Monday, September 29, 2008

George Romanos – Marina (1968)



Τελευταίο κομμάτι για σήμερα αφού έχω ακόμα λίγο χρόνο, η τραγική Μαρίνα. Δεν ξέρω αγαπητοί φίλοι αν αυτό το κομμάτι έχει πέσει όσο πρέπει στην προσοχή σας από τον Ρωμανό. Ίσως υπερβάλω αλλά το θεωρώ ως το πιο αντιπροσωπευτικό Ελληνικό ψυχεδελικό κομμάτι από τα 60’s και σε επίπεδο μουσικής (ο Παπαθανασίου το γεμίζει πραγματικά εξαιρετικά) αλλά και στίχων. «Μα η Μαρίνα μου, κρεμάστηκε από τάστέρια τ’ουρανού, γιατί ένα βράδυ ξέχασα ένα φιλί»… Δηλαδή τι παραπάνω μας είπαν ρε γαμώτο τόσες χιλιάδες ξένα συγκροτήματα? Προσωπικά το θεωρώ το κορυφαίο ψυχεδελικό τραγούδι όλων των εποχών στο τόπο μας…
Καλό ξημέρωμα σε όλους και καλές μουσικές σήμερα το βράδυ...
George Romanos is a Greek artist who recorded several albums in the sixties and seventies. His music ranges from Greek pop to psychedelic rock. In 1968 George worked with "Vangelis and his Orchestra" on several songs that appeared on his album "In concert and in the studio".
The members of Vangelis' "orchestra" were in fact the same musicians that would later that year form the group "Aphrodite's Child", after the group travelled to France in search of a more international audience....
Curiously, the instrumental versions of the songs “I agapi mas kimate sta nera” and “To Roloi” would in the same year also be released as a 7” single under Vangelis’ name, titles “Our love sleeps on the waters” and “The clock”. The single would be the very first solo single ever to be released by Vangelis !
Discography
LP
1968 In concert and in the studio Zodiac 88006 Greece
CD1996 In concert and in the studio Zodiac 88006 Greece
Single1968 To Roloi / Marina Zodiac ZS 8108 Greece1968 I agapi mas kimate sta nera / Ei koritsi ZS 8110 Greece
Both the LP and singles are pretty hard to find, but fortunately the CD can still be found in the better sorted Greek record stores.
ENGLISH TRANSLATION:
Marina
My Marina was born inside a rose
that was burned by lightning
one night.
My love grew up inside a house
made of paper,
torn by the wind
and muddy rain.
My love looked at me
through a piece of green glass
and saw a pale cloud.
We walked together
and we were a shadow
on a far away lake
with dark waters
and dreams.
My love loved me on stones and [a] plant
and cruelly laughed at the twilight.
My love fought and defeated all the enemies
and the world embraced herwith a hidden fire.
But my Marina hanged herself from the stars of the sky
because one evening I forgot a kiss.

Peloma Bokiou - Γαρύφαλλε Γαρύφαλλε (1970)


Δευτέρα σήμερα και έχω την τιμιτική μου στο μπαράκι. Με τα δύο 45αρια που ανέβασα σας βάζω στο κλίμα για το τι θα ακούσουν οι 5-10 που θα έρθουν Δευτεριάτικα στην πιο ξενέρα μέρα της βδομάδας (για αυτό πάω κάθε Δευτέρα).
Οι Βλάσης Μπονάτσος, Νίκος Δαπέρης, Νίκος Λογοθέτης, Τάκης Μαρινάκης και Γιάννης Κιουρκτσόγλου κάπου το 70 δημιούργησαν τους Peloma Bokiou με το όνομα του γκρουπ να προέρχεται από τα αρχικά τους.
Στο εξαίρετο blog του hippy-djkit μπορείτε βέβαια να βρείτε την δισκάρα των Peloma Bokiou, συνεπώς δεν έχει κανένα νόημα να τον ανεβάζω ξανά. Όμως δεν έχω δει πουθενά το 45αρι και είπα να το ανεβάσω μοναχό του έτσι για να υπάρχει και στο net η φωτό του. Από την πίσω πλευρά έχει το «Μην Κλαις». To 45αρι το αγόρασα ένα χιλιάρικο πριν απο πολλά χρόνια στο Μοναστηράκι.
Δείτε εδώ και τον συχωρεμένο στο κομμάτι μέσα από ένα όμορφο κολαζ φωτογραφιών http://www.youtube.com/watch?v=u0Bc7X_jS7s

Μέλη:
δαΠΕρης νίκος κιθάρα, τραγούδι, σύνθεση
ΛΟγοθέτης νίκος πλήκτρα
ΜΑρινάκης τάκης ντραμς
ΜΠΟνάτσος βλάσης τραγούδι, ντραμς, στίχοι
ΚΙΟΥρκτσόγλου γιάννης κιθάρα

Στίχοι:
"Μαζεύεται πλήθος
χαρούμενες φάτσες
εκεί που ο Γαρύφαλλος λέει
τους λέει τα δικά του
και σαν τελειώσειο κόσμος γελάει ή κλαίει...
Σχολείο βιβλία
αρχαία ιστορία
γι' αυτόν είναι άγνωστες λέξεις
δεν ξέρει να γράφει κι όμως θαυμάσια
δίνει στον κόσμο διαλέξεις...
Γαρύφαλλε Γαρύφαλλε
κανείς μας δεν ξέρει ποιος είσαι...
(στίχοι: Γιάννης Κιουρκτσόγλου - "Γαρύφαλλε Γαρύφαλλε")
Track:
Γαρύφαλλε, Γαρύφαλλε ( Συνθέτης: Κιουρκτσόγλου Γιάννης)
http://sharebee.com/fa052414

The Charms – Έξω Απ τον Κόσμο (1967)


Ακόμα ένα 45αρι των Charms από τη θεία, το οποίο παίζω αρκετά συχνά στο μπαράκι. Εδώ τους έχουμε σε ελληνικό στίχο σε ένα επίσης έξοχο κομμάτι το οποίο θα πρέπει να το ψάξουν οι ξένοι μουσικολόγοι για ένα και μόνο λόγο. Κάποτε αναζητούσαν στην ξένη μουσική πότε ακούστηκαν σε κομμάτι για πρώτη φορά καμπάνες. Η κόντρα ήταν μεταξύ δυο τραγουδιών (το ένα ήταν των Paul Simon and Garfunkel το άλλο δεν το θυμάμαι).
Εδώ μπορούμε να ακούσουμε αλλά και να δούμε τους Charms σε αυτό το κομμάτι μέσα από μία Ελληνική ταινία (Ο γαμπρός μου ο προικοθήρας) .
http://www.youtube.com/watch?v=jmLN8amRglI&feature=related


Κώστας Καρύδας: Τραγούδι (1965)
Σπύρος Καρακούτας: Μπάσο (1965, +Μάϊκ Ροζάκης: Μπάσο, Τραγούδι)
Γιώργος Μπαλάσκας: Κιθάρα (1964, +Αλέκος Γλύκας -1964, + Κώστας Νικολόπουλος) Γιώργος Στρατής: Ντραμς
Τέρης Ιερεμίας: (+1965), Όργανο, Τραγούδι
Πέτρος Πολλάτος: (+1965), Σαξόφωνο
Tracks:
1. Έξω απ τον Κόσμο
2. Γαλάζιο όνειρο

Friday, September 26, 2008

The Charms - Ascolta Mio Dio (1966)


Ένα από τα πολύ-αγαπημένα μου σινγκλάκια για σήμερα λίγο πριν πάω σχολείο, το οποίο «κληρονόμησα» από την χορευταρού ακόμα και σήμερα θεία μου Άννα (έχει γράψει το όνομα της στο 45αρι). Πρόκειται για τους Charms που τραγουδούν σε Ιταλικό στίχο (συνηθιζόταν εκείνη την εποχή) το καταπληκτικό Ascolta Mio Dio. Είναι αδύνατον να έχεις καταβολές από τα 60΄s, να ακούσεις αυτό το κομμάτι και να μην σηκωθείς να χορέψεις αφού τα πόδια από μόνα τους αρχίζουν να κουνιούνται.
Εξεπλάγην μετά από μία βόλτα στο νετ όταν είδα την τιμή που έχει φτάσει (59,88 ευρώ).
Εκατό χιλιάδες να πάει, φαί να μην έχω να φάω και να λιμοκτονώ, δε χαρίζεται, δε δανείζεται και δεν πουλιέται ούτε στον άλλο κόσμο.
Καλημέρα σε όλους σας.

Thursday, September 25, 2008

Dantalion's Chariot – Chariot Rising



Personnel:
COLIN ALLEN drms A
PAT DONALDSON bs A
ZOOT MONEY keyb'ds, vcls A
ANDY SUMMERS gtr A

ALBUM:
1(A) CHARIOT RISING (Tenth Planet TP 015) 1995
NB: (1) Limited edition of 1,000 numbered, also available on CD with an extra track (Wooden Hill WHCD 005) 1997.

45:
1 The Madman Running Through The Fields/The Sun Came Bursting Through My Cloud (Columbia DB 8260) 1967

When Money broke up The Big Roll Band, he formed this suitably named psychedelic outfit who performed frequently at London's Middle Earth and UFO clubs. They were certainly a talented outfit. Andy Summers, of course, later played with The Police, and Colin Allen went on to play with John Mayall and Stone The Crows. They recorded just one single for Columbia, The Madman Running Through The Fields. Penned by Money and Andy Summers it was perhaps one of the finest pieces of psychedelia recorded in the UK, this single is now very sought-after. The song was later covered by Eric Burdon and The Animals (with a line-up including Zoot Money and Andy Summers) on their Love Is album and is also on Transition (Direction 863231) 1968 by Zoot Money. The 45's flip side was a Tony Colton/Ray Smith ballad with appealing vocals.

Dantalion's Chariot's live appearances were amazing. They took to the stage in white robes and had what was generally regarded as the best light show in town. The only problem was this ensured they made heavy financial loses with every appearance. They also appeared in 'Pop Down', a Fred Marshall film about the excesses of Swingin' London seen through the eyes of two visitors from outer space named Sagittarius and Aries. The film, by all accounts, was appalling but it did feature music from Blossom Toes and an embryonic Idle Race as well.

Rumours of an unreleased Dantalion's Chariot album were untrue, but in 1995 David Wells' Tenth Planet label pieced together an album of previously unreleased material by the band, plus both sides of their 45. Soma, which appeared in two parts, one on each side of the album, with Andy Summers (who co-wrote it with his tutor Narzir Jarazbhoy) on sitar, was a fine Eastern-sounding remnant from 1967. Fourpenny Bus Ride and, to a lesser degree, Four Firemen were reasonable examples of whimsical psychedelic pop, but of the previously unissued material the jarring World War Three and jazz-tinged High Flying Bird (not the popular US West Coast standard, although it is an ode to the beautiful people of San Francisco), both Money/Summers collaborations, are the high points. By contrast Coffee Song and Recapture The Thrill were inconsequential mainstream recordings. However, overall this album is recommended.

Compilation coverage has included:- The Madman Running Through The Fields on Chocolate Soup For Diabetics, Vol. 1 (LP), Rubble Vol. 8: All The Colours Of Darkness (LP) and Rubble Vol. 5 (CD); and This Island on Electric Psychedelic Sitar Headswirlers Vol. 4 (CD).

Tracks:
1. Madman Running through the Fields
2. World War Three
3. This Island
4. Fourpenny Bus Ride
5. Four Firemen
6. Sun Came Bursting Through My Cloud
7. Recapture the Thrill
8. Soma
9. Coffee Song
10. High Flying Bird

Tuesday, September 23, 2008

The Unspoken Word - The Unspoken Word (1970)


Personnel:
GREG BUIS bs, vcls A
ANGUS MacMASTER keyb'ds A
DEDE PUMA vcls A
LES SINGER drms A
GENE-ZHENIA STASHUK gtr, vcls A

ALBUMS:
1(A) TUESDAY, APRIL 19th (Ascot AS 16028) 1968
2(A) THE UNSPOKEN WORD (Atco SD 33-335) 1970

45s:
1 Boy / Nothing's Nothing (United Artists 50083) 1966
2 And It's Gone / On A Beautiful Day (United Artists 50181) 1967
3 Anniversary Of My Mind / We're Growing (Ascot 2244) 1967
NB: (3) withdrawn.

Probably from the East Coast, as their both albums were recorded in New York, home of the Ascot Label. Produced by Tony Michaels and Vinny Gormann and engineered by Warren Schatz, their first album is basically folk-rock with a hint of psychedelia with Waking Up one of its finest moments. A truly beautiful album - it's worth checking out for fans of this genre. All their songs were penned by the group.
Released two years later and produced by Shel Kagan, the second album is heavier and more rock-blues in style, but still contains some good tracks: Sleeping Prophet, Personal Manager (an Albert King cover) and Sleepy Mountain Ecstacy. The voice of Dede Puma, their female singer, is still really impressive.
In 1972, Gene Stashuk played cello on Bonnie Raitt's Give It Up album. The other members apparently vanished from the music scene.
(Vernon Joynson / Max Waller / Stephane Rebeschini)

Tracks:
1. Pillow
2. Sleeping Prophet
3. Put Me Down
4. Personal Manager
5. Reincarnation
6. Sleepy Mountain Ecstasy
7. I Don't Need No Music
8. Little Song
9. Healthy, Wealthy & Wise
10. Around And Around
11. Morning

Sunday, September 21, 2008

Magna Carta - Magna Carta (1969)



Καθώς η μουνταμάρα του καιρού συνεχίζεται με προδιαθέτει σε κάτι πιο ήρεμο. Το ποιοτικότατο φολκ φωνητικό σύνολο των Magna Carta (φτιάχτηκαν στο Λονδίνο στις 10 Μαίου το 1969) , το οποίο ενίοτε βάζω στο μπαράκι μπας και ο κόσμος μπορέσει να ακούσει και κάτι άγνωστο για αυτόν (δυστυχώς όμως χωρίς ανταπόκριση). Στο μέλλον θα ανεβάσω και άλλα άλμπουμ των Magna Carta, οι οποίοι αξίζουν της προσοχής μας. Ξεχωρίζω τα καταπληκτικά Sea and Sand (The Isle of Pabay), I Am No More και Emily Thru' the Window Pane.

Personnel:
CHRIS SIMPSON gtr, vcls A B C D
GLEN STUART vcls A B C D
LYELL TRANTER gtr, vcls A
DAVEY JOHNSTONE gtr B
STAN GORDON gtr C
(GRAHAM SMITH bs C)

ALBUMS: (up to 1976)
1(A) MAGNA CARTA (Mercury SMCL 20166) 1969 R1 -
2(A) SEASONS (Vertigo 6360 003) 1970 SC 55
3(B) SONGS FROM WASTIES ORCHARD (Vertigo 6360 040) 1971 SC -
4(B) IN CONCERT (Vertigo 6360 068) 1972 -
5(C) LORD OF THE AGES (Vertigo 6360 093) 1973 -
6( ) PUTTING IT BACK TOGETHER (GTO GTLP 012) 1975 -
NB: (1) reissued in remastered form by HTD (HTD CD 68) 1996. (3) reissued on CD (Repertoire REP 4447-WP). (5) reissued on CD (Vertigo 846 448-2) in 1990. (6) reissued on CD (Repertoire REP 4447-WP) 1994. There's also a CD, Live At The BBC (Pseudonym CDP 1022 DD) 1995.

45s:
1 Romeo Jack/Seven O'Clock Hymn (Fontana TF 1060) 1969
2 Mid-Winter/Spinning Wheels Of Time (Mercury MF 1096) 1969
3 All My Life/Falkland Green (Vertigo 6059 073) 1972
4 Give Me Luv/Song Of Evening (Vertigo 6059 092) 1973

This folk trio formed in the late sixties. In fact they were originally a duo - of Yorkshire-born Simpson and Australian Tranter. Glen Stuart joined them after they got a recording deal with Fontana. After what is now a very rare album on Mercury, they recorded a series of fine progressive contemporary folk albums on Vertigo. Seasons is beautiful, its subject matter being as the title suggests. It got to No 55 in the UK Album Charts. Guitarist Davey Johnstone was added to the line-up for the third album which also featured a guest appearance from Rick Wakeman. The In Concert album, which featured them live in Amsterdam, was disappointing in comparison to Songs From Wasties Orchard, which many consider to be their magnum opus. Johnstone departed after these two albums to work with Elton John and Kiki Dee.
Stan Gordon was added for Lord Of The Ages, which was well received. Bassist Graham Smith who'd done session work on the album joined the group shortly after. Within the year, though, Gordon and Smith had both departed, leaving Simpson and Stuart as a duo.
In the mid-seventies they briefly experimented with a more rock-based format, but this, like most of their subsequent line-ups, was short-lived. Stuart then quit the band for good in this era but Simpson remained to work with various line-ups over the next 15 years. He also recorded a solo album, Listen To The Man, in 1983.
You'll also find the band on Vertigo's 1971 compilation Heads Together, First Round, playing Good Morning Sun and on Vertigo Annual 1970, singing Goin' My Way (Road Song).
The BBC radio sessions CD contains three tracks from 1969, four from 1987, but concentrates on 1971, showcasing their distinctive brand of folk favourably.
Prior to recording for Vertigo Magna Carta made a record for the Road Safety Campaign. When You're Young put across a road safety message in the lyrics and featured pleasant harmonies and acoustic guitar. The 45 appeared on various labels credited to individual London boroughs including Enfield and Camden. In each case the 'A' side was a song about 'The Green Cross Code' performed by kids from Argyle School in Camden. None of the 45s had catalogue numbers.
Retrospective compilation appearances include: The Bridge At Knaresborough Town on Electric Psychedelic Sitar Headswirlers Vol. 6 (CD).
For more information on the band check their website: http://www.geocities.com/Broadway/3389
(Vernon Joynson/Gra Culpin)

Tracks:
1. Times of Change (2:50)
2. Daughter Daughter (4:08)
3. Old John Parker (2:47)
4. I Am No More (4:14)
5. Ballad of Francis Alabadalejo (5:22)
6. Spinning Wheels of Time (3:23)
7. Romeo Jack (3:39)
8. Mid Winter (3:35)
9. Shades of Grey (3:13)
10. Emily Thru' the Window Pane (3:31)
11. Sea and Sand (The Isle of Pabay) (3:25)
12. Seven O'Clock Hymn (6:18)

The Bachs – Out Of The Bachs (1968)


Πρωινός σήμερα αφού η χτεσινή διακοπή ρεύματος στο νησί μας έστειλε για ύπνο από τις 11 το βράδυ. Δυστυχώς εδώ πέρα στη πρώτη βροχή στον πρώτο αέρα διαλύει το σύμπαν έτσι ώστε να επιβεβαιώνονται αυτοί που λένε πως Ελλάδα είναι μόνο η Αθήνα. Οι υποδομές στα νησιά είτε το θέλουμε είτε όχι παραμένουν σε άθλια κατάσταση. Δε σε γλυτώνει τίποτα.
Πάμε παρακάτω.
Δεν ξέρω στους κύκλους των «γκαραζόβιων» τη θέση καταλαμβάνουν οι Bachs. Προσωπικά τους έχω σε μεγάλη υπόληψη και δεν κρύβω να πω πως τους συγκρίνω άνετα με τους φοβερούς Rising Storm καθώς παρατηρώ πολλά κοινά μουσικά στοιχεία. Τολμώ επίσης να πω πως διαθέτουν και πολλά ψυχεδελικά στοιχεία στο παίξιμο τους όπως για παράδειγμα το πάρα πολύ καλό Tables Of Grass Fields ή το εξίσου πανέμορφο από όλες τις απόψεις Nevermore ή το Pleasure Of Your Company. Έχω επίσης την εντύπωση πως αν και ο δίσκος κυκλοφόρησε το 1968, μουσικά παραπέμπει στο 1966.
Να προσθέσω μερικές πληροφορίες για το γκρουπ που αναφέρουν πως η ηχογράφηση έγινε από κάποιον στο στούντιο που δεν είχε την παραμικρή εμπειρία. Για αυτό ίσως αυτός ο περίεργος μάλλον απόμακρος ήχος. Η μουσική τους εξαφάνισή τους οφείλεται στο γεγονός ότι μετά το κολλέγιο πήγαν Βιετνάμ.
Κλείνοντας απλά θα πω πως πρόκειται για ένα εξαιρετικό δίσκο.

Personnel:
BLAKE ALLISON bs, ld vcls A
JOHN BABICZ drms, perc A
MIKE DeHAVEN gtr A
JOHN 'BEN' HARRISON ld gtr A
JOHN PETERMAN gtr, ld vcls A

ALBUM:
1(A) OUT OF THE BACHS (Private Pressing) 1968
NB: (1) reissued on the Del Val label in 1992, and later pirated on CD and vinyl (Flash 43) 1997.

This is a highly collectable garage-psych classic from Chicago, indeed only 100 copies were ever pressed so original copies inevitably change hands for megabucks. Some of the finest garage cuts include You're Mine, Free Fall and Minister To A Mind Diseased, whilst My Independence Day and the superb Tables Of Grass Fields are more psychedelic. Just 350 copies of the first reissue were pressed so this album is destined to remain rare, although the more recent 'Flash' reissue will help collectors find copies in the short term. Essential. Just dig that distorted fuzz guitar on Minister To A Mind Diseased. All twelve cuts are original Allison-Peterman compositions.
The band formed in the Winter of 1965 and stayed together for about three years. John Babicz:- "John Harrison and I are from Lake Forest, the others from Lake Bluff, just up the road. Harrison and Mike DeHaven had played in a high school group The Appollos."
After they split, John Babicz joined the army, where he spent the next 22 years. He and John Harrison now live in Tucson and still play golf together. Mike DeHaven is in Illinois and Allison Blake and John Peterman in Massachusetts.
I'm A Little Boy and Tables Of Grass Fields, from Out Of The Bachs, have also resurfaced on A Trip On The Magic Flying Machine.
(Vernon Joynson w/thanks to John Babicz)

Tracks:
1. You're Mine
2. Pleasure of Your Company
3. Free Fall
4. I See Her
5. My Independence Day
6. Minister to a Mind Diseased
7. Tables of Grass Fields
8. Show Me That You Want To Go Home
9. Sitting
10. Nevermore
11. Answer to Yesterday
12. I'm a Little Boy
13. That’s The Way It Goes

Saturday, September 20, 2008

Orpheus – Orpheus (1967)



Η συμπάθεια μου για τα συγκροτήματα που ανήκαν στο Boston Sound είναι πεφρασμένη από καιρό. Οι Orpheus αποτελούν τον ορισμό ίσως αυτού του ήχου. Ποιοτικότατο συγκρότημα το οποίο όμως σε σχέση με τους ανυπέρβλητους Spinach είχαν πιο «εύκολο» ήχο. Εδώ έχουμε τον πρώτο από τους τέσσερις δίσκους που έβγαλαν, ο οποίος είναι πάρα πολύ καλός για όσους εκφράζονται από τέτοιου είσους ακούσματα. Στην πορεία θα ακολουθήσουν και οι άλλοι βέβαια.

Personnel:
BRUCE ARNOLD vcls, gtr A B
ERIC GULLIKSEN vcls, bs A
JACK McKENES vcls, gtr A
HARRY SANDLER vcls, drms A
K.P. BURKE hrmnca B
HOWARD HERSCH bs B
STEVE MARTIN vcls B
BERNARD PURDIE drms B
ELLIOT SHERMAN piano, clavinet B

ALBUMS:
1(A) ORPHEUS (MGM (S)E-4524) 1968
2(A) ASCENDING (MGM SE-4569) 1968
3(A) JOYFUL (MGM SE-4599) 1969
4(B) ORPHEUS (Bell 6061) 1971
NB: There is also a double CD set The Best Of Orpheus (Big Beat CDWIK 2 143) 1996, which contains 34 tracks from all four albums and a pre-Orpheus cut by The Villagers circa 1966. All four albums have also been reissued as a double CD set (Akarma AK 155/2) 2001.

45s:
1 Can't Find The Time/Lesley's World (MGM K 13882) 1968
2 I've Never Seen Love Like This/Congress Alley (MGM K 13947) 1968
3 Brown Arms In Houston/I Can Make The Sun Rise (MGM K 14022) 1969
4 By The Size Of My Shoes/Joyful (MGM K 14139) 1970
5 Big Green Pearl/Sweet Life (Bell 45 128) 1971
NB: There have also been some reissue 45s: Can't Find The Time / Brown Arms In Houston (MGM Golden Circle MVG 529) and (Polydor Band Of Gold MVG 529); and Can't Find The Time (Rock 'n Mania RMGD-2424A).

From Worcester, Massachusetts, Orpheus were formed by ex-Villagers, Arnold and McKenes, Gulliksen from The Blue Echoes and Harry Sandler from The Mods. McKenes and Gulliksen had earlier worked together in a few folk groups, including The College Boys, who had one 45 The Man (Swan S-4166) 1963. Gulliksen: "This was a Kennedy tribute record; the group name was selected by Swan to remove commerciality from the record!".
Under the guidance of Alan Lorber, who produced all their albums, Orpheus became part of the "Boss-town Sound" movement but cultivated an almost singer-songwriter styled soft rock sound with folkie elements, at variance with the overtly psychedelic sounds and image of most of their stablemates. Possibly a marginal case for inclusion here therefore and not recommended to either garage or psych fans, although some of their material could be classified as 'hippie-rock' at a stretch.
Check out their contributions to the double CD set The Best Of Bosstown Sound: Can't Find The Time To Tell You (1967), Walk Away Renee (1968), Brown Arms In Houston (1969), Tomorrow Man (1971) - and decide for yourself.
They should be given credit for having a wider appeal and more output than most of their regional stablemates which saw them survive most of the hype and subsequent critical backlash. One of their songs, Can't Find The Time, was also covered by sixties instrumental band Groovin' Strings on their 1969 album Groovin' Strings And Things, and Rose Colored Glass, who had a Top 40 hit with the song. Other covers have included Brown Arms In Houston by the Plastic Cow on an album called The Plastic Cow Goes Moog (!?!?) and a very interesting cover of Congress Alley by a New York jazz funk group called "Congress Alley" on their album Congress Alley.
Eric G: "A few years after the group split up, Harry Sandler went to California where he did various things like being wardrobe manager for Sha Na Na, cue card boy on "Wheel of Fortune", etc. Later he got into personal management (no, he's not the Harry Sandler who manages John Mellencamp) and handled several fairly successful TV personalities. Harry hadn't heard of the Rose Colored Glass or of their version of Can't Find The Time. At a party, he struck up a conversation with a fellow there ... turned out that he was also an ex-drummer, hailing from Texas, that had also gone ex-pat to California. Harry asked if they had had any records, and the guy said yeah, his group was the Rose Colored Glass, and they had had a hit with Can't Find The Time. That blew Harry away - "hey! I was in Orpheus and that was OUR major hit!" The Texan, on the other hand, had never heard of Orpheus - he said that their singer had brought in the song and suggested that they do it, and they went ahead without ever having heard the original. Small world, eh?"
Fans of the band might be interested to know that legendary studio drummer Bernard "Pretty" Purdie was used on some material on the early LPs but as was the industry standard at the time, he did not receive credit for the work.
Orpheus also performed the theme song for the MGM movie "Marlowe", starring James Garner, called Little Sister. Jack McKenes and Bruce Arnold can also be heard on a 45 by The Alan Lorber Orchestra, Massachusetts / Congress Alley (MGM K-13926SS).
Can't Find The Time was covered more recently by Hootie and The Blowfish and this version was included on the soundtrack for the 2000 Jim Carrey movie "Me, Myself and Irene". Eric's verdict - "It's not bad at all, certainly better than the one by The Rose Colored Glass back in the seventies".
(Max Waller/Grayson Delworth with thanks to Eric Gulliksen and Bruce Arnold)

Track Notes:


1. "I've Never Seen Love Like This" - Upon hearing a demo for "Can't Find The Time", Wes Ferrell told Arnold, "write another song like that and I'll sign you." Arnold responded by writing this number with a verse or two contributed by Gulliksen. It actually surpasses "CFPlace" for commercial appeal and sets an early high water mark for the Arnold / Lorber collaboration. Listen to the "Anatomy of" version included on Big Beat's "Best of" compilation for a fascinating view of the song's construction.


2. "Lesley's World" - Penned specifically for Arnold by Alan Lorber's then wife, Lesley Miller. The track begins with Lorber improving on the intro from fellow arranger Jimmy Webb's "Up-Up And Away" to create a more interesting and personal song. Both songs address the idea of romantic escape, however, "Lesley's World" does it in a more mature way. "Up-Up And Away" sounds like it was written for teenagers while "Lesley's World" was intended for thirty-something’s. This song was actually released several months prior to the album's debut and received moderate airplay along with it's A-side, "Can't Find The Time."

3. "Congress Alley" - Arnold's friend and fellow "alley" inhabitant, Steve Martin, auditioned this song as a possible Orpheus track. Arnold wisely grabbed it but not before completely rearranging it for the band. Listen to Martin's own version available on his website (www.stephenbmartin.com) and you will appreciate the distinct differences between the two artists. After "CFPlace," "Congress Alley" is the second most covered song originally performed by Orpheus. Later versions were recorded by The Alan Lorber Orchestra, Clean Living and a group called Congress Alley, headed up by former Doo-Wop legend, Lee Andrews.

4. "Music Machine" - Another Martin penned track except this time written especially for Orpheus and about Orpheus (the machine that was "pumping out a pretty tune"). Arnold has been noted as saying this song loosely dealt with God, pointing to lyrics such as, "the things that we saw 'bout my Father and his law made me want to lay down and die" as well as "I had a thing about a bird on a wing that was calling to me from outside." One of Lorber's finest arrangements, the well-phrased lead vocal was actually done by Jack McKenes with Brian Wilson-like vocal direction from Arnold.

5. "Door Knob Song" - Arnold and Lorber use all three of Martin's compositions to complete side one of the LP and I'm hard-pressed to decide which song, this or "The Dream", does a better job of encapsulating this fantastic album. Whereas "Music Machine" only implied a spiritual theme, "Door Knob Song" dives straight into the Bible and comes out with sympathetic references to the fallen angels of Genesis as "the heroes and the villains," who are "silent when the games are named" and "seldom cry"..."they've forgotten how to fly." Scott Walker couldn't touch this track with a mile long pole. The orchestral arrangement is breathtaking and again, Arnold's phrasing rivals Sinatra at his best. The last "da da'n da" before the chello's finale still causes goosebumps. An absolute genius.

6. "I'll Stay With You" - Side 2 of the LP begins with what is arguably the band's most under appreciated song. If there is a track more deserving of Billboard's number one spot in the spring of 1968, I don't know it. Apparently, "I'll Stay With You" did receive some minor regional airplay in New England but it's power did little more than strengthen an already growing number of devoted young Orpheus fans such as Brad Delp, (lead singer of Boston) and Laura Nyro.

7. "Can't Find The Time" - So fumbled by MGM in 1967 that they reissued it a year later and again a year after that! Reaching only #80 in 1969, it would have been no less a tragedy if it had climbed to #20. This is the song that currently classifies Orpheus as a "one-hit wonder" but mark my words, it will become just a small chapter in the biography that future generations will write about Arnold and this band.

8. "Never In My Life" - Rumored to have been considered for release by 'Old Blue Eyes himself, this lovely 3/4 time gem showcases Arnold's sophisticated writing skills (only 19-years old when he wrote it), as well as Lorber's sheer enthusiasm for the material. Along with Bernard Purdie, (uncredited drummer), and Joe Macho Jr. (uncreditied bass player), Arnold creates a thrilling undercurrent, which Lorber uses as a foundation for some wild yet beautiful orchestration.

9. "The Dream" - Irene Trudel, DJ for WFMU in New York repeatedly refers to this as one of the most beautiful songs ever written. In a e-mail correspondence I had with Arnold, he revealed that after performing this song for the legendary Ali Akbar Khan in 1972, Khan was so moved he invited Arnold to stay at his home for as long as he pleased. The favor was later repaid when Arnold used his political connections to have Khan's birthday recognized as Ali Akbar Khan Day in the state of California. The late Collin Walcott, one of Khan's disciples, adds beautiful Indian instrumentation to the track and Lorber's refrained orchestration was so poignant on it's own that he later included a version (sans Arnold's voice and guitar) on the reissue of his "Lotus Palace" CD in 1996.

Sunday, September 14, 2008

Fat Water - Fat Water (1969)


Personnel:
BORIS bs, vcls A
EVE keyb'ds A
LANCE gtr, vcls A
PETE drms, vcls A
VICKI vcls A

ALBUM:
1(A) FAT WATER (MGM SE 4660) 1969

45:
1 Santa Anna Speed Queen / Amalynda Guinevere (MGM 14101) Dec 1969

1) From Chicago, a mix of psych and heavy rock, with good organ and guitars plus the powerful voice of their singer, who was probably influenced by Janis Joplin.
This outfit reportedly evolved out of The One Eyed Jacks from Champaign, Illinois.
(Stephane Rebeschini/Max Waller/Nick Kontogouris)

2) Fat Water hail from the west coast of America and fit very nicely into the dual male /female lead vocals of the late 60's and early '70s. The vocals are very much of the west coast San Francisco scene of that time and bring the Airplane's Grace Slick immediately to mind. Musically, the vocals are matched with acoustic guitars and swirling organ which gives a country rock feel that flows easily from full tilt boogie to slow blues. Fat Water, a band that should not be passed up, fits nicely into the canon of rare releases from Radioactive.
(Freak emporium)

Tracks:
1. I can be happy
2. Joshua
3. Amalynda Guinevere
4. Gimme your sweet
5. Guitar store song
6. Only for the moment
7. It' s not the same
8. Wayback
9. Waiting for Mary
10. Mistress de charmaign
11. Santa anna speed queen
12. Gotta get together

July - July (1968)

upload again for our frined "Audities"
http://rapidshare.com/files/145240020/July_-_July.rar.html

Roger Nichols and the Small Circle of Friends - Roger Nichols and the Small Circle of Friends (1967)


ALBUM:
1 AND THE SMALL CIRCLE OF FRIENDS (A&M) 1968
NB: (1) reissued in Japan (Lexington LEX9311) 1993.

45s:
1 Don't Go Breaking My Heart/Our Day Will Come (A&M 801) 1966
2 Love Song, Love Song/Snow Queen (A&M 830) 1967
3 I'll Be Back/Just Beyond Your Smile (A&M 849) 1968
4 Let's Ride/Love So Fine (A&M 946) 1968
NB: (1) to (3) by Roger Nichols Trio.

A California soft rock group with some "groovy" moments, typical of the A&M sound. Roger Nichols was a friend of Paul Williams (Holy Mackerel) and together they wrote several songs recorded by other California pop and soft psych acts.
(Stephane Rebeschini)

Tracks:
1. Don't Take Your Time
2. With a Little Help from My Friends
3. Don't Go Breaking My Heart
4. I Can See Only You
5. Snow Queen
6. Love So Fine
7. Kinda Wasted Without You
8. Just Beyond Your Smile
9. I'll Be Back
10. Cocoanut Grove
11. Didn't Want to Have to Do It
12. Can I Go?
13. Our Day Will Come
14. Love Song, Love Song
15. Just Beyond Your Smile
16. I'll Be Back
17. Let's Ride
18. Drifter
19. Trust
20 St. Bernie The Sno-Dog

The Kreeg - Impressin' (1966)

Personnel:

HAP BLACKSTOCK bs, vcls A
LARRY INKS ld gtr A
ROBERT STURTCMAN gtr, vcls A
RUSS STURTCMAN drms A
RAY TRUJILLO bs A

CD:
1(A) IMPRESSIN' (1966-1973) (Collectables COL-CD-0689) 1995

45:
1 How Can I/Impressin' (Lance 2229/7094) Nov. 1966

1) The flip to their sole 45 has some good guitar leads. Both sides were written by Bob Sturtcman and produced by Dick Stewart of King Richard and The Knights.
The retrospective CD is most impressive. With an informative CD booklet with pictures, notes by Bob Sturtcman, a full track listing and personnel details, this is essential for anyone enchanted by this Albuquerque outfit's previously compiled 45. Superb folk-rock, garage and psychedelic sounds are to be enjoyed herein - fifteen quality tracks in all with just four covers (Soul Kitchen, For Your Love, Better Man Than I, Hey Joe). They went through several identities - Goldenaires, Kreeg, Mother Sturtcman's Jam And Jellies, and finally Albatross. To find out more, get this CD - you will not be disappointed.
Other compilation appearances have included: Impressin' on King Richard And The Knights - Precision! (CD) and I Wanna Come Back From The World Of LSD (CD); How Can I and Impressin' on New Mexico Punk From The Sixties (LP) and Sixties Archive Vol. 4 (CD); How Can I, Impressin' and Jams And Jellies on Bands On Lance (LP); For Your Love and I'm Over You on Green Crystal Ties Vol. 9 (CD).
(Max Waller)

2) The Kreeg were an extremely talented garage rock outfit formed in Albuquerque, NM, in 1966, out of another local band called the Prophets. Their lineup consisted of Bob Sturtcman (rhythm guitar, vocals), who'd previously played with another band, the Goldenaires, Hap Blackstock (bass, vocals) (later succeeded by Ray Trujillo), Larry Inks (lead guitar), and Russ Sturtcman (drums). When the Prophets elected to change their name, it had been Bob Sturtcman's idea to call the band Blitzkrieg, but after kicking it around a bit, that was shortened to the Krieg and, finally, the Kreeg, which everyone liked. Although all of them would admit to being heavily influenced by the Beatles at some point, by the time they'd turned into the Kreeg, the members were listening a lot harder to Them, the Yardbirds, the Rolling Stones, the Kinks, and the Animals, as well as absorbing the more sophisticated sounds that acts such as the Beau Brummels and the Leaves were bringing to the table. The resulting sound, in their hands, freely crossed between blues-influenced garage punk and folk-rock, with pleasing elements of both evident on their records. Bob Sturtcman wrote some songs, and they recorded a few demos and had the honor of being the first band signed to Dick Stewart's newly founded Albuquerque-based Lance Records, and their debut record, "Impressin'" b/w "How Can I," did well enough locally that Lance soon became the home to most of the best rock music talent in the area. For their part, the Kreeg were successful enough to make something of a steady part-time living playing frat parties and high school homecoming dances, but weren't able to make the leap to the next level, at least not before lead guitarist Larry Inks decided to move to California, which began the disintegration of the group. The additional influence of the military draft, which was breathing down the necks of Bob Sturtcman and a couple of the others, didn't help, and by the end of 1968 the Kreeg were history. Bob and Russ Sturtcman worked together in Mother Sturtcman's Jam and Jellies in 1968 and 1969, and then in an outfit called Albatross, based in Taos, NM, during the early '70s, and in the 1990s, a collection of Kreeg recordings, demos, and live tracks entitled Impressin' was assembled on CD by Bob Sturtcman and Dick Stewart and released by Collectables. The latter, which included good annotation and extensive discography and personnel information, was notable as one of the few garage band discoveries of the era to live up to the reputation surrounding the band. ~ Bruce Eder, All Music Guide

1. Impressin'
2. How Can I?
3. I'm Over You
4. When I'm With Her
5. Don't Kill My Mockingbird
6. Ah, You're Dead
7. For Your Love
8. Mr. You're a Better Man Than I
9. Soul Kitchen (Live)
10. Impressin' (Live)
11. Hey Joe (Live)
12. Jams and Jellies
13. It's Only Love
14. Spice of Life
15. Don't Kill My Mockingbird
(Mod British Version)
http://rapidshare.com/files/145147636/The_Kreeg_-_Impressin___1966_.rar.html

Friday, September 12, 2008

The Foul Dogs - The Foul Dogs No. 1 (1966)


Το ξεχασμένο και άσημο αυτό γκρουπάκι μάλλον είχε την ίδια αγάπη με μένα για τους Rolling Stones.

ALBUM:
1 THE FOUL DOGS NO. 1 (Rhythm Sound 481) 1966 R3
NB: (1) reissued in the early-mid eighties on Resurrection (CX 1296) and more recently by Distortions.

A Concord, New Hampshire group whose album comprised typical local R&B/prep rock. One cut, I'm A Man, also appears on Oil Stains (LP). The album sounds very Stones-influenced but had a couple of self-penned numbers.

Tracks:
01 2120 S.Michigan Ave.
02 The Singer Not The Song
03 Suzie-Q
04 Blue & Green
05 Gloria
06 Tell Me
07 I'm A Man
08 Baby I Know
09 Hang On Sloopy
10 Not Fade Away

Ellie Pop - Ellie Pop (1968)


Personnel:
Doug Koun
Len Dunn
Wayne (no last name)
George R. Dunn

ALBUM:
1(A) ELLIE POP (Mainstream S6115) 1968

45:
1 Seven North Frederick/Can't Be Love (Mainstream 686) 1968

1) Released by the Mainstream label, Ellie Pop offered little information on the band in terms of liner notes or performance credits. Here's what you can tell: 1.) judging by the album cover they were a quartet (or an eight piece if they employed the four pigeons), and 2.) brothers S. and R. Dunn were responsible for penning all 10 tracks. Whoever these guys were, they definitely had a thing for Anglo-pop, tracks such as 'Some Time Ago' and 'Caught In the Rain' literally dripping with Beatles influences. To many folks that's probably the kiss of death and in many cases they'd probably be right, but not in this time around. Exemplified by material such as 'Seven North Frederick', 'Seems I've Changed' and 'Watcha Gonna Do' (love the "yeah, yeah, yeahs"), the Dunns avoided the usual clichés turning in a wonderful set that was catchy and commercial, but retained an innovative edge that made ever selection worth hearing. One of the few albums we've given a five star rating to ... One word of warning; while the set's occasionally been billed as psychedelic, in spite of isolated distorted guitars and a few oddball time signatures, to our ears it's simply too mainstream to be considered anything other than pop. Naturally the album vanished without a trace, followed in short order by the band.

2) Eponymous 1968 Mainstream label album is definitely a pop/psychedelic classic-in-waiting, whose time has perhaps finally come; great songs right from the start, all oozing Beatles harmonics, with tracks such as 'Some Time Ago' and 'Caught In the Rain' especially thick with Beatles influence (thus explaining their appearance on the Pepperisms compilation); as with most Mainstream releases, there is precious little information on the band in the original LP notes, besides the fact that they were a quartet, with brothers S. and R. Dunn responsible for writing all tracks; this is really a wonderful set of catchy and commercial songs, not exactly psychedelic, with innovative edge-distorted guitars and odd time signatures that make every song worth hearing. Naturally the album vanished without a trace upon original release, followed soon by the band. Liner notes feature a few words from the band's guitarist, as well as some gig listings alongside some Michigan heavy-weights, leading one to think that the band were from that state

Tracks:
1 Seven North Frederick
2 Winner Loser
3 Can’t Be Love
4 Remembering (Sunnybrook)
5 Seems I’ve Changed
6 Caught In The Rain
7 Oh My Friend
8 Some Time Ago
9 No Thanks Mr. Mann
10 Whatcha Gonna Do

Tuesday, September 09, 2008

Blind Faith - Blind Faith (1969)




Σε λίγο διαφορετικό στυλ αυτός ο δίσκος από τα καθιερωμένα του blog αλλά υπάρχει εδώ εκτός των άλλων η κομμάταρα του τεράστιου Stephen Lawrence "Steve" ή "Stevie" Winwood, Can't Find My Way Home το οποίο είναι πιο πολύ στα νερά μου. Το κείμενο από την wikipedia παρακάτω λέει τα υπόλοιπα.
Να συμπληρώσω λέγοντας ότι την καλύτερη εκτέλεση από το γκρουπ την άκουσα σε αυτό εδώ το live στο youtube στην διεύθυνση http://www.youtube.com/watch?v=mUW1SGF7bR8&feature=related. Για όσους θα το ήθελαν ως mp3 το έχω ανεβάσει σε ξεχωριστό αρχείο
Can't Find My Way Home..lyrics
Come down off your throne and leave your body alone.
Somebody must change.
You are the reason I've been waiting so long.
Somebody holds the key.

But I'm near the end and I just ain't got the time
And I'm wasted and I can't find my way home.
Come down on your own and leave your body alone.
Somebody must change.

You are the reason I've been waiting all these years.
Somebody holds the key.

But I can't find my way home.
But I can't find my way home.
But I can't find my way home.
But I can't find my way home.
Still I can't find my way home,
And I ain't done nothing wrong,
But I can't find my way home.

Blind Faith's beginnings date to mid-1968, with the breakup of Cream. Rock's original supergroup had become a financial powerhouse, selling millions of records within a few years and raising the group's (and each member's) repertoire to international popularity. Despite that success, the band was crumbling from within due to frequent animosity between Jack Bruce and Ginger Baker, with Eric Clapton doing his best to mediate. In addition, Clapton had tired of being coerced into playing commercially driven blues, and hoped to move forward with a new, experimental, less strait-jacketed approach to the genre.
Steve Winwood was facing similar problems in The Spencer Davis Group, in which he had been the lead singer for three years. Winwood wanted to experiment with the band's sound by infusing jazz elements, but left due to his musical differences, instead forming a new band — Traffic — in 1967. That band split temporarily in 1969, and Winwood started to jam with his good friend Eric in Clapton's basement in Surrey, England. Winwood and Clapton had previously collaborated on the one-off "Powerhouse" project.
Clapton was pleased with the jam sessions and looked seriously toward starting a trio with Winwood, but they needed a drummer. Ginger Baker turned up to sit in with them in 1969, and the band took near-final form. But Clapton questioned letting Baker in the band, because he had promised Jack Bruce that, if they were to work with one another again, they would all three play. Moreover, Clapton didn't want to reunite with Cream barely nine weeks after the breakup, and also didn't want to deal with another "Cream-like" superstardom situation. Winwood ultimately persuaded Clapton to finalize Baker's inclusion in the lineup, arguing that Ginger Baker strengthened their musicianship and that it would be hard to find an equally talented drummer.
By May 1969, Ric Grech, bassist with Family, was invited to join them (leaving Family, mid-tour). They laid down most of their album at Olympic Studios under the supervision of producer Jimmy Miller. Miller provided focus to the band, who often preferred jamming, over the standard commercial 3-5 minute track. By then the group was known collectively as Blind Faith, a slyly cynical reference by Clapton to his outlook on the new group.
Tracks:

1. Had To Cry Today (Steve Winwood) – 8:48
2. Can't Find My Way Home (Steve Winwood) – 3:16
3. Well All Right (Petty, Holly, Allison, Mauldin) – 4:27
4. Presence of the Lord (Eric Clapton) – 4:50
5. Sea of Joy (Steve Winwood) – 5:22
6. Do What You Like (Ginger Baker) – 15:18

Additional the mp3 from youtube video http://www.youtube.com/watch?v=mUW1SGF7bR8&feature=related
1. Can't Find My Way Home


http://www.badongo.com/file/11275743
http://rapidshare.com/files/143948789/Blind_Faith_-_Can_t_Find_My_Way_Home_-_1969.mp3.html

Monday, September 08, 2008

Μερικές συμβουλές…και περί καμπινέδων….


…για τυχών συνάδελφους που βρίσκονται στα σχολεία μας.
Πέρασα μία εξαιρετικά άσχημη μέρα μέσα στην οποία διδάχτηκα για πρώτη φορά στα 18 χρόνια που είμαι στα σχολειά μας, ότι οι καθηγητές εκτός των άλλων, ευθύνονται αν οι καμπινέδες βρωμάνε και έχουν ποντίκια ψόφια το καλοκαίρι που είναι τα πάντα κλειστά, άσχετα αν εσύ είχες αναφέρει έγκαιρα το θέμα στους αρμοδίους.
Κατάλαβα για μία ακόμα φορά πως αν δεν έχεις στόμα να μιλήσεις σε τρώνε λάχανο στο φτερό διότι ουδείς θα βγει να σε υποστηρίξει όταν έχει λερωμένη τη φωλιά του, άσχετα βέβαια αν εσυ έχεις δίκιο.
Διαπίστωσα πως θα βρεθούν οι πάσης φύσεως προφάσεις όταν ζητήσεις την κατ’αντιπαράθεση απόδοση της αλήθειας προκειμένου να αποδείξεις ότι δεν είσαι ελέφαντας.
Για ακόμα μία φορά δυστυχώς απέδειξα (στον εαυτό μου) πως όσο και αν προσπαθώ στο Ελληνικό σχολειό έτσι ώστε τα παιδιά μας και τα παιδιά σας, να μην μπαίνουν τούβλα και βγαίνουν κούτσουρα ΔΕΝ ΜΕΤΡΑΕΙ. Μετράει αγαπητοί φίλοι το θεαθήναι, η βιτρίνα, η βρώμα του καμπινέ, λες και το Ελληνικό δημόσιο προσλαμβάνει τους καθηγητές για βοθρατζήδες.
Ουδείς εξέλαβε υπόψη την ποιότητα και την αξία του εκπαιδευτικού έργου που προσφέρθηκε και ουδείς αναγνώρισε ότι σε 9 τμήματα με 220 μαθητές σύνολο υπήρξε αγαστή συνεργασία με τους μαθητές και τους γονείς.
Αυτά δεν μετράνε φίλοι μου…μετράει η βρώμα του καμπινέ που δεν καθάρισε ο αρμόδιος. …δηλαδή άκουσον άκουσον…εγώ.
Αν κάτι με κρατάει στο σχολείο και δεν τους έχω στείλει στο διάολο είναι τα παιδιά, οι μαθητές μας. Δεν υπάρχει φίλοι μου μεγαλύτερη χαρά από το να κυκλοφορείς στο δρόμο και όπου σε δουν οι μαθητές σου να σταματούν και να σε χαιρετούν με χαρά. Νοιώθεις υπέροχα αφού διαπιστώνεις πως οι μαθητές σου που έχουν αλάθητο κριτήριο, τουλάχιστον σε εκτιμούν και σε σέβονται. Αξίες που προσπαθώ να περάσω στους μαθητές πριν τις γνώσεις.
Με τα παιδιά είχα πάντα άριστες σχέσεις….δεν είχα όμως καλές με το σινάφι μας, το οποίο πολλές φορές βρωμάει σα καμπινές.

Sunday, September 07, 2008

Hen's Teeth, Vol. 1

upload is ready
http://sharebee.com/d46002f6

Forever Amber - The Love Cycle (1969)

upload again
http://sharebee.com/aa2b21ab

Paul Revere and the Raiders – Like Long Hair (1961)


Το ξεκίνημα των Raiders από το Portland του Oregon. Το 1959 που σχηματίστηκαν είχαν το όνομα The Downbeats, μετά για δύο βδομάδες (to 1960) γίνανε Paul Revere and the Nightriders και μετά οι γνωστοί. το πρώτο δισκάκι ήρθε και το πρώτο χιτ, το Like Long Hair που έφτασε στο νούμερο 38. Ο χαμός βέβαια έγινε όταν αργότερα (το 66-67 πούλαγαν ατέλειωτα) πήγαν στην Columbia ως το πρώτο ροκ γκρουπ που έκανε συμβόλαιο με αυτή την ιστορική εταιρεία.

Paul Revere is an enterprising young man with an unbelievable name. However, unlike the original Paul Revere who worked out of Boston and rode a horse, this one hails from Caldwell, Idaho and rides a piano.

Paul Revere who was a master barber at age 17, owner of 3 barber shops at 19, presently a drive-in-restaurant at the age of 21 is now making big noise in the record business. In a national DJ poll, by one of the lead trade magazines, his group was voted as one of the top up-and-coming instrumental groups in the nation.
Paul Revere, who had never performed in public, was persuaded to sit in at a local teenage dance sponsored by the Elks. He was so enthused, he decided to continue playing dances with the local group.

It was the spring of 1960 that Paul decided to record on tape a song called "Beatnik Sticks" and take it to Hollywood with the hope of some record company putting it on wax. When he arrived in Hollywood he discovered he was one of many trying to do the same thing. He was persistent and after a week of what seemed to be nonsuccess, he was suddenly offered contracts by 5 different record companies. After some thought he accepted Gardena Records as being the most promising.
After the success of his single "Like Longhair", here is his contribution to th L.P. field with an all instrumental dance album that has the typical drive! drive! drive! of "Paul Revere & The Raiders".

Members:
Paul Revere - keyboards
Mark Lindsay - vocals/sax
Richard White - guitar
Robert White - guitar
Bill Hibbert - bass
Jerry Labrum - drums

Tracks:
1. Like Long Hair
2. All Night Long
3. Summer Time
4. Tall Cool One
5. Wabash Blues
6. Concert in "F" Sharp
7. Beatnik Sticks
8. Swinging Shepherd Blues
9. Groovey
10. The Last Mile
11. Road Runner
12. Moon Dawg

Friday, September 05, 2008

Paul Revere and the Raiders – Just Like Us (1965)




Εδώ έχουμε το δίσκο των Raiders με τον οποίο κάνανε θραύση. Με τα κομμάτια Steppin' Out και Just Like Me σαρώνανε ενώ στα τσαρτς το πρώτο έφτασε στο νούμερο 46 και το δεύτερο στο 11. Ευτύχησαν βέβαια να έχουν ως παραγωγό τον συχωρεμένο πλέον Terry Melcher, οποίος εκείνη της εποχή είχε κάνει την παραγωγή στο Turn Turn Turn των Byrds Man (βέβαια καλό είναι να θυμίζουμε πως το κομμάτι δεν είναι των Byrds αλλά του Pete Singer) και αργότερα το Mr. Tambourine ενώ είχε ανακατευτεί και με τους Beach Boys, Mamas and The Papas. Συνεπώς είχαν άξιο παραγωγό για αυτό και δίσκος που είχε φτάσει στο νούμερο 5 ήταν απόλυτα πετυχημένος.

Members:
Paul Revere - keyboards
Mark Lindsay - vocals/sax
Michael "Smitty" Smith - drums
Drake Levin - guitar
Philip Volk - bass

Tracks:
1. Steppin' Out
2. I'll Be Doggone
3. Out Of Sight
4. Baby, Please Don't Go
5. I Know
6. Night Train
7. Just Like Me
8. Catch The Wind
9. (I Can't Get No) Satisfaction
10. I'm Cryin'
11. New Orleans
12. Action

Thursday, September 04, 2008

The Forminx - Singles


Οι μεγαλύτεροι σε ηλικία ίσως θυμούνται πως πέρναγε η Ελληνική οικογένεια το βράδυ του Σαββάτου. Τότε θυμάμαι υπήρχε η ΥΕΝΕΔ (σημερινή ΝΕΤ) και η κλασική Ελληνική ταινία. Πιτσιρικάς ίσα που άρχισα να ψάχνομαι με τη μουσική οπότε όλο και τύχαινε σε καμία ταινία να βλέπω κανένα Ελληνικό γκρουπ (π.χ. Olympians, Charms, Idols κ.λ.π.), τα οποία βέβαια τότε που δεν ήξερα την τύφλα μου τα σνόμπαρα. Αυτή ουσιαστικά ήταν η πρώτη επαφή με την Ελληνική pop μουσική… οι αξεπέραστες Ελληνικές ταινίες, ουσιαστικά οι κωμωδίες. Βέβαια από τους γονείς μου και τις θειάδες, κληρονόμησα αρκετά σινγκλάκια τα οποία και πάλι ξεπερνούσα. Πέρασαν βέβαια τα χρόνια οπότε όταν «ωρίμασα» μουσικά και έκατσα να ακούσω τα 45αρια αυτά στο πικ απ ένοιωσα θαυμασμό. Τιείχαν να ζηλέψουν πολλά από αυτά από τα «ξένα» τραγούδια? Τίποτα απολύτως. Ακούστε παρακαλώ πολύ τους Blue Birds από τον Πειραιά και το Sweet Polly και μετά συγκρίνεται το οποιοδήποτε garage με αυτό το κομμάτι. Ακούστε την κομματάρα των Idols – One Girl Had Told Me και προσέξτε το σόλο της κιθάρας, μήπως η Μαρίνα του Ρωναμού δεν είναι καραψυχεδελικότατο κομμάτι…κ.λ.π
Αρκετά με τις φλυαρίες μου. Ακολουθεί ένα κείμενο στα Ελληνικά με την ιστορία του γκρουπ και ένα στα Αγγλικά λόγω της συμμετοχής του μεγάλου Παπαθανασίου.


ΙΣΤΟΡΙΚΟ
Μία «χορευτική» επταμελής ορχήστρα που έπαιζε σε δεξιώσεις, στην «Αργώ» της Βουλιαγμένης και στο «Ακροπόλ Παλάς» της Πατησίων, έγινε, από τη μία μέρα στην άλλη, το κορυφαίο συγκρότημα της Ελληνικής ποπ. Πέντε εκείνοι που απέμειναν στην τελική μορφή του γκρουπ, όταν έφυγε ο ένας από τους δύο τραγουδιστές του (ο Θύμιος Πέτρου) και ο percussionist Ευγνώμων: Ο Βαγγέλης Παπαθανασίου, ψυχή και απόθεμα μεγάλου ταλέντου του συγκροτήματος, ο Βασίλης Μπακόπουλος (χημικός και κιθαρίστας), ο Κώστας Σκόκκος (ντράμμερ), ο Σωτήρης Αρνής (αρχιτέκτων και μπασίστας) και ο Τάσος Παπασταμάτης (τραγουδιστής). Το πρώτο ρεσιτάλ τους στο Θέατρο Μακεδονικών Σπουδών στη Θεσσαλονίκη, σημάδεψε το φαινόμενο της υστερίας α λα Μπητλς. Το πρώτο συντριπτικό hit τους (το Jeronimo Yanka) ξεκίνησε σαν χορευτικό παραλήρημα στη «Ρέμβη» της Θεσσαλονίκης και έγινε χρυσό 45αράκι μέσα σε μία εβδομάδα. Ελάχιστοι, όμως, ξέρουν τι είναι ο Jeronimo για τον οποίο, στο τέλος του κομματιού, ακούγεται και μια υστερική κραυγή (από τη φωνή του Παπαθανασίου): Ο Βαγγέλης είχε από μικρός ένα τρελό όνειρο. Ήθελε να μπορούσε να καλωδιώσει με κρυφά μεγάφωνα όλες τις πολυκατοικίες της Αθήνας και μία νύχτα ν' ανέβει με το μικρόφωνο στον Λυκαβηττό και να ουρλιάξει «Τζερόνιμοοοοοοοοο», για να δει χιλιάδες ανθρώπους να πηδάνε πανικόβλητοι από τα μπαλκόνια. Αυτό το όνειρο μπορεί να μην το πραγματοποίησε ποτέ του, αλλά το έκανε ηχητική πραγματικότητα στο φινάλε της μεγαλύτερης επιτυχίας των Forminx, το θρυλικό πια Jeronimo(oooooo) Yanka.


Το ίδιο άγνωστη με την ιστορία αυτή είναι και η προέλευση του ονόματος Forminx που ακούγεται ξένο, αλλά είναι...Ομηρικό, όπως και η προέλευση της αρχαίας Φόρμιγκος («η Φόρμινξ - της Φόρμινγκος») που δεν είναι παρά ελληνικό μουσικό έγχορδο. Η «μαγκιά» στην περίπτωση αυτή, ήταν ένα καθαρά ελληνικό όνομα που με λατινικούς χαρακτήρες μπορούσε να περάσει σαν ξένο - και σαν ποπ. Οι Φόρμιγκες (όπως θα ήταν ο σωστός πληθυντικός τους) υπήρξαν παραγωγικοί για την εταιρεία τους, την Music Box του Μαρτέν και της Μαρίκας Γκεσάρ. Μέχρι και ταινία έκαναν (με πρώτο αλλά όχι μοναδικό σκηνοθέτη τον Θεόδωρο Αγγελόπουλο), μία ταινία που δυστυχώς δεν τελείωσε ποτέ εγκαίρως για να παιχτεί στα σινεμά, τον καιρό που το όνομα και μόνο του συγκροτήματος θα γέμιζε τις αίθουσες. Tο φαινόμενο το είχαμε δει, όταν κάναμε ένα δεκαπεντάλεπτο ντοκιμαντέρ (κυρίως από μια συναυλία στο «Κεντρικό») και οι πιτσιρικάδες της εποχής πήγαιναν σινεμά, έβλεπαν το ντοκιμαντέρ ουρλιάζοντας και μετά έφευγαν χωρίς να δουν την ταινία! Οι Forminx γεφύρωσαν το χάσμα μεταξύ «χορευτικής ορχήστρας» και «σούπερ-γκρουπ» κι έγιναν αιτία συγκροτηματομανίας και αναλόγου εμπορικού πολέμου ανάμεσα στις εταιρείες δίσκων. Τα περισσότερα τραγούδια του συγκροτήματος, γράφτηκαν από τον Βαγγέλη και μένα. Γράφονταν, συνήθως, στο πόδι, με έμπνευση της στιγμής.

Τα δυο καλύτερα τραγούδια μας, το And Maybe More και το Our Last September, γράφτηκαν μέσα σε μια νύχτα, στην BP του Καλαμακίου. Ερωτευμένοι με μια Άσπα ο καθένας, ο Βαγγέλης κι εγώ, θέλαμε να γράψουμε ο καθένας ένα τραγούδι για την Άσπα του. «Αν μου γράψεις στίχους για τη δική μου Άσπα, θα σου γράψω μουσική για τη δική σου» είπε ο Βαγγέλης. Πήρα ένα μπλοκάκι λογαριασμών από τον σερβιτόρο, ο Βαγγέλης έκατσε στο πιάνο και τρεις ώρες αργότερα είχε φέξει - κι είχαμε δυο υπέροχα τραγούδια έτοιμα. Κι έτσι συνεχίσαμε να γράφουμε όλα τα τραγούδια των Forminx, με δυο-τρεις εξαιρέσεις τραγουδιών που έγραψαν ο Αρνής, ο Παπασταμάτης (Until The End) και ο Βασίλης Μπακόπουλος. Το παράξενο είναι πως αυτό το ένα και μοναδικό τραγούδι του Μπακόπουλου (Love Without Love) είναι σήμερα το δημοφιλέστερο ανάμεσα στους νεαρότερους post-mortem fans του άλλοτε νούμερο ένα ελληνικού γκρουπ.
THE FORMINX

Late in his teens, Vangelis joined a school band performing pop and rock hits from abroad, in addition to playing their own music. By the mid 1960's the band adapted the name "The Forminx" and became a local sensation in Thessaloniki (Northern Greece.) Their hit record "Jeronimo Yanka" when released in 1965 sold tens of thousands of copies and soon The Forminx were known throughout Greece. Formed in Athens, the Forminx comprised of five members, lead by Vangelis on organ and keyboards, Vassilis Bakopoulos on guitar, Sotiris Arnis on bass, Costas Skokos on drums, and occasionally Tassos Papastamatis on lead vocals.
The Forminx were a phenomenal success in Greek's popular music scene, an achievement typically reserved for traditional and folk music. Somehow, with their Western sound and modern beat, they've captivated Greece's young generation who were eager and hungry to have their own supergroup. Just like any country around the block.
Though popular as they were, The Forminx were considered primarily an amateur and entertainment band with a strong teenager following. They performed at parties and events purely for fun and they didn't get much paid for their gigs. It was the band's enthusiasm that kept them going.
The songs were mostly credited as Vangelis compositions with a few numbers written by the collective band or by outside contributors. The lyrics were in English, which certainly helped setting them apart from the rest of the Greek artists. The released music adopted one of two styles: the semi instrumental songs with simple but catchy melodies, or the slow ballads with crooner Tassos Papastamatis. Sadly though, his English was often tainted with a heavy Mediterranean accent.
After the hit "Jeronimo Yanka" more singles were released and in total there were nine 7" vinyl singles and an EP. The full list is as follows:
Jeronimo Yanka / Dream in My Heart
Ah! Say Yes / Elephant Twist
Jenka Beat / A Hard Night's Day
School is Over / Greek Holidays
Say you Love Me / Somebody Sent Me Love
A Precious White Rose / Il Peperone
Our Last September / And Maybe More
Mandjourano's Shake / Hello my Love Salonica
Love without Love / Until the end
It's Christmas Time Again / White Christmas / Jingle Bells / The Sound of Music
Late in 1965, a documentary film in the life of the Forminx began shooting in Thessaloniki. The film's first producer was then Theo Angelopoulos making the debut of his film career. After shooting had started, Theo abandoned the film due to disagreements with the production team and he was replaced with Costas Lychnaras. The film however was not finished and thus never released. It was said one of the aims of the film was to promote The Forminx' success outside of Greece and to help them eventually go on an international tour. However, The Forminx didn't last long enough to see them traveling around the globe or getting famous outside of Greece. The Forminx disbanded in 1966 at the peak of their success.
After The Forminx, Vangelis continued composing and performing in Greece, although he chose to be more of a studio person helping other Greek artists. In 1967 Vangelis wrote and produced for half a dozen Greek artists such as female singer Zoe (Zoe Kouroukli) and singer George Romanos. In 1968 Vangelis, along with musician friends Lucas Sideras and Demis Roussos formed in Paris the short-lived but successful progressive rock group Aphrodite's Child.
The Forminx' brief success has ignited the enthusiasm in the Greek underground music scene and inspired a dozen of young groups to sprout blending their unique style with influences from Western rock n' roll, or rhythm & blues.


Discography

Single
Released on Decca in Greece, between 1964 and 1965:
Ah! say yeah / Elephant twist
Jeronimo yanka / Dream in my heart
Jenka beat / A hard night's day
Say you love me / Somebody sent me love
School is over / Greek holidays
Il peperone / A precious white rose
Our last September / And maybe more

Released on Pan Vox in Greece in 1965
Mandjourana's shake / Hello my love, Salonika
Love without love / Until the end

Outside of Greece:
Jenka beat / Geronimo yanka Vocalion United Kingdom
Jeronimo yanka / Dream in my heart London USA
Jeronimo yanka / Dream in my heart Decca Y-7225 Australia

Most of the singles are pretty hard to find, as most of them are released in Greece only.

EP
1978 It's Christmas time again / White Christmas / Jingle bells / The sound of music Seagull 3E LOK-82 Greece

LP
1975 The Forminx Pan Vox 16171 Greece

CD single
2007 Jeronimo Yanka / Dream In My Heart / Ah! Say Yeah / Elephant twist Music Box 0507 Greece
2007 Jenka Beat / A hard night’s day / Somebody sent me love / Say you love me Music Box 0508 Greece
2007 Love without love / Until the end / Hello, my love Salonica / Mandjourana’s Shake Music Box 0509 Greece
2008 Our last September / And maybe more / School is over / Greek Holidays Music Box 0510 Greece
2009 Il Peperone / A precious white rose / It’s Christmas time again / White Christmas/ Jingle Bells Music Box 0511 Greece

The Forminx line up:
Vangelis Papathanassiou on organ,
Vassilis Bakopoulos on guitar,
Sotiris Arnis on bass and
Costas Skokos on drums.
Tassos Papastamatis, who also made a short-lived solo career outside the band, joined in on occasion as a lead singer

Tracks:
Jeronimo Yanka 3:12
Our Last September 3:21
Mandjourano's Shake 2:37
And Maybe More 3:09
Somebody Sent Me Love 2:16
Greek Holidays 2:15
Ah! Say Yeah 2:16
Jenka Beat 3:15
Say You Love Me 3:13
A Precious White Rose 2:57
Il Peperone 2:10
A Hard Night's Day 2:33
Dream In My Heart 2:18
School Is Over 3:08
It’s Christmas Time Again 3:46
White Christmas 1:48
Jingle Bells 2:43
Hello My Love Salonica 2:32
Until The End 2:21
Love Without Love 2:56
Elephant Twist 2:09

Them - Belfast Gypsies (1966)



Όταν αποχώρησε ο Van Morrison οι Them έγιναν δύο κομμάτια. Το ένα κομμάτι υπό το ίδιο όνομα με τον μπασίστα Alan Henderson τράβηξε Αμερική μεριά για να βγάλει δίσκους όπως το Time in! Time Out! που είχα ανεβάσει παλαιότερα. Το άλλο κομμάτι, αποτελούμενο από τα αδέλφια Jackie και Pat McAuley, τον Ken McLeod και τον Mike Scott, υπό την καθοδήγηση του δαιμόνιου Kim Fowley, άρχισε να δισκογραφεί πιστό στο R&B και garage. Είναι εμφανέστατοι οι επηρεασμοί από την περίοδο Morrison αφού το γκρουπ συνέχισε στα ίδια ακριβώς βήματα. Ηχογράφησαν ένα δίσκο και μερικά 45αρια υπό το όνομα The Freaks Of Nature. Όλα μαζεύτηκαν στην έκδοση της Rev – Ola.

Members:
Jackie McAuley - keyboards, harmonica and vocals
Ken McLeod - guitar
Mike Scott - bass,
Pat McAuley - drums and percussion.

Tracks:
01. Gloria's Dream
02. Crazy World Inside Me
03. Midnight Train
04. Aria of the Fallen Angels
05. Its All Over Now, Baby Blue
06. People, Let's Freak Out
07. Boom Boom
08. Last Will and Testament
09. Portland Town
10. Hey Gyp (Dig the Slowness)
11. Suicide Song
12. Secret Police
13. Portland Town
14. It's All Over Now, Baby Blue
15. Midnight Train
16. Gorilla
17. Secret Police
18. Gloria's Dream

Monday, September 01, 2008

The Sunshine Company - The Sunshine Company (1968)

our friend, Thomas is ready
http://sharebee.com/9f99d2bf

The Red Crayola - God Bless The Red Crayola And All Who Sail With It

re-upload for the friend
http://sharebee.com/a2d1fb01

As i saw...

..."we are not closed"...

http://www.shareonall.com/ is dead. That means that most of my files here are dead too. Please post in comments all the dead links you are interesting for , to upload again.

Paul Revere and the Raiders - Something Happening (1968)


Για τους Riders τα έχουμε πει και παλιότερα. Εδώ πάντως τους έχουμε στην ίσως πιο ψυχεδελική τους κατάσταση. Πρόκειται για μία αξιόλογη προσπάθεια από αυτό σημαντικό γκρουπ που «ζει» ακόμα εδώ και 50 σχεδόν χρόνια, έχοντας μάλιστα νέα δισκογραφία.

Paul Revere - keyboards
Mark Lindsay - vocals/sax
Freddy Weller - guitar
Joe Correrro - drums
Keith Allison - bass - b. August 26, 1942 - formerly with The Unknowns.

Tracks:

1. Happening Intro/Too Much Talk
2. Happens Every Day
3. Burn Like A Candle
4. Observation From Flight 285
5. Get Out Of My Mind
6. Don't Take It So Hard
7. Communication (Part 1 & 2)
8. Love Makes The World Go Round (Don't You Let It Stop)
9. Free
10. The Good Times
11. Happening '68
12. Too Much Talk
13. Happening '68 (TV Version)
14. Theme From It's Happening

Velvet Night - Velvet Night (1969)


Καλό μήνα, καλή βδομάδα και…καλό φθινόπωρο.
Δύσκολα θα συντονιστούμε μετά την καλοκαιρινή ανεμελιά, αλλά θα πρέπει. Ελπίζω να σας βρίσκω όλους γερούς και δυνατούς.
Καλώς σας βρήκα.

Personnel:
LYNN BOCCUMINI vcls A
DOUG CATUOGNO perc A
FRANK CHIARO bs A
TONY FARANDA gtr A
PETER FUINO sax, flute, vcls A
VINNIE NISI keyb'ds, vcls A

ALBUM:
1(A) VELVET NIGHT (Metromedia MD 1026) 1969
NB: (1) repackaged and released as Would by Would (Perception PLP 24) 1971, with one track difference. (1) was reissued in 1993 and also pirated on a "2 on 1" CD together wit Art Of Lovin.

45:
1 Velvet Night/I'm Sure He'll Come Most Anytime (Metromedia MM-110) 1969

The album contains passable cover versions of Season Of The Witch, If I Were A Carpenter, The Weight (with the Band's song miscredited to Tim Hardin!) and a Cream medley (I'm Free, The Sunshine Of Your Love, White Room and I'm So Glad). Only one song (Don't Let Me Stand In Your Way) is written by a band member (Vinnie Nisi). The best three tracks - Velvet Night, Freak Show and Edge Of The Woods were written by non-band members Jimmy Curtiss and S. Kanyon.
For the most part, heavy choppy psych, that'll appeal to fans of the Vanilla Fudge/Hassles school possibly but for some an acquired taste.
In 1971 the album was repackaged and reissued as by Would on Jimmy Curtiss' label.
Tracks:
1. Season Of The Witch
2. Velvet Night
3. Freak Show
4. Tribute:
a)I Feel Free
b)Sunshine Of Your Love
c)White Room
d)I'm So Glad
5. The Weight
6. Edge Of The Woods
7. Don't Let Them Stand In Your Way
8. If I Were A Carpenter