Wednesday, April 25, 2012

The Day After The Sabbath 67: The New Order [NWOBHM inspired pt.1]

Download from: [mf] or [mg]
Password:  tdats
During my searches I occaisionally come across bands that have that metallic sound that is ahead of it's time; early 70's bands that have elements of what was later termed the NWOBHM (New Wave Of British Heavy Metal). For some time I have been thinking about collecting them together, so here it is. [Edit: Since making this I have done another, volume 121, and an American equivalent, volume 126] If you have never heard of NWOBHM then I guess I have two words that in my opinion describe it best, Judas Priest. The Birmingham, UK band that started out in the early 70's as a fairly typical hard rock band and had a clear, unique progression from the stylings of Sabbath, Zeppelin et al to the sharper, faster late 70's metal sound, influencing Iron Maiden along the way and kick starting all the 'extreme metal' scenes by being a huge favourite of early thrashers like Metallica and the more evil blackened bands like Venom. In some attempt to show a progression, this is the first comp I have arranged in chronological order.

Fable
I have combined a few of these early-mid 70's finds with a few late 70's bands (and a couple from '80), some of which are recognised as bona-fide NWOBHM originators like Tygers of Pan Tang and Quartz (produced by Tony Iommi) and some which are not but seem to me to fit in with the sound. The Flying Hat Band were a pretty obvious opening choice here, seeing as they were a direct fore-runner of Judas Priest, having Priest's Glenn Tipton on guitar.  Fable were a Canadian band who's long lost 1975 album was recently issued by the Recordplex label and Cool Feet are a band I have used before way back on vol22, recorded by four guys from Luxembourg and the UK in the Cologne studio of Scopions Producer Dieter Dierks.

Along the way we find bands from Sweden (vol28's Rhapsody, White) and The US (Ultra, interview here - Texas, Legend - Connecticut, Survivor - Philadelphia). Ohio's White Boy And The Average Rat Band made a very obscure and very cool fuzz-drenched hard rocker that is said to be the work of just one talented guy, although he borrowed some mates to pose as a fake 'band' for the album cover. Trespass, Sledgehammer and Warrior are three great UK bands that I have come across when trawling through some obscure NWOBHM comps, who only made one or two singles. Warrior being a curio that I found on a 1980 comp called New Electric Warriors, a great track that has more in common with the early 70s' fuzzed-up wah grooves.

For the more metal-minded listeneres out there, this comp will be a real treat, and for those who are not so, this is also just a wicked collection of hard rock so.....enjoy, and more importantly.......\m/ ROCK OUT \m/.


Track List:

01. The Flying Hat Band - Seventh Plain (1973)
       from bootleg 'buried together'
02. Fable - Lady Of The Night (1975)
       from album 'get the "L" outta here!'
03. Cool Feet - In the City (1976)
       from album 'burning desire'
04. Ultra - Mutants (1977)
       from album 'ultra'
05. Rockicks - Reach For The Sky (1977)
       from album 'inside'
06. Quartz - Mainline Riders (1977)
       from album 'quartz'
07. Rhapsody - I've Done All I Can (1978)
       from album 'rhapsody (strange vibrations)'
08. White - Hit The Sky (1979)
       from album 'i denna samling'
09. Tygers of Pan Tang - Don't Touch Me There (1979)
       single
10. Horsepower - Highway Robbery (1979)
       single
11. Legend - The Confrontation (1979)
       from album 'fröm the fjörds'
12. Survivor - The New Order  (1979)
       from album 'all your pretty moves'
13. Sledgehammer - Sledgehammer (1979)
       single
14. Trespass - One Of These Days (1979)
       single
15. White Boy & the Average Rat Band - Leaving Tonight On Vacation (1980)
       from album 'white boy and the average rat band'
16. Warrior - Still On The Outside (1980)
       from compilation 'new electric warriors'


Thanks for listening! Rich

Share via:

Friday, April 6, 2012

The Day After The Sabbath 66: Music's Gotta Stay

Download here: [mf] or [mg]
Unzip password:  tdats
TDATS 66 (on the 6th...) is a good old un-themed selection of the best stuff I have come across recently. As it turns out, all from the classic years 1969 to 1975 and all US or UK artists.

We kick off with Texas's doomy Seompi who's collected tapes were retrospectively released in 1999 by the Gear Fab label, and then on vinyl by Akarma. Missouri's Joe Pritchard pressed only 300 copies of his album in 1974, which has since been re-issued by Radioactive. It's a real curio this one, each track has its own individual flavour and sound, from 12-bar blues to folk to Jazz and then up-beat rockers like "Reason To Be". Archibald was Scottish artist Archie Legget, he recorded in France where he made two great glam-stomping singles. Horse were a very short-lived act that produced one great hard rock album in 1970, they featured members of such excellent bands as Andromeda (guitarist Rod Roach), Atomic Rooster (drummer Ric Parnell) and Saturnalia (Rod Roach and vocalist Adrian Hawkins).

Bluefield, West Virginia's Sweet Toothe made one private-pressing in 1975 called 'Testing'. It has some excellent fuzzy hard rock and there's a very informative review here. San Franciscan Peter Kaukonen is the brother of Jorma Kaukonen, guitarist for various acts such as Jefferson Airplane, Janis Joplin and Hot Tuna. Peter himself was bassist in Jefferson Starship in 1974, and in 1972 he made a solo album called Black Kangaroo which this fine Hendrixian cut, 'Dynamo Snackbar' is taken from.

Long Island NY's The Illusion were a jouneyman heavy psych band who made some good stuff across three albums between 1969 and 1970 but achieved little noteriety for their efforts. The sound was equal parts psych and proto-hard rock and 'Did You See Her Eyes?' shows the transition well. After Splitting, members went to various acts such as Network, Wiggy Bits, Barnaby Bye and Aviator. Youngstown Ohio's Joy made a single album called 'Thunderfoot' in 1972 that had some good southern-style hard rock, embellished with a few prog turns that raise it above the standard fair, good vocalist too, although 'Hasufel' is an instrumental. Expect to hear some more from this album later...

Brooklyn's Majic Ship offer us some fine blusey fuzz from their rare s/t 1969 album and the UK's Hackensack are up next, they featured guitarist Ray Majors who was in a few other notable bands including "Mott" (post-Hoople), and Opal Butterfly (along with a very young Lemmy). They also had singer Nicky Moore who went on to Tiger, then Samson, to replace Bruce Dickinson after he left for Iron Maiden. Oregon's Stepson come in next with 'Suffer', I really like the slow-grinding heaviness of this, and it picks up for a wicked funky bridge too. There is a great Stepson interview here at Psychedelic Baby webzine. Florida's Tin House had two great guitarists, as you can tell from the cool harmonies in 'Silver Star'. One of them, the excellently-named Floyd Radford, also played on the 1971 'Edgar Winter's White Trash' album along with Rick Derringer. There is a interview with Tin House drummer Mike Logan here at Psychedelic Bay webzine.

This instalment ends on two singles from bands that I have found little info on so far, though I think they are both British. Hunter (formed 'of D. Hunter' & 'J. Spear') made a fun brass-reinforced single in 1970 and Taiconderoga's track is especially excellent, that stabbing fuzz guitar is unforgettable and hints at great un-tapped potential...

Track List:

01. Seompi - Almost in the Whole (1970)
       from album 'AWOL'
02. Joe Prichard & Gibraltar - Reason To Be (1974)
       from album 'Joe Prichard & Gibraltar'
03. Archibald - Passing Thoughts (1969)
       single
04. Horse - See The People Creeping Round (1970)
       from album 'horse'
05. Sweet Toothe - Music's Gotta Stay (1975)
       from album 'testing'
06. Peter Kaukonen - Dynamo Snackbar (1972)
       from album 'black kangaroo'
07. The Illusion - Did You See Her Eyes? (1969)
       from album 'the illusion'
08. Joy - Hasufel (1972)
       from album 'thunderfoot'
09. Majic Ship - Too Much (1969)
       from album 'majic ship'
10. Hackensack - River Boat (1974)
       from album 'up the hard way'
11. Stepson - Suffer (1974)
       from album 'stepson'
12. Tin House - Silver Star (1971)
       from album 'tin house'
13. Hunter - Some Time For Thinking (1970)
       single
14. Taiconderoga - Speakin' My Mind (1969)
       single

Thanks for listening! Rich

Share via:

Friday, March 23, 2012

The Day After The Sabbath 65: Southern Heaven


Download from:  [mf] or [mg]
pass:  tdats


The Day After The Sabbath 65: Southern Heaven [Heavy Southern Rock set] by Rich Aftersabbath on Mixcloud

Volume 65 is a collection of southern rock and tracks with that southern feel. What ties bands that have been labelled as Southern Rock together? Rock music and its root in blues, jazz and folk/country, was largely evolved in the south of America, and Gregg Allman commented once that "Southern rock" was a redundant term, like "rock rock". The vocalist's accents (affected or not) and singing styles are definitely a common attribute in the music I studied for this comp, as is the large amounts of overtly love-lorn or romantic, sometimes teeth-clenchingly sappy lyrics, even on some of the hardest-rockers. I guess we can put this down to the romantic cowboy buried deep in the southern man...luckily he also loves the electric guitar, often more than just one can be heard battling it out in these songs.

Track List:
01. Point Blank - Tattooed Lady (1977)
       from album 'second season'
02. Albatross - On The Run (1975)
       from album "rockin' the sky"
03. Atlanta Rhythm Section - Join The Race (1974)
       from album 'third annual pipe dream'
04. Brownsville Station - Sleazy Louise (1977)
       from album 'brownsville station'
05. Baby - Life's What You Make It (1975)
       from album 'baby'
06. Blackfoot - Big Wheels (1975)
       from album 'no reservations'
07. Crosscut Saw - One's Too Many (1975)
       from album 'mad, bad & dangerous to know'
08. The Marshall Tucker Band - Hillbilly Band (1973)
       from album 'the marshall tucker band'
09. Epitaph - Paradise For Sale (1972)
       single
10. Travis Wammack - Funk #49 (1972)
       from album 'travis wammack'
11. George Hatcher Band - I'm Calling (1977)
       from album "talkin' turkey"
12. Kid Dynamite - Music Man (1976)
       from album 'kid dynamite'
13. Swampgas - Eulogy (1972)
       from album 'swampgas'
14. Lafauci - My Woman (1978)
       from album 'lafauci'
15. Target - Runaway (1977)
       from album 'captured'
16.  Dirty Tricks - Black Diamond (1976)
       from album 'hit & run'


Texas's Point Blank made six full-lengths in the 70s and 80s, and definitely made some of the heaviest southern rock I've found so far, plenty of metally riffs and dual guitar from Rusty Burns and Kim Davis can be found here-in! Albatross, reportedly from Salam, Virginia, are hard to find information on. Band member names I have found mentioned are Mike George (vocals), Henry Reid (keyboards) and Gary Ward (guitar). They made a great album dated at 1975 called "Rockin' The Sky" and it features plenty of good honest hard rock with some heavy prog touches like the hammond beefing it up, I highly recommend this. Georgia's Atlanta Rhythm Section were a relatively soft-rock act, sometimes described as skynyrd-lite. They had a slow ascent to a brief pinnacle of success in the late seventies and a performance at the White House for then-president Jimmy Carter, but are little-remembered since then. 'Join The Race' sure has a cool vibe, nice big, but laid-back riffs with some great instrumental interplay.

Brownsville Station hailed from Ann Arbor/Detroit and are chiefly remembered for their 1973 hit, "Smoking in the Boy's Room", which was further popularised by a cover version on Mötley Crüe's 1985 album "Theatre of Pain". They played a lot of styles, and often veered into harder ZZ-Top territory, the release I like in particular being 1977's eponymous LP with its great, fuzzy guitar sound. If you like 'Sleazy Louise', check out 'The Martian Boogie' on Vol57 too. Baby, from Amarillo, Texas, made a couple of albums in the 70s. Another of the more obscure acts here, they played good unpretentious hard rock and the cover of their independently-released eponymous debut from 1974 never fails to raise a smile.

Blackfoot
Jacksonville, Florida's Blackfoot were another band who had a long career from the beginning of the 70s and only briefly attained some kind of success towards the end, by which time they moved further away from Southern rock and into hard rock. Originally called Hammer, they changed their name to Blackfoot to represent the American Indian heritage of bassist Greg T. Walker, drummer Jakson Spires and singer/guitarist Rickey Medlocke (Spires is part Cherokee, Medlocke part Sioux, and Walker part Eastern Creek, a Florida Indians tribe). I especially like the track I have used here "Big Wheels", it has excellent, inventive metallic guitar parts that at times have an almost Thin Lizish, NWOBHM feel, which is very impressive for 1975. At this time even Judas Priest was still peddling early-70s style hard rock.

Tallahassee, Florida’s Crosscut Saw made a great album in 1974, although one of the exponents of sappy lyrics as mentioned in the intro above, they can be forgiven for the stirring, bluesy rock and great sounds from Julien Kasper's constantly phased guitar. Half time, and high time for some proper country rock appreciation with the barn-storming Marshall Tucker Band, from Spartanburg, South Carolina. Signed up to Capricorn Records on their formation, which was the haven of many southern rock standard-bearers like the The Allman Brothers Band, and more surprisingly, the mighty Captain Beyond. They had a long career and are still playing now.

A very young Travis Wammack
Epitaph are a curve-ball inclusion here, a German band, oft described as krautrock, that was very obviously influenced by southern rock. I have used them once before on Vol10 and "Paradise For Sale" was a single b-side from 1973. They had a few tours in America towards the later 70s and like lots of bands here, began to aim for a more commercial stadium sound, they still play occasionally now. Born in 1946, Mississippi's Travis Wammack was a child prodigy guitarist. His first record was issued at twelve years old, at 17 he entered the American charts with an instrumental called "Scratchy". He was employed as a session musician for Fame records, and after a few unsuccessful solo albums he became Little Richard's band leader, he still plays today. This track is taken from his first album, and it shows what an all-round superb musician he was, only adding to the quality of the source material with his impressive voice and southern swagger. A great Travis article is here.

George Hatcher Band
After Tony Bourge quite Budgie in 1978 he was replaced by a guitarist called John Thomas, who played all their subsequent albums until 2000. The reason for this mention is that before Budgie, John was bass player in the George Hatcher Band. George Hatcher was originally from South Carolina, after being a roadie and singer for a few minor acts he sought his fortune in London, UK and his first band was "Stark Naked and the Car Thieves." Two of his first band mates being drummer Stuart Copeland of the later famed Police and Darrell Way of Curved Air. He formed the George Hatcher Band in 1976, which also included Renaissance drummer Terry Slade (who feature on Vol49) There is a great interview with George here. He has since returned to the US where his band still plays.

Kid Dynamite was started by two former members of the Steve Miller Band. Two very rare LP's were released on two different labels, made even harder to find and make sense of by the fact they both came out in 1976 and were both self-titled. Whatever became of them, they made some soulful and slightly funky rock, and a footnote to the story is that their track "Uphill Peace of Mind" was sampled by Dr. Dre on "Nuttin But a G Thang" and by Ultramagnetic MC's on "Feelin' It". Swampgas were from New York and are another band without much history to go on. Their only album, from 1972, was a curious mix of southern influenced rock and pedestrian, mostly acoustic stuff. The two or three good tracks really are rather good though and I used one already on Vol57. Time for sappy lyrics number 2, over great hard rockin'. A very rare piece of Southern Rock from the Cajun areas of Louisiana, only 1000 copies of the self-titled Lafauci were pressed. The band was led by Sal Lafauci (vocals, drums & organ), other members were Chip Weil (bass), Steve Dodds (guitars) and Keith Guidroz (guitar). Guests were Billy Stroud (synthesizer) and Sonny Wall (piano, organ, synthesizer, etc).

Dirty Tricks
Memphis's Target were an early job for Survivor vocalist Jimi Jamison. They made a couple of albums from 1976-7 and 'Runaway' is taken from 1977's 'Captured'. Solid and groovy, sometimes verging on metallic, riffing a-plenty can be found here. This southern-fried volume ends on a UK band, Dirty Tricks. Many of you will be familiar with them already and they were a fave of co-conspirators LibertyCap's and Zischkale's comps. By the time of the third album, their sound had changed, becoming more commercial and further distanced from the first album which had a fair amount of Sabbath-inspiration. ‘Black Diamond’ had a great southern feel to it though. I just read an interesting fact that after Dirty Trick’s demise they rehearsed as Ozzy Osbourne’s backing band during his brief split with Sabbath in 1977, though that ended when Ozzy went back to Sabbath. Some more info on Dirty Tricks can be found here.


Thanks for listening! Rich

Share via:

Sunday, March 11, 2012

The Day After The Sabbath 64: Afterburner (Roadburn Special)

Download here: [mf] or [mg]
Unzip password:  tdats
Here is Volume 64, the second part of the two-part special which started here. As before, I will leave it to the organiser of Roadburn festival in Tilburg, Holland, to explain some more :-

"We're huge supporters of Rich Stonerdoom's The Day After The Sabbath blog. It's the main source in our quest for obscure heavy 60s and 70s rock. Now, Rich has dedicated some of his compilations to Roadburn; these two special volumes include all the classic 70s bands that have played the festival so far, along with tracks from a host of Dutch rock novelties and obscurities, which we wholeheartedly endorse!" - Roadburn festival 2012.

Supersister
Supersister, from The Hague, started out in 1968 and along the way included ex-members of renowned Dutch bands Brainbox, Bintags and Livin'Blues, including drummer Herman van Boeijen who was also in 'Panda' later on this comp. They had a markedly different, more progressive approach than those bluesy bands and are often associated with the English Canterbury scene which they pre-dated by a couple of years. Centering on Robert Jan Stips' intense and at times evil sounding keyboards, 'She Was Naked' was a single that was not originally included on any of their 4 full-lengths, and it perfectly demonstrates their schizophrenic dark/light nature. Our first Roadburn appearance band is Leaf Hound, who played the fest in 2006, and will do so again this year to celebrate their 40th anniversary (though Pete French is the only original member). Leaf Hound's album, 'Growers of mushroom' was re-discovered in the 80s as a lost classic and at times has commanded silly money from record dealers. Evolving from Black Cat Bones, who originally included later-members of Free - Paul Kossoff and Simon Kirke, and guitarist Rod Price who departed to join Foghat, they were joined by vocalist Pete French with his cousin Mick Halls on guitar. French later left to join Atomic Rooster and then Cactus, so he really is something of a TDATS hero! I have been lucky enough to see him perform with Leaf Hound in London a few times in recent years and am glad to report his voice sounds as good as ever!

Panda were a short-lived act from Noord-Holland that included members of Turquoise, Tortilla, Cuby, Livin'Blues, Modesty Blaise, Bintangs and Tee Set. Herman Van Boeyen (drums) later formed Vitesse. They had a minor hit in 1971 with 'No Coockies', of which the b-side "Swingin' About" is interesting to us heavy-hunters, it's an unusual track with a lumbering sabbathian riff and cool flashes of sax and flute. Track four approaches, I have been aware of the Influenza single for a while now, but have always thought it was French, as that is what's usually stated. With the recent assistance of knowledgeable Dutch fans (take another bow Marc) I have confirmed that they were Dutch and drummer Pieter Voogt was in the successful symphonic prog band Ekseption. Both sides of the single "Astral Plane / Trick" are great pieces of West Coast-influenced dreamy psych. 

Speedtwins
Earth & Fire were a Dutch progressive pop group, who made some interesting stuff in their early career which betrayed hard rock influences. The track I've used here called 'Memories' was a single from 1972, it's like an Abba song (stay with me here) that is taken somewhere else entirely by Gerard Koerts' stabs of heavy distorted mellotron, and they went into even harder Sabbath territory with some of their b-sides like Lost Forever. With the presentable Jerney Kaagman fronting the group, I can't help being reminded of retro-minded contemporary bands like Blood Ceremony (who played Roadburn last year). In a slight diversion from the TDATS norm, we move on to some late 70s punk, Speedtwins (see interesting interview with frontman here) appeal to me as they have a rough distorted sound which lends a heavier and more 'rock' sound than average punk has, and their 1978 album 'It's More Fun to Compete' shows genuine don't-give-a-fuck humour beyond mere punk bandwagoneering. From its intro you'd be forgiven for thinking that 'Midnight Ladies' is going down some Sandinista-era Clash route but you'd be wrong...

Originally the "Sandy Coast Skiffle Group", Voorburg's Sandy Coast formed in the early 60s and after winning a Hitwezen Magazine-organised talent search, were awarded a Negram record contract. Being a band that followed the vogue sound of the times, they started out as a beat group with their '67 debut, then delved into some Beatle's and early-Floydish psych sound experimentation with 1968's 'From The Workshop'. With 1969's LP "Shipwreck", they didn't change their over-all sound too much, and remained quite mellow, except for a couple of important exceptions. With their 14 minute masterpiece 'Shipwreck', pre-dating the story-telling inclinations of Rick Wakeman's Journey To The Center of the Earth and Jeff Wayne's War of the Worlds by a few years, they weave an epic mariner's tale of sea-going disaster. By drifting in and out of a heavy, repetitive 'Impossible Mission' theme-like central riff, they convey the ups and downs from a sailor's perspective. Ron Westerbeek's use of keyboards for atmosphere and sound effects, and Onno Bevoort's varied drumming combine to great effect and make for an exciting, tension-building trip. It leaves me wishing they had carried on with this proto-prog pomposity as it shows them in their element, and were a few years ahead of their time with it too.

First Utterance
There is scarce information on Fullhouse from Utrecht, they made two or three singles in the late sixties which were quite light affairs, but like a lot of acts back then, they let go with their less commercial intensions on a b-side. "The Wizard of Khu", like Panda's "Swingin' About", was one of these times, It also has some great aggressive vox and the same lurching quality that really gives the riffs a weighty feeling. Heavy stuff for 1968 and one of those tracks you can imagine a modern stoner rock/doom band having a lot of fun covering. Comus are our penultimate Roadburn band, they played the fest in 2010. They are a folk/art rock band making heavy use of violins and eastern percussion. Although being short-lived in their initial incarnation between 71-74, they are cited as influences by many notable musicians. Opeth have made direct references to their lyrics in more than one song and Current 93's folk-experimentalist David Tibett covered 'Diana' from the first album, 1971's "First Utterance", from which I have also taken "The Bite". They have plans to release new material this year, which will be the first in almost 40 years. Johnny Lion & The Jumping Jewels, from The Hague, started in the early 60's as an instrumental beat group. They achieved a reasonable level of chart success and in '65 a falling-out caused Johnny Lion to go it alone. Legal wrangling meant the remaining members were forced to change their name so they became JaysJays. Taking on Willem Duyn as singer they recorded a self-titled in 1966, from which "Cruncher" is taken. A heavy and reckless jam, Cruncher is the perfect name for it and you can just feel heavy-metal barriers being broken down as it plays out, ending on walls of feedback. Heavy stuff for '66 indeed.


Dragonfly
The core of Vlissingen's Dragonfly were brothers Rudy and Tonny de Queljoe, who moved from Ambon, an island in Indonesia, to The Netherlands in 1951. They went through a number of bands and names with singer Johnny Caljouw until settling with 'Dragonfly', and the addition of Huib Power (drums) plus Carlos van den Berg (guitar). Though showing more than enough potential for success, ultimately they only recorded two high quality singles, which were released together as the EP "4 Celestial Songs" in 1968. Disagreements and a falling out between band and manager led to show cancellations which they never quite recovered from, later the de Queljoe bros went on to Brainbox and Caljouw joined Machine. Machine can be found on Vol.10, and Brainbox on my first ever Dutch comp, vol35 from last year. Dragonfly are remembered for two things in particular, Rudy de Queljoe's fine Hendrixian guitar abilities, and each member’s trade-mark black and white face paint patterns, predating Kiss by a few years.

We come to the final Roadburn band for this pair of comps, Guru Guru, who played in 2008. Like their friends Amon Düül, Can and Xhol Caravan, they were a formative Krautrock band that came out of the leftist political scene of the times, living in communes and promoting free thinking through free-form jazz rock. "Der Elektrolurch" is on their 5th, eponymous album from 1973.

Hans Dulfer
We near the end with Dordrecht's Inca Bullet Joe, who came from the remains of the well known Dutch psych group The Zipps. They only made one EP, but all three tracks are great, "Nothing Has Changed" maintains a constant steady rhythm, with glam stomp. It builds in intensity with layers of synth creating a basic melodic refrain. All these parts lend a unique and memorable over-all feeling that I really like. Again I must give props to Robin Wills' awesome blog for digging this rare 45 out. The end is come with Amsterdam's "Hans Dulfer and Ritmo Natural". After further reading I have discovered that Hans is something of an international celebrity within cross-over jazz and jazz fusion circles. Candy Clouds, from 1971, is one of his earliest, least-known works and has some fine jazz that rock fans who would normally steer clear of anything described using the word 'fusion' (myself included) need not be afraid of, it avoids the usual pitfalls of inaccessible jazz-prog wankery....the track 'Candy Clouds' begins with a simple, HUGE doom riff that brings Sabbath to mind, and his saxophone playing is stripped-down but never less than expressive.

Track List:

01. Supersister - She Was Naked (1970)
       single
02. Leaf Hound - Stagnant Pool (1971)
       from album 'growers of mushroom'
03. Panda - Swingin' About (1971)
       single
04. Influenza - Astral Plane (1971)
       single
06. Earth & Fire - Memories (1972)
       single
07. Speedtwins - Midnight Ladies (1978)
       from album 'it's more fun to compete'
08. Sandy Coast - Shipwreck (1969)
       from album 'shipwreck'
09. Fullhouse - The Wizard of Khu (1968)
       single
10. Comus - The Bite (1970)
       from album 'first utterance'
11. JayJays - Cruncher (1966)
       from album 'Jay-Jays'
12. Dragonfly - Celestial Empire (1968)
       from ep '4 celestial songs'
13. Guru Guru - Der Elektrolurch [edit] (1973)
       from album 'guru guru'
14. Inca Bullet Joe - Nothing Has Changed (1971)
       single
15. Hans Dulfer and Ritmo Natural - Candy Clouds [Pt. I] (1971)
       from album 'candy clouds'

Thanks for listening! Rich

------------------------------------------------------------------------

references:
Alex Gitlin's Nederpop Encyclopedia | Dutch Progessive Rock
Nederbeat | Dutch Sixties Beatgroups | Gooisch Pop Archief

Share via:

Saturday, March 10, 2012

Vol 63 update: improved Mushroom

I have been kindly provided with a far superior sounding rip of the magnificent Mushroom track used on the Dutch Vol63,  I've added it to the main download, I have also made the single track available here if you don't want to download the entire comp again.

The second and final Dutch roadburn comp, vol 64, will be up in the next few days, those of you hankering for some more windmill-propelled doom, go get volume 35 if you haven't already, my first Dutch comp. Rich

Sunday, March 4, 2012

Volume 10 re-vamped: Lonesome Tree


I have improved volume 10 a little, by using some far-better sound quality versions of the Machine and Jukin' Bone tracks, adding more detail to the bios and giving it a title; Lonesome Tree. This is a great time to get it if you haven't already, re-listening to it last night reminded what an excellent, all heavy-riffing volume it is, made in the earlier days of the blog when proto-metal was my main focus. Allow me to take you back in time and get it here.
Enjoy! Rich.

Tuesday, February 28, 2012

The Day After The Sabbath 63: No Sleep Til'burg (Roadburn Special)


Download from: [mf] or  [mg]
Unzip password:  tdats
This and the next volume, 64, makes a two-part special. 64 is here. I will leave it to the organiser of Roadburn festival in Tilburg, Holland, to explain some more :-

"We're huge supporters of Rich Stonerdoom's The Day After The Sabbath blog. It's the main source in our quest for obscure heavy 60s and 70s rock. It’s Rich’s aim to reveal the secret world of bands that were inspired by the early psychedelic, doom and hard rock greats but were too short-lived, un-commercial or just plain unlucky to gain the recognition that they probably deserved at the time. Now, Rich has dedicated some of his compilations to Roadburn; these two special volumes include all the classic 70s bands that have played the festival so far, along with tracks from a host of Dutch rock obscurities, which we wholeheartedly endorse!" - Roadburn festival 2012.

Delft's After Tea was founded in 1967 by Hans van Eyck and Polle Eduard, both ex-members of the Tee Set. Before taking a decidedly heavier approach on their third album (originally self-titled but named 'Joint House Blues' on a later German print) which I used here, the group produced a few Dutch hits like "Not Just A Flower In Your Hair". They split in 1971, after which Polle Eduard and (later member) Uli Grün were joined by guitarist Frank van der Kloot and drummer Shel Schellekens, calling themselves Drama. The Hague's Q65 were a rough and ready garage rock band, notorious for their drug and alcohol intake. They had a brief dalliance with success on the back of some early singles, one of which was promoted by the band's voyage to England in a rubber boat. This proved to be a successful stunt, even though half of them got sea-sick and spent more time on the support craft which was later revealed to have been towing them. They too became heavier in later incarnations and 'Injection' / 'Love Is Such a Good Thing' are from their third album, in 1970.

Track 3 is our first from a band that has played at Roadburn 2009. They should be reasonably well-known to you as one of the original and influential 'krautrock' bands. Amon Düül II emerged from the radical West German commune scene of the late sixties and feature heavily in this great BBC Krautrock ducumentary. There is not much info on Cinderella, except for what I have translated from the cover scans of a 1970s Dutch LP called "Fantasio Daze (Dutch Psychedelic Singles 1968-1971)". There were three girls and a guy; Betty Raatgever (guitar, vox) Renee Sampignon (bass) Bernardine de Jong (keys) and Nico van Es (drums). The track here is a dreamy piece of psychedelic folk, maybe influenced by Fairport Convention, and reportedly they were backed for this single by members of a favourite obscure Dutch band of mine, Blue Planet.

Eindhoven's Mr. Albert Show created three albums and they all show diversity beyond reproach. They managed to successfully turn their hand to what ever sound they wished and my chosen track here is uncharacteristically doomy and down-beat, luckily for us, but it still has their hints of unique strangeness. The next track, from Mushroom, has been a recent recommendation from my Dutch cohort in obscurity, Marc Joseph (of  Vitamin X), and a very intriguing one, I absolutely love the track and have been looking for more information. Our best lead so far is that one stated member, Jacob 'Cocky' Akkerman, is the late brother of Focus guitarist Jan Akkerman. It is also mentioned that Jacob played in an early band of Jan's, 'Johnny & His Cellar Rockers', and drummed on his 1968 solo LP. Pantherman is a track I was saving for a forthcoming glam novelty comp, but I cannot resist using it here as a piece of big fun that fairly rocks with a great hammond and guitar groove. There's not much information to share other than the artist's name was Frank Klunhaar. I must thank Robin of Purepop blog and his tireless search for original 45s, for bringing this one to more attention. [EDIT: a new website entry has appeared: "The recording of the first Pantherman single took place at the well known GTB studio in the Hague. I was assisted by Frans Meijer on drums, a former colleague from the Jimmy Bellmartin Band and Polle Eduard on bass, a well known rock musician and colleague of producer Shell Schellekens in several bands. The rest of the instruments I did myself, as well as all the vocals.

When the record was released on Polydor in Holland, the first reactions were rather mixed: one part of the "serious" Dutch media incrowd found the record weird and somewhat offensive -the lyrics and vocals were too controversial for them-, another smaller part was excited and thrilled.

Three days after the release I was invited to do a -what was to become- unique TV performance on the progressive show 'Nederpopzien' and because my management insisted on a specially developed solo choreography by a professional ballet dancer instead of performing with a rock band, I appeared alone on a small stage in the studio and did my thing just accompanied by some palm trees that were later that year completely demolished by Iggy Pop in a legendary TV appearance.

As a result of all this, the single was also released in Belgium on Polydor and in Germany on Metronome Records and entered the bubbling under charts. France followed later. 

Unfortunately the management company suddenly stopped their activities just after the release and I was on my own again.

Glamrock consisted -in the perception of most pro's in the Dutch and continental European music business and the general public- of the single successes by the mainstream glam acts in the top 40 and based on that Polydor persuaded me to become more commercial instead of developing the concept into a more album oriented direction. With my current knowledge of the music industry I consider this as a lack of A&R vision that unfortunately -in retrospective- severely damaged the potential of the original idea. 

Because I had no magagement and also had the ambition to produce my own records, I started to make somewhat more commercial demos at the Relight Studio in Hilvarenbeek, an 8-track studio with a very specific sound that was at that time not yet into rock music.

In co-operation with owner/engineer Dick van Velden I recorded the follow up single Panther Walk, for which I tried -with a twist- to integrate the funky grooves of the JB's into the basic rock & roll and jungle drums feel of Bo Diddley and during these recording sessions I did play all the instruments. Relight would a little later become a world famous recording studio where Genesis, Peter Gabriel, Boomtown Rats, Robert Fripp, Black Sabbath and many others came to record their albums and I became staff producer there in 1976.

In this period of the 70's you saw a glam artist like David Bowie recording in the Philly studios of Gamble and Huff for his album Young Americans and blue eyed soul artists Hall & Oates and Edgar Winter wear makeup on their record sleeves and looking very "Glam". Where by the way did P-funkateer George Clinton get his ideas for the mothership connection looks and wardrobe? The combination of glam and funk was not very common in those days and dance oriented music in general was often bashed by the more 'serious' pop and rock artists and the rock press. 

The b-side "20th Century Man" reflects the kind of surrealistic fantasy that I described above within a cinematic scenery in a cartoon-like setting.

Despite of the hilariously written 'dance course' by Drs.P -a well known Dutch cabaret artist and lyricist- that was published in several magazines and newpapers, the single was more or less ignored by radio and TV.

Disappointed by the lack of result so far, Polydor suggested to form a band and start touring upon the release of the third single "One Man Band", which title now seems rather contradictionary. At that moment I also decided to put down the Pantherman mask because the concept had not proven very successful.

I rehearsed two or three times with a couple of local musicians that I knew and they also appear on the sleeve of the record, such as the earlier mentioned Frans Meijer on drums, Floris Tuk on guitar (the nice backwards solo on the A-side is his) and bass player Jan Hendriks, later guitar player of one the most famous Duch bands ever called Doe Maar. Except for the guitar solo they didn't actually play on the record.

This single was even more ignored than the others and instead of further persuing a career as an artist, I decided to become a full time record producer with the later to become world famous Relight Studios in Hilvarenbeek."


Incredible Hog are the next Roadburn-appearance band, they played last year in 2011. They should be fairly well-known by now to most people who know my blog. I have seen them play a few times since they re-formed last year (not for the last time I hope) to celebrate Rise Above's re-issue of their only album "Volume 1". They can still rock the house down and I got some film when I saw them in London. There is an interview with band leader/guitarist Gordon Kenney here at Psychedelic Baby webzine. The John Bassman Group started life as a school band in Landgraaf, a municipality in south-eastern Limburg and also where one of Holland's biggest rock fests resides, Pinkpop. Their single album 'filthy sky' was a curious affair, a mix of country-tinged blues tracks, and west coast style psych tracks, these being the ones which frequently hit the mark with awesome fuzzy wah guitar and charismatic vox from Diana Leemhuis. John Theunissen and the 'bassman' Theo Wetzeis later joined Pussycat, who had a novelty hit with "Mississippi" in 1975.

On to track 10 with the next Roadburn band Groundhogs, who appeared at the fest in 2008. They probably don't need too much introduction so I will use these interesting quotes from guitarist Tony McPhee regarding the name of the 1970 album that 'Eccentric Man' is taken from. McPhee recalled the circumstances behind the album with the attention-grabbing title, which ran against fashionable philosophy at the time. McPhee refuses to take the entire credit for this revolutionary theory, admitting: "Well, it was forced on me a bit". Roy Fisher [Groundhogs manager] suggested that McPhee should think of something controversial for the new LP. "John Lennon had just made his famous quote about The Beatles being more popular than Christ, and everyone was up in arms. So Roy said 'Let's marry it up with the bomb. How about 'Thank Christ For The Bomb?'.  So I went home and I had to write these lyrics, and my initial thoughts were that in the First World War, if you were injured you were sent home. And that was my first idea - a soldier is blown up and his toes are blown off so he goes home again. No, that's not enough. So I thought, well, let's make it the atomic bomb, really piss people off."

Rabbit Food, from The Hague, made a single in 1970 with a nice flowing groove, a spritely bass line and sparse effective horns. Alas I can find no mention of them at all save the 45's cover image on a few web sites.

Next up; Apartment 1, who recorded a couple of albums. The first was under their original moniker 'Serpentine', named after a lake in London's Hyde Park. That had a commercial pop sound and most of the members were active session musicians at the time who contributed to acts including OPMC, California License, Big Boy & The Bouncers, The Free Soul, The Family Dog and singer Christine Holmes. For album no2, 'Open House', they turned up the riffs and excellent guitar skills of Peter van der Sande. He later moved on to bass in Focus, and then Solution.

The late pianist Rob Hoeke had an interesting career, not much of it touching on the heavy side that I usually use but it did now and again. Primarily a boogie woogie and blues player, he began in 1957 with his brother Paul in the Rob Hoeke Boogie Woogie Quartet. After an opportunity to sit in on piano with The Rolling Stones in Sweden, R&B became his focus and he formed The Rob Hoeke R&B Group, and other such permutations within his circle of collaborators. The album used here, 'Celsius 232.8', included a few fine psych moments, and some of his singles rocked hard. He had a spot of bad luck in 1974 and lost a couple of fingers on an engine fan while fixing his car, but in 1975 he was back with an album humourously entitled 'Fingerprints'.

So this volume comes to an end with a band that played Roadburn 2007; Blue Cheer. I have chosen a song that was first brought to my attention by hearing Ufomammut's astounding cover on their 1999 'Satan' EP, which I used back on vol38. This brings us nicely full-circle as Ufomammut are a contemporary Roadburn live favourite. Not much needs to be said about these formative San Franciscans I’m sure, as they are frequently referenced amongst the inventors of heavy metal. There are a few interesting points to be brought up about this track though. It's from their lesser-mentioned period after 1968's Outsideinside. The power trio became a four-piece with the addition of 2nd guitarist Randy Holden (See vol2 & vol57). Renowned for his guitar volume and distortion experiments, the resulting album "New! Improved! Blue Cheer" actually came out sounding much cleaner and more restrained compared to previous efforts, this spelt a new chapter for the band and the end of their proto-metal notoriety. My opinion is that the band considered themselves to be developing as musicians, and as their proficiency increased they felt less urge to hide under thick fuzz and distortion. 'Peace of Mind' is an other-worldly track that creates an ambience of it's own just from the sheer intention of the song writing, without having to rely too heavily on effects or other bells and whistles.

Track List:

01. After Tea - You've Got to Move Me (1970)
       from album 'joint house blues'
02. Q65 - Injection / Love Is Such a Good Thing (1970)
       from album 'afghanistan'    
03. Amon Düül II - Stumbling Over Melted Moonlight (1971)
       from album 'tanz der lemminge'
04. Cinderella - From Town to Town (1971)
       single
05. Mr. Albert Show - Electronic Baby (1971)
       from album 'warm motor'
06. Mushroom - Crying For You (1970)
       single
07. Pantherman - Pantherman (1974)
       single
08. Incredible Hog - Tadpole (1973)
       from album 'volume 1'
09. John Bassman Group - Two Rings (1970)
       from album 'filthy sky'
10. Groundhogs - Eccentric Man (1970)
       from album 'thank christ for the bomb'
11. Rabbit Food - My Mind's Phantasy (1970)
       single
12. Apartment 1 - Like A Queen (1970)
       from album 'open house'
13. The Rob Hoeke R&B Group - The Rain Still Falling From Above (1968)
       from album 'celcius 232.8'
14. Blue Cheer - Peace of Mind (1969)
       from album 'new! improved!'

Thanks for listening! Rich
------------------------------------------------------------------------

references:

Alex Gitlin's Nederpop Encyclopedia | Dutch Progessive Rock
Nederbeat | Dutch Sixties Beatgroups | Gooisch Pop Archief

Share via:

Thursday, February 16, 2012

The Day After The Sabbath 62: The DooM That Time Reprised


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

TDATS 62: The DooM That Time Reprised [Doom psych and rock] by Rich Aftersabbath on Mixcloud

Volume 62 is a collection that's been made in the name of Doom. What we have here is mostly progressive rock, from some albums that may or may not have been 'heavy' through-out but had at least one track that invokes that indefinable feeling of impending doom through it's riffs or atmosphere. Back when I started this blog, I was talking to a guy called LibertyCaps on the forum at the now defunct stonerrock.com. He made some great proto-doom comps, all of which I have posted here at some point. Since then I have received many requests for more in his series "The Doom That Time Forgot" so I have decided to make my own follow-up to his great mixes, and what cover artist's work can I use other than the amazing Virgil Finley again? His unearthly, esoteric vignettes where made to be album covers..

Track List:
01. Life (Sweden) - Sailing In The Sunshine (1970)
       from album 'life'
02. Sum Pear (Long Island) - Bring Me Home America (1971)
       from album 'sum pear'
03. Supa Chief (Orange County, CA) - Red Brained Woman (1969)
       single
04. Nautilus (Switzerland) - 20,000 Miles Under The Sea (1978)
       from album '20000 miles under the sea'
05. The Cycle (Toronto) - God (1970)
       from album 'the cycle'
06. The Misunderstood (Riverside, CA) - Golden Glass (1969)
       from retrospective album 'the legendary gold star album'
07. Mad Dog (Bay City, MI) - Strange (1976)
       from album 'mad dog'
08. Czar (UK) - Tread Softly On My Dreams (1970)
       from album 'czar'
09. Enigma! (Mexico) - The Call Of The Woman (1972)
       from album 'enigma!'
10. Invisible (Argentina) - Suspensión (1974)
       from album 'invisible'
11. Country Lane (Switzerland) - With A Sweet Whistle To My Ears (1973)
       from album 'substratum' 


Life
We start with Stockholm, Sweden's Life. The band was started in 1970 and contained three guys who at that time were about 20 years old. Those three were the guitarist and piano player Anders Nordh (Trolls, King George Discovery, Blond) the bassist Paul Sundlin (Trolls, King George Discovery) and the drummer Thomas Rydberg (Rowing Gamblers). It reminds me in a way of krautrockers My solid Ground. Similarly they were all very young, just in their early 20's, but somehow managed to create a very mature sounding record with a mix of rockers and symphonic prog. 'Sailing in the Sunshine' has a feel all of its own.

Sum Pear
Sum Pear were a duo, guitarist/keyboard player Sonny Hahn and singer/keyboard player Doug Miller, who were supported by a rhythm section of bassist Bob Dorsa and drummer John Scaduto for recording their sole album, 'Sum Pear'. It's one of those transitional early 70s albums which confounded it's writers' abilities to cohesively blend what was around so it contains an equal mix of 60s west coast style psych/folk tracks, and tracks with the newer over-driven heavy sound. Orange County, CA's Supa Chief featured Bob DeMalignon on Vocals, the Shattuck brothers (Dan and James) on guitar and drums respectively, Mike Carousal (guitar) and Dennis Koker on bass. They had a particularly bludgeoning guitar sound for 1969 and it's a shame there was no more than a couple of singles from them.

Nautilus
Aarau, Switzerland's Nautilus produced an interesting debut album in 1978. Even then it was probably a little behind the times and not consistently great, but it had a few flashes of grandiose brilliance like the title track included here which succeeds perfectly in its epic pomp-prog intentions, using thick layers of hammond, guitar and vocal harmonies. Like Sum Pear, Toronto's The Cycle (who evolved out of The Magic Cycle) suffered from the pop/psych and hard rock split-identity crisis, with the hypnotising groove of track 'God' thankfully scoring a win on the hard rock side.

The Misunderstood
The Misunderstood, who's story of woe has been well documented, moved from California to the UK just at the right time in the late 60's after being championed by influential radio DJ John Peel. They were plagued by bad luck, such as losing members to the US draft, though they recorded some singles they never managed an album. Glenn Ross Campbell coaxed a maelstrom of anguished sounds from his steel guitar which can be heard on the included track 'Golden Glass'. A later member of the band, the englishman Tony Hill, went on to join the thunderously heavy High Tide, who featured a couple of tracks here including vol3 and vol27.

Czar
From Bay City, MI, Mad Dog's story seems to be another of a band who never found label favour or any other returns for the hard work peddling their heavy style, which was somewhere between the Detroit/MC5 sound and stripped-down heavy metal. They recorded two albums and reportedly played up to 250 shows a year but radio wasn't biting and they disbanded in 1983. The track here 'Strange' is one of their slower numbers that shows their idiosyncratic and fluid, understated abilities. Czar (originally 'Tuesday's Children') were an early prog band that played support for all the right names including Moody Blues, Pink Floyd, The Animals, The Nice, Hendrix, The Who and a budding King Crimson, to name a few. The track used here 'Tread Softly On My Dreams' opens their sole s/t album in an extraordinarily powerful way and taps into the subconscious with a cyclical riff that bears down on you.

Invisible
The comp takes a bit of latin direction with the next two tracks. Enigma! is hard to find info on, but I can tell you they made a self-titled album in 1972 which, apart from this brooding track 'Call Of The Woman', is quite upbeat in the "Chicano Rock" way and has great gravelly vocals from Sergio Gonzalez. Argentina's Invisible employs the distinctive guitar talents of Luis Alberto Spinetta, who has appeared here before on the south american special, vol43. The captivating main riff drifts in and out of the jam, played with Luis's effortless skills going off in any direction he pleases.

Country LAne
Country Lane, from Neuchâtel, Switzerland end the comp. They made one album in 1973 which instead of falling in with the German sounds of the time like most Swiss bands, gives a nod toward the more theatrical stuff from Uriah Heep or Deep Purple, and some say with a bit of early Genesis and their quirky humour. 'With A Sweet Whistle To My Ears' stands out, which begins in a similar way to Czar's track; a huge grinding hammond-assisted riff right up front.



Thanks for listening! Rich

Share via:

Friday, February 3, 2012

The Day After The Sabbath 61: In Your Room [Belgium1]

Download from: [mf] or [mg]
password:  tdats
TDATS 61 is a Collection of Belgian bands. Firstly I must thank the invaluable resource at www.belgianmetalhistory.be which assisted this fine collection, along with suggestions from members of the TDATS fb group. I shall take a quote from the afore-mentioned 'Belgian Metal History' site: "Being in a band wasn’t (isn’t?) mostly an easy thing to do over here. Those who managed to release something on vinyl had often made a lot of sacrifices to chase/reach that goal."

It would appear, as it has done for most of the regional comps I've made, that this was the case for all countries except the UK and America. The most obvious comparison I can make to this volume is the French one I made a few months back, and I would say that this one's sound has a lot less of it's country's individuality stamped upon it, for a start every track is sung in English. This of course could be partly explained by my own taste and selection process, as I have read that Belgium had very strong jazz And progressive rock scenes (the saxophone was invented in Belgium).

We start with Brussel's Waterloo, named after the site of Napoleon's final defeat in 1815, the band was also defeated after this debut album and made no more. They had a very confident proto-prog sound with strong hammond organ. Waterloo leads us nicely to the next track; who's Bass-player Jean-Paul Janssens and drummer Jacky Mauer had been members of the Brussels-based blues-rock power trio Adam's Recital, and here is their only release, the great fuzzy psych of "There's No Place For Lonely People". Aalst's Irish Coffee (see also vol8) started out as a covers band called The Voodoos who cut their teeth with a residency at a dance hall called “El Gringo” in Hekelgem. Brussels' Carriage Company had their first recognition as a very early example of Belgian hard rock band with this b-side "In Your Room". Unfortunately they courted success by becoming less heavy later on and broke up before an album was released. On to Jenghiz Khan which included Pierre Rapsat (bass guitar/vocalist) who started out in a band which also appears later, Liege's "Tenderfoot Kids". Jenghiz Khan's only album came out of the traps sounding extremely confident, with complex multi-instrument arrangements that featured equal amounts of heavy organs and guitar.

Vacation, from Charleroi, were a heavy blues power-trio who's self-financed 1971 LP “Resurrection Of Vacation” was made with tapes from a Belgian national radio (RTB) broadcast, the tracks are very raw but convey their energetic live reputation. Tenderfoot Kids, from Liege, released a string of singles in the 70s before bass player Pierre Rapsat went on to join Jenghiz Khan, mostly pop styles, they had a few rockers too, like this b-side from their final single 'Choo-choo'. Brussels band Kleptomania (meaning: "an irresistible urge to steal items of trivial value") were another example of very early Belgian hard rock, Dany Lademacher's guitar skills being especially prominent in their sound, but alas they too softened their sound later and their only album release was posthumous in 1979, three years after breaking up. From the town of Ath, Dragon stand out in this comp as purveyors of a more polished sounding later-70s sound, changing their name from Burning Light in 1976 at the point of recording their first album, in the UK. They were all multi instrumentalists and delighted in long, considered progressive Floydish compositions like "Crystal Ball" included here.

There is little information on Georgia Brown, but it's some great power-chorded heavy fuzz like The Snap Shots, and we move on to Esperanto. Raymond Vincent was Violinist leader of the London-based Belgian pop group 'Wallace Collection' and embarked on a harder-rocking career after WC split. He played for a short period with Dany Lademacher and Roger Wollaert (who had both left Kleptomania), then with Waterloo's Dirk Bogaert. He used his solo album 'Metronomics' to demo his orchestral-rock inclinations which helped him eventually to get together with like-minded musicians and make three unique sounding albums between 73 and 75, 'On Down The Road' is the first track from the 73 debut 'Rock Orchestra'. Brussel's Doctor Downtrip (later just 'Downtrip'), previously appearing on vol46, made three albums between 73 and 79. In 1970 They gained the guitarist from another Brussels band, Michael Heslop of Burning plague, and all their albums displayed pedestrian blues numbers with flashes of hard rock brilliance, but unfortunately not really enough to credit their instrumental talents. 'Truck Driver' from their 2nd album "If You Don't Rock Now" (1976) is some relentless grinding Southern-rock.

Antwerp's 'Mothers of Track' peddled a Status Quo-style boogie rock with nice grunty guitar, albeit 5 years behind the times, and finished in 1980 when half the band split to form heavy metal band, 'Killer'. I found the 'Creative Craniums' track on a funk rock comp called "Sherm Sticks And Other Nasty Joints" (highly recommended) and there is next to no information available on this one-single band. The comp ends with Mustang, a band who's roots go back to 1966 but did not release an album until 1976's “Born And Still Alive”, while being great energetic hard rock, it was a few years behind the times, though they did build up a following over those years and played their last show on October 21st, 1995 at the Parochiezaal in Rijkevorsel.

Track List:

01. Waterloo - Lonesome Road (1970)
       from album "first battle"
02. Adam's Recital - There's No Place For Lonely People (1967)
       single
03. Irish Coffee - Masterpiece / Down Down Down (1971)
       from album "irish coffee"
04. The Snap Shots - Hip Hip Hurray (1969)
       single
05. Carriage Company - In Your Room (1970)
       single
06. Jenghiz Khan - The Moderate (1971)
       from album "well cut"
07. Vacation - No War Any More (1971)
       from album "resurrection of vacation"
08. Tenderfoot Kids - Man In Black (1970)
       single
09. Mothers of Track - Motorcycle Rock (1976)
       single
10. Kleptomania - Moonchild (1971)
       from album "elephants lost"     
11. Dragon - Crystal Ball (1976)
       from album "dragon"
12. Georgia Brown - Pollution (1973)
       single
13. Esperanto - On Down The Road (1973)
       from album "rock orchestra"     
14. Doctor Downtrip (aka Downtrip) - Truck Driver (1976)
       from album "if you don't rock now"
15. Creative Craniums - C.C.K.54 (1973)
       single
16. Mustang - Kickin' In Blind Doors (1976)
       from album "born and still alive"

Thanks for listening! Rich

Share via:

Sunday, January 22, 2012

The Day After The Sabbath 60: Where There's Muck


Download here: [mf] or [mg]
unzip password:  tdats
TDATS 60 is a collection of tracks that feature brass instruments. Not often associated with hard rock, I set myself this challenge and found some really great music in the end. There was a bit of a "Brass Rock" movement within the progressive scene around the late 60s/early 70s with bands like Blood Sweat & Tears and Chicago being at the commercial forefront. Then there were the lesser-known acts like the UK's Heaven, CWT, and Walrus who embellished their hard rock and heavy jazz sounds with brass.

We start with a real rarity that I must credit an online friend of mine, Marc, for bringing to my attention as I surely would not have found it any other way. Jeff Sturges' Universe was a hard rock big band recorded live at Caesar's Palace in Las Vegas in 1971. Sturges was a member of the One O'Clock Lab Band at North Texas State and went on to become musical director for Tom Jones. Dean Parks, guitarist of the ensemble, was also a member of The One O'clock Lab Band before moving to Los Angeles to work with Sonny and Cher in 1970. Dean is best-known through his many contributions to albums by Steely Dan.

Next up is Minnesota's Crow, and yes, they were the originators of Evil Woman. It appeared on their 1969 album Crow Music, a song soon to be immortalised as Black Sabbath's first single in 1970. Strangely enough, it was also covered by Ike and Tina Turner as 'Evil Man'. Kent, UK's "CWT" made an album of brass-flecked hard rock in 1970 called The Hundredweight, lead by the gravelly-voiced Graham Jones, and the next track is one of my favourites on this volume, that I found on a compilation which celebrates a famous 1971 Mexican rock festival, Festival Rock y Ruedas de Avándaro. División Del Norte used horns-a-plenty, in their energetic mix of sounds. The name "División del Norte" (Eng: Northern Division) came from an armed faction formed following the call to arms from Francisco Madero at the outbreak of the Mexican Revolution in 1910.

The Blood, Sweat & Tears track is taken from their 4th album "BS&T 4". It the heaviest track from this otherwise pop/jazz rock orientated New York ensemble, recorded at a time when they were losing their underground credibility having taken part in a United States Department of State-sponsored tour and recorded a soundtrack for a Barbra Streisand movie, The Owl and the Pussycat. Southampton, UK's Iguana were a very short-lived act who managed to get one album recorded on the Ploydor label before being adopted as Jess Roden's backing band for a few years, effectively ending their own original music writing. Lillestrøm, Norway's Undertakers Circus recorded two albums of brass'n'roll, they are one of the only non-english singing bands here and Birmingham, UK's Galliard had two albums on the Deram/Nova label, which concentrated on the new progressive rock movement of the time, and is a planned theme for a forthcoming comp...

The Alan Bown (originally The Alan Bown Set, and later just 'Alan Bown') trod the well-worn path from 60s psych to early seventies proto-prog, and featured some nice arrangements with the emotive vox of Alan Bown himself. At one point they also included the afore-mentioned Jess Roden, on their 1968 album "The Alan Bown!". This track is taken from the next album 'Listen' which developed a slightly harder edge. Having found Sandston, Virginia's Short Cross for vol53, they are perfect contenders for this one too. An equal mix of blues, hard rock and extra instrumentation, with musicianship and a big production that belies the band's small label and humble origins...doomed to fade into obscurity.

Track 12 features versatile keys man Brian Auger, who had a commercial day job with his backing band The Trinity and collaborations with Julie Driscol (of 'This Wheels on Fire' fame), and a prog night life with bands like Mogul Thrash (see vol20) and his solo 'Oblivion Express' work. Black Cat is a great fun track.

Portsmouth, UK's Heaven debuted at the Isle of Wight festival and were managed by its organiser Rikki Farr. Their debut (and final) double-album "Brass Rock 1" was an ambitious affair which experimented a lot, with patchy results but it does have some of the hardest rocking brass rock I have found so far. Get a load of the dirty bass in "Number 2". The comp ends on a track from a band called 'Room' that regulars here will know I like a lot, I have been awaiting a reason to use this one. Cemetery Junction [Parts I and II] is a gargantuan song of wide vision that distils Room's hard rock, blues and jazz tendencies perfectly into 8 and half minutes of proto-prog bliss. There's even a hint of Sabbath's jazzy swing in the riffs, awesome stuff!

Track List:

01. Jeff Sturges and Universe - Never In My Life (Mountain cover) (1971)
       from album"jeff sturges and universe"
02. Crow - Evil Woman / Gonna Leave a Mark (1969)
       from album "crow music"
03. CWT - Simon's Effort (1973)
       from album "the hundredweight"
04. División Del Norte - It´s A New Day (1971)
       from compilation "festival rock y ruedas de avándaro" (2002)
05. Walrus - Who Can I Trust (1970)
       from album "walrus"
06. Blood, Sweat & Tears - Go Down Gamblin' (1971)
       from album "bs&t 4"
07. Iguana - Iguana (1972)
       from album "iguana"
08. Undertakers Circus - Mor Norge (1973)
       from album "ragnarock"
09. Galliard - Skillet (1969)
       from album "strange pleasure"
10. The Alan Bown - Curfew (1970)
       from album "listen"
11. Short Cross - Nothin' But a Woman (1972)
       from album "arising"
12. Brian Auger & The Trinity - Black Cat (1968)
       single
13. Heaven - Number Two (1971)
       from album "brass rock 1"
14. Room - Cemetery Junction [Parts I and II] (1970)
       from album "pre-flight"

Thanks for listening! Rich

Share via:
Newer Posts Older Posts Home