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Thursday, September 17, 2009

IMANTS KALNINS-blow wind blow-PUT VEJINI-ORCHESTRAL FUZZ PSYCHEDELIC LATVIAN ELEVATIONS!

UPDATE-SINCE YOUTUBE TOOK DOWN MY ACCOUNT
I HAVE NO VIDEO CLIPS FOR MANY POSTS ANY LONGER.
SOME LIKE THIS ONE WILL BE RESTORED IN TIME.
THANKS



A while ago, I found a few Latvian 7" Ep's from various movie soundtracks from
the early 1970's, among them was this EP by IMANTS KALNINS, called "put vjini" or in
english "blow wind blow" and upon listening, it knocked my rocks into orbit. I love the orchestral arrangements
and incorporation of a static ridden fuzz guitar. Many moods and alot based on Latvian
folk traditions in music, Imants expanded upon these moods with another release I will
talk about more in another post, based on symphony no.4, where Imants takes a contemporary
(at the time early 70's) rock group and sets it to a competent orchestra, with his take on arrangments.
Both come from a time of social upheaval, and freedom of expression.

Along with this EP I found
and LP by Giedrius Kuprevicius, called "in chase of fire" and was Latvia's answer to the world of the rock
opera, so there is a parallel here, with Imants, they are both from similar vein, influence, and incorporate rock arrangements with full orchestration meanwhile bringing in folk influences, plus socio-political themes. I am planning a full posting of "in chase of fire" in the future, it's a knock out.
Now, again with Imants, I find him and Giedrius to be a real treasure to listen to, and qualify them in my mind as innovative musical geniuses, that deserve a bit of exposure on the web. 

I posted the whole EP and have included the utube clips here from wax, and then I was able to source out the actual video clips from the movie "blow wind blow" which the music was utilized. there is music in the video clips, typically , not available on record. 
I find the movie mezmerizing, and heavy in folk tradition. I hope someone can comment on some of the themes. The last scene of the boat on water with the orange sunset, fits perfectly with the long fuzz bursts laid out over orchestra.
 MOVIE CLIPS :
 ...

.......

Wednesday, September 16, 2009

FUTURE SHOCK-CANADA FUNK 45- UNKNOWN!! Cover of CYMANDE CLASSIC-THE MESSAGE LISTEN !!

Man o ham, I really have a pile of stuff in my mind to share ! I finally got this little cut out, after thinking about it the other day, and wondering, and worrying "where the heck is it!" I thought i lost it among a pile of stuff i was throwing out.
Goodness, I found it, and am I glad. This is a fine little 2 sider to throw up on here for you to tune into .
I don't recall hearing any Cymande covers, except for maybe when they were "rediscovered" by the masses after a few Hip Hop producers used some samples. De La Soul Comes to mind. I did not discover them before De La myself, that was my stepping off point for me and I'm sure many others, back in 1988. (prince paul, stand tall!)
This leads to this 45 I digitized on youtube. Here's the information :

FUTURE SHOCK-the message (cymande) / so near yet so far (ed-dee staxx) Ultra records-SCV-2020-(1976??) - Recorded at Sound Canada in 1970 something or other.. no definitive about year, sorry.

Who is this Ed Dee Staxx dood? He wrote the A side "so near yet so far" The labels on my copy are
reversed.
Tell me what you think of this cover! Does anyone else know that this existed? Any history we can fill in here??

Saturday, August 15, 2009

DUKE-RUNAWAY GIRL-JOY 7"-1972?-minimal drum machine psych

DUKE-RUNAWAY GIRL-malaguena-JOY 7"-1972- 45 rpm USA?? mwx-391-stereo

produced by : R. Zanke & R. Dukett (is Dukett the DUKE?)

Gold Mine Music INC -


I have not heard or seen this anywhere other than the box this came in, I ordered on ebay once a few years ago.. a random mixed lot box of singles, from somewhere in California. This is one of the gems out of that box. Runaway Girl is the original song on the 45, written by DUKE - R. Dukett. haunting, a very mellow riff, with psych phasing and some early re-appropriated use of a electronic organ drum machine, around the same time Sly Stone and Shuggie Otis where using them for the same effect. As is, seems very rare, can anyone fill in the details about Duke? Is this the same JOY records that became the Hip Hop/ Rap label? it's basically the same typeface/logo.



enjoy the a/v clip :
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shandels-the- no way out / treat me like a man - Carldell music- C-510 45rpm 7" single 1964-65? garage





taking a chance to take the time, to stop by at a historically bad Value village, when it comes to record selection, in Cambridge, ontario, I ended up finding a few mid 60's garage-folk-psych rock singles.

This gem is from 1965
No Way Out / Treat Me Like A Man (Carldell C-510) 1965
"treat me like a man" was redone in studio, and has a more garage rock sound
compared to this single, and is featured on a compilation re-issue.

Some other releases, are as follows : (this single was their first)
Please Stay / Treat Me Like A Man (alternate version) (Showcase S-404) 1965
Fifteen Children / Shades Of Blue (La Salle L-381) 1967
Barnyard Blues / ? (La Salle ) 1967
Gypsy / Try A Little Tenderness (La Salle 25) 1968
NB: (2) as by Shan Dels. (5) by Ellen and The Shandels.

Enjoy the video/audio from the actual 45:



some info from the defunkt website FuzzAcidFlowers:

****************
****************
'A band from the Long Island, New York communities of Levittown and Wantaugh. They specialized in subdued beat-pop and garagey ballads with a unique twist. Instead of a lead guitar they employed a Cordovox, a small keyboard-like organ, whose accordion-like strains enhances the moodiness and infuses a Gallic flavour.

Produced by NYC impressario Carl Edelson (also responsible for release by The Lemon Sandwich and The Taboos), they would release several interesting 45s over a three year period, culminating in a 1968 recording where they backed a female singer called Ellen on a torrid psychedelic soul rendition of the Moody Blues' Gypsy.

No Way Out is a harmonious midtempo charmer; Treat Me... is coy bouncy pop; Please Stay is a minor-mood garage ballad with a nod to the Zombies' school of wistfulness.

Compilation appearances include: Shades Of Blue on Teenage Shutdown, Vol. 5 (LP & CD); Please Stay on Shutdown '66 (LP) and Psychedelic States: New York Vol. 1 (CD).

(Max Waller/Mike Markesich)************
**********
**********

There are a total of 5 Shandel-Shandells bands listed in FuzzAcidFlowers! From all ends of the USA.
There also appears to be one of the incarnations of the Shandel(l)s that has strong ties to Chocolate Watch Band. Take note of the 2 people in the article to follow, it's obvious their connection with the Watch band, but not so clear, which Shandels they played in. There is a vauge connection with Skip Spence and the Brent group, "the other side".

Here's the bit, on the history of the Chocolate watch band :
************
The band were also friends with another act called The Topsiders who for a short while included Skip Spence, prior to his joining Jefferson Airplane. In 1965, both bands underwent a number of changes, with Phay, Torney and Kemling all leaving to join The Topsiders (who then became The Other Side), whilst Sean Tolby, moved from The Topsiders to The Chocolate Watchband. Indeed Mark Loomis (ex-Shandels) also had a brief spell with The Other Side after Rich Young was drafted, before he decided to reform the 'Watchband with Gary Andrijasevich and Jo Kemling. The latter opted to stay with The Other Side however, and bassist, Bill Flores (ex-Shandels) and, a vocalist, biology student Dave Aguilar, were drafted in to complete The Chocolate Watch Band's new line-up. Heavily influenced by British R & B outfits like The Stones and The Yardbirds, the band gigged regularly around the Bay Area supporting bands like The Doors, Big Brother and The Holding Co. and The Mothers of Invention.
************

Tuesday, August 11, 2009

Keefe Sisters-our heritage and other things-Canada Folk Psych PART 2






Back in 2007, I posted a little info about this LP, but no audio example
at that time. Well, here's 4 tracks from the album.
If you notice the original Posting, 2 of the Keefe Sisters had
dropped a comment, and unfortunately, according to them, one sister has
Passed away.
I hope all that listen, enjoy this. I find them charming.






4 selections from the very rare LP on ARC/Caribou records (the only caribou LP i know of)
from 1975. -
These teens at the time, were from Cape Breton. I also will be trying to find out who the
musicians are on this LP. Very solid playing.

NOTE : Patricia (keefe) Gysbers, one of the Keefe Sisters, has informed me
that "The musicians for this album was none other than Newfoundlands own Harry Hibbs and the Caribou Showband."



Well, this solves in my mind the query about the label name subsidary of Arc, Caribou.
If you look on some Harry Hibb Arc LP's you will see he is LIVE at the Caribou club.
Since i'm not from out east, and dont' know much about Harry either, I am to assume it was
his club, and in turn, a label he started?

tracks in the video/audio clip:
1-Love knows
2-Home from the forest
3-Try a little kindness
4-Let's take a journey (written by Jamie Keefe-now deceased)

john michael green-still the innocent



JOHN MICHAEL GREEN Still The Innocent (Private) Canada 1980

Solid, obscure canadian album, not too sure if John released any other material. A beautiful album, with psychedelic touches and interplay between John and the enchanting voice of Kim Buller. Some dark moments mixed with pop, a bit of roy orbison meets early 80's REM, and to top it off, some timeless, deep lyrics.

I converted this from LP a few years back, and had to play back from the digital source in the video. Once I dig up my LP, I will re-do the video, and add the information from a Newspaper clipping that was stuck inside the copy I found.


Players John Michael Green - vocals, acoustic guitar / Kim Buller - vocals / Bob LeMay - drums, harmony / Jamie Matheson - lead guitar / Nicholas Paterson - bass / Dave Scott - lead guitar / Mike Soldink - bass / Kathy Hill - flute

Tracks The Hourglass Journey - Kelly's Song - Still The Innocent - Your Own Song - Trilogy For Tomorrow - Last Curtain Call - The Ride - Let Me In - Follow Your Heart - Collage





*********

Monday, August 10, 2009

KDX-HAXIAL-has gone the way of Hotline

F.Y.I.

As some may be aware, I use KDX server software to host my music library to the world.
I was informed by a friendy guest on this blog that they could no longer access the KDX
website to download the Software to connect.

This seems to be just the effect of the company ceasing operations, but the KDX COMMUNITY
is still going strong and I still will continue to use it to host my library.
If you cannot find the KDX client software for your computer platform on google,
just drop me a line and I'll provide you with the software.

In the meantime, I will also be looking into a new possible replacement for file sharing.
There is something by Zanka Software, very similar to KDX called Wired, which
I may implement, but it only runs on Intel and PowerPC-based Macs, not native windows,
but this is supposed to change soon.

If anyone has details on why KDX ceased operations, please leave some info in the comments if
you can.

Tuesday, April 14, 2009

SEPTEMBER • 45 rpm 7" single•1973 Polydor• BLUE LADY / CELEBRATION • CLIFF EDWARDS-THE BELLS

I wish I knew more about this Canadian group. I speculate that this is the only release? I hope I am wrong. Hopefully someone can guide these ears to some more material by this group, guided by the fab touch of Canadian Musical underappreciated genius, Cliff Edwards. He was in the first Incarnation of the Five Bells, who became the Bells. I tended to be pulling out the first Five Bells LP from 1968, and it is still my favorite. Possibly the Heavy Cliff involvement in that LP. Well, 45 is about 4 years after his first minor success with the Bells, and we have a heavier approach, with an eclectic sound. Too boot, we have some Rod Argent (from the Zombies) material on the flip side.
Speaking of the B Side, check the 2nd vocalist, after the female. Sounds UNCANNILY like Axl Rose from late 80's rockers, Guns n' roses. There seems to be 3 vocalists given turns in this group.
I have not found one iota of info this band. Is this an elusive rarity? Regardless.. I dig this wax baby.

EUGENE SMITH- 45rpm 7" single•A PIECE OF WOOD / FREIGHT TRAIN• canada-GOLDFISH-poppy family



Fantastic release by Eugene who played in the Majestics (here comes the judge-Canada funk band)  for a brief time, and has been involved in his own thang since the 60's. Doing a unique blend of Funky Folk Blues.

This is produced by Terry Jacks and released on Terry's short lived label Goldfish.
Looks like there was a USA release on Big Tree records, but in Mono, not Stereo like this Canadian release. 

Loving this timeless little bit of Canadiana. I gather, these guys were a tight unit.
Found this at the end of the summer in some throw-away records at the side of a book shop
around these parts.
Sometimes pays to park the bicycle to have a closer look at those boxes on the side of the road ;)




Monday, April 13, 2009

Andrew "Smokey" Hogg - plays the blues-texas









The video clip, is direct from the time Record, "riot in blues" a fabulous collection, with 2 tracks featured here, by Smokey Hogg. You may notice no mention of him recording for Bob Shad in the bio, either it is a scarce recording, or possibly a different Smokey Hogg from texas? Anyone have a definitive?

**UPDATE-august 2009-

this comment arrived, from Chuck Nevitt ~ Dallas Blues Society Records
, to confirm which Smokey this is...

This is indeed the Smokey Hogg from Texas. He and "Black Ace" used to tour the east Texas lumber towns/camps--where, of course, it was the African Americans doing most of the hard work. Many of his sides were recorded by Herb Ritter, who owned the Dallas based label, Bluebonnet Records. Mr Ritter would often lease his material to other labels. Btw, Frankie Lee Sims is reported to be on some of the Hogg recordedings, which makes sense because he too recorded on the Bluebonnet label.

Chuck Nevitt ~ Dallas Blues Society Records





the scarce info i could cull together :
Biography by Bill Dahl source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:knfyxqy5ldje~T1

Smokey Hogg was a rural bluesman navigating a postwar era infatuated by R&B, but he got along quite nicely nonetheless, scoring a pair of major R&B hits in 1948 and 1950 and cutting a thick catalog for a slew of labels (including Exclusive, Modern, Bullet, Macy's, Sittin' in With, Imperial, Mercury, Recorded in Hollywood, Specialty, Fidelity, Combo, Federal, and Showtime).

During the early '30s, Hogg, who was influenced by Big Bill Broonzy and Peetie Wheatstraw, worked with slide guitarist Black Ace at dances around Greenville, TX. Hogg first recorded for Decca in 1937, but it was an isolated occurrence -- he didn't make it back into a studio for a decade. Once he hit his stride, though, Hogg didn't look back. Both his chart hits -- 1948's "Long Tall Mama" and 1950's "Little School Girl" -- were issued on Modern, but his rough-hewn sound seldom changed a whole lot no matter what L.A. logo he was appearing on. Hogg's last few sides were cut in 1958 for Lee Rupe's Ebb label.

Smokey's cousin John Hogg also played the blues, recording for Mercury in 1951.



eer's the wiki version :
Life and career

He grew up on the farm and was taught to play guitar by his father Frank Hogg. While still in his teens he teamed up with a the slide guitarist and vocalist, B.K. Turner aka Black Ace and the pair travelled together playing the turpentine and logging camp circuit of country dance halls and juke joints that surrounded Kilgore, Tyler, Greenville and Palestine in East Texas.

In 1937 Smokey and Black Ace were brought to Chicago, Illinois by Decca Records to record, and Smokey had his first gramophone record ("Family Trouble Blues"/"Kind Hearted Blues") released, as by Andrew Hogg. It was an isolated occurrence - he did not make it back into a recording studio for over a decade.[1]. By the early 1940s Hogg was married and making a good living busking around the Deep Ellum area of Dallas, Texas.

Hogg was drafted in the mid 1940s and after a brief spell with the U.S. military, he continued working in the Dallas area where he was becoming well known. In 1947 he came to the attention of Herb Ritter, boss of the Dallas based record label, Bluebonnet Records, who recorded several sides with him and leased the masters to Modern Records.

The first release on Modern was the Big Bill Broonzy song "Too Many Drivers", and this racked up sufficient sales to encourage Modern Records to bring Hogg out to Los Angeles, California to cut more sides with their team of studio musicians. These songs included his two biggest hits, "Long Tall Mama" in 1949 and another Broonzy tune "Little School Girl" (#9 U.S. R&B chart) in 1950.

Blues enthusiasts have reserved most of their approval for his two-part "Penitentiary Blues" (1952), a powerful retelling of the old Texas prison song, "Ain't No More Cane on the Brazos".[2]

Hogg's country blues style, influenced by Broonzy, Peetie Wheatstraw and Black Ace was popular with record buyers in the South during the late 1940s and early 1950s. He continued to work and record until the end of the 1950s, but died of cancer, or possibly a ruptured ulcer, in 1960.[3]

[edit] Relations and confusion

Smokey's cousin, John Hogg, also played the blues, recording for Mercury in 1951.

Smokey was reputed to be a cousin of Lightnin' Hopkins, and distantly related to Texas Alexander, although both claims are ambiguous.[4]

He is not to be confused with Willie "Smokey" Hogg, an imposter who was based in New York and recorded mostly after 1960, taking the name of "Smokey" after Andrew had died. He recorded mostly for Spivey Records, and his work is primarily a poor imitation of Lowell Fulson. Although Andrew was the younger man, his sound represented an older style in Texas Blues.[5]

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