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1969 Psych
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The individuals behind the Motherlight LP never played a live gig as they were essentially a studio vehicle for Mike Bobak, Andy Johns, and Wil Malone. Morgan Blue Town, one of the UK’s leading psych pop labels, released this unsung gem in 1969. It’s one of the most collectible and expensive LPs from the 60s UK psych scene.

Wil Malone had previously led the prolific UK psych group Orange Bicycle and would go on to release a folky solo disc in 1970 and also play in another psych pop group named Fickle Pickle. The Motherlight project saw him write most of the album’s lyrics, sing lead, play keyboards and lead guitar while Bobak and Johns supplied the rhythm section. In my mind, the 手机如何使用伕理ip上网 LP is Malone’s finest work ever. The feel of this album is low key but ominous, unlike anything I’ve heard and it’s this quality that makes the LP so special. Tracks such as the masterful On a Meadow-Lea and the hypnotic Lens exemplify the eerie mood of the music and are genuinely psychedelic. Many tracks have tasteful but brief guitar solos that usually feature light distortion and fuzz. Other worthy cuts are Wanna Make a Star, Sam, which goes for a blues rock Procol Harum vibe without forsaking its pop roots. Mona Lose is the album’s hardest rocker with blasts of hard guitar distortion and a fast paced arrangement. For many, the album’s highlight was House of Many Windows, a beautiful progressive psychedelic piece with inventive keyboard work.

Overall, the Motherlight LP is a very solid 4 star album, not to be missed by UK psych fans. As mentioned above, it’s an album with a unique ambience but the songs are also very good and the listener never knows what to expect next.

Mona Lose:

On a Meadow-Lea:

Burning the Weed:

:) LP | Morgan Blue Town | 1969 | discogs ]

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1969, 1970 Country Rock

Bluebird’s only album was cobbled together from their Jerden, London and Burdette 45s but also tracks that were cut for an aborted album. The group hailed from Mercer Island, Washington and were known as one of the best folk rock/country rock bands of the Pacific Northwest. Most of the cuts on Country Boy Blues were recorded in 1969/1970 but Piccadilly chose to release this retrospective LP in 1980. I managed to pick up a copy for a respectable price but it’s extremely rare and usually sells for over $100.

This is some of the best underground country rock I’ve heard. Modessa, a lost classic, sounds like one of the best cuts from the Byrds great Untitled LP. A pro level fusion of folk rock and psychedelia, it’s Bluebird’s most popular track due to 45 release in 1971. There’s a very good rendition of I Shall Be Released, with sparkling guitar work and world weary vocals. Goin’ Down sounds like one of the David Crosby penned tracks from Notorious Byrd Brothers, with strong raga style guitar leads and a jazzy feel to the arrangement. Other good cuts are Natural Feeling, a driving country rocker with crystal clear vocals and blasts of fuzz guitar. Travelin’ Ways, equally as good, is more of the same. Bluebird, unlike their peers, never fooled around with jugband sounds or tried to sound too Nashville or Bakersfield. There’s nothing pretentious about Bluebird’s music, just talent, class and a genuine feel for the music is on full display.

Bluebird would eventually change their name to Grand Theft and record another album which sounds nothing like Country Boy Blues. When people speak of great country rock records, this band and album rarely, if ever, get a mention. Simply put, more people need to hear this great album.

如何通过ip伕理上网 LP | 1980 | Picadilly | ebay | discogs ]

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Goin Down:

Going to Nevada:

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1968 Classic Rock,Garage,Psych

Along with the Initial Shock, the Frantics were one of Montana’s top garage/hard rock groups throughout the 60s. They released a raw garage 45 in 1966 and later on in 1970, Lizard Records released the Conception album. At this point, the Frantics story had come to a close until 1994, when Collectables released the Relax Your Mind recordings. This CD was sourced from a poor cassette tape which did much to explain the terrible sound quality of the recordings. The music dates from 1968, straight from the Norman Petty Studio vaults and surprisingly, it all gels as a coherent album – a lost garage/hard rock psych classic. In 2018, Lost Sounds Montana cleaned up the sound and released these recordings on vinyl (mono) as Birth.

Now in excellent sound quality, Birth can be enjoyed by all psych fans for the superb album it is. The A side of the LP opens and closes with two powerful psych tracks that have hard rock strength and lots of stinging fuzz guitar work – take a listen to near classics Her and Her Mountain and Relax Your Mind. At times the lead singer recalls Jim Morrison circa 1968 (Waiting for the Sun), as heard on the fine psychedelic ballad Lady of the Night. Many of these tracks have a psychedelic punk feel to them, with lots of heavy fuzz guitar, unique production tricks, feedback and pounding beats. Think of a very accomplished garage band who just started dropping acid and is exploring the possibilities of the recording studio for the first time. Stone Goddess, Child of the Universe, Just for Awhile and Sweet Mary reflect this experimental attitude to recording music and all are highlights in that respect. Other cuts go for different sounds such as soft rock, blues, avante garde psych and folk rock but none of them are duds.

Highly recommended for those listeners who enjoy garage, psych or hard rock sounds.

Think About It (from Birth):

Lady of the Night (from Relax Your Mind):

:) LP | 2018 | Lost Sounds Montana | discogs | ebay ]

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如何设置伕理ip上网 Garage,Psych
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$100 Fine was the Litter’s second LP, coming off the heels of an otherwise excellent, mostly covers album titled Distortions. The $100 Fine LP was released in 1968 by the Hexagon label.

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Mindbreaker is only matched by another freaky hard guitar psych gem titled Under The Screaming Double Eagle. These tracks are absolutely essential. The rest of the album falls short. Tallyman and the heavily phased Kaleidoscope are solid, worthy covers that have held up over time. Morning Sun, a group original, features lots of excellent Zippy Kaplan fuzz guitar work. She’s Not There, a Zombies cover, is a 9 minute jam that could have been cut in half but was probably added to pad the album out because the group was short on material. Also, Blues One, a pure blues rock number doesn’t fit in with the rest of the album’s psychedelic ambitions. So while $100 Fine isn’t a bad album, it’s not the masterpiece that some record dealers or psych experts claim it to be. Their next and last album, Emerge, would be a more consistent hard rock effort that’s worth tracking down.

Kaleidoscope

Under The Screaming Double Eagle

用伕理ip上网加速软件 LP | Sundazed |2016 | buy from Sundazed ]

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1974, 1975, 1976 Classic Rock,Country Rock,Pop

The music on 国外ip地址伕理covered a period of a few years, 1974-1976. The LP was released in the Spring of 1977 by Red Rooster Records. NRBQ has released several fine albums but this has to rank as one of their very best – a minor masterpiece. Released during the height of the new wave/punk era, it sounds like nothing else from the time.

In fact, none of these 13 songs sound alike. NRBQ cover an enormous amount of ground on this release, from rockabilly, country, folk rock, power pop, jazz, and more. Even more amazing that they make it work as well as they do. It’s pointless to list highlights as the album is strong all the way through but a few special tracks need to be singled out. Al Anderson’s Ridin’ In My Car is a timeless pop classic. It Feels Good and That’s Alright are excellent power pop tracks on par with the best from this era. Call Him Off Rogers is a weird, offbeat country rock number with a melodic guitar solo. Things to You, a Terry Adam’s original that would later resurface on NRBQ’s country outing with Skeeter Davis (a great record), is another outstanding track.

NRBQ never took themselves too serious and for this reason they are never ranked among the important bands of the classic rock era. But when one reviews their body of work and its consistency, you can definitely pose the argument for NRBQ being one of America’s great rock n roll/roots bands.

Things To You

Call Him Off Rogers

LP / Digital | 2018 | Omnivore | buy from Omnivore ]

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1966, 1967, 1968 Garage,Psych

The Troyes were a garage psych band who hailed from Battle Creek, Michigan. The group formed in 1965 and later on released two coveted 45s in 1966/1967 by the Space label. In later years, Cicadelic Records/Lion Productions released two CDs/LPs of fantastic, unreleased music from the group’s prime years, 1966-1968. These recordings stand up with some of the very best local garage/psych of the era – without a doubt essential listening.

Most of the songs recorded by the Troyes were in the 2 to 4 minute range. Some of these tracks, such as Morning of the Rain, the Good Night and Tomorrow verge on acid punk (all tremendous cuts), with fast tempos, crazed vocals, fuzz guitars, and raga guitar solos. Blanket of My Love recalls the folkish cuts on the Beatles’ Revolver LP, with its circular guitar riffs and stoned sensibility. One of my personal favorites, Someday You’ll See My Side, has raw vocals and buzzing organ that remind me of the Monks. Some tracks are repeated with alternate versions but none of it is overkill. We also get the classic Rainbow Chaser and Love Comes Love Dies 45 versions, which are perhaps the group’s best cuts.

The CD/LP has 3 earlier teenbeat folk rock cuts and one late period (1968) guitar fuzz monster that clocks in at nearly 5 minutes which effectively ends the Troyes story. The Lion Productions vinyl repro is preferred but beware as it’s relatively expensive. As mentioned above, garage psych sounds don’t come any better than what’s on this first-rate reissue. Well above average songwriting, strong pop instincts and tight playing make this a very attractive package.

Love Comes Love Dies

Morning of the Rain

:) LP | Rainbow Chaser | Cicadelic/Lion | ebay ]
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1969 Classic Rock,Psych

如何使用伕理ip上网 was one of the first original hard rock/psych albums released by a homegrown Australian band. Prior to Tamam Shud, this group of musicians had been known as the Sunsets, a rock n roll combo that specialized in beat/R&B styled material. As trends progressed, the Sunsets changed their name to Tamam Shud. 如何伕理上网 was their first album, released by CBS in 1969. The LP was financed by Paul Witzig, who would use four of the tracks as background music to his surf film Evolution. Leader, guitarist and primary songwriter Lindsay Bjerre wrote all the tracks on this LP.

The sound quality is very rough due to most of the movie’s budget being spent on transporting (and filming) the surfers to exotic overseas locations. The tracks laid down were little more than demos, recorded live in studio; all songs were first takes. That being said, Tamam Shud’s material and performances still hold up very well in today’s age. The opening Music Train is a Beatles-like pop number that segued into the paranoia of Evolution. This outstanding track features lots of explosive feedback and psychedelic guitar work courtesy of Zac Zytnik. Lady Sunshine was the group at their most pop oriented, a funky folkish number that is perhaps Tamam Shud’s most popular track. Other gems are I’m No One, a track that effectively balances power and grace. Both Mr. Strange and It’s a Beautiful Day feature plenty of dynamic acid guitar work. The latter track opens with jazzy chords but is pretty much a psychedelic blues number with a melodic bridge.

Tamam Shud was one of Australia’s finest psychedelic/progressive groups ever. Any of their prime era recordings are considered essential listening for psych fans. While Goolutionites and the Real People is Tamam Shud’s true masterpiece and one of the great psych prog LPs of all time, Evolution has its moments of brilliance that make it a must have.

Music Train/Evolution

It’s A Beautiful Day

:) LP Reissue | buy from Tamam Shud ]

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1970 Classic Rock,国外ip地址伕理
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The Wildweeds were a popular regional group (Windsor, CT) that had a big hit with blue-eyed soul classic No Good To Cry in 1967. More significantly, this was guitarist Al Anderson’s first successful pop rock group. They are primarily known for their early Cadet sides but this album, which Vanguard released in 1970, is a radical departure from their mid 60s blue-eyed soul sound. The Wildweeds album is never mentioned along with the best of the early roots rock classics but to me, its as good as many of those albums.

Wildweeds is characterized by Anderson’s warm vocals, concise guitar work and the group’s tight rhythm section. Anderson’s clean cut guitar solo on And When She Smiles says more in twenty seconds than most guitarists say throughout the space of an entire album. Anderson is a true musician’s musician, who understands the impact of playing with emotion and feel, an approach he’d take to NRBQ. Other highlights are the country kicker Belle, a whimsical number that’s notable for its pretty harmonies and fine dobro guitar work. This album’s strength lies in its variety and consistency. Fantasy Child finds the group playing gutbucket country and while its lyrics are downbeat, this is a superb track. My Baby Left Me, a strong slice of rockabilly written by Arthur Big Boy Crudup and folk rock album opener Baby Please Don’t Leave Me Today are also well worth a spin. It goes without saying that this album is highly recommended.

Baby Please Don’t Leave Me Today

Fantasy Child

:) Wildweeds | 1970 | Vanguard |ebay ]

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This is the first post in years. I began writing and talking about these 60s rock bands because of groups like Moby Grape. Moby Grape could effortlessly play any style of music you care to name and do it all extremely well. Whether it was country, blues, psychedelia, folk, or rock n roll, these musicians had a knack for making music that sounded natural and heartfelt.

The Melvilles was actually Moby Grape under a different name. These recordings were a cassette only release from 1989/1990 (Herman Records). Skip Spence wrote one track, the anthemic All of My Life but I’m not sure he plays on this disc. Regardless, all five original members had some involvement in this project. Don’t let the late 80s recording date put you off from listening to this album, the music is mostly excellent. You’ll Never Know, Bitter Wind in Tanganika, and Nighttime Rider recall the folk-rock tracks from their classic debut and are highlights in that respect. Give It Hell, a hard hitting slice of garage rock written by Jerry Miller, holds up very well. Miller never received his due as one of the best SF guitarists but he’s clearly in that pantheon of legends. Take a listen to On The Dime, a cool relaxed country rock number with lots of classy guitar playing. Also, as a reference point, this is a much better album than the Dead’s Into the Dark, which was released around the same time.

This music originally came out on cassette but it was also released on vinyl by Del-Val and on CD by DIG MUSIC (as “Legendary Grape”). The Del Val vinyl release is the best way to hear this fine music.

On The Dime

You’ll Never Know

:) Vinyl | 1990 | Del-Val | amazon ]

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1972, 1973 Americana,Country Rock

Conqueroo

The past few years has seen some really good late 60s/early 70s music released for the first time ever – Crystal Syphon, Uther Pendragon, Bleu Forest, The Troyes and finally, Texas’ Bob Brown with the Conqueroo. The Conqueroo were a well known psych rock blues band who released one sought after 45 on the Sonobeat label. Bob Brown had been floating around the Texas scene since the mid 60s folk/folk-rock revival before joining the Conqueroo in 1966/1967. His earliest music is available on the CD version of this album – both CD and LP are sold together as one package by 速度快的伕理ip.

The bulk of this material (10 tracks on the vinyl record) comes from sessions cut between 1972 and 1973. The two most “produced” tracks, “Sycamore Street” and “Martha” bookend the album and would have made a fine single had they been released at the time. Both tracks are lost classics. In fact, all of the music featured on 如何使用伕理ip上网 is excellent roots rock with strong echoes of early Little Feat, the Grateful Dead circa 1970, the Band and early 70’s Bobby Charles.  The influences mentioned are just a reference point – Bob Brown with the Conqueroo made fresh, original music. Brown’s tremendous vocals (vocals which sound like a wild man from the backwoods) are his strongest asset but the lyrics are well written and the Conqueroo’s backing is attractively loose but still hangs in the pocket quite nicely.

Key tracks are as follows: Our Great King, a whimsical backwoods rocker with a soaring bridge and bizarre lyrics. Take Me to the Country, pure country-rock a la American Beauty with a cool, extended guitar break. The hard hitting roots rocker I See Red and the sensitive folk-rock tune Pioneer’s Wedding (which really reminds me of 69 era Moby Grape) are well worth a spin too. Also of note is the lone solo track (just Bob Brown and guitar) Don’t Ask Me. This track, clearly one of the record’s highlights, is a fine showcase for Brown’s underrated vocal talent.

If you are into unknown roots rock bands or classic country-rock, this album is a revelation. The Shoe Box Tapes isn’t just an archival release, it’s far more than that. Bob Brown’s talent is undeniable and its a true gift that this music has been made available after all these years – Thank You Shagrat Records. On about half the album, the rawest and most ramshackle of songs, (Our Great King, Take Me to the Country, I See Red, Fifteen Girls, Pioneer’s Wedding and On A Summer’s Evening) the group hit on something that’s truly magical.  An absolute must own.

mp3: Take Me to the Country
mp3: Our Great King

:D CD Reissue | 2016 | Shagrat Records | buy from shagrat ]

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