...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Od dawna oczekiwana, świetnie brzmiąca reedycja wytwórni Eclipse (bijąca na głowę znacznie wcześniejszą, nieprodukowaną, brytyjską wersję Fallout), wydanego w 1969 roku, jedynego albumu kultowej i cenionej w kolekcjonerskich kręgach amerykańskiej formacji. Trio grało dość ciężkiego, gitarowego, momentami bardzo wyrafinowanego i zarazem masywnego rocka, przypominającego trochę skrzyżowanie stylistyki późnych Cream, debiutu Grand Funk i szczypty ówczesnych The Beatles, z zagęszczonymi, zmiennymi rytmami charakterystycznymi dla ówczesnych progresywnych formacji. Bardziej zaawansowani słuchacze mogą muzykę tego zespołu przyrównać do wydanych nieco później płyt Maypole, Felt i Yesterday's Children.

JL



..::TRACK-LIST::..

1. What Of I 5:09
2. Leavin' Trunk 3:24
3. David's Rush 5:12
4. Pourscha Poe 4:29
5. Antique Locomotives 5:25
6. 9-5 '59 5:50
7. I Like Your Company 5:50
8. Yellow Wall 3:50



..::OBSADA::..

Guitar - David Mello
Bass - Richard Porter
Drums - Michael Clemens

Conductor - Ralph Affoumado (tracks: 3, 8)




https://www.youtube.com/watch?v=7q1FMoWKh5E



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

Od dawna oczekiwana, świetnie brzmiąca reedycja wytwórni Eclipse (bijąca na głowę znacznie wcześniejszą, nieprodukowaną, brytyjską wersję Fallout), wydanego w 1969 roku, jedynego albumu kultowej i cenionej w kolekcjonerskich kręgach amerykańskiej formacji. Trio grało dość ciężkiego, gitarowego, momentami bardzo wyrafinowanego i zarazem masywnego rocka, przypominającego trochę skrzyżowanie stylistyki późnych Cream, debiutu Grand Funk i szczypty ówczesnych The Beatles, z zagęszczonymi, zmiennymi rytmami charakterystycznymi dla ówczesnych progresywnych formacji. Bardziej zaawansowani słuchacze mogą muzykę tego zespołu przyrównać do wydanych nieco później płyt Maypole, Felt i Yesterday's Children.

JL



..::TRACK-LIST::..

1. What Of I 5:09
2. Leavin' Trunk 3:24
3. David's Rush 5:12
4. Pourscha Poe 4:29
5. Antique Locomotives 5:25
6. 9-5 '59 5:50
7. I Like Your Company 5:50
8. Yellow Wall 3:50



..::OBSADA::..

Guitar - David Mello
Bass - Richard Porter
Drums - Michael Clemens

Conductor - Ralph Affoumado (tracks: 3, 8)




https://www.youtube.com/watch?v=7q1FMoWKh5E



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

To jest jedna z moich najbardziej ulubionych i najczęściej słuchanych mało znanych płyt! Zremasterowana i bardzo dobrze brzmiąca reedycja nagranego w dwie i pół godziny i wydanego na początku 1969 roku, debiutanckiego albumu autentycznie kultowej, australijskiej formacji. Ten rewelacyjny LP to świetne kompozycje, mnóstwo przesterowanych gitar i sporo psychodelii, czyli skrzyżowanie Hendrixa i Cream ze szczyptą późnych Beatlesów. Na płycie nie ma słabych momentów i po prostu każdy fan starego rocka powinien mieć ten tytuł w kolekcji!

JL


"Evolution" is a very psychedelic album from the Australian surf acids rockers Tamam Shud. There are moments of pure psych prog and other moments are simple rock structures reminiscent of early 60s rock. The vocals of Lindsay Bjerre are raw and unpolished, the songs are short and to the point for the most part, and there were strong rhythms; they were a no frills Aussie product of the psychedelic 60s. A lot of the songs are throwaway 60s fodder but there are a few shining moments.

'It's a beautiful day' has a staccato riff that pulsates along with a simple guitar motif, and then the time signature becomes odd. The guitars have a spacey quality, with very pronounced arpeggios. The lyrics are strange and non sensical; "it's a beautiful day the sound of the symphony...to a house of no ending, the minds are bending..." The time sig completely changes toward the end to an almost whimsical tune.

'Mr Strange' is a rocker with a driving beat and heavy guitars, the drumming is relentless and overblown with crashing cymbals that are constant. The psychedelic lyrics are notable; "it's been a while since we saw you I thought it was very strange, how does it feel Mr Strange, how is the weather today, you've been walking round in the rain... the bird has flown now your seed is sown..." Another blazing rock number with raucous guitars.

'Falling Up' has a quirky riff that sounds a bit like the Crazy World of Arthur Brown in structure and feel. The lead break is a cool surfie refrain typical of the underground 60s, similar to The Sonics or acid rockers The 13th Floor Elevators.

'Jesus Guide Me' is another rocking song and the lead singer Lindsay Bjerre is almost screaming the words 'Jesus Guide Me' as if he is crying out in desperation for help. Perhaps this is like the cry of the Jesus freaks, the long haired hippies that were searching for meaning during the late 60s.

'Lady Sunshine' has a metronome swinging beat that drives it and some unusual guitar noises. The vocals are melodic with typical 60s flower power themes, "lady sunshine let that sunshine in". The stoner rock of the album is evident on these types of throwaway tracks, that seemed designed to get high to rather than to admire any type of musical virtuosity.

The final song is 'Too Many Life' with a very strange structure, a driving beat that moves in metrical shapes slow to fast, and lead guitar breaks that flow along simply but effectively. The lyrics are rebellious anecdotes and the cry of wanting to be free from the system, the cry of the 60s youth; "Too many people using my time, blowing my mind, too many juries, judging my time, jailing my mind..." After the freakout ending, there is a male scream of pain and then a female screaming like she is being murdered and then we hear footsteps down a hallway. It really freaked me out as I wasn't prepared for that disturbing ending. In a way it is like a scream of agony from the youth wanting to be set free from the expectations of conforming to the rules and regulations of the late 60s.

The band are not virtuoso musicians on this album but they make their intentions known in their no-nonsense style in a bunch of songs less than three minutes, with some almost clocking 4 minutes and one clocking in at 7 minutes. They were not designed for prosperity or longevity, Lindsay Bjerre even admitted in a GTK interview that they were not good enough for an American tour and pretty much kept to the surf and sun of Australian shores to bring their music to the masses. Certainly the band were a product of their time and this album was a solid debut; a taste of the underground 60s sound of Aussie prog and is quite a curiosity worth hearing.

AtomicCrimsonRush



..::TRACK-LIST::..

1. Music Train/Evolution 6:39
2. I'm No One 2:08
3. Mr. Strange 2:33
4. Lady Sunshine 4:38
5. Falling Up 2:47
6. Feel Free 3:10
7. It's A Beautiful Day 2:52
8. Jesus Guide Me 3:52
9. Rock On Top 2:48
10. Slow One And The Fast One 6:57
11. Too Many Life 3:01

Bonus Track
12. 'Evolution' Movie Trailer 3:26



..::OBSADA::..

Bass - Peter Barron
Drums - Dannie Davidson
Guitar - Zac Zytnik
Guitar, Vocals - Lindsay Bjerre




https://www.youtube.com/watch?v=zm_lqQ8oyNA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI..


..::OPIS::..

To jest jedna z moich najbardziej ulubionych i najczęściej słuchanych mało znanych płyt! Zremasterowana i bardzo dobrze brzmiąca reedycja nagranego w dwie i pół godziny i wydanego na początku 1969 roku, debiutanckiego albumu autentycznie kultowej, australijskiej formacji. Ten rewelacyjny LP to świetne kompozycje, mnóstwo przesterowanych gitar i sporo psychodelii, czyli skrzyżowanie Hendrixa i Cream ze szczyptą późnych Beatlesów. Na płycie nie ma słabych momentów i po prostu każdy fan starego rocka powinien mieć ten tytuł w kolekcji!

JL


"Evolution" is a very psychedelic album from the Australian surf acids rockers Tamam Shud. There are moments of pure psych prog and other moments are simple rock structures reminiscent of early 60s rock. The vocals of Lindsay Bjerre are raw and unpolished, the songs are short and to the point for the most part, and there were strong rhythms; they were a no frills Aussie product of the psychedelic 60s. A lot of the songs are throwaway 60s fodder but there are a few shining moments.

'It's a beautiful day' has a staccato riff that pulsates along with a simple guitar motif, and then the time signature becomes odd. The guitars have a spacey quality, with very pronounced arpeggios. The lyrics are strange and non sensical; "it's a beautiful day the sound of the symphony...to a house of no ending, the minds are bending..." The time sig completely changes toward the end to an almost whimsical tune.

'Mr Strange' is a rocker with a driving beat and heavy guitars, the drumming is relentless and overblown with crashing cymbals that are constant. The psychedelic lyrics are notable; "it's been a while since we saw you I thought it was very strange, how does it feel Mr Strange, how is the weather today, you've been walking round in the rain... the bird has flown now your seed is sown..." Another blazing rock number with raucous guitars.

'Falling Up' has a quirky riff that sounds a bit like the Crazy World of Arthur Brown in structure and feel. The lead break is a cool surfie refrain typical of the underground 60s, similar to The Sonics or acid rockers The 13th Floor Elevators.

'Jesus Guide Me' is another rocking song and the lead singer Lindsay Bjerre is almost screaming the words 'Jesus Guide Me' as if he is crying out in desperation for help. Perhaps this is like the cry of the Jesus freaks, the long haired hippies that were searching for meaning during the late 60s.

'Lady Sunshine' has a metronome swinging beat that drives it and some unusual guitar noises. The vocals are melodic with typical 60s flower power themes, "lady sunshine let that sunshine in". The stoner rock of the album is evident on these types of throwaway tracks, that seemed designed to get high to rather than to admire any type of musical virtuosity.

The final song is 'Too Many Life' with a very strange structure, a driving beat that moves in metrical shapes slow to fast, and lead guitar breaks that flow along simply but effectively. The lyrics are rebellious anecdotes and the cry of wanting to be free from the system, the cry of the 60s youth; "Too many people using my time, blowing my mind, too many juries, judging my time, jailing my mind..." After the freakout ending, there is a male scream of pain and then a female screaming like she is being murdered and then we hear footsteps down a hallway. It really freaked me out as I wasn't prepared for that disturbing ending. In a way it is like a scream of agony from the youth wanting to be set free from the expectations of conforming to the rules and regulations of the late 60s.

The band are not virtuoso musicians on this album but they make their intentions known in their no-nonsense style in a bunch of songs less than three minutes, with some almost clocking 4 minutes and one clocking in at 7 minutes. They were not designed for prosperity or longevity, Lindsay Bjerre even admitted in a GTK interview that they were not good enough for an American tour and pretty much kept to the surf and sun of Australian shores to bring their music to the masses. Certainly the band were a product of their time and this album was a solid debut; a taste of the underground 60s sound of Aussie prog and is quite a curiosity worth hearing.

AtomicCrimsonRush



..::TRACK-LIST::..

1. Music Train/Evolution 6:39
2. I'm No One 2:08
3. Mr. Strange 2:33
4. Lady Sunshine 4:38
5. Falling Up 2:47
6. Feel Free 3:10
7. It's A Beautiful Day 2:52
8. Jesus Guide Me 3:52
9. Rock On Top 2:48
10. Slow One And The Fast One 6:57
11. Too Many Life 3:01

Bonus Track
12. 'Evolution' Movie Trailer 3:26



..::OBSADA::..

Bass - Peter Barron
Drums - Dannie Davidson
Guitar - Zac Zytnik
Guitar, Vocals - Lindsay Bjerre




https://www.youtube.com/watch?v=zm_lqQ8oyNA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Europejska edycja wydanego w 1972 roku, doskonałego, trzeciego albumu klasyków ciężkiego progresywnego rocka z Japonii. Co prawda zainspirowani po części stylistyką ówczesnych Deep Purple FTB najbardziej znani są z pierwszych dwóch albumów ("Anywhere" z 1970 i "Satori" z 1971), to zrealizowany rok później "Made In Japan", choć w przeważającej części nosił bardziej progresywny charakter, to jakościowo niemal w niczym im nie ustępował! Uwaga! Do zawartości albumu wytwórnia dodała bardzo interesujące, choć nieco odmienne stylistycznie nagranie dodatkowe, czyli "The Flowers", 27-minutowy ciężki, psychodeliczny jam zarejestrowany jeszcze w 1970 roku przez (poprzedzającą Flower Travellin' Band) formację Yuya Uchida & The Flowers



..::TRACK-LIST::..

1. Introduction 0:24
2. Unaware 5:55
3. Aw Give Me Air 3:15
4. Kamikaze 4:20
5. Hiroshima 5:15
6. Spasms 5:20
7. Heaven And Hell 3:40
8. That's All 6:40

Bonus Track from 1969:
9. Yuya Uchida & The Flowers - The Flowers 27:19



..::OBSADA::..

Vocals - Joe Yamanaka
Guitar, Sitar - Hideki Ishima
Bass - Jun Kozuki
Drums - Joji Wada

Guest:
Drums - Paul Delon



https://www.youtube.com/watch?v=GoCkS5MPZAI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Europejska edycja wydanego w 1972 roku, doskonałego, trzeciego albumu klasyków ciężkiego progresywnego rocka z Japonii. Co prawda zainspirowani po części stylistyką ówczesnych Deep Purple FTB najbardziej znani są z pierwszych dwóch albumów ("Anywhere" z 1970 i "Satori" z 1971), to zrealizowany rok później "Made In Japan", choć w przeważającej części nosił bardziej progresywny charakter, to jakościowo niemal w niczym im nie ustępował! Uwaga! Do zawartości albumu wytwórnia dodała bardzo interesujące, choć nieco odmienne stylistycznie nagranie dodatkowe, czyli "The Flowers", 27-minutowy ciężki, psychodeliczny jam zarejestrowany jeszcze w 1970 roku przez (poprzedzającą Flower Travellin' Band) formację Yuya Uchida & The Flowers



..::TRACK-LIST::..

1. Introduction 0:24
2. Unaware 5:55
3. Aw Give Me Air 3:15
4. Kamikaze 4:20
5. Hiroshima 5:15
6. Spasms 5:20
7. Heaven And Hell 3:40
8. That's All 6:40

Bonus Track from 1969:
9. Yuya Uchida & The Flowers - The Flowers 27:19



..::OBSADA::..

Vocals - Joe Yamanaka
Guitar, Sitar - Hideki Ishima
Bass - Jun Kozuki
Drums - Joji Wada

Guest:
Drums - Paul Delon



https://www.youtube.com/watch?v=GoCkS5MPZAI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 3: 1972-1978
1. No Title (We Don't Know Yet) 8:35
2. To Make You See Me 6:20
3. The Witch Queen Of New Orleans 2:46
4. By The Time I Get To Phoenix 4:04
5. Theme From Shaft 3:22
6. We Don't Exist (Alt Version) 3:14
7. Moving Moor (Alt Version #2) 3:21
8. Teenybopper Joe 3:06
9. Rock 'n' Roll Star 3:49
10. Smiley Anne 2:40
11. Who Got The Love? 2:59
12. She Turns Me On 3:09
13. Down To The City 2:38
14. Jubilee 4:12
15. Who Do You Think I Am? 4:23
16. Cruel Woman 3:55
17. The Crack 4:04
18. Susie My Friend 3:24
19. Dial 999 4:12

Previously Unreleased:
1-5 10" acetate LP, recorded March 1972
6-8, recorded spring 1973
9-10 recorded 1973
13 recorded December 1975
14-19 1976-78 recordings
11-12 Pye single, 7N 45589, recorded December 1975, released April 1976




https://www.youtube.com/watch?v=-B2QRSBnqgk



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 3: 1972-1978
1. No Title (We Don't Know Yet) 8:35
2. To Make You See Me 6:20
3. The Witch Queen Of New Orleans 2:46
4. By The Time I Get To Phoenix 4:04
5. Theme From Shaft 3:22
6. We Don't Exist (Alt Version) 3:14
7. Moving Moor (Alt Version #2) 3:21
8. Teenybopper Joe 3:06
9. Rock 'n' Roll Star 3:49
10. Smiley Anne 2:40
11. Who Got The Love? 2:59
12. She Turns Me On 3:09
13. Down To The City 2:38
14. Jubilee 4:12
15. Who Do You Think I Am? 4:23
16. Cruel Woman 3:55
17. The Crack 4:04
18. Susie My Friend 3:24
19. Dial 999 4:12

Previously Unreleased:
1-5 10" acetate LP, recorded March 1972
6-8, recorded spring 1973
9-10 recorded 1973
13 recorded December 1975
14-19 1976-78 recordings
11-12 Pye single, 7N 45589, recorded December 1975, released April 1976




https://www.youtube.com/watch?v=-B2QRSBnqgk



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Od lat oczekiwana edycja wydanego przez Decca w styczniu 1970 roku jedynego, za to świetnego albumu brytyjskiej progresywnej formacji, grającej typowy dla 1969 roku, ambitny blues-jazz-psych rock z saksofonem, fletem i organami Hammonda, w klimacie wczesnych Jethro Tull (z okresu debitanckiego LP "This Was"), Procol Harum, a nawet The Moody Blues - z wokalem przypominającym Davida Clayton-Thomasa z Blood Sweat And Tears. Na gitarze grał niedoceniony Andy Scott - już rok później atakujący riffami w Sweet. Dodatkowo cztery przyzwoite nagrania z rhythm'n'bluesowych/pop-psychodelicznych singli z 1968 roku.

JL


The opening gambit for future Sweet axeman Andy Scott, The Elastic Band were born from the embers of The Silverstone Set, a mid-decade Welsh soul band of some note, who had their minds expanded when they supported some of the emerging underground acts whenever they strayed across the border. When they finally made it to the studio in 1969, their music was a long way from the highly-collectable mod pop of their two early singles, incorporating psych with an amateur proggishness, which remains very endearing, if not very well recorded.



..::TRACK-LIST::..

1. Mother Goose 4:57
2. Last Person In The Bar 5:59
3. Crabtree Farm 4:11
4. Has Anybody Seen Her 4:50
5. Dear John 5:00
6. Room Full Of Room 4:22
7. That's Nice 3:55
8. Life Still Goes On 5:02
9. Sad Jazz 4:36
10. Sunrise Work Till Sunset 6:08

Bonus Tracks From Rare Singles:
11. 8,5 Hours From Paradise (B-side, 1968)
12. Do Unto Others (A-side, 1968)
13. Think Of You Baby (A-side, 1968)
14. It's Been A Long Time Baby (B-side, 1968)



..::OBSADA::..

Bass, Tenor Saxophone - Mike Scott
Drums, Percussion [Cloves] - Sean Jenkins
Guitar - Andy Scott
Organ, Piano, Flute, Harmonica, Congas, Lead Vocals - Ted Yeadon




https://www.youtube.com/watch?v=RvX3iEZyVjI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Od lat oczekiwana edycja wydanego przez Decca w styczniu 1970 roku jedynego, za to świetnego albumu brytyjskiej progresywnej formacji, grającej typowy dla 1969 roku, ambitny blues-jazz-psych rock z saksofonem, fletem i organami Hammonda, w klimacie wczesnych Jethro Tull (z okresu debitanckiego LP "This Was"), Procol Harum, a nawet The Moody Blues - z wokalem przypominającym Davida Clayton-Thomasa z Blood Sweat And Tears. Na gitarze grał niedoceniony Andy Scott - już rok później atakujący riffami w Sweet. Dodatkowo cztery przyzwoite nagrania z rhythm'n'bluesowych/pop-psychodelicznych singli z 1968 roku.

JL


The opening gambit for future Sweet axeman Andy Scott, The Elastic Band were born from the embers of The Silverstone Set, a mid-decade Welsh soul band of some note, who had their minds expanded when they supported some of the emerging underground acts whenever they strayed across the border. When they finally made it to the studio in 1969, their music was a long way from the highly-collectable mod pop of their two early singles, incorporating psych with an amateur proggishness, which remains very endearing, if not very well recorded.



..::TRACK-LIST::..

1. Mother Goose 4:57
2. Last Person In The Bar 5:59
3. Crabtree Farm 4:11
4. Has Anybody Seen Her 4:50
5. Dear John 5:00
6. Room Full Of Room 4:22
7. That's Nice 3:55
8. Life Still Goes On 5:02
9. Sad Jazz 4:36
10. Sunrise Work Till Sunset 6:08

Bonus Tracks From Rare Singles:
11. 8,5 Hours From Paradise (B-side, 1968)
12. Do Unto Others (A-side, 1968)
13. Think Of You Baby (A-side, 1968)
14. It's Been A Long Time Baby (B-side, 1968)



..::OBSADA::..

Bass, Tenor Saxophone - Mike Scott
Drums, Percussion [Cloves] - Sean Jenkins
Guitar - Andy Scott
Organ, Piano, Flute, Harmonica, Congas, Lead Vocals - Ted Yeadon




https://www.youtube.com/watch?v=RvX3iEZyVjI



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po 15 latach swojej znakomitej i niepowtarzalnej kariery, Uncle Acid & The Deadbeats wypuścili coś, co śmiało mogę nazwać ich magnum opus.

Zespół z Cambridgeshire zawsze był znany ze swojego doomowego, undergroundowego brzmienia. Teraz jednak wznieśli się na wyżyny i są gotowi otulić Was najbardziej oryginalnym i tematycznym albumem tego roku!

'Nell' Ora Blu' łączy hiper-tradycyjne elementy, psychodelii i doom'u, prezentując je w zupełnie nowy sposób. Rozbrzmiewające dźwięki syntezatora i organów liżą powierzchnię psychodelii i wprowadzają ją jako nowe idee... Skradają się i zanim się obejrzysz, jesteś nimi otoczony.

To album, którego oczywiście trzeba słuchać w całości od początku do końca, nie ma tu miejsca na wyłuskiwanie poszczególnych utworów, wymaga pełnej uwagi przez cały czas, ale warto wejść w ten świat i doświadczyć wszystkiego, od intensywności i grozy po prawdziwe piękno. To naprawdę jak film.



..::TRACK-LIST::..

1. Il Sole Sorge Sempre (The Sun Always Rises) 5:17
2. Giustizia Di Strada / Lavora Fino Alla Morte (Street Justice / Work Until You Die) 4:41
3. La Vipera (The Viper) 3:36
4. Vendetta (Tema) (Revenge [Theme]) 3:11
5. La Bara Resterà Chiusa (The Casket Will Remain Closed) 3:04
6. Cocktail Party 1:37
7. Il Tesoro Di Sardegna (The Treasure Of Sardinia) 6:00
8. Nell’ Ora Blu (In The Blue Hour) 5:29
9. Il Chiamante Silenzioso (Silent Caller) 2:39
10. Tortura Al Telefono (Telephone Torture) 3:23
11. Pomeriggio Di Novembre Nel Parco / Occhi Che Osservano (November Afternoon In The Park / Watching Eyes) 7:22
12. Il Ritorno Del Chiamante Silenzioso (Silent Caller Returns) 4:13
13. Solo La Morte Ti Ammanetta (Only Death Is Your Handcuff) 4:14
14. Il Gatto Morto (The Dead Cat) 9:17
15. Guidando Veloce Verso La Campagna (Fast Drive To The Country) 2:35
16. L'omicidio (The Killing) 2:00
17. Resti Umani (Human Remains) 8:37
18. Sorge Anche Il Sole (The Sun Also Rises) 3:25
19. Ritorno All'oscurità (To Darkness Again) 1:14




https://www.youtube.com/watch?v=4umAzHDrtXQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Po 15 latach swojej znakomitej i niepowtarzalnej kariery, Uncle Acid & The Deadbeats wypuścili coś, co śmiało mogę nazwać ich magnum opus.

Zespół z Cambridgeshire zawsze był znany ze swojego doomowego, undergroundowego brzmienia. Teraz jednak wznieśli się na wyżyny i są gotowi otulić Was najbardziej oryginalnym i tematycznym albumem tego roku!

'Nell' Ora Blu' łączy hiper-tradycyjne elementy, psychodelii i doom'u, prezentując je w zupełnie nowy sposób. Rozbrzmiewające dźwięki syntezatora i organów liżą powierzchnię psychodelii i wprowadzają ją jako nowe idee... Skradają się i zanim się obejrzysz, jesteś nimi otoczony.

To album, którego oczywiście trzeba słuchać w całości od początku do końca, nie ma tu miejsca na wyłuskiwanie poszczególnych utworów, wymaga pełnej uwagi przez cały czas, ale warto wejść w ten świat i doświadczyć wszystkiego, od intensywności i grozy po prawdziwe piękno. To naprawdę jak film.



..::TRACK-LIST::..

1. Il Sole Sorge Sempre (The Sun Always Rises) 5:17
2. Giustizia Di Strada / Lavora Fino Alla Morte (Street Justice / Work Until You Die) 4:41
3. La Vipera (The Viper) 3:36
4. Vendetta (Tema) (Revenge [Theme]) 3:11
5. La Bara Resterà Chiusa (The Casket Will Remain Closed) 3:04
6. Cocktail Party 1:37
7. Il Tesoro Di Sardegna (The Treasure Of Sardinia) 6:00
8. Nell’ Ora Blu (In The Blue Hour) 5:29
9. Il Chiamante Silenzioso (Silent Caller) 2:39
10. Tortura Al Telefono (Telephone Torture) 3:23
11. Pomeriggio Di Novembre Nel Parco / Occhi Che Osservano (November Afternoon In The Park / Watching Eyes) 7:22
12. Il Ritorno Del Chiamante Silenzioso (Silent Caller Returns) 4:13
13. Solo La Morte Ti Ammanetta (Only Death Is Your Handcuff) 4:14
14. Il Gatto Morto (The Dead Cat) 9:17
15. Guidando Veloce Verso La Campagna (Fast Drive To The Country) 2:35
16. L'omicidio (The Killing) 2:00
17. Resti Umani (Human Remains) 8:37
18. Sorge Anche Il Sole (The Sun Also Rises) 3:25
19. Ritorno All'oscurità (To Darkness Again) 1:14




https://www.youtube.com/watch?v=4umAzHDrtXQ



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 2 - The Way We Feel (1971):
1. Every Time I Hear That Song 2:45
2. Am I 4:08
3. We Don't Exist 5:53
4. Lemon Pie Fair 3:57
5. The Way I Feel 3:20
6. Moving Moor 4:46
7. Jeananette 4:30
8. Hey Girl, You've Got Style 3:00
9. If You Are My Love 6:40

Bonus Tracks:
10. Moving Moor (Alternative Version) 4:47
11. The Way I Feel (Alternative Version) 3:18



..::OBSADA::..

Lead Vocals, Drums - Tony Shakespeare
Organ, Electric Piano - Steve Coe
Bass Guitar, Vocals - Lance Fogg
Electric Guitar, Acoustic Guitar, Vocals - Brian Lee




https://www.youtube.com/watch?v=z1MuXWKS89k



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 2 - The Way We Feel (1971):
1. Every Time I Hear That Song 2:45
2. Am I 4:08
3. We Don't Exist 5:53
4. Lemon Pie Fair 3:57
5. The Way I Feel 3:20
6. Moving Moor 4:46
7. Jeananette 4:30
8. Hey Girl, You've Got Style 3:00
9. If You Are My Love 6:40

Bonus Tracks:
10. Moving Moor (Alternative Version) 4:47
11. The Way I Feel (Alternative Version) 3:18



..::OBSADA::..

Lead Vocals, Drums - Tony Shakespeare
Organ, Electric Piano - Steve Coe
Bass Guitar, Vocals - Lance Fogg
Electric Guitar, Acoustic Guitar, Vocals - Brian Lee




https://www.youtube.com/watch?v=z1MuXWKS89k



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Kapitalny, psychodeliczny album wydany przez kolekcjonerską wytwórnię Vanguard Records w 1968. Bez wątpienia jeden z najlepszych, zapomnianych, amerykańskich tytułów! Dominuje mroczne, dość powolne granie oparte na współbrzmieniu gitary i ciężkich Hammondów.



Michael Tschudin led the Boston-based band Listening, but it is the contributions by former Velvet Underground bassist Walter Powers and guitarist Peter Malick which make this album historic. Powers performed over the years with keyboardist Willie Alexander as members of Capitol Recording Artist the Lost, the aforementioned Velvets, and on Autre Chose, a live album from Alexander released on New Rose in Paris. Peter Malick is best known for being Otis Spann's guitarist and a member of the James Montgomery Band on Capricorn.

Their legendary status in Boston rock & roll history brings positive notoriety to the fine music on this Vanguard release. "So Happy" is the poppiest tune, a cross between the Monkees and the Mojo Men, which is quite misleading. The album runs the gamut from pop to blues to jazz. "Baby Where Are You" is some strange fusion of Motown and the Spencer Davis Group which then veers off in a frenzy of effects and musical jam. Eight of the 11 tracks are written by keyboard/vocalist Michael Tschudin, with three titles attributed to the group. "See You Again," one of the group efforts, is another jam with riffs the Who would greatly appreciate. Phish's success validates how ahead of its time Listening truly was.

There is certainly an identity here as Tschudin takes the boys through all sorts of styles inside the tune "Laugh at the Stars." Elements of Jimi Hendrix, the Band, and the Vanilla Fudge swirl around in the pretty decent production by Michael Chechik. Listening has punch and creativity which deserved a better fate.

Joe Viglione



..::TRACK-LIST::..

1. You're Not There 4:09
2. Laugh At The Stars 4:15
3. 9/8 Song 4:30
4. Stoned Is 4:42
5. Forget It, Man! 3:25
6. I Can Teach You 2:24
7. So Happy 2:34
8. Cuando 2:50
9. Baby: Where Are You? 6:22
10. Fantasy 1:04
11. See You Again 3:45



..::OBSADA::..

Vocals, Drums, Guiro - Ernie Kamanis
Vocals, Vibraphone [Vibes], Keyboards, Congas - Michael Tschudin
Guitar - Peter Malick
Bass, Other [Feelthy Literature] - Walter Powers




https://www.youtube.com/watch?v=dGhiD4IxkWs



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Kapitalny, psychodeliczny album wydany przez kolekcjonerską wytwórnię Vanguard Records w 1968. Bez wątpienia jeden z najlepszych, zapomnianych, amerykańskich tytułów! Dominuje mroczne, dość powolne granie oparte na współbrzmieniu gitary i ciężkich Hammondów.



Michael Tschudin led the Boston-based band Listening, but it is the contributions by former Velvet Underground bassist Walter Powers and guitarist Peter Malick which make this album historic. Powers performed over the years with keyboardist Willie Alexander as members of Capitol Recording Artist the Lost, the aforementioned Velvets, and on Autre Chose, a live album from Alexander released on New Rose in Paris. Peter Malick is best known for being Otis Spann's guitarist and a member of the James Montgomery Band on Capricorn.

Their legendary status in Boston rock & roll history brings positive notoriety to the fine music on this Vanguard release. "So Happy" is the poppiest tune, a cross between the Monkees and the Mojo Men, which is quite misleading. The album runs the gamut from pop to blues to jazz. "Baby Where Are You" is some strange fusion of Motown and the Spencer Davis Group which then veers off in a frenzy of effects and musical jam. Eight of the 11 tracks are written by keyboard/vocalist Michael Tschudin, with three titles attributed to the group. "See You Again," one of the group efforts, is another jam with riffs the Who would greatly appreciate. Phish's success validates how ahead of its time Listening truly was.

There is certainly an identity here as Tschudin takes the boys through all sorts of styles inside the tune "Laugh at the Stars." Elements of Jimi Hendrix, the Band, and the Vanilla Fudge swirl around in the pretty decent production by Michael Chechik. Listening has punch and creativity which deserved a better fate.

Joe Viglione



..::TRACK-LIST::..

1. You're Not There 4:09
2. Laugh At The Stars 4:15
3. 9/8 Song 4:30
4. Stoned Is 4:42
5. Forget It, Man! 3:25
6. I Can Teach You 2:24
7. So Happy 2:34
8. Cuando 2:50
9. Baby: Where Are You? 6:22
10. Fantasy 1:04
11. See You Again 3:45



..::OBSADA::..

Vocals, Drums, Guiro - Ernie Kamanis
Vocals, Vibraphone [Vibes], Keyboards, Congas - Michael Tschudin
Guitar - Peter Malick
Bass, Other [Feelthy Literature] - Walter Powers




https://www.youtube.com/watch?v=dGhiD4IxkWs



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 1 - COMPLEX (1971):
1. Funny Feeling
2. Message From The Year 2000
3. Green-Eyed Lucy
4. Josie
5. Witch's Spell
6. Norwegian Butterfly
7. Self-Declaration
8. Images Blue
9. Storm On Way
10. Mademoiselle Jackie
11. Live For The Minute

Bonus Tracks:
12. Hush (Joe South cover)
13. Images Blue (Alternative Version)
14. Green-Eyed Lucy (Alternative Version)
15. Norwegian Butterfly (Alternative Version)
16. Green-Eyed Lucy (Original Demo Version)


1-11 The album 'Complex', recorded November 1970
12-13 Unreleased at the time 7" acetate, recorded July 1970
14-15 Unreleased at the time, recorded January 1971
16 Previously unreleased, recorded circa mid-1970



..::OBSADA::..

Organ - Steve Coe
Vocals, Drums - Tony Shakespeare
Bass, Vocals - Lance Fogg
Guitar, Vocals - Brian Lee



https://www.youtube.com/watch?v=I3uZuCn9EdA


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


[Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom]



..::OPIS::..

Pierwsza w historii antologia grupy z Blackpool, która samodzielnie wydała jeden z najrzadszych i najdroższych albumów na świecie. W 1970 roku kwartet wytłoczył 99 egzemplarzy (w celu uniknięcia podatku) swojego debiutanckiego albumu, którego okładka, ze względu na wadę produkcyjną, była nieco mniejsza od płyty. W 1971 grupa nagrała drugi album, "The Way We Feel", wydany w sierpniu tego samego roku przez wytwórnię Deroy, ponownie w 99 egzemplarzach. Na trzecim CD znalazło się pięć utworów z zarejestrowanego w 1972 acetatu, a także singiel "Who Got The Love / She Turns Me On" z 1976 i niepublikowane wcześniej nagrania z lat 1973-1978. Płyty znajdują się w kopertach wsuniętych do tekturowego etui, razem z 24-stronicową książeczką zawierającą m.in. historię grupy.



The UK pop psych/progressive rock band Complex issued only two rare albums and one single during their 1971-1978 lifespan, including a self-released debut LP, so sought after that it has fetched as much as 10,000 pounds sterling among collectors.

Cherry Red Records has compiled those recordings, supplemented by contemporary out-takes and a third disc of recordings seeing their first ever release in a new three disc box set on its Grapefruit Records imprint.

Blackpool based Complex, drummer/lead vocalist Tony Shakespeare, lead guitarist/vocalist Brian Lee, bass guitarist/vocalist Lance Fogg and keyboardist Steve Coe, recorded their debut album in November 1970. The LP consisted of eleven tunes, eight written by Coe with his friend Bob Mitchell, two by Coe alone and one by Coe and Shakespeare. Only 99 copies were pressed, distributed and sold or given away. The group had a unique sound led by Coe’s Vox Continental organ, using a Selmer amplifier played through Vox speakers and employing a Binson echo unit. The album opens with organ led pop rocker ‘Funny Feeling’. ‘Message From The Year 2000’ has a delicate melody featuring acoustic guitar and gorgeous vocals. ‘Green-Eyed Lucy’ has a heavy riff supplied by Fogg and Shakespeare and hot lead guitar by Lee who delivers a tasty solo as does Coe. ‘Josie’ is a mellow acoustic tune while ‘Witch’s Spell’ is an acid rocker with two soaring solos and a roaring lead guitar line by Lee. ‘Norwegian Butterfly’ is a melodic commercial number with restrained guitar work by Lee. The six minute ‘Self Declaration’ has a driving beat with Coe’s organ and Lee’s wah wah guitar on display. ‘Images Blue’ is a mid-tempo rocker with the band locked into a gentle groove and Shakespeare’s beautiful vocals giving the song commercial appeal. ‘Storm On Way’ is a pop rocker showcasing Lee’s guitar picking skills. The delicate ‘Mademoiselle Jackie’ is melodic with Coe’s organ to the fore and Lee soloing the song to a close. The album’s highlight, and closing track, is the box set’s title track, with its roaring guitar intro and Lee’s lead line dominating throughout, floating and fluttering, augmented by Shakespeare’s delicate vocals, with Fogg and Shakespeare locking down the bottom end. The disc’s bonus tracks include both sides of an acetate only 45 recorded in July 1970. First is a cover of Joe South’s ‘Hush’ with Lee’s guitar snarling as his lead line soars, his wah wah and reverb aided solo roaring over Shakespeare’s racing drums and Fogg’s throbbing bass. Next is an extended, slower tempo take on ‘Images Blue’ with Lee’s guitar dominant and his solo leisurely flowing over the tune’s delicate melody. The disc also includes alternate versions of ‘Green-Eyed Lucy’ and ‘Norwegian Butterfly’ as well as the original demo version of the latter.

Disc two is built around Compex’s sophomore album ‘The Way We Feel’ recorded in June and July 1971. As with its predecessor, all nine of the LP’s tracks were penned by Coe, seven
co-written with Mitchell. The album opens with a great bit of bubble gum pop, the keyboard driven ‘Every Time I Hear That Song’. ‘Am I’ features a Small Faces-style organ intro and delicate melody, Shakespeare contributing beautiful vocals. Lee’s wah wah laden solo joins Coe’s organ interlude on ‘We Don’t Exist’. ‘Lemon Pie Fair’ is a light hearted piece of pop psych with Coe’s electric piano and Shakespeare’s metronomic drums dominant. ‘The Way I Feel’, the tune responsible for the LP’s title, is another nice bit of bubble gum, with its sunny Tremeloes-like pop sound. Commercially appealing, the track could easily have been a hit. A highlight of the album is the instrumental ‘Moving Moor’ which features Brian Lee cutting loose with a soaring solo and a melodic organ break by Coe, a gorgeous mix of pop and neo-classical rock. Coe’s electric piano and Shakespeare’s echoed vocals are featured on the balladish ‘Jeananette’. ‘Hey Girl You’ve Got Style’ is an organ driven melodic love song with more delicate vocals from Shakespeare. The album closer is its heaviest tune, the nearly seven minute ‘If You Are My Love’, which opens with snarling guitar by Lee, whose lead line is joined by Coe’s jazzy organ and a hard driving riff supplied by Fogg and Shakespeare. Complex shows its ability to rock as Lee’s fuzzed out wah wah laden solo soars with Coe supplying the melody as Lee’s roaring guitar drives the tune and album to a close. The disc is finished off by alternate versions of ‘Moving Moor’ and ‘The Way I Feel’. Like “Complex’ only 99 copies of the LP were pressed and when major labels passed on picking it up Coe decided to relocate to London while the rest of the group remained in Blackpool, the band losing its keyboard player, and more importantly leaving them without a songwriter.

With Coe’s replacement, keyboardist/vocalist Mike Proctor, the new quartet moved in a progressive direction and cut a five track acetate album at Radio Blackburn in March 1972. Side one had two original songs written by the entire band, with Proctor on lead vocals. The eight and a half minute keyboard driven ‘No Title’ is a space rock tinged prog rocker with Proctor’s electric piano to the fore. Fogg’s bass thunders while Shakespeare rides the cymbals, supplying the tune’s heavy groove and Lee playing the song out with a fuzz and feedback filled solo. The six minute ‘To Make Me See You’ is another venture into space rock with Lee’s guitar leading to Proctor’s organ interlude while Fogg and Shakespeare supply a heavy groove and Proctor’s gorgeous vocals make the track melodic. Side two consists of covers of three American hits given British progressive rock treatment. Shakespeare’s striking vocals join the gentle guitar and keyboard work of Proctor on the group’s relaxed, almost hypnotic cover of Redbone’s ‘The Witch Queen Of New Orleans’. Restrained guitar and organ performances by Lee and Proctor respectively join Fogg’s loping bass line and Shakespeare’s gentle drums on Jimmy Webb’s ‘By The Time I Get To Phoenix’ while Proctor’s organ and Lee’s restrained wah wah guitar are featured on a cover of Isaac Hayes’ “Theme From Shaft’ which is complete with female backing vocals. When the tracks failed to result in a recording contract Proctor departed, Keith Shackleton taking over on keyboards. Three tracks were cut in the spring of 1973 in hopes of attracting attention. These included shortened re-recordings of ‘Moving Moor’ and ‘We Don’t Exist’ and a new Shakespeare tune, the breezy pop rocker ‘Teenybopper Joe’ with its tasty lead line and wah wah work by Lee. Undaunted, the group recorded two further tracks in 1973, both competent pop efforts which sadly went unnoticed. The band’s move toward mainstream pop didn’t set well with bassist Fogg who exited the band replaced by Dave Yardley. A final single was recorded in December 1975 and released in April 1976, coupling band manager Johnny Burton penned ‘Who Got The Love’ with the Shackleton original ‘She Turns Me On’, competent though not memorable efforts, which failed to sell. The disc closes with six tracks written by Shackleton, recorded between 1976 and 1978, by which time Carl Hutchinson had taken over drum duties allowing Shakespeare to concentrate on lead vocals. The takes are evidence of Shackleton’s songwriting abilities, highlights being ‘Who Do You Think I Am’, ‘The Crack’ and ‘Susie My Friend’ all featuring strong guitar work by Lee, but failing to result in any further releases. The tracks are definitely pleasant listens and important for historical purposes in documenting the Complex story.

‘Live For The Minute-The Complex Anthology’ comes in a tortoise shell box with each of its three discs in cardboard mini-LP replica sleeves. The set also includes a 24 page full color booklet with an extensive essay by compiler/annotator David Wells as well as many photos of the band, press clippings and other memorabilia. The Complex sounds better than ever thanks to the mastering job of Simon Murphy. The box set, the last word on all things Complex, will appeal to fans of 1970’s pop psych and progressive rock music and comes highly recommended.

Kevin Rathert



..::TRACK-LIST::..

CD 1 - COMPLEX (1971):
1. Funny Feeling
2. Message From The Year 2000
3. Green-Eyed Lucy
4. Josie
5. Witch's Spell
6. Norwegian Butterfly
7. Self-Declaration
8. Images Blue
9. Storm On Way
10. Mademoiselle Jackie
11. Live For The Minute

Bonus Tracks:
12. Hush (Joe South cover)
13. Images Blue (Alternative Version)
14. Green-Eyed Lucy (Alternative Version)
15. Norwegian Butterfly (Alternative Version)
16. Green-Eyed Lucy (Original Demo Version)


1-11 The album 'Complex', recorded November 1970
12-13 Unreleased at the time 7" acetate, recorded July 1970
14-15 Unreleased at the time, recorded January 1971
16 Previously unreleased, recorded circa mid-1970



..::OBSADA::..

Organ - Steve Coe
Vocals, Drums - Tony Shakespeare
Bass, Vocals - Lance Fogg
Guitar, Vocals - Brian Lee



https://www.youtube.com/watch?v=I3uZuCn9EdA


SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Z perspektywy czasu Jody Grind to bardzo niedoceniony, aczkolwiek wyśmienity, brytyjski zespół! Wydany latem 1969, debiutancki "One Step On" zawierał sporą dawkę wczesnego prog-rocka z naleciałościami późnej psychodelii, m.in. utrzymaną w mrocznym klimacie, 19-minutową suitę będącą typowym brytyjskim undergroundem, z mnóstwem rozbudowanych, karkołomnych improwizacji na organach Hammonda oraz kapitalnymi psychodelicznymi partiami gitar. Nasuwa się porównanie do Atomic Rooster, mocnych Procol Harum oraz Briana Augera w jego najbardziej rockowej odsłonie. Cztery krótsze, ale wciąż masywne numery w niczym nie ustępowały pierwszej części!
Fantastyczny album należący do ścisłego kanonu najlepszych brytyjskich płyt 1969 roku! Na dodatek teraz (dość zamulony wcześniej) dźwięk został bardzo przyjemnie poprawiony.



Główną postacią i liderem brytyjskiej grupy JODY GRIND był grający na instrumentach klawiszowych Tim Hinkley. W latach 1964-1966 był członkiem Bo Street Runners, w którym przez pewien czas na perkusji grał Mick Fleetwood, a po jego rozpadzie zasilił Chicago Line Blues Band. W 1968 roku na jego drodze stanął gitarzysta Ivan Zagni mający na swym koncie singla nagranego z grupą The News („The Entertainer”/ „I Count The Tears”) wydany przez Deccę w 1966 roku. Ambicje gitarzysty były dużo większe niż granie cudzych piosenek, co mogło się udać w kapeli The Continentals. Nie udało się… Kiedy do tej dwójki dołączył perkusista Martin Harriman wspólnie założyli rockowy band. Trio początkowo nazwało się Nova, ale dość szybko zmienili nazwę na JODY GRIND kłaniając się tym samym amerykańskiemu pianiście jazzowemu Horace’owi Silvera, którego odkrył sam Stan Getz. Horace Silvera dwa lata wcześniej wydał płytę zatytułowaną nie inaczej jak właśnie „The Jody Grind„.

W kwietniu 1969 roku, kilka dni przed podpisaniem kontraktu z Transatlantic Records Martin Harriman opuścił zespół, a jego miejsce zajął Barry Wilson. W tym składzie weszli do studia nagraniowego i zarejestrowali materiał, nad którym czuwał producent płyty Hugh Murphy. To on namówił muzyków, by w sesji dodatkowo wziął udział basista Louis Cennamo, wówczas członek grupy Renaissance. Mimo, że Hinkley był zdania iż w składzie nie potrzebują basisty (sam pełnił tę rolę ze swymi organami podobnie jak Ray Manzarek w The Doors) propozycji nie odrzucił. I to był dobry krok, choć Cennamo zagrał na basie tylko w trzech utworach. Debiutancki album tria zatytułowany „One Step On” ukazał się w listopadzie jeszcze tego samego roku.

JODY GRIND zaprezentowało tutaj fantastyczną mieszankę dynamicznego, gitarowego rocka z ciężkim brzmieniem organów Hammonda w połączeniu z elementami bluesa, R’n’B i jazzu. Już otwierający płytę, 19-minutowy utwór tytułowy podzielony na cztery części, którego kulminacją jest cover The Rolling Stones „Paint In Black” (pomalowany bardziej psychodelicznymi tonami niż oryginał) zapiera dech w piersi! Brzmi jak bardziej szalona wersja tego, co robili The Web, Greenslade i Beggars Opera razem wzięci do kwadratu (śpiew Hinkleya nawet niewiele różni się od wokalu Martina Griffithsa). Kompozycja opiera się głównie na powolnym i urzekającym temacie z silną jazzową atmosferą przeplataną bombastycznymi partiami Hammonda i gitarą Zagniego, który gra solo przez pierwsze osiem minut bez trudu przechodząc od ciężkich acid rockowych riffów po rozpalone do czerwoności gitarowe orgie. Jego improwizacja jest przyjemna, a przy tym niesamowicie wciągająca. Fantastyczne wstawki sekcji dętej (szacun dla Davida Palmera za aranżacje, które wzbogaciły ogólne brzmienie) nadają szczególnego smaku tworząc smakowite efekty przypominające tak dobrze znane mi fragmenty z „Atom Heart Mother” Pink Floyd. Po tak niesamowitym wstępie wydawać by się mogło, że nic lepszego nas nie czeka. Tymczasem cztery kolejne, tym razem zdecydowanie krótsze nagrania trzymają poziom. Pierwszy z nich, hipnotyczny „Little Message” z nomen omen hipnotyzującym Hammondem, świetnym solem gitarowym wspieranym przez sekcję dętą, z olśniewającym dźwiękiem wspartym pomysłowymi liniami basu i śpiewem w wyższych rejestrach to naprawdę wyższa półka prog rocka w stylu The Nice i Briana Augera. Takie fajne, takie żywe i takie… vintage. Rany, jak mi się to podoba..! Przepiękna, poruszająca ballada „Night Today” w umiarkowanym i łagodnym tempie opiera się na wokalu, sekcji dętej i organów tym razem z zaskakująco miękkim, jazzowym solem Ivana Zagni. Mam wrażenie, że słucham jazz rockowej grupy Chase z gościnnym udziałem Dave’a Brubecka… Dwa ostatnie nagrania eksplorują zdecydowanie mocniejsze pokłady rocka. „USA” to tlący się ciężki blues wciąż wykorzystujący organowo-gitarowy dialog inspirowany hendrixowskim wokalem, zaś „Rock 'n’ Roll Man” jest rodzajem hołdu dla rockowych korzeni lat 50-tych nawiązujący do klasycznego rock and rolla „Johnny B. Good” Chucka Berry’ego...

Po wydaniu „One Step On” różnice muzyczne szybko doprowadziły do konfliktu między liderem zespołu Hinkleyem, a pozostałymi dwoma członkami. Tim Hinkley chciał iść w prostszym, być może bardziej komercyjnym kierunku podczas gdy pozostali dwaj chcieli dalej podążać ścieżką wytyczoną na debiutanckim albumie. W rezultacie lider znalazł się w podobnej sytuacji jak Vincent Crane z Atomic Rooster – miał nazwę, ale nie miał zespołu. Ta sytuacja na szczęście nie trwała długo. Osamotniony Hinkley namówił do współpracy perkusistę Pete’a Gavina i gitarzystę Bernie Hollanda, z którymi pół roku po debiucie wydał drugi album „Far Canal”.

Zibi


It can be a real enigma sometimes how some groups make it and others do not. For no apparent reason, a band who have originality, energy and some fine musicians manage to completely bypass any form of recognition or success. Jody Grind are a classic example. Formed in late 1968 by band leader and keyboard player Tim Hinkley, they released two classic albums which immediately sank without trace. Fortunately, today they are belatedly beginning to receive the recognition they deserve.

The music of Jody Grind is a sort of melting pot of Deep Purple, Chicago, Uriah Heep, Vanilla Fudge, The Nice and many others. It should be remembered though that Jody Grind are more leaders than followers, their albums predating many of the best known releases of those great bands.

The album opens with a stunning 18 minute suite bearing the album's title. This four part epic includes a wonderful cover of the Rolling Stones "Paint it black", the other three sections being self composed. The driving brass and superb guitar work remind me a little of Uriah Heep's great "Salisbury" suite. The track oozes energy and originality, especially when you remember it dates from 1969. The brass sections were actually added after completion of the recording of the album, being arranged by David Palmer (later of Jethro Tull). My only minor gripe is the inclusion of a drum solo, but thankfully it is kept brief.

The following "Little message" continues the magic, the track once again focusing on the instrumental prowess of the band. "Night today" finally sees the band taking a breather, the song being a softer piece featuring more in the way of vocals. While it is a pleasant listen, it lacks the dynamics of those which precede it, and is very much of its time. Anyone who enjoys the obscure one album band Aquila will also enjoy this and the following track "USA". The latter is a straight blues rock number featuring some good guitar work.

The album closes with a Chuck Berry tribute "Rock'n'roll man", a thinly disguised cover of "Johnny B. Goode". Once again some good if predictable guitar work, but the track is by and large the definition of "filler".

In all, a tremendously exciting album which loses its way slightly in the latter part. The first 20+ minutes though are as good as anything you will hear from the period.

Incidentally, the band's name does not reflect that of any of their members, simply being the name of a jazz number by Horace Silver.

Easy Livin


Since I knew the band for the first time (I just known it couple of months ago) I started to search the net and found very limited information about this band. The one I got from Wiki was about the organ player Tim Hinkley but not about Jody Grind. But from what I learn from the net this band was established at the end of 60s. Tim Hinkley was basically a session player for other musicians but nothing was specified in reasonable details about Jody Grind. If you have information about the band please do let me know. Thanks.
Excellent vintage music!

I am so curious about the band because I really love the vintage brass-rock music it delivers and reminds me to bands like Chase or Collosseum. The music is really something that I like. The opening track "One Step On" (18:47) is an epic comprising four parts : a. In My Mind, b. Nothing At All, c. Interaction, and Rolling Stones' d. Paint It Black. This epic really explores the guitar solo by Ivan Zagni who plays the solo wonderfully throughout almost first 8 minuets of the track. There are much of jazz and blues influence throughout the song. His guitar improvisation is really enjoyable and, in fact, captivating. The brass section augments the music nicely. Tim Hinkley's Hammond organ work is also great and another key attraction to the overall track and album!

"Little Message" (4:42) starts brilliantly with Hammond organ punch followed with brass-based music and high register notes vocal work. This is something like Chase, really. The guitar provides its stunning solo afterwards. It's so cool, so lively and so vintage! The organ returns back with dazzling sound backed with inventive bass lines. Oh man .. I like it! "Night Today" (5:04) is a jazzy tunes that moves the album in moderate to mellow tempo. It's another great composition which relies in the combination of vocal, guitar, brass section and organ. I imagine that the music is a blend of Chase and Dave Brubeck's band. The guitar solo really blows me away!

"U.S.A." (6:41) tones down the music a bit with a bluesy style but still using organ and guitar as major components of the music. The guitar exploration now centers around blues notes in a bit rocky singing style and it makes an excellent combination. As the title implies "Rock 'n' Roll Man" (4:31) is Jody Grind's interpretation of rock'n'roll which is delivered excellently. The singing style is excellent especially when it's combined with stunning guitar work.

Overall, this is a gem that you have to own the album if you really love vintage sounds. The key to the music is the guitar work and organ augmented with brass section. The guitar work blows me away. The vocal is also excellent. HIGHLY RECOMMENDED. Keep on proggin' ..!

Gatot



..::TRACK-LIST::..

1. One Step On 18:47
a. In My Mind
b. Nothing At All
c. Interaction
d. Paint It Black
2. Little Message 4:42
3. Night Today 5:04
4. U.S.A. 6:41
5. Rock 'n' Roll Man 4:31

Bonus Track:
6. Paint It Black (Live On TV, 1970) 5:06




..::OBSADA::..

Guitar - Ivan Zagni
Organ [Hammond] - Tim Hinkley
Drums - Barry Wilson

Guest:
Bass - Louis Cennamo (tracks: 1d, 2, 5)




https://www.youtube.com/watch?v=Z6MhReOe83Q



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Z perspektywy czasu Jody Grind to bardzo niedoceniony, aczkolwiek wyśmienity, brytyjski zespół! Wydany latem 1969, debiutancki "One Step On" zawierał sporą dawkę wczesnego prog-rocka z naleciałościami późnej psychodelii, m.in. utrzymaną w mrocznym klimacie, 19-minutową suitę będącą typowym brytyjskim undergroundem, z mnóstwem rozbudowanych, karkołomnych improwizacji na organach Hammonda oraz kapitalnymi psychodelicznymi partiami gitar. Nasuwa się porównanie do Atomic Rooster, mocnych Procol Harum oraz Briana Augera w jego najbardziej rockowej odsłonie. Cztery krótsze, ale wciąż masywne numery w niczym nie ustępowały pierwszej części!
Fantastyczny album należący do ścisłego kanonu najlepszych brytyjskich płyt 1969 roku! Na dodatek teraz (dość zamulony wcześniej) dźwięk został bardzo przyjemnie poprawiony.



Główną postacią i liderem brytyjskiej grupy JODY GRIND był grający na instrumentach klawiszowych Tim Hinkley. W latach 1964-1966 był członkiem Bo Street Runners, w którym przez pewien czas na perkusji grał Mick Fleetwood, a po jego rozpadzie zasilił Chicago Line Blues Band. W 1968 roku na jego drodze stanął gitarzysta Ivan Zagni mający na swym koncie singla nagranego z grupą The News („The Entertainer”/ „I Count The Tears”) wydany przez Deccę w 1966 roku. Ambicje gitarzysty były dużo większe niż granie cudzych piosenek, co mogło się udać w kapeli The Continentals. Nie udało się… Kiedy do tej dwójki dołączył perkusista Martin Harriman wspólnie założyli rockowy band. Trio początkowo nazwało się Nova, ale dość szybko zmienili nazwę na JODY GRIND kłaniając się tym samym amerykańskiemu pianiście jazzowemu Horace’owi Silvera, którego odkrył sam Stan Getz. Horace Silvera dwa lata wcześniej wydał płytę zatytułowaną nie inaczej jak właśnie „The Jody Grind„.

W kwietniu 1969 roku, kilka dni przed podpisaniem kontraktu z Transatlantic Records Martin Harriman opuścił zespół, a jego miejsce zajął Barry Wilson. W tym składzie weszli do studia nagraniowego i zarejestrowali materiał, nad którym czuwał producent płyty Hugh Murphy. To on namówił muzyków, by w sesji dodatkowo wziął udział basista Louis Cennamo, wówczas członek grupy Renaissance. Mimo, że Hinkley był zdania iż w składzie nie potrzebują basisty (sam pełnił tę rolę ze swymi organami podobnie jak Ray Manzarek w The Doors) propozycji nie odrzucił. I to był dobry krok, choć Cennamo zagrał na basie tylko w trzech utworach. Debiutancki album tria zatytułowany „One Step On” ukazał się w listopadzie jeszcze tego samego roku.

JODY GRIND zaprezentowało tutaj fantastyczną mieszankę dynamicznego, gitarowego rocka z ciężkim brzmieniem organów Hammonda w połączeniu z elementami bluesa, R’n’B i jazzu. Już otwierający płytę, 19-minutowy utwór tytułowy podzielony na cztery części, którego kulminacją jest cover The Rolling Stones „Paint In Black” (pomalowany bardziej psychodelicznymi tonami niż oryginał) zapiera dech w piersi! Brzmi jak bardziej szalona wersja tego, co robili The Web, Greenslade i Beggars Opera razem wzięci do kwadratu (śpiew Hinkleya nawet niewiele różni się od wokalu Martina Griffithsa). Kompozycja opiera się głównie na powolnym i urzekającym temacie z silną jazzową atmosferą przeplataną bombastycznymi partiami Hammonda i gitarą Zagniego, który gra solo przez pierwsze osiem minut bez trudu przechodząc od ciężkich acid rockowych riffów po rozpalone do czerwoności gitarowe orgie. Jego improwizacja jest przyjemna, a przy tym niesamowicie wciągająca. Fantastyczne wstawki sekcji dętej (szacun dla Davida Palmera za aranżacje, które wzbogaciły ogólne brzmienie) nadają szczególnego smaku tworząc smakowite efekty przypominające tak dobrze znane mi fragmenty z „Atom Heart Mother” Pink Floyd. Po tak niesamowitym wstępie wydawać by się mogło, że nic lepszego nas nie czeka. Tymczasem cztery kolejne, tym razem zdecydowanie krótsze nagrania trzymają poziom. Pierwszy z nich, hipnotyczny „Little Message” z nomen omen hipnotyzującym Hammondem, świetnym solem gitarowym wspieranym przez sekcję dętą, z olśniewającym dźwiękiem wspartym pomysłowymi liniami basu i śpiewem w wyższych rejestrach to naprawdę wyższa półka prog rocka w stylu The Nice i Briana Augera. Takie fajne, takie żywe i takie… vintage. Rany, jak mi się to podoba..! Przepiękna, poruszająca ballada „Night Today” w umiarkowanym i łagodnym tempie opiera się na wokalu, sekcji dętej i organów tym razem z zaskakująco miękkim, jazzowym solem Ivana Zagni. Mam wrażenie, że słucham jazz rockowej grupy Chase z gościnnym udziałem Dave’a Brubecka… Dwa ostatnie nagrania eksplorują zdecydowanie mocniejsze pokłady rocka. „USA” to tlący się ciężki blues wciąż wykorzystujący organowo-gitarowy dialog inspirowany hendrixowskim wokalem, zaś „Rock 'n’ Roll Man” jest rodzajem hołdu dla rockowych korzeni lat 50-tych nawiązujący do klasycznego rock and rolla „Johnny B. Good” Chucka Berry’ego...

Po wydaniu „One Step On” różnice muzyczne szybko doprowadziły do konfliktu między liderem zespołu Hinkleyem, a pozostałymi dwoma członkami. Tim Hinkley chciał iść w prostszym, być może bardziej komercyjnym kierunku podczas gdy pozostali dwaj chcieli dalej podążać ścieżką wytyczoną na debiutanckim albumie. W rezultacie lider znalazł się w podobnej sytuacji jak Vincent Crane z Atomic Rooster – miał nazwę, ale nie miał zespołu. Ta sytuacja na szczęście nie trwała długo. Osamotniony Hinkley namówił do współpracy perkusistę Pete’a Gavina i gitarzystę Bernie Hollanda, z którymi pół roku po debiucie wydał drugi album „Far Canal”.

Zibi


It can be a real enigma sometimes how some groups make it and others do not. For no apparent reason, a band who have originality, energy and some fine musicians manage to completely bypass any form of recognition or success. Jody Grind are a classic example. Formed in late 1968 by band leader and keyboard player Tim Hinkley, they released two classic albums which immediately sank without trace. Fortunately, today they are belatedly beginning to receive the recognition they deserve.

The music of Jody Grind is a sort of melting pot of Deep Purple, Chicago, Uriah Heep, Vanilla Fudge, The Nice and many others. It should be remembered though that Jody Grind are more leaders than followers, their albums predating many of the best known releases of those great bands.

The album opens with a stunning 18 minute suite bearing the album's title. This four part epic includes a wonderful cover of the Rolling Stones "Paint it black", the other three sections being self composed. The driving brass and superb guitar work remind me a little of Uriah Heep's great "Salisbury" suite. The track oozes energy and originality, especially when you remember it dates from 1969. The brass sections were actually added after completion of the recording of the album, being arranged by David Palmer (later of Jethro Tull). My only minor gripe is the inclusion of a drum solo, but thankfully it is kept brief.

The following "Little message" continues the magic, the track once again focusing on the instrumental prowess of the band. "Night today" finally sees the band taking a breather, the song being a softer piece featuring more in the way of vocals. While it is a pleasant listen, it lacks the dynamics of those which precede it, and is very much of its time. Anyone who enjoys the obscure one album band Aquila will also enjoy this and the following track "USA". The latter is a straight blues rock number featuring some good guitar work.

The album closes with a Chuck Berry tribute "Rock'n'roll man", a thinly disguised cover of "Johnny B. Goode". Once again some good if predictable guitar work, but the track is by and large the definition of "filler".

In all, a tremendously exciting album which loses its way slightly in the latter part. The first 20+ minutes though are as good as anything you will hear from the period.

Incidentally, the band's name does not reflect that of any of their members, simply being the name of a jazz number by Horace Silver.

Easy Livin


Since I knew the band for the first time (I just known it couple of months ago) I started to search the net and found very limited information about this band. The one I got from Wiki was about the organ player Tim Hinkley but not about Jody Grind. But from what I learn from the net this band was established at the end of 60s. Tim Hinkley was basically a session player for other musicians but nothing was specified in reasonable details about Jody Grind. If you have information about the band please do let me know. Thanks.
Excellent vintage music!

I am so curious about the band because I really love the vintage brass-rock music it delivers and reminds me to bands like Chase or Collosseum. The music is really something that I like. The opening track "One Step On" (18:47) is an epic comprising four parts : a. In My Mind, b. Nothing At All, c. Interaction, and Rolling Stones' d. Paint It Black. This epic really explores the guitar solo by Ivan Zagni who plays the solo wonderfully throughout almost first 8 minuets of the track. There are much of jazz and blues influence throughout the song. His guitar improvisation is really enjoyable and, in fact, captivating. The brass section augments the music nicely. Tim Hinkley's Hammond organ work is also great and another key attraction to the overall track and album!

"Little Message" (4:42) starts brilliantly with Hammond organ punch followed with brass-based music and high register notes vocal work. This is something like Chase, really. The guitar provides its stunning solo afterwards. It's so cool, so lively and so vintage! The organ returns back with dazzling sound backed with inventive bass lines. Oh man .. I like it! "Night Today" (5:04) is a jazzy tunes that moves the album in moderate to mellow tempo. It's another great composition which relies in the combination of vocal, guitar, brass section and organ. I imagine that the music is a blend of Chase and Dave Brubeck's band. The guitar solo really blows me away!

"U.S.A." (6:41) tones down the music a bit with a bluesy style but still using organ and guitar as major components of the music. The guitar exploration now centers around blues notes in a bit rocky singing style and it makes an excellent combination. As the title implies "Rock 'n' Roll Man" (4:31) is Jody Grind's interpretation of rock'n'roll which is delivered excellently. The singing style is excellent especially when it's combined with stunning guitar work.

Overall, this is a gem that you have to own the album if you really love vintage sounds. The key to the music is the guitar work and organ augmented with brass section. The guitar work blows me away. The vocal is also excellent. HIGHLY RECOMMENDED. Keep on proggin' ..!

Gatot



..::TRACK-LIST::..

1. One Step On 18:47
a. In My Mind
b. Nothing At All
c. Interaction
d. Paint It Black
2. Little Message 4:42
3. Night Today 5:04
4. U.S.A. 6:41
5. Rock 'n' Roll Man 4:31

Bonus Track:
6. Paint It Black (Live On TV, 1970) 5:06



..::OBSADA::..

Guitar - Ivan Zagni
Organ [Hammond] - Tim Hinkley
Drums - Barry Wilson

Guest:
Bass - Louis Cennamo (tracks: 1d, 2, 5)




https://www.youtube.com/watch?v=Z6MhReOe83Q



Ponieważ wiem, iż bywają problemy z pobraniem moich wstawek bardzo proszę osoby, którym się to udało o udostępnianie innym użytkownikom.
Nie zachowujcie się jak pisowsko-konfederackie ścierwa...
Przekaz POLSKI, nie lewacki... ***** *** i konfederacje!!!
W 1989 roku dostaliśmy ogromną szansę wyjścia z ruskiej dupy... Nie dajmy się znowu tam wcisnąć!!!



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie 80-minutowy CD, zawierający świetny i po masteringu bardzo dobrze, choć nie idealnie (jakieś 20% lepiej niż wersje na YouTube) brzmiący występ ze szwedzkiego Lund, z 20 marca 1970 - zarejestrowany pomiędzy albumami "Ummagumma" i "Atom Heart Mother". Zespół wykonał swoje najpopularniejsze/najlepsze utwory. Fani mogą znać tutejszą wersję "Interstellar Overdrive" z wydanego przez Top Gear podwójnego CD "Collection Of Rare LIVE Instrumentals (1969-1971)".

To jest PF jaki najbardziej uwielbiam - wciąż eksperymentalny, wciąż jeszcze czarujący psychodelicznym brzmieniem, ale niebojący się niemal hardrockowo 'przyłożyć'! Zespół był wówczas u szczytu formy, a na koncertach z tego okresu zdołał wypracować sobie wyjątkowo soczyste, pełne brzmienie z niesamowitymi partiami Gilmoura i Wrighta. Potem (po 1973 roku) to już nie było to...

JL



..::TRACK-LIST::..

1. Astronomy Domine 9:20
2. Careful With That Axe, Eugene 11:34
3. Cymbaline 7:29
4. A Saucerful of Secrets 13:22
5. Embryo 8:54
6. Set The Controls For The Heart Of The Sun 11:48
7. Interstellar Overdrive 13:36
8. Atom Heart Mother (reprise) 3:05

Akademiska Foreningens Stora Sal Lund, Sweden March 20th 1970.
Very good to excellent audience recording.



..::OBSADA::..

Bass Guitar, Vocals - Roger Waters
Drums, Percussion - Nick Mason
Guitar, Vocals - David Gilmour
Keyboards, Vocals - Richard Wright



https://www.youtube.com/watch?v=NAFbGIcmR50



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie 80-minutowy CD, zawierający świetny i po masteringu bardzo dobrze, choć nie idealnie (jakieś 20% lepiej niż wersje na YouTube) brzmiący występ ze szwedzkiego Lund, z 20 marca 1970 - zarejestrowany pomiędzy albumami "Ummagumma" i "Atom Heart Mother". Zespół wykonał swoje najpopularniejsze/najlepsze utwory. Fani mogą znać tutejszą wersję "Interstellar Overdrive" z wydanego przez Top Gear podwójnego CD "Collection Of Rare LIVE Instrumentals (1969-1971)".

To jest PF jaki najbardziej uwielbiam - wciąż eksperymentalny, wciąż jeszcze czarujący psychodelicznym brzmieniem, ale niebojący się niemal hardrockowo 'przyłożyć'! Zespół był wówczas u szczytu formy, a na koncertach z tego okresu zdołał wypracować sobie wyjątkowo soczyste, pełne brzmienie z niesamowitymi partiami Gilmoura i Wrighta. Potem (po 1973 roku) to już nie było to...

JL



..::TRACK-LIST::..

1. Astronomy Domine 9:20
2. Careful With That Axe, Eugene 11:34
3. Cymbaline 7:29
4. A Saucerful of Secrets 13:22
5. Embryo 8:54
6. Set The Controls For The Heart Of The Sun 11:48
7. Interstellar Overdrive 13:36
8. Atom Heart Mother (reprise) 3:05

Akademiska Foreningens Stora Sal Lund, Sweden March 20th 1970.
Very good to excellent audience recording.



..::OBSADA::..

Bass Guitar, Vocals - Roger Waters
Drums, Percussion - Nick Mason
Guitar, Vocals - David Gilmour
Keyboards, Vocals - Richard Wright



https://www.youtube.com/watch?v=NAFbGIcmR50



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsze w historii wydanie albumu kultowej psychodelicznej grupy, prowadzonej przez Gartha Watt-Roya (m.in. Greatest Show On Earth, Fuzzy Duck, Steamhammer, a także solowa płyta pod pseudonimem Leon Paul-Phillips) i jego młodszego brata, Normana (Greatest Show On Earth, Ian Dury & The Blockheads).
Niestety ukazanie się płyty zależało od powodzenia pierwszych dwóch singli, a te nie 'zawojowały' list przebojów. Udało się to dopiero teraz, a do wersji mono i stereo dołączono brytyjski, amerykański i japoński singiel.



First-ever issue of unknown Summer-of-1967 album by cult UK psychedelic pop group Living Daylights.

Mono and stereo mixes of the album are joined by their brace of highly collectable singles, including their near- hit recording of 'Let's Live For Today'

Led by Garth Watt-Roy and his younger brother (future Blockhead) Norman, five-piece Harlow band Living Daylights signed with Beatles publisher Dick James in 1967. Paired with a studio production team that included Caleb Quaye, the band were given a song that James published, 'Let's Live For Today', as their debut single.

Released in April 1967, it entered Radio London's Fab Forty after being championed by the pirate station's DJ John Peel. Also issued in America, the song showed significant sales potential, and Dick James decided the band should record an album that would be rushed out if the single became a success. Unfortunately, 'Let's Live For Today' lost
out to a cover version by American band The Grass Roots, who scored a US Top Ten hit. Without a hit to support it, the Living Daylights’ album failed to appear, and the band split after a second single failed to find favour.

55 years later, that album finally gains a release, with mono and stereo mixes joined by their UK singles and American and Japanese versions. ‘Let's Live For Today: The Complete Recordings’ is a vital addition to the pantheon of British psychedelic pop albums from the epochal year of 1967. This release includes a booklet that tells the band's story for the first time, with quotes from both Garth and Norman Watt-Roy as well as the first-ever accurate band line-up and their tangential link to another Dick James project, Elliots Sunshine.



..::TRACK-LIST::..

Mono Album
1. Let's Live For Today 2:55
Written By-Julien, Mogol, Shapiro

2. It’s Real (aka I’m Real) 2:30
Written By-Watt-Roy

3. Cos I’m Lonely 3:01
Written By-Quaye

4. Up So High 2:17
Written By-Watt-Roy

5. Say You Don’t Mind 3:00
Written By-Laine

6. Jane 2:08
Written By-Watt-Roy

7. What'cha Gonna Do About It 2:38
Written By-Payne, Carroll

8. Getting Better 2:23
Written By-Lennon, McCartney

9. I’ll Be Back 2:56
Written By-Lennon, McCartney

10. If I Had My Way 2:31
Written By-Watt-Roy

11. Always With Him (UK single) 2:43
Written By-Garth Watt-Roy

12. Baila Maria (UK single) 2:45
Written By-Howard

13. Let’s Live For Today (US Single Edit) 2:47
Written By-Julien, Mogol, Shapiro


Stereo Album
14. Cos I’m Lonely 3:01
Written By-Quaye

15. Up So High 2:18
Written By-Watt-Roy

16. Say You Don’t Mind 3:00
Written By-Laine

17. Jane 2:09
Written By-Watt-Roy

18. What'cha Gonna Do About It 2:38
Written By-Payne, Carroll

19. Getting Better 2:24
Written By-Lennon, McCartney

20. I’ll Be Back 2:56
Written By-Lennon, McCartney

21. If I Had My Way 2:31
Written By-Watt-Roy

22. Always With Him 2:43
Written By-Watt-Roy


Bonus Track:
23. Let’s Live For Today (Japanese Single Version) 2:55
Written By-Julien, Mogol, Shapiro


1-2: UK single, Philips BF 1561, released, April 1967 - The Living Daylights - Let's Live For Today.
3-6: French EP, Fontana 460.234 ME, released October 1967 - The Living Daylights - Let's Live For Today.
11-12: UK single, Philips BF 1613,released October 1967 - The Living Daylights - Baila Maria.
13: US single, Buddah BDA-2, released May 1967 - The Living Daylights - Let's Live For Today.
23: Japanese single, Philips SFL-1127, released November 1967 - The Living Daylights - 今日を生きよう = Let's Live For Today.
4-5, 7-10, 14-22: Previously unreleased, recorded 1967

Tracks 1-3, 6, 11-13, 23 ℗ 1967, Tracks 4-5, 7-10, 14-22 ℗ 2022.



..::OBSADA::..

Vocals - Bob O'Neale
Rhythm Guitar - Doug Ellis
Drums - Ron Prudence
Lead Guitar - Garth Watt-Roy
Bass - Norman Watt-Roy



https://www.youtube.com/watch?v=IxAHTg1ZBtA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI...


..::OPIS::..

Pierwsze w historii wydanie albumu kultowej psychodelicznej grupy, prowadzonej przez Gartha Watt-Roya (m.in. Greatest Show On Earth, Fuzzy Duck, Steamhammer, a także solowa płyta pod pseudonimem Leon Paul-Phillips) i jego młodszego brata, Normana (Greatest Show On Earth, Ian Dury & The Blockheads).
Niestety ukazanie się płyty zależało od powodzenia pierwszych dwóch singli, a te nie 'zawojowały' list przebojów. Udało się to dopiero teraz, a do wersji mono i stereo dołączono brytyjski, amerykański i japoński singiel.



First-ever issue of unknown Summer-of-1967 album by cult UK psychedelic pop group Living Daylights.

Mono and stereo mixes of the album are joined by their brace of highly collectable singles, including their near- hit recording of 'Let's Live For Today'

Led by Garth Watt-Roy and his younger brother (future Blockhead) Norman, five-piece Harlow band Living Daylights signed with Beatles publisher Dick James in 1967. Paired with a studio production team that included Caleb Quaye, the band were given a song that James published, 'Let's Live For Today', as their debut single.

Released in April 1967, it entered Radio London's Fab Forty after being championed by the pirate station's DJ John Peel. Also issued in America, the song showed significant sales potential, and Dick James decided the band should record an album that would be rushed out if the single became a success. Unfortunately, 'Let's Live For Today' lost
out to a cover version by American band The Grass Roots, who scored a US Top Ten hit. Without a hit to support it, the Living Daylights’ album failed to appear, and the band split after a second single failed to find favour.

55 years later, that album finally gains a release, with mono and stereo mixes joined by their UK singles and American and Japanese versions. ‘Let's Live For Today: The Complete Recordings’ is a vital addition to the pantheon of British psychedelic pop albums from the epochal year of 1967. This release includes a booklet that tells the band's story for the first time, with quotes from both Garth and Norman Watt-Roy as well as the first-ever accurate band line-up and their tangential link to another Dick James project, Elliots Sunshine.



..::TRACK-LIST::..

Mono Album
1. Let's Live For Today 2:55
Written By-Julien, Mogol, Shapiro

2. It’s Real (aka I’m Real) 2:30
Written By-Watt-Roy

3. Cos I’m Lonely 3:01
Written By-Quaye

4. Up So High 2:17
Written By-Watt-Roy

5. Say You Don’t Mind 3:00
Written By-Laine

6. Jane 2:08
Written By-Watt-Roy

7. What'cha Gonna Do About It 2:38
Written By-Payne, Carroll

8. Getting Better 2:23
Written By-Lennon, McCartney

9. I’ll Be Back 2:56
Written By-Lennon, McCartney

10. If I Had My Way 2:31
Written By-Watt-Roy

11. Always With Him (UK single) 2:43
Written By-Garth Watt-Roy

12. Baila Maria (UK single) 2:45
Written By-Howard

13. Let’s Live For Today (US Single Edit) 2:47
Written By-Julien, Mogol, Shapiro


Stereo Album
14. Cos I’m Lonely 3:01
Written By-Quaye

15. Up So High 2:18
Written By-Watt-Roy

16. Say You Don’t Mind 3:00
Written By-Laine

17. Jane 2:09
Written By-Watt-Roy

18. What'cha Gonna Do About It 2:38
Written By-Payne, Carroll

19. Getting Better 2:24
Written By-Lennon, McCartney

20. I’ll Be Back 2:56
Written By-Lennon, McCartney

21. If I Had My Way 2:31
Written By-Watt-Roy

22. Always With Him 2:43
Written By-Watt-Roy


Bonus Track:
23. Let’s Live For Today (Japanese Single Version) 2:55
Written By-Julien, Mogol, Shapiro


1-2: UK single, Philips BF 1561, released, April 1967 - The Living Daylights - Let's Live For Today.
3-6: French EP, Fontana 460.234 ME, released October 1967 - The Living Daylights - Let's Live For Today.
11-12: UK single, Philips BF 1613,released October 1967 - The Living Daylights - Baila Maria.
13: US single, Buddah BDA-2, released May 1967 - The Living Daylights - Let's Live For Today.
23: Japanese single, Philips SFL-1127, released November 1967 - The Living Daylights - 今日を生きよう = Let's Live For Today.
4-5, 7-10, 14-22: Previously unreleased, recorded 1967

Tracks 1-3, 6, 11-13, 23 ℗ 1967, Tracks 4-5, 7-10, 14-22 ℗ 2022.



..::OBSADA::..

Vocals - Bob O'Neale
Rhythm Guitar - Doug Ellis
Drums - Ron Prudence
Lead Guitar - Garth Watt-Roy
Bass - Norman Watt-Roy



https://www.youtube.com/watch?v=IxAHTg1ZBtA



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To jedna z najlepszych 'lokalnych' płyt garażowych lat 60, obok Rising Storm , Savages , Bent Wind, Fantastic Dee-Jays, Contents Are i Mystery Meat .
Wytłoczono zaledwie 150 egzemplarzy tego albumu, a oryginały czasami sprzedają się na eBayu za tysiące dolarów.

Członkowie zespołu pochodzili z przedmieść Chicago, z Lake Forest i Lake Bluff. Zespół Bachs istniał przez 3 lata, występując na szkolnych potańcówkach, w klubach młodzieżowych i na prywatnych imprezach na północnym wybrzeżu Chicago i okolicznych przedmieściach (zazwyczaj zarabiając 150-200 dolarów za noc). Wszystkie utwory napisali Blake Allison i John Peterman, a płyta została wydana prywatnie w 1968 roku. Po wydaniu płyty członkowie zespołu postanowili zakończyć karierę muzyczną i postanowili skupić się na swoim życiu.



..::TRACK-LIST::..

1. You're Mine 2:11
2. Pleasure Of Your Company 3:52
3. Free Fall 2:40
4. I See Her 1:37
5. My Indipendence Day 3:21
6. Minister To A Mind Diseased 3:09
7. Tables Of Grass Fields 3:43
8. Show Me That You Want To Go Home 2:08
9. Sitting 3:34
10. Nevermore 3:36
11. Answer To Yesterday 3:47
12. I'm A Little Boy 3:50

Bonus Track: prev. unreleased live track from 1967.
13. That's The Way It Goes 3:10



..::OBSADA::..

Guitar - Mike DeHaven
Guitar, Vocals - John Peterman
Lead Guitar - Ben Harrison
Percussion - John Babicz
Bass, Vocals - Black Allison



https://www.youtube.com/watch?v=nJOPz_815cw



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

To jedna z najlepszych 'lokalnych' płyt garażowych lat 60, obok Rising Storm , Savages , Bent Wind, Fantastic Dee-Jays, Contents Are i Mystery Meat .
Wytłoczono zaledwie 150 egzemplarzy tego albumu, a oryginały czasami sprzedają się na eBayu za tysiące dolarów.

Członkowie zespołu pochodzili z przedmieść Chicago, z Lake Forest i Lake Bluff. Zespół Bachs istniał przez 3 lata, występując na szkolnych potańcówkach, w klubach młodzieżowych i na prywatnych imprezach na północnym wybrzeżu Chicago i okolicznych przedmieściach (zazwyczaj zarabiając 150-200 dolarów za noc). Wszystkie utwory napisali Blake Allison i John Peterman, a płyta została wydana prywatnie w 1968 roku. Po wydaniu płyty członkowie zespołu postanowili zakończyć karierę muzyczną i postanowili skupić się na swoim życiu.



..::TRACK-LIST::..

1. You're Mine 2:11
2. Pleasure Of Your Company 3:52
3. Free Fall 2:40
4. I See Her 1:37
5. My Indipendence Day 3:21
6. Minister To A Mind Diseased 3:09
7. Tables Of Grass Fields 3:43
8. Show Me That You Want To Go Home 2:08
9. Sitting 3:34
10. Nevermore 3:36
11. Answer To Yesterday 3:47
12. I'm A Little Boy 3:50

Bonus Track: prev. unreleased live track from 1967.
13. That's The Way It Goes 3:10



..::OBSADA::..

Guitar - Mike DeHaven
Guitar, Vocals - John Peterman
Lead Guitar - Ben Harrison
Percussion - John Babicz
Bass, Vocals - Black Allison



https://www.youtube.com/watch?v=nJOPz_815cw



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

An amazing collection of Pink Floyd radio sessions and TV broadcasts from 1967-1968, the years the band released their debut album, "Piper At The Gates Of Dawn" and the legendary second album "A Saucerful of Secrets".
Includes recordings for Radio One's Top Gear program, which showcased the underground hipster scene of London, and TV broadcasts from France and Italy.
Features amazing versions of 'Pow R. Toc H', 'Astronomy Domine', 'Set The Controls For The Heart Of The Sun', 'Flaming' and 'Vegetable Man'.
Essential live recordings of Pink Floyd during their greatest era!



..::TRACK-LIST::..

CD 4:
1. Astronomy Domine
2. Careful With That Axe Eugene
3. Interstellar Overdrive
4. The Beginning
5. Beset By Creatures Of The Deep
6. A Saucerful Of Secrets
7. Careful With That Axe Eugene
8. A Saucerful Of Secrets




https://www.youtube.com/watch?v=Ckl6mjCthGM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

An amazing collection of Pink Floyd radio sessions and TV broadcasts from 1967-1968, the years the band released their debut album, "Piper At The Gates Of Dawn" and the legendary second album "A Saucerful of Secrets".
Includes recordings for Radio One's Top Gear program, which showcased the underground hipster scene of London, and TV broadcasts from France and Italy.
Features amazing versions of 'Pow R. Toc H', 'Astronomy Domine', 'Set The Controls For The Heart Of The Sun', 'Flaming' and 'Vegetable Man'.
Essential live recordings of Pink Floyd during their greatest era!



..::TRACK-LIST::..

CD 4:
1. Astronomy Domine
2. Careful With That Axe Eugene
3. Interstellar Overdrive
4. The Beginning
5. Beset By Creatures Of The Deep
6. A Saucerful Of Secrets
7. Careful With That Axe Eugene
8. A Saucerful Of Secrets




https://www.youtube.com/watch?v=Ckl6mjCthGM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

An amazing collection of Pink Floyd radio sessions and TV broadcasts from 1967-1968, the years the band released their debut album, "Piper At The Gates Of Dawn" and the legendary second album "A Saucerful of Secrets".
Includes recordings for Radio One's Top Gear program, which showcased the underground hipster scene of London, and TV broadcasts from France and Italy.
Features amazing versions of 'Pow R. Toc H', 'Astronomy Domine', 'Set The Controls For The Heart Of The Sun', 'Flaming' and 'Vegetable Man'.
Essential live recordings of Pink Floyd during their greatest era!



..::TRACK-LIST::..

CD 3:
1. Point Me At The Sky
2. Embryo
3. Baby Blue Shuffle In D Major
4. Interstellar Overdrive
5. Daybreak
6. Nightmare
7. The Narrow Way (Part 3)
8. The Beginning
9. Moonhead
10. Set The Controls For The Heart Of The Sun
11. A Saucerful Of Secrets




https://www.youtube.com/watch?v=Ckl6mjCthGM



SEED 15:00-22:00.
POLECAM!!!

...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI


..::OPIS::..

An amazing collection of Pink Floyd radio sessions and TV broadcasts from 1967-1968, the years the band released their debut album, "Piper At The Gates Of Dawn" and the legendary second album "A Saucerful of Secrets".
Includes recordings for Radio One's Top Gear program, which showcased the underground hipster scene of London, and TV broadcasts from France and Italy.
Features amazing versions of 'Pow R. Toc H', 'Astronomy Domine', 'Set The Controls For The Heart Of The Sun', 'Flaming' and 'Vegetable Man'.
Essential live recordings of Pink Floyd during their greatest era!



..::TRACK-LIST::..

CD 3:
1. Point Me At The Sky
2. Embryo
3. Baby Blue Shuffle In D Major
4. Interstellar Overdrive
5. Daybreak
6. Nightmare
7. The Narrow Way (Part 3)
8. The Beginning
9. Moonhead
10. Set The Controls For The Heart Of The Sun
11. A Saucerful Of Secrets




https://www.youtube.com/watch?v=Ckl6mjCthGM



SEED 15:00-22:00.
POLECAM!!!