Wednesday, December 23, 2020

Ape Skull - Fields Of Unconscious (Retro Hardrock Early 70's) (Italy 2020)

Size: 127 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Artwork Included

Ape Skull were born in 2008. After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their genre. Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records.

After various experiences with bands such as "Sciacalli" and "The Others", three friends start a project that plans to continue the path that is part of their background. Blues, Funk and Psychedelia are some of the ingredients that characterize their compositions. 

The genre can essentially be called Rock! After the first two albums (Ape Skull and Fly Camel Fly, produced by Heavy Psych Records), Ape Skull are happy to present their third work "Fields Of Unconscious", produced by Ape Skull and Skronk Records. 

Here we find original songs that embody the sound of Ape Skull. It will also include, as in previous albums, a version customized by their sound in this case composed by The Jeronimo (1970). 

The Ape Skull's Rock still flies and lives in the present, with the ear turned to all the musical genres that inspired the musical revolution of the 60s and 70s.

The band is closer to the compositions inspired by Rock Funk and Psych Rock American and European groups such as Alamo, Jerusalem, Damnation Of Adam Blessing, Cream etc.. 

The desire to reproduce the sounds that characterized 1969 to 1972, about a golden age for rock music, are the basic inputs of the band. 

Ape Skull, after a single recording session of songs, recorded a full lenght album composed by 8 unreleased Hard Rock gems and a cover of "I got no time" from Orange Peel (Germany) for Heavy Psych Sounds Records.

The Band:
 Giuliano Padroni: drums, lead vocals, backing vocals
 Fulvio Cartacci: guitar, backing vocals
  Pastorelli: bass, backing vocals

01. Fields Of Unconscious 04:05
02. That's All I Want 06:55
03. Freedom 03:46
04. I'm Coming Home, Baby 04:10
05. Heya 07:12
06. Glory Days 06:17
07. Atom In The Sky 05:57


Monday, December 07, 2020

Dick Dale & His Del-Tones - King Of The Surf Guitar (Surf US 1963)

Size: 80.9 MB
Bitrate: 320
Ripped by: ChrisGoesRock
Some Artwork Included

Dick Dale was becoming one of the biggest rock & roll acts in California's history in 1962 when he was signed to Capitol Records, who reissued his album Surfer's Choice (which had already moved close to 90,000 copies on Dale's own Deltone label) and put him into the studio to cut some fresh material for his new sponsors. 

Overall, King of the Surf Guitar was probably Dale's best album for Capitol, but it also suggested a fundamental misunderstanding of Dale and his music by the label. King of the Surf Guitar begins with the title tune, in which female vocal group the Blossoms (featuring Darlene Love) urge us to "Listen! Listen to the King!" as Dale reels off trademark riffs, as if anyone who bought the record would be likely to do otherwise, and the curious opener pointed to the album's flaw. 

Dick Dale & Stevie Wonder in 1964

Capitol seemingly wanted an album that would have something for everyone, so along with Dale's ripsaw surf guitar vehicles it includes folk tunes ("Greenback Dollar"), rock & roll oldies ("Kansas City"), country standards ("You Are My Sunshine"), lovelorn ballads ("If I Never Get to Heaven"), and plenty of vocal numbers, though Dale goes out of his way to inject his forceful personality into every tune and his singing, while not as impressive as his guitar work, was nothing to complain about. 

Fender Showman Ampi, MIM PHX

Still, this album truly shines on tunes when Dale gets to play guitar at full force, and "Hava Nagila," "(Ghost) Riders in the Sky," and "Mexico" are as fiery as anything he would cut for the label. If King of the Surf Guitar isn't a Dick Dale album for purists, at the very least it leaves no doubt that he came by the title accolade honestly.

Richard Anthony Monsour (May 4, 1937 – March 16, 2019), known professionally as Dick Dale, was an American rock guitarist. He was the pioneer of surf music, drawing on Middle Eastern music scales and experimenting with reverberation. Dale was known as "The King of the Surf Guitar", which was also the title of his second studio album.

Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale's music, and often included recordings of Dale's songs in their albums. His style and music influenced guitarists such as Jimi Hendrix, Pete Townshend, Eddie Van Halen and Brian May.

He has been mentioned as one of the fathers of heavy metal. Many credit him with tremolo picking, a technique that is now widely used in many musical genres (such as extreme metal, folk etc.). His speedy single-note staccato picking technique was unmatched until metal greats like Eddie Van Halen entered the music scene.

Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier.[8] Dale also pioneered the use of portable reverb effects.

The use of his recording of "Misirlou" by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He also won a Grammy nomination for Best Rock Instrumental for the song "Pipeline" with Stevie Ray Vaughan.

Dick Dale in 2009

Dale began playing in local country western rockabilly bars where he met Texas Tiny in 1955, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.

Dale employed non-Western scales in his playing. He regularly used reverb, which became a trademark of surf guitar. Being left-handed, Dale tried to play a right-handed guitar, but then changed to a left handed model. However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down, often playing by reaching over the fretboard, rather than wrapping his fingers up from underneath.

He partnered with Leo Fender to test new equipment, later saying "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." His combination of loud amplifiers and heavy gauge strings led him to be called the "Father of Heavy Metal". After blowing up several Fender amplifiers, Leo Fender and Freddie Tavares saw Dale play at the Rendezvous Ballroom, Balboa, California and identified the problem arose from him creating a sound louder than the audience screaming. The pair visited the James B. Lansing loudspeaker company and asked for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fender Stratocaster and Fender Showman Amp allowed him to attain significantly louder volume levels unobtainable by then-conventional equipment.

Dale's performances at the Rendezvous Ballroom in Balboa in mid to late 1961 are credited with the creation of the surf music phenomenon. Dale obtained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out.

"Let's Go Trippin'" is one of the first surf rock songs. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And ... it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." His second album was named after his performing nickname, "King of the Surf Guitar".

Dale later said "There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar". His playing style reflected the experience he had when surfing, and projecting the power of the ocean to people.

Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" in the 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. The group performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.

01. "King of the Surf Guitar" (Alonzo Willis) – 2:06
02. "The Lonesome Road" (Nathaniel Shilkret, Gene Austin) – 3:14
03. "Kansas City" (Jerry Leiber, Mike Stoller) – 2:43
04. "Dick Dale Stomp" (Dick Dale) – 2:12
05. "What'd I Say" (Ray Charles) – 3:24
06. "Greenback Dollar" (Hoyt Axton, Ken Ramsey) – 2:52
07. "Hava Nagila" (Dick Dale) – 2:04
08. "You Are My Sunshine" (Jimmie Davis, Charles Mitchell) – 1:58
09. "Mexico" (Boudleaux Bryant) – 2:10
10. "Break Time" (Dick Dale) – 2:45
11. "Riders in the Sky" (Stan Jones) – 2:11
12. "If I Never Get to Heaven" (Jenny Lou Carson, Roy Botkin) – 2:55


Monday, November 30, 2020

Many "Japan Cardboard Sleeve CD" For Sell, and alot of them is now very rare as you will see...

Hi all.

To all collector of "Japan Cardboard Mini LP CD". I have now alot of them for sale, often to a really good price. If you find 6 copies or more, i will give you a better price for all of them.

Adress to my Japan Mini LP website: When you have scrolled down, click on "older post" and you will find my next page, and so on. I have around 300 items on my website, all albums is in Swedish Crown (SEK) so you need a currency converter.

IMPORTANT: My Email adress is now:

All Mini LP CD's is brand new and unplayed. What makes these Japanese CD albums interesting is that they are made as exact copies of the LP as it looked when it was released; Laminated, Relief cover, Triple Fold and much more. These CD albums started to be released in Japan from 1996 and they are available for all tastes.

Replica CDs are official audiophile releases manufactured in Japan with incredible attention to detail. CDs made in Japan are revered by collectors and specialists for their very clean sound, production quality, and they are superior in nearly every way to pressings from other countries.

The Japanese packaging of classic albums in cardboard sleeve miniature is a wonder to behold. Mini-LP CD albums are like precious stones or perfectly cut diamonds.

The superb mastering (often SHM-CD, 24 Bit, K2, DSD, or HDCD) and resultant sound quality is superior to that of MFSL releases.

Replicas are often the nearly exact duplications of the first pressings of the 12" LPs and everything that was present in the original LP may be included such as gatefolds, booklets, lyric sheets, posters, printed CD sleeves, stickers, embosses, special paper or inks, and die cuts.

In nearly all replica releases a detail sheet is included, and although the text may be in Japanese, the insert will often include the lyrics in English, which is a big plus if the original LP did not include them. Japan promotional strips, also called OBI, are usually included with the package as a way of advertising the CD to the Japanese buying public.

On occasion a replica CD will have bonus tracks included that were part of a later CD release. However, the notes about the bonus tracks are never added to the album artwork, only the promotional strip or the detail sheet. Thus the integrity of the original LP artwork is maintained.

Replica CDs are not officially for sale outside Japan, but they are worth the trouble and cost to get them. Replica CDs are expensive in Japan. New releases of replica CDs cost anywhere from $30 to $70 a piece and Japanese law forbids putting "new" CDs on sale or selling at any price other than listed on the Obi (promotional strip).

Most replica CDs are manufactured in a limited quantity and sell out quite quickly after release. Because of this replica CDs are splendid keepsakes that hold their value and will likely continue to be items sought by collectors.

The world of paper Jacquet collected the best of technology that Japan is proud of. Work is not only the music, the stunning artwork of the LP era, which has been talked about with its jacket, original color and form, of course, it has been thoroughly reprinted up to the texture and texture of the paper. Especially from the late 60's and 70's, special specification jacket elaborate stiffness are also many announcement, a perfect reproduction of them with miniaturized is also reminiscent of a miniature garden and elaborate model.

Folding the printed paper itself, pasted-made light jacket. This is called because many have been adopted in the United Kingdom (E). Especially works of 60's, laminated in order to give a gloss on the surface (PP stick) has been there are many. Other, form and the back of the upper and lower has been narrowed down, the margin of bonding there are variations, such as flipback cover.

Open When the jacket of luxury specifications on the inside, such as photos and lyrics are printed. Because it is similar to the photo of the album, there is a theory that began to call the album LP record for singles. Overseas called gatefold. Front and back, medium surface within bag work of Keefe and hypnosis that was designed (to be described later) in a consistent concept is popular. In addition, 2-Disc LP, etc., open state in the double-jacket that there is a pocket for accommodating the LP to the left or right, but what there is no pocket only one with a single thing called a semi-double jacket, double as their generic name - sometimes referred to as a jacket.

That of the jacket with a special design / production process in order to get a personality. It has been originally produced on the basis of a certain standard LP is there, spread and may become like the poster, or attach the 3D (three-dimensional), embossed ( embossing) or the processing, die cut (hollowed out) processing or the, that or use a paper that has been with the textured and pattern, the more attractive for the fans It increases. The box set that was bundled a booklet of materials and bonusand, what made a jacket with a special material.

Many are wound on the left side of the jacket, that of paper that describes the artist name and title in Japanese. Put the jacket top there is also a variation such as "covering zone". Japan and it is a unique specification, for the listener is often discarded after the purchase, a band with a valuable record LP is popular with enthusiasts around the world as "with OBI". In recent years, the design has been growing number of cases, which is also reproduced in the paper jacket CD.

Original and different (different) things jacket using the design. Or if the Publisher of the label in the UK and the US different, especially many in the world release of the mid '60s. The SHM-CD / paper jacket of Universal International, for a Def Jacquet title, has been set as much as possible in the form of "bonus paper jacket".

That of the bag to protect the records that are in the inside jacket. Although often nothing of what print is also not pure white, is designed with a jacket and a similar concept, that such as photos and lyrics are printed is reproduced even paper jacket CD. Other, there is also what is referred to as Company Sleeve which has been used the same general-purpose design and other LP that was released around the same time. The foreign Release LP disc was housed directly in these paper bags, Japanese board LP often are housed in clear plastic bag called Shaw Rex.

Generic name of the hand, adjunct that is not a bag-shaped. Many have described such as musicians, referred to as the ones that are especially me lyrics and lyrics card. Of course, it is the part that is reproduced in the paper jacket CD.

Paper label on the center of the record. Rarely in such singles some of which were the direct printing on PVC material. Artist name, album name, music, music creator, the label name is described, the production process, since the time of jacket printing to others not determined the song order is an important part reveal the recording contents. 

But usually it is used record company common design, there is also a place that changed the design to the each time as Island Records, become material, even for understanding the issue time of record. In addition, there are also those that are designed with a jacket and a consistent concept. The SHM-CD / paper jacket of Universal International, has this label was two-sided printing (AB surface) "label card" as much as possible inclusion.


Tuesday, November 10, 2020

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

Size: 195 MB
Bitrate: 256
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]

♦ 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

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

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

1. Burdon
2. Burdon
3. Burdon

Saturday, October 24, 2020

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

Size: 186 MB
Bitrate: 320
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.

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
2. Craig
3. Craig

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

Size: 143 MB
Bitrade: 256
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
2. Penny
3. Penny

Thursday, September 24, 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
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
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'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
2. Dirty
3. Dirty