3 Station 2: Beautiful Babylon 5:00 4 I'll Be Your Singer - You'll Be My Song 2:25 5 Body 1:57 6 A Book's Blues 1:33 7 As If I Had Seen All This Before 5:30 8 Cosmic Vibration - An Afternoon Concert 4:39 9 Come On, People 2:52 10 Truth And Probability (A Lexicon For Self-Knowledge) 12:14
Producer, composer,guitarist and actor Achim Reichel former member of The Rattles . In 1970 the band had a world wide smash hit single 'The Witch' A couple of years previously Reichel formed 'Wonderland ' with British drummer Frank Dostal . The group recorded one album . Splitting from 'Wonderland ' soon after .To begin a solo project A.R. & Machines . ' Die GrüneReise' (The Green Journey) was the first album release . The songs range from straight ahead guitar driven rock to trippy space jams with delayed guitars drenched in echo backed by an array of effects . The album is best described as a psychedelic voyage..Strap yourself in...
Brian Eno's first collaboration with Cluster, the best of this album's instrumental pieces are too emotionally rich to waste as mere background music, evoking feelings of hesitancy and regret that rescue the music from mere vapid prettiness. Three tracks in particular indicate things to come. "Wehrmut" is an ethereal synth piece with the pace slowed to a tantalizing crawl. "Steinsame" features a treated guitar playing a slow figure over a dark, almost funereal synth melody. "Schöne Hände" uses watery synth effects to highlight a shivery rhythm pattern. Other pieces dispense with moody atmospherics altogether. Tracks like "Ho Renomo" and "Selange" consist mainly of pounding rhythm patterns lightly embellished by piano or synthesizer, and "Die Bunge" sounds like an electronic goldfinch fluttering around a cartoon horse. While not the unqualified success of their 1978 collaboration After the Heat, Cluster & Eno remains an important album. Along with Eno's 1978 Music for Films, these works helped define the depth and promise of ambient music. (amg)
One of the better albums released in 1968. . SF Sorrow would sail into my UK psych top ten.. In case you are wondering. The top one would be either, 'Piper At The Gates of Dawn' or 'Are You Experienced' . SF Sorrow is produced by Norman Smith . The guy who produced 'Piper'...
review below ...
Who could ever have thought, going back to the Pretty Things' first recording session in 1965 — which started out so disastrously that their original producer quit in frustration — that it would come to this? The Pretty Things' early history in the studio featured the band with its amps seemingly turned up to 11, but for much of S.F. Sorrow the band is turned down to seven or four, or even two, or not amplified at all (except for Wally Allen's bass — natch), and they're doing all kinds of folkish things here that are still bluesy enough so you never forget who they are, amid weird little digressions on percussion and chorus; harmony vocals that are spooky, trippy, strange, and delightful; sitars included in the array of stringed instruments; and an organ trying hard to sound like a Mellotron. Sometimes one gets an echo of Pink Floyd's Piper at the Gates of Dawn or A Saucerful of Secrets, and it all straddles the worlds of British blues and British psychedelia better than almost any record you can name. The album, for those unfamiliar, tells the story of "S.F. Sorrow," a sort of British Everyman — think of a working-class, luckless equivalent to the Kinks' Arthur, from cradle to grave. The tale and the songs are a bit downbeat and no amount of scrutiny can disguise the fact that the rock opera S.F. Sorrow is ultimately a bit of a confusing effort — these boys were musicians, not authors or dramatists. Although it may have helped inspire Tommy, it is, simply, not nearly as good. That said, it was first and has quite a few nifty ideas and production touches. And it does show a pathway between blues and psychedelia that the Rolling Stones, somewhere between Satanic Majesties, "We Love You," "Child of the Moon," and Beggars Banquet, missed entirely. [This CD reissue on Snapper adds four valuable songs from their 1967-1968 singles ("Defecting Grey," "Mr. Evasion," "Talkin' About the Good Times," and "Walking Through My Dreams"). This version of "Defecting Grey" is the original, long, uncut five-minute rendition, and not of trivial importance; it's superior to the shorter one used on the official single. ...(allmusic. )
1. SF Sorrow Is Born 2. Bracelets Of Fingers 3. She Says Good Morning 4. Private Sorrow 5. Balloon Burning 6. Death 7. Baron Saturday 8. Journey 9. I See You 10. Well Of Destiny 11. Trust 12. Old Man Going 13. Loneliest Person
14. Defecting Grey 15. Mr Evasion 16. Talkin' About The Good Times 17. Walking Through My Dreams
1998 the Pretty Things revisit Sf Sorrow .. The piece titled 'Resurrection'is broadcast livefrom Abbey Road . Because of a netcast overload . Hardly anyone got to hear it. Luckily tapes were rolling..Story narrated byArthur Brown . David Gilmour adds guitar on five tracks ..
1. Introduction By Mark St John 2. Sf Sorrow Is Born 3. Sf Sorrow Is Born 1998 4 Narration By Arthur Brown 5. Bracelets Of Fingers 1988 6. Narration By Arthur Brown 7. She Says Good Morning 1988 8. Narration By Arthur Brown 9. Private Sorrow 1988 10. Narration By Arthur Brown 11. Balloon Burning 1988 12. Narration By Arthur Brown 13. Death 1988 14. Narration By Arthur Brown 15. Baron Saturday 1988 16. Narration By Arthur Brown 17. The Journey 1988 18. Narration By Arthur Brown 19. I See You 1988 20. I See You Outro 21. Well Of Destiny 1988 22. Trust 1988 23. Narration By Arthur Brown 24. Old Man Going 1988 25. Narration By Arthur Brown 26. Lonliest Person 1988 27. Thank You & Exit
Sing Brother Sing almost equals the psychedelic cohesiveness and insouciant air of the Edgar Broughton Band's debut album, but, even without doing so, it still stands as their second strongest release. All the songs on Sing Brother Sing wallow in a hippie-ish, kick-backed experimental blues-rock style, extenuated to perfection by Broughton's resonant grumble and vocal staunchness, and surrounded by chem lab mixtures of guitar and bass. The group's peculiar instrumental outputs give odd tracks such as "There's No Vibrations but Wait," "Momma's Reward," and the two parts of "Psychopath" progressive rock-type tendencies with a homemade wit, which would be the band's most daunting characteristic outside of Edgar Broughton's singing. Although the Captain Beefheart and Frank Zappa comparisons are unavoidable, the rest of Sing Brother Sing's facets and odd instrumental avenues emit a distinctness that remains the whole album through. The quaint but humorous English air that encircles "Officer Dan" and "Old Gopher" reflects Broughton's adept satirical approach, maybe without him even
knowing it. Held together with elements of jazz, rock, and blues, the music on Sing Brother Sing is captivating because of its raw integrity, and in its refusal to adhere to structure, formula, or to travel a beaten path. (allmusic)
1.There's No Vibrations, But Wait! 2.The Moth 2a.The Moth 2b.People 2c.Peter 3.Momma's Reward (Keep Them Freak's A Rollin') 4.Refugee 5.Officer Dan 6.Old Gopher 7.Aphrodite
8.Granma 9.Psychopath 9a.The Psychopath 9b.(B) Is For Butterflies 10.It's Falling Away
David Bowie recorded a lot of music on the BBC . Not all of it is on here .There's more.... . Disc oneMay 68 to June 71 . Great stuff here. John Peel's dry tones introducing Bowie . Its all very jovial.. Bowie isn't fully formed yet. This happenswhen Mick Ronson joins the band .. . Making his debut on the Sunday Show, tracks 7 - 12. ... .Disc two Hunky Dory to Ziggy Stardust . Is flawless.A couple of mentions..Bowie doing his best Lou Reed on 'Queen Bitch'. 'Waiting For The Man' is particularly brilliant an indication of how good the Spiders from Mars were live ...
1. In The Heat Of The Morning - David Bowie & Tony Visconti Orchestra 2. London Bye Ta Ta - David Bowie & Tony Visconti Orchestra 3. Karma Man - Bowie, David Bowie & Tony Visconti Orchestra 4. Silly Boy Blue - David Bowie & Tony Visconti Orchestra 5. Let Me Sleep Beside You - David Bowie & Junior's Eyes 6. Janine - David Bowie & Junior's Eyes 7. Port Of Amsterdam - David Bowie & The Hype 8. God Knows I'm Good - David Bowie & The Hype 9. Width Of A Circle - David Bowie & The Hype 10. Unwashed And Somewhat Slightly Dazed - David Bowie & The Hype 11. Cygnet Committee - David Bowie & The Hype 12. Memory Of A Free Festival - David Bowie & The Hype 13. Wild Eyed Boy From Freecloud - David Bowie & The Hype 14. Bombers - David Bowie & Friends 15. Looking For A Friend - - David Bowie & Friends 16. Almost Grown - David Bowe & Friends 17. Kooks- David Bowie & Friends 18. It Ain't Easy- David Bowie & Friends
1. Supermen - David Bowie 2. Eight Line Poem 3. Hang On To Yourself 4. Ziggy Stardust 5. Queen Bitch 6. I'm Waiting For The Man 7. Five Years 8. White Light White Heat 9. Moonage Daydream 10. Hang On To Yourself 11. Suffragette City 12 Ziggy Stardust 13. Starman 14. Space Oddity 15. Changes 16. Oh You Pretty Things 17. Andy Warhol 18. Lady Stardust 19 . Rock 'n' Roll Suicide
Most of the songs are given new arrangements . Which would be fine if were as good as the originals. They aren't . 'Survive' and 'I'm Afraid Of American's 'are the stand out tracks .
1. Wild Is The Wind 2. Ashes To Ashes 3. Seven 4. This Is Not America 5. Absolute Beginners 6. Always Crashing In The Same Car 7. Survive 8. Little Wonder 9. Man Who Sold The World 10. Fame 11. Stay 12. Hallo Spaceboy 13. Cracked Actor 14. I'm Afraid Of Americans 15. Let's Dance
1. Grandmaster Flash -The Adventures Of Grandmaster Flash On The Wheels Of Steel 2. Lee Dorsey - Get Out Of My Life Woman 3.Lowell Fulson -Tramp 4.Rufus Thomas - Itch & Scratch (Part 1) 5The Bar-Kays- In The Whole 6.The Mad Lads - No Strings Attached 7.James Brown - Give It Up Or Turnit A Loose 8. Blood, Sweat And Tears - Lucretia Mac Evil 9. The J.B.'s - The Grunt (Parts 1 & 2) 1o The Dramatics - Get Up & Get Dow 11 Al Green - Here I Am (Come & Take Me) 12 Flaming Ember -Gotta Get Away 13. The Jimmy Castor Bunch- It's Just Begun 14. Kool & The Gang - NT 15. Cymande - Bra 16.Parliament - Flash Light 17. The Fatback Band- King Tim III 18. Funky 4 + 1 -That's The Joint
Technically this is an Epic release, but those in the know will see Adrian Sherwood listed as producer and Skip McDonald as sole performer and understand immediately: in all but name, this is an On-U Sound production. What does that mean? It means that groove will be primary, words secondary, and overall sound will be dark and thrilling; it means that weird samples will bubble up unpredictably from beneath churning funk and reggae rhythms; and it means that a certain degree of dubwise anarchy will infuse every note. What distinguishes this album from other On-U projects is the raw material: whereas an On-U Sound album generally builds on a reggae foundation, Skip McDonald's background is in the blues, and what he has put together here is a tribute to Howling Wolf. This is a roiling pastiche of samples taken from Wolf's singing and speaking, all of them thrown into a stew of funk and reggae beats and interspersed with McDonald's own multi-tracked vocals (which will sound very familiar to fans of Tackhead and Strange Parcels, both of which were founded by him). It's hard to identify highlights here, but some of the album's especially strong moments come during "Ride On," which samples Howling Wolf's discussions of life on the road, and the primarily instrumental "Out in the Rain and Cold." Exquisite. (allmusc)
1.Ride On (Fight On) 5:22 2.The Time Has Come 5:04 3.Out In The Rain And Cold 4:37 4.Back To The Crossroads 6:36 5.Never Turn Back (Part 1 & 2) 7:19 6.Another Sinful Day 4:06 7.Crossfire 4:29 8.Wolf's Story 4:22 9.Hear My Cry 7:01 10.Dayton 6:12 11.Falling Down 4:28 12. Wake The Town 3:55
1. Gypsy Woman 2. Good Looking Woman 3. Mean Disposition 4. I Can't Be Satisfied 5. I Feel Like Going Home 6. Train Fare Home Blues 7 .Mean Red Spider 8. Streamline Woman 9. Little Geneva 10. Rollin' And Tumblin', Part 1 11. Rolling Stone 12. Walkin' Blues 13. Louisiana Blues 14. Evans Shuffle 15. Long Distance Call 16. Honey Bee 17. She Moves Me 18. Still A Fool 19. Stuff You Gotta Watch 20. Standing Around Crying 21. Flood 22. Baby Please Don't Go 23. Blow Wind Blow 24. HoochieCoochie Man
Muddy Waters andHowlin' Wolf were rivals in Chicago.Both recorded songs written by Willie Dixon.A couple of Howlin' Wolf standards songs are covered on disc 2 . 'Evil' and 'Smokestack Lightnin' . The latter written byChester Burnett akaHowlin' Wolf .
1. I Just Want To Make Love To You 2. I'm Ready 3. Smokestack Lightnin' 4. Young Fashioned Ways 5 .Mannish Boy 6. Trouble No More 7. Forty Days And Forty Nights 8. Just To Be With You 9. Don't Go No Farther 10. Diamonds At Your Feet 11. I Love The Life I Live, I Live The Life I Love 12. Rock Me 13. Look What You Done 14. Got My Mojo Working 15. Good News 16. Evil 17. She's Nineteen Years Old 18. Close To You 19. Walkin' Thru The Park 20. Blues Before Sunrise (With Dialogue & False Starts) 21. Lonesome Road Blues. 22 Take The Bitter With The Sweet (False Start, Dialogue & Alternate Take) 23. .She's Into Something 24. Southbound Train 25. Double Trouble
1. I Feel So Good 2. You Shook Me 3. You Need Love 4. Twenty Four Hours 5. Elevate Me Mama (Alternate Take) 6. So Glad I'm Living 7. My Love Strikes Like Lightning 8. You Don't Have To Go 9. Things That I Used To Do
10. My Home Is In The Delta 11. Good Morning Little Schoolgirl 12. The Same Thing 13. You Can't Lose What You Ain't Never Had 14. Short Dress Woman 15. Making Friends 16. Black Night (Alternate Mix) 17. Bird Nest On The Ground 18. Country Boy 19. Sugar Sweet ("Fathers And Sons" Alternate Take) 20. All Aboard ("Fathers And Sons" Alternate Take) 21. Going Down Slow 22. Who's Gonna Be Your Sweet Man When I'm Gone (Original British Mix) 23. Can't Get No Grindin' (What's The Matter With The Meal)
Magic Sam great guitarist with a sweet soul voice .He recorded two albums before his sudden early death in 1969 .'West Side Soul' from 1967 is a wonderful uplifting album .Combining Blues and Soul . Groundbreaking for the time .
1. That's All I Need 2. I Need You So Bad 3. I Feel So Good (I Wanna Boogie) 4. All Of Your Love 5. I Don't Want No Woman 6. Sweet Home Chicago 7. I Found A New Love 8. Every Night And Every Day 9. Lookin' Good 10. My Love Will Never Die 11. Mama Mama 12. I Don't Want No Woman
'Proto ' . It's a lazy tag . Nadir's Big Chance ' is a prime example . Johnny Rotten chose a few tracks during an interview for Capital Radio in 1977 . Johnny likes it . It has to be 'punk'....It isn't . It is a very good rock album . I like it a lot . The only effect Van Der Graaf Generator ' have on me usually , is induced narcolepsy.
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