Fuzz Acid & Flowers:
A Hendrix-influenced heavy psychedelic trio from Philadelphia, they even managed a pretty decent cover of Red House on the album, which is now a minor collectable. The 45 is off the album (two of its worst tracks), the title cut is an instrumental. Its finest moments are the opening cut, White Lace And Strange, and the finale, Open Up Your Eyes, which are both brimming with heavy psychedelic guitar work.
Crack in the Cosmic Egg:
A much touted Hamburg band, from the suburb of Altona, with roots going back into the mid-1960's beat era. In 1967 they were amongst the winners at a beat festival, gaining documentation on the first "Beat In Hamburg" EP, where they actually sound more like The Who than anything else. The band took a break in 1968 due to Military commitments and then reformed with a repertoire of favourite international hits and gradually developed their own compositions.
By 1970, as documented on two festival albums, Thrice Mice had moved on considerably, taking on classical and jazz-rock into a highly progressive blend, with blues and heavy rock as their focus. Most notably was a strong Blodwyn Pig (as proven by "Pig II", an uncredited variation on a Mick Abrahams composition) cum East Of Eden feel, and touches of Curved Air in the classical elements. From the sound, I'd guess that Wolfgang played two saxophones simultaneously, much like Colosseum's Dick Heckstall-Smith. In fact, all Thrice Mice influences stemmed from such British bands, all refocused and blended into a sound uniquely their own with the distinct spirit of Krautrock.
Obviously quite popular locally, Thrice Mice soon got a contract and recorded a studio LP. Compared to the live material it is much more controlled and restrained, but also a lot more calculated and precise, with clearer vocals from Karl-Heinz Blumenberg, who comes across as a hybrid of Michael Winzkowski (Epsilon) and Bernd Noske (Birth Control). There are a few crazed moments and lots of invention to be found in the album's four sizeable tracks, and it's a record that although really dated these days is definitely "a grower".
quality: lossless (flac tracks, log, cover)
time: 35:17 size: 190 mb
01. My Yiddishe Mamma 2:06
02. Hold On 3:39
03. Come Down To Earth 3:59
04. Take Me Down From The Mountain 3:08
05. Woman 2:55
06. Mahesha 5:17
07. Take A Look At The Light 4:00
08. Can I Leave The Summer 4:06
09. The Trip 6:07
Adrian Gurvitz / guitars, vocals, keyboards
Paul Gurvitz / bass, vocals
Tony Newman / drums
The first solo album by Moody Blues flautist Ray Thomas together with Nicky James, Trevor Jones, Dave Potts, John Jones and Mike Moran.
The opening and title track, like the opening to the classical-rock fusion Moody Blues album Days of Future Passed, is a symphonic-style overture incorporating themes from various songs on the album. "Hey Mama Life" is a contemplative piece about hard-earned wisdom ("I was once told the streets were paved with gold / Now I know them for what they are"). "High Above My Head" is an up-tempo number featuring a strong brass accompaniment and Thomas's harmonica. "Adam and I" is dedicated to Thomas's baby son. The final track, "I Wish We Could Fly," with sweeping orchestral backing, encapsulates Thomas's trademark unassuming optimism.
Thomas had to wait in line to record his solo album. First, fellow Moodies Justin Hayward and John Lodge had the use of Threshold Studios to record their Blue Jays project beginning in June 1974. When that ran well over deadline into December, Graeme Edge was left with an uncomfortably short period to work on his "Kick Off Your Muddy Boots" album (on which Thomas appeared). To help Edge's predicament, Thomas voluntarily adjusted his schedule so that his former bandmate could finish all his recording sessions. The upshot was that Thomas had time to complete all his songs and full arrangements before his team even entered the studio. This, according to Thomas, "was a real plus. It meant that I wouldn't have to worry about using studio time to write new material and rushing things. I could concentrate instead on perfecting recordings of songs that I had already finished." As a result, "From Mighty Oaks" was wrapped up quickly and ready for release by mid-July 1975, only four months after Hayward and Lodge's album and before Edge's.
01. Lord Of Lightning 3:44
02. Riding In The Rain 3:19
03. Magic Moon 4:43
04. It Was Love 3:16
05. Speak For Yourself 2:55
06. Sudwind 3:58
07. Rainbow 5:13
08. The Jungle Of Your Mind 7:30
09. Crickets Don't Cry 5:19
10. Clouds 5:28
11. I'll Sing Your Song 6:24
12. Caught 8:07
Jürgen Drogies / guitar, percussion
Norbert Drogies / drums
Michael Kobs / keyboards
Harald Konietzko / bass, acoustic guitar, vocals
Erwin Noack / percussion
Willi Pape / saxophone, flute
Sigfried Pisalla / guitar, vocals
Hans Werner Ranwig / keyboards, backing vocals
Crack in the Cosmic Egg: Think originated from Marl (north of the Essen conurbation) and were actually formed by Friedhelm Wördehoff (drummer in Essen beat bands since the mid-1960's), two Hungarians (whose parents had fled to Germany in the late-1950's) and the cream of the crop of local talent from the bands: Pohl's Tractor and Tiffany Shade. The Hungarian Ramor brothers found another "Eastern" compatriot in Czech Ludovich Sandrik who had also been playing with the Philharmonia Hungarica.
Prolific on the local live scene, the producer of Menga aided them with the release of their album VARIETY, quite an exceptional release, one that fused together radically different cultures into a complex progressive rock featuring flute, violin and guitars in a richly folk and classical intoned style, hinting at many other bands (I quoted Pell Mell and Eden originally, yet I can also see common elements with Sahara, Seedog, and such-like) yet original with an eclectic song style, rich almost symphonic instrumentation, and a strangely atmospheric beauty.
In 1974 Think became associated with Moondog, performing renditions of his strange "classical" music, they also played some prestigious gigs, but would seem to have split shortly after. A reformation was attempted, but nothing came of that. Later, Ricky Ramor and Frank Voigt went to Join In.
genre: rhythm and blues, garage
quality: lossless (ape, cue, log, covers)
time: 39:11 size: 134 mb misc.: mono
First album from the Northern Irish rock and roll group Them. The album was released in the UK in June 1965.
As with most Decca releases of the period, the name of the group was conspicuously absent from the front cover and on the back of the LP they were introduced as The Angry Young Them with an essay on this theme declaring: "These five young rebels are outrageously true to themselves. Defiant! Angry! Sad! They are honest to the point of insult!"
Six of the songs on the album were Morrison originals, including the famous garage band anthem "Gloria". Another song on the album, "Mystic Eyes", was a spontaneous creation that came out of the band just "busking around" in Morrison's words and after seven minutes of instrumental playing he impulsively threw in the words of a song he had been working on.
"You Just Can't Win" was a Dylan inspired song about a gold digger, set in specific places in London such as Camden Town. "Little Girl" was about a boy's obsession with a fourteen-year-old school girl.