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Friday, December 17, 2010


This Lp is the last in a series of 
unique Canada only Beatles LPs.
The Graphics, Packaging, Catalogue number, Track listing are unique to the 6000 series
Vinyl pressing quality (top notch) and unique Mono production by Paul White.

When putting this together we found the rarest pre 1965 Capitol Beatles
7" 45rpm single. So we added this as a bonus to the collection
because it was released just days before this LP,

released 20 April 1964
"Do You Want To Know A Secret"/"Thank You Girl" (Capitol Canada 72159)
and Long Tall Sally on the 27th of April. Very cool they left those 45
cuts off the LP.

BEATLES-long tall sally-Capitol-1964-MONO-canada-T6063 +bonus 45 cuts 

45 released : 20 April 1964
"Do You Want To Know A Secret"/"Thank You Girl" (Capitol Canada 72159)

Here is a wealth of information from the excellent web archive

The Beatles in Canada

- a survey of early Beatles releases by Capitol Records of Canada

I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, "The Beatles did."
Kurt Vonnegut
There is a game people like to play that goes, "When would you most like to have lived and why?" The Italian Renaissance? Mozart's Vienna? Shakespeare's England? Personally, I would like to have been around Bach. But I have a real difficulty with the game, which is that living at any other period of history would have meant missing the Beatles, and I honestly don't think I could do that. Mozart and Bach and Shakespeare are always with us, but I grew up with the Beatles and I'm not sure what else has affected me as much as that.
Douglas Adams, from The Salmon of Doubt (who also deserves a tribute himself.)
"He was a giant, a great, great soul, with all of the humanity, all of the wit and humor, all the wisdom, the spirituality, the common sense of a man and compassion for people. He inspired love and had the strength of a hundred men. He was like the sun, the flowers and the moon and we will miss him enormously. The world is a profoundly emptier place without him."
- Bob Dylan (on George Harrison)
My own tribute: Remembering George   and Eric Idle's tribute

Check out Frederick Harrison's article 1963 in the US and Canada for his view of the very early days of pre-Beatlemania in Canada (contrasted with the experience in the US). Also linked is a scan of an early hits chart with Please Please Me at number 27. More information at the Capitol of Canada "6000" series page. In addition (thanks to Andrew Croft for bringing this to my attention) here is an early CHUM chart from 2 December 1963 showing the first listing of She Loves You in the Toronto area.
Of course, post-Sullivan things really got jumping ...
Here is a photo of the band taken at their concert in Montreal, Sept 8th, 1964. Click on it for an enlargement.
Remembering the Beatles in Montreal

There is a great wealth of information on the net about the Beatles discography insofar as it concerns the UK and the US. Other countries have generally been shortchanged1 in this regard, however, (with the possible exception of Germany and Japan). I would like to add the following short article covering the early Canadian discography, which was significantly different from either the UK or the US history. Capitol Canada was much faster than its American cousin to take up the opportunity offered by EMI, with the result that Canadians experienced Beatlemania sooner than those poor unfortunates who lived south of the border. Capitol Canada did however have the familiar unhappy habit of repackaging the UK albums (in two cases out of three), making the Canadian release history unique. Personally, I prefer the UK releases, even if I had to wait for the CD reissues before I became familiar with them, but like many of my generation, I do have a warm spot in my heart for those battered disks of vinyl with the "6000" series Capitol logo. At least one of the two "official compilations" (which is what I think the North American albums ought to be called) had a lovely cover: "Twist and Shout" bears one of the famous "jump" shots, the one used in the UK for the "Twist and Shout" EP, naturally enough.

I have listed below what I can gather of the releases in Canada of "principal" Beatles material in 1963-64. I have not included re-releases, nor pseudo-compilations like the "The Beatles vs The Four Seasons", the Tony Sheridan sessions, or the pseudo-documentary "The Beatles Story" -- in any event I believe the Canadian history essentially follows the US release history as far as those go. Furthermore, I have stopped this list at 1964, since thereafter Canadian releases are generally the same as the US ones. (There are some exceptions, since Capitol Canada has always been a separate company -- even today, EMI Canada is distinct, and releases in Canada bear its logo. The main differences in US and Canadian recent issues: for Paul's "All the Best" we got the UK version, not the US one, and we did not get as many typos in our release of "Live at the BBC" :-}.) The following information is based on several sources (including my own old collection of vinyl). Two particular debts are to a posting on by Bob Pietkivitch , and a posting on by Gary Flinn . I have not been able to check all of the information in the RMM article; any corrections or additions (or suggestions for improvement) will be most welcome.

PostScript: Some errors and additions have been pointed out to me by Gilles Valiquette; I have made the corresponding changes, with thanks for the help. Some other dates come from Tim Brent and Andrew Croft. Thanks to them all. Further improvements are still welcome. Those interested in Canadian Beatles history ought to check out Steve Clifford's Beatles page.
I have added the "official" release dates, as given by EMI Canada. These, and other information on the Canadian experience, may be found at the Capitol 6000 site. Any other claimed dates are given in brackets - you can be the judge! Thanks to Piers Hemmingsen for these updates.

= rags =



18 [4] Feb 1963
"Love Me Do" (Ringo version)/"P.S. I Love You" (Capitol Canada 72076)

9 Apr 1963
"Please Please Me"/"Ask Me Why" (Capitol Canada 72090)

18 Jun 1963
"From Me To You"/"Thank You Girl" (Capitol Canada 72101)

16 Sept [18 or 28 Oct] 1963
"She Loves You"/"I'll Get You" (Capitol Canada 72125)

25 November 1963 (Actually released 2 Dec 1963)
Contents identical to the British WITH THE BEATLES LP.
Side 1: It Won't Be Long; All I've Got to Do; All My Loving; Don't
Bother Me; Little Child; Till There Was You; Please Mister Postman.
Side 2: Roll Over Beethoven; Hold Me Tight; You Really Gotta Hold On
Me; I Wanna Be Your Man; Devil in Her Heart; Not a Second Time; Money.

 A nice snapshot of attitudes then:  the cover (the WTB cover with
 an additional top border saying "BEATLEMANIA!") bears the following
 "endorsements" (printed in the area under JGP, left of R):

  The newspapers say ...
  A new disease is sweeping through Britain  ...  and doctors are
  powerless to stop it ... It's Beatlemania! This Liverpool group
  play to packed houses wherever they go ...
                                                   Sandy Gardiner

  The  Beatles  have created a  teen-age cult  more frenetic than
  anything the  bobbysoxers  dreamed of  in the heyday  of  Frank
  Sinatra ... Four pop idols for the price of one ...
                                                      Alan Harvey

  At the  Royal  Variety  Performance  Show ...  The Queen Mother
  beamed ...
  A raucous, big beat sound  ... good clean fun ... "Beatlemania"
  ... was striking everywhere ...
                                                    Time Magazine

  Their theatre appearances  draw  screaming  fans  ... The Queen
  Mother found them  "so young, fresh and vital"  ...  they stamp
  about and shake ... prance ... skip ...
                                                Newsweek Magazine

9 December 1963
"Roll Over Beethoven"/"Please Mister Postman" (Capitol Canada 72133)


13 January 1964
"I Want to Hold Your Hand"/"I Saw Her Standing There" (Capitol Canada 5112)
(essentially the US release)

February 1964 (Actually released 3 Feb 1964)
ALBUM:  TWIST AND SHOUT (Capitol Canada T 6054)
Side One:  Anna (Go To Him); Chains; Boys; Ask Me Why; Please Please Me;
Love Me Do (Andy White version); From Me To You
Side Two:  P.S. I Love You; Baby It's You; Do You Want To Know A Secret;
A Taste Of Honey; There's A Place; Twist And Shout; She Loves You.

17 February 1964
"All My Loving"/"This Boy" (Capitol Canada 72144)

16 [1] Mar 1964
"Twist And Shout"/"There's A Place" (Capitol Canada 72146)

"Can't buy me love"/"You can't do that" (Capitol 5150)
(essentially the US release)

20 April 1964
"Do You Want To Know A Secret"/"Thank You Girl" (Capitol Canada 72159)

15 Jun [10 May] 1964
"Sie Liebt Dich"/"I'll Get You" (Capitol Canada 72162)

11 May 1964 (Actually released 27 April 1964)
ALBUM:  LONG TALL SALLY (Capitol Canada T 6063)
Side One:  I Want To Hold Your Hand; I Saw Her Standing There; You
Really Got A Hold On Me; Devil In Her Heart; Roll Over Beethoven; Misery
Side Two:  Long Tall Sally; I Call Your Name; Please Mister Postman;
This Boy; I'll Get You; You Can't Do That

From then on, the releases in Canada were (essentially) the same as
those in the US, including several singles and 3 LPs:
Jun     A Hard Day's Night (LP - United Artists).
Jul     "A Hard Day's Night"/"I Should Have Known Better" (45).
        "I'll Cry Instead"/"I'm Happy Just To Dance With You" (45).
        "And I Love Her"/"If I Fell" (45).
        "Slow Down/Matchbox" (45).
        "I Feel Fine/She's A Woman" (45)
        Something New (LP).
Dec     Beatles `65 (LP).


RAGS Home Page:
(look for this article and other Beatles links at bottom under Miscellany)
Suggested improvements/additions/corrections to


Here is another addition to the north american experience:
There are four unique to Mexico Lps issued in early 1964 by Capitol of Mexico. Tim Brent posted this notice on - for a more complete listing of Mexican (and many other countries) Beatles releases, I recommend a visit to "Frank's meagre Beatles page".

Conozca Beatles       SLEM 007
Side 1: I Want To Hold Your Hand, I Saw Her Standing There, This Boy,
I'll Get You, Thank You Girl, She Loves You
Side 2: Don't Bother Me, Little Child, Hold Me Tight, I Wanna Be Your
Man, Not A Second Time, From Me To You

The Beatles,Vol. 2    SLEM 043
Side 1: Roll Over Beethoven, Baby,It's You, Please Please Me, Boys,
Twist And Shout, Ask Me Why
Side 2: Love Me Do, P.S. I Love You, Taste Of Honey, Do You Want To Know
A Secret, All My Loving, It Won't Be Long

The Beatles,Vol. 3    SLEM 045
Side 1: Devil In Her Heart, Money, Anna, Chains, Misery, You Can't Do That
Side 2: There's A Place, All I've Got To Do, Till There Was You,
Please Mister Postman, You Really Got A Hold On Me, Can't Buy Me Love

The Beatles,Vol. 4    SLEM 047
Side 1: A Hard Day's Night, I Should Have Known Better. If I Fell, I'm
Happy Just To Dance With You, And I Love Her, Tell Me Why
Side 2: Anytime At All, I'll Cry Instead, Things We Said Today, When I
Get Home, I'll Be Back, Long Tall Sally

From: (Lord Tim Brent)
Subject: The Beatles Mexican LPs
Date: 11 May 2000 19:49:52 GMT


freqazoidiac  - limited torrent lossless

Thursday, December 16, 2010


What do you get when you mix the Ohio Players, Sly and the Family stone
James Brown, Prince, Parliament - Funkadelic ZAPP and the troutmans, 
George Clinton, Al Green, Psychedelic Soul
Fuzz guitars, soaring harmonies, slick production
Earth Wind and Fire (uh it's not even that simple)
You get........
walter "JUNIE" Morrison !!!!!  

Here is his first solo album from 1975.
Going through the entire gamut of soul, funk and disco
it's a masterpiece and may seem contrived to some
but it's only because it's been reforumlated and ripped
off by lesser entire bands..and this was mostly the work
of one Junie, who composed, directed, and played mostly everything
'cept the strings.
Shuggie Otis eat your heart out!..nuff respect Shuggs!

His follow up 70's albums are classics too, after this you get
I hope to  post those from original LP in the future.

** the cover has been rearranged to reflect the ongoing
offerings of the FREQAZOIDIAC.
We try not to desecrate the original design, just
make our little update, but we put the original
cover in tact with the pdf file.

Design remanipulation by : oatstao @


JUNIE-WHEN WE DO-westbound-Stereo-Canada-w200-1975-LPCD

10-walt's third trip.aif
09-married him.aif
08-when we do.aif
07-you and you.aif
06-tight rope.aif
04-the place.aif
03-johnny carson samba.aif
02-loving arms.aif



Friday, November 26, 2010

The Centurions-Enter the Arena EP-Seka 1989 UK ambient tripped hopped TB303

Centurions-Enter the Arena EP-Seka 1989-HHED004A- LIMITED TORRENT

from original 12" wax, by request!

There is no information I can find about this group. 
I would post an audio clip here, but youtube shut my account down that
had both sides up.

*There is no clue to date, but I would guess 1989-90.



tribe II-MATERIAL-what i like-1982 FUTURA 2000-celluloid records story-torrent


Here is the first part of our restrospective offering
of those interesting and eclectic cuts from Celluloid records
out of New York City in the 80's.

Tribe II (two) seems to be a one off assembled crew, based on the grooves
from the great band Material led by Bill Laswell. His history in
music is deep and was thoroughly excited to find records involving
Laswell and he's one talented Bass player if you didn't know.
His remix of one of my favorite Miles Davis records "he loved him madly"
is excellent for the space he left in the mix.

I'm not sure how many album covers graffiti innovator Futura 2000 graced on celluloid
but this one has the back cover covered in the speckled color space gradients by F2000
circa 1982. Mo wax ended up using F2000 for the first couple  years of existence on
their covers, an obvious nod to Celluloid.

Enjoy this limited time torrent from original wax.
The groove will enhance any live eclectic jam.


"what I Like" american dreams

Celluloid records 1982-USA pressing 12" single
CEL 157

male vocals : Jimmie mac / Roger Trilling
female vocals : beeside (peace sign)
lyrics by : bernard zekri, r.bernard fowler
R.Bernard Fowler

Music : Material
Bill laswell : bass
Michael Beinhorn : synthesizers
Grandmixer DST : DSX drum machine
Nicky Scopelitis : guitar
Nicky Marroero : congo

Produced by : material
engineered by martin bisi, dom maita
recorded at OAO studios brooklyn n.y.
back cover art : FUTURA 2000


Friday, October 22, 2010

Nancy Sinatra-Lee Hazelwood-hits of-LPCD + BONUS 45 -Sand / Ladybird MONO

Nancy Sinatra-Lee Hazelwood-hits-1968-stereo-Canada-RS6273-LPCD


01-you ve lost that lovin feelin
02-elusive dreams
03-greenwich village folk song salesman
04-summer wine
05-storybook children
06-sundown sundown
08-some velvet morning
10-lady bird
11-i ve been down so long - it looks like up to me
Lee Hazelwood-Nancy Sinatra-sand/lady bird-45-canada-reprise-nancy and Lee-0629
sideA-Sand-1966 MONO45.aif
sideB-Lady Bird-1966 MONO45.aif

Download Torrent (limited time) :

Tuesday, October 12, 2010



Here's a recent request, and reprise of an older
blog post...

 and the first time offered
Lossless here.

Saturday, October 9, 2010




LINK TO TORRENT : *********

Sunday, October 3, 2010

Oscar Peterson-LIVE CBC SESSION-1960-JAS95072-re1997-MONO


Here is a very nice session that was lost in the Canadian Archives
for years, and found the light of day with an excellent transfer to digital
from the Mono tapes.
The CD itself had dual MONO tracks, so this was mixed to single mono
to cut the size in half, with no difference at all in soundstage.

'eers a nice review from amazon :

 5.0 out of 5 stars  Vintage Trio, December 25, 2000
By     William Faust (Columbus, Ohio) - See all my reviews
This review is from: Live at Cbc Studios (1960) (Audio CD)
Granted, Oscar Peterson might be one of the most recorded jazz musicians ever (thanks to Norman Granz), but that shouldn't diminish each effort and this one is no exception. Recorded live on January 27th in 1960 at the Radio-Canada studios in Montreal, this set features 10 cuts, all standards (with one original blues) with a good mix of both swing and ballads. The Trio - Peterson, Thigpen and Brown - does its usual magic on gems like Sweet Georgia Brown and Let There Be Love. If you like OP, especially in the trio setting without guest artists, this is a tidy little session that you'll play over and over again. Highly recommended.

Track Listing
1. My Heart Stood Still
2. Blues For Big Scotia
3. Autumn Leaves
4. Sweet Georgia Brown
5. How About You
6. I Got Plenty O' Nothin'
7. Cookin' At The Continental
8. I Didn't Know What Time It Was
9. Let There Be Love
10. Dancing On The Ceiling


••••••  DOWNLOAD TORRENT •••••••

Monday, September 27, 2010

album review : POP'S COOL LOVE - "A MAN" Elektra-1991 Cyber Poppin' Hip psycha hop Suga Pop Mish Mash Rap Mode

The dollar store scene has become a bit interesting in Canada.
You can find almost anything there from various liquidation sources
and it's always changing to the time of either lease signed or
truly no more stock after it's gone.
There are some dollar stores that sell majority 'made for North America' cheap
versions of useful objects (for the most part) made in China.
This store was a mix. It had that imported smelly plastic, and on the bottom shelves, here and
there were NOS. That means New Old Stock.
A bunch of cassette tapes leapt out at me with a sparkle of their super clean and tight
cellophane wrap ! Nice, because I love finding original cassettes, especially if they
are bands I've never heard of. In this case it was a whole load of early 90's
label rejects. Unfortunately for some, that's a sad case, but for the others, there
are some real crappers, no doubt.

This one tape called "Pop's Cool Love - A MAN"

(is now uploaded to the mediafire account-ready to d/l. I had the youtube exampleup
but that account was closed. If I get enough requests -10 requests- I will offer it as
a lossless Torrent. )
was in there, and there were( two of them.)
Since I bought the whole tray of tapes, I bought them both sealed DIGalog tapes.
Looking at the cover, it looked to me a bit open minded 90's with a possible grunge vibe due to
Pop's long hair and tatts. It's a hard call to guess what this is about by those graphics.
I see the psychedelic aspect, or just a bit of a spiritual vibe, with the digital injection.
Like he's awash in the new stew of digital re-hashing of the culture?
It was the middle of that Hip Hop Zulu change in 1991 with super positive vibe
and lacking pretension in these vibes. It's still very ego based though.
This guy clearly loves his image, as you see very clearly by Pop's 2nd album
which shows him and his band in a more 'satanic' vibe and shirts off flexing
and overt graffitti style graphics.

He's in good shape, and indeed is not offensive with his moves. Just a bit stereotypical with that.
For him to rap, on the project, is what I feel is the downfall of what could make this almost
a well liked album. That ego vibe pops up, when I first heard the rapping style, you could
interchange him with that guy from C.C. music factory, who flexes too much with the
style. It's that basic, over pronounce every last word of the bar
type of style. If you look at the lyric sheet, if given to a gifted M.C. you would have a much different thing. The lyrics are metaphysical, interesting, truthful, and somewhat poetic at times.
I would have suggested, or maybe for a future project, get a different M.C. for each song.

When listening to this, I became into the production and styles intertwined in the music. It is all over the place and that itself is a cool thang and could shake many party walls with good success.
Lot's of interesting heds are behind this album  like , Joe "the butcher"Nicolo,
Carmen Rizzo, Amp Fiddler, N'Dea Davenport, Nadirah Ali,
DJ Jazz(?)- (the dj, by the way, is on point! He-she?- is a solid turntablist. Smooth flow,
and does sound a bit like DJ muggs, with the stabbs and fader cuts. Anyone know
if this is Muggs.? ** In Pop's bio on the web (no longer around, but excerpt below)
he states he was basically the guy that helped guide Cypress hill in the right direction
and helped them make their demo's and lay down tracks for their classic first LP.
Hmm...sounds a bit of a stretch mann, but he does mention them on this album
as the Cypress Hill Posse, and this album came out a few months before theirs dropped in
Aug 1991. The album does contain a sample that Cypress used, the tambourine shaker beat
behind "kill a man", but in no way as effective and raw as Muggs)

Doing a search to find out more  about this guy, who is also named "Suga Pop" and is a renowned break-dancer from the west coast.  Lot's of interesting ties there.... :

This led me to what must have been Pop's biggest event, which subsequently he basically left the  biz for a few years.
The band Pop's Cool Love, backed up L.L. Cool J, Tribe Called Quest, and De La Soul, doing unplugged, live versions of their hits of 1991, for MTV. It's classic outright. Many clips on U-toob.


Here's 3 tracks from the first song, kicking off the album, from original
stereo Cassette release.

Here are 2 clips from the MTV unplugged series 1991 :

With LL Cool J :

With De La Soul :

Suga Pop is back in full effect promoting an exciting looking new doc about the originators of
this HipHopnation dance style called Underground Dance Masters.

The album has gotten pretty horrible ratings on the big sites like RYM.
A one star is not fair. I'd say right in the middle for this one.

remember, comments produce the full length Torrent HQ lossless RIP of this album

a bit from his now defunct bio website :

"Everything I do, it comes from dancing." This isn't a quote you'd expect from a musician but it's the guiding force behind the artist known as Pop. His new album, Caramel '76, channels many styles of music, from hip-hop to reggae to rock to pop, but at its foundation, at the root of Pop's ideology, is the art of the dance. Think of hip-hop as a musical genre and a culture that spawned from dancing - it was the "break" of the record that the dancers loved and which motivated DJs to keep spinning them back to back - and Pop's words make sense. "Everything is from dance, from the movement," explains Pop. "Even when I'm playing the keyboards, it's like I'm dancing on the keys. That's how I envision it."
It's Pop's story that gives Caramel '76 context. As a young teen on the West Coast, Pop hooked up with a street dance group called the Electric Boogaloos. The youthful, rebellious clique is famed for inventing "Poppin'," the robotic-funk dance style associated with early hip-hop, and their spectacular performances on the television show "Soul Train."
While in LA, Pop took a job dancing and acting on the television show Sesame Street. The gig moved him back to New York at the age of 15. The time was right. When he first emigrated, New York's concrete landscape was a Petri dish for a new urban culture - hip-hop. That culture was in full bloom, and Pop was right in the middle of it.
He fell in with the Rock Steady Crew, whose members, Crazy Legs, Fabel, and Mr.Freeze, met Pop dancing in Times Square. Hip-hop was unrehearsed, says Pop. Sometimes it was raw street culture, other times it was art-scene fetish object. "There was no blueprint for it," he says. "We'd get hired out for a party to dance somewhere and you'd see Deborah Harry or Andy Warhol. Some guy on stilts would be walking around the room. And then it'd be Jazzy Jay or Bambaataa DJ-ing. It was wild."
At 18, Pop left television and started dancing on concert tours, shows, and music videos. He went on tour with Shalimar, and Lionel Richie, and appeared in music videos by Michael Jackson, just at the time when the King Of Pop's lavish choreography was captivating the world through the imaginative medium of MTV.
The next year, Pop's career would take an even bigger step when he hooked up with percussionist Sheila E. She had just been asked to go on tour with Prince for Purple Rain. "That was an amazing time," Pop remembers. "I was young. I'd run around with my backstage pass and get into trouble. There was lots of craziness happening everywhere. But Prince? I watched him every night."
It was that experience that galvanized Pop to make his own music. Pop learned how to play a variety of instruments through dance. As a dancer on tour, he'd sometimes jam with the band, particularly towards the end of a nation-wide trek. "But after Purple Rain," Pop says, "that's when the music bug bit. I bought a drum machine. I already had a guitar. I just started playing around with this stuff, getting bands together, playing by myself. Anything. I wanted to be a musician."
Pop put together some of his own demos but what he really enjoyed was working in the studio with other artists. Producer Joe "Da Butcher" Niccolo (Cypress Hill, Fugees, House of Pain) served as a mentor for a couple of years. Pop also worked with the Boo Yaa Tribe, who were signed to Island Records, and that project led him to a fledgling, LA-based hip-hop group named Cypress Hill. Pop served as a jack-of-all-trades studio consultant on their breakthrough, self-titled debut, helping the group demo tracks in his living room and working with live instruments, drum machines and samplers. Pop would go on to work as a producer with other groups like Brand Nubian, Third Bass, and Fisbhone. "I like creating in collaboration," says Pop. "I think you get the best ideas that way."
The early '90s were being good to Pop's own solo musical pursuits as a rock front man. He formed a band called Pop's Cool Love, which released an album, A Man, in 1991. It was a rich mix of hip-hop rhythms, pop psychedelia, and spangled rock. The album was critically acclaimed, and took Pop on tours with artists like Beastie boys, Pearl Jam, and Fishbone. In 1992, his band backed LL Cool J, De La Soul, and A Tribe Called Quest for the first hip-hop MTV Unplugged. The now legendary performance (LL's "Mama Said Knock You Out") was a prescient look to hip-hop's development toward live instruments. The transition towards the mid-90s would be tougher.
Pop took a dedicated break from music to concentrate on other things in his life, catalyzed by the loss of his younger brother, who died in a tragic car accident in Nevada. Music was secondary to making his own life right. It took a handful of years for Pop to move from a sense of despair to a position of strength. As the '90s came to a close, Pop started to get back to music again. It came through the same method it started with in the first place: dancing. "Mr. Wiggles (of the Rock Steady Crew/Electric Boogaloos) called me, and we just talked about dancing. Within six months, he just asked me to do some shows with him and I did, without thinking much about it. That's what got me back. And then the music came naturally from that, just like it did in the beginning." And his music is better for it. On Caramel '76, Pop utilizes the techniques of mixing and matching styles he always relied on. A hip-hop sensibility colors the record but it mixes in guitar riffs and bubbling dance tracks, a roots vibe ("Reggae is country music to me," Pop says) with a progressive musical approach. It's unlike any record you'll hear today. "That's always been how I make music," Pop says. "Throw everything in the pot and stir it up. That's the island in me, I guess."

(This bio was taken from Suga Pop’s Web site at The photo of Suga Pop is from the Electric Boogaloos Web site at 

Monday, September 13, 2010

1989-1990 ? THE CENTURIONS - sounds like detroit electro - UK ENTER THE ARENA EP

1989-1990 ? THE CENTURIONS - sounds like detroit electro - UK ENTER THE ARENA EP

I have the year followed with a query, as I'm not quite sure when this was released.
For a record produced in the UK, it sounds very Detroit, something that would come
from the Inner City life circa 1986-1990.

If any cool cats out there know what the fellas behind this record did after this,
drop us  a comment.

This gem is dripping with TB-303 squelches, done in a tasteful, not overblown Josh wink style, but once again influenced by the Detroit scene.

A surprise is the last track "Centurion Love Theme" with it's laid back synth pads
laid overtop the always dope "get me back on time" break beat from Wilson Picket.
This could be considered ambient trip hop and is actually a bit ahead of it's time.

I posted this EP "enter the arena" on youtube in 2 parts.
Check it out below.

Monday, September 6, 2010

RONNIE HAWKINS- THE HAWKS-the band 1964-MONO LPCD Roulette records

RONNIE HAWKINS- Best of-Roulette records THE HAWKS-the band 1964-MONO LPCD

You must request in the comments section to get the link
please make sure you leave your email if you are anonymous

For the music lover, a timely
transcription from original Canadian Mono

It's pretty hard to find in decent condition.

Fans of the Band (Bob Dylan's '66 back up
band) take note, this is the LP where they
fully came together under the tutelage of
Ronnie "the hawk" hawkins.

Ronnie is one of the funniest guys I've heard
speaking off the cuff.
He was also a supreme dancer in the late
50's early 60's.
The music on this LP is amazing, and it's a blend of country rock a billy soul funky southern inspired
grit and grease with a few nice ballads.

The renditions of Bo Diddley's music here are 
simply a lesson in where music was going
3 years before it was there.

Once you hear Robbie Robertson's screaming, slightly distorted guitar,
you will hear the shape of things to come. And that is no joke.
Curious to know if any of the UK guitarists were  hip to these
Hawkins LP's or even knew about Robertson.

On top of it all, is a solid album through and through, with nothing in there to gum
up the needle.

Well, since this is a digital transfer, you can listen to this and not wear out the grooves...
I assure you , it would happen if you only had one copy of this on LP.

This is the Band, you can see Robertson on the far right, Garth Hudson next to him.


 info from the band bio website :

According to Barney Hoskyns' book, CROSSING THE GREAT DIVIDE this is not, as the name suggests, a compilation of older songs, but a "collection of brand new material", some of it recorded in New York in the early spring of 1963, with Henry Glover at the controls.
The sessionography on the Ronnie Hawkins Website tells a different story. As one can see from the track list below, the album is a compilation of previously recorded material from 1961 thru 1963. Note that the Feb 2, 1962 tracks were produced by Leiber & Stoller, however the matrix numbers indicate that overdubs took place on May 7, 1963. The only other recording made during the May 1963 sessions with Henry Glover that was not included on The Best of Ronnie Hawkins, was "There's a Screw Loose" which was released on Roulette single 4502 in 1964 and appears on the 1978 UK album Rockin'.

Levon Helm, Rick Danko, & Robbie Robertson are on all the tracks, Garth Hudson is on the Doc Pomus/Mort Shuman song "Arkansas," Richard Manuel is on "Bo Diddley" and "Who Do You Love" The tracks with all 5 Band members are "Mojo Man," "High Blood Pressure," and "Boss Man." Since Henry Glover overdubbed the 2/2/62 tracks, it is possible that all 5 Band members also are on the track "Arkansas". The Hawkins sessionography only listed members at original session so there is no way to tell if Richard Manuel contributed overdubs to the track.



In 1963, the Hawks' playing was honed to perfection from countless gigs and rehearsals with Hawkins. On several of the tracks (especially the infections Bo Diddley tune "Who Do You Love") it becomes evident that the Hawks had started to develop their own way of playing together, and the departure from Hawkins was soon to come. One of the Band's major influences, King Curtis, can be heard playing sax on "Mojo Man".

Tracks on LP :

Bo Diddley

(recorded 1963-01, Roulette single 4483)

Come Love

(recorded 1961-09-13)

Honey Love

(recorded 1961-09-13)

High Blood Pressure

(recorded 1963-05-07, Roulette single 4502)


(recorded 1962-02-02)

Boss Man

(recorded 1963-05-07)

I Feel Good

(recorded 1961-09-18)

Who Do You Love

(recorded 1963-01, Roulette single 4483)


(recorded 1961-09-13)

Mojo Man

(recorded 1962-02-02)

Sexy Ways

(recorded 1961-09-13)

You Know I Love You

(recorded 1961-09-13)


For those interested in hearing the reissue on CD it was released in 1994
It sounds pretty good, the high end and mid range are pumped up
and bass is pretty tame but clear. It's also been maximized but
not with overkill.
This is what the cover looks like :

Monday, July 26, 2010



'unity is so hard to find, 
down here among mankind '
from the song "negative vibe" from the artist, 
seemingly unknown, named 'O-ZONE' 197?

In the hopes of finding some learned reggae fans or artists 
who may know more of who this group 'O-zone' is, I have
been sitting on this LP for a few years now, and have
some time to post it as segments on my youtube account.
You will find the segments in 4 parts below.

I have uncovered 0-Zero facts or details about this LP.
The cover was non existent, and the pressing is typical
Jamaican with rough labels and stamped print, as you ca
see in the pic, it was printed offset a second time on a side.

o-zones first edition-ZONE 

The date is a total mystery, but I would guess around late 70's very early 80's due
to the style of instrumentation, the drumming, the recording mix, the dominating use
analogue instruments, and the use of the synth module sounds that was used in
many disco songs of that time frame also.


All we can now say is that this album is one of the most listened to Reggae albums
around these speaker cabinets since OATSTAO had generously burned it from their 
sole copy of the LP. 

To begin to describe the vibe it's based on positive uplifting Rastafari songs
and the style it's played in is nothing short of classic material. 

The inclusion of a straight up ode to marijuana is not at 
all a detractor for these souls.

Please take some time if you enjoy Reggae music to listen to 
the entire LP we have posted below. 
Please also post comments if you liked it, or not.

We always appreciate new information also, and this is one we are dying
to know more about. Probably more than any record in our collection.

Some words

~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

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