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Sunday, December 30, 2007

YARDBIRDS-having a rave up-CANADA MONO CAPITOL 6000



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Here is the hella good and alternate only available in Canada LP record, the 2nd Yardbirds release on the fab Canadian Capitol 6000 series. Always top thick rainbow pressings, this is one of the great 6000 releases. Side 1 is awesome studio tracks, including the first version of the guitar battle classic "train kept a rollin'" and then the 2nd side is all LIVE. I'm talking energy at the seat of your pants high energy epitome of RAVE UP document. I love this record, it's really a must have if you like any electric and eclectic music. A nice fresh rip from original Mono Pressing. Although not advertised anywhere on the LP, side 2 features Eric Clapton, with some extra material culled from the Five Live Yardbirds LP, and then side 1 is all Jeff Beck. The cover photo shows Jeff Beck in the lineup.



Here's the actual audio i posted on Youtube :


PART 1




PART 2




PART 3




PART 4


Peanut Butter Conspiracy : the Great Conspiracy



xxxxx
xxxx
xxxx
xxxx


this one was found at a London Ontario Record show in 2005. Ripped from original MONO LP.
solid sounds, like a harmony laden Janis Joplin and Big Brother. With song titles such as " Turn on a friend (to the good life)" how can you go wrong here, brothers and sisters?

year end wrap up..

>
My server is still gaining momentum into 2008..thanks to all who have had the interest and also traded/contributed ...access to my KDX server is very easy (which houses thousands of rarities from original LP pressings) Members in 2007 are very very, pleased as I have been to have met and great to get to know them. This makes my blog unique, compared to 1000's of other, very volatile "rapidshare" blogs. This is not a competition or popularity contest... My main goal is to create dialogue and community for our hobby of collecting rare music.
A member I met in the summer, sparked the idea for a limited run of the complete International artists box set from vinyl, with Pro printing copies of all 12 albums in full colour, a hand made mini box to put them all in and excellent CD red book pressings. They are always available to run off if anyone is interested. John from California bought one set off me and he is extremely pleased :D Look...here's a picture of the final product :


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*****
*****
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*****
*****
*****
*****
I have much more added to my KDX server now, and some video clips coming soon of rare music live performances or tv show performances, once my video card comes and a few Hard Drives for my SOOPED up powerpc 9600 from 1997 that runs in real world circumstances jus' fine now. The Groove yard KDX server does mostly host music from Original record pressings and other audio antiquities, some kindly donated or traded, and some from my personal record collection. Wish i was more talktative..but I am a person of few words...soo on that string of letters, Peace and happy new year!

Thursday, October 18, 2007

Le blanc + Lalancette WORDS AND MUSIC






I would like to share a bit about this fantastic LP released in 1976..in two formats, one in French, and one in English. I happened upon the English version last week, and what is within' the grooves is a very strong album with great thought provoking lyrical content, nice poetry, and fantastic musical arrangments. From Quebec Canada. Just converted to digital, and is available for sharing on my server.




Although recorded between 1971-1976, it retains a solid form, which lends itself to the LP format.
The details focus on Nature, a bit of politics and days gone by. Very moody, and beautiful. Some psychedelic edges (backwards tape effects, guitars) fuzz, great drums, melodies, ect. The voice of LaLancette is a mixture of goodness,
which I cannot really place at the moment, but some of it reminds me of the sound of Mashmakhans 2nd LP (family)
both the lyrical style and instrumentation. There is next to nothing of information available on this album, except below what I was able to translate from a french canadian website. A great bonus included was the full lyrical insert.

Heres' the details :



Leblanc + Lalancette
WORDS and MUSIC


Celebration - CEL 1937
recorded between 1971-1976

Side 1:
1-intro
2-rest with him
3-mr.gun (part 1)
4-hory dory USA
5-mr.gun (part 2)
6-the sun over you
7-josephin
8-mumble song

side 2:
9-my head is in the clouds
10-waves
11-gerda
12a-here comes all the chrome
12b-willie's drive in
12c-silver boogie
13-i found a friend
14-landscape
15-magic queen

Albums


Le Soleil au Dessus de Nous
1976
Oui

Words and Music
1976
Oui

INFO:
Alain Lalancette (percussions and voice) and Robert Leblanc Jr (keyboards, guitar, low, battery, and voice) almost launch two albums into simultaneous, one in English, the other in French. One finds the same musicians there, practically the same musics, but the words change. The two men work with the Studio Triangle, and their work spreads out of 1971 to 1976 before being concretized on disc. Around them, there are several musicians, of which Stéphan Venne (piano), Luc Gauthier (guitar), Christian Leon Racine (low), Michel Robidoux (guitar) and Richard Provençal (battery). A heteroclite music, which goes from the ballade software rock'n'roll to the boogy woogy, without falling into the facility. It is thanks to Luc Gauthier (Concert, Opus 5) that I discovered them, and that I could put the hand on these two albums of collection.

Translated from:
http://www.quebecpop.com/MenuPrincipal2.htm
with http://babelfish.altavista.com/tr online translator from French.

UPDATE -feb 2010
** A new blog entry found which  reviews the french version
has an excellent summary of this LP. I translated it to English and include it below.
** FROM : http://obehah.over-blog.com/article-le-blanc-lalancette-words-and-music-1976--43502661-comments.html#anchorComment


It is a story about the sun, the weather and time passing. Who weighs in point, having donned his best suit - top hat, three-piece, tie, as Belle Epoque - won the beach and having sat on a rocking chair, and contemplated the ocean, serene and detached from shooting himself in the head. 
Words and Music is this concept album from an in-between where the transition from life to death lets level strata of time, summoning sheets of the past As securities. The listener moves with the protagonist in a world where physical laws are no longer so those who govern life. The perception of another reality superimposed on reality, the body is altered (Mr Gun when the weapon becomes the target), merges with the environment and the elements (My head is in the cloud) 's unreal, disappears, is embodied in a painting by Grant Wood, singer of American regionalism (I found a friend). 
The memories flocking can compete with American mythology (immersed in popular music from the fifties-sixties of the B-side) and its blind spots (historical liabilities with the South American Honky Dory in USA, evoking the great crisis amid budding romance: Josephine). 

A perfect find for any digger, Le Blanc and Lalancette is also one of the finest treasures of the Quebec scene. The astonishing and mysterious pouch conceals a marvel of psychedelic pop, both complex and original and speaks volumes about the hours spent (all the subtleties, sound effects and collages will reveal themselves over time). While a multitude of musicians, including members of Opus 5 will join Robert Le Blanc and Alain Lalancette, information provided by the Web that are terse. Yet, this album (pressed Celebration) exists in two versions, virtually identical (English and French). 

Words and Music is at once think of JK & Co., The Beatles and Peter Howell (end Intro and Waves) while developing a groove waxidermiste, especially the second side, who dares to take risks, chaining passages stranger than each other: jazz, rock and roll and sometimes delirious, giving the listener a breeding ground for free will, the cradle of a boundless imagination.

Thursday, September 27, 2007

Carol Kaye talks about recording techniques




Carol Kaye, one of the most brilliant session musicians in the 60's from California, talks in a web forum (archive from 1999) about some
early experiements in music and how they got some unique sounds quite by accident (fuzz tone, echoplex, leslie speaker treatments..), sounds that shaped the ongoing evolution of Rock and Roll and other genres. What a knock out! All true to the spirit of the expansive 1960's.

*****
*****
There was SO MUCH going on, so many people. Please see my
website soon for just "some" select names of producers,
arrangers, contractors I worked for and "some" studio and
engineers names I worked with (on my Biography page, some
still on the Message Board) That will give you an idea of
the enormous number of people involved in our business in
the 60s on a constant every-day basis.

No, never saw anyone like Leo at Gold Star at all! That I
do know.

People were always coming up with new ideas every day in
the studios in the late 50s and early 60s, it was very
common. With the rock and r&b records selling like
hotcakes, everyone was in a feverish pitch to come up with
"new sounds", and mostly it was completely accidental....

no-one was trying to experiment with some off-beat sound
to make it something of a standard at all....it was
literally for 1-2 recordings and then off to some other
new sounds.

I remember when they put my guitar through the Leslie
organ speaker cabinet at Gold Star (they tried with
another guitar player at first but he couldn't trigger it
very well, it didn't work good with his way of picking,
and so they gave it to me to try as my way of picking is
strong and even -- I was well-known for the strong playing
I did on guitar). How different that sound was.

And it was good for 2 hot recordings for Jewel Akens -
"Birds And The Bees" etc. which I played guitar through the
Leslie.

BTW, I spoke with Jewel on the phone a short while
ago, he's well, appearing in Las Vegas and on the road
here and there.

People were wise enough to know that tricks like that were
only good for 1-2 recordings and they were off to do
something else. It was usually the song that would supply
a hint of something different to use, whether it be a
hook-line of music in the arrangement (jazz musicians in
the rhythm sections were quick to use their experience and
great ears to create good lines) or an effect of some kind.

I was there in the studios when the fuzz-tone was first
used, it was a Gibson pedal



(at first we'd simply take a
tube out of our amp to get a "fuzz" sound late 50s, then a
pedal was built for that effect). No I wasn't the "first"
at that, but was one who quickly used it for an "effect".
I saw the potential in it.

But I was the "first" to use the Echoplex on bass



, and the
first to use all kinds of effects on bass for movie scores
- inc. fuzz-tones (listen to "Heat Of The Night" movie),
and a few record dates (one with Brian even w/sound
effects)...

Listen to the theme of "Airport" cut out at Universal
Studios. I had my Gibson Maestro box on with the "steam"
and "claves" and octave-divider buttons on (could play 2
octaves at once, and I could also trigger that just fine,
again, with the strong way I pick with a hard pick).

And "True Grit", same thing, others like that. But effects
sort of ran their course very quickly (as they all knew in
the 60s).

The 12-string guitar hit big in the early 60s on a couple
of big records; "Walk Right In" (no not on that one) etc.,
and I'm one of the first ever to put a pickup (had my
trusty jazz pickup, the D'Armand) on the 12-string guitar
(about 1960-61) and start recording with it..... (later
the Dano bass guitar 6-string hit good too - I was doing a
ton of dates on the Dano for awhile).

The 12-string was HOT, according to everyone, and Barney
had a similar idea for his Gibson acoustic 12-string --
the two of us worked a lot of record dates immediately
with that innovation before other studio guitar players
caught on.

Pretty soon we were taking normal elec. 6-string guitars
and making them into elec. 12-string guitars thanks to the
help of our local luthier repairman, Milt Owens, a techie
genius. This was long before the manufacturers got wise
and started making regular elec. 12-string guitars.

I got a ton of work in the studios then, playing my "drum
paradiddle licks" (the same rhythmic phrases I played
later as 16th fills on the bass and 16-note patterns too)
on the elec. 12-string guitar. It became a HUGE staple
sound of the Sonny And Cher recordings which I played the
elec. 12-string on a lot, Sonny loved the way I played
those fills (Phil Spector used me on elec. 12-string a lot
too).

It was more common for different instruments like that to
become popular (and some stayed popular too, in adjunct to
the regular guitars, both acoustic and electric) for awhile,
a few years, but not odd things like the flangers altho'
once in a while you still hear some recordings with odd
uses like that of early uses of electronic stuff.

In fact, one of the reasons why I started to play the elec.
bass, as I reasoned "hey, this is more fun than playing
rock guitars, and I only have to carry in ONE instrument,
not 5 or 6 guitars".

Producers told you to bring "everything" as they weren't
sure themselves what they would use on their dates....and
part of my popularity as a studio guitar player was that I
was good on many different guitar instruments, played
cleanly, as well as good, knew all the licks, could solo
and play rhythm but was noted for my ability to create
background licks right there on the spot according to the
tune, singer, style etc.), funky rhythms as well as my
Dano bass guitar work and most solo-types of background
licks.

Not bragging here and excuse me if I am patting myself on
the back, but I knew what I could and couldn't do.....I
wasn't like Glen Campbell or Billy Strange
****** (photo of billy strange and the kids)
who could knock
you down with some fantastic bluesy rock solos on guitar,
but I sure had plenty of work and had to turn down work as
my 2nd husband did NOT like me playing in the studios at
all (I eventually threw him out - bad marriage, then I
really worked hard, and never turned down anything again
as I had kids to work for).

So just to give you a little history there.....it was not
unusual to try a little of this and that here and there on
recordings. I don't think "flanging" was an "art-form" that
was developed at all.....it was hit and miss accidental
stuff.


That's why I firmly believe in what Stan Ross says about
this (and Russ Wapensky quotes about Stan and Larry
Levine's statements about all this) as being totally
ringing true according to that time and space in studio
recording.

Carol Kaye http://www.carolkaye.com/

(taken from : http://www.spectropop.com/archive/digest/m268.html)

Monday, September 17, 2007

Blow the lid off your cranium with THE OPEN MIND

One of the most revered albums in the psychedelic genre, and when you listen, it is obvious why. Not too complex, some riffs repeated from one track to the next, and with songs like "free as the breeze" you get an album living up to the title they dubbed themselves as. They released one single before the LP under the name of "the drag set" , an interesting example of the nucleus of the unique cohearant sound they ended up with on the entire Open Mind LP.

Aside from being killer, it is terribly rare, the original Philips pressing is just a tough find, especially trying to find one here in North America, as it was only released overseas, as the group was from the U.K. This pressing I converted to MP3 was from the 1986 Antar reissue, which tacks on their only Single as "the open mind -Magic potion/cast a spell" is one amazing 7" and the inclusion on this set , makes this an essential! Not sure of where they sourced the material for the reissue..could be original tapes, no indication, it is VERY clean and full sounding.

Does anyone know? This Does sound like it was recorded at EMI studios.. is this a right assumption? VERY similar production style to the Pretty Things S.F. Sorrow LP, in terms of the stereo field and overall feeling.

Sunday, September 16, 2007

BUFFALO SPRINGFIELD-again-DJ MONO PROMO


This classic LP, is now up on my KDX server, culled from a rather noisy/beat up copy. I actually added a bit of noise reduction on this one, and it came out rather nice. I did not equalize, or maximize it in any way. The MP3 format is rather forgiving for the transfer from vinyl in this case, it smoothed out some rough spots on the listen back. Tools used, in this sequence to capture the sounds from the record to digital:

Nagoka MP-11 moving magnet cartridge
Technics 1200mkII turntable
GLI PMX-9900 phono stage mixer
Pinnacle DC30Plus Audio PCI card 44/16

Processing after FLAT recording to digital:
.aiff file imported into SPARK XL 2.8 mac os 10.4.7
very slight noise reduction applied with TC spark "denoise" plugin
Plug in Rendered
saved, regions applied to separate tracks, then exported as regions,
.aiff files then imported into CLICKREPAIR 2.1.4
Click repair setting at 38
Process at wavelet mode
after function complete brought processed files back into
CLICKEPAIR and DeCrackle applied at setting 42
These processed files then saved and brought into
ITUNES to be converted to MP3 at variable bit rate above 225kbps 16 bit.

This is a rare exception of using any processing on music I import
from LP, but I must say i am pleased with the result, as I added
just the slightest to achieve my goal in this test.
The music is
still intact, and most of the crackle/noise is no longer. No brickwall
limiting, so the music retains it's important MONO dynamic range.

Friday, September 14, 2007

FIFTH PIPE DREAM-san francisco sound






This is a fabulous collection of bands from San Fran 67-69 era. I'm pretty sure this Compilation was released in 1969. This was produced by Rusty Evans (marcus Uzelevsky)
of the Psychedelic moods/Freak Scene/Third bardo association, and as you can read below in an interview with a member of "indian puddin' and pipe" they pretty much wrote off Rusty as being incompotent..which doesn't really translate to the sound on the record, at least to my ears..it was produced very well, and I think no altering of the sounds really, pretty much keeping the performances intact. They must have equated Rusty to being on the same level as Matthew Katz, who in retrospect is well known as a greedy baron, who never paid the bands under his wing of "san francisco sound"...just google "moby grape and matthew katz" and you can come up with some frightening stories of how he treated the bands he managed. here's small excerpt from a website (http://pnwbands.com/sanfranciscosoundballroom.html) that speaks of the San Francisco sound ballroom, where the bands on this comp played
"I played there with a band called Games in 1967 with all the Matthew Katz groups you have listed. I think it was the Encore Ballroom before it was SF Sound.

As far as I know no band that ever played there ever got paid.

Skip Bowe, Stockton, CA, August 2007 "






I have had 2 copies of this LP, one a slightly Thicker Press, both with full colour gatefold and red labels. Both transfers are on my KDX server, the thicker press was converted to 96/24 and the slightly thinner press was converted at 44/16, the latter
is indicated by a (b) on it's folder title.











This is a sticker that came with one of my copies of the LP














Here's an interesting interview with a member from
Indian Puddin' and pipe, who were also known
as "west coast natural gas"



The West Coast Natural Gas Story from :
http://members.aol.com/Velvetfogg/HTML/WCNG.html




In the early 90's I stumbled upon an old 45 by a group called West Coast Natural Gas (WCNG). Both sides were GREAT and I attempted to find out some information about this band. All I knew was that the band was produced by Matthew Katz and was on the San Francisco Sounds label. Unfortunately, I couldn't find anyone who knew anything more than this. In 1997 when I went on line and formed the U-SPACES group, I periodically asked the group about this band and still came up with blanks. When I decided to put together the U-SPACES: Psychedelic Archaeology CD series, in 1998, this single was the highlight of Volume 1. No one had heard the single, but everyone seemed to love it.

Right about that time the folks at Delerium Records established a connection between WCNG and another San Francisco band called Indian Puddin' N' Pipe. It was discovered that WCNG was actually the same group before they changed their name.

In June of 2000, Jeff LaBrache, the original drummer from both groups landed on the U-SPACES web page, read an old digest and asked if anyone would like more info on the band(s). I promptly accepted Jeff's offer and sent him a series of questions about the band(s). He indicated that he was going to meet shortly with another member of the band (guitarist Kristopher Larson) for the first time in 20 years and they would go through the questions together and try to come up with as many answers as they could.

In July 2000, Kristopher responded to me in a series of e-mails and his responses are posted below in an edited interview format. I would really like to thank both of these guys for their effort and hopefully their comments can help clarify some of the mystery around these two bands.

Ben Chaput - U-SPACES list moderator, July 2000.



*******************************************

Interview with Kristopher Larson, July 2000:



[BC] When did WCNG form and how was the Seattle scene in the mid sixties?

[KL] The WCNG formed in 1964, late in the year, who knows really when. I just remember it was cold. A guy I had never met before, (Steve Guinn) or even heard of came knocking on the door of my apartment and said he was forming a folk rock band and that he had already lined up a bass player (Dave Burke) (never heard of him before either) and a drummer (Jeff Labrache) who I actually had heard of, and himself playing guitar and singing. I still don't know how he found me. Well I was working at Lockheed shipyard and hated it and wanted to be playing again so I said OK.

[BC] Did you meet Dave Burke & Lydia Mareno in SF or did they come with you from Washington?

[KL] David Burke played on all our recordings and was always on stage with us too. No other Bass player. Lydia Mareno, I think, was introduced to Pat Craig (our third or fourth replacement in WCNG) after the break-up of the real WCNG, which I'll get to later. That's all I know about her. We never met, I think.

[BC] Did you guys really play a bill as WCNG with an earlier version of Indian Puddin' N' Pipe in Seattle?

[KL] As for the gig in Seattle with Indian Pudin' 'n' Pipe, it might have happened…I'm trying to remember the name of the hall where we may have shared that gig with them…?

[BC] Editor's Note: Jeff LaBrache provided this poster from the "San Francisco Sound" Club in Seattle, so it really did happen…


[BC] According to Jeff LaBrache, WGNG moved to San Francisco in late1966. What prompted the move and what were the early days of SF like? And how did you hook up with Matthew Katz?

[KL] A guy from Seattle, who I only knew as Smitty- a member of the "Gypsy-Jokers" MC bunch, had somehow hooked up with Matthew and was working as his Go-for. I think Jeff knew him and he arranged for us to go to SF and have Matthew listen to us. MK already had under his wing, Jefferson Airplane, Moby Grape, and It's A Beautiful Day, and a few other artists too.

[BC] Do you have any recollection of the recording session for the WCNG single [A Favor/Go Run & Play"]?

[KL] I have vague recollections of the recording sessions of Go Run And Play and A Favor. This could be, however, a recollection of any and all of our sessions. We were "told" that a guy named Mark Uzlevsky (sp?) was going to be our producer. So, not wanting to argue with the guy who was trying his best to sue the ass off the Airplane and the Grape, we accepted his choice of Mark. The guy didn't know a guitar from a drum, but we were stuck. Time was magically scheduled for us to go in to Coast recording studio and make some noise. The in-house genius on the control board (a whole four tracks worth, with individual volume controls) told us we couldn't play that loud. So consequently the recordings didn't have any of our real (live) sound. The other genius, Mark, didn't have a clue what we were up to, or how rock music was supposed to sound. Katz probably doesn't even remember that we actually cut that 45 under WCNG name.



[BC] How was the decision made to change your name to Indian Puddin' & Pipe? There was also a band in Seattle with that same name who morphed into the group "Easy Chair." Was there any direct connection between the two bands?

[KL] The decision to change our name was totally MK's "plan". He had come up with the name IP&P in some dream…?, but didn't have band to go with it, so since he didn't have anything to do with the name WCNG he wanted total control. We fought the name change among ourselves, but the majority decided to accept what MK wanted in order to stay in good standing with him. (That IP&P you mentioned were probably the guys from Seattle who became part of the second Moby Grape, "the bus tour grape". If they became "easy chair," … well if you say so. How did you come by that information anyway?)

[BC] Matthew Katz has a reputation for putting his needs in front of the needs of his bands. What were your experiences with Katz as a manager?

[KL] Of course we nor any of his groups ever saw any money from anything we did. I wonder why all his groups walked out on him? We also did a series of commercials for the Levi Strauss Co. which actually got some airplay in the Bay Area, under the name WCNG. For which we never saw any kind of royalties.

[BC] The Levis Commercials are of immense interest to me as I collect this stuff… I have (among others) three Levis radio spots from the Sopwith Camel. On one of the spots called "Funny Fabric" at the end, there is a audible reference to "The West Coast Natural Gas." Was there a link between your Levi session and the Sopwith Camel session? Any more details on the plugs that you guys did would be greatly appreciated.

[KL] The Levi's commercials are also of interest to me. I have no copies in any form of those sessions. We weren't allowed to have copies because of the contract with Levi-Strauss. I would guess that the only recourse would be either from L-S or maybe Coast Recording Studios. I think that is where we cut them?

[BC] Katz was rumored to keep multiple lineups of the same band so he could play multiple gigs on the same night. Did he do this with WCNG or IP&P?

[KL] As for multiple groups… To the best of my knowledge, the only time anything like that happened was when MK decided to take the show on the road in the famous Katz Bus. The only thing lacking was a headliner, so he sorted out people from different bands and from around wherever, and built the second Moby Grape. They locked themselves up somewhere in the City and learned all the songs from the first LP, all the licks, and even a lot of the moves. I can tell you more about the "tour" also if you care to hear about it?

[BC] I would definitely like to know more about the "Katz Bus Tour" you referred to!

[KL] The "Bus Tour" is a whole other story, some of which I'm sure, certain members of certain bands, would not particularly wish to have divulged, but I will write to you more about that another time.

[BC] Do you have any recollection of the recording session for the [San Francisco Sounds - Fifth Pipe Dream] LP? The four songs you recorded for that LP are perhaps some of the quintessential SF psychedelic timepieces. "Hashish" and "Water or Wine," along with the two WCNG songs are some of my all-time favorite recordings.

[KL] The four cuts on the 5th Pipe Dream LP by IP&P are actually the same personnel as WCNG. Although I think Steve Mack (lead guitarist) decided to split during the last of those sessions. On the 5th Pipe Dream LP and on the Then & Now CD is a tune called Aquarian Dream by It's A Beautiful Day that is actually another replacement band. WCNG played all the music tracks while clueless Mark and June (Katz) did the vocals. I think that probably Pat Craig contributed some back-up vocals as well. June was (is?) Matthew's wife.

[BC] Did you spend any time with the other bands on the Fifth Pipe Dream LP - "Tripsichord Music Box" or "It's a Beautiful Day?"

[KL] As for spending time with any of the other groups on the LP; yes, but only casually. It's A Beautiful Day (IABD) was again a different band than the hit singles were recorded by, with the exception of David La Flame and his spouse. Some of the members of Tripsi'Box became Moby Grape II guys and added BurkeWallace, and Skip Bowe also from Seattle, as front line players.

[BC] A few years ago, Matthew Katz released a two CD set called "Then & Now," which included various bands that he produced over the past 30 years. First of all, I found it amazing that the WCNG songs were not included in this set. Secondly, the IP&P songs that were included, "Planetary Road" and "Shadowlarks," seemed like a completely different band. Was there any overlap on the personnel who recorded these 2 songs? Any idea why the WCNG and choice IP&P songs were excluded from this collection?

[KL] The later songs recorded by IP&P was, as you seem to have guessed, was indeed a completely different band, with the exception of Pat Craig, and I believe that Steve Mack reappeared in that IP&P for a while. I was vacationing in Eastern Canada at the time, at the expense of the Canadian Govt. Let's not go there right now… I too have my wonderment at why our songs were not included on the "Then & Now" CDs. It is a fact though that the 5th Pipe Dream LP has been re-released on CD, by MKP. I saw it for the first time yesterday, and was told that it is actually selling here and there. I cannot confirm or debate that info at this time. Matthew is very reluctant to give out any more information than he has to. He's always been that way.



The Monkees : Pisces, Aquarius, Capricorn, & Jones LTD CANADA STEREO pressing



Found a NM copy a few weeks ago of this LP, and it is very enjoyable. Never was a big fan of the Monkees (oh but how novel they were), this LP has some pleasant and diverse offerings. Recorded after the "headquarters" LP where-in they tackled the whole effort by themselves, writing and performing the instrumentation, here on Pisces, they meet their ideals half-way, hooking up with some studio musicians
and writing most of the material. More on this below...Paul Beaver appears here on the Mighty Moog modular system, suggested as one of the first on wax. Mr. Beaver hooks up again on the HEAD LP too. Sourced from a Clean canadian 1st press Stereo LP, a nice treat, true stereo too.





---------
------
From : http://www.monkees.net/DOCS/PISCES.txt

The Monkees (Pisces, Aquarius, Capricorn, & Jones Ltd.)

Original Tracks
Salesman (Smith)
She Hangs Out (Barry)
The Door Into Summer (Douglas & Martin)
Love is Only Sleeping (Mann & Weil)
Cuddly Toy (Nilsson)
Words (Boyce & Hart)
Hard To Believe (Jones, Capli, Brick, & Rockett)
What Am I Doing Hangin' 'Round? (Lewis & Clarke)
Peter Percival Patterson's Pet Pig Porky (Tork)
Pleasant Valley Sunday (Goffin & King)
Daily Nightly (Nesmith)
Don't Call On Me (Nesmith & London)
Star Collector (Goffin & King)

Pisces, Aquarius, Capricorn, & Jones Ltd. represents what Peter called "a
compromise." It was a compromise between the Monkees having control of
their music and the original production methods of their first two albums.
In a time of great Monkee-bashing, they felt this was the best move to
make. The end result remains excellent, with its strength in the always
reliable Nesmith songs and the album's big release, "Pleasant Valley
Sunday."

This follow-up to Headquarters remained quite experimental, introducing new
psychedelic instruments like the Moog synthesizer ("Daily Nightly" and
"Star Collector"). Also included is the original, but rarely heard,
lead-in to "Pleasant Valley Sunday"-- "Peter Percival Patterson's Pet Pig
Porky". It is often questioned why the producers held "Daydream Believer"
for the fifth album, but regardless of the reason, this album can stand its
own with any other Monkees record.

It becomes apparent that Sandoval and Inglot couldn't find too many extra
recordings from this time period, as the "alternate mix" bonus tracks are
hardly different than the original versions. Each has its own novelty with
more audible backing vocals in "The Door Into Summer," an absent Moog
synthesizer in "Daily Nightly," and an additional vocal fade in "Salesman."

Questions, comments, arguments, compliments, or general Monkee Talk
welcome at landsberg@alltel.net
- Mike Landsberg

Quotes taken from liner notes.
------------
------
From : http://parasitesandsycophants.blogspot.com/2007_07_01_archive.html

After their first successful release as a self-contained group, The Monkees decided the best route in making their latest LP (with time schedules, the show, concerts, etc) was to go back to the original formula - recording with studio musicians – but with The Monkees involvement musically and artistically. It would be the perfect mix, resulting in arguably the bands best LP: “Pisces, Aquarius, Capricorn, & Jones LTD." (released at the end of 1967 and produced once again by Chip Douglas). The album would be previewed by a single release - the double-sided hit “Pleasant Valley Sunday” and “Words”. Michael Nesmith again took a high profile on the LP with the excellent cuts: “The Door Into Summer”, “Love Is Only Sleeping”, “Don’t Call On Me”, and the Byrdsy “What Am I Doing Hang’in ‘Round?” Davy Jones shines on Nilsson’s “Cuddly Toy” and on the snazzy “Hard To Believe.” A second recorded version of “She Hangs Out” appears but never quite measures up to the far superior Jeff Berry produced version. Micky Dolenz resurfaces on Nesmith’s psychedelic “Daily Nightly” complete with moog synthesizer - one of the first to be used on a pop record – showing you just how experimental The Monkees could be. The albums 13 original tracks played from top to bottom are by far The Monkees at their best.

7th Seventh Temple-UNDER THE BURNING SUN


This is one of those finds, where I saw it at my local goodwill a few years ago, and passed up on picking it up, then going home, and the image of the cover permeating my thoughts. Initially I thought it was a home grown christian record (I USUALLY even give those a chance for nice little moments of rawness) So, while i was zoning out later that night, the stark orange cover crept up from my subconscious, and I then shivered and PRAYED that it would be there the next day in that .25 cent bin. A big hooray, it was. So, I brought it home and was godsmacked with some fine Progressive-introspective-psychedelic niceness. Homegrown (ontario group) yes, and good music a big YES. Recently reissued by Radioactive records (probably without gratitude to the group, as Radioactive are notorious for that) This copy was Near Mint and has thick and juicy grooves. From 1977 or 78. Very rare LP, some say limited to 50 copies..but i would probably say more like 200-500 range..but WHO KNOWS?? The label has a cool picture of a wizard/shaman dude with a walking stick, hand drawn, and is a total private pressing.

Thursday, September 13, 2007

A WILD PAIR-the guess who and the staccatos



Dig this rare LP, promo funded by coca-cola corp, produced by Ben McPeek, on the first LP on the NIMBUS 9 Label. This showcases the transition of the GUESS WHO, while they were technically still signed to Quality,a label that had no confidence in the band, and let them go for next to nothing. The laugh is on them..

Nimbus 9 label side 1 with Allan Macmillan as musical arranger. The Staccatos hailed from Ottawa and were Capitol artists at the time they recorded this special album for Numbus 9. Incidentally, the Staccatos were not the first official Canadian rock group to appear on Capitol Records of Canada. That honor actually belongs to another Ottawa group called The Esquires, an instrumental/vocal group that sounded similar to Cliff Richard and the Shadows. This fact became available on a recent re-issue of The Esquires by Capitol contained in the liner notes.


March 1968 would see new challenges for McPeek as he and three other principal partners launched the Nimbus 9 record label. "Ben and Jack Richardson and I were 3 of the 4 founding partners in the Nimbus 9 Productions music group," said Allan Macmillian, "which came into being in 1968." The fourth member, according to author John Einarson who wrote American Woman - The Story of the Guess Who, was Peter Clayton. Two years later, Macmillan brought on board a fifth partner to the label: Bob Ezrin and he became assistant Musical Director to Macmillan.
The Nimbus 9 partnership stemmed from "several years collaboration working on ad conceptions and music to fit for the 'Youth' campaign for the Coke account," said Macmillan. They had other clients too, at the time: McCann, Erickson who were responsible for the Honda commercials. "Remember Honda cycles '2-wheeled freedom on a Honda?'", lamented Macmillan. "That was Burton Cummings' distinctive voice and from the discovery that the record deal the Guess Who had (with) Quality Records was expiring. Clearly, both Jack and Ben saw an opportunity here to sign the Guess Who...a group with a future one might say."
Thus it was the Coca-Cola account that caused McPeek, Richardson and their other two partners to take a gamble on the Guess Who...
The first Nimbus 9 album release was called A Wild Pair - an album featuring two pop groups, the Staccatos and the Guess Who. Each had a special musical arranger: Allan Macmillan for the Staccatos and Ben McPeek for the Guess Who with Jack Richardson as producer for both bands. This "one-off album" was made exclusively for Coca-Cola Limited by Nimbus 9 Productions, manufactured through RCA. Both groups were still under license from their respective record companies, Capitol and Quality Records, but each company gave permission to Nimbus 9 to record their groups with the idea in mind that any success would be good for their own future releases.
McPeek, Macmillan and Richardson's work on A Wild Pair paid off. Released in 1968, A Wild Pair sold an amazing 85,000 copies in Canada! Unheard of figures in those days for a Canadian album. In fact sales of A Wild Pair turned out to be "the biggest rock music seller ever at that point in Canadian rock history," writes Ritchie Yorke in his book, Axes, Chops and Hot Licks. It was an excellent start for Nimbus 9 whose humble beginnings in Toronto was "a back room in Ben's offices at 131 Hazelton Avenue," said Macmillan.
With the amazing success of A Wild Pair, Nimbus 9 decided to sign the Guess Who to their label. But in order to do that, they offered $1,000 to release the band from their remaining contractual obligations with Quality Records. The record company's executives accepted the offer mainly because of the "insulting lack of faith in the band and an absence of foresight" exclaimed author Einarson. Ben McPeek and Jack Richardson felt there was potential in the Guess Who. "We had a lot of confidence in the group and our own abilities to somehow expose them to the world, " said Richardson in an interview with Ritchie Yorke. "Ben and I had a strange kind of belief that it would turn out alright in the end."

Converted from original Stereo LP by freqazoidaic    @gmail.com
available on my KDX server, info to the right on the links column how to become a member.

SUZANNE-A PASSING FANCY ((( LISTEN ))) -Canadian downer acid femme vocal

 

SUZANNE  
self titled
1969 - CANADA

BIRCHMOUNT records BM501 STEREO

Available in hibitrate AAC format from original LP.

Fabulous tragically beautiful gloomy breezy pop psychedelia from French(Montreal) Canada
sung by Suzanne in a fragile girl coming into womanhood quiver.


As rare and kinda similar in vein as the another Birchmount record, the Mary Saxton 'Sad Eyes' LP.
The 5 songs Suzanne sings penned by the Hambleton brothers ( Greg and Fergus) of the Canadian Psychedelic Group A PASSING FANCY are standouts of this LP and are the real reason to dig this LP! The Hambletons also Produce and play on this LP.


 










Suzanne sings the material in a Julie Cruze 
(twin peaks) meets Velvet underground meets 
Claudine without the accent.... The song "Island", 
shows up on the Passing Fancy LP as a single, and
also another Birchmount LP by ex-shays vocalist, 
Wayne Versage done in a bongo by the beach groove 
but the Suzanne version nails the mood of what 'Island'
is saying in the lyrics.





PLAYERS  on SUZANNE :
suzanne, a passing fancy, fergus hambleton, greg hambleton and other unlisted personelle
converted by freqazoidiac@gmail.com from original pressing





While speaking of the album by Wayne Versage (rip), he obviously had help from the Hambletons too
and Jay Telfer (rip) who was an early member of Passing Fancy but I do not know if he has any part
of the Suzanne LP because It's unknown when it was recorded, probably as early summer 1968
by looking at the cover tracks by originally by Burt Bacharach and Hal David.










An offshoot LP was released with the instrumental bed tracks from the
Suzanne Sessions called "tuesday's children" with some songs
not on Suzanne like instrumental to "i believe in sunshine" also a Passing Fancy track and was a hit for Madrigal. On a few songs you hear Suzannes voice leak through.

















(((((((((((( A/V )))))))))))))
CLIPS BELOW
IN STREAMING FLASH
FORMAT  OF 
ACTUAL AUDIO FROM
THE LP




the Keefe sisters-our heritage and other things



Super charming East coast canada LP on caribou/arc records. These 3 girls are backed up by some very solid musicians, tackling a range of styles. One standout track on here is a psychedelic-harmony track "love knows", but ALL the tracks are very good, rounding out with a few folk-celtic tracks, some Lightfoot covers, and some country/blues!
Rare from the mid 70's.

Pink Floyd-piper at the gates of dawn-UK press made for Export 1969



nice stereo pressing, I think 2nd or 3rd pressing, from 1969, made for export.
Pretty rare in this form. Has the Odeon sticker on the label.

Majestics-funky broadway -ARC canada



One of my favorite Canadian Funky/Soul groups. This is probably their most solid effort too, due to the diverse selection. The rarest LP by the Majestics.

On my KDX server, like all my posts here, represent MP3 files converted from Original LP pressings.

SRC-milestones-USA stereo pressing


Follow up to their Debut. Stupendous, available on my KDX server.

SRC-self titled, original Canadian pressing



The other side of the Detroit scene. SRC's first LP! Named
after lead singer "Scot Richard Case". Signed to a major label over a year
before stagemates
the MC5 and the (psychedelic) Stooges (they all played at the Grande ballroom)
and they all shared a label previous being on Jeep Holland's small imprint A2 (squared)
Has the whimsical feel of a child, but then the super sonic attack of the
fuzz leads by one of the Quackenbush brothers, the other Quackenbush plays
his lofty hammond organ throughout.

indeed! a very great psychedelic endeavor... rare canada stereo press
Like always, available on my KDX server

Tuesday, August 28, 2007

DE LA SOUL 3 feet High and rising PROMO VIDEO!

FOR ALL YOU propmasters, here's a treat from 89, from the De La Soul Promo VHS video, to accompany press kits for their groundbreaking debut LP 3 feet high and rising.
TRES COOL YOU LASAGNA HEADS

Monday, August 27, 2007

DJ Red Alert Goes Berserk PROPMASTER





VERY TASTY hip hop classic compilation.
check the track list...
Own this on Cassette tape and vinyl release. I think there was a CD run too.
This conversion on my server, was from Cassette and sounds excellent, as I found a sealed copy,
no dropouts or magnetic degration.

Perfect for the end of summer head spinners out there.

There are two songs on this album that were not previously released at the time. They are track 4, "Bait" by the Ultramagnetic M.C.'s, and Track 5, "Armed and Dangerous" by Kings of Pressure. "Bait" has been remixed and released as "Bait ('97 RMX)" on the Ultramagnetic M.C.'s album "The B-Sides Companion" (Next Plateau Records, 1997). All other songs were released around the same time as this album on their performers respective labels.

Tracklisting:

A1 Salt 'N' Pepa My Mic Sounds Nice (4:52)
Producer - Hurby Luv Bug
A2 Black Rock & Ron That's How I'm Living (4:42)
Producer - Black Rock & Ron , Jazzy Jay
A3 Boogie Down Productions South Bronx (5:06)
Producer - Boogie Down Productions
A4 Ultramagnetic MC's Bait (2:27)
Producer - Ultramagnetic MC's
A5 Kings Of Pressure Armed & Dangerous (3:40)
Producer - Carl Ryder , Hank Shocklee
B1 Ultramagnetic MC's Ego Trippin (5:28)
Producer - Ultramagnetic MC's
B2 Salt 'N' Pepa I'll Take Your Man (6:05)
Producer - Hurby Luv Bug
B3 Masters Of Ceremony (2) Cracked Out (5:03)
Producer - Maxwell Dixon
B4 Sparky D Don't Make Me Laugh (5:17)
Producer - Spyder-D

Label: Let's Go Records
Catalog#: LGL2001
Format: Vinyl, LP
Country: US
Released: 1987
Genre: Hip Hop

**** a bit of info about DJ red alert from www.oldschoolhiphop.com

DJ RED ALERT

Updated: 12/23/2005
Back to DJ's
Submit Information

DJ Red Alert is a member of the hip hop culture that is known for bringing the music to the people.

He began his career as part of the Afrika Bambaataa's Zulu Nation and earned the reputation as a top notch DJ. At one point in the early 80's, Red Alert's equipment was stolen. Once he was able to get at new setup Bambaataa and other members of the Nation were moving to clubs in Manhattan. Red Alert continued to draw a following in Harlem.

Red Alert channeled his energies and musical talent into two daily shows on the nations #1 radio station, New York's WQHT HOT 97.1 FM.

He has received numerous awards and accolades including a special award at the first annual Rap Hall of Fame Awards show. The prestigious Lifetime Achievement Award from IMPACT music trade publication for 1998 and the 1997 Mix Show DJ of the year award from GAVIN. In addition DJ Red Alert was named one of the 50 most influential people in music by ROLLING STONE magazine. Red Alert is also featured in an exhibit at the ROCK AND ROLL HALL of FAME in Cleveland, Ohio. The only DJ of this era so honored!

He has appeared in over 50 music videos.

Red was reared by his maternal grandparents, who were from Antiqua. Red's love for those around-the-way basketball games led him to his high school team at DeWitt Clinton. No doubt this is where he was dubbed the nickname, "RED"; for his red hair and alert response on the court. Red later received a college basketball scholarship. During the last of his high school years, Red hung out at the Saturday night parties thrown by Kool Herc and Coke La Rock at clubs throughout the west Bronx. Red studied the style of music Kool Herc played and the way he blended the vinyl. On Fridays, Red found himself venturing downtown to check out star disco deejays, such as: Grandmaster Flash, Together Brothers, and Pete DJ Jones. It wasn't long before he was jammin' at parties on his own equipment. It was important to be up on what was happening on the New York scene, so Red was now attending legendary parties throughout the Bronx.

Red caught Grandmaster Flash at the Back Door and the Dixie Club, Kool DJ A.J. at the Morehouse Center and Afrika Bambaata at JHS 123. By this time, Red had gathered enough record selection and record spinning insight to teach his cousin DJ Jazzy Jay the basics of the art. Jazzy Jay in turn introduced Red to Bambaata. Bambaata taught Red about rock, reggae and new wave music. Learning about the various styles of dance oriented music, Red soon became the deejay for Bambaata and his Zulu Nation, joining the likes of Afrika Islam, the Soul Sonic Force, Grandmaster DST and the Rock Steady Crew. Through this association, Red began to spin records downtown at such clubs as Negril and Danceteria.

While deejaying at the Roxy, he met Barry Mayo, then program director of NY's WRKS 98.7 KISS FM. A man of considerable taste, Mayo hired Red to inaugurate the "Dance Mix Party." Red remained at 98.7 KISS FM for 11 years, becoming the top DJ at the station. During his tenure at KISS, Red became the first individual to popularize dancehall music at a major radio station! Before you knew it, Red met up with producer Vincent Davis, of the Vintertainment Record label, through DJ Chuck Chillout, to produce Red's First record, "Hip Hop On Wax, Volume 2." (Part 1 was made by DJ Chuck Chillout of the B-Boys and Part 3 was by DJ Born Supreme Allah).

Another record was "He's My DJ (DJ Red Alert Goes Berserk)" which featured Sparky D on vocals and was released on NIA records produced by Spyder D.

He also became a member of the Boogie Down Productions, touring the country with KRS One.

Since then, Red has done super mixes for compilation albums on Next Plateau Records and Epic Records.

Now a seasoned veteran as radio jock, club jock and studio man, Kool DJ Red Alert has established his place as one of the world's premier DJ's. To top it off Red Alert owns a production and management company, Red Alert Productions (RAP). The company garnered a reputation for developing and promoting new talent. RED is responsible for launching the career of such widely acclaimed acts as the Jungle Brothers, Tribe Called Quest, Black Sheep and Queen Latifah to name a few.

In addition DJ Red Alert was the first to introduce numerous hit records including "Soul II Soul" by Jazzy B and "Hold On" by the group En Vogue!

Red says, "You have to learn how to break a new artist on record by working it in and out with familiar records. People are scared to fall. It's OK to fall. You must learn how to fall and be strong so you can come back. A DJ is like the pied piper."

Since his break on the radio, Red Alert has had the opportunity to expand hip hop's audience as well as break the careers of Boogie Down Productions, Black Sheep, the Jungle Brothers, and A Tribe Called Quest. He has had cameos on countless albums, and has also released various compilation albums.

Lately he has undergone some professional changes after leaving his radio show. Well all wait to see what he has in store for us next.

Additional info by Ed Roberts and Toolsof War

Wednesday, June 27, 2007

BLOW YOUR MIND - Davey Welles and the four winds

Has anyone heard of this LP release?

BLOW YOUR MIND - Davey Welles and the four winds
Cardinal records, Canada, ERS-5001



addendum : may 30 2015 - I found ANOTHER copy of this again without a cover
and I found a post on popsike a few years back (same year I sold my copy) but this
person found a few facts (but I cannot verify them because I don't have the paragon LP)
about this release - but it appears this was never released with a proper cover

Auction is for an ULTRA RARE ORIGINAL CANADIAN-ONLY PRESSING of DAVEY WELLES & THE FOUR WINDS' "BLOW YOUR MIND" LP from 196? on Cardinal Record Corporation (Cat. #ERS 5001). Wow!!! Insanely rare Canadian gem here that I don't think has ever been offered on eBay. Even some of the most knowledgable of Canadian collectors/dealers have never seen a copy of this... in fact, I know of only one other person who has even seen a copy and it came in the exact same style sleeve w/ brown insert/inner. So here's the deal as far as I understand.... This was recorded prior to their Paragon LP out on the East Coast to try and gain gigs and/or a record deal. It's more of a demo and features all the same tracks from the Paragon release as well as an additional 3 tracks, 2 of which are actually originals and are easily the best thing on this! It's really tough to speculate how many of these were pressed but it's certainly not many. Note the spelling is different then with the repress as it's Dave Wells on the Paragon LP. The generic cover has some light wear and the vinyl itself has some light marks and scuffs and does play with some light noise in parts but overall plays solid. Not likely to be seen soon in any condition... Resonable starting bid given it's rarity... To be honest, I would rather just keep it then sell it for any less. Bid now or weep later (lol).

(it sold for $200 - my first copy sold for about half that - price is going up)







Yeah..it's really called BLOW YOUR MIND!
This LP, which I recently found in London Ontario,
COVER-LESS.

When I picked it up, i thought it was a folk record, or
some horrible tijuana horn only album., but the "blow your mind" title kept
it a little open plus the James Brown covers and Season of the Witch
being included.

The opener song, my whole world ended, is a real heavy soul
approach and would make a Nothern Soul head just shake!
In Approval!
The Vocal stylings on there are Marvin Gaye meets Sam cooke!

But then...Davey will change his vocal approach with ease.
I think this is from 1969, judging by the songs on here
I'm very curious about this release. They are mostly covers on here,
except for a heavy funk cut called "king size" that throws down and keeps a heavy vibe with
uplifting, no-one's-gonna -stop-me-lyrics and smouldering fuzz guitar interludes.
Anyone heard of this guy? This album is very well done with some
fantastic rough edges and very original approach to their 'covers'
This LP will appeal BIG time to those that dig versions/covers
and unknown artists. The sound is very open and heady,
and played by what I think is an all black ensemble.

 LISTEN TO 3 TRACKS HERE :





They
tackle "season of the witch" into a deep acid mode..mix LSD and slow cosmic funk wha wha slop and you have the best version of this song!!!
The vocalist is interesting and appealing, and is in his element.
This is a mystery definitly worth unravelling! This is a very cool
exploitation LP, not so cheesy like those crown records (except the firebirds lp) this is a tight band and not 'contrived'...these guys can
hold down a HEAVY groove for days (the letter, which they cover
is the greatest cover of the song I have heard..and they slow it down to molasses
and just space your head out..if you can imagine that with "the letter"! a feat they pull off..almost going into jamaican Dub territory) The
versions of the James Brown and Stevie Wonder songs are KILLER...
Off the hook..ect.. YOu know? This one has to be heard!!!!
The soul is dripping on this release, and this group adds another
dimension to all tracks listed!!! Hard to put this one in any particular category if one was to choose to.
Including a great tribute to Otis Redding, Davey sings 'Try A Little Tenderness" with heart.





If anyone has any info//please do add!!! :) I have NO clue if this ever was released officially,
or if it even had a Cover! A visual indicator of who this group is would be fab.

Just converted from the record and available on my KDX/Hotline server.

SIDE 1

1-my whole world ended
2-les bicyclettes des belsize
3-season of the witch
4-wichita lineman
5-western union man
6-traces
7-poppa's got a brand new bag
8-uptight
9-i feel good
10-i got the feelin'

SIDE 2

11-gimmie a little sign
12-i who have nothing
13-sittin' on the dock of the bay
14-does your mother know about me
15-king size
16-try a little tenderness
17-galveston
18-the letter




**update July 12-2007> Turns out this was re released as an official release on Paragon records paragon ALS-260
Just happened upon an ebay auction that was selling it. And note the Spelling of his name is altered to just Dave Wells, opposed to Davey (davey seems to be his real common name, as he appeared on the east coast show from the mid sixties called "franks bandstand" as Davey), and no "Blow your mind" anywhere in the title!! . The final total of this LP went for a cool $67.66 US. I guess it's rare!


***here's the Paragon cover..


_________________
Living
Still
Dreaming

Thursday, June 14, 2007

SIR LORD BALTIMORE LP




Had this one on backup DVDrom from my original mercury LP and FINALLY got it
converted to MP3 this morning from 44/16.

Regarded as one of the first Heavy Metal LP's. (supposed first mention of the word "heavy metal" in the review for
this album in CREEM magazine in 1970-71)
Listen and you will hear where Gene Simmons, Paul Stanley, Iron Maiden,
Van Halen, Metallica, ect ect got some of the basis for their own ideas.

Very raw recording and bangs out mang.

*available on my KDX and Hotline server

Wednesday, June 13, 2007

Winston George-any direction-canada folk psych

Up first for y'all is this superb LP that may take some time to grow on some.
As to me, he was on the same level as Bobby Dylan..







PLAYERS :
Winston george, bob connor, ron kilgour, bill pigram, kim crowder.

A personal favorite, in the vein of introspective, political, moody, sparse folk psychedelia. So rare, because it was only released in Ontario, distributed by hand by Winston where he played. On the small indie label Ergo, which is also a book publishing venture.
For those in the know, he was a keystone of culture in Southern ontario, and his best friend was
Roy MacDonald of London Ontario, the street busker/philosopher/free spirit. Virtually unknown for this material in his own city of London Ontario, he played the coffee house circuit and bars in this time period, this is a stone classic, and very important document of canadian music.

Unfortunately Winston passed away recently and is missed dearly by friends and family.

A month before he passed, he invited me over to his house for a home made Beer, but we both did not connect
and as fate would have it, I missed my chance to have more intimate conversations with him. I am grateful of
the very easy exchanges via email I had with 'win' schell.

TRACKS :
Any direction, a secretary song, alone with a shadow, Resignation, channel 19, Danger U.,Long time leavin', Smoky mountain grey, Great Waterfall, Neither a lender, Reason or rhyme, Nobody died, So long gone, Mornin' lookin' free


Some concise information on Winston : http://www.everything2.com/index.pl?node_id=1674199


**available on my KDX or Hotline server : email me to find out how to become a member

•••• ripped from vinyl copy I recently sold online :44.1 khz d/a 16 bit, emagic audiowerk 8 audio card, ortofon super10 cart
realistic 32-1200 phono preamp mixer, technics 1200mkII

Polish psych part 1 : Katarzyna Sobczyk

I ripped this LP a while ago and it's a real odd duck. I love it. Very thick pressing for a Pronit (polish) LP.




The album title is 'zakochani sa sami na swiecie' which translates to English as ; " Lovers are Lonely"
14 diverse tracks about what it sounds like lost Love and heartbreak. Amazing downer vibe with awesome lysergic
edge via garage organs, big drums and sting ray fuzz attacks on about half the tracks.
Check it out, some tracks remind me of Italian soundtrack music, others pearls before swine type sound when they were on ESP, and then the showcase Vocalist 'Katarzyna Sobczyk' sounds very similar to the energy of the girl group in "beyond the valley of the dolls" soundtrack. Henryk Fabian is also a featured artist on the record. Unknown band. Time to do some research!

DOWNLOAD !

Surfing on the Plastic Cloud

THIS B LOG WEB HOG IS DEDICATED TO TY SCHAMMEL! R.I.P.
a very dedicated and open person who shared many new avenues
with many people including myself

He was an obssessed record collector in Vancouver who also sold the vinyl
down at the Huge Barn Flea Market complex down near the West Mono
rail Station in vancouver and also all over the world to hungry collectors via Ebay.
I spent many hours with him listening to all sorts of genres of music, rapping about
science fiction, photography, LSD trips, healthy eating, smoking mad herb, laughing and helping out with his
buisness (selling, grading, cleaning, posting, listening to rare psychedelia).
He passed away and I dedicate my meanderings,
and all the music I will be sharing on here with you. His very unselfish
ways really is the motivation of this. And also to those who are also
sharing great music and words on here. Thanks so much.

That leads to the name of my (OLD) blog : PLASTIC CLOUD
This was Ty's name for his record shop online and at the market, and also the name of a fantastic LP

( go here for a download of the album on MP3 :
http://chrisgoes.blogspot.com/2006_08_01_chrisgoes_archive.html#115591387886912261 )
*if this link is dead, I will post it on my server regardless



put out in the late 60's on Allied records by a bunch of freaks here in Ontario Canada.
The plastic cloud will continue infinite

Exploring self enhancement will create a better environment always

CTV after four 1967 canada Yorkville psychedelia

After finding a trashed warped copy of this LP, I finally found a pretty nice copy of CTV's after four
compilation from 1967 featuring music artists from Canada that were featured on this television program.
WOULD LOVE to know how much of this footage exisits if any on video. Very ambitious collection
with mostly artists that were on the progressive Yorkville label from Toronto Ontario canada.
Some other artists do appear that was on the label that pressed all of Yorkville's stuff.. the infamous
ARC label. This would be the 2nd in a series of 2 that Yorkville records put out, the other LP being
"yorkville evolution" with the very desireable psychedelic cover. But this comp has the better selection
of music IMHO. interesting to note, a misprint on the sleeve and label of record, side two, track two is
credited to "Bob Francis -I'm a bad bad boy" Well, it is really the very first Pink Floyd cover ever
of "see emily play by, well, I'm not sure, as it is not labled..it's either "okee pokey band" or "3 to 1"

wow. what a sweet treat!
Now dig it!





**available on my KDX or Hotline server : email me to find out how to become a member

The notorious byrd brothers

"The notorious byrd brothers" WANTED! the byrds masterpiece, the last album featuring David Crosby...check the cover, he was replaced by the horse!
1st press MONO copy that is very rare, supposed superior mix here.


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**available on my KDX or Hotline server : email me to find out how to become a member

T SWIFT AND THE ELECTRIC BAG (are you experienced?)





supa exploitation!!! An early and gritty Hendrix cover kicks this LP off in a very heavy basement
vibe, played by a totally anonomous group. The singer does
show up on other LP's on this Label. He has a sort of gruff southern USA voice
, nothing I can compare it to really.
Just converted to MP3 from original Canadian pressing.
Out of all my exploitation LP's, this is one of my fav's as it's just so raw and almost falls to shambles
at times! There is even an extended experimental track on here that has some early electronic noodling
that goes into some HEAVY bass territory. tres freaky

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~freQazoidiac came from beyond the 33rd dimension!

The cosmic tide had opened for the time to enable
the song structures of the collected past to be
placed into this chosen virtual dimension for a current
but unknown period of existance.


This is an OPEN SOURCE free-to-join Audio Visual Club
this online concept at root is about sharing
SEE THE INFO AT BOTTOM OF PAGE FOR ALL THE INSTRUCTIONS !


We advocate the Free Life Personal Experience!
Freedom of choice, freedom to share but not
freedom to profit by others art and hard work.
Free not like free beer and Open source not like the software philosophy
Music and Sound vibrations created by humanes is a key to part
to communicate and experience universal method so this is
why it's mentioned now
However we do not advocate or suggest one follow authorship
prescription of ideas of how somethings should happen with your
own hyper-creative methodology however you activate
Copywrite control is copywrong and is only giving humanes
half the story, take the controls, guide mono et stereo