genre: superb prog
quality: lossless (ape, cue, log, covers, 575 mb)
misc.: live Sweden '76
cd1: 01. Opening / Intro 2:20
02. Just The Same 5:34
03. Proclamation 5:59
04. On Reflection 6:53
05. Interview 7:11
06. The Runnaway / Experience 10:43
07. So Sincere (incl. drum solo) 11:22
cd2: 01. Excerpts From Octopus - The Boys In The Band / Knots / The Advent Of Panurge 16:10
02. Band Introduction 2:12
03. Funny Ways 8:50
04. Timing (incl. Double Violins Solo) 13:20
05. Free Hand 9:50
06. Peel The Paint / I Lost My Head 7:34
genre: power pop
quality: lossless (flac, cue, log, covers, 197 mb)
Rhodes recorded the album in his home studio. At the time, union rules required that recordings released on major labels must be recorded in proper studios, so the fact that this was a home recording could not be mentioned on the cover. The runout groove of the original LP release on Dunhill Records contained a decorative banner proclaiming, "Recorded at Home." Rhodes wanted to call the album Homecooking, but Dunhill decided to title it Emitt Rhodes.
Rhodes recorded the instruments on a four-track recorder and then approached Dunhill, who gave him a contract. He transferred the four-track instrumental recordings to an eight-track recorder to add the vocals on the four additional channels (and using a better microphone).
The album reached number 29 on the Billboard album chart. The single "Fresh as a Daisy" reached number 54 on the Hot 100. Billboard later called the album one of the "best albums of the decade".
Tapestry of Delights:
An early to mid-sixties outfit from Liverpool. They sometimes backed singers Johnny Sandon and Tommy Quickly (indeed it was Brian Epstein who recruited them as his backing band). Their main significance was probably the inclusion of Tony Ashton and Roy Dyke who formed Ashton, Gardner and Dyke in the late sixties. Later still Ashton was in Family. Ashton's earlier bands included The Mastersounds, Chris Farlowe's Thunderbirds, Tony Ashton Trio and Liverpool's Executives and College Boys.
They spent much of their time in Germany and had an album, Smile (Starclub 158 034) released there in 1967. It's up there among the better British R'n'B records of the era. Highlights include covers of Mose Allison's Seventh Son, Chuck Berry's No Money Down, Dean Parrish's The Skate and Stevie Wonder's Nothing's Too Good For My Baby. This reissue comes with eight bonus tracks, of which four are previously unissued. Some of them also played on George Harrison's Wonderwall Music album.
In 1991 the German-based Repertoire label compiled a 22 track CD compilation of their 45s for Pye circa 1963/64, The Pye Singles (Repertoire REP 4186-WZ), most of which were supporting other vocalists like Tommy Quickly, Gregory Phillips and Johnny Sandon.
Their German-only album, Smile, full of R&B and soul covers - they must have been a good live act in their heyday.
Fuzz Acid & Flowers:
Former Beat Of The Earth leader Phil Pearlman assembled this band in the early seventies and eventually recorded this magnificent rural rock album in 1975. The Relatively Clean Rivers album stands with the very best albums of the era, possessing a purely American sound and walking confidently past the shadow of its previous incarnation. Amazingly well produced for a private pressing, it is the very antithesis of his earlier releases that could be classified as garage (at a stretch, perhaps - they are not without a certain tangible sophistication). No measurable degree of time or expense was spared in the creation of the Relatively Clean Rivers album, which took over a year to assemble and is the most flawless snapshot of the California seventies underground scene you will ever hear.
While it should be easy to describe the sound the band produced, it most definitely is not. There are moments where they sound like The Grateful Dead at their most ethereal, for example like Box Of Rain from American Beauty; but other tracks on 'Rivers are utterly psychedelic in the Damin Eih way (although this album smells more like thai stick than acid). The Persian Caravan is as Eastern as the title suggests; Pearlman's collection of ethnic instruments used by the band to good effect.
Famed poster artist Jim Evans was enlisted for the cover, which must be seen to be believed. Imagine a cross between The Chocolate Watchband's No Way Out and one of those dayglo head shop posters and you'll have some idea. (Some of Evans' other rock-orientated commissions include The Cosmic Travelers LP cover, the movie poster for A Sea For Yourself, and The Allman Brothers' Wipe The Windows LP cover.)
AllMuscic: Bang, Bang introduced a hard rocker whose eclecticism was both impressive and unnervingly inconsistent. The covers of "Season of the Witch" and "Summertime Blues" are overlong and dated, but the frenetic version of Cher's "Bang, Bang" is inspired, and the rendition of Gene Pitney's "Something's Gotten Hold of My Heart" shows his poppier roots. Over half of the material was penned by Reid, and while these compositions are sometimes generic, late-'60s hard rockers, he also shows a facility for Donavonesque folk-rock "("Sweater") and impressive soul-rock vocalizing ("When I Get Home"). Originally not released in the U.K., it's ironically only available now as a U.K. import. ~ Review by Richie Unterberger
wikipedia: The Rattles are a rock band (initially beat group) from Germany. Their biggest selling record was their 1970 recorded song, "The Witch", which sold over one million copies globally. The Rattles performed in Hamburg, and played at the same venues as The Beatles on several occasions in 1962. In 1964 the group recorded "Zip-A-Dee-Doo-Dah", which charted in the UK. In 1968 they recorded their first version of "The Witch", with vocals by Henner Hoier. The band's records sold well in Germany during the 1960s.
Their second version of "The Witch" in 1970, this time with vocals by Edna Bejarano, became their only international hit. "The Witch" appeared in the Top 10 on the UK Singles Chart, the top 20 in Austria, and reached the Billboard Hot 100 in the U.S., the first German record to reach that chart. It eventually sold over one million copies.