Thursday, 1 December 2016

Pictures of The Day - The First "Batman " Issue No 1, 1940

Anyone who have a copy?

Link: Batman No 1-4 (PDF)
Link: Batman No 1-4 (PDF)
Link: Batman No 1-4 (PDF)

Some more assorted comic magazines:

Part 1: Assorted Magazines (PDF)
Part 2: Assorted Magazines (PDF)
Part 1: Assorted Magazines (PDF)
Part 2: Assorted Magazines (PDF)
Part 1: Assorted Magazines (PDF)
Part 2: Assorted Magazines (PDF)

Enjoy, ChrisGoesRock

Tuesday, 29 November 2016

Believe it or not: World Fastest Bicycle, no joke

On November 7th of 2014, on the famous Circuit Paul Ricard located at Le Castellet in South of France, François Gissy has reached an incredible speed of 333 km/h on the rocket-propelled bicycle designed by his friend Arnold Neracher. 

More than 300 km/h on a skinny and completely stripped bicycle, this is amazing, and crazy! Who thought that one day a daredevil on a bicycle, with a rocket under the saddle, could travel the quarter mile in less than 7 seconds? 

Data of the fastest run set on 7 November 2014:
Peak speed: 333 km/h (207 mph) attained after around 250 meters.


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Wednesday, 23 November 2016

Bobby Brown - The Enlightening Beam of Axonda (US 1972)

Front Cover

Size: 79.8 MB
Bit Rate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Bobby Brown's 1972 LP The Enlightening Beam of Axonda is a holy grail for collectors of rare psych, and one of the most idiosyncratic works to emerge from the West Coast petri-dish of psychedelics and self-motivated outsiders. The LP was originally issued in a small run on Destiny Records, and today trades hands for absurdly inflated prices.

Most people associate the DIY musical aesthetic and attitude with the early tremors of punk rock, but it goes back much further than that. You could make a case that it stretches back to early folk and gospel, where each artist literally had to do everything themselves; there is certainly precedent for blues, as well. But for the sake of this article, we’re going to look at the early ‘70s—and 1972, to be exact.

Back Cover

By this time, the Summer of Love mentality was waning, and music was no longer a leading source of social protest. In fact, the music of the early ‘70s was mostly characterized by the rise in MOR pop/rock and a renewed focus on making music that just sounded good. AM radio was flooded with bands like Bread, America, and Seals and Croft (all of which I love, by the way); and songs like "Aubrey" and "A Horse with No Name" were pouring out of every rocking hatchback.

It was a far cry from the LSD-fueled psych-pop of the previous decade. And while many artists found success in compromise, there were still isolated segments of the musical populace who were determined to continue doing things their own way.

And one of these musicians was frequent Hawaii resident and psych auteur Bobby Brown. 

I first came across Brown through some online forums and the recommendations of a few random users. At the time, I was listening to musicians like Tim Buckley, Jackson C. Frank and The Incredible String Band; and so, based on my appreciation for those artists, I was directed to Brown’s 1972 record, "The Enlightening Beam of Axonda." 

As I searched for any information on the album and Brown himself—and precious little was forthcoming—I slowly began to get a relative picture of the man and his music. With echoes of primitive new age, folk and pop, Brown created music that attempted to detail the natural beauty of the landscape around him, which at the time were the pristine shores and verdant forests of Hawaii. This was even evident in the titles to songs like "My Hawaiian Home" and "Oneness with the Forest." 

To help facilitate his musical vision, Brown constructed and maintained what he called "the universal one-man orchestra." This elaborate instrument was actually an amalgam of numerous different instruments from around the world, which was meant to be played by hand and foot simultaneously. Irish harp, koto, flute, sitar, dulcimer and thumb piano (among many others) were all represented in some fashion within the machine, which had a total of 311 strings.

"The Enlightening Beam of Axonda" was less about a strict musical formalism and more about the evocation of time and place. The songs tended to run together, as there were only slightly discernible breaks between some tracks. But that’s not to say the record sounded overly homogenous. Within each track were acres of fertile musical landscape, just waiting for some person to come along and dig in. And that’s what Brown wanted—observation of the world around you and an appropriate reaction on the part of the listener, whatever that reaction might be. 

There was no exclusivity in his music, only an inherent humbleness and communal inclusiveness. And yes, he did have the requisite hippie lifestyle and wide-eyed ‘60s ideals, but these things never felt out of place in his life and music. If anything, they lent the album a naiveté that paired perfectly with the often-abstract lyricism.

Brown's tendency toward spoken-word, stream-of-conscious soliloquies and overt Middle Eastern instrumentation can occasionally feel a bit more fey and dated than some of his psych peers, but "Axonda" sounds far more complete and wonderfully detailed in its depiction of man and his place within the world than many of his '70s musical cohorts. Each individual song goes through numerous iterations and forms, which present a series of cyclical melodies and atypical rhythms.

And while I was immediately intrigued by Brown's use of harmony and musical didacticism (his views on the conservation of nature are quite evident through his lyrics), the album required repeated listens to completely get its hooks into me. The ways in which he twisted melodies through his homemade instruments required a primer period of adjustment. This wasn't the Bee Gees, after all.

But the album felt honest and open and even seemed to revel in its transparent intentions. Brown signed a good many of the original LPs he sold and included his home address and phone number in case you wanted to get in touch about setting up a performance. These were the actions of a man who honestly felt the need for connection with his audience. There was no musical subterfuge here, only an open invitation to his fans.

Look past the obvious '60s mystical allusions and less-than-subtle views on the environment, and you'll find an album of curiously optimistic insight and impulsive musical creativity. Like his instruments, "The Enlightening Beam of Axonda" helped to define the continued spirit of artists who removed themselves from the artifice of mainstream music. Brown was never going to find acceptance as a radio star or arena headliner. His music was too raw, too unpolished. But that's exactly why this kind of music—and his, in particular—should be cherished for the absence of synthetic emotion and rote sentimentality. Though 40 years removed, this album retains its ability to surprise and inspire and manages to evoke a more genial time, when all someone had to do to be heard was pick up a guitar or possibly a "one-man orchestra" and sing.

For the past fifteen years, Bobby has stuck with his vision of a "one man show", always creating new instruments and new styles of singing and playing as he went along. Bobby's voice is perhaps his most remarkable instrument. Covering a six octave range (possibly the widest range ever recorded) it is capable of creating almost any texture he desires. But his "one man band" orchestra is not to be overlooked. 

Originally composed of about fifty instruments it contained 311 strings and took three hours to set up and tune. Instruments varied from a tiny electrified spring to a monstrous fifteen foot electrified drone. Some were of original invention, while others were electrified versions of instruments found around the world. With this set, he recorded his first album THE ENLIGHTENING BEAM OF AXONDA. An extension of his doctoral thesis begun at UCLA, it contains a story about possible new discoveries in physics that could lead to technological advances that would in turn lead to a very unique and very optimistic view of the future. 

01. I Must Be Born 
02. My Hawaiian Home 
03. Mama Knows Boys A Rambler 
04. Mambo Che Chay 
05. Oneness With The Forest 
06. Tiny Wind Of Shanol 
07. Bray 
08. Axonda 
09. Goin'On Through 
10. Preparation Dimension Of Heaven

1. Bobby Brown
2. Bobby Brown
3. Bobby Brown

Saturday, 19 November 2016

Graham Bell - Bell + Arc (Progressive Bluesrock (UK 1971)

Size: 80.1 MB
Bit Rate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

Bell & Arc’s one and only record is a prime cut of early 1970s British rock and roll. Born out of the psychedelic ashes of Skip Bifferty, Bell & Arc saw a reunion of sorts between singer Graham Bell and his former band mates, keyboardist Mick Gallagher and guitarist John Turnbull. Anyone delving into this record expecting the underground freak-beat of that earlier band, however, is in for a rude surprise. This band is an entirely different beast, and even Graham Bell’s singing has undergone some serious evolution since Skip Bifferty sank in 1969.

Heavy threads of American soul music, as well as tasteful touches of gospel and country, are what inform this record more than anything. From the insistent groove of “High Priest of Memphis” to the rollicking banjo rolls in “Keep A Wise Mind,” it is clear what musical traditions these cats are mining. Graham Bell’s vocals here are so soulful it almost hurts, with the obvious reference point being the shredded-throat testifying of fellow countryman Joe Cocker. 

Turnbull’s guitar is also on fire, whether he’s indulging in tight wah-pedal workouts in “Let Your Love Run Free” or keeping things beautifully restrained in the band’s sizzling, slow-burn workout of Leonard Cohen’s “So Long, Marianne.” In the meantime, I would assert that it is Gallagher’s rhythm piano which seems to be the bedrock of the band’s sound. Each cut displays inspired playing that really seals together the spirit of the band. His concluding improvisations on “Yat Rock” are particularly enjoyable, where he compliments his driving rhythm playing with the occasional Jerry Lee Lewis run.

Side A of this record is one of those rare cases where every song is absolutely killer, and the energy just does not let up. The opening three song punch blows me away every time. By the second side, things start to lose a little steam, but only barely. In fact, “Dawn,” the one acoustic track on the album, is a pleasant, hazy respite from the high-octane rave-ups that surround it. In fact, the guitar dynamics and subdued atmosphere might actually make it a highlight. “Children of the North Prison” draws the band back, and throws out one of the catchiest hooks on the record against a great ascending piano line. In the years since I first happened on this record, it has slowly but surely become one of my absolute mainstays. It’s hard not to be drawn in to Arc’s tight grooves and Bell’s cosmic rock and roll songs, and  I dare say it makes some fantastic road music. Check out the (out-of-print, but easy to find) Rock and Groove Records reissue, or keep your eye peeled for one of the original copies. I should probably note that it looks as though the British and American copies of this one have different artwork; the British record has a bright red cover, with what looks like layered fists.

01. High Priest of Memphis - 3:30
02. Let Your Love Run Free - 6:00
03. Keep a Wise Mind - 3:19
04. So Long Marianne - 3:44
05. She Belongs to Me - 4:29
06. Yat Rock - 6:08
07. Dawn - 3:00
08. Children of the North Prison - 4:15
09. Everyday - 3:53

1. Bell + Arc
2. Bell + Arc
3. Bell + Arc

Wednesday, 16 November 2016

Will Z. feat. Book Of AM - New Start (Psychedelic Album 2013)

Size: 118 MB
Bit Rate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

New Start takes the listener on a beautiful, cosmic journey of discovery. Its rich textures and haunting melodies are evocative, meditative and timeless. This warm, sensual album will wrap you in its sonic embrace and touch your soul. It's a total trip, a rather floaty, psychedelic mind ride that will expand your mind in mystical, psychedelic ways you're never previously experienced. New Start will be the last time you'll hear this great team of psych and folk musicians working together on new and original music.

Will Z. is a singer, songwriter, multi-instrumentalist and producer, first known for his work with his band Cosmic Trip Machine, then The Book of AM 'cult' project. A solo artist he has explored several genres, from dark occult rock and hard rock to acid-folk and baroque pop, incorporating Indian music and experimental elements. 

New Start began in 2012 when Will Z. helped Juan Arkotxa, Leslie MacKenzie and Carmeta to finish The Book of AM, a unique combination of recordings and artwork which has since gained ‘cult’ status. After the release of The Book of AM, Juan Arkotxa and Leslie MacKenzie asked Will Z. to work on the sequel of their project, called The Book of Intxixu, with Daevid Allen. 

The leader from Gong organized a reunion in Glasgow during the last Gong tour and started collaborating with the AM team. Working with such talented musicians was a great privilege that inspired Will Z. to compose New Start, an album inspired by Jain philosophy, to celebrate the birth of his son and to pay homage to these great artists with whom he’d collaborated. 

New Start takes the listener on a beautiful, cosmic journey of discovery. Its rich textures and haunting melodies are evocative, meditative and timeless. This warm, sensual album will wrap you in its sonic embrace and touch your soul. It’s a total trip, a rather floaty, psychedelic mind ride that will expand your mind in mystical, psychedelic ways you’re never previously experienced. New Start will be the last time you’ll hear this great team of psych and folk musicians working together on new and original music.

Will Z. - lead vocals, 12 string guitar, acoustic guitar, electric guitar, Wah-Wah Fuzz guitar (Schaller Electronic Germany), Korg MS20, piano, percussions, sitar, bass, mellotron, EMS Synthi AKS, xylophone 
 Juan Arkotxa - flutes 
 Leslie MacKenzie - percussion on Jain Devotion Part V 
 Carmeta Mansilla - vocals on Jain Devotion Part II 
 Daevid Allen - glissando guitar on Evil Namo 
 oG - glissando guitar on Jain Devotion Parts IV & V 
 Alice Artaud - vocals on Greek Loop 
 Adam Geoffrey Cole - Oud on Jain Devotion Part IV 
 Anne - synth effect on Jain Devotion Part V 
 Louis Z. - baby

01. Jain Devotion (Parts I-III) 13:19
02. Namo 05:11
03. Evil Namo 03:32
04. Greek Loop 02:22
05. Nefle 05:40
06. Jain Devotion (Parts IV-V) 11:53

07. Can Am Des Puig - Dawn 03:08
08. Can Am Des Puig - Book of AM 05:59

1. New Start
2. New Start
3. New Start

Will Z. - Dark Tales of Will Z (Psychedelic Album 1997-99)

Size: 106 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

Will Z. explores several genres, mainly psychedelic folk, incorporating Indian music and experimental elements. He is also known for his work with Book of AM ‘cult’ project and the band Cosmic Trip Machine.

This album is a collection of dark electric numbers, originally intended for the final part of his previous album, 12 Visions, and songs composed from 1997 to 1999, when Will Z. was a teenager. When he rediscovered some tapes with the demo songs, 15 years later, he decided to work on these tracks and to go to studio with them. 

The Dark Tales recordings began in July 2013 and, after a long serie of sessions, the album was completed in April 2014. Almost 50 songs were recorded in the end by Will Z., with the help from Sammy Goldstein on drums, oG on glissando guitar and Alice Artaud.

Will Z. is a singer, songwriter, multi-instrumentalist and producer from Belgium who explores several genres, mainly psychedelic rock and acid folk, incorporating Indian music and experimental elements. He is also known for his work with The Book Of AM 'cult' project and the band Cosmic Trip Machine

In 2012, Will Z. was totally immersed in The Book Of AM production and recordings. He discovered it was the kind of music he wanted to play, but felt it would be a solo adventure. He released a totally improvised meditation opus called Shambhala album in almost 10 days, then, the following year, a "negative" version of his first solo album. The result, 12 Visions (inspired by the island of Mallorca, the alchemy book, Twelve Philosophical Keys, and J-K Huysmans novel, Là-Bas) gained an instant cult status. During 2013 and 2014, he worked on The Book Of Intxixu, sequel of The Book Of AM with Daevid Allen and Gilli Smyth from Gong, and Dark Tales Of Will Z., a collection of dark electric numbers. 

His fourth album, New Start, out in June 2, 2015, was inspired by Jain philosophy, the celebration of the birth of his son, an homage to these great artists with whom he’d collaborated. In 2015, Will Z. went on a tour, mainly in Belgium and Germany, performing concerts based on 12 Visions, Dark Tales and New Start songs. He recorded a Live album called The Saint, The Martyr And The Monk to celebrate this epic and final tour. A New Mirrored You, his fifth album, is based on Swan Lake by Tchaikovsky and A New Life by Dante Alighieri. 

Limited to 100 copies on black vinyl. Will Z is one of the heads of Cosmic Trip Machine, one-man band and producer of the 'Book Of Am' cult project, inspired by a mixture of dark occult rock and positive acid-folk. This third project of Will Z. is a collection of dark electric tracks, originally composed for the final part of '12 Visions'. Expect positive folk songs based on prehistoric legends of Menorca island and compositions dating from Will Z.'s teenage musical years. The result of all these sessions was two albums. 'Jellyfish Island', an unreleased collection that mainly features folk and was produced by oG, and the psychedelic rock orientated album 'Dark Tales Of Will Z.'.

Played, produced and composed by Will Z., featuring Cosmic Trip Machine and Alice Artaud. Recorded and mixed by Jean-Pol Gerard at NoHype Studio during 2013 & 2014. Mastered by Open Your Eyes.

Will Z.
 Cosmic Trip Machine 
 Alice Artaud 
 Recorded and mixed by Jean-Pol Gerard at NoHype Studio during 2013 & 2014. 
 Mastered by Open Your Eyes.

Link: Will Z. 

01. Total Darkness 02:42 
02. Satan Girl 04:00
03. The Eye of Destiny 02:49
04. Venenum Versus Viam 04:08
05. Spider Blues 03:18
06. 171bpm 03:46
07. My Dark Side 04:09
08. I'm Not Me 02:44
09. Captain Blizzard 02:42
10. Ego Ritual (Road to Germany) 07:30
11. Pure Beauty 03:28
12. Trouble Me 05:18

1. Will Z.
2. Will Z.
3. Will Z.

Can Am Des Puig - The Book of AM (Outstanding Psychedelic Folk 1971-78)

Size: 177 MB
Bitrate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan SHM-CD Remaster

Supersonic Sounds The Book of Am part I,& Part 2 (SP/UK/F, 1970-1977)*****

A couple years ago a group member of ‘Book of Am’ contacted me, because I once airplayed the 1998 Synton bootleg reissue of the 'Book of AM' album. He told me how he was surprised at the collector’s interest, and that this was not the name of the group, which was actually Can Am des Puig*, while Book of Am was the album title, and how he wished that he would be able to re-release the album as it was intended, together with the illustrated book and with the second never released album. About a year ago this publication was announced on the Gong homepage, and I inscribed myself immediately, but it took over a year before the album finally was released. I can imagine why, because it must have cost a fortune to make photo masters of the delicate watercolour paintings. I can only say that the expensive price is worth the purchase. It has an introduction in English, Spanish and Catalan. The original group name seemed to have been left out now so as not to confuse anyone.

Back Cover

The background story :
After having settled down in Ibiza after their studies, Juan Arcocha and Leslie MacKenzie decided to go on a kind of spiritual quest, looking for a creative source of inspirations. The last stop of their long journey was Bodh-Gaya in India, in December 1973, where the Tibetans prepared New Year celebrations with the Daila Lama. It was the place where Siddhartha became the Buddha some 4000 years ago. It seemed to be the same ideological destiny point for any foreigners with similar goals. They met a Mexican improvised revolutionary music group led by one Alberto Ruz, Icelanders led by Gerhardt of Ice, who made illustrations with poetry, based upon Moslem, South American and Greek thoughts, and Brother John, who was specialized in Christianity and Zen. For them it seemed as if religions and philosophies of the whole world came gathered together in a summit of an experience.

Back in Ibiza they wanted to transmit their collected visions, which led to an etched book, ‘Garland of Visions of the Absolute’, based upon an obscure poem that was the basis of Advainta Vedanta (experiencing the non-dualistic reality). The times were right and the book sold well. So in 1975 they started a second book based upon three parts : morning, afternoon and evening, with 25 etchings, and texts based upon a collection of poems and songs they found representable as examples of what inhabited common ideas in religions and some other group philosophies. The texts were collected along their travels and from a research session at the Warburg Institute in London. The first idea was, to accompany the art with song improvisations on guitar, flute, suji-box and drum. The book was finished mid 1977, but the colours were too subtle that they said in Madrid they couldn’t print it. Disappointed they returned home via Deia, where Robert Graves had lived since 1929, trying to meet him, because a Welsh poem “Song of Amergin” was in this book and the group had liked his version in “The White Goddess”, and refered many times to it. At the place there was held a meeting with musicians, where Daevid Allen turned up. Daevid told him about his work with Soft Machine, about Gong, presented his partner and artist Gillie Smyth, and the Banana Moon studio. He loved the idea of making a record of the book of Am, and the group quickly took the opportunity. Guests were Patrick on 12-string guitar, Stephanie Shepard and Pat Meadows (not mentioned in the liner notes) on flute, Phil Shepherd on percussion and some vocals, and Lally Murray on voice (not mentioned on the published LP). At the end of the session two Gong enthusiasts from UK also participated: Jerry C. Hart and Tony Bullocks, together with Catalan singer Carmetta Mansilla, a trio that joined their weekly improvisation sessions and became part of the group. Daevid sold them cheaply a 4-track recorder. At that stage Jean-Paul Vivini, came to the group with a synthesizer. From January to March 1978 they recorded two open real tapes of 45 minutes each. The recordings were produced in a logic order to accompany the etchings. Daevid also took care that the first album found a publisher that printed the first master by the end of that year. They didn’t come to publish part 2, or to go further that part II of the morning section because of family obligations. Perhaps we can still expect in the afternoon and evening times of their lives the continuing of this project ? I surely hope that the release and recognition of their hard work now becomes or is like their midday experience.

Album Foldout

The songbook :
The 144 paged book can be read partly and vaguely as a story but can more be seen as a source of inspirations with some common themes that holds them together. I’m glad to see how most texts refer to the inspiration of music and a definition and spiritual/religious context of music. Just a few texts are more vaguely ideas that they wanted to take with them as some/luggage on their travel/quest, while a few other stories sound like experiences on a journey, within the triple context of morning/afternoon/evening. Visually it has something of William Blake’s poetry with drawings and engravings. -(William BLake also showed his uniting mystic visions on religious and human-spiritual themes, of which some of his work now and then was partly put into music as well)-. This is more like an amateur form of the kind, with clearly structured lines and forms, associated from known or less known drawings and sources and compilations of their own invention. The texts that come from Welsh (book of Taliesin, Mabinogion) and British origin (British Edda, R.Graves, W.Blake), and come from Ancient Egyptian (book of the dead, papyrus of Ani, pyramid texts, book of breathings), Hermetic, Chassidic, Greek (Hesiod theogony, Aeneid), Icelandic (Edda), Biblic, Tibetan Buddhist (songs of Milarepa), Indian (poems of Kabir, Tantric yoga, Upanishads, Abharva Veda), Babylonic and Zoroastrian (Nuyaishes), Taoist and other sources, while the etchings also contain herbal associations. This whole collection looks for a timeless, inspiring and commonly uniting source. The art book in this way can work also inspiring for any future musical inspirations, for who knows any followers who can try something similar, based upon this book.

All the necessary background notes and references were added on additional pages.

Band Member Then and Now
The music CD1:
The most beautiful tracks for me are each time, the openers of sections, or the openers of a spiritual energy of a strong focus, amongst more improvised tracks that are more slowly and continually still developing, ie open ended in some way. “The Book of Am” starts with the harmonic singing of “Am” (where Om can be expected), followed by the beautiful “The Song Of AM”, a song which introduces the songbook.* This track is comparable to Incredible String Band, and has a beautiful, delicate dreamy melancholic sphere, with flute and guitar improvisation, and female angelic vocals, a track, alone, making it worth checking out the album, followed by a well fitting “the song of the void” (from Papyrus of Ani). Several of the following tracks are in a simpler and more improvised style compared to the aforementioned ISB, and with a different focus and interest. “Fire” is free improvised, with ethereal female vocals and electronic effects, becoming air-like thin. After “The Cauldron”, and by the time of “O Keeptress” (a track collected from the Icelandian poet Gernardt of Ice -mentioned before in the introduction-), this trio of songs by the same vocalist, gives an impression of being a bit too sparsely arranged ; they might have sounded nicer with just a bit more arrangement on them. A welcome change is the very beautiful first song of Morning, “As the wind blows” (Tagore) with tampura, tabla and guitar improvisation, with very self-unfolding energy, and with beautiful heartfelt, celebrative vocals that are like an ode to life. This is followed by the beautiful “Hear the voice of the bard” (W.Blake) with a melancholic singing-with-heart, by Juan Arcocha, with a similar vocalic focus as on the previous “Song of Am” and perhaps “Song of the void”. The song accompanied by delicate 12-string guitars picking with bits of echo, fit also beautifully with the original engraving by the songbook artist. This is followed by the next tampura droning track, “I am that living Soul” (pyramid texts), (comparable in style to “As the wind blows”). The tampura’s Indian droning core is combined with rhythmic, more earthly coloured hand percussion, which in combination and with additional flutes, make a perfect harmony with the higher region territories to which the vocals sing to, as a beautiful homage with spiritual-life-energy.

This sphere unfolds further on “Who can be muddy” (Lao Tse), with acoustic guitars, and vibrating electronic music, and vocals, “Musical of the Spheres” (orphic tablet), and “Hermes”, the last track is once more with male vocals, followed by "Taliesin Bardic Lore" (a track which is accidentally not listed as a title on the track list page). All these tracks have a similar, delicate and beautiful quality. But also, "Enchanted Bard", which is accompanied by acoustic and amplified guitar, tampura and a bit of electronic touches, is truly enchanting. It comes into the condition of an almost too perfect moment, which is taken into a continuum for a while. "The White Lion on the Mountain" is one of the so many songs by the enlightened Milarepa, here completely newly invented into a psychfolk/acid folk teritory. "I streched Forth" (Thomas Aquinas) is the most psychedelic track, in an Indian raga mode (voice, guitar, flute, percussion). "Love’s Strength" has even more percussion, is almost ritualistic, and with the additional electronica gets a pretty weird avant-garde, atmospherical touch. Only one track of the third section of the book, 'Afternoon', was recorded, which is "I am Yesterday", a text taken from the Egyptian Book of the Dead. This seems to be a very poetic text with deeper contexts, referring to some hermetic principles.

I was amazed by this second’s album's overall quality, which sounds like a more consistent, enjoyable album even, compared to the already great first record. I'm really glad that with this book it isn't missed, at least not by those who can afford it, and are quick enough to order, or by all the usual blogs related thieves who find one collector who doesn't care to share the music. In this case the album will still remain a bit obscure.

This is a limited Edition of 2x500 copies, packaged in a hardcover book with 2 vinyl LPs or 2 cd's.

* I asked for a confirmation of Jerry Hart, to ask if I remembered it well. He answered me : "Can Am des Puig means 'House of Am on the Hill' in Catalan. It's the name of Juan and Leslie's house in Ibiza and was also the adoptive name of their rented house in Deia, where we recorded the album. (Can = house, Puig = hill or mountain, hence the 'Puig Mayor' in Mallorca is the highest mountain on the island. BTW, Puig is pronounced 'pooch'). While we were never a 'band' as such and never played gigs or any public performances, attributing the music to the house where the music was played and recorded is very appropriate." 

Part I
01. Introduction (1:10)
02. The Song Of Am - Dawn (4:41)
03. The Song Of The Void (3:04)
04. Come Unto Me (1:15)
05. The Song-Ship Journey's West (2:33)
06. Fire (4:09)
07. The Cauldron Of Regeneration (3:50)
08. O Keeptress (7:02)
09. Homage To Ra (6:47)
10. As The Wind Blows (2:55)
11. Hear The Voice Of Bard (2:58)
12. I Am That Living Soul (4:09)

Part II
01. Who Can Be Muddy (6:49)
02. Favours Of The Muse (1:46)
03. The Music Of The Spheres (4:27)
04. Hermes (3:52)
05. Taliesin (5:02)
06. Enchanted Bard (7:20)
07. The White Lion Of The Mountain (6:06)
08. I Stretch Forth (4:39)
09. Love's Strength (4:02)
10. I Am Yesterday (4:10)

1. Can Am Des Puig
2. Can Am Des Puig
3. Can Am Des Puig

Monday, 7 November 2016

The Youngbloods - Selftitled (US Psychedelic Folk-Rock US 1967)

Size: 143 MB
Bit Rate: 256
Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

The Youngbloods is an album by the American rock band The Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.

"Get Together" was written by Chet Powers (aka Dino Valenti of Quicksilver Messenger Service) and had already appeared in 1966 as a track on the first album by The Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to #62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records.

The first song on the album, "Grizzly Bear" (spelled "Grizzely Bear" on the album cover), was also released as a single reaching #52 in the pop charts in December 1966. Jerry Corbitt took credit for writing this song, but it had appeared on a 1928 recording by singer/songwriter Jim Jackson. The song featured the "jug band" style popularized by The Lovin' Spoonful, Jim Kweskin Jug Band and other similar groups of the middle 1960s. The title refers to a popular dance style of the 1910s. Corbitt also wrote the second song on the LP, the ballad "All Over the World (La La)". Side one also featured Blind Willie McTell's "Statesboro Blues" and another ballad, "One Note Man" written by fellow Cambridge folk musician Paul Arnoldi (spelled "Arnaldi" on the record label).

Side Two featured two more songs written by fellow folk singer-songwriters, Fred Neil's "The Other Side of This Life" and "Four in the Morning" by George "Robin" Remailly (who became a member of the Holy Modal Rounders in the 1970s).

Jesse Colin Young wrote two ballads on side two, "Tears Are Falling" and "Foolin' Around (The Waltz)" which alternates between 4/4 and 3/4 time signatures. Classical cello was added to "Foolin' Around" by George Ricci. Side two ends with two blues standards, Jimmy Reed's "Ain't That Lovin' You" and Mississippi John Hurt's "C.C. Rider". The last song featured a hard-rocking guitar jam that was common in the late 1960s, especially for San Francisco, which would soon become the Youngbloods' destination both geographically and musically.

The Youngbloods were an American rock band consisting of Jesse Colin Young (vocals, bass), Jerry Corbitt (guitar), Lowell Levinger, nicknamed "Banana" (guitar and electric piano), and Joe Bauer (drums). Despite receiving critical acclaim, they never achieved widespread popularity. Their only U.S. Top 40 entry was "Get Together".

Jesse Colin Young (born Perry Miller, November 22, 1941, Queens, New York City) was a moderately successful folk singer with two LPs under his belt – Soul of a City Boy (1964) and Youngblood (1965) – when he met fellow folk singer and former bluegrass musician from Cambridge, Jerry Corbitt (born Jerry Byron Corbitt, January 7, 1943, Tifton, Georgia). When in town, Young would drop in on Corbitt, and the two played together exchanging harmonies.

Beginning in January 1965, the two began performing on the Canadian circuit as a duo, eventually adopting the name "The Youngbloods". Young played bass, and Corbitt played piano, harmonica and lead guitar. Corbitt introduced Young to a bluegrass musician, Lowell Levinger (born Lowell Levinger III, 1946, Cambridge, Massachusetts). Levinger, known as "Banana", could play the piano, banjo, mandolin, mandola, guitar and bass; he had played in the Proper Bostonians and the Trolls, and played mainly piano and guitar in the Youngbloods. He knew of a fellow tenant who could flesh out the band, Joe Bauer (born September 26, 1941, Memphis, Tennessee), an aspiring jazz drummer with experience playing in society dance bands.

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Once the line-up was set, Jesse Colin Young and the Youngbloods, as the group was then known, began building a reputation from their club dates. (Early demo sides from 1965 were later issued by Mercury Records on the Two Trips album.) Their first concert had been at Gerde's Folk City in Greenwich Village; months later, they were the house band at the Cafe Au Go Go and had signed a recording contract with RCA Records. Young, however, was not satisfied with RCA. "Nobody at [RCA] was really mean or anything; everybody was just kind of stupid," he explained to Rolling Stone magazine. "They never knew what to make of us, and tried to set us up as a bubblegum act... they never knew what we were, and never knew how to merchandise us."

The arrangement did produce one charting single in "Grizzly Bear" (#52, 1967). Several critically praised albums followed: The Youngbloods (1967, later retitled Get Together); Earth Music (1967); and Elephant Mountain (1969), with its track, "Darkness, Darkness".

In 1967, when "Get Together", a paean to universal brotherhood, first appeared, it did not sell very well, reaching only No. 62 on the chart. But two years later – after Dan Ingram had recorded a brotherhood promotion for WABC-AM in which the song was used as a bed for the promotion, and after the National Council of Christians and Jews subsequently used the song as their theme song on television and radio commercials – the track was re-released and cracked the Top 5. This disc sold over one million copies, and received a gold record, awarded by the R.I.A.A. on 7 October 1969.

Johnny Carson once reportedly refused to allow the band to perform on The Tonight Show Starring Johnny Carson, saying they were overly demanding during the pre-show soundcheck. In a 2009 interview, Young stated that the band refused to perform because the show reneged on a promise that they would be allowed to play a song from their new album Elephant Mountain, instead demanding that they only play "Get Together".

With Corbitt's departure from the band (for a solo career) in 1969, before the band recorded the Elephant Mountain album, Levinger assumed lead guitar duties and played extensively on Wurlitzer electric piano. The band became adept at lengthy improvisations in their live performances (as captured on the albums Rock Festival and Ride the Wind released after the band moved over to their own Warner Brothers distributed Raccoon label).

In 1971 the group added bassist Michael Kane to their line-up and put out two more albums Good & Dusty (1971), which featured an answer to Merle Haggard's Okie from Muskogee, "Hippie from Olema", and High on a Ridgetop (1972) before disbanding. Young, Levinger and Bauer all went on to solo careers, of which only Young had any notable success. Levinger, Bauer and Kane were part of another group, Noggins, in 1972 that only lasted for one album, Crab Tunes. Bauer died of a brain tumor in September 1982, at the age of 40.

In 1971 Jerry Corbitt and former Youngbloods producer Charlie Daniels formed a band called Corbitt & Daniels and toured.

In 1976 HT Rabin, drummer from Alias, joined the Youngbloods for a brief tour.

Banana supplied guitar, banjo, synthesizer, and back-up vocals to Mimi Fariña's 1985 solo album, Solo, and also toured with her on and off from 1973 until the 1990s. During the 1980s and 1990s, he played with the jam rock band Zero on keyboards, vocals and rhythm guitar.

In late 1984, The Youngbloods briefly reunited for a club tour. The 1984 line-up contained Young, Corbitt and Levinger, plus new members David Perper (drums, ex-Pablo Cruise) and Scott Lawrence (keyboards, woodwinds). Once the tour was completed, the group disbanded once again by mid-1985.

Following the September 11 terrorist attacks, the media conglomerate Clear Channel Communications included The Youngbloods' recording of "Get Together" on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.

Jerry Corbitt died of lung cancer on March 8, 2014. He was 71.

Jesse Colin Young – bass, lead vocals, rhythm guitar
 Jerry Corbitt – rhythm guitar, backing vocals
 Lowell "Banana" Levinger – lead guitar, electric piano
 Joe Bauer – drums, percussion

Original Album Mono Version:
01. Grizzly Bear 02:23
02. All Over The World (La-La) 03:18
03. Statesboro Blues 02:22
04. Get Together 04:41
05. One Note Man 02:27
06. The Other Side Of This Life 02:31
07. Tears Are Falling 02:29
08. Four In The Morning 02:55
09. Foolin' Around (The Waltz) 02:56
10. Ain't That Lovin' You, Baby 02:47
11. C. C. Rider 02:41

Original Album Stereo Version:
12. Grizzly Bear 02:23
13. All Over The World (La-La) 03:16
14. Statesboro Blues 02:20
15. Get Together 04:39
16. One Note Man 02:26
17. The Other Side Of This Life 02:30
18. Tears Are Falling 02:28
19. Four In The Morning 02:53
20. Foolin' Around (The Waltz) 02:52
21. Ain't That Lovin' You, Baby 02:41
22. C. C. Rider 02:40

Bonus Tracks:
23. Get Together (Promotional Single Version) 03:27
24. Merry-Go-Round 02:13
25. Se Qualcuno Mi Dira (Get Together Italian Version) 03:47
26. Qui Con Noi, Tra Di Noi (Grizzly Bear Italian Version) 02:20

More Bonus:

The Youngbloods
March 30, 1969
The Avalon Ballroom, San Francisco, CA.
FM broadcast on KPFA 

01. Ride the Wind  06:47
02. Sugar Babe  03:15
03. Four in the Morning  05:54
04. Too much monkey Business  05:08
05. Banana's  05:45
06. Dolphins  11:22
07. The Wine Song  03:33
08. Darkness, Darkness  05:10
09. Beautiful  07:32

Part 1: Young 1
Part 2: Young 2
Part 1: Young 1
Part 2: Young 2
Part 1: Young 1
Part 2: Young 2

Saturday, 29 October 2016

The Electric Fuzz Band - Live The Taphouse 2014-05-16 (Bootleg) FM

Size: 343 MB
Bitrate: 320
Some Artwork Included

The Electric Fuzz Band is a psychedelic southern rock jam band formed in 1996 in Norfolk, VA. EFB was a full time band from 1996-2002. During this time they worked their local scene, did some touring, played some festivals (Jerry’s Birthday Bash at Sunshine Daydream, Treehugger’s Ball, and their own Wild Billstock), and won 9Volt Magazine, the official journal of entertainment in Hampton Roads, VA, Jam Band of the Year Award in 2002. 

Through the years the EFB has built up a strong faithful following. They continued to have reunions a couple times a year, even throwing a couple more Wild Billstocks. However, the last reunion was in 2008. After 6 years, EFB will be having a few reunion shows in May 2014 and are hoping to keep the EFB more relevant in the future.

Now the easy part. All you have to do is mark May 15th – 16th on your calendar and check these guys out. You’ll be glad you did.  Thanks for reading and thank you for supporting local music in Virginia!

The Electric Fuzz Band
2014-05-16 The Taphouse
Norfolk, VA
FM Broadcast

The Electric Fuzz Band 
Jay Morgan - Guitar, vocals
 Ryan Russell - Guitar, vocals  
 Derek Givans - Drums, vocals
 Cory Potrafka - Bass, vocals

01. Gettin Better
02. Searching For Sunshine
03. Fried Neckbones
04. Jingo
05. Blue Hats Little Sister
06. Iron Maiden tease
07. Neighborhood Dispute
08. Sister Sunday
09. Fire On The Mountain
10. Pain and Tears

01. Tienas Llerba Buena
02. Muy Gordo
03. Machine Gun
04. Get Out Of Norfolk
05. 20th and DeBree
06. Wanna Take You Higher
07. Tripsong
08. Super Slick Butt Kck Mix
09. Revolution Revelation

01. Southbound
02. Grinning In Your Face
03. Franklin's Tower
04. Olde Crowe
05. Voodoo Child

Part 1: Electric Fuzz
Part 2: Electric Fuzz
Part 1: Electric Fuzz
Part 2: Electric Fuzz
Part 1: Electric Fuzz
Part 2: Electric Fuzz