genre: heavy fusion, psych
state: us
quality: lossless (flac, cue, log, cover)
time: 29:02 size: 193 mb
Fuzz Acid & Flowers:
Wild progressive instrumental power trio sounds, recorded in New York, although the group originally camr from San Antonio, Texas. A real killer in style, this album is going to be outside the realm of this book for some, and yet some dealers describe it as psychedelic, so go figure. A good record is a good record, and this one is recommended!
The band ceased recording after Tony (Anthony) Viola was tragically killed in an auto-train wreck in August 1974. ~ (Clark Faville/Sterling)
01. Mr Leroy, Pepeґ Is Lost 4:28
02. The Bus To New York 5:00
03. I Know You Donґt Have A Car 5:11
04. Two Plus One 2:46
05. The Nurds At My School 3:07
06. Youґre Driver Me Crazy With Relief 2:55
07. The Last One On Earth 3:32
08. What Is The Meaning Of Love 2:03
Anthony Viola / guitar
Ron Viola / drums
Bill Jolly / bass
genre: rhythm and blues
state: uk
quality: lossless (flac, cue, log, covers)
time: 56:04 size: 408 mb
wikipedia:
Vinegar Joe evolved out of Dada, a 12-piece Stax-influenced, jazz-rock fusion band. Dada released one, eponymous, album in 1970, with a line up including vocalist Elkie Brooks and guitarist Pete Gage. Singer Robert Palmer, formerly with The Alan Bown Set joined Dada after the album had been recorded. Dada were signed by Ahmet Ertegun for Atlantic Records but after their US tour Ahmet sub-licenced them to Chris Blackwell of Island Records for the UK and rest of the world, with instructions to reduce the line up to form Vinegar Joe in 1971, adding keyboard player Dave Thompson. The band was without a drummer. Conrad Isidore and Rob Tait drummed on the first album. Tim Hinkley added keyboards alongside Dave Thompson and it was Hinkley who appeared on the cover of the first album.Their debut LP Vinegar Joe was released in April 1972 on Island Records in the UK and Atco Records in the US.
Tim Hinkley took over from Thompson on keyboards and was succeeded by John Hawken. Drummer Rob Tait played the first series of live shows succeeded by John Woods . Mike Deacon took over on keyboards. During recording of their second album, Rock'n Roll Gypsies, also released in 1972, Keef Hartley played drums. Guitarist Jim Mullen also joined the band for this record and stayed played on the US tour . Drummer Pete Gavin joined the band prior to the US tour and recording of their third and final album Six Star General released in 1973. The band dissolved at in the spring of 1974. Alan Powell played drums during the band's final weeks.
Although Vinegar Joe never achieved significant record sales, they received considerable press coverage and toured extensively, playing numerous sell-out concerts, especially on the British university circuit.
Subsequently, Brooks and Palmer went on to enjoy success as solo musicians. Gage became a record producer and arranger, working with Brooks, his wife, until their divorce, and a range of successful musicians like Joan Armatrading and specialising in upcoming rockabilly and punk bands such as Restless, King Kurt and others.
progarchives:
Anything but a blues band, this combo (named after Montreal's artistic neighbourhood) represents one of the first decisive steps towards Quebec's fabulous first prog era, which would last until the turn of the decade? And it all started with this group, which was more of a loose aggregation of anything that Montreal counted as rock musicians at the time, and is really a pot pourri of musicians to be found later in TOUBABOU, CONTRACTION, HARMONIUM, AQUARELLE and more.
While the resulting music may seem nowadays a bit messy by today's standards, the "supergroup" was more of a happy-go-lucky affair (often touring on a full truck trailer as a stage) or as could be described in French: un joyeux foutoir. Yet as loose as they might seem (or this text might make them appear to be), on stage VEBB was a very tight unit even if they were up to 20 on stage. They started out in 73 with a self-released "bootleg" album called: Minute, VEBB S'En Vient. The following year, after landing a recording contract, they had released a double live album called "Live à Montreal", which had a good impact in the province. The following year, the group released their only studio album, simply called: Ville Emard, for which they got a Juno nomination (that year won by RUSH). Their sound was rather eclectic oscillating between prog, jazz-rock and funk and often sounding a bit like Santana. Clearly one of the central player of the band is percussionist (congas mostly) Michel Seguin who would work with most groups of the province, but starting with TOUBABOU, which can be seen as the most direct descendant of VEBB. But by the end of the year, the group had disintegrated.
In 79, will see the double Lp compilation released and in 2004, a CD reissue of their material was fittingly one of ProgQuebec's first releases. ~ Hugues Chantraine, Belgium
genre: pop
state: uk
quality: lossless (flac, cue, log, no covers)
time: 43:38 size: 162 mb
wikipedia:
As a 16-piece vocal group, the Vernon Girls appeared on the ITV show Oh Boy! with the house band between 1958 and 1959, and made a series of relatively successful singles for labels Parlophone between 1958 and 1961. Their 1958 LP released on Parlophone was arranged and conducted by Peter Knight, with sleeve notes by Eamonn Andrews. This record is significantly different from their later pop hits, featuring such fifties standards as "We'll Gather Lilacs", "Lonely Ballerina", and the "Cuckoo in the Clock".
Led by Maureen Kennedy, from 1961 the group reduced their membership to five and then three members, and by 1962 had signed to Decca Records where they recorded covers of American hits. Their cover of the Drifters' "Lover Please" and "You Know What I Mean" were both hits; the latter was also originally the B-side of "Lover Please". In the US the group charted with the first Beatles tribute album there, We Love The Beatles. As The Carefrees, they also charted with "We Love You Beatles", and made an album only available in the United States.
As session singers for Decca, the Vernons Girls were the female backing voices on many hit singles during the 1960s – one of the first being Billy Fury's "Maybe Tomorrow". The trio of Jean Owen, Frances Lea, and Maureen Kennedy also appeared on film in the 1964 TV special Around The Beatles with the Beatles plus Long John Baldry, P. J. Proby and Millie Small, in the Billy Fury film Play It Cool, and in Just For Fun; ex-member Vicky Haseman also appeared in this, with her group, the Breakaways.
However, by 1964, their chart successes had halted and they disbanded.
allmusic:
For an album that yielded not a single hit (and which was one of five long-players released by the band in 1962), Mashed Potatoes and Gravy (later retitled The Ventures' Beach Party) is one hell of an enjoyable album and still a very solid and substantial album, over 40 years later. The group's sound was lean and mean all the way through, whether doing a respectful cover of George Gershwin's "Summertime" or raucous renditions of "Lucille," "Poison Ivy," and "Hully Gully." Even the seeming throwaway numbers, such as "Hot Summer (Asian Mashed)," with its faux-Eastern embellishments, and the soaring "Spudnik," are played with such virtuosity and spirit that they demand attention, and there are a surprising number of vocals on this album, albeit mostly of the nature of choruses on songs like "The Wah-Watusi" and "Hully Gully." ~ Bruce Eder
13. Mr. Moto 2:08
14. Theme from Come September 2:39
15. Ya Ya Wobble 2:02
16. Night Drive 2:22
17. Venus 2:11
18. The Intruder 2:32
19. Gandy Dancer 2:12
20. Sweet and Lovely 2:47
21. Limbo Rock 1:56
22. Lolita Ya-Ya 2:13
23. Loco-motion 2:18
24. Gully-ver 1:54
25. Wild Night 2:20
26. El Cumbanchero 1:53
27. Lady of Spain 1:55
wikipedia: Velvett Fogg were one of many new bands within the underground scene, that were formed at the end of the 1960s that would attempt to take pop music to a higher level of creativity. Birmingham also had its own flourishing underground music scene during that time with a variety of innovative groups emerging. The line up of Velvett Fogg all came from within this alternative music scene in the city. Velvett Fogg were formed in 1968 from members of a Birmingham band Gravy Train. Up front was soul singer Ernie Handy, Bob Hewitt was lead guitarist, with Graham Mullett on drums, and Mick Pollard on bass guitar. Londoner Frank Wilson who played Hammond organ, was also on vocals, eventually becoming band leader and lead vocalist. The newly formed band spent most of the year touring Germany playing at army bases and clubs. Their stage act included a light show and a go-go dancer.
On their return to Birmingham, the band, now managed by an agency called Inter City Artists, were given a record deal by Jack Dorsey of Pye Records. It was also a time when it seemed that the more unusual or controversial a band was, then the greater chance there would be for success in the record business. The record label was looking to sign unusual underground music acts and Velvett Fogg were told to, in Jack Dorsey's words, "develop an image that would make people think you would piss on the pope!" (Keith Law).
The initial line-up of Velvett Fogg featured guitarist Tony Iommi (later with Black Sabbath). Iommi was in the line-up for only one gig before he left to be replaced temporarily by Ian Leighton. Leighton was "a great blues guitarist", said his friend Frank Wilson. It was during this time that Pye Records arranged a photo-shoot of the band for the cover of their proposed first album.
Before recording could begin in late 1968, Ian Leighton left the band and was replaced by guitarist/vocalist Paul Eastment (a cousin of Iommi). Paul Eastment contributed original compositions for the album, as did Frank Wilson, Graham Mullet and Mick Pollard. Velvett Fogg recorded the tracks for their debut album on Pye Records under the direction of Jack Dorsey. Apparently, Dorsey aimed to get the band onto the then-popular progressive band wagon. "I was a classically trained pianist but we all had to play way below our capabilities" says Frank Wilson. The band were also allowed to record covers of a few songs they liked and these included psychedelic-sounding versions of New York Mining Disaster 1941 by The Bee Gees and Tim Rose's Come Away Melinda.
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