Band from NEW ZEALAND was released in 1971 and is so far one of the most expensive records on the collectors market. Most of the real collectors have never seen an original copy! By the way the band was banned from radio stations in Australia an New Zealand because the albums front cover was judged pornographic. Their music are really great-compact rock songs and if you need a band to compare with take KILLING FLOOR. Musically it's driving heavy progressive rock typical of New Zealand and Australia (like Human Instinct but a bit harder) In places the band have a Hendrix vibe whilst at other times UK early '70's bands such as Human Beast come to mind. The Story - When Keith Emerson disbanded The Nice, Lee Jackson decided to hang up his bass guitar and go back to 'simpler' music.
With this in mind he gathered together some musicians he had known for a number of years: Charlie Harcourt, Tommy Sloane and Mario Tapia. The result being the first Jackson Heights album King Progress, on which Jackson sang and played acoustic guitar. The standout tracks are 'Mr Screw' and a reworking of the old Nice song 'The Cry of Eugene'. It did not sell in any great numbers. The band started to drift apart and Jackson's next recruitment began. Joining him were John McBurnie and Brian Chatton, both multi-instrumentalists.
View credits, reviews, tracks and shop for the 1974 Vinyl release of The Pit & The Pendulum on Discogs. Oct 26, 2009 - Old Time Radio - Suspense - The Pit and The Pendulum - Vincent Price Spook Loops. Lambert, Hendricks & Ross - Halloween Spooks.
He did not, however, recruit a drummer. The band was now a trio with Jackson playing bass, sounds familiar! McBurnie took over the majority of the writing with all three sharing the vocals and a second Album The Fifth Avenue Bus, was recorded with Mike Giles on drums. At this stage the band was touring as a trio, without a drummer.
There are no outstanding tracks on the album and once again there was a lack of commercial success. Undaunted, writing and recording of the next album, with Brian Chatton now contributing to the song writing, began.
The resulting album Ragamuffins Fool, was easily their best so far. There was almost a hit single with 'Maureen' and the overall sound was of a band confident in what they were doing. Again most of the drumming was done by Mike Giles. They toured, again without a drummer, and recorded their only Radio One Session in support of the album.
It what was becoming inevitable it did not sell. By now Lee Jackson was getting a bit downhearted and poorer, he was using his own money to keep the band solvent. The master plan was the dreaded 'Concept Album'. The theme was to be about the lives of the 'ladies' who worked in Burlesque theatre. It didn't quite work out that way but, armed with two drummers, Mike Giles and Ian Wallace, and a 20 piece orchestra they went into the studio and recorded Bump 'n' Grind. The publicity machine went into overdrive and the actual record was presented in a deluxe laminated sleeve. Even the record company wanted this one to be big! That's right - it bombed. A major problem in touring with the album was reproducing the orchestral sound.
Jackson approached Patrick Moraz, Swiss keyboard wizard with a view to him touring with the band. He declined but suggested Jackson might consider forming a band with him. Moraz had the record deal and other finances in place. In view of his own 'money problems' Jackson agreed and with Moraz and ex Nice drummer Brian 'Blinkey' Davison formed Refugee. Jackson Heights ceased to exist, leaving a legacy of four underated albums. When Wildfire determined it was time to cut a demo album, they began in California at the Beach Boys’ studio, putting down the bass and guitar tracks.
Wildfire guitarist Randy Love is Beach Boy Mike Love’s cousin. A Texas promoter convinced the band that Texas was the place they wanted to be and the place they wanted to record, and the boys returned to Austin, eventually ending up at Sonobeat’s Western Hills Drive studio toward the end of the year.
There they cut a demo of original music, 8 power-packed songs of timeless rock and roll. Sonobeat owner Bill Josey, Sr.
Produced and engineered this demo album which, like all of Sonobeat’s classic demos, was released in a plain white jacket with hand-written numbers on white stickers. In addition to the few copies given out in Austin, the demo was sold at Sound Spectrum, a record store in Southern California owned by Jimmy Otto at the time. Wildfire gave only 100 albums to the store, and they were sold out in 2 days. The store begged fore more, and Sound Spectrum was given an additional 100 albums.
They were sold out in a matter of hours, setting an all-time record albums at the store, per Jimmy Otto. The authorized demo album has a white cover with an adhesive label. The label on the vinyl reads “Primo” and was drawn by Randy Love. Autumn Leaves and BMI were on the label. Bob Jackson (born 1949, Coventry, England), is a keyboardist/guitarist whose career has been interwoven with various rock and pop bands since the early 1970s. Jackson formed his first professional rock group in 1969, called 'Indian Summer'. The group released the album Indian Summer in 1971, and then disbanded the following year.
John Entwistle of the Who wanted to tour in 1972 with his own band. He therefore formed a new band 'Rigor Mortis' in 1972 Bob Jackson was the keyboard player of this group and Alan Ross was the guitarist. Both played on their debut tour.
Once the 'Rigor Mortis' tour had ended Bob Jackson and fellow bandmate Alan Ross decided to put together their own group in 1973, calling themselves 'Ross' and recorded two albums on RSO Records; 'Ross' in 1973 and 'The Pit and the Pendulum' 1974. This hard rock group failed to capture an audience and disbanded after the release of its second album. Jackson joined Badfinger and several other groups. When Jimmy Page was in the formulation stages of putting Led Zeppelin together, his first choice for lead singer was Terry Reid. Reid had been a familiar fixture in the London music scene for some time and he was a natural for the type of raw blues and hard rock Page was looking for. But the timing was bad and the prior contractual obligations were worse, and Reid was forced to decline Page's offer.
He did however suggest a friend, Robert Plant as an ideal choice for vocalist. Plant and Reid had been good friends over the years and it made perfect sense that Plant would be in Led Zeppelin. I was very doubtful whether I should include this Scottish group in the German rock section or not, but as they had a German drummer, were based in Germany and their album only was released in Germany, I think it is justified! If you don't have this album, buy it at once, it's an all time classic!
This is a heavy progressive garage rock masterpiece with such a bizarre vocalist, his voice makes Captain Beefheart sound like Art Garfunkel! The line-up was: John Latimer (vocals, piano, organ, percussion), Byron Grant (guitars, fiddle), Mike Reoch (bass, flute, piano, harmonica) and Manfred Bebert (drums, percussion). Their only album included a freaked version of 'Soul Francisco' as well as self-written, thunderin' blues-rock classics such as 'Movin' Along' and 'Freedom's Fight'. A stunning party record! The album came with impressive, absurd cover art. Original Phillips copies now sell for 400 DM or more. The album was re-issued in 1981 on ZYX in a single sleeve with completely different artwork.
Luckily, Second Battle put it right again in 1990, when they released 1,000 copies of the album featuring the original cover plus and insert with information. Catapilla were an English band from the early 70′s who released two interesting albums of experimental jazz rock, without symphonic traces as in other bands of the moment such as Affinity, Cressida or Spring. The band had a line-up of six to seven people performing on saxophones, keyboards, bass, guitar, vocals, bass, and drums. The album opens with the 15-minute “Naked Death”. It features heavy sax-work, powerful vocal-parts with the aggressive, tormented female vocals of Anna Meek, and a long jam in the middle. What really gave Catapilla their distinctive stamp were probably the vocals of Meek and the atmospheric sax-playing.
The highlight on the album is of course the 24-minute “Embryonic Fusion”. An intense blowouts of energetic, saxophone-driven early 70′s jazz-influenced progressive rock.
It features great jamming and some structured and strong riffs too. A good album for anyone who likes saxophone-dominated progressive rock. (Review from vintageprog.com - Progarchives.com). Tongue & Groove were something of an offshoot of the legendary, but little-recorded, early San Francisco hippie group the Charlatans. Singer Lynne Hughes had occasionally sung with the Charlatans onstage in the mid-1960s (although she was never an official member), and even appears, on vocals and guitar, on a few cuts they recorded for Kama Sutra in 1966 (eventually seeing release on the CD compilation The Amazing Charlatans). Pianist Mike Ferguson, who occasionally sang lead with Tongue & Groove as well, was a bona fide original Charlatan, although he left by the time their one proper 1960s album was issued.
Richard Olsen, another Charlatan, played bass on Tongue & Groove's one LP; Hughes and Ferguson wrote much of the material, and yet another ex-Charlatan, Dan Hicks, contributed one composition as well. Tongue & Groove's self-titled album, released in the late 1960s on Fontana, was produced by Abe 'Voco' Kesh, who also worked with several other second-tier sixties Bay Area acts, such as Blue Cheer and Harvey Mandel; top session musicians James Burton (on dobro) and Earl Palmer (on drums) also contributed to the recording. As could be expected given their ancestry, the record had much in common with the Charlatans' fusion of old-timey saloon music, vaudevillian blues, and rock. The key differences were that a woman (Hughes) took most of the lead vocals, and that the lysergic tinge of much of the Charlatans' material was virtually absent.
The numbers featuring Hughes' saucy vibrato vocals, which mine the territory between Janis Joplin and Mae West, are certainly the highlights of the album, a fitfully engaging footnote to late-sixties San Francisco rock. Richie Unterberger, All Music Guide 01. Come on in My Kitchen 03. Mailman's Sack 04. Cherry Ball (Shake Shake Mama) 05. The Shadow Knows 06.
Sidetrack 07. Motorhead Baby 08. Duncan & Brady 09.
Rocks for My Pillow (Livin' with the Blues) 10. Fallin' Apart. HIGHT RARITY!!GREAT AMERICAN GROUP SOUL AND RARE! HAS ORIGINAL ALBUQUERQUE, NEW MEXICO! THIS IS YOUR FIRST ALBUM WITH A GOOD LOUDNESS!
INTERESTING WELL THE MUSIC OF THE BAND! IS A SOFT ROCK PPSYCHEDELIA AND WITH A TOUCH OF SOUL MUSIC!! HARMONY AND LIGHT NICE! ALMOST ANYTHING FOR INFORMATION ON THE BAND UNLESS 'CARL SILVA' HAD BEEN A MEMBER OF A GARAGE ROCK BAND CALLED 'LINDY & THE TRAVELS', WHOSE MATERIAL WAS REISSUED BY LABEL BIG BEAT IN 2006!
POISON EFFECT OF NICE AND WITHOUT PARANOID! RECOMMENDED FOR THOSE WHO LIKE THE STYLE! Formed in Hamburg (Germany), this obscure 70s heavy rock band is in the vein of popular British, American bands as DEEP PURPLE, ATOMIC ROOSTER, VANILLA FUDGE. Well played their intense rock is strongly melted with progressive tendencies thanks to the use of massive electric organ parts, long instrumental and technical structures, extended jam and adventurous climax. With intelligence and constant creativity, the quintet was pertaining to the evolution of rock music, particularly sensitive to new approaches from everywhere, British late 60s style to psychedelic feel and krautrock experimentations. I NEED HELP TO CONTINUE WITH MY PREMIUM ACCOUNT IN MEGAUPLOAD!! WITHOUT THE PREMIUM ACCOUNT I CAN NOT POST THE POISONS IN THE BLOG!!
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THIS IS AN INJUSTICE. WANT ONLY ONE RETRIBUTION!! ONLY ONE RETRIBUTION!! This amazing thing about the Archives is that you get a fair amount of albums in all sub- genres that rank from the strange, obscure all the way to the frankly bizarre. And all genre considered, one of the more bizarre is the aptly titled debut from this trio. This record dates from 69 ( on the great progressive label Harvest) and is a perfect example (almost a textbook case) of acid-folk but with such a twist of bizarre that it must rank into the folk-prog sub-genre, which has its own share of bizarrerie. Wrapped in a superb psych drawing ( a bit in the style of Beatles 's Yellow Submarine) gatefold sleeve with a no-less superb inside artwork, this uncanny and baroque oeuvre is really a lost gem, one of those rare 24 carrat stuff that only comes so often.
The opening track is a hard to classify track meandering between a few styles (even developping for a few second into the Greensleeves theme), but staus unfocused enough to destabilize the unwarned listener, but if experienced enough to get him ready for what comes up next. The second track delves into the frozen depths of demon worlds and chilly tales, freezing you to death, only to bring you back to reality with a barroom sing-along tune. Sometimes takes a plunge back into the bizarre and oblique world just left before, reminding the proghead of the insane world of Comus, and warning you of dangers soon to come in your affective life. Maybe my mind is another sombre affair with a voice that sometimes rings like Family's Roger Chapman and might just be the highlight of the first side. This first side ends into a blues, probably the low point on the album, but this might be up for debate because they are equally at ease into this style as well!The second side is clearly the better one, and it is the succession of a few masterful 'songs' like those that make an album a real classic. Terror In My Soul is just as scarry and terrorizing as Comus's Drip Drip, with its sinister flute underlining a superbly tense acoustic guitar strumming. Comes next is a superb adaptation of Fred Neil's Travelling Shoes, and if it was not for the vocals, you'd swear you'be on the Traffic debut album with its delightful pastoral/hippy imagery.
Outstanding and astounding! The next track, aptly titled Winter returns to the chilly athmospheres with a haunting cello in the background and bizarre noises evoking stressed and chilled birds calls. The closing track starts out on a harpsichord and flute intro to diverge back into the madness we have now grown accustomed to (we had no choice unless getting locked in forever into the Musically Insane Asylum), but soon we waltz into a great swingy jazz tune to plunge into deep madness (almost free jazz) forever as they apologize for their mischief just accomplished. This group of intelligent individuals; Dagmar Krause (vocals/piano/perc.), Anthony Moore (Keyboards), Peter Blegvad (guitars/sax/vocals) were helped out by some members of Krautrock band Faust (on drums, bass and sax) for this release. The songs are firmly in the avant-pop mould, featuring catchy melodies with strange arrangements and sounds - a kind of marriage between commercial and uncommercial ideals.
Here, Dagmar sings so sweetly, not her aggressive, 'Teutonic' warbling she is closely associated with. The rhythm section provides a certain 'looseness' to the songs, with Blegvad's acidic guitar tones chiming through the air in an effort to shred your ear-drums, and his singing is somewhat harsh - quite inaccessible, yet the format in which these textures are conveyed is undeniably 'pop'. Difficult to actually 'pin down' highlights, as most tracks are of equal high quality - opening track 'Just a Conversation' is a concisely written song, with wah-wah guitar and brief acoustic interlude, and gorgeous singing from Daggi.
'Paradise Express' features Blegvad on vocals, and a neat sax workout from Faust's Gunther Wusthoff, complete with a loveable melody. 'I Got Evil' is an eccentric sounding song, weird singing, even weirder synth (or is it a kazoo, or manipulated sax.?) and amusing lyrics. 'Little Girl's World' is a quaint track, with Daggi playing the 7/4 middle section on piano. It's back to Blegvad for the rather psych sounding 'Tutankhamun', with another fuzzy solo (is it an organ? Anthony Moore, what are you doing??). Quite unique. 'Mono-Plane' is the long track (6.50) and is a groovy, repetitive riff jam from Blegvad, and, perhaps, is their nod toward Krautrock. 'Blue Flower' reminds me of cheerful country music, with more piano playing and singing from Dagmar.
'I'm all Alone' is a soft ballad sung by Dagmar, which just floats along, again featuring Gunther's sax playing. 'Who's Gonna Help Me Now' is another softer track, similar in mood to the previous track.
'Small Hands of Stone' is an almost ethereal sounding piece, with some sax playing from Peter Blegvad and hypnotic piano playing from Moore. 'Sort Of' is an instrumental ditty that is extremely catchy and fun. 'Heading For Kyoto' is a well arranged, percussively oriented track, with excellent progressions, wah-wah guitar and superb singing from Dagmar. With this LP (Recommended Records re-issue) a lovely 'etched' 7' entitled 'Alcohol' (by Blegvad) was included, and is a.very. strange atonal piece of music with bizarre poetry 'sung' by Blegvad. Curious, but not 'Slapp Happy' as such.
A minor treasure.
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