here comes my new ditty, as always in English, as some of y out there don’t get my „Muttersprache“. Hope y enjoy my little bullet for yr listening pleasure and as always I will stay true to y all & all I can say right now is: „Trust yr local DJ“
1. You’ve Come So Far (To Be Here Today)
2. Just Make It Worse
4. Found Dead
6. Die Like April
9. If You Say Please
10. Hungry Cannibals
11. Locked Up
12. The Brotherhood of Al Wazah
13. Zeno Beach
Radio Birdman: Rob Younger (vocals); Deniz Tek (guitar); Pip Younger (keyboards). After 30 years, it is reasonable to expect that a new Radio Birdman record is an iffy proposition. The Australian rock band led by Ann Arbor guitarist and songwriter (and then medical student) Deniz Tek in the late ’70s recorded two classic albums, Radios Appear in 1978 — issued in a different version from its Australian original — and the import-only“ Living Eyes“ LP, recorded and released down under that same year. The band is the stuff of legend. For the annual Big Day Out in 1996, Deniz Tek, vocalist Rob Younger, and Chris Masuak, all of whom had been active musically in other concerns and stayed in touch, re-formed and played with keyboardist Pip Hoyle and a rhythm section to enormous acclaim. Bassist Jim Dickson joined in 2000 and drummer Russell Hopkinson signed on in 2005.Simply put, „Zeno Beach“ is better, far better, than anyone had any right to expect. The twin blasting guitars of Tek and Masuak with Younger’s vocals (he has always been the quintessential rock & roll frontman), along with a smoking rhythm section attack, bring the make or break down to the songs. There isn’t a weak second here. And this record is wilder and rawer than anything they’ve released in the past. This band isn’t rusty, either. Produced by Tek with Greg Wales, Zeno Beach screams out of the gate with „We’ve Come So Far (To Be Here),“ with that quintessential guitar rock, the speeded up four/four time attack, and Younger standing up tall and letting the words pour out of him. There are all those small trademarks, the tight, three- and four-note guitar fills, the two-chord riff in between lines, the piano playing in the break instead of a predictable guitar solo, and that crisp bass and drum attack. „You Just Make It Worse,“ begins as a strutter, with both guitars playing power chords riffs and Hoyle’s organ bringing up the rear. Younger knows how to phrase, when to stress, and when to slur. „Connected“ has the killer hook of a „Do the Pop“; it’s got the stops and starts and the popping snare drums and boom-smasher cymbals. And when the guitar solo happens, it’s that roiling three-note machine gunfire that brings the next verse home. There is one of those spooky numbers here,
a ka „The Man in the Golden Helmet,“ it’s called „The Brotherhood of the Al Wazah,“ but it’s angular and freaky and moves along like some dark and silvery liquid revealing itself in total only after it ends. What’s so welcome on „Zeno Beach“ is the way the whole band gets in on the songwriting act. Tek wrote the lion’s share of the cuts by himself, but Younger and Masuak are in there too, and Hoyle wrote the title cut. It’s the most accessible thing here and one of the album’s great beer-blanched surf rockers. Zeno Beach is such a frighteningly fine return to form, it’s hard to believe that the Birdman were ever gone, let alone for such a long time. In fact, it’s so good that Zeno Beach blows away most of the garage band competition without even breaking a sweat. This is raucous, tight, and full of hooks, riffs, and great songs, proving that in the case of basic in-your-face rock & roll, the kids got nothing on Radio Birdman.
BY THE WAY……RADIO BIRDMAN IS COMING TO GERMANY exp. Spring 2016 & for sure they will play on the inventation of CREATIVE OUTLAWS at „Räuber & Rebellen“ club at Recklinghause Central Station then!!!!
2. Buzzin‘ Fly
3. Get on Top
4. Devil Eyes
5. Pleasant Street
6. Go ‚Round the Roses Sally
7. Stone in Love
8. Honey Man
9. Sweet Surrender
Playing Time: 59 min.
Producer: Bill Inglot, Bill Inglot (Compilation)
Recording Type: Live
Recording Mode: Stereo
SPAR Code: n/a
Personnel: Tim Buckley (vocals, 12-string acoustic guitar); Joe Falsia (guitar); Mark Tiernan (keyboards); Bernie Mysior (bass); Buddy Helm (drums).Recorded live in New York, New York on November 27, 1973.Digitally remastered by Bill Inglot & Dan Hersch (DigiPrep).Personnel: Tim Buckley (vocals, guitar, acoustic 12-string guitar); Joe Falsia (guitar); Mark Tiernan (keyboards); Buddy Helm (drums).Recording information: 11/27/1973.This 1973 live recording presents not Buckley the dreamy jazz-folk troubadour of HAPPY SAD, but Buckley the slippery R&B reprobate of GREETINGS FROM L.A. The band he employs here sounds very much of its time, churning out slightly clunky rock and funk vamps over which Buckley works his patented vocal magic. This being 1973, Buckley sounds most natural on songs from GREETINGS like „Get On Top“ and „Devil Eyes.“He takes on some earlier material like „Buzzin‘ Fly“ and „Pleasant Street,“ but he invests them with a strange, dark quality that came from his mid-70s dissilusionment. The best tunes here are the ones with a bit of surprise; Fred Neil’s „Dolphins“ and an invigorating, funky workout on the traditional tune „Sally Go Round the Roses.“ Fans of earlier Buckley material are directed to DREAM LETTER or LIVE AT THE TROUBADOUR, but HONEYMAN is still a surprisingly flattering document of an unpleasant time in the singer’s career.
1. Smashed! Blocked!
2. Just What You Want – Just What You’ll Get
3. Killer Ben
4. Jagged Time Lapse
5. Smashed! Blocked! – (live)
6. You’re a Nothing
7. Not the Sort of Girl You Take to Bed
8. Cold on Me
9. Leave Me Alone
10. Let Me Know
11. Just What You Want – Just What You’ll Get (live)
12. Why Do You Lie
13. Strange Affair
14. But She’s Mine
Reissue Of 1982 LP Release From 60’s Pop Band Best Known As Marc Bolan’s First Band.
The first readily available edition of Orgasm. The skimpy, vaguely Who-ish songs are nearly buried under the mountainous overdubs of hysterical teenage screams, making this a true artifact — and nothing more — of an era. The reissue includes excellent liner notes and four bonus tracks — the fine psychedelic single „Smashed Blocked“ and its decent follow-up, „Just What You Want — Just What You’ll Get,“ the B-side of which („But You’re Mine“) is an unabashed ripoff of the Who’s „I Can’t Explain.“ Be warned that the version of „Strange Affair“ (the B-side of „Smashed Blocked“) included here has, for some inexplicable reason, been presented backwards! ~
1. Talking in My Sleep
2. This Can’t Be Today
3. I Look Around
4. One Hour 1/2 Ago
5. Carolyn’s Song
6. What’s She Done to Your Mind
7. Look at Merri
8. Saturday’s Asylum
10. Look Both Ways
11. You Are My Friend
14. Broken Horse
15. No Easy Way Down
Playing Time: 62 min.
Producer: David Roback, Rain Parade
Distributor: Ryko Distribution
Recording Type: Studio
Recording Mode: Stereo
SPAR Code: AAD
This CD combines the contents of both releases by the original lineup of Davis, California’s Rain Parade, a 1983 album and a 1984 EP. Rain Parade was one of the first and finest avatars of the short-lived Paisley Underground scene. After these records, founder/guitarist David Roback left the band in the care of his bass-playing brother Matt. David went on to form Opal, the cult-favorite duo that later mutated into the more commercially successful Mazzy Star.Rain Parade made some good records after David Roback’s departure, but his trademark sound left with him. The lengthy songs on EMERGENCY and EXPLOSIONS drone hypnotically, exploring and refining the hallucinatory trails blazed by such obvious influences as Love, Can, and the third Velvet Underground album. Though they rely less on melody than they do on the evocative powers of sound and mood, these songs are nonetheless entirely remarkable–particularly „Look at Merri“ and the gloriously narcotic „No Easy Way Down.“
SOFT MACHINE: „Live 1970“
2. Moon in June
6. Orange Skin Food
7. A Door Opens and Closes
8. 10:30 Returns to the Bedroom
Excellent music from the groundbreaking Soft Machine, recorded live in 1970, one year prior to Robert Wyatt leaving the band to join Matching
Soft Machine: Robert Wyatt (vocals, drums); Elton Dean (alto saxophone, saxello); Mike Ratledge (keyboards); Hugh Hopper (bass).Personnel: Robert Wyatt (vocals, drums); Elton Dean (saxophone, saxello, alto saxophone); Lyn Dobson (saxophone); Mike Ratledge (keyboards).Liner Note Author: Hugh Hopper.Recording information: Europe (1970).LIVE 1970 appeared previously, in a slightly different form, as LIVE AT THE PROMS. The excerpts from „Facelift“ and „Moon in June“ featured here date from a different performance earlier in the same year, and „Out-Bloody-Rageous“ is missing its extended introduction. These recordings were made just prior to Robert Wyatt’s last year with the band. Listening to Soft Machine’s studio work of the time alongside Wyatt’s next project (Matching Mole) makes the reasons for his departure clear. Matching Mole returned Wyatt to the song forms he preferred, while Soft Machine’s FOUR and FIVE found the band eschewing vocals in favor of extended, jazz-based pieces.This performance dates from the period between the recording of THIRD and FOUR and finds Soft Machine in quartet mode, with saxophonist Elton Dean joining the original trio of Wyatt (drums), Mike Ratledge (keyboards), and Hugh Hopper (bass). For part of the set, Soft Machine is expanded to a quintet with the addition of Lyn Dobson. The four-part suite „Esther’s Nose Job“ is a standout, and the sound quality throughout the recording is very good.
SONGS OF EXPERIENCE includes eight-tracks by esteemed ’60s and ’70s psychedlic and pop producer David Axelrod, including „The Poison Tree“ and „The Fly.“The follow-up to David Axelrod’s 1968 solo debut, SONG OF INNOCENCE, finds the adventurous Los Angeles-based composer and producer once again riffing on the visionary poetry of William Blake, this time working from the British bard’s SONGS OF EXPERIENCE. Appropriately, these eight pieces reflect the writings‘ weightier themes, as „The Poison Tree“ begins the album with a striking sense of urgency generated by busy string and keyboard lines. „London“ settles into a slightly foreboding funk section, while „The Sick Rose“ is utterly haunting in its relative minimalism. An artist that had fully mastered his sonic palette by this point, Axelrod allows his signature fusion of rock and jazz to mesh with bold orchestral arrangements, hitting a swirling, horn-laden peak during „The Fly.“ One of the finest examples of Axelrod’s singular talent, this record continued a strange, brooding trajectory that would land him in the darkly beautiful and fascinatingly bizarre realm of his subsequent project.
He has done ELECTRIC PRUNES: „Mass in F-Minor“album (and many more). it’s rumoured, that he lives now in Cologne, Germany
Revolutions in music happen all the time. Obviously, the full effect of any given time period can be felt for months or decades. The 1960’s were one of those decades that expanded and shaped music for many, many years to come. The world over has been singing the praises of that deeply unique cultural epoch.
David Axelrod falls right in thick of all of it. He had been part of music for a good while before he released his own music for the first time in 1968 withSong of Innocence. The following year, he released Songs of Experience. Both albums were inspired by the poems and art of William Blake. Falling right in line, Axelrod’s music became an enigmatic art itself. Songs of Experience comes rife with varied arrangements, a litany of instruments, and a good dose of genre mixing.
Though often filed under jazz in record stores, the occasion for this is merely because that is the best place to put it. Drawing on the psychedelic and experimental tendencies of the time, Axelrod created a diverse and engaging piece of music. Although the beginning of the lead track, “The Poison Tree”, will have you believe this is just a good-time 60’s rock album, you will find anything but such a thing. Orchestral arrangements, folk guitar, jazz drumming, organs and pianos, horns; it’s literally an ensemble, and a daring one at that.
Easily the best back-to-back combination on the album is “The Human Abstract” followed by “The Fly”. The two songs serve as a microcosm of the album, being amalgamations of the best the record has to offer. They bridge the whimsical passages with the flowing orchestral arrangements and the funk grooves with the classic rock vibes.
Yet, after all of this, the album ends with a very different idea than all of the tracks before it. Kind of like creepy noise-jazz meets breakbeat, it simply serves as a reminder of the range of sounds to experience. The album is called Songs of Experience, which is from the title of William Blake’s work itself. But those three words couldn’t be much more fitting for the kind of work and energy you will hear within eight songs. All of modest length, it is still an easy listen and an important predecessor to genre melding.
From smooth to bulky, Songs of Experience is an enchanting listen. It should be difficult to not find something to like in experimental psychedelic classical funk jazz rock, etc. You get the idea.
TIM DAWE: „Penrod“
Excellent album, some terrific psyche folk blues (etc), a case of someone who had great ideas and a unique way of penning a lyric (Junkie John is especially fantastic) but wasn’t really in it for the long haul. Originally released by Frank Zappa on his short lived label. Much more about it above, a little more below.
„Penrod, which originally appeared in 1969 on Frank Zappa’s vanity label, Straight Records, (STS 1058) along with albums by Tim Buckley, Judy Henske, Captain Beefheart and Alice Cooper, is justifiably regarded as one of the greatest psychedelic albums of all time. Stuffed full of folk-rock, varied keyboards and inspired acid guitar, the album contains what are now regarded as four self-penned masterpieces, and although Dawe/Penrod only added one further album to his canon of recorded work (Timothy And Ms Pickens With Natural Act, released on Half Moon Bay Records in 1976), he contributed a number of songs to albums by It’s A Beautiful Day, Rod Taylor, and even Iron Butterfly, of which he was an early member. In every sense, from its idiosyncratic cover art to its incredible music, Penrod is a psychedelic classic.“ Produced by Jerry Yester.
Released in 1969, Tim Dawe’s Penrod was one of the few entries on Frank Zappa’s ironically monikered Straight Records label — where it was nestled between Jeff Simmons‘ Naked Angels original motion picture soundtrack and Tim Buckley’s Blue Afternoon, both of which were also issued that year. It has been suggested that Penrod was a pseudonym for the name of the assembled musicians. However, Penrod is in fact the fictional Penrod Schofield, a preteen whose misadventures were anthologized in a collection of humorous drawings by Pulitzer Prize-winning author Booth Tarkington. He is portrayed on the outer LP jacket in two cover illustrations hand-drawn by Gordon Grant. For this recording Dawe (acoustic guitar and vocals) is joined by Arnie Goodman (keyboards), Chris Kebeck (guitar), Claude Mathis (drums), and Don Parrish (bass), and the ten-track project was realized under the supervision of producer and arranger Jerry Yester, who also scored light orchestrations for several of Dawe’s originals. The midtempo opener, „Scarlet Woman,“ builds upon a folk-rock feel punctuated by Goodman’s rollicking keys. It also demonstrates Dawe’s penchant for reeling off memorable melodies. Somewhat darker is the psychedelic and bluesy „Nite Train Home,“ with Dawe adopting a huskier tone harking back to Fred Neil’s trademark pipes. The discernible vibrato in his voice is complemented by Goodman’s shimmering Farfisa. Kebeck gets in on the action, asserting his sneering — practically punkish — electric leads. The charming „Nothing at All“ recalls the Velvet Underground and Nico’s seminal „Femme Fatale,“ as Yester’s lithe strings and woodwinds unite the verse with an effective and timeless pop quality during the middle-eight instrumental section. While on the subject of catchy tunes, the upbeat and playful „Little Boy Blue“ bears an unfettered, rural feel. Again, Goodman stands out on the tack piano, giving the number an authentic vintage resonance — especially against the antiquated synthesizer. Dawe retells the tale of „Junkie John,“ clocking in at over seven minutes, with a languid methodology. It sonically parallels the jazz-filled and substance-addled demise of Greenwich Village, center of N.Y.C.’s formerly hip bohemian lifestyle. „Sometimes Alone“ is one of Penrod’s heavier sides, stirred up by Kebeck’s electric and slightly acidic fretwork. Comparatively mellower is the narrative of Dawe’s „No Exit (Caf & Gallery),“ as it seamlessly unites an unhurried pastoral melody with his unassuming vocals. The funky and groovy „I’m Comin'“ reveals another facet to the artist’s interminable talents. Dawe’s heartfelt and upbeat ballad „Some Other Time“ is swaddled in a crystalline harpsichord that — much like „Nothing at All“ — takes on the gentle mantle of a crisp, unaffected baroque ballad. „Didn’t We Love“ brings the platter to a conclusion with a final bout of folk-based psychedelia, perfectly encapsulating the era as well as the all too short-lived output of the Tim Dawe-led band. In 2007, Collectors‘ Choice Music issued Penrod on CD, making it considerably more affordable for North American consumers than the previously available import version. ~
CAPTAIN BEEFHEART: „Mirror Man Sessions“
2. 25th Century Quaker
3. Mirror Man
4. Kandy Korn
5. Trust Us (Take 6) – (Take 6)
6. Safe as Milk (Take 12) – (Take 12)
7. Beatle Bones ‚N‘ Smokin‘ Stones
8. Moody Liz (Take 8) – (Take 8)
9. Gimme Dat Harp Boy
Playing Time: 76 min.
Producer: Bob Krasnow
Distributor: BMG (distributor)
Recording Type: Studio
Recording Mode: Stereo
SPAR Code: n/a
Full performer name: Captain Beefheart & His Magic Band.Captain Beefheart & His Magic Band: Captain Beefheart (vocals, harmonica); Alex St. Caire Snoufer, Antennae Jimmy Simmons (guitar); Jerry Handsley (bass); John „Drumbo“ French (drums). Recorded in Los Angeles, California in 1965. Includes liner notes by John Platt and three poems by Don Van Vliet. More than 30 years after these tracks were recorded, the MIRROR MAN SESSIONS are finally being released in the manner of Don Van Vliet’s original vision. Captain Beefheart and His Magic Band were always going through personnel changes, but the group was especially in flux during 1967. SAFE AS MILK had just been issued, and the band began recording a follow-up, planned as a double-album. But the following year saw the Captain and his Band dropped by their label (Buddah). Some of the slated songs (supplemented with electronic effects) became STRICTLY PERSONAL, released by Blue Thumb Records. Buddah followed suit, venturing into its vaults, choosing four extended songs, and packaging them as MIRROR MAN-obscuring facts by billing the album as „live recordings from 1965.“ This reissue adds five additional numbers, all of which show the band at an evolutionary point midway between the delta blues of its first recordings and the layered rhythmic stew of TROUT MASK REPLICA. THE MIRROR MAN SESSIONS is an essential document of an important ensemble.
1. Happen Happened
2. For Hours – (previously unreleased)
3. Fight Songs – (previously unreleased)
4. Mind Gardens
5. alternate version) She Turns to Flowers – (previously unreleased
6. Grimly Forming – (previously unreleased)
7. The – (previously unreleased) Seventeen Forever
8. Going Home
9. Cellophane Nirvana – (previously unreleased)
10. She Turns to Flowers
11. Upside Down
12. The Seventeen Forever
13. Mind Gardens
14. Grimly Forming
15. While We Were in Your Room Talking to Your Wall
17. Happen Happened
18. I Am Your Guru
19. Going Home
Befour Three O’Clock: Michael Quercio (vocals, keyboards, bass); Gregg Gutierrez (vocals, guitar, keyboards); John Blazing (guitar); Troy Howell (drums, kalimba). Recorded in 1981 and 1982. Includes an album recorded by Three O’Clock when they were called Salvation Army (a lawsuit by the actual Salvation Army forced them to change their name after this album), demo versions of some songs and a single that was on the New Alliance label („Mind Gardens“/“Happen Happened“).In March 1981, South Bay, CA, teenager Michael Quercio formed the Salvation Army, a punky, psych-influenced garage band that took most of its stylistic and musical cues from Lenny Kaye’s Nuggets anthology. Before the year was out, the Salvation Army had a single out on the Minutemen’s New Alliance label, a new guitarist (Greggory Louis Gutierrez), and a batch of new songs to demo. After this demo was played on Rodney Bingenheimer’s massively influential Rodney on the ROQ radio show, Lisa Fancher signed the Salvation Army to her Frontier Records and released the trio’s self-titled debut in May 1982. The philanthropic organization took umbrage and the Salvation Army politely changed their name to the meaningless but suitably psychedelic the Three O’Clock, replaced drummer Troy Howell with ex-Quick drummer Danny Benair, added keyboardist Michael Mariano, and transformed themselves into the leading lights of the paisley underground, a phrase invented by Quercio that’s dogged him ever since. Fancher reissued the Salvation Army album under the clever name Befour Three O’Clock after the group misguidedly left Frontier for IRS, and in 1992, collected the full album, that pivotal five-song demo, and all four songs recorded during the sessions for the New Alliance single for a comprehensive collection of every Salvation Army studio recording. As such, Happen Happened (named for the trippy A-side of that single, which appears in two versions) is a priceless document of the early days of the L.A. psych-pop revival scene. Fans of the Three O’Clock’s much glossier music might be surprised by the punky speed and noisy guitars, but the simple two- and three-chord songs are bracing and surprisingly melodic, and flashes of Quercio’s skewed lyrical bent are already visible in songs like „While We Were in Your Room Talking to Your Wall.“ Six songs are repeated, though there are only notable differences in a couple of cases and invariably the album versions are superior to the demos. Regardless, this is both a definitive historical collection and a great piece of early-’80s post-new wave punk-pop.
1. Sandy Bull – Introduction 0:33
2. Sandy Bull – Bouree 3:20
3. Sandy Bull – No Deposit, No Return Blues 8:47
4. Sandy Bull – Manha de Carnaval 9:53
5. Sandy Bull – Improvisation for Oud 1 3:46
6. Sandy Bull – Electric Blend 1 12:17
7. Sandy Bull – Improvisation for Oud 2 5:49
8. Sandy Bull – Memphis, Tennessee 5:32
9. Sandy Bull – Electric Blend 2 9:24
Sandy Bull was a pioneering and sometimes brilliant musician whose personal problems derailed a promising career. There are just a handful of albums (since 1963) to his credit, but no live material has been available until now. Still Valentine’s Day documents two sets from two nights in 1969 at San Francisco’s Matrix club, just before the release of „E Pluribus Unum“ LP. Given the multi-tracking and other accompaniment that appears on his albums, perhaps the most fascinating thing about this set is how he pulls it off live. On some tracks, he actually uses a tape with the album track minus the lead part to play along with. For others, he uses a guitar setup that splits the signal to both a bass amp and a regular guitar amp, much like Charlie Hunter does today. Then he adds a heavy tremolo to the guitar amp to provide a pulse to play against, resulting in a weird kind of psychedelic blues drone. The recording itself is quite good, although there are some spots of distortion and Bull at times seems frustrated with his setup. His performance, while not perfect, is quite good, especially on the oud improvisations. The tremolo-driven pieces are captivating and hypnotic. Still Valentine’s Day isn’t the place to start with Sandy Bull, but it’s an important addition to his catalog that fans will want to hear. ~