Tryin Aint Dyin - Eddie Harris - That Is Why Youre Overweight (Vinyl, LP)

We clicked with pop songs, pretty ballads and novelty stuff. You know that. Wouldn't we have been crazy if we'd turned right around after getting a break and started playing pure jazz again? We would have lost the crowd right away. As Gene Lees asserts:. Gene Lees picks up the story from here:. Part Two. Gene Lees. February Nat sings about partying in Bring Another Drink. And, in just case any white man should frown at even the hint of a relationship here says, "You took my heart, and threw it away.

When he dares to have a moment of uppity vanity, he loses the girl to another in The Best Man. This theme recurs in You 're Looking at Me. After he asks, "Who had the girls turning handsprings? Crazy to love him, claimed he Where is the boy who was certain his charms couldn't fail? Who woke to find his dream shattered? You're looking at me. The singer gets his comeuppance, again, for sexual vanity. Translate that to: that's what happens when you forget your place.

In these songs, the singer is always defeated; thus he poses no threat. There are at least three ways to look at this song. It could be the entreaty a decent man the one in Mona Lisa to a rounder friend.

Or it might be the internal monologue of one who has commanded more than his share of women and is undergoing a sexual epiphany: "If you hurt that girl, you'll be hurting me. As far as I know, no woman has ever recorded it. He paints an American landscape in Moonlight in Vermont, another in 'Tis Autumn, the naturist, once again standing outside the experience.

He tells you how to drive across this America in Bobby Troup's Route That song became such a part of the culture that when I moved to California inand had determined the main highway on the map, I hardly ever had to look at it again after Chicago: I just ran the Nat Cole record in my head and aimed for the cities it specified.

I doubt that I'm the only person who ever did that. In his annotation to the Mosaic boxed set, Will Friedwald tries to explain Cole's predilection for silly songs with this:. His limitless tool kit of methods of playing, singing and arranging songs for his unusually-instrumented triumverate sic took him at once into high art and lowbrow comedy. Like Henry VIII goose-quilling his own motets, this king of the realm doubled as his own court jester. At their greatest, the King Cole Trio distilled the avant-garde technique of a Lester Young or a Bud Powell with the restrained, dignified piety of fellow Capitol recording artist Daffy Duck.

Incidentally, these notes, which are not without value, suffer from the terminal cutes. Friedwald refers to the trio at one point as the KC3, begins a sentence with "Said interest," calls a guitarist a "plectarist," and so forth. At least he doesn't call a piano an eighty-eight or have Cole tickling the ivories.

Nonetheless, there may even be some point to his thought that Cole provided his own comedy relief. But I think a more important factor is an instinctive avoidance of direct sexual provocation. Frank Sinatra, with whom Cole had a slightly uncomfortable I am told privately friendship, might flaunt an overt male sexuality, but Cole didn't dare. Not if he wanted to be a success, and indeed not if he wanted to stay alive, as his Alabama attackers made clear. It is widely held that Sidney Poitier was the first black matinee idol, and black actors all give him obeisance, as indeed they should.

But beyond Poitier, they should look back to Nat Cole, the first great black romantic male icon in American entertainment. The best key to any culture is its humor. During my years in Chicago, I lived almost entirely in Tryin Aint Dyin - Eddie Harris - That Is Why Youre Overweight (Vinyl black world.

Not just some but most of my friends were black. My best friend of all was the great photographer Ted Williams he is still one of my friends. Sometimes, when he was in town, Art Farmer would hang with us. I heard jokes the white audience didn't dream of. Redd Foxx said he wanted to be a lifeguard. He wanted to rescue a drowning white man, haul him unconscious to the beach, and — here he cupped his hands around his mouth to make a sepulchral sound — say, "Byeeee, baby!

This is one that went around in the black community. If you're not familiar with the city, you need to know that Cottage Grove and 63rd is the heart of black Chicago. In Alabama, a young black man is accused of looking at a white woman, and is dragged off into the woods by torchlight.

As the mob is throwing a rope over a tree limb, he breaks free and runs into the brush. He flees through the night, finally eluding his pursuers. He emerges on a highway and frantically waves his thumb at a motorist. The motorist, who is white, stops.

The car proceeds north. The driver stops and again opens the trunk. He says, "You can get out now, boy.

I ain't safe yet. Let's keep going! The same thing happens in Kentucky, and in Indiana. The car reaches Chicago. The man opens the trunk and says, "You can get out now, boy. The man says, "Cottage Grove and 63rd. The young man gets out, dusts himself off, straightens up, and says, "Who you callin' 'boy'?

Nat Cole came out of that culture, and when he was of a mind to, according to Julius La Rosa who said Cole could be hilariously funny he could tell a story in the thickest southern dialect.

You can hear the south in his singing. In that very first Capitol release, All for You, he drops a final r in: "When you rise yo' eyes Thus "important" comes out "impordant". You'll hear it in the speech of television interviewer Charlie Rose, who is from North Carolina. And Cole does something else, specific to black southerners: he drops terminal consonants as the French doin such words as "just", in which the t would be omitted.

Thus, in the last eight of Naughty Angelinehe sings "seddle down and jus' be mine. The sound is specific to the midwest, from Michigan on, but most conspicuously Chicago. Cole was, as we all are, completely conditioned by his background and rearing and the generation he grew up in. And he was a southerner, a product of a society in which the black male learned the survival skill of avoiding direct confrontation.

What is amazing is not that he did this well, but that he did it with such enormous, indeed regal, self-containment. And he was a product of the entertainment business, not of the "art" of jazz, just like Louis Armstrong and Woody Herman, and yes, Guy Lombardo. He was walking through a cultural minefield, passing beyond the age of Tomming.

He had the skills of charm that came out of that experience, but he used them with impressive discretion and dignity. A smile was a tool of the trade. Louis Armstrong made it on the massive smile and what, to me, was an embarrassing public self-humiliation.

He did not "make it" as a great artist, he made it as the embodiment of a white racist myth, a grinning clown with a horn. Nor do I mean to criticize him for it; he did what he had to in the age he grew up in. Cab Calloway, who was actually a very good singer, reached his pinnacle in his exaggerated white zoot suit with his hi-de-ho and his again toothy grin, a figure the complacent white world could patronize.

Even Duke Ellington, one of the major artists in American musical history, wore the white tails and, in his mannered sophistication, still was catering to a white joke. Lionel Hampton grinned and groaned and jumped on the drums and embarrassed the men in his own band, particularly as that personnel grew younger.

As late aswhen Billy Daniels undertook one of the most erotic of all songs, the Arlen-Mercer Old Black Magiche did it in cap-and-bells, twisting, gyrating, voice cavernous, exaggerating the song to absurdity.

As Fido was a name for a dog and Rastus for a shuffling black man, Alexander was a name mockingly used for a black man with pretensions. On the original sheet music of Berlin's song, the band in the picture was black; when the song became a hit, they mysteriously turned white.

Not that much had changed by the time of the Billy Daniels recording. And then there is the career of Louis Jordan and his Tympani Five.

The very name Tympani Five, with its sly ostentation, is funny. Dizzy Gillespie's vocal on School Days is a close copy of Jordan's, right down to the lyrics and even the phrasing. Rock historians consider Jordan the fountainhead of rock-and-roll. She lives in Las Vegas. But did you ever hear Louis Jordan sing a ballad? He did so extremely well, but he did it very little, and the public didn't embrace him for that dimension of his talent.

Cole and Jordan were in fact good friends. Blacks had been confined in American entertainment to clown roles, even the women. In the movies, they were always silly, light-headed, and obsequious.

Billie Holiday was cast as a maid. Railway porters could all break into perfect harmony. All black men were shiftless or cowardly or both. A picture I completely detest is Cabin in the Sky for its embodiment of every image of the darky a racist society harbored: all its characters, the gambler, the slut, the slickster, the pious wife, are embodiments of white bias.

The picture came out injust when Nat Cole's career was really taking off. The social and moral climate of the period should be kept in mind in considering his life and work. Cole began to emerge more than a decade before Denzel Washington was born as the first black male romantic idol in America.

I think that's important to note: not just a "sex symbol," Cole was a romantic figure. He too grinned, sitting nonchalantly sideways at the piano a manner of presentation he got from Earl Hinesdoing so with enormous dignified charm, singing Ke-Mo-Ki-Mo and Straighten Up and Fly Right and Nature Boy and other songs designed to keep any ofay bastard from thinking the singer was after his sexual property.

A respect for the territorial boundaries of possession is in many of the songs. There was a sense of discreet sexual territoriality in many of those songs. Is this a fanciful exegesis? I don't think so. A performer's selection of material is — and this is inevitable — a Rorschach of his or her own personality, just as the judgments of a critic constitute an unwitting and even unwilling self-portrait.

And the general tenor of the show-business times should also be kept in mind. The styles of singing Sophie Tucker and acting alike Lionel Barrymore were largely declamatory. Cole came at the transition point, and the playful clowning deflected the fire of white resentment. Whether he ever gave this one conscious thought, I have no idea.

But whether by plan or visceral intuition, this is how he handled his burgeoning stardom. One other factor, I think, should be considered. To a large extent black performers accepted as a given that you had to have your white man, running interference, taking care of the business, dealing with the white world, bailing you out when the white society closed in on you. Louis Armstrong had his Joe Glaser, a Chicago quasi-gangster, and he needed him, since gangsters controlled the nightclubs.

Duke Ellington had Joe Glaser's Associated Booking as well as Irving Mills, whom he allowed to put his name as co-writer on Ellington tunes that Mills had nothing to do with. To be sure, Cole sang romantic ballads in those early trio days, a few of them.

But he did so in the context of a certain general tom-foolery. The out-in-front repertoire was playful, even childlike; humourous, ingratiating and unthreatening. And he acquired Carlos Gastel. Anyone who read Down Beat in the middle s knew the name Carlos Gastel. Probably no other peripheral figure in jazz and popular music, not even John Hammond, had such high visibility. Gastel's photo was often in the magazine and in The Capitol, the odd little pocket-sized hand-out publicity magazine that Dave Dexter edited for that company, available free in record stores throughout America.

Gastel would be seen standing beside such of his clients as Sonny Dunham and Stan Kenton, even back when both were struggling, Dunham to go under, Kenton to become a major success.

According to Peggy Lee, who also became one of his clients, he was called The Honduran. He was born in Honduras of a Honduran father and a German mother, but he had gone to a California military academy and was at ease and at home in the United States and in show business. Six-foot-two and pounds, he was a jolly, joking, partying man with a taste for jazz, liquor, and women.

He reminded disc jockey and later producer Gene Norman of Fat Stuff in the Smilin' Jack comic strip, the pudgy figure whose buttons were always popping off his shirt.

Nat pursued Gastel, who was six years his senior that is a lot when you're in your early twenties to be his manager, and Gastel eventually acquiesced. Gastel negotiated in Nat's deal with Capitol, getting him a seven-year contract and the highest at that time royalty rate, 5 percent. At one time, the major record companies, Victor, Decca, and Columbia and their subsidiaries, practiced a fairly rigid segregation.

Black artists were confined to what were called "race records" aimed primarily at black audiences. White kids who discovered this music often had to go to record stores in black neighborhoods to find what they wanted. From the day of its inception, Capitol would have nothing to do with such a policy, and it pushed Nat Cole's career for all it was worth. Gradually Cole came to do more and more romantic ballads, and by aboutwas sometimes standing up from the piano to sing.

More and more, he was seen as a romantic figure. And more and more he ventured into the ballads, more and more with full orchestra. In his book The Great American Popular Singersthe late Henry Pleasants wrote: "To a dedicated jazz musician, jazz critic, or jazz fan, there was more than a suggestion of apostasy about Nat King Cole's career.

The more than promising jazz pianist, winner of the Esquire gold medal as pianist inthe heir apparent to the mantle of Earl Fatha Hines That's putting it crassly, to be sure. He was more than that. Even as a pop singer he was an original. No one had ever sung quite like that before. He and Billy Eckstine, three years his senior, were, moreover the first black male singers to hit the top in 'the white time. Henry continued: "-According to just about everyone who knew him or ever worked with him, or was otherwise associated with him, he was a born gentleman, just 'one hell of a nice, decent guy.

Henry quoted William E. Anderson, the editor of Stereo Review. Henry wrote:. I infer as much from the richness and warmth of the tone in the area between the low G and the C a fourth above, an area similarly congenial to the mature voices of both Bing Crosby and Frank Sinatra. A bass-baritone disposition is further suggested by the fact that the 'passage' in his voice, as he moved up the scale and out of his natural range, would appear to have lain around D-flat or D, a semitone or two below the corresponding ticklish area in a true baritone.

Nor did he have any upward extension to speak of. On the records I have checked he never sings above an E. Both the E-flat and the E, while secure enough, were consistently uncharacteristic in timbre, not thin and tenuous as the voices of Ethel Waters and Bessie Smith were when they sang beyond the 'passage,' but somehow ill-matched to the rest of the voice and rather conventional in sound, recalling from time to time the sound of the young Bing Crosby in the same area.

But a lavish vocal endowment does not make a great singer. The trick lies in determining, or sensing, where the gold lies in the vocal ore, and in mining it expertly and appreciatively. Or one can think of the vocal cords as violin strings, of the resonating properties of throat, mouth and head as the violin, and of the breath as a bow.

In Nat Cole's case, the strings responded most eloquently to a light bow. The tone coarsened under pressure, or when urged, either upward or downward, beyond the G-D range of an octave and a fifth. One of many peculiar assertions in the Epstein book is this:. But this is a whopper, made to strengthen the myth that all of Nat's successes were somebody else's idea. Like everyone in the business, I heard the story of the importunate drunk. I asked Freddy Cole whether it was true.

I talked with him about it. In fact, one time in Los Angeles, he drove me by the place where it happened. We were coming home from the ball game or something. It was a little barbecue joint by that time. Nat said he'd always sung a little. Indeed, this was nothing rare for musicians. Though they seldom did it in public, Cannonball Adderley, Gerry Mulligan, Zoot Sims, and Milt Jackson all sang very nicely, and the older trumpet players almost all sang, partly to rest their chops.

And, as Freddy said, "During that time, musicians were taught to learn the words to songs. Because you would know how to play them better, to learn how to improvise better. Jo Jones. Lester Young. They could get up and tell you every lyric. And Nat told an interviewer, "I was lucky that I could sing a little, so I did, for variety.

The vocals caught on. I noticed thereafter people started requesting more singing and it was just one of those things. One has a choice of all these versions of how and why Nat Cole came to be known as a singer.

Perhaps they are all to some extent true, including the one Epstein calls "a whopper," and that drunk fades in the distance as one of the minor heroes of jazz history. Perhaps he reinforced for Nat Cole what he already knew he would have to do.

And besides, a lot of them like to do it. I never heard of the "myth" that everything Nat did was somebody else's idea. But once Epstein raises the subject, even though he refutes it, it becomes a bell that cannot be unrung, and he himself strengthens it by his narration of events involving Carlos Gastel and Cole's second wife, Maria, particularly the latter.

He even gives her credit for Nat's enunciation. He begins his acknowledgments:. Through Mrs. Cole's kindness I was able to interview Nat Cole's friends and relatives, and his attending physician. I owe a debt of gratitude to Carole Cole and Natalie Cole, who were so generous with their time and detailed memory of the Cole household; and to Charlotte Sullivan, their dear aunt, who witnessed and understood so much.

An unctuous servility to Maria Cole informs the book, which makes Epstein's portrait of her only the more devastating. In trying to paint it pretty, he lets ugly stuff come through, and some of it is very ugly indeed. What he presents is an unintentionally corrosive picture of a willful, manipulative, ambitious woman with social affectations and a high taste for money.

Two more points. That paragraph would leave you to conclude that Epstein interviewed all Nat's relatives. He didn't. He didn't interview one of the most important witnesses of all, Freddy Cole. And he certainly didn't interview Peggy Lee or Jo Stafford. As for the "detailed memory," Carole Cole was apparently responsible for the most ludicrous blooper in the book, of which more in a moment. By the middles, when Cole was making more money in a week than he had in a year in the early days, his marriage to Nadine was wearing thin.

He was approaching thirty, she her fortieth birthday. A ten-year gap of that kind may seem insignificant in earlier years, but not later: a woman at forty is entering middle age and maybe menopause, and she is aware of it; a man hasn't even reached his maturity. She is worrying about age and time when he doesn't even want to think about it.

And Cole was always away from home, constantly traveling, with opportunities presented by other women everywhere he went. Leslie Course doesn't make much of this in her book; Epstein makes a great deal of it. Neither bothers to examine this phenomenon, which has existed since time immemorial: the sexual flocking, without any trace of pride or dignity, of women around men of celebrity.

Leaving aside entirely the lives of actors and athletes, we may note that Liszt gathered great garlands of some of the fairest flowers of Europe, Boston ladies unhitched Offenbach's horses and pulled his carriage through the streets, Paganini plowed through more than his fair share of women, Frank Sinatra and Elvis Presley had herds of girls, they were all around the late Yves Montand, Glenn Miller bought his beautiful belted camels-hair topcoats in triplicate because the girls tore pieces from them when he got caught in crowds, LP) Iris Mountbatten is reputed reliably to have balled the whole Count Basie band, a girl who similarly collected the entire Woody Herman band was known as Mattress Annie to its members, and the rock era gave rise to a new term: groupie.

No similar lemming-like behavior has ever been observed in the behavior of men toward famous movie stars or singers. These activities were well under way byand Cole's marriage with Nadine seemed by now only a formality. She was born in Boston on August 1, the second of three sisters, all of them beautiful. Their father was a mail carrier, a good job for a black American in those days.

Their aunt, in Epstein's words, was "one of the more distinguished and successful women in America. Marie and her sister Charlotte spent winters with their aunt, known as Aunt Lottie, in a large house with nurses, two bathrooms, and a telephone.

She tells Epstein: "We never plaited our own pigtails until I was thirteen. They lived on a high social scale, but young black girls and boys still were not normally allowed to try on clothes in stores, were forced to sit in a special balcony at the movie theater, and could not go to restaurants. Epstein says: "Reading the movie magazines and dreaming in the theater's darkness, Marie longed to be rich, famous, to have a career in show business.

In she married a fighter pilot of the all-black nd Squadron, a young lieutenant named Neal Spurgeon Ellington, who flew against the Germans in Italy.

Her sister Charlotte gave a recording of Marie's voice to Freddie Guy, who gave it to Billy Strayhorn, who hired her in to sing with the Duke Ellington band, which she did for a few months. Her husband had survived the war and come home with medals including the Distinguished Flying Cross, only to be killed in a routine flight in Alabama. She was finishing up a singing engagement at the Club Zanzibar.

Nat Cole had been engaged to play a gig there too. She remembered seeing him in the audience, watching her "through the horn-rimmed glasses," Epstein says. And I was not aware until long after that Cole wore glasses. He is rarely seen wearing them in photographs.

I just looked through a lot of them, and in only one is he wearing them. And he's reading music at the time. Cole was quite smitten by Marie. According to Course, he told a friend, "I've never heard a Negro woman speak so well before. That is the ultimate rape of the black American.

Soon he was escorting her home to the Dunbar, an exclusive residence in Harlem. Epstein says: "Oscar Moore and Johnny Miller joked with her that Nat had cut his old friends for her, not realizing how serious the joke was. She would be around when they were long gone. Nat asked her to go on the road with him; by now she knew he was married. All through the book, Epstein seems enamored of Carlos Gastel.

He describes him as a "large, tender-hearted man who got tears in his eyes. Everybody was making money so fast; they scarcely had time to count it. Peggy Lee told me, "I have some idea of how much Carlos took me for.

I wonder how much he took Nat for. Various friends, including Woody Herman, tried to talk Nat out of divorcing Nadine. Cole's family had grown fond of her. He told them:. Marie had by now changed her name to Maria. Epstein writes, "Maria had refined taste in clothing. After hooking up with producer Ed Cobb, a former member of the s vocal ensemble the Four Preps, the group released No Way Out in mid, though the Watchband had already begun breaking up.

A new incarnation carried them throughthough the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums The Inner Mystique, One Step Beyond in andsporting the band's name but not too much else associated with the group.

That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband.

A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, inSundazed Records reissued the complete Watchband catalog on compact disc. A world class item featuring spaced vocals, effects, astonishing guitar work, flute Line up Arturo Domingo: bass and vocals Alfonso Bou: guitars, vocals Pedro Van Eeckhout: drums, percussion Guillermo Paris: vocals, flute One of the pioneers of the Spanish Progressive, in the vein of the psychedelic-prog ambience.

A band with a high instability in its line-up that didn't let it to become an important one. This album was thought of as sounding like Jethro Tull's Stand Up under the influence of acid. Strange psychedelic sounds can be heard in the background to many of the songs. And while released inthe music has a more late s feel.

All the vocals are in English. A wonderful album that really took me be surprise. Also, this album is very rare and collectible, but if you can track down a copy, you too will be pleasantly surprised. The first incarnation of Agua de Regaliz released a first single with the historic Els 4 Vents. They had contract problems with the label but that was not a problem to record and release their only long play "Pan y Regaliz, featuring now Pedro Van Eeckout on drums.

They recorded eight songs in english in a progressive psychedelic style, very unusual in Spain. Songs like "Dead of love", "Thinking in Mary" and "A song for a friend" were made thinking of a single in the purest psychedelic pop style with Jethro Tull touches. But songs like "One more day", "When you are so bring down", "I can Fly" and the experimental ones like "Waiting in the Munster's Garden" and "Today it is raining" make this record highly recommendable.

Manuel Dachada. The band never seen performing live, as mentioned in "Knights of Fuzz" maybe had the "curse of Voxx" i. The album kicks off with "Fly Tonight", a crazed garage track, followed by the 6 minute-long title track, which speeds up and slowes down, complete with an eastern scale solo from the Vox organ of the leader Bob Fountain. The highlight is "She's so wild", another speeding-slowing track, with a superb guitar-organ dialogue.

The speedy instrumental "Go-Go 85" closes the a-side. The b-side runs in the same vein with 3-minute songs, delivered straight fromfull of teenage fever and naive lyrics, with "Tell me why" and "One Last Kiss" outstanding, and closes with the calmed-down "Bittesweet", up-lifting, almost pop-psych tune that features a nice guitar solo. To my ears, this one stands side-by-side with the teenage garage anthems of the Pebbles or the Moxie records, which apparently the band had studied very well, alongside with the?

Its garagey, vox organ-dominated sound, the tempo changes and the very american backing vocals are refreshing enough for me. Perez: drms, vcls At the top of this post is the Lolita cover and right above is the Voxx cover P. Although I don't post something already posted, I made an exception for this: It was posted in July in the TwilghtZone blog.

Not only the link is long gone, but my dearest RYP has posted a review from an Amazon? Well, this record slipped in my head in a summer night of and it's there since then. I felt that I ought to give it a chance. A lovingly crafted demo tape was recorded incapturing the attention of respected the Ptolemaic Terrascope magazine. A feature article and tracks for consecutive Terrascope 7" releases releases - "Old Guy" and "A Puce Moment" the latter a cover of the legendary Hermit by Kenneth Anger soundcraft wizard Jonathon Halper led to a hasty assembled private issue of the band's tunes.

Despite being considered a 'demo' with a view to re-recording with better equipment at a later date the album was well received in the underground scene and "The Whole" was included on the Camera Obscura compilation Serotonin Ronin II. Partly due to disillusionment with the Lazily Spun's slow progress, internal tensions, and challenging life events, the original band slowly dissipated.

Harry moved cities to Liverpool in order to pursue and complete in ! Matt resolved many complications by laying down tracks that were to form the backbone of the new Lazily Spun sound. Reconnecting with Harry, the band rehearsed songs with new members until settling with the current perfect! Some sound samples date back to the first phase of the Lazily Spun and the album features all key members of the band's history in some sonic shape or form.

Their name derives from classic experiments performed in the 's whereby flies were injected with various drugs mescaline, cannabis preparation, LSD, and caffeine and then fed to the spider Zilla-x-notata Cl.

The subsequent webs produced by the spiders were then analysed. LSD and mescaline webs looked as if they were "lazily spun"! The Goldebriars - Straight Ahead - !!!! The Goldebriars made a couple of obscure pop-folk albums for Epic in The group is notable not for their pleasant yet lightweight music, but for the inclusion of a few members who subsequently went on to much more significant projects in rock after the band broke up.

The most prominent of these was Curt Boettcher, producer and performer of some of the most highly esteemed California sunshine pop of the '60s with the Association, Sagittarius, and the Millennium. Future Music Machine drummer Ron Edgar was also in the Goldebriars briefly in their final days, although he did not play on either of their albums. At one point, the Goldbriars had three women and Boettcher singing, which, according to the liner notes for their second and final album, "made the group sound very much like the Lennon sisters doing work songs.

The two Goldebriars LPs, however, are twee period commercial folk music from the tail end of the folk revival, the vocals and arrangements sounding inventive at times, but gratingly precious at others.

As was often the case on such folk-pop efforts, there was an almost desperate variety show eclecticism of repertoire, including original material, ethnic songs, protest tunes, traditional folk songs, and spirituals, given a somewhat whitebread treatment. As some other obscure circa LPs did, there were oh-so-vague hints of a rock rhythm on some of the Goldebriars' material, particular on their second album, Straight Ahead! Ron Edgar has recalled that Boettcher wanted to make the Goldebriars an electric folk-rock group, at a time when the Byrds' "Mr.

Tambourine Man" had yet to become a hit and codify the style. In fact, toward the end of their life, the group did have an electric bass player, lead guitarist, and drummer Edgarand made an unreleased album using electric rock instrumentation.

Until or unless that material gets released, however, it won't be possible to judge how innovative that incarnation of the band was. After Edgar left the Music Machine, he did collaborate with Boettcher again on recordings by the Millennium and Sagittarius later in the s.

Warning: Bitrateexcept for 3 songs in I searched and I searched and I searched Things get even more Love-ish, naturally, on their cover of the Arthur Lee-penned "Feathered Fish," which guitarist Randy Holden would also record with his next band, the Other Half.

This seven-inch EP reissue is hard to find these days, but is definitely worth picking up if you're into rare psychedelia or garage music, as they were one of the best California bands that didn't last or succeed for one reason or another. The slim evidence that survives on record suggests they were a good band, though, striking a midpoint between garage pop and California freakouts, and employing distortion and feedback when those traits were still innovative.

Their material has been very hard to come by, although an EP reissue appeared in s; someone should reissue their singles on CD, or pad them out with any available unreleased tapes to make an album compilation. I'll admit that I have a few obsessions--one of them is Michael Nesmith and the other is obscure s pop. Sot it kinda goes without saying that this issue of the never-released, Nesmith-produced album by L.

Perhaps only for me, but I know there are at least a few folks out there who share some of these same sensibilities. According to Nesmith, "the Penny Arkade was quintessentially the L. Recorded in during Nesmith's breaks between Monkees' obligations, a few tracks such as "Swim," the psych-pop title cut epic "Not the Freeze," or the aptly titled "Year of the Monkey" certainly display inspiration--direct or otherwise--from the collection's producer.

A garage-rock groover like "Give Our Love To All the People ," though a tad repetitive, is full of energy and could easily be a staple of oldies radio today, as could "Sick and Tired. Jackdaw 2. You're Not Smiling 3. I Had A Dream 4. Raviole 5. Nancy 6. Eye To Eye 7.

The House On The Hill 9. Indian Summer. The House on the Hill is Audience's strongest effort, made up of simple, elegantly arranged songs, focusing around Howard Werth's "electric classical" guitar and Keith Gemmel's tenor sax and clarinet. There's not a lot of meat on each of the songs, but the use of flute and vibraphone give this album a unique feel and is deemed interesting mainly for that purpose. The overall atmosphere is quite comfortable, and the hypnotizing effect aroused from the woodwind instruments creates an absorbing mood one might not expect to find here.

Snippets of jazz fusion make up the title track, overlapped with some rich saxophone playing. After a few listens, this band slowly rises from being heard to being enjoyable. Galliard set out as an extremely eclectic band on Strange Pleasure. An interesting effort. New Dawn is even more schizophrenic. Hosts of wind parts over a tight rocking backdrop are estranged with naggingly dissonant sitar on the highlight Ask For Nothing, a strongly philosophical number.

If you can stand some horns, these are worthwhile albums to own. The single has a non-album B-side. They also feature on the Nova Sampler playing Skillet. It contains one of the best guitar's solo ever made! According to legend, George Clintonout of his mind on Orange Sunshinetold Eddie Hazel to play the first half of the song like his mother had just died, and then the second half as if he had found out she was alive. The result was the minute guitar solo for which Hazel is most fondly remembered by many music critics and fans.

Though several other musicians began the track playing, Clinton soon realized the power of Hazel's solo and faded them out so that the focus would be on Hazel's guitar. The entire track was recorded in one take. In MarchQ magazine placed "Maggot Brain" at number 71 in its list of the Greatest Guitar Tracks, which I personal think is not fair as it should be at least at top 20! For the later single, Volcano, they shortened their name to Velvet Opera and also recorded a second album under that name.

Although a popular underground band, commercial success eluded them. In the seventies Elmer Gantry was in Stretch. This stands alongside Flames, their best known cut, as their finest moment on a CD which includes covers of Statesboro Blues and Eleanor Rigby. A masterpiece I think. Try it. The band hailed from Houston, Texas and started in as folk rock outfit The Bostwick Vines, but changed their name to Fever Tree a year later after the addition of keyboard player Rob Landes.

They subsequently moved to San Francisco and got sucked up by the flower power music scene there. Their fifteen minutes of fame arrived when their anthemic song San Francisco Girls reached 91 in the U. Like most of the band's material, it was written by the couple of Scott and Vivian Holtzman who also were their producers. This 4-minute track captured all the band's trademarks: Dennis Keller's incantation-like vocals, the quick shifting between slow parts with an almost sacral feeling and faster, more rock-oriented parts and especially the searing guitar work by Michael Knust.

Fever Tree also released their self-titled debut album inwhich charted at A second album, Another Time Another Place followed in Apart from San Francisco Girls, they never had another hit, although they later also tried writing songs themselves when they had dropped the Holtzmans as producers.

The band finally called it a day in but reformed in with only guitarist Michael Knust remaining from the original line-up. This new formation made no impact whatsoever, and Fever Tree was not heard of again until when Michael Knust passed away from an accidental drug overdose.

March 11, ; d. Eela Craig - Austrian prog-rock-band. The original-LP was released in an edition of copies. New born Child 2. Selfmade Trip 3. A New Way 4. Indra Elegy 5. Irminsul 6. Yggdrasil 7. Stories 8. Not completely flawless, this track is pure prog.

The second side is also made up of two lengthy tracks with the aptly-titled heavily flute-induced A New Way where they share their absolute enthusiasm with us. But the other lengthy almost minIndra Elegy, is a keyboard fest mixed with dramatic saturated guitars, heavenly flutes, constant drumming fury, abrupt but this time well-designed tempo changes, good bass lines.

Here's a rare one that some of you may appreciate This album is part of the German imprint Shadoks' digging activities in America's acid rock backyard. Active from tothe group did not release any album, but a set of demos was recorded in and pressed in 54 copies for promotional use.

The sound quality is pretty good considering the group probably invested little money in studio time, which makes one think that Shadoks had access to the master tapes. The nine songs clock in at under 33 minutes and are of uneven interest. Another highlight is the Savoy Brown -tinged "Down on the Farm.

Nothing aggravating there; it's only that Fresh Blueberry Pancake's songs can be a bit unimaginative and bland. The trio completed by guitarist John Behrens and drummer Geoff Rydell understood the dynamics of blues-rock, but lacked good melodies and superior musicianship. In short, Heavy is mildly entertaining and of interest mostly to collectors of '70s obscurities. The Kinetic - Live Your Life - Essentially they comprised straight pop material, but Suddenly Tomorrow, was a bit more inventive with some good guitar work and a catchy chorus.

Their French album is now very rare. Compilation appearances have included: Suddenly Tomorrow on Psychedelia, Vol. Man - - feat. John Cipollina - Maximum Darkness Man feat. Dedicated to the Memory of Ralph J. Gleason, Tom Donahue an d Peter Ham. Commentary I was reading through the list of dedications, and noticing that just about everybody is from the San Francisco area even though the album was recorded in Englandand was thinking: 'These are all the people they had to go through in order to meet John Cipollina just kidding guys.

Their sound on this single reminds me of Jeff Dahl or the Lazy Cowgirls. Kings of Oblivion had some success in Europe mainlybut now they've sank in oblivion. These two tracks appeared on a limited edition 7" included with the European release on Greek label Di-Di Music of the band's first and only LP "Sister Mary", from Erickson and a Rich Coffee song Sounds of Color. He mixed them in and sometime later I believe circa they were released by the German label Mystery Scene.

The covers are faithfull, but I think the best track is the Rich Coffee one. One last note: on "Spash One", besides the off-key vocals you may notice that it sounds as if it was mixed in the wrong speed. For more than a decade he was hearing mysterious voices and a form of exotic music seemingly from another sphere. Lance saluted the exotica era years before it was fashionable to do so with this Dionysus single. Lance was also behind the Farfisa organ on the early very 60s garage inspired records by Yard Trauma, a band who also included the Dionysus Records Empire head-honcho, Lee Joseph.

You have to listen to believe it! The Goreounds from Maine were deep in the creepy side of garage. Except from their LP titletheir references to the Elevators exceed to the use of an electric jug. They released several singles and LPs and they're still active. Here they are 7 X 7 is - pt. Jimi Hendrix Not need to say something about Jimi Hendrix!

His music said it all!! Jimi Hendrix - Electric Church. The best black group of all time for sure. The best black record company for sure. But do we have the best Psychedelic Soul Record of all time?

Psychedelic Shack is a album by The Temptations for the Gordy Motown label, which represents the Temptations' full-blown submergence into psychedelia.

Completely written by Norman Whitfield and Barrett Strong and produced by Whitfield, Psychedelic Shack almost completely abandoned the " Motown Sound " formula for this LP; hard rock guitars, synthesizer sound effectsmultitracked drumssamplingand stereo -shifting vocals giving most of the album's songs a harder, less traditional feel than the Temptations' previous work.

Like most Temptations albums from the group's "psychedelic period", producer Norman Whitfield held full creative control over Psychedelic Shack. The only freedom afforded the Temptations themselves for this album was the occasional opportunity for Kendricks to arrange the vocal harmonies.

With confidence gained from endless practicing and competing in a university student song contest, they approached record label SRB because it was near their house! Upon its release inthe LP sold over a half-million copies and paved the way for many further volumes. The songs are full of fuzz guitar, tinny keyboards and simple production, reminding one of the American garage and pop-psychedelic groups from the sixties, but with an Asian flavor. For this new reissue World Psychedelia have included two pages of English liner notes, explaining the significance of the final track, a cover of the traditional Korean folk song 'Arirang'.

Ready Men - Get Ready! Unreleased mayhem from insane legendary Trashmen-style 60's Mpls. Title: Get Ready! The Flame - Tracks : 1. See the Light 2. Make It Easy 3.

Hey Lord 4. Lady 5. Don't Worry, Bill 6. Get Your Mind Made Up 7. Highs and Lows 8. I'm So Happy 9. Dove Another Day Like Heaven See the Light Reprise. He made a copy for me ofwhat should be broadcasted at the time, but that then, for reasonsi do not know, was only partially broadcasted in various stages. Sohere you can get bands that were not included in the various KSAN tapes in circulation.

So this is like an amazing soundtrack of really good sound quality of some of the cream of the psychedelic era. I hope that sharing this i make somebody happy, like i really was when i got this tape for the first time, tape that i have listen several times during all those years with the same enthusiasm and pleasure Here's another one of my favorites Every netherworld and stygian reference in the book even the Good one has been bestowed upon these new darlings of the media by adoring critics, who find Spencer's snarling indifference and silver-tongued, heart-on-his-sleeve lyrics nothing less than beguiling and the gut-wrenching, dirty-secret, darkest-corner-of-your-mind musical accompaniment nothing less than cathartic.

You'll be on your knees, repenting like a tent-revival sinner. Suddenly, when he sings that his "heroes have always been flunkies and drunk," it all makes sense. Rock 'n' roll is reborn again, the phoenix rising to torch non-believers with a fiery touch. When ex-members ofthe Unabombers, Death Wish Kids and Area 51 came together inthey weren't thinking about igniting a stagnant scene.

They just wanted to get electric, to plug in and rock out. That's what they did, and Seattle took notice. Soon they were opening for national acts and gaining notoriety for their furious, ranting performances. If the crowd didn't want to respond, Moody's anti-apathy maledictions made sure they did.

Eventually Sub Pop chose Murder City Devils as the inaugural act on its new offshoot; the band was even allowed to name the label Die Young Stay Pretty, after a line from Gallucci's favorite Blondie song. When the self-titled release arrived in '97, it may not have broken new ground historically, but it didn't merely dig up the bodies of old punks and trot around in their skins for a while, either.

The influences are obvious--Iggy and the Stooges, Johnny Thunders, Dead Boys--but don't forget, those acts had their own lineage to live up to. Moody insists the band is not trying to cop someone else's attitude. He understands that this may lead to some criticism, but adds that the Devils are not capable of simply "imitating any of those people, so it's gonna come out as something new.

The album is a solid chunk of vintage punk that strays far enough from formula to guarantee an attentive audience.

When organs shimmy into earshot, the music almost seems closer to the Animals than anything Stiv Bators might've written. I believe in the idea that you don't need outside sources to validate what you do. Like rock 'n' roll--in the beginning it wasn't 'valid' because society as a whole didn't think it was a legitimate art form. They did it because it felt natural for them to do. Everything good starts out that way.

Dance Hall Music 2. It's in My Heart 3. Boom Swagger Room 4. Get off the Floor 5. Flashbulb 6. Broken Glass 7. Murder City Riot 8. Sick of Dreaming 9. Make It on My Own Harvey Mandel - - Cristo Redentor Tracks : 1. Wade In The Water 2. Lights Out 3. Bradley's Barn 4. You Can't Tell Me 5. Nashville 1 A.

Cristo Redentor 7. Before Six 8. Lark, The 9. Snake Long Wait. Mandel 's debut remains his best early work, introducing an accomplished blues-rock-psych guitarist capable of producing smooth, fluid lines and a variety of tasteful distortion and buzzing via an assortment of tone pedals and customized amplifiers. He augmented his flash with an adventurous appetite for orchestrated, quasi-classical strings especially in the eerie symphonic title cutjazz-blues-rock-psych- fusion in the mold of The Electric Flag as on "Before Six"and even a bit of country in the presence of top steel guitarist Pete Drake.

Hi friends! We would like to see some comments. We post music we like and we want your opinion. All the posts have more than downloads and no comments.

Don't be shy!!!!! Now about this Not much except that has some rare recordings from the Syd's period. Plus the only live recording from Syd. Keep Listening!!!!!! La Revolucion De Emiliano Zapata - As promised, this is the first album of this Mexican legendone of these albums that you must own.

Probably the best acid rock album ever made in Latin America, plenty of fuzz guitars and excellent compositions. A group from Guandalaja ra. They won a radio competition and begun very famous in the area. Despite their will, they moved to Mexico City and have a contract with Polydor. They had two excellent psychedelic acid rock albums but then split cause of the differences between them. The vocalist Oscar Rojas had a moustache which identified the group.

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