Sunday, 20 September 2020

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


Size: 160 MB
Bitrate: 320
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

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


Tuesday, 15 September 2020

"HANS DE VENTE"/"Zinhof" (Nicknames) is a web-psychopath who report my uploads for you, so they will be deleted

This person, "HANS DE VENTE" also use "Zinhof",  mostly use my "Music Chat and Upload Room" and write very sick things about my blog and other visitors who use Music Chat and Upload Room for their own uploads.

This person will be very satisfied when he seen this article. "HANS DE VENTE" is a person who wants to be seen and enjoys destroying for other people as much as he can. 

He reports that my files are illegal so they will be deleted. This web psychopath loves to ruin and writes very sick posts on the Chat and upload page

The majority of these web psychopaths/narcissists are usually very lonely. They have their little computer, where they write their nasty and sick posts. 

If I were to meet this person in real life, he would be so scared that he peed on himself, because in real life, HANS DE VENTE is nobody.

Now you know why my uploads get deleted so quickly.

If any of my visitors is a high level advanced hacker, it may be possible to track HANS DE VENTE, as he will need to log in to post in my "Chat and Upload Room"

//ChrisGoesRock, Sweden  👊

Thanks all of you for this information:

Anonymous said...

Hans De Vente or whatever he calls himself has made so many enemies with this crap he pulls.

A few guys in Utrecht tracked him down to a street called Dellaertlaan in a city not that close to Utretcht. I forget the number of the street but its in a message they posted. 

They said he was a little too far away from Utrecht but if he keeps pissing people off with his blogs and deletions and they are on their way past there, they might stop by his house. He almost never leaves his house.

He's a crazy old man. He should stop before somebody throws his computer out a window and rips the internet connections out of the wall. Or worse.

16 September 2020 at 17:55

Anonymous said...

Hans de Vent is a Dutch man with a persecution habit, who creates a blog one day and the next he deletes saying that "they are going to his house to arrest him for piracy".Invents 1001 accidents in his life.Crazy, psycho.

I've seen him in a few dozen places demonstrating his madness

I will not identify myself because otherwise he will start chasing my blog

16 September 2020 at 01:00 

Anonymous said...

I have lost over 5000 links on Zippy. in 3 months. It incredulous as anything and everything is attacked.

Why and by whom is unknown... It may be your culprit.
How do you know this. Can it be stopped?

Thank you for yelling out.

16 September 2020 at 09:11

Following text was a email to me 2020-09-16 21:36

What youre doing is dangerous, and illegal, crazy persons may take actions that you dont want to be responsible for.

My name has been used by anonymous people for years  now, and none of it is true. Ive given up trying up defending me but what you do is dangerous.

Its the power and the curse of the internet that everybody can post unfounded rumours, they have targeted me since 2005.

I am asking you friendly as a person who has always loved your old blogs, but since i have extreme tinnitus,i dont listen to music anymore.

Thank you in advance

hans de vente

PS.  Who gave you the idea that i can delete posts, if you are not the rights holder and can prove that, no host will delete a post.

Record companies pay companies that use bots that patrol the internet, and report links, and they will be deleted by the rights holder

All the best


Answer:  First of all, The person who reported hundreds of music-blogs, and report all upload files to be deleted, have do so since round 2005.

If this person has stolen your name and used it as his "nickname" since 2005, I suggest you change your nickname in the blog context. 

You have to understand that everyone who posts a blog puts a lot of work into their blog. Then they upload albums to the visitors that this person reports as illegal. He also writes to "Blogger" that the website is illegal, often it is shut down because of the same person.

You also need to understand that anyone who gets their blogs and uploads removed gets very angry. In the end, some bloggers manage to track this person, as everyone leaves traces behind, so it is no wonder that in the end this person is tracked to an address.

You write that you have nothing to do with this person who took your name, then you do not have to worry.

I do nothing illegal by writing about this person who destroyed for so many, and for so many years.

He has to blame himself if he is tracked to his address.

// ChrisGoesRock

Next email sent today 2020-09-17 11:31

Since you have not responded or deleted the post you have till 6 pm your time to do do so, or i will report you to the internet threat department of both the Dutch and the Swedish police,  for threats agains my life.

Answer: First of all (again). Take a look in the comment section. 

If you have nothing to hide, you do not need to be afraid or worried. 

I'm writing this post because we Bloggers are tired of this person, who sitting at his little computer and ruining for other people.


Wednesday, 26 August 2020

Various Artist - Hard Rock Underground Scene UK 1968-73 (3CD)

Size: 535 MB
Bitrate: 320
Found in DC++ World
Artwork Included

A new 3-CD box from Grapefruit Records is a loud re-mastered gem, a perfect accompaniment to the first volume three years ago featuring (most of) the usual heavyweights on the scene balanced with demo-only bands who shared their gigs. An excellent 53-track panorama of ‘freak’ music from 1968-73: Edgar Broughton Band, Arthur Brown, Sam Gopal (with ex-Hendrix roadie Lemmy) etc, no Pink Fairies but Deviants, no Hawkwind but stable-mates/fellow-travellers High Tide jamming par excellence. 

Freak-sounds from the underground of Ladbroke Grove and central London (Middle Earth, Temple in the Marquee’s street) along with nationwide free festivals are well-represented: as David Wells’ short intro says, these are the bands that shook the walls of towns up and down the country. More hair here than a yak high in Nepal cavorting in a fancy wig.

Talking of the booklet (an arti-fact in its own right) this reviewer is unsure why so many negative terms are used: “Neanderthal”, “catatonic”, “semi-articulate”, “sonic excesses”, “Cro-Magnon classics”, “terminally obscure” really, today? “Sab or Zepp wannabees”, the term wasn’t even coined until later, and doesn’t reflect the counter-culture’s magazines, gigs or ethos, not as I recall anyway. It was a time of boundary-breaking, thanks partly to developing sound systems and wider issues of course. 

Not a whiff of the peculiar idea of a tribute band, except the Beatles and Stones to themselves of course. We know Americanese has a difficulty filtering nuance of language—collaboration for Christ’s sake?! It’s negative—but this is a British compilation, not even English only. The booklet is otherwise superb, handy too in that it follows track order rather than alphabet.

It appropriately leaves the traps blazing with Budgie’s first album that became a template for later decades. The now-renowned on CD-1 sees an unusually heavy Jeff Beck and also Love Sculpture (featuring Dave Edmunds) for a razor-sharp, much-covered hit ‘Sabre Dance’ that began as an Armenian ballet overture (and covered on an LP for 11 minutes, ouch), Stray from an early session released only on CD, Sam Gopal’s percussion-swirling and bass-plucked ‘Horse’ earmarked for a single that never left the stable, and The Move when hairier with Wood and Lynne on board: almost sing-along, I’m told by an expert they were much heavier live though this packs a punch too. 

For gig-liggers or later vinyl collectors there is the always-fun solo-boggling Patto (more abrasive than usual from their post-Vertigo days on Island), clanking bullet-driven Leaf Hound, the Stray-like Slowload, the tasty twin-guitar power chords with melodic interludes of Cactus-like Orang-Utan, Arthur-Brown-like Monument, and one of the two best tracks by Ancient Grease alongside a solo-typhoon by Andromeda.

There’s also a rare seven-minute outing for Sam Apple Pie, who were at the first Glastonbury and later part of Atomic Rooster: they were always creatively original (heavy surf here?), Quo did parallel experiments later. Other longer tracks include Iron Claw (after King Crimson’s killer lyric), echoey, reverb-drenched, brutally menacing as a garotte, uplifting as a scaffold on the dawn skyline with a pounding drum outro and Bodkin, an organ-washing hard guitar quintet with thoughtful lyrics on reality t’boot. 

Stack Waddy contribute ‘Rosalyn’ (I’d have thought ‘Hey Mama Keep Your Big Mouth Shut’ more in-keeping, but I’m a nit-picker, by profession) though the stand-out surprise is the unbelievable pile-driver boogie Wicked Lady: forget butter, this cuts rivetted titanium! If you ever found Agnes Strange, this would be a similar reaction. Guitarist Martin Weaver told Psychedelic Baby recently that Wicked Lady were always a live band first because they saw recording as sterile. Living in Bulgaria today, he is starting a band with two other Martins! A true tour de force power trio.

CD2 features the longest track by Atomic Rooster, all spooky piano and effects as classic hard-driven keyboard rock from an LP that spawned a hit single (‘Tomorrow Night’); Edgar Broughton’s ‘Apache Dropout’ (not ‘Keep Them Freaks A Rollin’?) which almost hit the top 30 with a mash of Shadows and Beefheart; The Deviants’ rumbustious experiment ‘Somewhere To Go’ pointing to the Fairies (it was founder late Mick Farren who said they split because the others wanted to sound like Zeppelin), plus Alex Harvey’s pre-Sensational Band Tear Gas who rock in Hendrix-style: Regal Zonophone without a hit was always going to be like playing tennis with a hole in the racket.

There is also the Gurvitz brothers’ Three Man Army (yes, they were English) before fame with Ginger Baker. The Manchester band NSU only did one LP, on Stable, as did Red Dirt (at the time) on Fontana, Pluto (on Dawn), the crunching feedback riffing Human Beast (on Decca), Mouse (on Sovereign) with a long build-up to a spacey boogie, and Dogfeet (formerly Sopwith Camel) but there are also acetate-only The Rats (featuring a near-pubescent Mick Ronson of Bowie and Hoople fame), Dark (whose LP is among the rarest and later featured Wicked Lady guitarist Martin Weaver), Purple Haze (later Transatlantic’s Little Free Rock), Tonge, and the German-only released Glasgow-based Sunday. It closes with the even higher-octane Quo-like Freedom from their own Vertigo LP: not to be listened to if your head’s not adequately screwed on!

And nuggets continue to be unearthed on CD3. Headliners such as High Tide from their debut Sea Shanties of 1969, bleak lyrics for doom-and-multi-laden rocking; the early ’68, more driving non-orchestral demo of ‘Fire’ by The Crazy World of Arthur Brown; Glaswegians Stone The Crows from the third of their four LPs, featuring Scotland’s own Janis Joplin in Maggie Bell and also Alex Harvey’s brother, in an organ-led rocker. Warhorse loom from their Vertigo days and more guitar-based second LP, formed by ex-Deep Purple (’69) bassist Nick Simper who was also in The Flowerpot Men with Jon Lord (hear Simper’s recent work on Angel Air Records); some heady acid and riffing guitar in a near-eight-minute feast. They toured Germany and were on their T.V. before folding in ’74, splitting to work with Rick Wakeman on his hit album.

Who recalls the band often confused with others of the same name, Bullet? Here’s a B-side from Deep Purple’s short-lived label, ex-Atomic Rooster and Quatermass that became Hard Stuff as almost r ‘n’ r glam! No period comp would be spliff-worthy without Writing On The Wall, the Edinburghers moving to London when their manager opened the Middle Earth club—indeed they lived below its stage! ‘Lucifer Corpus’ was on the same-named label as its first 45 release before their acclaimed LP Power Of The Picts.

From the hard-working supporting cast come studio tricks galore from a Yorkshire co-operative that got on Peel’s Show (Lightyears Away); a Welsh trio rare as Dark for the same reason (a 99-copy only issue) who featured in a Melody Maker competition of 1971 and have been reissued on Light in the Attic Records: the misprinted acetate gave them their name, meant to be the last man on the moon, and a bit like Clear Blue Sky (Eugene Carnan); Hard Horse were on the same label as Incredible Hog and did other singles for the label; Tarsus were in the Northampton scene along with Wicked Lady and Dark but released nothing, a driving menacing raunch as unlike ELP as can be imagined.

Also featured are Natural Gas, who did two Peel sessions and have appeared on a bootleg beside pre-Black Sabbathers Earth; a band named after a locked facial expression whose 101-copy LP appeared on County Records (Sardonicus); and two rare bands involved with the Sentinel label (Frozen Tear; Thor) which was run as a ‘vanity’ enterprise from a series of West Country shops featuring mostly folk and brass bands (see this reviewer’s article for the Dust On The Nettles compilation). 

Thor are not the later Vancouver band, these also covered Chicago live! A rollicking version of ‘Paranoid’ is a good cover indeed. Another German-only release is Little Big Horn, formerly Tramline, on Bellaphon Records (Sunday, Diabolus, Steel Mill etc). 

Still going are Samuel Prody with their own website, yet another who never got their royalties though produced by a Tremeloes producer: ex-Sam Gopal Dream, a nice phased drum solo is rolled. 

The now-legendary 9.30 Fly contribute a post-LP demo from ’72, an original take on the blues classic ‘Hoochie Coochie Man’, and a combo also once with Sam Gopal known as Clark-Hutchinson lay an early ’69 blues ‘Someone’s Been At My Woman’, an ailment that came with the territory alas. Breathless stuff, reflecting this review!

The albums are well-worth getting as well, all are essential or as good as. Some laid the groundwork for much that came later and shows the depth of the compilers’ archeology. 

A couple are on the first collection, so why no Incredible Hog or Agnes Strange? And why no Irish e.g. the original Skid Row? Nevertheless, five stars because, quite frankly without earnest, a superb near-four-hour trip which in content and spectrum can literally take your breath away or leave you scuttling around for your jaw. No frills, boas or pop. 

Rare for second compilations, some might say it even eclipses the first. With live-shot sleeves and forty-page compendium of facts and period art, this is one of the best box-sets of the genre on the market… ever. Now, why’s my Horlicks cold?

– Brian R Banks

Disc 1:
01. Budgie - "Guts"
02. Jeff Beck - "Shapes Of Things"
03. Wicked Lady - "Run The Night"
04. Stray - "The Man Who Paints The Pictures"
05. Slowload - "Rosie"
06. The Move - "Turkish Tram Conductor Blues"
07. Orang-Utan - "Chocolate Piano"
08. Iron Claw - "Clawstrophobia"
09. Bodkin - "Plastic Man"
10. Andromeda - "Let's All Watch The Sky Fall Down"
11. Ancient Grease - "Mother Grease The Cat"
12. Stack Waddy - "Rosalyn"
13. Sam Gopal - "Horse"
14. Love Sculpture - "Sabre Dance"
15. Monument - "Dog Man"
16. Leaf Hound - "Freelance Fiend"
17. Patto - "Loud Green Song"
18. Sam Apple Pie - "Winter Of My Love"

Disc 2:
01. Tear Gas - "Woman For Sale"
02. Atomic Rooster - "Death Walks Behind You"
03. Edgar Broughton Band - "Apache Dropout"
04. NSU - "Turn On, Or Turn Me Down"
05. Red Dirt - "Brain Worker"
06. The Rats - "Early In Spring"
07. The Deviants - "Somewhere To Go"
08. Dogfeet - "Armageddon"
09. Pluto - "Down & Out"
10. The Human Beast - "Brush With The Midnight Butterfly"
11. Dark - "RC8" (demo version)
12. Purple Haze - "Wait A While"
13. Three Man Army - "Daze"
14. Tonge - "Old Father Time"
15. Mouse - "Ashen Besher"
16. Sunday - "Fussing & Fighting"
17. Freedom - "Going Down"

Disc 3: 
01. High Tide - "Futilista's Lament"
02. Lightyears Away - "Yesterday"
03. Samuel Prody - "Woman"
04. Eugene Carnan - "Confusion"
05. Hard Horse - "So Long I'm Moving On"
06. The Crazy World Of Arthur Brown - "Fire!" (demo version)
07. Tarsus - "Early Morning Sun"
08. Natural Gas - "Is There Any Doubt?"
09. Warhorse - "Back In Time"
10. Little Big Horn - "Name Of The Game"
11. Bullet - "Sinister Minister"
12. Frozen Tear - "I Need Someone"
13. Sardonicus - "The Nymph"
14. 9.30 Fly - "Hoochie Coochie Man"
15. Clark-Hutchinson - "Someone's Been At My Woman"
16. Stone The Crows - "Big Jim Salter"
17. Thor - "Paranoid"
18. Writing On The Wall - "Lucifer Corpus"

Tracks taken:
Disc 1
1-1 from LP " Budgie " ( 1971 )
1-2 from LP " Truth " ( 1968 )
1-3 not originally issued, recorded 1969
1-4 not originally issued, recorded November 1968
1-5 previously unreleased, recorded 1971
1-6 from LP " Looking On " ( 1970 )
1-7 from US LP " Orang-Utan " ( 1971 )
1-8 not originally issued, recorded December 1970
1-9 from LP " Bodkin " ( 1972 )
1-10 not originally issued, recorded late 1969
1-11 from LP " Women And Children First " ( 1970 )
1-12 from LP " Bugger Off! " ( 1972 )
1-13 not originally issued, recorded late 1968
1-14 from single A-side ( 1968 ) Parlophone ‎– R 5744
1-15 from LP " The First Monument " ( 1971 )
1-16 from LP " Growers Of Mushroom " ( 1971 )
1-17 from LP " Roll 'Em Smoke 'Em Put Another Line Out " ( 1972 )
1-18 from LP " Sam Apple Pie " ( 1969 )

Disc 2
2-1 from LP " Tear Gas " ( 1971 )
2-2 from LP " Death Walks Behind You " ( 1970 )
2-3 from single A-side ( 1970 ) Harvest ‎– HAR 5032
2-4 from LP " Turn On, Or Turn Me Down " ( 1969 )
2-5 from LP " Red Dirt " ( 1970 )
2-6 not originally issued, recorded November 1969
2-7 from LP " Disposable " ( 1968 )
2-8 from LP " Dogfeet " ( 1971 )
2-9 from LP " Pluto " ( 1971 )
2-10 from LP " Volume One " ( 1970 )
2-11 not originally issued, recorded October 1971. Demo version
2-12 not originally issued, recorded early 1969
2-13 from LP " A Third Of A Lifetime " ( 1971 )
2-14 previously unreleased, recorded 1971
2-15 from LP " Lady Killer " ( 1973 )
2-16 from German LP " Sunday " ( 1971 )
2-17 from LP " Is More Than A Word " ( 1972 )

Disc 3
3-1 from LP " Sea Shanties ( 1969 )
3-2 from LP " Astral Navigations " ( 1971 )
3-3 from German LP " Samuel Prody " ( 1971 )
3-4 not originally issued, recorded March 1972
3-5 from single B-side of " (Get It) Up Down " ( 1972 ) DART ‎– ART 2012
3-6 not originally issued, recorded circa March 1968. Demo version
3-7 previously unreleased, recorded May 1971
3-8 previously unreleased, recorded 1972
3-9 from LP " Red Sea " ( 1972 )
3-10 from German LP " Little Big Horn " ( 1971 ) Bellaphon ‎– BLPS 19067
3-11 from single B-side of " Hobo " ( 1971 ) Purple Records ‎– PUR 101
3-12 previously unreleased, recorded October 1969
3-13 from single A-side ( 1973 ) County Recording Service ‎– COUN 240
3-14 previously unreleased, recorded circa August 1972
3-15 not originally issued, recorded March 1969
3-16 from LP " Teenage Licks " ( 1971 )
3-17 previously unreleased, recorded circa October 1970
3-18 from single B-side of " Child On A Crossing " ( 1969 ) Middle Earth ‎– MDS.101

Part 1. Hardrock
Part 2. Hardrock
Part 3. Hardrock
Part 1. Hardrock
Part 2. Hardrock
Part 3. Hardrock
Part 1. Hardrock
Part 2. Hardrock
Part 3. Hardrock

Wednesday, 19 August 2020

Balam - Days of Old (Great Retro Hardrock US 2014)

Size: 109 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

A quintet of power born in Newport, RI. It's the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom. Since their self titled release, they have devastated the East Coast with unrivaled live performances, the is no question; Balam are on their way up.  

Rhode Island traditional doom firebands Balam are gearing up to release their full-length debut, Days of Old, early in 2015. In fact, they’ve been “gearing up” for a decent portion of this year. The first signs of Days of Old surfaced via their Bandcamp over the summer in the form of the track “With the Lost,” and as we push into cold, dark winter, their fuzzed-out, classic-styled doom seems all the more vital.

You ever want to frustrate the hell out of a band, put them in the time between recording and releasing an album. I don’t envy Balam this contingency-sorting stretch — though they’ve continued to play shows through it — but with a 2015 issue on the horizon, the double-guitar five-piece are ready to unveil another slab of Days of Old, and I’m only too happy to comply. 

Balam recorded Days of Old with Trevor Vaughn, and mixed and mastered with him as well between March and April of this year. The seven-song outing is a vicious 45 minutes of full-breadth riffing and stripped-down, light-on-frills doom. Led by the guitars of Zach Wilding and Jonny Sage, the vocals of Alexander Blackhound take early command of the material as the first half of the album pushes toward the title cut, while bassist Nicholas Arruda plays off Wilding and Sage in Candlemassian form (his shining moment arriving in his leading the band through the 15-minute closer) and drummer Zigmond Coffey adds plod to the nod of their bleak but still engaging groove. 

Days of Old lacks nothing for atmosphere — each side is given an instrumental introduction of substance, and themes play out in the songs as well — but ultimately, it’s the directness of Balam‘s attack that makes their debut so impressive, as well as the thrust of their tonality and how smoothly they are able to find a niche within the dreary scope of their doom.

There’s much still to take shape before Balam release Days of Old in terms of things like the cover art, what label, and so on, but consider this glimpse at “Days of Old” — and at 11 minutes, it’s a considerable glimpse indeed — an early warning of what the band have in store for the New Year. Here’s hoping the details get sorted soon.

Affecting a heady and voluminous amalgam of Farm, Iron Claw and Wicked Lady is Newport, Rhode Island's Balam, which sits zan(il)y astride Days of Old, an album I invariably stumbled on following a slapdash search for some Old Grandad - the 'Cisco psychedelic doom band, not the drink. Once instant Black Sabbath/The Hyle vibes permeated my kindled soul, was (un)ceremoniously flattened by this Ocean state power trio's waggish, (Pb)-lined Atlantic brogue.

East Coastal War Horse and Windhand comparisons buzz forth like deer flies as we lope on down the shore to eerle, cavernous, and, perchance, rangily cadaverous, sonorizations emanating from the dually doomed i.e. ax'd quintet's front apprentice's yaw(n)ing maw. A brief caveat, though, results from "///////"...Won't Sunn O))) whig out, 'cause of such punctuative heresy? It certainly gets our attention, plus, at scarcely minute's length, serves as palatably anodyne, however whack, atmospheric (instrumental) opener. The clockbell tapping, scrappy palm muted, "Children of the Grave" meets Earthride & Electric Wizard mien inherent to "Birth"? (Ah, shit gets real!) Cowbell/drum ride affectionados should have a field night - and mouse - here. The reverb-illuminated belligerence and imposing drum stewardship continues, unabated, throughout evil(e) twin "Lilith" (linchpin to Adam's Eve), another great humdinger from these guys, with additional heady, quavering bass, alongside ponderously kinetic drumming implements, all-around ('til we drop our crown).

The intelligible flow of the tracks, which reaches an apex within top, titular highlight "Days of Old", proper, intimate a fluid conduit to this album's instantly accessible - or acceptable - pre-dispo(sition). If untold genre species (akin to Black Oath, Iron Void, Hour of 13 and Pale Grey Lord) eventually establish singular identities, so does Balam, in one fell swoop...a feat, particularly in the light of doom, no matter how dark, murky or fulminating. Elsewhere, the votive and erstwhile space-theme encapsulated "Spirit Flight", with its tribal, militant march and wizened, eldritch synths, paves a tarry path to "With The Lost", a pendulously swaying, eight minute long knuckle buster of a semi-fast, semi-slow (rafter) burner which, effectively, segues into lost dimensions of hardy doom metal turf. No sooner do you fully get grooving does a helluva bridge and second tier development beg egregiously wry returns - or revelations.

As closure, I've minor issue with that whopping, 15.5 minute closer, "Bound to the Serpent", which, mercurially pronounced as it is in itself, could've/should've been tiered into sprawling single, thus cementing, or, if you like, fermenting (i.e. pickling) the remaining five tracks - forget said front-slash nonsense, already - into a congruous, as well as deciduously compact, bedeviled offering. Although it won't part the Red Sea, tastes better than sip of the Dead.

  Coffey - Drums 
 Jonny Sage - Guitar 
 Nick Arruda - Bass 
 Alexander Blackhound - Vocals

01. /////// 00:55
02. Birth 02:23
03. Lilith 03:38
04. Days Of Old 11:04
05. Spirit Flight 03:46
06. With The Lost 08:17
07. Bound To The Serpent 15:41

1. Balam
2. Balam
3. Balam