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


..::OPIS::..

Niewydany w epoce (i wznowiony po 20 latach przez Rockadelic) album uważany jest za absolutny majstersztyk ciężkiego psychodelicznego rocka. Zremasterowana hiszpańska reedycja z 2024 roku.


Najlepszy album psychodeliczny, jaki znam...

FA


Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition.

Recorded in 1970 but never released at the time, featuring future members of Roky Erickson’s backing band Bleib Alien / The Aliens.

Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson’s first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi / horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found (another International Artists band). The definitive Amethyst line-up, with Hugh Patton on drums and Mike Waugh on bass, played at venues like the I.L. Club, a historical landmark of Austin blues & psychedelic music.

It was through Mike Waugh’s friendship with Elevators drummer John Ike Walton that Billy Miller and the band (still unsure about their name but calling themselves The Daily Planet, changing it to Dark Shadows, and then to Cold Sun) hooked up with the local label / studio Sonobeat (Mariani, Wildfire, Johnny Winter…), who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller’s strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller’s house on Castle Hill (west Austin). The album opens with “South Texas” (“the ultimate psychedelic track,” according to Patrick “The Lama” Lundborg), climbing to a psychedelic summit with the final 11 minutes of the fervently intoxicated “Ra-Ma”.

Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. Billy Bill Miller along with drummer Hugh Patton founded Bleib Alien (later The Aliens), the famous backing band of Roky Erickson, with Billy being essential in bringing Roky back to music after his stay at Rusk Mental Hospital.

It wasn’t until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print.

For this new edition on Guerssen, we’ve tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney.

Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration / remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.

*Vintage styled artwork by Callum Rooney
*Audiophile restoration / remastering by Ezra Lesser
*Booklet with detailed liner notes and photos

“One of the most important psychedelic records, and unlike any other one.” – Paul Major



It's been a while since I've been so intrigued with an album like this one. My first listen was bizarre as all I knew was that this was released in 1989 and it was a Psychedelic record. Bizarre because the vocals and fuzzed out guitar sounded straight out of 1968 or 1969. I felt like I had discovered something special here and after doing some research I found out that this was originally recorded in 1969 but the record label went bankrupt leaving this on the shelf until Rockadelic Records picked it up and released it 20 years later. That answered some questions I had. COLD SUN was the project of Bill Miller who plays an electric autoharp here along with harmonica and sings. This band was from Austin, Texas the home of the 13TH FLOOR ELEVATORS. That band's leader Roky Erickson would hook up with Bill Miller later on in Roky's band called ROKY ERICKSON AND THE ALIENS who released two great albums in the early eighties.
There's some dispute with the release date of "Dark Shadows" as Discogs has it at 1993 and many point to a magazine interview where it says Rockadelic Records discovered this album in 1991 and released it the following year. I feel 1989 is right along with RYM because on the Rockadelic web-site it has their releases by catalogue number in order and it had to be 1989 unless they were in the habit of giving catalogue numbers then not releasing the album for a few years. I'm going with 1989. I have the 2008 re-issue which sounds a lot better apparently. Interesting that the 13TH FLOOR ELEVATORS were known for that electric jug while COLD SUN was known for that electric autoharp. This is a dark and moody album including the lyrics that are so well done. By the way COLD SUN originally had the 13tH FLOOR ELEVATORS drummer but he left before the recording of this record.

"South Texas" is a great opener and I really dig the lyrics, especially talking about the gecko and paranoia. The fuzzed out guitar and autoharp are outstanding and check it out before 2 minutes as it's like the sun has come out making the darkness flee briefly. So cool. Harmonica after 3 1/2 minutes then more fuzzed out guitar late. A nice start. "Twisted Flower" is another excellent track and it opens with percussion and bass as it builds. Kind of a DOORS feel with the guitar then the vocals arrive before a minute. I really liked this right from the first listen. The guitar and autoharp sound incredible here.

"Here In The Year" is probably my favourite song on here. Again the lyrics are so well done. Drums, bass and autoharp to start as vocals join in. It's surprising how much he sounds like Bob Dylan on this song at times. How good does this sound just before 2 minutes as it changes slightly. So good! Suddenly we get chaos before 3 minutes as they rip it up. Back to the vocals before 3 1/2 minutes as the guitar solos over top. Insanity again after 5 1/2 minutes as we get another freak-out. It settles back again along with droning autoharp sounds, a beat and more.

"For Ever" is an uptempo track with desperate sounding vocals and we get backing vocals too. I like the guitar too then we get a change 1 1/2 minutes in sounding like Zappa's debut to me, especially again late. In between we get an explosion of sound 3 minutes in. "See What You Cause" is a catchy vocal led track with drums and bass supporting. Too straight forward for my tastes although I like it especially the fuzzed out guitar late.

"Fall" opens with drums as harmonica, guitar, bass and autoharp join in. Great lyrics again. It settles after 2 minutes then it kicks in with vocals. Fuzzed out guitar after 3 1/2 minutes and an urgent sound with vocals. Pulsating keys late in this dramatic instrumental conclusion. "Ra-Ma" ends it and it's the longest at 11 1/2 minutes. Beats and cymbals as it builds. It calms right down a minute in with vocals and more. It picks right back up with vocals. Another calm after 3 minutes as the tempo continues to change. It settles with harmonica and vocals before 5 minutes. Some grinding fuzzed out guitar follows. An interesting sound late without vocals to end it.

I agree with Damo that this would be considered a classic and a pioneer album had it been released back in 1969 or 1970 when it was recorded. A very solid 4 stars and the album cover is really well done.

Mellotron Storm



..::TRACK-LIST::..

1. South Texas 5:17
2. Twisted Flower 3:04
3. Here In The Year 8:50
4. For Ever 4:35
5. See What You Cause 3:40
6. Fall 7:20
7. Ra-Ma 11:20



..::OBSADA::..

Autoharp, Vocals - Bill Miller
Bass – Mike Waugh (tracks: 1 to 7)
Drums - Hugh Patton
Guitar - Tom McGarrigle



https://www.youtube.com/watch?v=cAU9cYfBseY


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

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


..::OPIS::..

Niewydany w epoce (i wznowiony po 20 latach przez Rockadelic) album uważany jest za absolutny majstersztyk ciężkiego psychodelicznego rocka. Zremasterowana hiszpańska reedycja z 2024 roku.


Najlepszy album psychodeliczny, jaki znam...

FA


Vivid peyote-induced psychedelia from Texas sounding like an impossible meld between the Elevators and the Velvet Underground but possessing a strongly unique disposition.

Recorded in 1970 but never released at the time, featuring future members of Roky Erickson’s backing band Bleib Alien / The Aliens.

Formed in Austin in the late 1960s by visionary lyricist and autoharp player Billy Bill Miller and his friend Tom McGarrigle on guitar, Cold Sun evolved from a band called Cauldron (later Amethyst) which at one point featured drummer John Kearney from Roky Erickson’s first band The Spades. Miller, a proto-Goth figure always dressed in black, highly influenced by Joe Meek and vintage sci-fi / horror movies, started to experiment with weird noises out of his electrified autoharp, favoring the audio-oriented drug mescaline over the LSD associated with hippies. Amethyst jammed with musicians such as Benny Thurman from the 13th Floor Elevators and Steve Webb from the Lost And Found (another International Artists band). The definitive Amethyst line-up, with Hugh Patton on drums and Mike Waugh on bass, played at venues like the I.L. Club, a historical landmark of Austin blues & psychedelic music.

It was through Mike Waugh’s friendship with Elevators drummer John Ike Walton that Billy Miller and the band (still unsure about their name but calling themselves The Daily Planet, changing it to Dark Shadows, and then to Cold Sun) hooked up with the local label / studio Sonobeat (Mariani, Wildfire, Johnny Winter…), who expressed interest in recording an album with the intention to shop it to a major label: thus, the now-legendary Cold Sun album was born. The band, driven by Miller’s strange electrified autoharp sounds plus the massive fuzz guitar of McGarrigle, dressed with feedback and futuristic lyrics, laid down several tracks in between rehearsals at Miller’s house on Castle Hill (west Austin). The album opens with “South Texas” (“the ultimate psychedelic track,” according to Patrick “The Lama” Lundborg), climbing to a psychedelic summit with the final 11 minutes of the fervently intoxicated “Ra-Ma”.

Never released at the time, the Cold Sun album languished in oblivion and the musicians moved on to other things. Billy Bill Miller along with drummer Hugh Patton founded Bleib Alien (later The Aliens), the famous backing band of Roky Erickson, with Billy being essential in bringing Roky back to music after his stay at Rusk Mental Hospital.

It wasn’t until 1990 that the Cold Sun album was finally released on vinyl by the Rockadelic label (in a tiny edition of 300 copies), followed by a new edition on German label World In Sound in 2008, now out of print.

For this new edition on Guerssen, we’ve tried to imagine how the Cold Sun album could have looked like if it had been actually released in 1970. It comes in a hard cardboard sleeve with vintage styled artwork by psychedelic illustrator Callum Rooney.

Sourced from the same audio master as the original Rockadelic LP, the sound has been vastly improved thanks to the meticulous and careful restoration / remastering by audiophile engineer Ezra Lesser, who has also penned the definitive story of Cold Sun for the liner notes.

*Vintage styled artwork by Callum Rooney
*Audiophile restoration / remastering by Ezra Lesser
*Booklet with detailed liner notes and photos

“One of the most important psychedelic records, and unlike any other one.” – Paul Major



It's been a while since I've been so intrigued with an album like this one. My first listen was bizarre as all I knew was that this was released in 1989 and it was a Psychedelic record. Bizarre because the vocals and fuzzed out guitar sounded straight out of 1968 or 1969. I felt like I had discovered something special here and after doing some research I found out that this was originally recorded in 1969 but the record label went bankrupt leaving this on the shelf until Rockadelic Records picked it up and released it 20 years later. That answered some questions I had. COLD SUN was the project of Bill Miller who plays an electric autoharp here along with harmonica and sings. This band was from Austin, Texas the home of the 13TH FLOOR ELEVATORS. That band's leader Roky Erickson would hook up with Bill Miller later on in Roky's band called ROKY ERICKSON AND THE ALIENS who released two great albums in the early eighties.
There's some dispute with the release date of "Dark Shadows" as Discogs has it at 1993 and many point to a magazine interview where it says Rockadelic Records discovered this album in 1991 and released it the following year. I feel 1989 is right along with RYM because on the Rockadelic web-site it has their releases by catalogue number in order and it had to be 1989 unless they were in the habit of giving catalogue numbers then not releasing the album for a few years. I'm going with 1989. I have the 2008 re-issue which sounds a lot better apparently. Interesting that the 13TH FLOOR ELEVATORS were known for that electric jug while COLD SUN was known for that electric autoharp. This is a dark and moody album including the lyrics that are so well done. By the way COLD SUN originally had the 13tH FLOOR ELEVATORS drummer but he left before the recording of this record.

"South Texas" is a great opener and I really dig the lyrics, especially talking about the gecko and paranoia. The fuzzed out guitar and autoharp are outstanding and check it out before 2 minutes as it's like the sun has come out making the darkness flee briefly. So cool. Harmonica after 3 1/2 minutes then more fuzzed out guitar late. A nice start. "Twisted Flower" is another excellent track and it opens with percussion and bass as it builds. Kind of a DOORS feel with the guitar then the vocals arrive before a minute. I really liked this right from the first listen. The guitar and autoharp sound incredible here.

"Here In The Year" is probably my favourite song on here. Again the lyrics are so well done. Drums, bass and autoharp to start as vocals join in. It's surprising how much he sounds like Bob Dylan on this song at times. How good does this sound just before 2 minutes as it changes slightly. So good! Suddenly we get chaos before 3 minutes as they rip it up. Back to the vocals before 3 1/2 minutes as the guitar solos over top. Insanity again after 5 1/2 minutes as we get another freak-out. It settles back again along with droning autoharp sounds, a beat and more.

"For Ever" is an uptempo track with desperate sounding vocals and we get backing vocals too. I like the guitar too then we get a change 1 1/2 minutes in sounding like Zappa's debut to me, especially again late. In between we get an explosion of sound 3 minutes in. "See What You Cause" is a catchy vocal led track with drums and bass supporting. Too straight forward for my tastes although I like it especially the fuzzed out guitar late.

"Fall" opens with drums as harmonica, guitar, bass and autoharp join in. Great lyrics again. It settles after 2 minutes then it kicks in with vocals. Fuzzed out guitar after 3 1/2 minutes and an urgent sound with vocals. Pulsating keys late in this dramatic instrumental conclusion. "Ra-Ma" ends it and it's the longest at 11 1/2 minutes. Beats and cymbals as it builds. It calms right down a minute in with vocals and more. It picks right back up with vocals. Another calm after 3 minutes as the tempo continues to change. It settles with harmonica and vocals before 5 minutes. Some grinding fuzzed out guitar follows. An interesting sound late without vocals to end it.

I agree with Damo that this would be considered a classic and a pioneer album had it been released back in 1969 or 1970 when it was recorded. A very solid 4 stars and the album cover is really well done.

Mellotron Storm



..::TRACK-LIST::..

1. South Texas 5:17
2. Twisted Flower 3:04
3. Here In The Year 8:50
4. For Ever 4:35
5. See What You Cause 3:40
6. Fall 7:20
7. Ra-Ma 11:20



..::OBSADA::..

Autoharp, Vocals - Bill Miller
Bass – Mike Waugh (tracks: 1 to 7)
Drums - Hugh Patton
Guitar - Tom McGarrigle



https://www.youtube.com/watch?v=cAU9cYfBseY


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

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


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie, kolekcjonerski 135-minutowy CD, zawierający głównie wyśmienity i perfekcyjnie brzmiący, 120-minutowy występ z szwajcarskiego Montreux z 18 września 1971 roku - zarejestrowany podczas... festiwalu muzyki klasycznej - na 2 miesiące przed wydaniem LP 'Meddle'. Zespół tradycyjnie wykonał swoje najpopularniejsze/najlepsze utwory, w tym aż 30-minutową, genialną wersję (z chórem i małą orkiestrą) 'Atom Heart Mother', 20-minutowy 'A Saucerful Of Secrets' oraz 24-minutowy 'Echoes'! To jest PF jaki najbardziej uwielbiam - wciąż eksperymentalny, wciąż jeszcze czarujący psychodelicznym, zdecydowanie rockowym brzmieniem, ale będący w przededniu ogromnego, komercyjnego przełomu. Potem (po 1972 roku) to już nie było to... Dodatkowo umieszczono zarejestrowaną miesiąc potem i dość powszechnie uważaną za... najlepszą w historii wersję 'Fat Old Sun'! To jest CD absolutnie obligatoryjny dla każdego fana zespołu, moim zdaniem znacznie bardziej emocjonujący i po prostu lepszy niż zarejestrowany 2 tygodnie potem, słynny występ z Pompei! Uwaga! To nie jest znana ze starych bootlegów (np. 'One Of These Days' na wytwórni Swingin' Pig) wersja ze spowolnionym w końcówce 'A Saucerful Of Secrets', tylko całkowicie perfekcyjna edycja z radiowej taśmy matki!



..::TRACK-LIST::..

CD 1:
1. Echoes 23:45
2. Careful With That Axe, Eugene 12:00
3. Set The Controls For The Heart Of The Sun 14:33
4. Cymbaline 12:35

Bonus Track:
5. Fat Old Sun 15:57

CD 2:
1. Atom Heart Mother 33:40
2. A Saucerful Of Secrets 20:34



..::OBSADA::..

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



https://www.youtube.com/watch?v=lb0t-mE2-hI


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

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


..::OPIS::..

Limitowany, wydany w niewielkim nakładzie, kolekcjonerski 135-minutowy CD, zawierający głównie wyśmienity i perfekcyjnie brzmiący, 120-minutowy występ z szwajcarskiego Montreux z 18 września 1971 roku - zarejestrowany podczas... festiwalu muzyki klasycznej - na 2 miesiące przed wydaniem LP 'Meddle'. Zespół tradycyjnie wykonał swoje najpopularniejsze/najlepsze utwory, w tym aż 30-minutową, genialną wersję (z chórem i małą orkiestrą) 'Atom Heart Mother', 20-minutowy 'A Saucerful Of Secrets' oraz 24-minutowy 'Echoes'! To jest PF jaki najbardziej uwielbiam - wciąż eksperymentalny, wciąż jeszcze czarujący psychodelicznym, zdecydowanie rockowym brzmieniem, ale będący w przededniu ogromnego, komercyjnego przełomu. Potem (po 1972 roku) to już nie było to... Dodatkowo umieszczono zarejestrowaną miesiąc potem i dość powszechnie uważaną za... najlepszą w historii wersję 'Fat Old Sun'! To jest CD absolutnie obligatoryjny dla każdego fana zespołu, moim zdaniem znacznie bardziej emocjonujący i po prostu lepszy niż zarejestrowany 2 tygodnie potem, słynny występ z Pompei! Uwaga! To nie jest znana ze starych bootlegów (np. 'One Of These Days' na wytwórni Swingin' Pig) wersja ze spowolnionym w końcówce 'A Saucerful Of Secrets', tylko całkowicie perfekcyjna edycja z radiowej taśmy matki!



..::TRACK-LIST::..

CD 1:
1. Echoes 23:45
2. Careful With That Axe, Eugene 12:00
3. Set The Controls For The Heart Of The Sun 14:33
4. Cymbaline 12:35

Bonus Track:
5. Fat Old Sun 15:57

CD 2:
1. Atom Heart Mother 33:40
2. A Saucerful Of Secrets 20:34



..::OBSADA::..

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



https://www.youtube.com/watch?v=lb0t-mE2-hI


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

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


..::OPIS::..

Nowa, limitowana, zremasterowana, europejska edycja jednej z najlepszych, zapomnianych, brytyjskich płyt z końca lat 60-tych! Wydany w styczniu 1969 roku (w tym samym dniu i w tej samej wytwórni Pye co genialny LP zespołu Woody Kern), jedyny, rewelacyjny album Velvett Fogg to kawał intensywnego, psychodelicznego rocka (ewidentnie i bardzo naturalnie przekształcający się 'progressive') opartego na współbrzmieniu wszechobecnych organów, intensywnych partii gitary, typowych dla tamtego okresu, atrakcyjnych manipulacji z dźwiękiem, nieco sennych wokali no i chwytliwych kompozycji! Muzykę grupy można porównać do bardzo wczesnych Deep Purple, The Nice i Procol Harum a także The Attack oraz oczywiście The Beatles. Warto dodać, że liderem/gitarzystą był... kuzyn Tony'ego Iommiego (z Black Sabbath) - Paul Eastment (chwilę potem założyciel brytyjskiego Ghost), zaś na organach grał Frank Wilson - już w 1970 roku naśladujący Jona Lorda w zespole Warhorse. Dodatkowo zamieszczono 2 nagrania z monofonicznego singla w tym niepublikowaną na LP przeróbkę słynnego ' Telstar' - The Tornados. To jest najlepiej brzmiąca edycja tej płyty 'ever'!

JL



..::TRACK-LIST::..

1. Yellow Cave Woman 6:58
2. New York Mining Disaster 2:56
3. Wizard Of Gobsold 2:58
4. Once Among The Trees 5:40
5. Lady Caroline 2:25
6. Come Away Melinda 5:54
7. Owed To The Dip 6:11
8. Within' The Night 4:47
9. Plastic Man 4:49

Bonus Tracks:
10. Telstar (mono, A-side, 1969) 2:47
11. Owed To The Dip (mono mix, B-side, 1969) 6:15



..::OBSADA::..

Paul Eastment - guitar, vocal
Frank Wilson - organ, vocal
Mick Pollard - bass
Graham Mullett - drums



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


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

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


..::OPIS::..

Nowa, limitowana, zremasterowana, europejska edycja jednej z najlepszych, zapomnianych, brytyjskich płyt z końca lat 60-tych! Wydany w styczniu 1969 roku (w tym samym dniu i w tej samej wytwórni Pye co genialny LP zespołu Woody Kern), jedyny, rewelacyjny album Velvett Fogg to kawał intensywnego, psychodelicznego rocka (ewidentnie i bardzo naturalnie przekształcający się 'progressive') opartego na współbrzmieniu wszechobecnych organów, intensywnych partii gitary, typowych dla tamtego okresu, atrakcyjnych manipulacji z dźwiękiem, nieco sennych wokali no i chwytliwych kompozycji! Muzykę grupy można porównać do bardzo wczesnych Deep Purple, The Nice i Procol Harum a także The Attack oraz oczywiście The Beatles. Warto dodać, że liderem/gitarzystą był... kuzyn Tony'ego Iommiego (z Black Sabbath) - Paul Eastment (chwilę potem założyciel brytyjskiego Ghost), zaś na organach grał Frank Wilson - już w 1970 roku naśladujący Jona Lorda w zespole Warhorse. Dodatkowo zamieszczono 2 nagrania z monofonicznego singla w tym niepublikowaną na LP przeróbkę słynnego ' Telstar' - The Tornados. To jest najlepiej brzmiąca edycja tej płyty 'ever'!

JL



..::TRACK-LIST::..

1. Yellow Cave Woman 6:58
2. New York Mining Disaster 2:56
3. Wizard Of Gobsold 2:58
4. Once Among The Trees 5:40
5. Lady Caroline 2:25
6. Come Away Melinda 5:54
7. Owed To The Dip 6:11
8. Within' The Night 4:47
9. Plastic Man 4:49

Bonus Tracks:
10. Telstar (mono, A-side, 1969) 2:47
11. Owed To The Dip (mono mix, B-side, 1969) 6:15



..::OBSADA::..

Paul Eastment - guitar, vocal
Frank Wilson - organ, vocal
Mick Pollard - bass
Graham Mullett - drums



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


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

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


..::OPIS::..

To jedna z najbardziej kultowych i najrzadszych brytyjskich płyt tzw. private press z lat 70. i wśród kolekcjonerów długo funkcjonowała niemal jako legenda. Album został nagrany praktycznie domowymi metodami przez Olivera Chaplina a całość powstała w duchu pełnej niezależności jako pomieszanie psychodelii, acid folku i eksperymentalnego bluesa. Nagrania wykonano na 4-ścieżkowym magnetofonie TEAC, bez syntezatorów, często z użyciem pojedynczego mikrofonu. To nadaje płycie bardzo surowe, organiczne i momentami wręcz „halucynacyjne” brzmienie. Krótkie utwory przechodzą jeden w drugi a muzka momentami przypomina stylistykę Syda Barretta, a chwilami eksperymenty Captain Beefheart.



Sourced from the original master tapes.

Part-time farmer / musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK.

His cult masterpiece “Standing Stone” was recorded in early 1974 at a remote farm in Wales, using a portable 4-track Teac reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and “small winged creatures”, Oliver sang and played acoustic and electric guitars filtered though tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless.

Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver’s music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe.

He remains a kind of a mysterious figure and we’re proud to offer a new, long-awaited reissue of “Standing Stone”, sanctioned by him.

RIYL: CAPTAIN BEEFHEART, SYD BARRETT, ROY HARPER, BRIAN ENO, ROBERT JOHNSON, MAGICAL POWER MAKO, FRESH MAGGOTS, COMUS, TONY CARO & JOHN…

"Few other musicians have been able to mix and blend folk, blues, psychedelia together as Oliver has managed to do"- Ricardo Martillos (Distorsioni)

"Like a rustic, ramshackle mix between Electric Ladyland and No Pussyfooting" - Giacomo Checcucci (Pincopanco)

"A truly remarkable record" - Galactic Ramble



..::TRACK-LIST::..

1. Off On A Trek 01:27
2. Trance 03:51
3. Flowers On A Hill 02:15
4. Freezing Cold Like An Iceberg 04:23
5. Royal Flush 02:41
6. Cat And The Rat 05:45
7. Instamatic 02:11
8. Telephone 03:30
9. Getting Fruity 02:13
10. Tricycle 01:10
11. Motorway 03:20
12. Primrose 02:38
13. In Vain 02:10
14. Multiplex 01:10
15. Orbit Your Factory 04:48
16. Tok Tic 06:23
17. Where's My Motorbike 01:34



..::OBSADA::..

Vocals, Performer, Instruments, Composed By - Oliver Chaplin



https://www.youtube.com/watch?v=Er6SBhsYDKI



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

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


..::OPIS::..

To jedna z najbardziej kultowych i najrzadszych brytyjskich płyt tzw. private press z lat 70. i wśród kolekcjonerów długo funkcjonowała niemal jako legenda. Album został nagrany praktycznie domowymi metodami przez Olivera Chaplina a całość powstała w duchu pełnej niezależności jako pomieszanie psychodelii, acid folku i eksperymentalnego bluesa. Nagrania wykonano na 4-ścieżkowym magnetofonie TEAC, bez syntezatorów, często z użyciem pojedynczego mikrofonu. To nadaje płycie bardzo surowe, organiczne i momentami wręcz „halucynacyjne” brzmienie. Krótkie utwory przechodzą jeden w drugi a muzka momentami przypomina stylistykę Syda Barretta, a chwilami eksperymenty Captain Beefheart.



Sourced from the original master tapes.

Part-time farmer / musician Oliver Chaplin is the person behind one of the rarest private pressings from the UK.

His cult masterpiece “Standing Stone” was recorded in early 1974 at a remote farm in Wales, using a portable 4-track Teac reel-to-reel machine. Helped by his brother Chris at the controls (an experienced BBC engineer who had worked on Syd Barrett sessions), surrounded by animals and “small winged creatures”, Oliver sang and played acoustic and electric guitars filtered though tape echo, distortion and multi-tracking, creating a very unique sound, a kind of DIY mutant-psychedelic-blues (think Captain Beefheart) which sounded years ahead of its time. Despite the lo-fi nature of the recording, the sound quality is amazing and timeless.

Only 250 copies of the album were pressed and it even caught the attention of the Virgin label, who were interested in distribution but Oliver finally refused their offer. Musicians like JJ Cale expressed interest in Oliver’s music, inviting him to a jam session but in the end, Oliver decided he was not interested in the music business and left Wales to travel around Europe.

He remains a kind of a mysterious figure and we’re proud to offer a new, long-awaited reissue of “Standing Stone”, sanctioned by him.

RIYL: CAPTAIN BEEFHEART, SYD BARRETT, ROY HARPER, BRIAN ENO, ROBERT JOHNSON, MAGICAL POWER MAKO, FRESH MAGGOTS, COMUS, TONY CARO & JOHN…

"Few other musicians have been able to mix and blend folk, blues, psychedelia together as Oliver has managed to do"- Ricardo Martillos (Distorsioni)

"Like a rustic, ramshackle mix between Electric Ladyland and No Pussyfooting" - Giacomo Checcucci (Pincopanco)

"A truly remarkable record" - Galactic Ramble



..::TRACK-LIST::..

1. Off On A Trek 01:27
2. Trance 03:51
3. Flowers On A Hill 02:15
4. Freezing Cold Like An Iceberg 04:23
5. Royal Flush 02:41
6. Cat And The Rat 05:45
7. Instamatic 02:11
8. Telephone 03:30
9. Getting Fruity 02:13
10. Tricycle 01:10
11. Motorway 03:20
12. Primrose 02:38
13. In Vain 02:10
14. Multiplex 01:10
15. Orbit Your Factory 04:48
16. Tok Tic 06:23
17. Where's My Motorbike 01:34



..::OBSADA::..

Vocals, Performer, Instruments, Composed By - Oliver Chaplin



https://www.youtube.com/watch?v=Er6SBhsYDKI



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

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


..::OPIS::..

Pierwszy raz na CD!
Wydany w 1969 roku, jedyny album tej psychodelicznej kanadyjskiej formacji należy do grona kolekcjonerskich, winylowych rarytasów (jest m.in. w książce Hansa Pokory).
The Medium grali pomysłową, bardzo dopracowaną i zarazem bardzo atmosferyczną muzykę, bliską stylistyce The Doors, Vanilla Fudge, Iron Butterfly oraz mało znanych C.A. Quintet - czyli dużo partii organów oraz ostro przesterowana (momentami nawet jazzująca) gitara.



The only album of this forgotten Montreal band was released on tiny Gamma label in 1969 and is usually considered as one of the very best Canadian albums from late 60' s psychedelic era.

It mostly contained a trippy, instrumental music full of swirling organ and fuzz guitar parts, but there were also a space for atmospheric, dreamy ballads sung in a deep voice and for some distinctive, weird and 'jazzy' guitar solos...

Anyway, it was a pretty complex and freaky album, which can be described as a stylistic combination of Vanilla Fudge, The Doors, Iron Butterfly, Aorta and C.A. Quintet. It has been carefully remastered from the original, analogue source and sounds really great!



..::TRACK-LIST::..

1. New Thing 4:34
2. My Lady Lies Forever 2:39
3. Give Me A Peace 4:01
4. Two By Two 2:35
5. The Mouse 5:04
6. I'll Love Everyone At Last 2:51
7. In Between 4:41
8. Melon 1:44
9. Stars 5:34



..::OBSADA::..

Vocals, Harmonica - Robert Ellis
Guitar - Pierre Latreille
Organ, Piano - James Solkin
Bass - Neil Malott
Drums - Steve Blackwell




https://www.youtube.com/watch?v=AyfaAUyU5UI



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

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


..::OPIS::..

Pierwszy raz na CD!
Wydany w 1969 roku, jedyny album tej psychodelicznej kanadyjskiej formacji należy do grona kolekcjonerskich, winylowych rarytasów (jest m.in. w książce Hansa Pokory).
The Medium grali pomysłową, bardzo dopracowaną i zarazem bardzo atmosferyczną muzykę, bliską stylistyce The Doors, Vanilla Fudge, Iron Butterfly oraz mało znanych C.A. Quintet - czyli dużo partii organów oraz ostro przesterowana (momentami nawet jazzująca) gitara.



The only album of this forgotten Montreal band was released on tiny Gamma label in 1969 and is usually considered as one of the very best Canadian albums from late 60' s psychedelic era.

It mostly contained a trippy, instrumental music full of swirling organ and fuzz guitar parts, but there were also a space for atmospheric, dreamy ballads sung in a deep voice and for some distinctive, weird and 'jazzy' guitar solos...

Anyway, it was a pretty complex and freaky album, which can be described as a stylistic combination of Vanilla Fudge, The Doors, Iron Butterfly, Aorta and C.A. Quintet. It has been carefully remastered from the original, analogue source and sounds really great!



..::TRACK-LIST::..

1. New Thing 4:34
2. My Lady Lies Forever 2:39
3. Give Me A Peace 4:01
4. Two By Two 2:35
5. The Mouse 5:04
6. I'll Love Everyone At Last 2:51
7. In Between 4:41
8. Melon 1:44
9. Stars 5:34



..::OBSADA::..

Vocals, Harmonica - Robert Ellis
Guitar - Pierre Latreille
Organ, Piano - James Solkin
Bass - Neil Malott
Drums - Steve Blackwell




https://www.youtube.com/watch?v=AyfaAUyU5UI



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

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


..::OPIS::..

Nowa, limitowana edycja wydanego przez wytwórnię Philips latem 1969 roku, jedynego, za to doskonałego albumu brytyjskiej, psychodelicznej formacji niestroniącej także od nowych, ciężkich brzmień. Oczywiście 'Open Mind' był swoistym epitafium dla kończącej się właśnie, psychodelicznej epoki, ale pozbawiony jakiejkolwiek promocji niestety przeszedł bez echa, przez co dzisiaj oryginalny LP w świetnym stanie kosztuje dzisiaj około 2000 euro i jest obiektem westchnień chyba każdego kolekcjonera psychodelii na winylu! Płyta z pewnością spodoba się miłośnikom takich grup, jak Andwella's Dream, The Attack (czyli pre-Andromeda) czy Pretty Things (z okresu 'S.F. Sorrow').

Do zawartości albumu dodano 4 nagrania: dwa, kapitalne singlowe kawałki (Magic Potion i Cast Your Spell) w miksie mono (z oryginalnego singla wartego ponad 2000 euro!!!) i stereo (oficjalny mix z taśm Polygramu pochodzący z pierwszej kompilacji Rubble z 1984)! Wspomniany 'Magic Potion' należy dzisiaj do rockowego kanonu a dla mnie jest jednym z najbardziej porażających i najlepszych, krótkich utworów z końca lat 60.! To jest najlepiej brzmiąca edycja płyty - lepsza niż wersja Sunbeam Records!



..::TRACK-LIST::..

1. Magic Potion (UK Stereo Mix, 1969)-Bonus
2. Cast Your Spell (UK Stereo Mix, 1969)-Bonus

Original UK Album, 1969:
3. Dear Louise
4. Try Another Day
5. I Feel The Same Way Too
6. My Mind Cries
7. Can't You See
8. Thor The Thunder God
9. Horses And Chariots
10. Before My Time
11. Free As The Breeze
12. Girl I'm So Alone
13. Soul And My Will
14. Falling Again

15. Magic Potion (UK Single Mono Mix, August 1969)-Bonus
16. Cast Your Spell (UK Single Mono Mix, August 1969)-Bonus



..::OBSADA::..

Bass Guitar - Timothy Du Feu
Drums - Philip Fox
Guitar, Vocals - Terry Martin
Lead Guitar, Piano - Mike Bran




https://www.youtube.com/watch?v=wQdzxv4WLIk



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

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


..::OPIS::..

Nowa, limitowana edycja wydanego przez wytwórnię Philips latem 1969 roku, jedynego, za to doskonałego albumu brytyjskiej, psychodelicznej formacji niestroniącej także od nowych, ciężkich brzmień. Oczywiście 'Open Mind' był swoistym epitafium dla kończącej się właśnie, psychodelicznej epoki, ale pozbawiony jakiejkolwiek promocji niestety przeszedł bez echa, przez co dzisiaj oryginalny LP w świetnym stanie kosztuje dzisiaj około 2000 euro i jest obiektem westchnień chyba każdego kolekcjonera psychodelii na winylu! Płyta z pewnością spodoba się miłośnikom takich grup, jak Andwella's Dream, The Attack (czyli pre-Andromeda) czy Pretty Things (z okresu 'S.F. Sorrow').

Do zawartości albumu dodano 4 nagrania: dwa, kapitalne singlowe kawałki (Magic Potion i Cast Your Spell) w miksie mono (z oryginalnego singla wartego ponad 2000 euro!!!) i stereo (oficjalny mix z taśm Polygramu pochodzący z pierwszej kompilacji Rubble z 1984)! Wspomniany 'Magic Potion' należy dzisiaj do rockowego kanonu a dla mnie jest jednym z najbardziej porażających i najlepszych, krótkich utworów z końca lat 60.! To jest najlepiej brzmiąca edycja płyty - lepsza niż wersja Sunbeam Records!



..::TRACK-LIST::..

1. Magic Potion (UK Stereo Mix, 1969)-Bonus
2. Cast Your Spell (UK Stereo Mix, 1969)-Bonus

Original UK Album, 1969:
3. Dear Louise
4. Try Another Day
5. I Feel The Same Way Too
6. My Mind Cries
7. Can't You See
8. Thor The Thunder God
9. Horses And Chariots
10. Before My Time
11. Free As The Breeze
12. Girl I'm So Alone
13. Soul And My Will
14. Falling Again

15. Magic Potion (UK Single Mono Mix, August 1969)-Bonus
16. Cast Your Spell (UK Single Mono Mix, August 1969)-Bonus



..::OBSADA::..

Bass Guitar - Timothy Du Feu
Drums - Philip Fox
Guitar, Vocals - Terry Martin
Lead Guitar, Piano - Mike Bran




https://www.youtube.com/watch?v=wQdzxv4WLIk



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

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


..::OPIS::..

Outstanding live from Guru Guru's first line up. The album features three long "stoned" heavy compositions taken from their two first "UFO" and "Hinten". Mostly instrumental with incredibly great rockin sections. The guitars are really powerful, heavy, sometimes bluesy but with an emphasis on distorted, deranged textures. This rather loudy jam session is punctuated by a few "archaic" electronic treatments and a great dose of "multi-guitar effects", providing a nice "cosmic" tendence to the ensemble. The heavy psychedelic improvisations can without reserve be compared with Agitation Free's most memorable live performances; an inventive and freak'n roll electro-shock that can reaches you into an other galaxy. The set starts with the kraut-slowing heavy hymn "Stone in", carries on "Der LSD march" and the humorous, strange & delirious "Bo Diddley". A ecclectic and electrip improvised musical session! good-going to an "acid" test.

philippe



..::TRACK-LIST::..

Recorded live at the 3. Essener Pop & Blues Festival at the Grugahalle, Essen, Germany 25.10.1970.

1. Stone In 12:00
Vocals [Stimme] - Mani Neumeier

2. Bo Diddley 11:27
Vocals [Stimme] - Uli Trepte

3. Der LSD-Marsch 14:22



..::OBSADA::..

Bass - Uli Trepte
Drums - Mani Neumeier
Guitar - Ax Genrich




https://www.youtube.com/watch?v=3defmibGWVQ



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

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


..::OPIS::..

Outstanding live from Guru Guru's first line up. The album features three long "stoned" heavy compositions taken from their two first "UFO" and "Hinten". Mostly instrumental with incredibly great rockin sections. The guitars are really powerful, heavy, sometimes bluesy but with an emphasis on distorted, deranged textures. This rather loudy jam session is punctuated by a few "archaic" electronic treatments and a great dose of "multi-guitar effects", providing a nice "cosmic" tendence to the ensemble. The heavy psychedelic improvisations can without reserve be compared with Agitation Free's most memorable live performances; an inventive and freak'n roll electro-shock that can reaches you into an other galaxy. The set starts with the kraut-slowing heavy hymn "Stone in", carries on "Der LSD march" and the humorous, strange & delirious "Bo Diddley". A ecclectic and electrip improvised musical session! good-going to an "acid" test.

philippe



..::TRACK-LIST::..

Recorded live at the 3. Essener Pop & Blues Festival at the Grugahalle, Essen, Germany 25.10.1970.

1. Stone In 12:00
Vocals [Stimme] - Mani Neumeier

2. Bo Diddley 11:27
Vocals [Stimme] - Uli Trepte

3. Der LSD-Marsch 14:22



..::OBSADA::..

Bass - Uli Trepte
Drums - Mani Neumeier
Guitar - Ax Genrich




https://www.youtube.com/watch?v=3defmibGWVQ



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::..

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!!!