Tapestry of Delights:
This privately-pressed early seventies collectable now changes hands for substantive sums. The band were Scottish and the album consists of five extended tracks of superb heavy organs and guitar work. Originally issued in a plain white sleeve, unsold copies were according to 'Record Collector' acquired by a German dealer a few years back who designed a new sleeve to enhance the album's appeal. Recommended.
01 - Three Days After Death pt.1 9:29
02 - Three Days After Death pt.2 7:11
03 - Aunty Mary`s Trashcan 10:41
04 - AfterYour Lumber 5:15
05 - Plastic Man 6:00
Mick Riddel - gtr
Doug Rome - orgn
Bill Anderson - bss
Dick Sneddin - drms
Style: jazz
Country: us
Audio: lossless (ape, cue, log, booklet scans)
Size: 563 mb
cd1: 01 - Spinning Wheel 6:02
02 - I Love You More Than You'll Ever Know 8:54
03 - Lucretia MacEvil 7:08
04 - And When I Die 2:10
05 - One Room Country Shack 6:57
06 - And When I Die (Reprise) 3:07
07 - (I Can Recall) Spain
total: 43'14"
cd2: 01 - Hi-De-Ho 'That Old Sweet Roll' 6:33
02 - Unit Seven 11:07
03 - Life 5:15
04 - Mean Ole World 9:39
05 - Ride Captain Ride 6:59
06 - You've Made Me So Very Happy
total: 45'38"
David Clayton-Thomas – Lead vocals
Bobby Colomby - Drum, Background vocals
Dave Bargeron - Trombone, Tuba, Percussion, Background vocals
Larry Willis – Keyboards, Background vocals
Bill Tillman – Saxophone, Flute, Background vocals
Anthony Klatka - Trumpet, Background vocals
Joe Giorgianni – Trumpet, Background vocals
Steve Kahn - Guitar, Background vocals at Schaeffer Music Festival; City Hall Plaza
George Wadenius – Guitar, Background vocals at the National Arts Centre
Mike Stern - Guitar, Background vocals at Monterey Jazz Festival
Ron McClure – Bass
Don Alias - Percussion, Background vocals
Style: rock, new wave Country: uk Audio: mp3 (192k) Size: 53mb
review from Head Heritage:
This record drives me nervous.
An album at once manic, synthetic, herky-jerky Pure-Pop-For-Then-People "Sound-On-Sound” is also one of the most fastidiously obsessed of its kind. A total twelve tracks were constructed in themes that were the sole province of what Mick Farren once derided as ‘the Adolf Hitler Memorial Space Patrol.’ Namely, those Bowie casualties of the late seventies/early eighties that cropped up during the new wave/electro-pop cusp and specifically: those of the John Foxx/Gary Numan ilk whose faux-Teutonic electronics were more carnie parody than Connie Plank as they preened all noir-statuesque behind lines of synthesizer string cheese trying its best to be Kraftwerk, but only as perceived by Bowie on "Heroes” and "Low” when the whole time the whole lame ballyhoo was nothing less than a continual re-take/re-plunder on either Roxy Music and/or Peter Hammill role models, anyway. (File under: "Are ‘friends’ eclectic?”)
Predictably, the product of these preening poseur purveyors who peddled then-popular paranoid/robotic/futurist/alienation/romance fad themes for a mercifully short period just prior to the style revolution of Blitz (whose jumped-up denizens dutifully recycled and codified said themes long enough to relay them onto proponents of Gothic rock) were flatly derivative, openly bored and always cribbed strictly from the same sources (Bowie/Roxy/Kraftwerk) as though the only answer to punk’s 1978 dissolution of substance into style was to hail the latter as some new, skyclad emperor instead of making at least a real attempt to concoct something new out of the lessons of the old.
Bill Nelson’s Red Noise’s sole album "Sound-On-Sound” was an unlikely candidate. But it did kick all of the wannabes’ respective asses back to their redundant Berlin UFA film sets and beat them at their own game but the only problem was -- nobody knew it, or admitted it, at the time. Nelson’s songwriting was in full bloom, openly accepting and incorporating new approaches to upbeat and riff-laden pop as they made contact with a compressed studio sheen build up from a multitude of brief though aggressive electric guitar tracks, layers of bizarre synthetic treatments and a small but determined band that corralled it all into a continuous and seamless vision of a planet with an eccentric but unswerving orbit that toiled intensely, insanely and (somehow) cheerfully for all the depictions of the blindingly harsh neon realities of the modern world: a place where danger and the unknown lurked behind every encounter, modern convenience and household appliance.
Red Noise developed from the premises Nelson first began to establish the previous year on Be-Bop Deluxe’s final album, "Drastic Plastic.” From the strange paranoia of "Superenigmatix (Lethal Appliances For The Home With Everything)” to the revved up "Love In Flames” and the claustrophobic "Possession,” Nelson boiled it down into a pressure cooker of quirk co-joined with the distinctly Class of ‘78 nouveau jerkiness of Devo, XTC and Wire. Only difference is that here alongside guitar lines which buzzsawed through thickly layered songs were nerve-wracking lyrics which Nelson’s electro-treated vocals delivered with unperturbed elegance. Brisk is the pace as track after track chase themselves across Nelson’s impeccably fractured and unflappable songwriting, his exacting guitar parts thrown through Mesa-Boogie amplification and into the already dense arrangements against deftly applied and economically dispensed synthesizer overlays. Following Nelson from Be-Bop Deluxe in Red Noise was keyboardist Andy Clark and saxophonist Ian Nelson while Rick Ford (bass) and Dave Mattacks (drums) back with great flair. As in Be-Bop Deluxe, Nelson handles the vocals, guitar along with additional synthesizer, bass and even drums for most of the album: thumping away as though to drive all his creations with a willfully punk edge.
The album begins with quick and irritating synth clusters sounding and trading off with Nelson’s staccato and nightmare-stiff guitar bursts in the straightjacketed spazzerino of "Don’t Touch Me (I’m Electric).” I’m already slugging a quart of espresso just to calm down. "For Young Moderns” proposes a "Zero Hero Euro Lifestyle” for all, with Andy Clark’s fantastically frantic piano discordances tear apart the coda. Besides being an accurate description of the album’s rhythms, "Stop/Go/Stop” describes a paranoid mind control nightmare offset with nearly comical electronic effects and vocoder in precise, abundant detailing and high-pitched electronic "nah-nah-nah-nah-nah-nah” -- along with Nelson’s own thumping drumming and Rick Ford’s bass that cuts out to restart on cue every time (and that’s pretty often in this song.) "Furniture Music” was the first Red Noise 45 and conveys the paralysis of alienation far clearer than Gary Numan’s "Cars” ever could and besides: the guitar’s far more classy and abrasive. "Radar In My Heart" is the younger cousin of Be-Bop Deluxe’s "Love In Flames” with prominent Vox Continental organ and pummeling drums from Nelson. A quick breath and they’re already hurtling into further Vox Continental-domination with "Stay Young” to finish off side one before I even noticed.
Side two opens with the dazed, mechanical stomp "Out Of Touch” as hit-on-the-head-with-cartoon-anvil-tweety-bird electronics burble around angular guitar bursts and descending runs over looming paranoid lyrics like "Faces in the street/Eyes like mirrors/Eating holes in the back of my head” that are nonetheless delivered jaunty as hell. Compounding the broad daylightmare is the highlight of side two, "A Better Home In The Phantom Zone” where Dave Mattacks taking over on drums for most of the remaining tracks as he drives down in a manner most un-unhalfbrickingly against Nelson’s spiky, aggro guitar lines. Synth lines are released and discharge in the background as accusations fly fast and furious ("I caught you in the kitchen/You were curing something itching/Or so you said”) along with the damning indictment of: "Your relatives are white/And all your children have record players/They listen to Tom Robinson/The Beatles and The Byrds/and Lee-oh Say-UH...!” Nelson’s vocals are barking out harsher and harsher while his downstroking guitar is busting at the seams of the arrangement until a synth signal discharges all the pressure, as though a button marked ‘MANIA’ has been switched off along with the song. The relatively relaxed "Substitute Flesh” scenarios switch from candy-assed glee to strident lust. But with lines like "Sperm armies swarm and conquer” and Nelson yip-yip-yipping his head off, I’m losing it. Help. This record’s a panic.
From here on in it’s one gigantic rush. "The Atom Age” sees Nelson blare out punk guitar rhythms and mash out those overdubbed tom-toms right into the floor. A sax blares red alert as it all jerks uneasily on the barbed wire tightrope of modern life against leaking pressure valve synthesizer lines. It’s all got Nelson in a full-nelson, so he throws down a prime Cocteau quote ("I am the lie that tells the truth”) then lets loose with a camped up "La la la, la, la, la, la, la -- LA, LA!” "Art/Empire/Industry” is where everything starts running at once in breakneck paces with vocoderised vocals, quick drum breaks, razor-sharp guitars, jaunty sax, overall neuroses...you name it. This has the velocity of black and white cartoon music played at twice the speed as though to underline the absolute mania that is the heart of this album and it rounds corners tighter than deadman’s curve and the hillsides of Monaco combined only to end abruptly post-punk as fuck like Wire’s "Options R.” "Revolt Into Style” triumphantly closes the record as though the future Bill Nelson always reached for in Be-Bop Deluxe had finally been grasped and was now reaching for him. Psycho synthesizers bubble and squeak in the middle chorus while Nelson manages to easily fit small though manic guitar runs at every turn until several slo-mo guitar windmilling bring to a quick conclusion this fiercely passionately and tense as hell hyper-panic classic.
ItalianProg site: A band from Genova, Gleemen were formed around 1965 by Pier Nicolò "Bambi" Fossati, guitarist extraordinaire and Hendrix lover, and also included long time members Cassinelli and Traverso along with guitarist Marco Zoccheddu (later with Nuova Idea).
Their only album, issued in 1970, is a good rock album, with strong 60's influences and some typical elements of later Garybaldi work: the wild, Hendrix-inspired guitar playing of Bambi, the organ background and a solid rhythm section. Some bluesy tracks are present, like the longest track on the LP Chi sei tu uomo, and the album has a very good average level, though by no means a progressive work.
The same line-up changed name to Garybaldi in 1971, the only difference being a slighly more progressive oriented sound, keeping the same style as previous band, and the wild Hendrix-inspired guitar playing of Bambi Fossati above all.
They had a very interesting debut with the single Martha Helmuth in 1971, the back cover of it stating "from now on we're not Gleemen, we're Garybaldi" to declare their change of style. Nuda, a year later, is a much more mature album than Gleemen, with the long beautiful suite Moretto da Brescia taking the whole of side two and the four tracks on side one also on a very good level. A very important album, housed in one of the best covers of the era, designed by cartoonist Guido Crepax.
The band had an intense live playing, supporting the likes of Uriah Heep, Van der Graaf and even Santana in their italian tours, and theirs was a constant presence at the most important italian pop festivals in the early 70's.
Second album, Astrolabio, released on Fonit label, is a lesser work than Nuda, with just two side-long tracks, Sette? (recorded live) and Madre di cose perdute, both tracks also issued on a single in shortened form. The tracks contain long improvised parts that confirms the high level of Fossati's playing but seem less inspired and can't be compared with the first album. Keyboard player Lio Marchi is also present on the album though not a member of the band, that kept playing as a trio until the end of 1973.
In 1974 a new incarnation of Garybaldi was formed by Bambi Fossati along with old cohort Maurizio Cassinelli, bassist Roberto Ricci and indian percussionist Ramasandiran Somusundaram as Bambibanda & Melodie. Their only album has the usual leading role for Bambi's guitar, but the use of percussion gives a more latin-inspired feel that sometimes reminds Santana.
Percussionist Ramasandiran Somusundaram, previously active as session musician, also released an album and no less than three singles (in a more commercial vein) between 1974 and 1976 on the Magma label.
Bambi Fossati kept playing under the name of Bambibanda for some years before reforming the old group in late 80's with a new line up including Marco Mazza (guitar) and Carlo Milan (bass) along with Maurizio Cassinelli, and they released an album, more song-oriented, in 1990, as Bambi Fossati & Garybaldi.
A new album has been released in 2000, called La ragione e il torto.
Style: space rock
Country: uk
Audi: lossless (flac, cue, log, scans)
time: 1:09'11 Size: 415mb
01. Translation 4:17
02. Equals 1:52
03. An Appointment With The Master 5:15
04. The Settlement Song 11:27
05. Long Time Living 2:18
06. Strangerstill 6:51
07. Come All Ye Faceless 9:07
08. The Slightest Distance 6:09
09. Donna 4:16
10. A Thousand Pages Before 6:35
11. Through The Eyes Of A Child (Bonus Track) 4:01
12. An (other) Appointment With The Master (Bonus Track) 3:42
13. Strange People (Bonus Track) 3:20
- Colin Swinburne / guitar, organ, piano, vocals
- Peter Kimberley / bass, piano (2), vocals
- Brian Smith / drums
- Karel Beer / organ (7)
Style: psych soul Country: us Audio: mp3 (256k) Size: 74mb
A locally beloved figure on the Chicago soul scene, Baby Huey never achieved quite the same renown outside of his hometown, despite an exciting live act and a record on Curtis Mayfield's Curtom label. Born James Ramey in Richmond, IN, in 1944, Baby Huey was literally an enormous stage presence: a glandular problem kept his weight around 350-400 pounds and beyond. He began performing in Chicago clubs in 1963 with his backing band the Babysitters and soon became a popular concert draw. As the '60s wore on, Baby Huey's sound moved from energetic R&B into a more psychedelic brand of soul, with a vocal style that drew comparisons to Otis Redding. He signed with Curtom and recorded a debut album, The Baby Huey Story: The Living Legend, that featured several Curtis Mayfield songs (most notably the oft-sampled "Hard Times" and "Mighty Mighty Children"), plus a cover of Sam Cooke's "A Change Is Gonna Come." Sadly, Baby Huey didn't live to see it released; his weight and substance-abuse problems were exacting a steep toll on his body, and on October 28, 1970, he suffered a drug-related heart attack in a hotel room in Chicago. The album was released early the next year, and the Babysitters attempted to carry on for a while with a new lead singer, the still-teenaged Chaka Khan (she would, of course, go on to fame as the frontwoman of funk band Rufus shortly thereafter). In the years since, Baby Huey's lone LP has become a sought-after collectible among soul fanatics
"James Ramey" aka "Baby Huey", was the singer of the band "Baby Huey & The Babysitters",who released several 45 rpm singles during the 60's. In 1969, curtis mayfield signed "Baby Huey" without his "The Babysitters" on the Curtis's label and produced this record with the help of donny hathaway like arranger. Baby Huey died of a heart attack on October 28, 1970 and the record released after his death in 1970. You could appreciate his great rocky voice on different songs like "Hard Times". Baby Huey recorded amazing versions of Curtis's songs like "Mighty Mighty", "Hard Times", ..., sam cooke's "A Change Is Going to Come" and "the Mamas and Papas"'s "California Dreamin".
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Oldish Psych & Prog offers progressive psychedelic rock music mp3 lossless downloads
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