Friday, September 14, 2007
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 :
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.
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.)
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
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 email@example.com
- 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.
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
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
self titled1969 - 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 firstname.lastname@example.org 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 )))))))))))))
IN STREAMING FLASH
IN STREAMING FLASH
ACTUAL AUDIO FROM
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.
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.
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.
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
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
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