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Tuesday, 10 November 2020

Eric Burdon & The Animals - Winds of Change (2CD) (US/UK 1967)



Size: 195 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included (US & UK)
Source: Japan SHM-CD Remaster

Winds of Change is an album released in 1967 by Eric Burdon & The Animals.

The original band, The Animals, broke up in 1966 and this band was entirely new except for lead singer Eric Burdon and drummer Barry Jenkins, who joined the original lineup when John Steel left in February 1966. With the new band, featuring guitarist Vic Briggs, bassist Danny McCulloch and electric violinist John Weider, Burdon began to move from the gritty blues sound of the original mid-1960s group into psychedelic music.


The album opened with the sound of waves washing over the title track, "Winds of Change". "Poem by the Sea" is a spoken-word piece by Burdon with a swirl of echo-drenched instruments. "Good Times" and "San Franciscan Nights" were two of the most popular tracks, the latter breaking into the Top 10 in 1967. Burdon was a fan and friend of Jimi Hendrix and wrote the fifth track as an answer song to Hendrix's "Are You Experienced", which was still unreleased at the time the "answer" was recorded.


In their retrospective review, Allmusic described Winds of Change as the band's first real psychedelic rock album. They praised the closing track "It's All Meat" and the cover of "Paint It, Black" as rare examples of psychedelic rock songs by the Animals that are strong and convincing.

Winds of Change opened the psychedelic era in the history of Eric Burdon & the Animals -- although Burdon's drug experiences had taken a great leap forward months earlier with his first acid trip, and he and the group had generated some startlingly fresh-sounding singles in the intervening time, it was Winds of Change that plunged the group headfirst into the new music. The record was more or less divided into two distinctly different sides, the first more conceptual and ambitious psychedelic mood pieces and the second comprised of more conventionally structured songs, although even these were hard, mostly bluesy and blues-based rock, their jumping-off point closer to Jimi Hendrix than Sonny Boy Williamson. 


The band's new era opened with waves washing over the title track, which included sitar and electric violin, while Burdon's voice, awash in reverb, calmly recited a lyric that dropped a lot of major names from blues, jazz, and rock. "Poem by the Sea" was a recitation by Burdon, amid a swirl of echo-drenched instruments, and it led into one of the group's handful of memorable covers from this period, "Paint It Black" -- driven by John Weider's electric violin and Vic Briggs' guitar, and featuring an extended vocal improvisation by Burdon, their approach to the song was good enough to make it part of the group's set at the Monterey International Pop Festival that June, and also to get a spot in the documentary movie that followed. 

"The Black Plague" opens with a Gregorian chant structure that recalls "Still I'm Sad" by the Yardbirds, and was another vehicle for Burdon's surreal spoken contributions. There were also, as with most of the group's work from this period, a few easily accessible tracks that could make good singles, in this instance "Good Times" and "San Franciscan Nights," a Top Ten record in various countries around the world in the last quarter of 1967, although, as Alan Clayson points out in his notes, the latter song was overlooked in England for nearly 12 months after its release elsewhere, and then appeared as the B-side to the relatively straightforward, brooding, moody rocker "Anywhere." 

Burdon was so inspired by Jimi Hendrix's music that he wrote one of the psychedelic era's rare "answer" songs, "Yes I Am Experienced," as an homage to the guitarist; the latter's influence could also be heard in "It's All Meat," the LP's closing track, and a song that calls to mind an aspect of this band that a lot of scholars in earlier years overlooked -- the fact that Briggs, Weider, et al. had the skills to make music in that style that was convincing and that worked on record, on their terms. [AMG]

Personnel
♦ Eric Burdon - Vocals
♦ Vic Briggs - Guitar, Piano and Arrangements
♦ John Weider - Guitar and Violin
♦ Danny McCulloch - Bass
♦ Barry Jenkins - Drums

Disc 1 (Stereo)
01. Winds Of Change - 04:01     
02. Poem By The Sea - 02:12     
03. Paint It Black - 06:03     
04. The Black Plague - 06:08     
05. Yes I Am Experienced - 03:55     
06. San Franciscan Nights - 03:25     
07. Man - Woman - 06:03     
08. Hotel Hell - 04:19     
09. Good Times - 03:09     
10. Anything - 03:30     
11. It`s All Meat - 02:10

Bonus     
12. Ain`t That So - 03:24 (Single Version)     
13. Gratefully Dead - 04:00 (Single Version) 

Disc 2 (Mono)
01. Winds Of Change - 03:59    
02. Poem By The Sea - 02:15    
03. Paint It Black - 05:59    
04. The Black Plague - 06:03    
05. Yes I Am Experienced - 03:42    
06. San Franciscan Nights - 03:21    
07. Man - Woman - 06:02    
08. Hotel Hell - 04:14    
09. Good Times - 03:01    
10. Anything - 03:23    
11. It`s All Meat - 02:06

Bonus    
12. Anything - 02:51 (Single Version/Stero Mix) 

1. Burdon
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2. Burdon
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3. Burdon

Saturday, 24 October 2020

Craig Smith - Apache & Inca (Psychedelic Underground US 1971-72)



Size: 186 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included

Craig Vincent Smith (April 25, 1945 – March 16, 2012) was an American musician, songwriter and actor. He began his career in the 1960s playing pop and Folk music, and appearing on The Andy Williams Show. Smith wrote several songs that were recorded by successful artists of the time including Glen Campbell, The Monkees, and Andy Williams. After experimenting with drugs while travelling on the hippie trail, he suffered mental health problems which worsened over time. He released two solo albums, Apache and Inca, in the early 1970s under the names Maitreya Kali and Satya Sai Maitreya Kali. After spending nearly three years in prison for assaulting his mother, he spent the majority of the next 35 years homeless.


Early and personal life.
Smith was born in Los Angeles, the son of Charles "Chuck" Smith and Marguerite "Carole" Smith (née Lundquist). His father was a descendant of gospel songwriter Charles H. Gabriel. His mother was of Swedish and German descent. Smith had two older brothers and one younger sister. Chuck Smith had worked as a manager at the Jade Room, a nightclub owned by Larry Potter, and was known by the stage name Chuck Barclay. After World War Two he worked as a welder and a salesman. Chuck died in 1978, aged 64, from a stroke, and Carole died in 1998, aged 82, from pulmonary disease.

Smith attended Grant High School, becoming class president and being on the school gymnastics team. He graduated in June 1963, and turned down a number of offers from colleges in order to pursue a career in the entertainment industry.

Career
1963–1966: the Good Time Singers.
In August 1963 Smith was recruited by Michael Storm and Tom Drake (who had performed together as the Other Singers) to join the Good Time Singers, a band formed to replace the New Christy Minstrels on The Andy Williams Show. From December 1963 to January 1964 Smith and Storm also performed shows with Gordon and Sheila MacRae, supported by their daughters Heather and Meredith. The Good Time Singers released their debut self-titled album in January 1964, and their second album One Step More in October 1964. 


In between the albums they had embarked on a 17-city tour. Around this time Smith began songwriting, and he wrote a song called "Christmas Holiday", which was recorded by Andy Williams for his 1965 album Merry Christmas. As the Good Times Singers' was ending, Smith and fellow bandmember Lee Montgomery intended to form a new duo called Craig & Lee, but Smith had to pull out after successfully auditioning for a new ABC television show, called The Happeners. Smith had previously unsuccessfully auditioned for The Monkees. The pilot for The Happeners was filmed in November 1965. The Good Times Singers' contract for The Andy Williams Show was not renewed past 1966.

1966–1967: The Happeners and Chris & Craig.
After a successful audition process, Smith won the role of Alan Howard on The Happeners. The show was to be directed by David Greene, and was a mix of acting and singing, set in New York and based on the fictional eponymous folk trio. However, ABC declined to pick up the show following the pilot episode. Smith and his The Happeners co-star Chris Ducey decided to form a musical duo called Chris & Craig. They moved into an apartment together and began writing songs. They signed to Capitol Records, recording a number of demos throughout the summer of 1966. Their first single, "Isha", was written by Ducey b/w "I Need You" written by Smith, and was produced by Steve Douglas utilizing session musicians Hal Blaine and Carol Kaye of The Wrecking Crew. 


It was released in July 1966. Another single, "I Cant't Go On" (written by Ducey), was produced with the same line up. Originally an acoustic duo  utitilizing session musicians, during their later 1966 sessions they began experimenting with a full band, and in November 1966 they played a show supporting the Mothers of Invention with such a full band, with Smith and Ducey playing electric guitars. Throughout late 1966 and early 1967 the duo continued to write and record more songs, but they were never released by the label. In 1967 Smith befriended Gábor Szabó and the Beach Boys, unsuccessfully offering to write songs for the latter. In early 1967 Chris & Craig began playing with a permanent backing band. Through their friendship with Michael Nesmith of the Monkees, they hired Jerry Perenchio as their manager. They changed their name to the Penny Arcade, shortly becoming the Penny Arkade for trademark reasons.

1967–1968: the Penny Arkade.
Nesmith began producing Smith and Ducey, initially pairing them with John London (bass) and Johnny Raines (drums). They were eventually replaced by Donald F. Glut on bass (who had appeared in an earlier incarnation of the band) and Bobby Donaho on drums. While the band worked on their own material, Smith continued to write songs, including "Salesman" for the Monkees, and "Hands of the Clock" and "Lazy Sunny Day" for Heather MacRae. Smith was also credited as co-producer for the songs, alongside Bob Thiele. He also wrote "Holly" for Williams. 

Nesmith took the band into a studio to record their album. One of the songs written at this time by Smith was "Country Girl", which was later recorded and released by Glen Campbell for his Try a Little Kindness album. The album never materialised, but some of the songs were collected and released as Not the Freeze in 2004. After a bad review of one of their live shows, the band decided to concentrate on writing and recording songs. In early 1968 they unsuccessfully auditioned for the role of house band on the TV show Peyton Place. In February 1968 Smith and his father went into business together, running a bar called the Buckeye Inn. In late 1968 Smith was associating with the Manson Family, and exploring an interest in Eastern philosophy, particularly Transcendental Meditation. Smith eventually left the Penny Arkade and decided to go travelling. The band continued without Smith until 1969, renamed as the Armadillo and with Bob Arthur as a replacement guitarist.

1968: travelling to Asia.
After previously smoking small amounts of marijuana with friends, Smith began experimenting with LSD in 1968. During his travels Smith took LSD on a "regular" basis, and he smoked "copious amounts of hashish" while in Afghanistan. Smith decided to travel to India alone, with just a guitar and a backpack. He set off to join the hippie trail, arriving in Turkey in October 1968, possibly via Austria and Greece. Smith met fellow Western travellers (an Irishman and two American women) in Istanbul, and they set off together in a VW van, intending to drive to Delhi. After the van broke down, they hitched a ride in a lorry transporting olive oil, before taking a bus to Iran. They passed through Afghanistan, with Smith deciding to leave his companions for a few days in Kandahar while they travelled on to Kabul. Smith never joined them in Kabul; when his companions returned to Kandahar a few months later, they heard rumours that he had "gone crazy", running through the market with a knife threatening people, and then disappeared. It later became apparent that after threatening a market vendor, Smith had been beaten close to death and robbed, and possibly kidnapped and raped. Smith possibly spent some time in an Afghan insane asylum, where he is thought to have developed acute schizophrenia. It is not known if Smith ever reached India, although he and his travelogue claims he did visit India and reconnected with the Maharishi and went to Nepal.


1969–1970: return to United States and travelling to South America.
Smith returned to the United States in late 1968 or early 1969, initially living back with his parents. He was possibly institutionalized and medicated for a short period. By this stage he was using the name "Maitreya Kali", which he intended to become his legal name, although this didn't happen until 1971. He continued to receive royalty checks from his historical songwriting for Williams and Campbell, amongst others. After his girlfriend left him, Smith decided to travel to South America, spending time in Peru, Ecuador, Bolivia, Argentina, and the Galapagos Islands of Chile. Returning from South America, Smith reunited with his girlfriend, and they became engaged. When the engagement ended, Smith ripped up the wedding dress his fiancée had chosen. Following another brief re-connection, the relationship ended for good when Smith violently threatened one of her male friends.


1970–1971: deterioration in mental health.
Smith claimed to have mystical powers, and thought he was a messiah. He prophesied that he would be "King of the World" by 2000. He claimed to be a reincarnation of Jesus, Buddha, and Hitler. As his erratic and bizarre behavior became more pronounced, such as claiming voices were telling him to kill people, his friends started to ignore him. One friend eventually had to obtain a restraining order against Smith. His appearance became more and more unkempt, with long hair and a wild beard. At one point, he shaved his head and beard off, and dressed in robes, his appearance comparable to a Buddhist monk, although his hair and beard would later grow back. He visited Heather and Sheila MacRae in Miami, and was asked to leave by Sheila's new husband after he woke up to find Smith standing over their bed with a knife. Heather saw him again in Los Angeles in 1972, when he "looked really scary [...] just totally looked insane, and would say weird things."


1971–1972: Apache and Inca.
Smith wrote two solo albums Apache and Inca in 1971, which were self-released in 1972. In the liner notes to both albums, Smith claims to have played every instrument. The liner notes as a whole have been described as "bizarre [and] rambling", and display his belief system. Apache was released on his own 'Akashic Records', and features three songs from the Penny Arkade recording sessions. Inca was released a few months after Apache, in the summer of 1972, not as a standalone album but as a double gatefold with Apache on his new 'United Kingdom of America Records' label. Like Apache, Inca also features songs from the Penny Arkade recording sessions. The albums were mainly distributed to Smith's friends or sold on the street.


1973–1976: prison.
After the albums were released, Smith sold his car with the intention of going to Ethiopia. His mental health problems continued, such as suggesting to a friend that they fight to the death using samurai swords. He also had a small black spider tattooed in the middle of his forehead in 1972 or 1973. On April 22, 1973, Smith attacked his mother at the family home. An attempted murder charge was not established, and following a psychiatric examination, he pleaded 'no contest' to a charge of assault. He was sentenced in November 1973 to six months to life, the maximum sentence for the offence, and the Judge suggested intense medical and psychiatric treatment. 


He began his sentence at the California Institution for Men, before transferring to the Deuel Vocational Institution in December 1973. He transferred again, to the California Men's Colony, in February 1974. He was granted parole at the fourth attempt, and was released from prison in June 1976.

1977–2012: later years and death.
Suzannah Jordan, the third member of The Happeners trio, ran into Smith in LA in 1977; he was homeless but did not display any mental health issues. He drifted in and out of mental hospitals until the mid-1980s when funding was cut, and would then spend the next years homeless. He also had various run-ins with the law. In 1981 or 1982 he saw another old friend and told her he had been recording music. He has been indeed recording music, according to Mike Stax, as late as the late 1990s, which includes the 1994 song "Waves", which was released on the 2018 CD version of the album Love is Our Existence. 


By the early 2000s his "ramblings" had moved from Eastern philosophy/his Maitreya Kali persona to aliens. Smith died on March 16, 2012. His family declined to collect his ashes, and they were eventually collected by journalist Mike Stax.

Apache (Released under the name Satya Sai Maitreya Kali) (Akashic Records, 1971)

01. Ice and Snow 03:25
02. Black Swan 02:50
03. Color Fantasy 03:51
04. Voodoo Spell 02:01
05. Salesman 02:55
06. Music Box 02:55
07. Love Is Our Existence 02:30
08. One Last Farewell 02:35
09. I'm Walkin' Solo 02:28
10. Silk and Ivory 03:05
11. Swim 02:43
12. Revelation 03:12

Inca (Released under the name Satya Sai Maitreya Kali) (United Kingdom of America Records, 1972) 

01. Lights of Dawn 02:56
02. Thesis 02:46
03. Knot the Freize 12:31
04. Jesus Owns 01:32
05. Sam Pan Boat 03:18
06. Fearless Men 03:38
07. Cheryl 03:05
08. Country Girl 02:51
09. Old Man 03:47
10. King 00:08

1. Craig
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2. Craig
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3. Craig


Penny Arkade - Not The Freeze (Underground + Rock US 1967-68)



Size: 143 MB
Bitrade: 256
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Ripped by: ChrisGoesRock
Artwork Included

With a throb of excitement matched only by finding King Tut’s OTHER tomb, Sundazed has recently unearthed a long-forgotten treasure from the seminal mid-’60s Los Angeles rock scene: the previously unreleased album by the Penny Arkade! Spotlighting singer/songwriters Chris Ducey and Craig Smith along with bassist Don Glut and drummer Bobby Donaho, the Penny Arkade--with its jangley melange of the Byrds, Buffalo Springfield and Moby Grape—was a
potential pop-rock goldmine in the making. But its only album was inexplicably shelved... Produced by Michael Nesmith, the original, unreleased Penny Arkade album is now expanded to contain extra material from the sessions, revealing demo recordings, and much more. With the addition of long-buried
photos and a detailed band history penned by Ugly Things-editor Mike Stax, this is an astounding tape-vault discovery of the first rank!

"With a throb of excitement matched only by finding King Tut's OTHER tomb, Sundazed has recently unearthed a long-forgotten treasure from the seminal mid-'60s Los Angeles rock scene: the previously unreleased album by the Penny Arkade. Spotlighting singer/songwriters Chris Ducey and Craig Smith along with bassist Don Glut and drummer Bobby Donaho, the Penny Arkade -- with its jangley melange of the Byrds, Buffalo Springfield and Moby Grape -- was a potential pop-rock goldmine in the making. But its only album was inexplicably shelved... Produced by Michael Nesmith, the original, unreleased Penny Arkade album is now expanded to contain extra material from the sessions, revealing demo recordings, and much more."

The Penny Arkade never released any records during their brief existence, and their history has been muddied by the release of much of their material on rare albums credited to one of the band's singer/songwriters (using a pseudonym, no less). The obscurity and confusion is unfortunate, as they were actually quite a good Southern Californian folk-rock-psychedelic band, much like Buffalo Springfield at times, and at others like a tougher Monkees. The Monkees connection is explained, in part, by the production of their studio sides by Mike Nesmith, who was in the Monkees at the time.

The nucleus of the Penny Arkade was comprised of singer/songwriters Craig Smith and Chris Ducey. The pair of them recorded as the duo Chris & Craig, who put out a rare single on Capitol in 1966. They had met Nesmith earlier in New York and when Nesmith was becoming successful with the Monkees, he produced Smith and Ducey's new band, the Penny Arkade, which also included Don Glut on bass and Bobby Donaho on drums. Nesmith recorded quite a bit of material with the band around 1967, with an eye to using the recordings to get them a contract. They couldn't get a deal, however, and broke up without releasing anything.


Craig Smith had experienced some success as a songwriter covered by other artists, with the Monkees recording "Salesman," Andy Williams "Holly," and Glen Campbell "Country Girl." With those royalties, he embarked on travels around the globe and when he returned to the States, those who'd known him thought he'd gotten way weirder. That's supported by the spooky tone of the solo recordings he did in the early '70s, which are somewhat reminiscent of the acid folk of artists like Skip Spence. In the early '70s, he combined some early-'70s solo recordings with about an album's worth of old unreleased Penny Arkade tracks for two LPs, Apache and Inca. Both were credited to Maitreya Kali, the name Smith was now using for himself, and released in such small quantities that they were essentially vanity pressings.

The Penny Arkade material on the Maitreya Kali albums is actually pretty good and worthy of more attention than many would think given their total obscurity. While not as good as Buffalo Springfield (and pretty derivative of Buffalo Springfield), songs like "Color Fantasy," "Swim," "Lights of Dawn," and "Knot the Freize" (sic) evoke some of the Springfield's better aspects. Particularly ambitious was the 12-minute "Knot the Freize" (sic), the Penny Arkade's own "Broken Arrow" perhaps, as it's a suite of several different songs. There was also their version of "Country Girl," which was pretty and tuneful countrified folk-rock.

The Maitreya Kali albums, and hence the Penny Arkade (who are not credited in any way on the Maitreya Kali LPs), were unknown even to many fanatical 1960s rock collectors. However, those albums, and hence a good amount of Penny Arkade material, were restored to easy availability when they were reissued as a two-CD set on the Normal/Shadoks label. While Smith's post-'70s activities remain mysterious, bassist Don Glut became an independent horror/science fiction filmmaker and Chris Ducey did a mid-'70s solo album for Warner Bros.
 

       01  Lights of Dawn  Ducey  2:55  
       02  Country Girl  Smith  2:53  
       03  Thesis  Ducey  2:44  
       04  Swim  Smith  2:45  
       05  Color Fantasy  Smith  3:53  
       06  Voodoo Spell  Smith  2:16  
       07  Not the Freeze  Ducey, Smith  12:39  
       08  Love Rain [#]  Ducey  2:37  
       09  Century of Distance Smith  2:14  
       10  Sparkle & Shine Ducey  1:47  
       11  Face in the Crowd Ducey  2:49  
       12  Woodstock Fireplace Ducey  3:50  
       13  Year of the Monkey Ducey  3:13  
       14  Give Our Love (To All the People) Donaho, Ducey, Glut  2:44  
       15  Split Decision Smith  2:21  
       16  Sick and Tired Ducey  2:45  
       17  No Rhyme or Reason Ducey  2:19  
       18  You Couldn't Conquer Me Ducey  2:28  
       19  Swim Smith  3:01  
       20  Lights of Dawn Ducey  3:04  
       21  The Freeze Ducey  7:00  
       22  Century of Distance Smith  2:22  
       23  Voodoo Spell Smith  1:51 

1. Penny
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2. Penny
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3. Penny



Thursday, 24 September 2020

Tom Baker and The Dirty Truckers - Dirty Snakes + The Dirty Truckers - Second Dose (Garage, Power-Rock US 2019-20)

 


Size: 43 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included

Whether he's fronting the Dirty Truckers or playing with his band The Snakes, Tom Baker writes songs that ought to be staples of barroom jukeboxes everywhere. Informed by everything from the Stones to The Replacements to alt-country to heartland rock, Baker's brand of everyman rock and roll is always from the heart and full of hooks. 



For his new solo EP Dirty Snakes, Baker has enlisted the services of both of his bands. The Snakes (John Blout, John Brookhouse, Charles Hansen, and John Sheeran) play on two of these tracks. The Truckers (John Lynch, John Brookhouse, Jamie Griffith) play on the other four. Combined, that's a veritable all-star team of Boston rock and roll! Dirty Snakes is slated for imminent release on compact disc by Rum Bar Records. 

It's a vintage Baker assortment of boozy rockers ("Cancel It"), tender ballads ("Pushin' You Away"), country rock jams ("On Your Device"), and Westerberg/Stinson flavored ragged pop gems ("Out of Focus"). When Malibu Lou asked for my take on "Weird Romance" a while back, I said "Kind of like newer Bon Jovi, except actually good!"
 

Baker is just a damn fine songwriter with a knack for turning out solid middle of the road rock tunes. And it's very telling that even when he does a "solo" record, he makes sure that the tremendous players backing him get their due credit. Coming in lean at six tracks, Dirty Snakes is packed with first rate material from one of the most underrated talents in all of rock and roll. It goes great with cold, cheap beer  - which no self-respecting rum bar will be adverse to stocking.


Tom Baker is obviously a man who likes to keep himself busy. The fact that he’s roped in the Dirty Truckers to help him on this album is probably enough to make you want it. That’s even before you know it’s released by Rumbar Records (a label with exceptional taste!).

If you need a quick blast of rock n roll to wake you up then opening number “Cancel It” will certainly do that! It’s a brilliant slice of rock n roll which will be stuck in your brain for weeks. Indeed that’s true of so many songs on this album.



If you find a lot of ‘Americana’ style music interesting but a tad dull, this will be the album to get you going. There’s definitely an Americana feel to tracks like “Out OF Focus”. But, rather than being delivered by a melancholy solo artist, these are given an almost power pop shine. It means tracks like “Pushin You Away” and “Turn Your Head Around” have an almost Lemonheads feel.

The songs are also delivered with a nice sense of humour as shown by the brilliant, and so apt, “On Your Device”. Together with “Weird Romance” there’s more of a pop element to these songs. They remind us of the purer pop sound that Paul Westerberg was going for in the last couple of Replacements albums..

Given Tom Baker’s previous records we knew this was going to be a great album but it has still taken us by surprise. The fact we have referenced The Lemonheads and The Replacements (two of our favourite bands) shows how great this is! It marks a slight shift in Tom Baker’s sound, but is a great record. Our only disappointment is that it’s just too damn short!

Tom Baker: vocals, guitar
 Charles Hansen: guitar, vocals
 John Sheeran: bass, vocals
 John Blout: drums, vocals
 John Brookhouse: guitar, vocals

01. Cancel It 02:10
02. Out of Focus 03:34
03. On Your Decice 03:04
04. Pushin' You Away 03:27
05. Weird Romance 02:56
06. Turn Your Head Around 02:44
07. My Numba is 666 00:13



The Dirty Truckers - Second Dose (Garage, Power-Rock US 2020)

Size: 71.6 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
Artwork Included

The Dirty Truckers got together back in 1999 when song writer Tom Baker chose to pursue a decidedly American rock n' roots direction. Drawing on kick-ass influences such as Cheap Trick, Steve Earle, and The Replacements, the Dirty Truckers rock hard and have a good time doing it. Landing somewhere between Lucero and the Faces, Second Dose is a cross-cutting mix of straightup rockers, garage-punk covers, and soul searching ballads. This is the next chapter in the bands cross-country rock odyssey, proving that The Dirty Truckers are still true originals. 

Old-school shot-and-a-beer blasters teeming with equal parts raunch, riffs, and romance - raggedly right tunes about looking for love in all the wrong places, and living another day to do it again.


There are true believers in the world. Men and women who play the same chord that slapped them awake on first contact, each note sounding like it was meant to bounce off garage walls. 

The Dirty Truckers are the torchbearers as they hammer out the joy of that initial moment with drums, bass, and guitar turned up to 11 on their recent release, Second Dose.

The Dirty Truckers are a rockin' little outfit drawing on kick-ass influences such as Cheap Trick, Steve Earle and The Replacements. The DT's rock hard and have a good time doing it. 

According to Boston Soundcheck Magazine, "the band's sound is a mixture of '80's Rolling Stones as led by Keith and Ron's two-guitar assault and f*ck you sonic attitude. If you like your bands straight up, no fakers....you'll like The Dirty Truckers.

The Dirty Truckers are:
Tom Baker - lead vocals, guitar
 Jamie Griffith - bass
 Tad Overbaugh - guitar, back-up vocals
 John Brookhouse - lead guitar guitar
♣ Dave Foy - drums
 John Lynch - drums
 Special Guest: Sir David Minehan - lead guitar, back-up vocals

01. Little Mine 03:02
02. Hotel Highway 02:44
03. Arms Length 02:37
04. Feedback 03:04
05. Help You Ann 02:40
06. Back to Back 03:15
07. Not Missing a Thing 02:57
08. The Rise & Fall 03:20
09. Sixteen Blue 05:27
10. Ragin Eyes 01:50

1. Dirty
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2. Dirty
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3. Dirty



Sunday, 20 September 2020

13th Floor Elevators - Live! In California (KSAN Stereo US 1966)

 


Size: 160 MB
Bitrate: 320
mp3
Found in DC++ World
Artwork Included

While much of the 13th Floor Elevators’ popularity today rests upon their studio albums and 45s, this wasn’t always the case. Especially not in Texas, where the Elevators first became famous as an outstanding live act, with a combination of ferocious drive and dark mystique that was unlike anything seen before. When the Psychedelic Sounds LP was released in late ‘66, some fans in their hometown Austin felt it was missing a bit of the captivating energy they associated with the band. Even Tommy Hall, the band’s lyricist and intellectual nexus, stated in a 1989 interview that “our real show was live”.


Before getting on to the true live recordings, a word about the infamous, fake Live LP on International Artists. This odd concoction was put together by I A producer Fred Carroll in the Summer of ’68, after months of studio sessions with the band had failed to produce anything release-worthy. Pulled together from old outtakes, the Live album is decidedly non-live, despite Carroll’s attempts to create a concert atmosphere via dubbed-in crowd noise. Much venom has been thrown upon this record over the decades, but fake live LPs were common in the ‘60s – much more so than real live recordings – and as far as the actual music goes, it’s a very good album, including a couple of songs unavailable elsewhere. Any fan of the band needs it. ‘Nuff said.


Except for the three core members of vocalist Roky Erickson, guitarist Stacy Sutherland and jug player/lyricist Tommy Hall, the Elevators underwent several line-up changes during their 2.5-year life span. A commonly held opinion back then was that as a live act, none of the later configurations could match the earliest line-up, with bassist Benny Thurman. Thurman, who was a formally schooled violinist but not a “real” bass player, contributed to the strange and exciting aura around the group during the first half of 1966. According to Bill Miller of Cold Sun, who saw the early Elevators several times, “Benny was just as important as Roky” to the band.

At that time, the Elevators’ official recordings were limited to the “You’re Gonna Miss Me” 45 (released January ‘66), and except for some demo tracks, this first line-up was not preserved on any other studio reels. The three live tapes that exist from the Spring ‘66 are thus important documents of the band’s early days, and better yet, they confirm the praise heard from the original fans. The energy level is breath-taking, yet the band finds room to spread their psychedelic message via complex drug songs like “Roller Coaster” and “Fire Engine”.


The earliest known live recording of the 13th Floor Elevators is the KAZZ-FM Tape. This was a live, 30-minute broadcast from a concert at the New Orleans club in Austin, Texas, March ’66. The Elevators had been the house band at the club during recent weeks, and this was to be their final performance before embarking on a tour of the Dallas/Fort Worth area. KAZZ-FM was one of Austin’s two radio stations, and unlike KNOW (who banned the Elevators) they had given “You’re Gonna Miss Me” plenty of air play. The KAZZ father and son team of Bill Josey Sr & Jr would continue to support local Austin rock music via their Sonobeat label in coming years. The KAZZ-FM tape features Bill Josey Jr, under his DJ alias “Rim Kelly”, giving enthustiastic intros to the songs, and occasionally ad libbing small talk while the band took their time tuning. Josey’s on-air description of the show as a “farewell performance” later caused confusion, as poorly informed writers and bootleggers assumed it meant the band was headed for the westcoast – which didn’t happen until five months later.

At least one hardcore Elevators fan I know rates the KAZZ-FM tape as the best live recording of the band in existence, and it’s easy to see why. The band is absolutely frantic, the crowd (possibly fuelled by the free LSD handed out by the group) is ecstatic and loud, and the compressed, somewhat overloaded nature of the recording becomes an advantage. 


Songs include “Roller Coaster”, “Monkey Island”, covers of two early Beatles numbers, and an absolutely blazing 7-minute version of “Gloria”. An edited version of the tape can be found on the Original Sounds and Demos Everywhere vinyl bootlegs from the late 80s, and the complete 30-minute version has gone around in tape trading circles. There are indications of two more KAZZ-FM broadcasts from the same era preserved on tape, but nothing has surfaced so far.

Although the subsequent sojourn to Dallas/Fort Worth was generally unsuccessful for the band, they got to appear live twice on the local Sump’N Else TV Show. The audio portions of their appearances were preserved, and have been officially released on Fire In My Bones (LP) and Psychedelic Microdots, vol 2 (CD). Although the TV studio setting removes a bit of the live atmosphere, the Elevators blow through their shortened set lists with tight, high-energy performances. The March ’66 show includes a brief interview with Tommy Hall, who also delivers a long jug solo on “You Really Got Me”. The May ’66 appearance is even more interesting, featuring not less than six songs, among them unique items like Don Covay’s “Mercy Mercy” and a manic “Roller Coaster”, which has Sump N Else’s host exclaim “wow!”. Unfortunately, the transfer from original tapes, done in the mid-‘80s, caused several tracks to appear at too fast speed; some are off by as much as 10%. As good as the Elevators were, they weren’t quite capable of the shrill, inhuman tempo heard on “Fire Engine”, as an example.

The Elevators returned to Austin, and in the late Spring they hooked up with the Houston-based International Artists label. “You’re Gonna Miss Me” began to make waves outside Texas, which led to I A bringing in Lelan Rogers to help with national promotion. Only one live recording exists from the Summer ’66, and that is the La Maison Tape. Sourced from a live broadcast from the La Maison club in Houston, this 20-minute stereo tape first appeared on the Elevator Tracks album from 1987. Although it was an exciting period for the band, the show isn’t among their finest moments. The predominance of covers is disappointing, but the “Roller Coaster” version is one of the best. It was also around this time that the first line-up change occurred. Partly due to his wild, unpredictable lifestyle, Benny Thurman was replaced by the more placid Ronnie Leatherman, who was also considered a better bass player.

The new line-up toured California during the second half of ’66 and, at the height of their success, appeared twice on Dick Clark’s national TV shows. Evidence suggests that as a musical engine, the Elevators may never have been better than in the early days of their west coast stay. In his fanzine Mojo Navigator, a teenage Greg Shaw reported on seeing the band live at the Avalon Ballroom in San Francisco, obviously impressed: “The most interesting group musically was the 13th Floor Elevators. They are a really freaky group. They look strange, they sound strange, and they are all good musicians, doing all original material. The lead singer, whose voice is truly odd, also plays lead guitar pretty well. The drummer is excellent. They have one guy who does nothing but boop-boop-boop with a jug. The songs they do are new and different.”


The Elevators never felt entirely at home in San Francisco, although fellow Texan Chet Helms offered them many chances to play at the Avalon. Compiled from those gigs, the Avalon ’66 Tape gives terrific proof of the band’s prowess. Ronnie Leatherman’s bass adds a steady, almost majestic power to newly added numbers like “Before You Accuse Me” and (arguably the high-point) “You Don’t Know”. Compared with the fire-breathing r’n’b drive of the Spring ’66 recordings, updated covers of “The Word” and “You Really Got Me” show the band moving towards a more mature, acid-rock sound. The tape shows, quite simply, a great 60s rock band at the peak of their powers.

All copies of the Avalon ’66 Tape seem to derive from the same source, a broadcast on the SF Bay Area KSAN radio station in late 1977. Listeners would record KSAN’s shows of archival 60s live music, and those tapes made their way to vinyl bootleggers. The first Avalon ’66 boot came out in Italy 1978, and many have followed since. Unfortunately, the most well-known of these, Live SF ’66 on Lysergic Records, has the worst sound quality of all. It was produced by well-known LA collector Dave Gibson, whose Moxie reissue label was infamous for its shifting audio quality. Later Avalon releases such as Flivver and Rocky’s Horror Show are superior to Lysergic’s weak, muffled sound. The best-sounding version may yet be to come, as the Elevators box-set currently in production will utilize a great-sounding tape copy of the old KSAN broadcast that surfaced recently. Incidentally, “Roller Coaster” was aired separately from the rest of the Avalon tape, and is missing from some of the bootlegs. A live recording of “Reverberation” from (probably) the same source tapes is also known to exist, but has never been released.


As a footnote to the Avalon ’66 Tape, there is known to exist another live tape from the west coast tour, from Fresno in inland California. The people in possession of this tape like to keep it to themselves, and are unwilling to divulge even track list info. Perhaps it will see the light of day some time.

Despite their commercial success, it was in California that problems began developing around the Elevators in general, and Roky Erickson in particular. After returning to Texas around Christmas, the band played a large number of gigs during early ‘67, but their performances were getting uneven and unpredictable.
Nothing illustrates this better than the notorious Houston Mustic Theatre Tape, from February ‘67. Through a twist of fate, this is the best documented concert in the entire Elevators annals. Apart from the professional live recording, there exists a poster, old ticket stubs, detailed comments from band members, and personal reminiscences from audience members. How unfortunate then, that the Elevators decided to drop more LSD than usual before the concert, and went on stage zonked out of their skulls. While the crowd was yelling and IA:s tape deck was rolling, lead guitarist Stacy Sutherland entered a profound hallucinatory stage, which he described years later as: “...Everybody turned into wolves, and I thought that our band was evil, because of some of the things we had advocated. And I was tryin' to escape the room, I didn't know what I was gonna do, but I was gonna get out of there. I didn't want anything to do with it, because everybody was turning into animals...”. While on stage, Sutherland entered a dissociated spiritual space wherein an angel gave him three “prophecies”, all of a negative nature. This vision would continue to haunt the guitarist, and informed some of the lyrics he later wrote for the band’s final LP, Bull Of The Woods.

On top of these heavy acid vibes, the revolving stage of the venue contributed to the musicians’ confusion. On the live tape, you can hear drummer John Ike Walton desperately trying to hold the gig together, while Roky forgets his lines or his vocal mic, Stacy’s guitar leads abruptly come and go, and the whole thing is pretty much out to lunch. As a freak document of a very freaky night, it has its moments, but for the Elevators legacy we would have been better off without it. To add insult to injury, when the recording was made available in the late ‘80s, the clueless people involved simply put it out with zero corrections of the raw mix, which means that it sounds even more bizarre than it had to. Furthermore, it was incorrectly listed as coming from La Maison, which didn’t even exist by early ’67. For the bold or curious, the concert can be found on Big Beat’s I’ve Seen Your Face Before – Live LP/CD, as well as the Magic Of The Pyramids bootleg CD. A chaotic post-concert jam with the Conqueroo from the same night has also been released.

Problems mounted within in the band, and in mid-‘67 the rhythm section was entirely overhauled – for a brief period, the Elevators didn’t even exist anymore – and “the two Dannys”, Galindo and Thomas, took over on bass and drums, respectively. The main project for this line-up was the Easter Everywhere album, which was successfully completed by October ‘67. The new line-up played a few stray gigs early on, before getting into a steady flow of work around the time of the album release in November.

The fragmentation of the band continued, and the concerts were getting increasingly erratic, as were the antics of both Roky and Tommy. Of the many dozens of gigs performed during ‘68 (Galindo having moved on), no recordings have surfaced. Rumors of an Easter Everywhere-era live tape with “Slip Inside This House” have circulated, but appear to be untrue. Although the final year of the 13th Floor Elevators was perhaps the most unusual of all, their days as an awe-inspiring live act were no more.

This disc is comprised of live recordings which are believed to be culled from San Francisco radio station KSAN, October/November 1966. The performances included on this disc show The Elevators were insanely powerful live.  They may have even been among the best live bands America had to offer at the time.  Unfortunately, when the boys returned home to Texas at the end of the year, things began to unravel.  Fortunately, these recordings are sonically excellent and succeed in capturing the bands’ true energy; a feat that escaped their official studio output.

Recorded between sept and nov 1966 somewhere in the Bay area, California. Re-broadcast on KSAN radio circa 1978

Roky Erickson - Vocals, Rhythm Guitar
 Stacy Sutherland - Lead Guitar
 Tommy Hall - Amplified Jug
 Benny Thurman - Bass
 Ronnie Leatherman - Bass
 John Ike Walton - Drums, Percussion

01. Everybody Need Somebody To Love 05:46
02. Before You Accuse Me (Take A Good Look At Yourself) 02:42
03. You Don't Know (How Young You Are) 02:56
04. I'm Gonna Love You Too 03:41
05. You Really Got Me 02:10
06. Splash 1 (Now I'm Home) 06:36
07. Fire Engine 03:11
08. Roll Over Beethoven 02:54
09. The Ward 02:55
10. Monkey Island 02:52
11. Roller Coaster 05:42

Bonus:
12. Before You Accuse Me [B-side, IA#113, mono 45 rpm] 02.37
13. She Lives (In A Time Of Her Own) [A-side, IA#121, mono 45 rpm] 02.56
14. Baby Blue [B-side, IA#121, mono 45 rpm] 05.12
15. I've Got Levitation [A-side, IA#113, mono 45rpm] 02.36
16. Slip Inside This House [A-side, IA#122, mono 45 rpm] 04.06
17. You're Gonna Miss Me [Single Version] 02.30

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