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Vanilla Fudge (Atco 33-224/mono, SD 33-224/stereo) is the first album by the American psychedelic rock band Vanilla Fudge. Released in summer 1967, it consists entirely of half-speed covers and three short original instrumental compositions.
The album was Vanilla Fudge's most successful, peaking at #6 on the Billboard album charts in September 1967. An edited version of "You Keep Me Hangin' On" was released as a single and also charted.
In a debut consisting of covers, nobody could accuse Vanilla Fudge of bad taste in their repertoire; with stoned-out, slowed-down versions of such then-recent classics as "Ticket to Ride," "Eleanor Rigby," and "People Get Ready," they were setting the bar rather high for themselves. Even the one suspect choice -- Sonny Bono's "Bang Bang" -- turns out to be rivaled only by Mott the Hoople's version of "Laugh at Me" in putting Bono's songwriting in the kindest possible light.
Most of the tracks here share a common structure of a disjointed warm-up jam, a Hammond-heavy dirge of harmonized vocals at the center, and a final flat-out jam. Still, some succeed better than others: "You Keep Me Hanging On" has a wonderfully hammered-out drum part, and "She's Not There" boasts some truly groovy organ jams. While the pattern can sound repetitive today, each song still works as a time capsule of American psychedelia.
Vanilla Fudge is an American rock band known predominantly for their psychedelic renditions of popular songs. The band's original lineup—vocalist/organist Mark Stein, bassist/vocalist Tim Bogert, lead guitarist/vocalist Vince Martell, and drummer/vocalist Carmine Appice—recorded five albums during the years 1966–69, before disbanding in 1970. The band has reunited in various configurations over the years, and is currently operating with three of the four original members, Mark Stein, Vince Martell, and Carmine Appice with Pete Bremy on bass for Tim Bogert who has retired from touring. The band has been cited as "one of the few American links between psychedelia and what soon became heavy metal".
Stein and Bogert played in a local band called Rick Martin & The Showmen. The pair were so impressed by the swinging sound and floods of organ of The Rascals they decided to form their own band with Martell and Rick Martin's drummer, Joey Brennan. Originally calling themselves The Pigeons, they changed the name to Vanilla Fudge in 1966, after the replacement of Brennan by Appice.[3] The group was then "discovered" and managed by reputed Lucchese crime family member Phillip Basile, who operated several popular clubs in New York. Led Zeppelin, then an emerging band, was the opening act on their American tour. Produced by Shadow Morton who the band met through the Rascals. Morton had a gift for melodramatic productions in the studio.
The band's biggest hit was its cover of "You Keep Me Hangin' On", a slowed-down, hard rocking version of a song originally recorded by The Supremes. This version featured Stein's psychedelic-baroque organ intro and Appice's energetic drumming.
The members of Vanilla Fudge were great admirers of The Beatles, and covered several of their songs including "Ticket to Ride" and "Eleanor Rigby". The self-titled debut album quotes "Strawberry Fields Forever" at the end, with the line "there's nothing to get hung about".
On March 14, 1970, Vanilla Fudge played a farewell concert at the Phil Basille's Action House. After that, Bogert & Appice departed to form another group, Cactus (In 1972, they left Cactus and formed Beck, Bogert & Appice with guitarist Jeff Beck). Stein, left on his own, tried to keep the group going with two new players, Sal D'Nofrio (bass) and Jimmy Galluzi (drums) (both of whom had been members of a Poughkeepsie, New York group known as 'Dino & The Cavemen'). But when nothing came from this, Stein ended up forming a new group, Boomerang, instead with Galluzi.
A recording of the Pigeons was released in Germany in 1973 under the title of 'While the World was Eating Vanilla Fudge'.
Following the band's breakup in 1970, the band has reunited several times. In 1982, they reunited in support of the Atco Records release, Best of Vanilla Fudge. This resulted in another album of fresh material in 1984 called Mystery. Martell was not included in this initial reunion and Ron Mancuso played guitar on Mystery instead, along with Jeff Beck, who guested under the moniker "J. Toad". Two reunion tours followed in 1987/1988. with Paul Hanson on guitar. Lanny Cordola was guitarist when the band took the stage on May 14, 1988 for the Atlantic Records' 40th Anniversary Celebration. After that, the individual members went their separate ways once again to pursue other projects.
In 1991 Appice revived the Vanilla Fudge name for a tour with Ted Nugent's former band members Derek St. Holmes (guitar, vocals), Martin Gerschwitz (keyboards, vocals) and Tom Croucier (bass, vocals), which resulted in the album The Best of Vanilla Fudge – Live.
Personnel:
♦ Carmine Appice - drums, vocals
♦ Tim Bogert - bass, vocals
♦ Vince Martell - guitar, vocals
♦ Mark Stein - lead vocals, keyboards
Studio albums:
♣ 1967 Vanilla Fudge
♣ 1968 The Beat Goes On
♣ 1968 Renaissance
♣ 1969 Near the Beginning
♣ 1969 Rock & Roll
01. "Ticket to Ride" (Lennon–McCartney) – 5:40
02. "People Get Ready" (Curtis Mayfield) – 6:30
03. "She's Not There" (Rod Argent) – 4:55
04. "Bang Bang" (Sonny Bono) – 5:20
05. "Illusions Of My Childhood - Part One" – 0:20
06. "You Keep Me Hangin' On" (Brian Holland-Lamont Dozier-Eddie Holland) – 6:42
07. "Illusions Of My Childhood - Part Two" – 0:23
08. "Take Me For A Little While (Trade Martin) – 3:27
09. "Illusions Of My Childhood — Part Three – 0:23
10. "Eleanor Rigby" (Lennon–McCartney) - 8:10
Vanilla Fudge - The Return (Good Reunion) (2002)
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Do you recognize the album cover or know the name of the band? Well, if you do you are older than I am. I was a little boy when these people were making a name for themselves. Vanilla Fudge was a band known for doing covers of popular songs by injecting their psychedelic blues-rock into every groove on a record. That was then and this is now. Has that much changed?
Not really, they still kick ass and sound great. They serve notice they are back with a vengeance very quickly on the rockin' opener "Ain't That Peculiar" and renew their classic rendition of "You Keep Me Hangin'On" in their own unique way.
They even do an out of character rap in Rod Stewart's "Do Ya Think I'm Sexy," which by the way, rocks the house down. The only song on the CD that did not seem to fit was "I Want It That Way," it seemed as if they were trying to force their style of music on the song, and it did not work. Other than that, this is a great recording.
I can only hope I have the energy, soul, and emotion that this group has when I get into my fifties. We seem to be going through a rock 'n' roll renaissance lately with 60s and 70s bands reemerging and catching everyone by surprise with the great music that is being produced. They are that good, and much of what is recorded today is not worthy of your listening so it is a real treat to take this all in.
There is not only the audience that they left behind in the 60s that will be thrilled to hear this, there will be excited new listeners wondering why they never heard of this group. I got a wakeup call with Vince Martell's solo album Endless High last year. I found out what a great guitarist and vocalist he was and wondered then if he would get the Fudge back together because he was having so much success. I am glad that he did. They have also stayed current with an attractive website with updates on all the group members.
For all the hangers on and all of those that have been wondering what this band sounded like, here is your chance to hear them in present day. I encourage you to delve into their back catalog as well, it is excellent and well worth your time and hard-earned bucks. Review by Muzikman
In 2001, three members of the VANILLA FUDGE got together and proved they can still rock & roll-- these guys sound terrific! THE RETURN features reworkings of eight of their classics-- all are excellent. "Season Of The Witch," for example, is vastly improved by the loss of Mark Stein's odd poetry break midway through ("Here we sit emerged in a liquid sea of love..." etc.), as well as a truncation of the intro. The new studio version of "Shotgun" is white-hot and most welcome.
Carmine Appice is still amazing-- the man hasn't lost a beat. Vocals on "Need Love" soar high, while the Fudge's jamming surpasses their original track. The four new songs on this set are quite good, too. This album's a joy-- if you're a Vanilla Fudge fan, you're gonna love it!
★ Vince Martell - guitar, vocals
★ Bill Pascali - organ, vocals
★ Tim Bogert - bass, vocals
★ Carmine Appice - drums, vocals, producer
01. Ain't That Peculiar (6:10)
02. You Keep Me Hangin' On (6:45)
03. Tearin' Up My Heart (7:37) *
04. Shotgun (6:05)
05. People Get Ready (6:46)
06. Take Me For A Little While (4:15)
07. Good Good Livin' (4:42)
08. I Want It That Way (6:50) *
09. Need Love (4:49)
10. She's Not There (5:12)
11. Season Of The Witch (8:10)
12. Do Ya Think I'm Sexy (7:12) *
New recordings of previous songs and three new songs * (tracks #3,8,12)
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Size: 288 MB
Bitrate: 320
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Elf was a Blues-rock band founded in 1967 by singer and bassist Ronnie James Dio, keyboardist Doug Thaler, drummer Gary Driscoll, and guitarists Nick Pantas and David Feinstein (Dio's cousin). The band was originally called The Electric Elves, but was shortened to The Elves and finally Elf in mid-1970. Elf disbanded in 1975, after recording three albums.
In 1970 the band was involved in an automobile accident which claimed the life of Nick Pantas, whom the band decided not to replace. After recovering from his injuries, Doug Thaler quit the band, and was replaced by Micky Lee Soule. (Upon leaving in 1972, Thaler moved to New York and got a job as a booking agent — Elf was one of the bands he booked. In 1983, he became co-manager of Mötley Crüe. Present day he works at Metropolitan Talent as an artist manager, working with artists such as Art Garfunkel, Bruce Hornsby & Ratdog).
Elf's self-titled debut album was produced by Deep Purple members Roger Glover and Ian Paice, who happened to see Elf auditioning in 1972. For the next few years, the band enjoyed mild success as an opening act for Deep Purple.
Dio both sang and played the bass guitar until, in 1973, bass player Craig Gruber was asked to join. The same year saw Feinstein quit the band, to be replaced by Steve Edwards. Feinstein formed a band called The Rods[1], which met with a moderate amount of success, touring with groups such as Judas Priest and Iron Maiden, as well as Metallica, before finally retiring from the music industry. He would not return to the music scene until 2004, when his band, Feinstein, released the album Third Wish on the Magic Circle Music label.
In 1974, Dio was asked by Glover to sing on his solo album The Butterfly Ball and the Grasshopper's Feast. Dio's rich, soulful voice gained the attention of guitarist Ritchie Blackmore who had just left Deep Purple and was looking for musicians for his first solo album, Ritchie Blackmore's Rainbow. He decided to use Elf for this album, and the band Rainbow was thus formed, with Blackmore replacing Edwards. After they finished recording the album, however, Driscoll, Gruber, and Soule were replaced by Cozy Powell, Jimmy Bain and Tony Carey, who played with Dio and Blackmore during the subsequent tour; Elf was no more.
Elf is the first album by Ronnie James Dio's blues rock band called Elf. It was released in 1972.Dio at the time still went by his birth name Ronald Padovana.
After this album, Steve Edwards replaced David Feinstein on guitar, and Craig Gruber replaced Ronnie James Dio on bass. However, Ronnie James Dio continued to sing lead vocals for the band. This future lineup, minus Feinstein, became the first incarnation of Blackmore's Rainbow when Deep Purple axeman Ritchie Blackmore left Deep Purple.
Carolina County Ball, was the second album by the rock band Elf, released as an LP in 1974 on the MGM label. It was released in the United States and Japan as L.A./59.
The song most played from this album was "Ain't It All Amusing," which became a staple in the pubs in the UK
* Ronnie James Dio - vocals / bass
* Gary Driscoll - Drums / Percussion
* Dave "Rock" Feinstein - Guitar
* Mickey Lee Soule - Keyboards
Disc 1:
01. Wake Up Sunshine (studio demo)
02. Smile For Me Lady (studio demo)
03. Rosemary (studio demo)
04. You Felt he Same Way (studio demo)
05. Driftin' (studio demo)
06. Saturday Night
07. Crosseyed Mary
08. Stay With Me
09. Little Queenie / Johnny B Good Whole Lotta Shakin'
10. Did You Ever
11. Cold Ramona
12. Black Dog
13. Lura Lura
14. Four Day Creep
Disc 2:
01. Give Me A Chance
02. Nameless Instrumental
03. Aqualung
04. Drown Me In The River
05. Simple Man
06. Pisces Apple Lady
07. Dirty Dollar Bill
08. Buckingham Blues
09. So Long
10. You Shook Me / Rock's Boogie
11. War Pigs
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Size: 74.7 MB
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Obscure hard-rock / proto-metal beast from Belgium, originally released in 1978 as a private edition of 300 copies.
Dangerous, aggressive sound with wall of fuzz guitars and manic speed drumming.
Highly recommended to anyone into “Raw Power” era Stooges, “Back in the USA” era MC5, Pink Fairies, early Motörhead, Hawkwind, Acid Archives US obscurities like White Boy & The Average Rat Band, early NWOBHM bands and compilations like “Bonehead Crunchers”.
The S to S album is one of those obscurities that have remained unknown to collectors of hardrock for many years. We present the first ever reissue with the band’s story told for the first time.
S to S emerged out of the ashes of local band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums. After the demise of Etna, the Cannella brothers decided to form a power-trio, thus S to S was born.
Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state-of-the art studio with their own hands and soon after the recording of the S to S album started. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions. A friend of the band played occasional keyboards and Michel, the producer, played sax on “I’m fool”, the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hardrock featuring layers and layers of fuzzed-out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs.
The album was completed in early 1977 but remained in the shelf until the following year. The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting the band. Only 300 copies were pressed on their own Overcome label. Meanwhile Mirco formed a punk band named Acétylène but decided to concentrate on S to S soon after.
S to S continued right into the 80s with some changes in their line-up, playing many successful shows in Belgium, changing their style towards a more heavy-blues-rock sound, before splitting in 1982.
S to S is one of those obscurities that have remained unknown to collectors of hard rock for many years. Sommor Records presents the first ever reissue with the band's story told for the first time. S to S emerged out of the ashes of the band Etna, featuring the Cannella brothers: Fulvio on lead guitar and Mirco on bass along with George Abry on drums.
After the demise of Etna, the Cannella brothers decided to form a power-trio: S to S was born. Upon meeting producer Michel Dickenscheid, they were offered a deal: the band would help Michel to build a new recording studio in exchange of free studio time with the intention of recording their first album, which would be produced by Michel. So they built a state-of-the art studio with their own hands and soon after recorded S to S. Mirco switched from bass to guitar so they recruited a new bass player, Picci Salvatore, who abandoned the band just after the recording sessions.
A friend of the band played occasional keyboards and Michel, the producer, played sax on "I'm Fool", the most psychedelic sounding song of the album, similar to early Hawkwind. The rest of the songs are prime examples of pure hard rock featuring layers of fuzzed-out guitars and killer riffs by Fulvio, a monstrous sound created by producer Michel using primitive homemade pedal effects and up to four guitar overdubs. The album was completed in early 1977 but remained on the shelf until the following year.
The band members were very pissed off when they received the albums from the pressing plant and discovered that their manager had included a logo with Sig runes lettering in the cover without consulting them. Only 300 copies were pressed on their own Overcome label. Remastered sound. Insert with detailed liner notes by Pascal D'Hooghe and rare photos.
Highly recommended to anyone into Raw Power era Stooges, Back in the USA era MC5, Pink Fairies, early Motörhead, Hawkwind.'
01. Great Billy 02:43
02. It's Ok 03:51
03. The Night Of Nicky 04:16
04. I'm A Killer 03:13
05. I'm Fool 05:10
06. Kids Of The Night 02:50
07. Children Killers 02:48
08. Stay Of Victor Feinberg 03:08
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Size: 97.1 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
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Source: Japan SHM-CD Remaster
Based in the southern states of America, hard rock band Hydra formed in the early 70s around a line-up of Wayne Bruce (vocals, guitar), Spencer Kirkpatrick (guitar), Orville Davis (bass) and Steve Pace (drums). Signed to the Allman Brothers and Marshall Tucker Band’s record label, Capricorn Records, they made their debut in 1974 with a self-titled collection that drew heavily on Lynyrd Skynyrd’s southern boogie tradition, but also added elaborate pop hooks and disciplined rhythmic codas.
Songs such as ‘Glitter Queen’ won them a fervent fanbase, though the subsequent Land Of Money, a more abrasive collection, was less successful. By the advent of Rock The World Davis had departed to join Rex and the resultant instability stalled the group’s progress.
Hydra is an American Southern rock band founded in the late 1960s by Spencer Kirkpatrick (guitar), Wayne Bruce (vocals and guitar), and Steve Pace (drums). In 1977, it became a three-piece band (with Wayne Bruce now on bass) and the band broke up later that year. It released three albums, Hydra (1974), Land of Money (1975) and Rock The World (1977). In 2005, the band reunited for two shows (with Vickery on bass). A live album, Hydra: Live After All These Years was released.
Pace and Kirkpatrick first played together in 1968 in the band Strange Brew. Wayne Bruce was playing with the band Nickelodian and accepted the offer to join Pace and Kirkpatrick in the short-lived Noah Mayflower. These three remained together in the band Osmosis until 1969 when, after enlisting a succession of bassists, Hydra finally emerged with the inclusion of Trip Burgess in 1970, and later Orville Davis in 1971.
Orville remained with Hydra on their first two LP's before leaving the group to join the hard rock outfit Rex and then briefly Starz. Hydra's reputation as a solid live act in the Atlanta, Georgia area began to spread and the band expanded their territory.They began supporting major internationally known acts in concert.They have been referred to[by whom?] as the first heavy southern rock band.
The band signed a recording contract with Capricorn Records in 1973 and released a self-titled album Hydra in 1974. In 1975, Land of Money followed. The producer Dan Turbeville used a horn section (without the band's knowledge) on the first album and musicians like Chuck Leavell (Allman Brothers band, The Rolling Stones, and Eric Clapton) (piano and keyboards) and Randall Bramblett, who later founded his own Randall Bramblett Band, on the second.
In 1977, as a three-piece band (with Wayne Bruce now on bass), Hydra released Rock The World. Some reviewers[who?], including Edgar Brimer, their road manager, consider this to be their best record. By the end of 1977, the band broke up and reformed only occasionally thereafter, except for a series of shows in 1997, first with Jimmy Cobb and later with Tommy Vickery on bass, replacing Davis.
Hydra was one of those 70’s Southern rock bands that didn’t quite reach the commercial success they deserved. Hydra released three excellent albums between 1974 and 1977 before becoming frustrated with the growth of their success along with some management issues. They broke up in 1977 and have since only played handful of live shows in few different occasions.
Hydra was started in Atlanta, Georgia around 1968 by Steve Pace (drums) and Spencer Kirkpatrick (guitar) and Wayne Bruce (vocals/guitar) under the name Noah Mayflower. They briefly changed their name to Osmosis before taking the name Hydra in 1971 and added Orville Davis to bass.
After building a reputation as killer live band by supporting various major bands like Lynyrd Skynyrd, The Allman Brothers Band and ZZ Top, Phil Walden signed them to his Capricorn Record label in 1973. Hydra´s self-titled debut album came out in 1974.
After year of touring and writing new songs on the road, their sophomore effort, Land Of Money, was released in 1975 and bassist Orville Davis left the band soon after to launch his own career as a country singer.
In 1976 Hydra signed a deal with Polydor Records and Rock the World came out in 1977 featuring three piece band with Wayne Bruce switching from guitar to bass, but by the end of 1977 Hydra broke up only to make a brief come back in 1997 with handful of live shows.
In 2005 Hydra played two more live dates, which were recorded into a live album called Hydra: Live After All These Years. The band haven´t completely shut out the option of recording new music under Hydra name in the future.
01. Glitter Queen - 4:02
02. Keep You Around - 5:16
03. It's So Hard (Music by Kirkpatrick, W. Bruce) - 4:45
04. Going Down (Don Nix) - 3:07
05. Feel A Pain (Will Boulware) - 6:24
06. Good Time Man (Words by W. Bruce, Steve Pace) - 3:23
07. Let Me Down Easy - 4:20
08. Warp 16 (S. Pace, S. Kirkpatrick, W. Bruce, Trip Burgess) - 4:20
09. If You Care To Survive - 2:54
10. Miriam - 7:42
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Previously unreleased live album from the proto punks recorded at Abbey Road in December 1969.The choice of material on the disc is representative of the band's live set at the time like "Out Demons Out", an early version of "What is a Woman For" the biting "American Soldier Boy" and best of all their explosive ten minute version of "Smokestack Lightening".
The band started their career as a blues group under the name of The Edgar Broughton Blues Band, playing to a dedicated but limited following in the region around their hometown of Warwick. However, when the band began to lean towards the emerging psychedelic movement, dropping the 'Blues' from their name as well as their music, Victor Unitt left.
In 1968, the Broughtons moved to Notting Hill Gate, London, seeking a recording contract and a wider audience, and were picked up by Blackhill Enterprises. Blackhill landed them their first record deal, on EMI's progressive rock label Harvest Records, in December 1968. Their first single was "Evil"/"Death of an Electric Citizen", released in June 1969, which was also the first single released by Harvest.
The first single was followed by the Broughtons' first album, Wasa Wasa, and after a series of free concerts, many performed on the back of trucks and in the face of police harassment, the Broughtons entered into an attempt to capture their ferocious live sound on record by organising a performance at Abbey Road on 9 December 1969. Only one track was released at the time: a rendition of "Out, Demons Out!", an adaptation of The Fugs' song "Exorcising The Demons Out Of The Pentagon", which had become the band's set-closer and anthem. The rest of the recording was lost until its rediscovery and release in a remixed form in 2004 as Keep Them Freaks a Rollin': Live at Abbey Road 1969.
The Edgar Broughton Band kept recording, releasing the live performance of "Out Demons, Out!" as a single (b/w "Momma's Reward (Keep Those Freaks a Rollin')") and following it, in June 1970, with the album Sing Brother Sing. This was accompanied by the single "Up Yours!" (b/w "Officer Dan"), a polemic on the 1970 General Election declaring their intention to drop out. The song featured a string arrangement by David Bedford.
Their next single, "Apache Dropout", combined The Shadows' "Apache" with Captain Beefheart's "Drop Out Boogie". It was played (to astonished and puzzled reactions) on the David Jacobs' hosted BBC Television's Juke Box Jury. Jerry Lordan, the composer of "Apache", insisted that the title be "Apache Dropout" instead of the original "Dropout Apache". The single reached #33 on the UK Singles Chart, stalling partly due to the then-current postal strike.
In 1971, the band decided that existence as a power trio was limiting, and asked Victor Unitt, who had been playing meanwhile in The Pretty Things, to rejoin the band. In May, with the new lineup, they released possibly their finest work: their eponymous third album, which contained the classic "Evening Over Rooftops" (again with strings by David Bedford which Edgar Broughton called "stunning"). Edgar Broughton Band contained heavy blues and even country influences. Mike Oldfield also featured, on "Thinking Of You". This album has been said to mark the highest point in the Broughtons' career because of its sense of wholeness and completeness (while not straying into concept album territory).
The album was followed by the released of the double A-side "Hotel Room"/"Call Me A Liar". This was played by Tony Blackburn as his 'record of the week' upon its release: Edgar Broughton recalled him saying that "he hated everything that we stood for, but that the single was the best thing he had heard that year". The single failed to chart, but the album sold well throughout Europe, especially in Germany.
With the success of their third album, the Broughtons relocated to Devon to begin recording for their next album, Inside Out, after which Unitt departed.
In 1975 the band signed to NEMS. In the same year, John Thomas joined the band on guitar for the Broughtons' sixth album, Bandages. This featured a softer sound than previous releases. Shortly after the release of Bandages, John Thomas left and was replaced by Terry Cottam. In 1976, having recorded the live album Live Hits Harder (which was not released until 1979), the Edgar Broughton Band dissolved.
However, Edgar and Steve Broughton together with Grant regrouped as The Broughtons to release Parlez vous English? in 1979, with Tom Norden and Pete Tolsen playing guitar and Richard DeBastion on keyboards. These supplementary musicians were not retained after the release of the album, but Tom Norden was used again, along with keyboardist Dennis Haines, for Superchip, released in 1982.
After this the band returned to a hiatus, recording no more studio material but touring infrequently throughout the 1980s and 1990s. A mini-tour in 1989 included a gig at The Oval in London. Following another lengthy hiatus with occasional gigs, the band returned to live action in 2006, after the re-issue of their back catalogue had stimulated new interest in their work. The band have now reformed; they have recently had a mini tour of England and Germany. The band have recently announced a new European tour in 2007, including an appearance at the German Burg Herzberg Festival
01. Smokestack Lightning
02. What Is A Woman For?
03. Yason Blues
04. Refugee
05. Dropout Boogie
06. American Boy Soldier
07. Momma's Reward (Keep Them Freaks A Rollin')
08. Out Demon's Out
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Size: 76.5 MB
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In 1970, when Swiss garage-beat band Les Sauterelles split, their leader, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic & electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”.
In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock…From fragile acoustic numbers to dark, wigged-out psychedelic tracks, this is highly recommended to anyone into “CQ” era Outsiders or Frank Nuyen’s “Rainman” album.
Stunning mastertape sound, original gatefold sleeve, repro of the rare poster and insert with detailed liner notes by Mike Stax.
Toni Vescoli is a pioneering Swiss singer/songwriter/guitarist of the classic rock era who over the course of his long career performed a variety of styles, from English-language pop/rock to Dylanesque folk music. Born on July 18, 1942, in Zürich, Switzerland, Vescoli formed the trailblazing rock band Les Sauterelles in 1962. Comprised of Vescoli (rhythm guitar, lead vocals), Rolf Antener (lead guitar, vocals), Heinz Ernst (bass guitar, vocals), and Düde Dürst (drums, vocals), Les Sauterelles were sometimes referred to as the "Swiss Beatles" and recorded on Columbia Records during the mid-'60s.
The band's first hit was "Hong Kong" (1965), written by Vescoli; also in 1965, the band was featured on the compilation album Swiss Beat Live! alongside fellow Swiss bands the Counte and the Dynamite. Les Sauterelles released several singles during the latter half of the '60s, including the number one hit "Heavenly Club," and they released a couple albums, too. Vescoli broke up the band in 1970.
When Les Sauterelles split, Toni Vescoli, decided to start a solo career. At first, inspired by Dylan, he thought of going strictly acoustic, but he soon changed his mind and started incorporating psychedelic and electric elements to his sound, such as feedback, primitive drum machines, guitars and vocals filtered through Leslie speakers etc., as he was also influenced by bands like Pink Floyd and King Crimson. He also incorporated to his repertoire some of the songs he had written for the never recorded Sauterelles concept album, “Seven Deadly Sins”.
In 1971, Toni released his debut solo album, “Information”. A folk-rock - psychedelic gem which reflected his influences at the time: folk, rock, psychedelia, progressive-rock, from fragile acoustic numbers to dark, wigged-out psychedelic tracks.
01. Dying Land - 3:22
02. Idleness - 2:50
03. Happy Family - 1:13
04. Hatred And Love - 5:21
05. Information - 4:43
06. Beautiful Morning - 4:35
07. There's A Bird - 3:36
08. Hypocrites - 3:17
09. Intermezzo - 0:28
10. Do Hurry - 5:37
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Size: 95.1 MB
Bitrate: 320
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Ripped by: ChrisGoesRock
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Shotgun Sawyer return with their blissfully heavy new album – Bury The Hatchet. The album is a mix of Hard Rock, Stoner Rock, Blues and Psych Rock with a pissed off attitude to match. What makes Shotgun Sawyer stand out is their undeniable thirst to have FUN with their music. However you know from this listening to his album, the guys know how to handle themselves as their music has quite a volatile attitude in places especially on the first few songs with Ain’t Tryin’ To Go Down Slow, (Let Me) Take You Home and Backwoods Bear.
The album has elements of “Americana” style rock within it’s DNA and Shotgun Sawyer don’t shy away from that fact. The music is very raw but at least it’s honest and the guys know how to write and play a mean loud riff. The band do sound like early era All Them Witches in parts of the album and it’s a style of Blues Rock I’m a big fan of.
The production is excellent and the songs contained on the album sound superb. The vocals and music are pitch-perfect with the band proving they’re quite adapt at switching musical genres on certain songs on the album such as: You Got To Run, Son Of The Morning, Love You Right and When The Sun Breaks.
Maybe the album does run out of steam towards the end. However that hasn’t stopped Shotgun Sawyer paying homage to their musical heroes of the legendary 70s Hard Rock scene and putting their own spin on the standard Stoner/Hard Rock sound.
If you’re a fan of ZZ-Top and Led Zeppelin then Shotgun Sawyer have all bases covered with this album and they still have a few tricks of their own to impress people with. This is not only another excellent release from Shotgun Sawyer but also from Ripple Music who are proving why they are one of the best independent Hard Rock labels within the scene today.
Overall, Bury The Hatchet is superbly entertaining album and one that packs an almighty punch.
Excellent and Highly Recommended.
Two years on from their debut album, California’s Shotgun Sawyer return for Round Two. Now signed to Californian label Ripple Music, this has seen them attack the studio brimming with confidence and the result is raucous affair which gets your attention from the opening riff and doesn’t let up until silence arrives at the end of Track 9. The song writing is great and the trio of Brett Sanders on bass, David Lee on drums and Dylan Jarman on guitar/vocals all deliver their parts in equal measure.
Now, back to that opening riff – the riff to ‘Ain’t Tryin’ To Go Down Slow’ is a hybrid mix of ‘Stranglehold’ and ‘Whole Lotta Love’ – it’s a thing of beauty and if there is a Riff Of The Year award, consider it won. The rest of the song doesn’t disappoint either as the rhythm section batter the song into submission behind Jarman’s impassioned vocal and screaming solo.
‘(Let Me) Take You Home’ follows and it’s a slower number that chugs along in a bluesy way, stops for a breather and then serves up a tasty instrumental passage before returning to the original riff.
‘Backwoods Bear’ sees the acoustic guitar come out of its case. The song is underpinned by an acoustic slide riff and solo and it is probably the closest this album gets to the Blues. It’s a nice contrast to the opening salvo it follows and shows that Shotgun Sawyer isn’t just about playing loud.
However ‘You Got To Run’ can only be described as loud. Released as a single last year, it works even better as part of an album and is a full on rock song pure and simple.
‘Son Of The Morning’ is the longest song here (just) and it starts with a lengthy instrumental passage before the vocals kick in I think this has the potential to be a big track in their live set as it build to be their own ‘Bridge Of Sighs’ or ‘Dazed & Confused’ – it gives the guys the chance to stretch out and show their musical abilities and could be a real showcase number.
Talking of 70’s influences, ‘Hombre’ follows and it is the best song ZZ Top never wrote with a similar riff and shuffle to the mighty ‘La Grange’. Hats off to Sanders & Lee on this one as they lock into the groove whilst Jarman sings of his woman troubles.
The hum of an amplifier greets ‘Love You Right’ and it’s a loud slice of blues rock that will appeal to Bonamassa and Rival Sons fans alike. Whether Shotgun Sawyer reaches the commercial level of those two remains to be seen but musically that’s the territory they work in, so there is no reason why not.
‘When The Sun Breaks’ is next – musically has a Led Zeppelin influence all over it and to my ears it’s their take on ‘Since I’ve Been Loving You’. There’s no attempt to mimic Plant’s vocals style though (a good thing), so it still sounds like a Shotgun Sawyer song though the blues solo is one Jimmy Page would be pleased with – that’s meant as a compliment by the way. It’s another song that could be a live showcase number as its finesse provides a nice contrast to the power of the faster songs.
Whilst I love my fast rockers, I think ‘Son Of The Morning’ and ‘When The Sun Breaks’ show the true depth of the Band’s abilities, though closer ‘Shallow Grave’ ups the pace again and features some great slide guitar before slowing things back down as it plays out to the end.
Shotgun Sawyer played a lengthy European tour in 2018 which missed the UK and they are hopefully going to finally make it here in 2020. I think their live performances will be the key to a UK following and if they get the opportunity who knows what they might achieve. In the meantime they have waved away those ‘difficult second album’ worries to deliver a fantastic set that deserves to do well.
01. Ain't Tryin' to Go Down Slow 03:16
02. (Let Me) Take You Home 04:44
03. Backwoods Bear 03:29
04. You Got to Run 04:55
05. Son of The Morning 05:31
06. Hombre 03:44
07. Love You Right 05:15
08. When the Sun Breaks 05:30
09. Shallow Grave 04:24
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