Friday, November 21, 2014

The Day After The Sabbath 109: Savage Angels Ride With The Devil [biker movie rock]

Download from: [mf] or [mg]
unzip password:  tdats

It's time to strap on the leathers, fire up the hog, and hit the road. TDATS #109 is a compendium of biker movie rock, a long time in the making. It's a varied mix, with tracks from obscure bands that were on soundtracks but never made their own album, some that did, some established acts, and some film score writers. I have made this particular volume differently, in that most of the tracks mix into each other, and I have inserted dialogue and other segues from the movies and trailers, I hope you dig it!

The original cheap, trashy exploitational biker movies that started the short-lived genre were Russ Meyer's Motorpsycho (1965) and American International Pictures' The Wild Angels (1966). Right from the get-go they were associated with fuzzy psychedelic rock, with Davie Allan's uniquely new fuzzy sound on The Wild Angel's soundtrack. 

The comp was partly inspired by a couple of movies - Angels Die Hard, and Bury Me An Angel. Both these movies included great tracks by a band going under the name East-West Pipeline at the time they were made.  Bury Me An Angel was from director Barbara Peeters, who was script supervisor on Angels Die Hard. She was the first woman to direct a biker film. The movie is about a girl who's brother is shot dead at his front door, for reasons that are not known. Of course, she gets on her bike, buys a gun, and goes on a mission for revenge. She embarks on a journey with her biker compatriots which can only end one way...

TRACKS
01. East-West Pipeline - Unlocked (1972)
       from album Bury Me An Angel OST
02. Bury Me An Angel trailer - Howling Hellcat (1969)
       from Bury Me An Angel trailer
03. Jeff Simmons - Naked Angels Theme (1969)
       from album Naked Angels OST
04. Simon Stokes & The Nighthawks - Big City Blues (1970)
       from album 'Simon Stokes & The Nighthawks' (1970) & Outlaw Riders OST (1972)
05. Bury Me An Angel trailer - Hellfire Burned (1972)
       from album Bury Me An Angel trailer
06. The New Life - Ha Lese (Le Di Khanna) (1968)
       from album The Sidehackers OST
07. East-West Pipeline - You Could Be (1970)
       from album Angels Die Hard OST
08. Bury Me An Angel OST - I Love You (1972)
       from Bury Me An Angel OST
09. Mad Dog - The Fast Song / Military Disgust (1969)
       from archival album Mad Dog, &amp The Black Angels OST
10. East-West Pipeline - Let It Free (1972) from
       Bury Me An Angel OST
11. Orphan Egg - Falling (1969)
       from album The Cycle Savages OST
12. John Cameron - Motorcycle Mayhem (1971)
       from album Psychomania OST
13. Lenny Stack - The Duel (Parts 1 and 2) (1970)
       from album C.C. and Company OST
14. East-West Pipeline - What The Preacher Said (1972)
       from Bury Me An Angel OST
15. Billy Green - Gravediggers (1974)
       from album Stone OST
16. Marvin Gaye - I've Been Looking (1971)
       from Chrome and Hot Leather OST
17. Iron Butterfly - Iron Butterfly Theme (1968)
       from albums Ball, & The Savage Seven OST
18. Davie Allan & The Arrows - Blues' Theme & The Devil's Rumble
       from albums The Wild Angels OST (1966), & Devil's Angels OST (1967)
19. Bury Me An Angel OST - Incest (1972)
       from Bury Me An Angel OST
20. Rabbit Mackay - Tendency To Be Free (1969)
       from album Passing Through (1969) & Angels Die Hard OST

NB. I have inserted a couple extra clips through the mix from Bury Me An Angel, which never had a soundtrack release. These are the segues: 08. I Love You & 19. Incest

references

Bury Me An Angel (1972) promo shot
Bury Me An Angel (1972) promo shot
In my searches for good rock in biker movies, I came across East-West Pipeline on two soundtracks. They made some great songs and I was intrigued as to whether they were a real band or just something made up for the sake of the film scores, as is sometimes the case. The movies were Angels Die Hard (1971), and it's much lesser-known and lower budget spin-off, Bury Me An Angel (1972). In fact, East-West Pipeline are credited with the entire score of Bury Me An Angel (BMAA), whilst their name is on about half the songs in Angels Die Hard (ADH). The two best songs I have found from them are "You Could Be" in ADH, and the untitled intro song in BMAA, which I will call "Unlocked" for now, and it's the opening track in this comp. They are both grungy, heavy and just plain great tracks, with lots of attitude and character. The kind of thing that comes out of the blue and makes your ears twitch, and wonder what happened to the obvious talent that made them. Although there are not many complete 'songs' on the BMAA soundtrack, all the music in the movie is really good and hints at enough having been recorded to make a great album, which never apparently happened. 

This got me looking for any possibility of contacting the band members, to find out more. By luck I found a minor entry in an old website about Colorado bands, Colorado Music Page. In there it says that their original name was Magic Myce: "The original members were me, Walt Rawlins, Bill Cone, Gordy Peterson and Ray Styes. We played at the Exodus, Family Dog, Tulagis, Kelker Junction and many other places around Colorado from 1967 until we left for California in '69. We had a local single that was played a lot on the radio, Angel Baby, which was a remake of the old '50s song. Once we got to California we played a lot around local clubs there and recorded some movie soundtracks, Angels Die Hard and Bury Me an Angel. Angels Die Hard had a soundtrack album released but they didn't do that for the other one. The name of the band was changed to the "East-West Pipeline" when we did those. Later we changed the name of the band again in California to "Bedlam" which lasted until we broke up out there in about 1974.Walt Rawlins---guitar, Bill Cone------guitar, Gordy Peterson--?,  Ray Styes---?"

Bury Me An Angel VHS cover
Bury Me An Angel VHS cover
I am not sure who the "me" referred to in the above is. It may be Walt Rawlins or Bill Cone. On further investigation I found this: "The Angels Die Hard soundtrack on UNI contains the only commercially released East-West Pipeline recordings. They also did the soundtrack for another biker flick (Bury Me An Angel) but no album was released. The band was originally from Denver, then moved to California in 1969. Changed their name from Magic Myce/Majic when they moved out west, later changing it again in the early '70s to Bedlam. Their guitarist Bill Cone was previously in The Moonrakers, who have been discussed here recently. Later on, he acted in the horror movie classic Phantasm."

My searches came to an end, with some evidence that Walt Rawlins unfortunately passed away in 2010. The final lead is that Walt and Ray were both once involved in a Colorado band called Willie & the Po' Boys, although I don't think that Ray still is. They have a facebook group here where I have not had luck in contacting Ray Styes as yet.

Jeff Simmons was a member in Frank Zappa's Mothers Of Invention for a while in the early '70s. Before this he made two albums on Frank's Straight record label, one of them was a biker movie soundtrack, the other was a solo record called "Lucille Has Messed My Mind Up". Frank Zappa wrote two songs on Lucille, and was a producer, all under the pseudonym "La Marr Bruister". The story is that Zappa discovered Jeff and his band Easy Chair when they opened a Mothers show in 1968. He was immediately taken with Jeff's equal skills in playing both jazz and rock, and by Easy Chairs's lyrical sense of humour, all things which had direct parallels with The Mothers. So, Jeff appears here because of his 1969 soundtrack to the hell's angels flick, Naked Angels. This was a Roger Corman production, a guy famous for b-movie/exploitation cinema and cult movies like The Trip and Death Race 2000.  I have used the opening track from the record, called Naked Angels Theme, which is a gloriously groovy fuzz-fest.


Track four in this comp is from Simon Stokes & The Nighthawks. Stokes is something of an enigma, having made some good music in the '70s and possessing a great earthy, aggressive voice, he's stayed under the radar. His gruff, bar-room blues sound immediately ingratiated him with bikers, on his first record was a track called 'Ride On Angel'. There is not much substantial information about him documented online. At heart he is a bluesman with lots of country sound in there also, although he did make some harder-rocking tunes too. I have found some evidence that he has been playing as recently as last year, and there's some performance photos from 2010 here. Stokes made three albums in the '70s, one with "The Nighthawks" (1970), one with "The Black Whip Thrill Band" (1973) and solo LP "The Buzzard Of Love" (1977). There is a mini-biography of Stokes on Allmusic, which states; "Beginning in 1965, Stokes recorded a number of 45s under names such as the Flower Children and Heathen Angels. At the same time, Stokes became a staff writer at Elektra Records. Forming a band called the Nighthawks, Stokes and MC5 signed to Elektra on the same day."

If you are looking for his heavy cuts, The 1970 Nighthawks album is the best, with tunes like 'Big City Blues', 'Southern Girl', 'Cajun Lil' and 'Down in Mexico'. The Black Whip Thrill Band LP has a couple too, but is more notable for its bizarre cover art showing scenes of sadomasochism, not something that seems to have much to do with the music, maybe Simon Stokes is into that stuff? The album was allegedly banned in the US because of this, making it more desirable to cult music fans. The only common musician apart from Stokes on his '70s LPs was guitarist Donald "Butch" Senneville, who played on the first two. Stokes reappeared in the '90s, after a 20 year hiatus. He has made some more records since, in 1996 he made a collaboration with LSD guru Timothy Leary, for which his '70s guitarists Chris Pinnick and Randall Keith returned. Stokes' most recent LP was "Simon Stokes & The Heathen Angels" in 2010. I have used 'Big City Blues', which appeared on the Outlaw Riders (1971) soundtrack, and first appeared in it's original version as a 1966 single.


Track 6 is from a 1969 movie called The Sidehackers, which is about motorcycle sidehack racing, also known as 'sidecars' in the UK. I haven't seen the movie, but it's now on youtube, having been given the Mystery Science Theater 3000 treatment. By all accounts it's not very good, hopefully it's in the "so bad it's good" category! A soundtrack LP was released, which  apparently consisted mostly of songs from an obscure band called The New Life, who had only made a few singles previously. The LP isn't any great shakes, apart from the track included here; "Ha Lese (Le Di Khanna)". The New Life were California-based, but this great piece of freakbeat is sung in a language I can't confirm. Thanks to Dmitri Mavra in the tdats fb group for pointing out that it appears to be an interpretation of Afro-Jazz trumpeter Hugh Masekela's original, first appearing on his 1966 album, "The Emancipation of Hugh Masekela", which was sung in the South African Sotho language.

There's an interview here with Sam Sinipoli, who was in The Cinderman and The New Life; "14. How did the deal to record music for the movie 'Sidehackers' come about? 
We signed with Ameret records about a year after we started at the Cinnamon Cinder [Long Beach venue]. We recorded a couple of singles and then Ameret hooked us up with Jerry Steiner and Mike Curb (eventual Lt. Governor of California) who were scoring the movie soundtrack. So we placed a few of songs on the soundtrack of this movie. The premier of "The Side Hackers" was a lot of fun. The producer, Jon Hall (of Tarzan fame) rented a 707 and flew the cast and ourselves to Phoenix, AZ for the premier. At the time our record "Ha Lese" was number 1 in Phoenix so we got quite a reception at the movie theater. We also had a few songs on another movie soundtrack. The movie was called "Black Water Gold" and starred Ricardo Montoban. I think that came about because of the first movie deal."


On to track 7. This is another one from East-West Pipeline, equally as cool as the first one, but with a different feel. It's from 'Angels Die Hard', the movie that came before Bury Me An Angel. Both movies had a tall, Amazonian actress called 'Dixie Peabody'. While she had the lead roll in  BMAA, her first roll in ADH was very minor, not even credited. ADH was the first film distributed by Roger Corman's New World Pictures and half the budget was provided by Corman.

It's plot has a twist in that the usual rough and tough biker gang have a chance to redeem themselves by helping with a disastrous small-town mine cave-in, although the townsfolk are not as thankful as maybe they should be. Amongst biker movies, the soundtrack is definitely one of the better ones out there. With East-West Pipeline responsible for most of it, it even has a song from Houston psych act Fever Tree, who had a 1968 hit "San Francisco Girls". It was re-issued on CD in 2012 by Reel Time.



The Black Angels has a story involving conflict between black and white gangs, certainly putting a different spin on the typical biker movie story lines. some of the music was made by a band that was previously called The Zoo. The striking intro to the movie plays out to the track 'The Fast Song', which I used here, along with 'Military Disgust'. The Zoo's album from 1968, "Chocolate Moose", featured some decent psychedelic blueserock, and after becoming Mad Dog they took on a more hard rock sound. The existence of Mad Dog was revealed after Shadoks un-earthed and issued the only thing they recorded, a demo from 1969, on which you can find these songs. It was later issued again by RD Records with some bonus tracks in a package called 'Dawn of the Seventh Sun'.


Up next is California's Orphan Egg, with 'Falling'. This appeared on the soundtrack to 'The Cycle Savages' (1969). Orphan Egg's drummer, George Brix, is a character who was involved with many acts in his career as a session player and staff writer for Sony. During his middle-teens he claims to have had already sold some songs to Capitol records, having to do business through his parents due to his age. His band won a Battle Of The Bands contest and that gained them a recording contract and a couple of movie offers including 'The Young Animals' (1968). Later-on George filled-in for bands such as Cream and Blue Cheer, as well as writing songs that were used by The Hollies and The Yard Birds, and playing for Moby Grape, Quicksilver, Santana and others. He claims to have written and played on more than 50 top ten hits, sometimes under the name Paul Waylie. George claims the offer to write some music for Cycle Savages came from a guy from America International Pictures, the production company that Roger Corman originally worked for before he started New World, and responsible for exploitation movies and biker movies like 'The Wild Angels'. The AIP guy saw them play live at Forest Hills Stadium in New York, opening for The Doors.

Cycle Savages had Bruce Dern in one of his earliest staring-roles as Keeg, the vicious and unhinged gang leader who takes revenge on an artist who happens to absent-mindedly sketch the gang in passing, while they are up to no good.


Track 12 is some incidental music from an English movie called 'Psychomania'. Hilariously bad, it's about a gang of bikers who comit suicide in a pact with the devil, in order to return as the invincible undead. The movie stars notable names like Beryl Reid, the Séance-obsessed mother of the gang's leader, played by Nicky Henson. The great soundtrack was penned by John Cameron, a prolific and well-known library/score writer who also wrote a few hits for the likes of Donovan and Cilla Black. Another of his works was the awesome orchestral version of Whole Lotta Love, which was recorded by the Collective Consciousness Society and used as the theme tune to Top of the Pops for about 15 years in all. The Psychomania OST was released on CD by Trunk records.


With some more cool instrumental music, comes Lenny Stack and his work on the movie "C.C. and Company" (1970). The lead role was acted (in the loosest sense of the word) by the then-New York Jets quarterback Joe Namath, and the leading lady was producer Roger Smith's wife, Ann-Margret. One commenter's opinion on IMDB is that the movie was Smith's attempt to revive his singer/actress wife's ailing career, while also capitalising on Joe Namath's huge popularity at the time. The story is about Joe's character, gang member C.C. Ryder, and his conflict with gang leader 'Moon'. CC takes pity on a girl who his gang start hassling on the side of the road after a car breakdown, and saves her. He falls for the girl, alienating himself from the gang, who eventually attempt to kidnap her.

The movie includes some amusing scenes of chopper bikes attempting to disrupt a dirt bike race, and failing miserably to deal with the terrain.
Lenny Stack is a Big Band composer and musical director for TV, working mostly on music industry award shows. He has written songs for Diana Ross and Dionne Warwick, and composed TV movie scores. I was a little disappointed that he hasn't done any other movies with as high a profile as C.C. and Company (if it can be described as such) because he did a great job on it.



Stone is a cult classic Australian biker movie, about a cop who's job is to go under-cover to discover why the members of biker gang 'The Gravediggers' are being murdered one by one. The movie's notoriety has been boosted by Quentin Tarantino's frequently expressed admiration for it, and a documentary was made in 1999, called Stone Forever.

The soundtrack was made by Billy Green. Born in The Netherlands, Green (aka Wil Greenstreet) was living in Australia at the time and had been guitarist in Aussie bands including The Questions, Doug Parkinson In Focus, King Harvest, Friends and 'Gerry & the Joy Band'. It is stated that he played the music for Stone with members of a band called Sanctuary. In recent years he's lived in the US and had a stint as the house musician for the Empire State Building’s 86th-floor observation deck. Discogs has this to say: "In 1975 he began transforming himself into a world-class jazz alto sax player and composer. He led a number of original jazz funk, acid jazz, and free jazz bands in Austin, Texas, for 10 years. Since 2001 he has lived in Rockland County, New York, where he teaches, composes, and currently plays solo sax."


Chrome and Hot Leather provides track 16, a movie produced in 1971. It's inclusion here is a bit of fun, and I am pretty sure the vocals are sung by Marvin Gaye, yes - not a frequent name you'll see here so please don't disown TDATS... C&HT has a ludicrous plot involving a Green Beret sergeant Mitch, who's girlfriend has been mortally injured in a road accident. Just before her death she divulges that a motorcycle gang called "The Devils" were responsible for running her off the road.

Mitch and his sergeant buddies (including Marvin Gaye in the role of Jim) take military leave and prepare themselves to track down the evildoers. As best as they can, they take on the appearance of a motorcycle gang: bikes, clothes and all, and reek revenge on The Devils. This results in some humorous moments, not least because the clothes they wear make them look more like the Village People than a tough biker gang. The movie has a very early role for Cheryl Ladd (then Cherie Moor) of Charlie's Angels fame, and it was Marvin's second acting performance after TV movie 'The Ballad of Andy Crocker'.



Time for one of my favourite tracks here, from Iron Butterfly. 'The Iron Butterfly Theme' is a quality song from their first album, 'Heavy'. Although they were a patchy band, you can't deny how important and seminal their good tracks were, such as this and In-A-Gadda-Da-Vida. I had to include this when I discovered it was used on the soundtrack to "The Savage Seven" (AIP 1968).

This movie was another to put an ethnic spin on things by pitting a biker gang against a group of Native Americans. The two sides alternate between enemies and accomplices, for it to be later revealed that the real bad guys are local businessman who have orchestrated the entire thing for their own gain. Duane Eddy has a small role in the movie, as does Penny Marshall, who would go on to direct films such as Big and A League of Their Own. Director Richard Rush also directed the cult psychsploitaion film Psych-Out (Dean Stockwell, Jack Nicholson, Bruce Dern) and his most respected, The Stunt Man (Peter O'Toole - 1980).


Davie Allan is a guitarist best known for his work on soundtracks to various teen and biker movies in the 1960s. Allan's backing band is almost always the Arrows (i.e., Davie Allan & the Arrows), although the Arrows have never been a stable lineup. I have used two tracks of his here, one from 'The Wild Angels' (1966), and one from 'Devil's Angels' (1967). I'd say his sound is akin to Link Wray, but with lots of fuzz, in fact he is regarded as one of the main originators of the fuzz guitar sound. There's an interview with Davie over at the ever-great Psychedelic Baby webzine, here. The Davie Allan site says: "In the late sixties, Davie Allan & The Arrows carved their niche in the musical history books with an array of classic instrumentals and two dozen motion picture soundtracks. The most notable of the movies was Roger Corman's cult classic The Wild Angels plus Devil's Angels, The Glory Stompers (Dennis Hopper) and Born Losers (the film that introduced the character Billy Jack). Some of the other 60's "B" films were Riot On Sunset Strip, Thunder Alley, The Angry Breed, Mary Jane, Teenage Rebellion, Hellcats, Mondo Hollywood, The Wild Racers, Wild in The Streets, The Golden Breed, Skaterdater and The Hard Ride."


Rabbit Mackay & The Somis Rhythm Band - Passing Through LP
Rabbit Mackay & The Somis Rhythm Band
Passing Through LP (1969)
The final artist to appear is Rabbit Mackay & The Somis Rhythm Band, who had one great track on the end of the Angels Die Hard LP (along with those of East-West Pipeline, also here). The track 'Tendency to be Free' is found on his second album, Passing Through (1969). The other members on the LP were: David Sueyres (Keys, vocals), Bob Jones (guitar, vocals), Mike Burns (drums), Mike DeTemple (guitar, banjo), Richard Adamson (bass, guitar) and Reji Pekar (lead guitar). Their music is a pretty good mix of blues, psych and garage rock, but I think Tendency To Be Free' is the best they did. Here's some extra info I found online: "Rabbit released a couple of albums on UNI, and his son Manzanio Bay is on Arlo Guthries Durango album. His second UNI album is entitled 'Passing Through'. [The first was called Bug Cloth] He, MIchael DeTemple and Andy Douglas began work on a third album and also were sidemen on the flower power "Vision of Sunshine" LP by Wings Hauser."

Closing this track, and the comp, I have added a speech from a classic scene of Jack Nicholson's and Dennis Hopper's characters in Easy Rider...

Stay free! Rich

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Monday, November 3, 2014

TDATS Radio online now

Hi guys, you may have noticed a new tab at the top of the page...in a new addition to the blog, I have made 1000's of TDATS tracks and more available, streaming free online 24hrs a day via Radionomy. Almost every track in the comps is there, including the most obscure. There's also some more complete collections from my favourite records like those of Captain Beyond, Night Sun, Budgie, Leaf Hound, Ancient Grease, Buffalo, JodoHighway Robbery, Sir Lord Baltimore and others. Radionomy also provides apps to stream to mobile devices. Go here to listen right now, and get some more info. >TDATS Radio< You can also sign up to a new mailing list I have made for the station, here.

Hopefully this will make your lazy sundays more enjoyable, and work day tedium less, well, tedious.
cheers, Rich.


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Tuesday, October 28, 2014

The Day After The Sabbath 108: Born Under a Bad Sign [Blues 3]

Download from [mf] or [mg]
unzip password:  tdats

Welcome to #108, this has been in gestation for a while so I managed a pretty quick turn around once i'd perfected it, if you haven't had a chance to get the previous Volume 107 (Austrian special) from a few days ago yet, here it is.

This is the the third bluesy volume of TDATS, which now makes for these so far; Vol54, Vol79 and Vol108. Take your pick from 15 tracks of seriously heavy, or seriously psychedelic bluesrock, all guaranteed to have you strutting and mooching all the way down to your local speakeasy. We have UK, US, German and Australian acts joining the party, ranging from 1968 to 1975, with all but two acts being new to TDATS. They include the band that evolved into Leaf Hound, a guy who would later be in proto-punks The Tubes, and a guy who was in Noel Redding's band, but quit the music industry for 14 years to become a commander in the Royal Navy.

What can I say about the importance of bluesrock to everything TDATS that hasn't already been said? Mostly associated with heavy R&B acts that emerged in the UK around the mid-'60s, The Blues Breakers, The Yardbirds and Cream sure have a lot to answer for, and Hendrix was playing his part too. This boom lead to tracks such as Cream's "Sunshine of Your Love" and Hendrix's "Fire" or "Purple Haze", which have some of the most all-time influential riffs upon what became heavy metal. Around the same time there was Blue Cheer in San Francisco, cranking out super-heavy stoned interpretations of the blues. Of course even Black Sabbath themselves started out as "The Polka Tulk Blues Band".

TRACKS
01. Juicy Lucy - Willie The Pimp (1970)
        from album 'Lie Back And Enjoy It'
02. The Sacred Mushroom - You Won't Be Sorry (1969)
        from album 'The Sacred Mushroom'
03. Darius - Ancient Paths (1968)
        from album 'Darius'
04. Chicken Bones - Feeling (1975)
        from album 'Hardrock In Concert'
05. Growl - I Wonder (1974)
        from album 'Growl'
06. Tangerine - A.J.F. (1971)
        from album 'The Peeling Of Tangerine'
07. Apple Pie Motherhood Band - Born Under a Bad Sign (1968)
        from album 'The Apple Pie Motherhood Band'
08. Majic Ship - Free (1970)
        from album 'Majic Ship'
09. Chain - Black & Blue (1971)
        from album 'The History of Chain'
10. Dave Carlsen - Big Jake (1973)
        from album 'Pale Horse'
11. Freeman Sound & Friends - 16 Tons (1970)
        from album 'Heavy Trip'
12. Magic Sand - You Better Be Ready (1970)
        from album 'Magic Sand'
13. Warren S. Richardson Jr. - Stella (1969)
        from album 'Warren S. Richardson Jr.'
14. White Mule - Hundred Franc Blues (1970)
        single
15. Black Cat Bones - Save My Love (1970)
        from album 'Barbed Wire Sandwich'

Juicy Lucy - "Lie Back And Enjoy It" LP pull-out
Juicy Lucy - "Lie Back And Enjoy It" LP pull-out
Juicy Lucy was a short-lived commercial blues band that counted Mick Moody in its ranks, later of Whitesnake and other acts. The band was started by The Misunderstood (See Vol62) members Ray Owen, Glenn Ross Campbell (Steel guitar) and Chris Mercer (saxophone). Paul Williams puts on a great vocal performance here, he was the second singer for the band after Ray Owen left for a solo career. Their cover of 'Willie The Pimp' is fantastic, it really shows the combined talents of the band, along with the great slide guitar of Glenn Ross Campbell. In my opinion they never made a classic album, but it's clear they had the abilities. The original is a Frank Zappa song, from the 'Hot Rats' album, and Stackwaddy also did a cool version.

The Sacred Mushroom LP
The Sacred Mushroom LP
Sacred Mushroom are up next with a concise little psych blues rocker, here is AllMusic.com's review: "Led by future Pure Prairie League member Larry Goshorn (guitar/vocals) and featuring brother Danny Goshorn (vocals) -- Sacred Mushroom were a short-lived rock/blues quintet based in Cincinnati, OH. Their efforts coalesce on this, the band's self-titled debut (and only) long-player. The album contains a blend of proficient originals as well as a pair of well-chosen cover tunes, such as the blues standard "Mean Old World" and the Kinks' "I'm Not Like Everybody Else." While their name conjures images of late-'60s psychedelic or acid rock, Sacred Mushroom's roots were decidedly more bluesy than trippy. Likewise, their harder-edged performance style is well served by the tight and somewhat pop-driven arrangements, resembling artists such as the Allman Joys, Kak, or the pre-Blue Öyster Cult Stalk-Forrest Group. A few of the Larry Goshorn-penned tunes are certifiably lost classics. These include the up-tempo rocker "Catatonic Lover," which features some lyrical chord changes reminiscent of "3/5's of a Mile in 10 Seconds" by Jefferson Airplane, and the Chicago blues-style waltz "All Good Things Must End." The latter is highlighted by some inspired harp playing from Rusty Work. The opening track, "I Don't Like You," is a funky rocker spotlighting the Goshorn Brothers' tight harmonies as well as Larry's distinctive lead electric guitar licks. Another standout is their reworking of "I'm Not Like Everybody Else." The track retains a timeless pop sensibility that incorporates interweaving acoustic and electric guitar lines. "Lifeline," the most extended track on the disc, recalls the electric blues of seminal Fleetwood Mac or Stan Webb's Chicken Shack. Along the same lines is the blues boogie rendering of "Mean Old World," which might easily be mistaken for an obscure version by a mid-'60s lineup of John Mayall's Bluesbreakers. After decades of poorly manufactured European bootleg reproductions, Larry Goshorn has reissued Sacred Mushroom.

Darius LP (1968) front
Darius LP (1968) front
Darius comes in on track 3 with a really nice trad blues-sounding track with plenty of grunt in the guitar dept. Thanks to RDTEN1 at RYM and badcatrecords.com for his opinions on the next act: "So what can I tell you about this guy Darius? Well his given name was Robert Joe Ott and he was apparently originally from Cleveland, Ohio, but in the mid-1960s relocated to Los Angeles where he attracted the attention of the Hollywood-based Chartmaker label.  Released in late 1968 "Darius" was co-produced by Pat Glasser and Butch Parker.  Personally I don't hear the Jim Morrison comparisons that some reviewers allude to, but Darius had a voice that was quite commercial and was well suited to material like the should've-been-hits 'Dawn' and 'I'm the Man''.  Featuring ten original efforts, songs like 'Shades of Blue', 'Ancient Paths' and 'Hear What I Say'  offered up a great blend of dark pop and psych moves.

Darius LP (1968) rear
Darius LP (1968) rear
Interestingly, while there was nothing wrong with Darius 'I'm hurt' and 'love is unfair' lyrics, the key ingredient in making the album so good was the support he got from his un-credited backing band - fellow Chartmaster recording act Goldenrod (See Vol31).  Lead guitarist Ben Benay, drummer Toxey French and bassist Jerry Scheff may have been studio professionals who were best known for their work with Elvis Presley, but on this album they cut loose, decorating tracks like 'Mist-Veiled Garden' and 'Blow My Mind' with some amazing fuzz guitar, sitar, and other period accompaniment.  Killer !!!  (Always loved the egomaniacal back cover photo...  You can tell that Darius was sure he was about to become a major star!)"

Chicken Bones - Hardrock In Concert LP (1976)
Chicken Bones
"Hardrock In Concert" LP
(1976) front
The next belter is a mostly-instrumental, galloping jam from Germany's Chicken Bones. Taken from Silverado Rare Music: "The title of Chicken Bones' album Hardrock In Concert (1976) says it all! There are six "very hard rocking tracks" included therein, performed in the good old tradition of the early seventies heavy progressive scene. Most of the album is instrumental, and offers Rainer Geuecke plenty of opportunities to reveal his musical skills. The two longest tracks are the highlights: "Water" with the whisper of the sea and some beautiful acoustic guitar and "Factory Girl" which was in a more typical hard rock vein. This album has an excellent and well-balanced sound for a private release. The recordings were done in only one week live in the studio - or more probably a barn!

Chicken Bones "Hardrock In Concert" LP (1976) rear
Chicken Bones
"Hardrock In Concert" LP
(1976) rear
These were an obscure heavy progressive act, who almost certainly had their roots in the late-1960's, and were definitely inspired by Jimi Hendrix and early British bands, like Back Sabbath, Tractor, et al., but were notably much more free and improvised. Despite the title of their album, Chicken Bones were not at all mundane hard rock, but were highly creative and often moved very close to May Blitz, early UFO or Cargo, but with lots of nice moves and flowery guitar work-outs. Basic, and gutsy admittedly, Chicken Bones were a lot better than the reputation that preceded them, and their album became quite a sought after obscurity. Chicken Bones existed in various forms for around a decade, afterwards ending up as the vastly inferior more metal oriented Revanche, then eventually disbanding in the 1980's.

Growl LP (1974) rear showing band
Growl LP (1974)
rear showing band
Growl are up next with a piece of great hard rock, full of blues attitude. They were formed in 1969, originally as 'Utopia' (not the Todd Rundgren group), under which name they made one album in that year (see Vol44). The s/t Growl LP was produced by Robert Duffey on Frank Zappa and Herb Cohen's DiscReet label in 1974, which seems to have been the year of the band's demise too. Both the Utopia and Growl albums are a mixed bag of rock 'n' roll, hard rock, and blues rock, but there are some worthy tracks. "I Wonder" is one of the best. Dennis Rodriguez (guitar, vocals), Harry Brender A. "Brandis" (guitar, backing vocals), Geno Lucero (bass) and Danny McBride (drums) were the guys previously in Utopia. Later Growl additions mentioned on RYM were Frank Krajnbrink (guitar, 1969-74), Richard Manuputi (vocals, 1974) and Mick Small (guitar, 1974). I have been unable to find much more info on the band.

Tangerine roll in with a Blue Cheerful vibe and guitar sound. From the Rockasteria page: ''The Peeling of Tangerine'' is the Gear-Fab CD reissue of their ultra-rare LP from 1971, recorded at the famous WRS Recording Studios in Pittsburgh, PA.

The Peeling of Tangerine
The Peeling of Tangerine front
Led by the multi-instrumentalist Ferraro brothers Al and Crash (they mainly played guitar), Tangerine started playing together in the late '60s. In many ways, The band recalls a slightly heavier Santana; the music is full of Latin chord progressions, salsafied and tribal drumming and percussion, and Al Ferraro's rousing guitar work, as well as some of the dynamics of early '70s psychedelia and soul. The band doesn't stake out their own musical ground and the songs are not altogether distinctive enough; more often than not, they sound like unstructured (but not formless) jams passing for songs. In the other hand, those jams are often scintillating, with a slight mysterious lurch -- had they been honed in and further fleshed out, they had the makings of blazing tunes. Underused lead vocalist Al Ferraro is a blue-eyed soul shouter along the lines of Steve Winwood, and the band can really cook.

The Peeling of Tangerine rear
The Peeling of Tangerine rear
Side 2 of the LP is where it's at, and is made up primarily of a heavy jams in the Iron Butterfly, Blue Cheer mold. The 13-minute final cut, "My Main Woman," perhaps summarizes both Tangerine's abilities and excesses best. The song contains gorgeous passages of snaking guitar lines, hyper drumming, and rumbling bass as well as joyous percussive parts, but those parts can go on far longer than taste would merit, thus losing the momentum and drive of the song for short spells before regaining its footing which was reminiscent of Iron Butterfly. Of this final track, Record Collector magazine says: "Al Ferraro’s fine, gutsy vocals crop up too infrequently, but his low-definition, fuzzball guitar soloing is everywhere, not least on My Main Woman, 13 long minutes of aimless grunt. The conga solo is the highlight – which surely speaks volumes."

The Apple Pie Motherhood Band LP (1968)
Apple Pie Motherhood Band
 LP (1968)
At the mid-point is The Apple Pie Motherhood Band with the namesake of this volume, and an excellent psychedelic cover of this classic blues song it is too. Review from Allmusic.com - "The Apple Pie Motherhood Band were a Boston collective with a formative heavy blues base and equally earthy  psychedelia. With Atlantic Records staff producer Felix Pappalardi behind the console, the results were a reflection of the ever-changing pop/rock soundscape. Although the band's lineup kept changing, the ensemble credited here includes Dick Barnaby (bass), Jack Bruno (drums), Joe Castagno (guitar), Ted Demos (guitar), and Jeff Labes (organ/piano). Marilyn Lundquist (vocal) was temporarily filling the vocalist's void, her dulcet tones grace several songs. The thoroughly-explored reading of Albert King's "Born Under a Bad Sign" is an obvious homage to British supergroup trio Cream.

The best of the band can be heard on the seven-plus minute slice of psych medley that links the group-penned instrumental "The Ultimate" to a blue-eyed soulful interpretation of Garry Bonner and Alan Gordon's "Contact." The number was a return to the Apple Pie Motherhood Band's prototype C.C. & the Chasers -- whose single "Put the Clock Back on the Wall" b/w "Two & Twenty" were both from the Bonner/Gordon songbook. The Apple Pie Motherhood Band would continue with a revolving door personnel for another year and release their swan song Apple Pie (1970) shortly before breaking up at the dawn of that decade.

Majic Ship LP (1970)
Majic Ship LP (1970)
'50s singer Johnny Mann discovered Majic Ship, and many of their earliest recordings veered toward a sort of garage-pop hybrid that was, at best, pleasant. One Tokens-produced side, "Green Plant," on the other hand, hinted that the hearts of the members of the band lay in garage-psych heavy rock. When it came time to record their self-titled debut album in 1969, the music was much more in that vein.

Gear Fab's "The Complete Recordings" CD collects all of the band's official recordings, including early singles and demos. Majic Ship prominently featured Gus Riozzi's organ and Mike Garrigan's distinctive hard rock holler. The other noted members are Tom Nikosey (guitar), Philip Polimeni (guitar), Rob Buckman (drums) and Ray Rifice (guitar). The sound was only a few steps removed from fellow New Yorkers Vanilla Fudge, and like that band, Majic Ship also made use of popular songs by other artists. Two of the most interesting songs on the collection are covers of the Bee Gees' "To Love Somebody" and a medley of Neil Young's "Down by the River" and Stephen Stills' "For What It's Worth." The real starting point on the CD is "It's Over." It is here that the band began to display the heavy, nearly over-the-top rock sound.

Majic Ship LP (1970) insert
Majic Ship LP (1970) insert
Psychedelic Baby Review - "Majic Ship's existence came to a dreary end in 1971 when their equipment was claimed by a fire. 1999 saw the Mike Garrigan and Tommy Nikosey reunite, resulting in an album titled "Songwaves Project" that also included Cher, ex- Rolling Stones guitarist Mick Taylor, Dave Amato from REO Speedwagon, and drummer Ron Wikso, who has played with everyone from Foreigner to David Lee Roth to Cher to Randy Meisner to Denny Laine. Although the disc is poppier than "Majic Ship," it's still strongly recommended and adds a nice touch to the band's legacy."

Chain - Towards The Blues LP 1971
Chain
Towards The Blues LP (1971)
Classic Aussie band Chain appear in TDATS for the first time, with a slow-burning track suitable for a 'chain' gang. This is a live rendition but I'm not sure from when or where exactly, it is found on 'The History of Chain' album (1974). They formed in Melbourne as The Chain in late 1968 with a lineup including guitarist, vocalist Phil Manning; they are sometimes known as Matt Taylor's Chain after lead singer-songwriter and harmonica player, Matt Taylor. The band was named by Australian blues Singer, Wendy Saddington, after the song "Chain of Fools" by Aretha Franklin.

Their January 1971 single "Black & Blue", which became their only top twenty hit, was recorded by a Chain line-up of Manning, Taylor, drummer Barry Harvey and bass guitarist Barry Sullivan. The related album, Toward the Blues, followed in September and peaked in the top ten albums chart. They are Australia's defining bluesrock band, and you can read plenty more about them here at Milesago.


Dave Carlsen - Pale Horse LP
Dave Carlsen - Pale Horse LP
Dave Carlsen's real name is Dave Clarke. He made his first solo record "Pale Horse" under the Carlsen pseudonym (apparently to avoid confusion with The Dave Clark Five's leader) in 1973, with assistance from Keith Moon and Noel Redding. After this he was a formative member of The Noel Redding Band (two LPs), and also briefly the "Jimmy McCulloch & White Line" band (one LP). After various other musical collaborations, none of which yielded much, Dave Clarke joined the Royal Navy in 1979. He saw active service in the Falklands War and elsewhere and retired as a Commander in 1992. He has been lead singer and lead guitarist with The Kast Off Kinks since 1994. (wikipedia)

Freeman Sound
Freeman Sound LP
At track 11 is a really heavy cover of a bluesy country classic, Merle Travis's Sixteen Tons. It was in Motherheast, Ohio USA, in 1969, midway between the towns of Warren and Cortland, that five determined young musicians, Ray Escott - Lead Vocals, LJ Fortier - Drums, John Harrow - Lead Guitar, Vocals, "Buster" McCarthy - Bass, Vocals, and Kurt Sunderman - Rhythm Guitar, Vocals, started getting together in the damp basement of LJ's parents home on Sunday mornings in an effort to try to carry on with their dreams of being in a successful Rock band. Having won the Starshine Productions' "Battle of the Bands" in 1970, the five-member Freeman Sound was established as the most popular of several bands (including Morly Grey), that had records released on the Starshine label.

Freeman Sound never made an official LP, but the World In Sound archival release "Freeman Sound And Friends - Heavy Trip" includes 12 tracks with bio and photos. You'll get stoned on some mind-bending vocals backed by instrumentation that includes some very intense, heavy fuzz and wah pedal guitar sounds, solid drums and a screaming organ, with flashes of famous British groups. Prepare to get off on cuts like the heaviest version of Merle Travis' "16 Tons" ever recorded!

Magic Sand LP (1970)
Magic Sand LP (1970)
Thanks to tymeshifter for his research on The Magic Sand at RYM. "One of the enduring mysteries of psych record collecting has been the nature of the relationship between The Hooterville Trolley and this band. The Trolley's single "No Silver Bird" (See Vol50) has long been an icon of the genre, but that single represented the sum total recorded output of that band, at least under that name. When it was discovered that the exact same track turned up on this album, retitled as "Get Ready to Fly", rumors began to fly instead. The most common and widely believed was that the Trolley, or at least one member, became The Magic Sand. After recording this album, they wanted to give their earlier masterpiece another outing, so they included it here, despite its being completely out of place in this setting. But that scenario did nothing to explain why the song writing credits went to Ernie Phillips on the single, and someone named A.Klein on this album, the latter name never having been associated with The Hooterville Trolley. Well, I am proud to announce that, having just returned from an investigative sojourn, I am finally able to put the subject to rest. The bass guitarist from the Trolley, one Don Kinney, passed away several years ago. But I was able to track down his sister, who put me in contact with his first wife, who was married to him during those critical years.

The Hooterville Trolley - "No Silver Bird" single
The Hooterville Trolley
"No Silver Bird" single
She told me this story: "No Silver Bird" was originally written by Ernie Phillips. The band was dissatisfied with his version, and sort of punched it up a little bit on their own. The song was recorded in Norman Petty's famed studios in Clovis, NM, at a time shortly after he had just acquired a new mellotron. He was eager to use this new piece of equipment and the band were happy to oblige, literally drenching their song with psychedelic keyboards. They cut two versions of the song that day. The studio time had been paid for by their so-called manager, one Tommy Benvinedez, who insisted on rights to the music they recorded that day, for which he would pay royalties should anything ever come of it. It was Tommy B. who was behind the Magic Sand project. There was no real band by this name. It was entirely a studio project put together by Benvinedez incorporating all sorts of stuff, the exact sources of which are unknown. Some may have been recorded specifically for this album. Other tracks, such as The Trolley's, he just had laying around and decided to throw on here (incidentally, the version that appears on the album was the second take recorded at Petty's studios that day, and not the one on the single). Consequently, the styles of music are all over the place, from country to rock, and everything in between, and  don't even sound to be recorded during the same time frame. Overall, this one is a bit of a disappointment, despite the inclusion of such a notable track. But don't be afraid to check it out for some hidden gems you might discover on your own."

Warren S. Richardson Jr. LP front
Warren S. Richardson Jr. LP
front
From the PHROCK blog (RIP): "A bunch of on-line references question whether Warren S. Richardson Jr. is in fact former Tubes guitarist Bill Spooner. Given that Spooner's website includes the album in its discography section I'd say the answer is yes. By the way, here's the link to his website: http://www.billspooner.com. As a word of warning, anyone expecting to hear something along the same lines as The Tubes patented weirdness is going to be majorly disappointed by this album. In 1967 Richardson-nee Spooner contributed lead guitar to Michael Condello's "Condello" LP. A couple of years later Condello apparently repaid the favour by producing 1969's cleverly-titled "Warren S. Richardson Jr.".

Warren S. Richardson Jr. LP rear
Warren S. Richardson Jr. LP
rear
Richardson was credited with penning all six tracks and material like 'Reputation'' and 'Shady Lady' offered up a pretty good set of fuzz-propelled hard rock. Nothing here is particularly original and you may well feel like you've heard some of this stuff elsewhere, but Spooner had a voice that was well suited to the genre and this was one of those rare albums that actually seemed to benefit from the addition of horns (courtesy of Owen Eugene Hale, Richard Lewis and Joseph Ray Trainer). In case anyone cared, perhaps because it strayed a little bit from the predominantly hard rock formula, excluding the needless and seemingly endless drum solo, the psych-tinged 'Wind and Rain' struck me as the standout effort on the album."


White Mule
White Mule
White Mule is another name for illicitly-made booze like moonshine, white lightning, mountain dew, hooch, and Tennessee white whiskey. Whether or not this was the intended meaning for the band at track 14 I don't know. Harlow, UK's White Mule were Geoff Carpenter on guitar and vocals, John "Culley" Culleton on bass, John "Gypie Mayo" Cawthra on guitar and vocals and John Glasgow on drums. Brian Wren replaced John Glasgow on drums. Bruce Trotter came on board as an extra vocalist and Yanni Flood-Page was added as a second guitar after that. They toured Europe a lot and released two singles, Looking Through Cats Eyes (credited to Flood-Page) and a Mungo Jerry cover "In The Summertime". There are three different versions of their singles listed at 45cat, all of which have 'Hundred Franc Blues' as the b-side. According to bandtoband.com, John Cawthra was later in Dr. Feelgood and a late version of Yardbirds.

Blues Before Sunrise
Blues Before Sunrise
White Mule evolved from Blues Before Sunrise, who "formed around 1967 and were, Jeff Carpenter, guitar, John 'Culley' Culleton, bass, Bruce Trotter, vocals, and John Glasgow on drums. In 1968 Jeff and John left to be replaced by Brian Wren on drums and Gypie Mayo on guitar and vocals. They quickly changed their name to White Mule. Jeff later played with Sheena Easton on her early hits and albums."

White Mule - In The Summertime / Hundred Franc Blues single
White Mule
In The Summertime /
Hundred Franc Blues
single
Alias were a jamming unit circa 1975-1977 consisting of White Mules' Brian Wren, drums, "Culley", bass, Bill Sharpe, keyboards and Gypie Mayo on guitar. Alias were often seen jamming in the Triad in Bishop's Stortford, or The Orange Footman. "We'd hit a groove and just go with it, usually a funky thing, and play the bollocks off it and quite often end up in a psychedelic miasma. Great fun" - Gypie Mayo. Guests often included Roger O-Dell, drums, Keith Winter on guitar. Brian Wren was later in another Harlow band, Red Express. Roger, Keith and Bill Sharpe went on to form Shakatak in the 80's and have a string of hits. Thanks to the Harlow Band Archive for most of this White Mule information, I really didn't think I was going to find anything on them.


Black Cat Bones band
Black Cat Bones band
Closing this set, Black Cat Bones (named after a Hoodoo charm associated with blues music) shouldn't need too much introduction here. A band that were familiar on the London pub circuit, they are well-known to have included Paul Kossoff and Simon Kirke before they left for Free. After many line-up changes and the album "Barbed Wire Sandwich" the final death knell came. The last remaining members Derek and Stuart Brooks were joined by vocalist Pete French and guitarist Mike Halls from the Brunning / Hall Sunflower Blues Band. After adding drummer Keith George Young, the outfit became the hard rock band Leaf Hound in 1970 (see vol1 and vol64). Again, Leaf Hound shouldn't need to much of an introduction here, the "Growers Of Mushroom" LP is one of the best heavy underground records ever.

Black Cat Bones - "Barbed Wire Sandwich" LP
Black Cat Bones - "Barbed Wire Sandwich" LP
Thanks for listenin'. Rich

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Sunday, October 19, 2014

The Day After The Sabbath 107: Song of Tears [Austria]

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Herzlich willkommen auf TDATS #107, a collection of music from Austria. I was surprised at how little typical TDATS-ready music was recorded in this country. I was expecting that it's connection with Germany would lead to lots of similar styles and artists to that country's amazing rock history. Surprisingly, although Austria does have a rich tradition of it's own music, the psych, prog and heavy rock that Germany excelled in did not seem take hold there. Going back a lot further, it has of course had an astounding influence in classical music with the likes of Mozart, Beethoven, Strauss and Haydn. Maybe Austria's pride in these legends has encouraged a tendency for listeners and artists to stay within the realm of traditional music?

Another factor is of course that small countries near very prolific larger countries will tend to lose their upcoming talent across the border. Having been reading about many bands that did make it on to record, it seems that back then the national pop radio station Hitradio Ö3 had a disproportionately strong control over what bands were publicised and thus in demand, and in turn what bands received recording contracts....maybe the station had an agenda?  Maybe there were many more great bands that we can't possibly remember now, that never even got a chance to be recorded or documented.

TRACKS
01. Novak's Kapelle - Doing That Rhythm Thing (1968)
       single
02. No Bros - Backstage Queen (1982)
       from album 'Ready For The Action'
03. Drahdiwaberl - Kaiserhymne Pink Punk Shirt (1979)
       from album 'Wiener Blutrausch'
04. Lazarus - Awaking of Lazarus Part 2 (1973)
       from album 'Lazarus'
05. Harri Stojka Express - The Jungle (1978)
       from album 'Sweet Vienna'
06. Glashaus - The Waiting Game (1977)
       from album 'Drinking Man'
07. Blowin Free - Song Of Tears (1981)
       from single [1981] and album 'Enemy' [1983]
08. Hide & Seek - Crying Child (1970)
       single
09. Acid - Moonshine Girl (1975)
       from album 'More Acid'
10. Minisex - Valium (1979)
       from albums 'Wiener Blutrausch' [1979] and 'Minisex' [1980]
11. Christian Kolonovits - Wake Up!!! (1976)
       from album 'Life Is Just a Carnival'
12. Gipsy Love - Job In The Docks (1972)
       from album 'Here We Come'
13. U8 - Sherpin' Man (1982)
       from album 'Pegasus 1001'
14. Art Boys Collection - I'm Riding On An Arrow (1972)
       from album 'Stoned Wall'
15. Wolfgang Ambros - UFO (1976)
       from album '19 Class A Numbers'

If my memory serves me correctly, the only Austrian band that has appeared here before is Paternoster, back on volume13. What Austria did have was 'Liedermacher', and 'Deutschrock', and lots of Schlager pop music. Some of the early beat and psych bands that don't appear on here but deserve mention are The Charles Ryders Corporation, and the Albatross single "I Am Dead". One compilation I would recommend to those who want to hear some more is "Beat & Psych in Austria (1966-1972)".

'Wiener Blutrausch' punk sampler LP 1979
'Wiener Blutrausch'
punk sampler LP
1979
Due to these difficulties, I have widened the net and reached up to the early '80s. A happy by-product of this is that I discovered Vienna had a very healthy punk/post-punk/new wave scene starting in the late '70s, and this comp has benefited from some welcome added variety in those styles. Two great comps exist to find out more about that: "Wiener Blutrausch sampler LP 1979" and "Es Chaos is die Botschaft! Es wurschtln es! Austrian Punkscene 78-84". If you are partial to a bit of obscure early '80s metal then you'll also be happy, the widened net has caught three metal bands; No Bros, Blowin Free and U8. There were at least two Austrian heavy metal singles made in 1979, from Angelina (now known as Gallows Pole) and Blind Petition. Alas I have been unable to find them anywhere.

An honourable mention goes to a few more progressive rock bands that didn't make it on here. Eela Craig are one of the best-known. They were undoubtedly a very talented band but their brand of fusion/symphonic prog isn't really TDATS material. Some other lesser-known, shorter-lived bands in a similar vein were Orange Power, Kyrie Eleison, Klockwerk Orange and Isaiah. While they all had some promise, what I could find from them didn't quite make the grade.


The Bands

Novak's Kapelle Hypodermic Needle /  Doing That Rhythm Thing 45 (1968)
Novak's Kapelle
Hypodermic Needle /
Doing That Rhythm Thing 45 (1968)
We open with a super heavy injection of lysergic psych from Novak's Kapelle. They hailed from Vienna, where most of our acts originated. "Doing That Rhythm Thing" is the b-side to the 1968 "Hypodermic Needle" single, which has appeared previously on TDATS vol33. While making this I found this excellent TV appearance on the Austrian show 'Countdown' in 1969. One astute observer commented that 'Hypodermic Needle' is very similar to The Animals' 1966 single "Inside Looking Out" and they are certainly correct. Strangely, Novaks seem to have taken a long break from recording in the '70s, but successfully (in the artistic sense) reinvented themselves as a hard rock band around 1977, releasing live EPs and a first full album called "Naked". These contain some quirky and amusing rockers with a definite punk edge and some rural US sounds, very different to the '60s singles, although still showing the same level of talent. At some point late in their life they were joined by guitarist Harri (Harry) Stojka, who features two more times in this volume, including his first band "Gipsy Love".  There is tantalisingly little info to be found about Novak's Kapelle, there's a bit more info here and I will carry on looking...

No Bros in the '80s
No Bros in the '80s
Innsbruck's No Bros were one of the first Austrian heavy metal bands to make a full length album. Klaus Schubert and Michael Ausserhofer started the band 'Target' in 1974. Nik P. Opperer, Freddy Gigele and Franz Heumader joined up and they became "No Bros". Ö3 Radio presenter Gotthard Rieger was a fan, then became their manager. This was quite bizarre as Ö3 was not known for playing metal, apart from maybe the softest of metal ballads. The success of a live album “Heavy Metal Party” (1982) and it's single "Good Morning, Sir" galvanised them to make the studio LP “Ready for the action” at Dieter Dirks' Colonge studio in the same year. From this, the closing ballad "Be My Friend" was a big hit single that earned them the money and following to tour Europe, playing with bands like Motörhead, Saxon, Girlschool, Uriah Heep and Krokus. Unfortunately internal disagreements and lineup changes caused the band to lose this momentum and they split in 1986, after two more LPs. They have however played various re-unions since, and released some more live material from those events. Thanks to spirit-of-metal.com , austrorock.at and the No Bros fan site for this info.

Stefan Weber in 1993
Stefan Weber in 1993
Stefan Weber started Vienna's underground band Drahdiwaberl in 1969. I found the track "Kaiserhymne Pink Punk Shirt" on a great compilation released in 1979 called "Wiener Blutrausch" [Vienna Bloodlust] which includes a few emerging post-punk/new wave bands, on which Drahdiwaberl were no doubt an influence. Stefan Weber himself made this sampler and he adorns the cover with a typically insane image of him licking a knife. Stefan is a supporter of the "Wiener Aktionismus" leftist student movements, and derisive political satire was a major part of Drahdiwaberl's stage show. Stefan has also stated that "It has always been my goal to make Drahdiwaberl the most extreme and obscene band, and I think we did that" (wikipedia).

This would seem justified as his stage shows have allegedly included live sex, even a staged 'gangbang' whilst masked as various politicians, pissing on the audience, cooking a pig on a spit while throwing various parts into the crowd. Amazingly, Falco was the bass player in Drahdiwaberl between 1978 and 1983, I remember well liking "Rock Me Amadeaus" on Top of the Pops! Being a covers band for a long time, Drahdiwaberl began writing their own songs in the late-'70s and started recording albums in the '80s, which continued with titles like "Mc Ronalds Massaker" until the final LP in 2004.

Lazarus LP (1973)
Lazarus LP (1973)
Neunkirchen's Lazarus was Peter Glatzl (guitar,vocals), Peter Fischer (bass), Alvin Waldner ( guitar), Walter Spacil (drums) and Helmut Sacher (lead vocals). The LP was lost for years, then found and released by the Shadoks label this year. "Awaking of Lazarus Part 2" is a killer slab or nihilistic heavy psych. It looks like my timing was lucky for making an Austrian comp! Here is the Shadoks press release: "Lazarus was founded by Peter Glatzl at the end of 1970 and they have played many gigs in Austria with various lineups until 1976. This amazing albums was recorded in Vienna 1973 in professional studio for Rex Records. Only 15 sample copies where pressed and only 5 copies ended up with the band members. Rex where known for releases of German folk music and Schlager. So they did know what to do with this far-out recording and did not release it. 


Lazarus
Lazarus
Among collectors Lazarus was a big mystery since nobody ever found a copy for the past 25 years. One day Hans Pokora located an original LP and the band as well so we where able to work out a deal. We where amazed but the great music and the professional compositions and recording. The story of Lazarus is been told as a psychedelic opera who emerges as a monster from his grave to spread terror and horror. 

All English vocals, amazing fuzz guitar all over, Zappa style arrangements, great vocals, tons of effects and tight drum sounds. Do not expect a naive Krautrock style, this is pure Underground as good as Open Mind and July with a good dose of psychedelia." There is a great interview with guitarist Peter Glatzl here at Psychedelic Baby webzine.

Harry Stojka Express Sweet Vienna LP (1978)
Harry Stojka Express
Sweet Vienna LP (1978)
Harri Stojka is a Vienese guitarist who was has connection to three of the tracks in this comp. He was a late member of the afore-mentioned Novak's Kapelle, and before that was in Gipsy Love, appearing soon. He also played with Peter Wolf and Karl Ratzer. In 1978 he started making his own LPs with The Harri Stojka Express, and "The Jungle" is taken from the first  of those albums, "Sweet Vienna". At this point Harry was moving away from from his previous rock playing to jazz/fusion and world music, but The Jungle has a heavy, funky riff. He is still active and played at the Vienna Jazzfest this year.


Glashaus "Drinking Man" LP (1977)
Glashaus "Drinking Man" LP (1977)
I know very little about Glashaus. They were Lupo Greil (vocals, guitar), Wolfgang Buettner (vocals, guitar), Hans Proebster (vocals, bass), Harry Stuempfl (vocals, piano, organ, harmonica) and Dieter Stuempfl (drums, percussion). They made one LP in 1977 called "Drinking Man" on the "Music Shop" label. It's a groovy upbeat rock album, sung in English. It's not progressive, but it has some cuts verging on hard rock, and there is some good organ work. The opener "Shine On Medas" is a Status Quo-like boogie number, and there is a southern/boogie feel to most other tracks. "The Waiting Game" and "Vertigo" are my TDATS picks. This album was hard to find and I must thank Lyrkoss at RYM for sending me the LP rip!

Blowin Free - Enemy LP (1983)
Blowin Free - Enemy LP (1983)
Vienna's Blowin Free are another heavy metal reprieve in proceedings. As one of Austria's first metal bands, they had "Song Of Tears" out as a single in 1981, and debut album "Enemy" in 1983. Enemy was definitely one of the heavier of the early Austrometal LPs, it is fairly derivative heavy metal, with punkish simplicity. It has a certain home-made charm and sounds like an attempt at thrash from guys who were not quite fast enough, so it's all kinda chugging mid-paced almost-thrash. The exception is "Song Of Tears" used here, which has a great NWOBHM feel. Vocalist Gary Wheeler is now in another Austrian metal stalwart, Blind Petition. The rest of the band was Robert Klammer (bass), Kurt Kalaschek (drums) and Martin Gellner (guitar). By the time of their third record, "The Knife and the Floosie" (1986), they had sped things up considerably. Unfortunately they went for a cheesy speed metal sound that lacks the character of "Enemy", seemingly prioritising speed over song-writing.

Hide & Seek
Crying Child / I Can Fly 45 (1970)
One of the few heavy psych tracks here is up next, thanks to Hide & Seek from Graz. They made four 45s between 1969 and 1971. It's a real fuzz feast, and although a happy upbeat ditty, packs in some serious psychedelic head-swimming. Quote: "Styria's capital Graz had a great Underground Beat scene back in the late 1960s but unfortunately most of the coolest bands never managed to produce a single - typically Austrian... However, the most influential formation of that small scene HIDE & SEEK actually released four (!!) 45-records between 1969 and 1971 of which the third's A-side, the relaxed psych-rocker 'Crying Child' even managed to hit the Ö3-pop-charts. Both tracks of that fine single are featuring nice psychedelic songwriting, fuzz guitars, haunted organs, drug-related lyrics and a healthy load of anarchy. Beware: Your kids might wanna kick some acid after listening to 'I can fly' (also compiled on 'Prae-Kraut Pandaemonium Vol 16'). Enough said: A great and really tough to find Garage-Punk-record."


Acid were a Vienna band that I must admit were not that great. They do seem to have been notable as one on the only vaguely psych/prog-ish Austrian bands that managed to get on major labels and hang around long enough to make a few albums. I scoured them all and was happy to find that I liked at least one track, "Moonshine Girl". It manages to take their commercial, fluffy sheen and make something unique by adding some decent atmospheric keyboard interludes, then welding it all to solid riffs and funky drumming. Founder Herbert Novacek went on to form the band Stress which had one album in 1981, that I have been unable to find thus-far. Original Acid guitarist Peter Koller went on to Wolfgang Ambros's band, appearing later on this comp.

Minisex
As one of the post-punk/new wave (aka the "Neue Deutsche Welle") entrants in this volume, Vienna's Minisex bring a polished but driving track, "Valium", also to be found along with Drahdiwaberl on 1979's "Wiener Blutrausch" sampler. The Neue Deutsche Welle spawned the likes of Nena (99 Red Balloons) and Falco (Rock Me Amadeus).

Christian Kolonovits
Life Is Just a Carnival LP (1976)
Vienna's Christian Kolonovits is a composer and producer who has been associated with many pop and rock acts. He also made a solo record in 1976, from which I have taken "Wake Up!!!". "Life Is Just a Carnival" is a rock-opera/concept album on which all the tracks meld together, it reminds me a little of the lighter-hearted parts of The Wall (if they could possibly be described as such) as it seems to be about one mans' struggle with life and society, and one of the parts begins with some background TV show dialogue. I wonder if Roger Waters was listening before The Wall? "It's all up to you" even sounds a bit like "Nobody Home". There's some quite heavy up-front guitar in there, and according to the credits, the main guitarist was Johan Daansen, of the Krautrock-lite Epsilon (see Vol22). Christian also worked with Wolfgang Ambros, coming up at the end.

Gipsy Love George Doggette             Karl Ratzer
Gipsy Love
George Doggette             Karl Ratzer
We move on to another act involving Harri Stojka. The "Gipsy Love" band seems to have been the starting point for many other careers, including those of Karl Ratzer, Peter Wolf, and Richard Schönherz. Karl Ratzer (guitar) and Harri Stojka (bass with Gipsy Love) are cousins, both of Roma ancestry, which may explain the bands' name. Keyboardist/pianist Peter Wolf is notable, as he went to the US after Gipsy Love, played in jazz bands, became a big band teacher, and played with Frank Zappa for years on the road and 11 albums. He became a successful producer and arranger, writing music for movies Top Gun, Pretty Woman, and arranging for acts including Jefferson Starship, The Who and Kenny Loggins. Gipsy Love made a southern US style soulful rock with piano,  brass and some orchestration. They had a big sound that was contributed to by George Doggette's charismatic vocals, sung in English. They are described in most places as hard rock but I don't agree. It's something closer a Chicago or B.S.&T. with less horns, and less glitz, and added Frank Zappa band attitude.  "Job In The Docks" is strange, gritty, grimy, and it certainly sounds like they enjoyed playing it. One can only wonder what this guy was doing in 'The Docks' and why his woman gave him a 'Chewing Gum' every morning. George Doggette's vocals make the song as much as anything else, they are so damn sleazy!

U8
For our third and final classic metal album, here's the best of the lot, from Nussdorf's U8. Allegedly, the bands' name was the idea of guitarist Manfred Seifriedsberger after he came back from a holiday in Italy, where he had found a jukebox which had his favourite song stored under U8. Their first single release was in 1981, and they made two full-lengths before splitting in 1988. Here's an interview with Günter Maier, who later went on to form Big Heat. Forgetting hard rock for the moment, in terms of metal, No Bros was almost there with their first album. It was however still rooted in '70s hard rock and the constant hammond organ and '80s synth sounds held it back too, whereas U8's debut LP 'Pegasus 1001' has more modern-sounding arrangements and production. The songs are also slightly better. "Sherpin' Man" is slow compared to the rest of the album, but I dig it's grinding doomy riff. It's not really fair to compare Pegasus 1001 to Blowin Free's debut, as I think they were aiming for different things, U8 is way more power metal than Blowin Free's attempt at evil thrash.

Art Boys Collection
Art Boys Collection
On to the final stretch now, we have Art Boys Collection from Andorf. Although maybe a few years behind their US/UK peers, they are still a rare example of good, sometimes-heavy psych from Austria. Their 1972 LP "Stoned Wall" (re-issued by Garden Of Delights in 2010) was a mixed bag, but the heavy cuts like "I'm Riding On An Arrow" are very good indeed. Like a lot of albums during the psych-to-hard-rock/prog transition, there is an awkward mix of experimental heaviness and staid ideas going back to the beat days or jangly pop of the Byrds etc. There are some comments from founding member Gerhard Egger here at Austro-rock-lexikon.

Here's what RDTEN1 at RYM pieced together about the band: "Singer/guitarist Gerhard Egger and drummer Hans Joachim Holz met at a college jam session in Linz, Austria.  The two discovered a common affinity for rock and roll, deciding to form a band.  Recruiting Holtz's brother Walter on keyboards, along with bassist  Johann Aigner, and guitarist Gerhard Bauer, they started playing dances and clubs as The Boys, followed by a change in name to The Art Boys Collection. With the third single providing the band with a massive Austrian hit, Lesborne rushed the band into the recording studio to record a supporting album. In spite of flaws, 1972's "Stoned Wall" is a collection that I've long found fascinating. 

With Egger responsible for ten of the twelve songs (Hans Joachim Holz penning the other two), the album wasn't particularly original, but served as a showcase demonstrating the influence American and English rock had throughout the rest of Europe, and in particular on these guys. With all of the material performed in English (accents were seldom a problem on this set), the album found The Art Boys working their way through an extensive catalog of past and then popular rock styles.  Unfortunately they never released the material they recorded for a planned follow-up."

Wolfgang Ambros
This set ends with a curve ball from Wolfgang Ambros from Wolfsgraben. "UFO" has a punk vibe, but he was a prolific and apparently influential singer song-writer who covered many themes and styles. He has released three cover albums (including songs by Bob Dylan, Tom Waits and Hans Moser) along with original pop, rock, blues and folk records. He's famously known for setting the then-new trend in the 1970s known now as Austropop. During his career he has collaborated with countless respected Austrian musicians, including some names in this comp like Christian Kolonovits. At the relatively tender age of 62, he is still actively recording and performing. According to his bio on wikipedia, "His most famous songs are "Schifoan", "Es lebe der Zentralfriedhof" and "Zwickt's mi". "Schifoan" is like an anthem for the Austrian ski tourism and industry. Many Austrian skiers—but also many others—know the lyrics of this song."


Danke für Ihre Aufmerksamkeit, und gute Nacht!

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