Showing posts with label _Doom. Show all posts
Showing posts with label _Doom. Show all posts

Sunday, December 1, 2013

The Day After The Sabbath 95: A Shrine to DooM Foregone

Download from: [mf] or [mg]
password:  tdats
Welcome to TDATS 95! It's that time again......another batch of doom-laden misery awaits. Now a tradition here, partly in honour of 'The DooM That Time Forgot' series that was made by RYM friend LibertyCaps a few years ago. For some links to his volumes, and related ones from me, check out the DTTF round-up and check out my most recent doom special: Vol62: The DooM That Time Reprised.

Here we have a diverse mix from all over the world. Some of the tracks are from heavy psych/hard rock albums which I'd recommend to look out for, like those of Fort Mudge Memorial Dump, The Petards, Atlantis Philharmonic, Icecross, Shuttah and Alphataurus. Then we have the more unexpected inclusions like the Australian jazz experimentalists Company Caine and a single from the pop writer Barry Mason.

Once again I have used the art of the talented Virgil Finlay for the cover. Look him up and prepare to be amazed at his vision of dimensions unseen and workings beyond reality.

01. Alphataurus [Italy] - Dopo L'Uragano (1973)
       from album 'alphataurus'
02. Grupa SOS [Serbia] - Magnovenje (1974)
03. Fountain of Youth [US] - Witness People (1969)
04. Fort Mudge Memorial Dump [US] - The Singer (1969)
       from album 'fort mudge memorial dump'
05. Barry Mason - [UK] Over The Hills and Far Away (1966)
06. The Petards - [Germany] Big Boom (1971)
       from album 'pet arts'
07. Missus Beastly - [Germany] Remember - Sweet Girl (1973)
       from album 'super rock - made in germany'
08. The Collectors [Canada] - Teletype Click (1969)
       from album 'grass and wild strawberries'
09. Atlantis Philharmonic [US] - Atlas (1974)
       from album 'atlantis philharmonic'
10. Company Caine [Australia] - The Day Superman Got Busted (1971)
       from album 'a product of a broken reality'
11. Icecross [Iceland] - 1999 (1973)
       from album 'icecross'
12. Shuttah [UK] - Bull Run (1971)
       from album 'the image maker vol 1 & 2'

references/credits: | Flower Bomb Songs | Atlantis
Barry Mason | krautrock-musikzirkus | The |
Jugo Rock Forever |

Alphataurus introduce this set with a fittingly ominous thunder storm, from there the song develops with all the drama and passion you'd expect from Italian prog. They were from Milan and their 1973 s/t album was produced by the Magma label, founded by Vittorio De Scalzi (singer/guitarist) of one of Italy's most important bands, New Trolls (see Vol37). It had a great triple-gatefold cover with a portentous image of a desolate landscape showing a dove of peace dropping bombs, industrial pollution and nuclear war. A pretty clear indicator of the band's world-view at the time.

Alphataurus gatefold LP 1973
Alphataurus gatefold LP (1973)
According to Discogs the line-up that recorded their album was: Alfonso Oliva (bass), Giorgio Santandrea (Drums,percussion), Guido Wasserman (Guitar),  Pietro Pellegrini (Piano, Organ, Moog, Vibraphone, Spinet) and Michele Bavaro (Vocals). The band are still a going concern and you can check their recently updated site at

Grupa SOS
Grupa SOS
A rare inclusion of a Serbian band is next; Grupa SOS. I have not found much information on them, but a little was revealed with help from Ipsissimus Mocata in the TDATS fb group. He pointed out that some members re-appeared in the later-'70s as 'Riblja Čorba', a great band which I had already been saving up for further east-european comps, with the common members being Rajko Kojić (guitar, 1977) and Vicko Milatović (drums, 1977). The track here is a thick slice of prime Black Sabbath worship, some of the most faithful you'll ever hear from the times and full of that evil guitar tone! The rest of Grupa SOS was Miroslav Aleksić Miša (bass, vocals), Dragan Štulović Štuks (guitar, 1972-77), Aleksandar Tasić Tasa (guitar, 1972) and Stevan Stevanović Stiv (drums, 1972-77).

Fountain of Youth LP (unreleased)
Fountain of Youth LP (unreleased)
The Fountain Of Youth are next, a '60s psych band that made only a few singles (though RYM says they made an unreleased album). The lineup was Jimmy Panza (lead vocals & drums, Gary Itri (bass & vocals), Gary Jenschke (lead guitar & vocals) and Ken Molberg (rhythm guitar & vocals). The track I used could be described as sludge-pop, with it's prominent bass combining with the fuzz to create a thick bottom end. I found some great info over at Flower Bomb Songs : "They were a teen group from Fredericksburg, Texas who previously recorded as The Crossfires releasing the following 45:  'Who'll Be The One'/'Making Love Is Fun' (Tower 278)... They came to the attention of the Colgems label who signed them in March 1968 (there is a mention in a Billboard magazine from this time)..

The Fountain of Youth
The Fountain of Youth

Looking at the promo pic of The Fountain Of Youth it shows the teenagers to be a clean cut, square looking combo in psychedelic shirts. By the time of this single, their 4th for Colgems,  I'd be surprised if they looked as wholesome as this. 'Liza Jane' was released in April 1969 and is typical bubblegum pop of that time period. The jewel is the heavy psych flip 'Witness People'... There isn't that much information around about The Fountain Of Youth but they seemingly had a lead singing drummer! Richard Podolor produced their Colgems singles. He also worked with psych outfit The Glass Family, The Starfires, The Standells, The Chocolate Watch Band and many more I'm sure."

The Fort Mudge Memorial Dump
The Fort Mudge Memorial Dump was a recent find for me, and I have to say their s/t 1969 album is something to get excited about. A great combination the heaviest "Boston Sound" psych you'll find, with Caroline Stratton's vocals resembling Grace Slick and some killer guitar workouts from Dean Keady, which in places resemble Hendrix at his sludgy-wah'd best. The track I used here is one of the heaviest and longest from the album, and features a cool emotive male vocal performance which I presume is from one of the other listed members: James Deptula, Dave Amaral or Richard Clerici, but I don't know which. For such a well formed, great-sounding record there is little information to go by but here's what is stated about them: "They were from Walpole, Massachusetts, that started playing by 1969, gathering a good number of fans. They got filed into the “Boston Sound”, among the Ultimate Spinach, the Beacon Street Union, Orpheus, Tangerine Zoo, ect."

Barry Mason
Barry Mason (circa 1967)
Barry Mason is an English popular music song-writer who also sung on occasion, he had a hand in some very famous songs, like Tom Jones' "Delilah" and even an Elvis song, "Girl Of Mine", so he doesn't really come under the banner of obscure/unappreciated artist, but I've included his 1966 track "Over The Hills and Far Away" as it's got a definite doom-laden atmosphere and I love it. A bit of a curve ball, ripe for a heavy cover maybe? Here's Barry performing recently and here's an interview mentioning some or the greats he's worked with:

The Petards
The Petards
The Petards are a German band from Schrecksbach (Schwalm City/Hesse) who I used once before back on Vol82. Over the course of five solid albums they ran the well-worn path from 60s psych, to progressive/hard rock. They have a web site and have played with a close-to-original lineup as recently as 2009. 1972's 'Pet Arts' LP is probably of most interest to TDATS, with brilliant stuff like "Flame Missing Light" and the track I have used here, "Big Boom". They also recorded under the psudonym Flittermouse, and made an album of CCR covers as 'Zonk'.

The 'Missus Beastly' included here are a bit of an enigma. The story goes thus: In 1971 a guy called Henry Fromm posed as the drummer, flautist and even manager of the original German group "Missus Beastly", although they had never met him. Their 1970 debut album was unsuccessful. Soon after, Henry had the album illegally re-released on a budget label. Then he started his own group, stealing the name, and made two LPs and three singles under the name "Missus Beastly" on his own label. Nobody has ever heard of him again. In 1974 the real Missus Beastly reformed after a hiatus and made two more albums.

Henry Fromm's Missus Beastly
Henry Fromm's
Missus Beastly
All this caused me a lot of confusion, after hearing some of the singles from the 'bogus' band and really liking them I wanted to know more and found what was apparently two different-sounding German bands from the same period, with some connection that went further than just sharing the same name, that didn't quite make sense.

I have used a track called "Remember - Sweet Girl" from a live album 'Im Garten des Schweigens - Spinatwachtel'  released by Henry Fromm's version of the band. I must give huge thanks to a guy called Gunnar Bülow who contacted me via Youtube, clearing up the story of the bands and supplying me with the song, thanks man!

The Collectors 1969
Vancouver's The Collectors are another band here with a bit of an unexpected appearance of doom. The track I have used is from their second album, which was based on a hit stage-play of the same name: 'Grass and Wild Strawberries' by George Ryga, with Ryga writing the lyrics. Guitarist Bill Henderson was later in Chilliwack. The Collectors first hit was 'Lydia Purple' and I am pleasently surprised to realise that the song has appeared in TDATS before, on Vol16 as a cover by Holland's Cargo.

Atlantis Philharmonic
Atlantis Philharmonic
Cleveland, Ohio's Atlantis Philharmonic was a duo that made an unusual album in 1974. A well-produced concept piece which was equal parts Sabbath doom and Styxian Midwest prog pretensions, with epic themes and song lengths to match. The song used here, 'Atlas', begins with militaristic stomp and continues with chugging riffs between the prog-pomp verses. The LP was self-recorded and released after a lack of label interest, and a second album was recorded too. All instrumentation was laid-down by only two guys; Joe DiFazio (organ, pianos, harpsichord, Mellotron, Moog, guitar, bass, bass pedals, lead vocals) and Royce Gibson (percussion, backing vocals). Reportedly the band supported some big names like Stxy, Wishbone Ash and King Krimson. There is a small web site regarding the band, that has a link to buy their second album, and some extra info which states that they found a third member Roger Lewis, which would explain how they must have managed to perform such a full sound live:

According to RDTEN1 at RYM, "By the early-'80s DiFazio had largely dropped out of music. He obtained a masters degrees in computer technology from Indiana State University, though he also found time to complete a music degree. He is currently a professor of new media and computer technology at Indiana State University."

Gulliver Smith
Gulliver Smith
Melbourne's Company Caine were another unusual band, that mixed blues and psych with horns. I'm very happy to have just found a live clip of the song I have used here, 'The Day Superman Got Busted': Here's a snippet from the extensive article over at Midoztouch: "[singer] Gulliver Smith's stage presence helped to earn Company Caine renown for their performances, and as the group came together they amassed a strong set of strikingly original material co-written by Gulliver, Russell Smith (guitar) and Jerry Noone (sax). They became established as one of the leading attractions on the Melbourne 'head' circuit, gigging alongside bands like Spectrum, Sons of the Vegetal Mother, Tully and the (new) Aztecs. 
Company Caine LP
Company Caine LP 1971
In the words of Ian McFarlane, "... the band's music was more expansive, more 'out there' than just about every band of the day". But this should not be taken to mean that the music was wilfully obscure or 'difficult'. In fact, notwithstanding the 'freaky' and experimental elements, it was a unique amalgam of rock, pop, blues, soul, R&B, jazz and avant-garde that was both challenging and accessible. Another key feature was the surreal humour that pervaded their work. The fact remains that their music could - and should - have reached a far wider audience."

It's about time Iceland's Icecross appeared on TDATS! The first time I heard the album I thought it was one of those releases with a dubious claim as to the year it was made because it doesn't sound quite like anything else from it's time, which is claimed to be around 1972/3. It seems to have been taken straight to the heart of those who are searching for some direct link between early hard rock and what is now known as extreme metal and the likes of satanic black metal. I can see what would lead to this, the atheistic sentiments of tracks like 'Jesus Freaks' and the doomy,  dissonant and jarring riffs. There's now an informative site for the band here: where you can read about how Axel Einarsson (guitar, vocals), Ómar Óskarsson (bass, vocals) and Ásgeir Óskarsson (drums, vocals) got together. I would regard it as a must-hear album, and whether you like or not you will have to agree it's unique, for it's sound and especially it's country of origin!

Shuttah LP - Shadoks label
Shuttah LP - Shadoks label
Coming to an end for this volume, Shuttah is a mystery indeed. The only available album has been issued on the ever-reliable Shadoks label, on Vinyl and CD. All I can discover and all that anybody seems to know is that this double album was recorded for Virtigo at the IBC studio in London. This studio was used by some of the biggest names, such as The Beatles and The Stones, so it is suspected that who ever Shuttah were, they were not amatures. The album is a progressive mix of psych, blues and experimental sound effects which together makes for an early conceptual progressive rock album, the whole thing is loosly themed around the 2nd world war. The production of the album sounds very professional which is another indicator that it was a serious attempt with money behind it.

IBC studio, London
IBC studio, London
The former IBC owner, Geoff Oliver, claims to have no memory of it at all. What I have not been able to find out yet is how anybody knows the scant details that are stated, such as the year of 1971 and the Vertigo/IBC connection. If anybody out there knows more, drop me a line. Here is what the Shadoks label has to say: "We have searched for a very long time, including an interview with the owner of IBC studios in London where The Who and also The Beatles recorded. We have enquired with copyright control in UK, nothing. We know nothing. We're only aware of one pair of acetates, that are in the hands of a collector." This begs the question, can we really confirm any of what little is known? At the moment, no.

Thanks to all those that have commented and support this blog, and those that have contributed. Lastly, thanks for listening! Rich

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Sunday, November 24, 2013

The DooM That Time Forgot 10

Download from [here] . unzip password:  tdats
In preparation for the next doom-flavoured TDATS, here is The DooM That Time Forgot 10, another of LibertyCap's morbid mixes.

This will be mostly of interest to those who are new to this blog, as almost all of these artists and/or tracks have appeared before on my comps at various times, so look at this as LibertyCap's infernal interpretation of what has come before. Some interesting choices are the famed bands Uriah Heep and Scorpions, who you may not normally associate with doom...

01. Butterfingers - Bootleg '70 (US) 5:39
02. Mahogany Rush - Land of 1000 Nights '75 (CAN) 4:44 (Previously on TDATS 23)
03. Stray - How Could I Forget You? '71 (UK) 5:44 (Stray appeared on TDATS 05)
04. Bullet (aka Daemon aka Hard Stuff) - Jay Time '70 (UK) 2:53 (Seen on TDATS 02)
05. Uriah Heep - Rainbow Demon '72 (UK) 4:27
06. Nahuatl - Evolucion '74 (MEX) 3:29 (previously on TDATS 05 & 89)
07. Strawberry Path - Woman Called Yellow Z '71 (JAP) 5:31
08. The Shiver - Hey Mr. Holy Man '69 (SWI) 3:19
09. Leaf Hound - Drowned my Life in Fear '71 (UK) 3:00 (Previoulsy on TDATS 01 & 64)
10. Pax - Firefly '70 (PERU) 4:58 (Previously on TDATS 08 & 43)
11. Speed, Glue & Shinki - Stoned Out of my Mind '71 (JAP) 6:01 (seen on TDATS 04 & 36)
12. Tucky Buzzard - Which Way, When for Why '71 (UK) 8:01 (Previously on TDATS 15)
13. Scorpions - Animal Magnetism '80 (GER) 5:57

Here are all the previous DooM That Time Forgot volumes, along with TDATS 62 & TDATS 95 which I made in a similar spirit to TDTTF:

Vol 1 | Vol 2 | Vol 3 | Vol 4 | Vol 5 | Vol 6 | Vol 7 | Vol 8 | Vol 9 | Vol 10 | Vol 62 | Vol 95

Enjoy! (or maybe that should that say 'Suffer!')

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Friday, May 17, 2013

The DooM That Time Forgot 9

Download from: [mf]
unzip password:  tdats
Another treat for fans of the doom-orientated episodes of 'The DooM That Time Forgot'; thankfully LibertyCaps is back on the scene with another of his cataclysmic compilations. I know a lot of you will be happy about this as I still get questions regarding his sombre series.

There are a few artists and tracks on here that have appeared previously on TDATS, but it's great to hear them again in the context of the DTTF's morbid visions, Keep your eyes peeled for Volume 10 later on, which is being forged in the fires below as we speak....

01. Bolder Damn - Dead Meat '71 (US) 16:04
02. Gravy Train - Think of Life '70 (UK) 5:08
03. Aunt Mary - G Flat Road '72 (NOR) 5:44
04. Sunbow - Stargazer '76 (UK) 8:32
05. Jodo - I'm Still Trying '71 (UK) 4:51
06. Rag i Ryggen - Sanningsserum '75 (SWE) 6:35
07. The Human Beast - Reality Presented as an Alternative '70 (UK) 5:00
08. Formula 3 - Dies Irae '70 (ITL) 7:36
09. Schwarz Sunday - You Will Not Alter Me '76 (UK) 6:39

Here are all the previous volumes, along with TDATS 62 & 95 which I made in the spirit of TDTTF:

Vol 1 | Vol 2 | Vol 3 | Vol 4 | Vol 5 | Vol 6 | Vol 7 | Vol 8 | Vol 9 | Vol 10Vol 62 | Vol 95

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Saturday, March 9, 2013

The DooM That Time [Remembered]

After many requests, I have re-upped all ten of the DooM That Time Forgot comps. They were made by LibertyCaps a few years ago, a co-member of the defunct site If you don't have them all yet then what are you waiting for? They feature plenty of the best and heaviest doom-mongers of the 60s and 70s. I've also made some TDATS follow-ups to these with 62: 'The DooM That Time Reprised' and 95: 'A Shrine To DooM Foregone'. Downloads here:
Vol 1 | Vol 2 | Vol 3 | Vol 4 | Vol 5 | Vol 6
Vol 7 | Vol 8 | Vol 9 | Vol 10 | Vol 62 | Vol 95
Password is:  tdats

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 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)
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' 

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.

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.

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.

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

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