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ORION AWAKES



LA CONOSCENZA RENDE LIBERI



Last Build Date: Mon, 06 Nov 2017 07:52:22 +0000

 



The Glitterhouse - Color Blind (1969 psych pop)

Thu, 02 Feb 2012 07:00:00 +0000


Once the contract hit the file, the Glitterhouse - if the band's recollections are to be believed - existed as a Bob Crewe vanity project, something to bolster his artistic reputation. See, Crewe (the Four Seasons & Frankie Valli, the Walker Brothers, the Tremeloes, Lesley Gore), a future member of the Songwriters' Hall of Fame, saw these guys play for a book release party & decided he could turn them into the next Lovin' Spoonful. But once their contribution to the Barbarella soundtrack (Crewe picked studio musicians, relegating the band to vocals only) tanked at radio, support for Color Blind was all but withdrawn. You know where I'm going next - damn shame. Cos even with Crewe's sweetening, Color Blind is an interesting document, albeit one that induces a few winces. The band blames their producer for fare like "Child of Darkness" (a moody, underwritten midtempo piece in the vein of the Association). But who gets blamed for the sugar-spun too-muchness of "Sassafrass and Cinnamon"? The anthemish "I Lost Me a Friend" with its anemic drumbreak? "Hey Woman" is more down-to-earth, kind of generic bubblegum but featuring wicked harmonies and some nice organ buildups. Comparisons to Love (both bands were five-pieces with a Black singer) are inevitable. Album closer "Happy to Have You Here Again" is an excellent Beatley bit (with a Geroge Martin-cribbing instrumental break), Mike Gayle's easygoing 'n' loose lead vocal carrying the day. The most successful song (Top 50 in New York City!) is "Tinkerbell's Mind," a grand, string-laden music box. In total Arthur Lee mode, Gayle coos over a great lite-psych arrangement. The only goof-up is the band's (producer's?) decision to have Mike speak-repeat the last phrase of every verse. Kind of heavy-handed. So: not a classic, but still a small country. 
From RYM (silent mike)






Earth Island - We Must Survive (1970 usa psych psych pop)

Sun, 29 Jan 2012 15:31:00 +0000


Very good Psych-lite with tinges of Pop and prog. Is music on the same wavelength as The Millennium; light "airy" sort of super-produced pop with (often) positive messages. For a few tracks I could've sworn the lead singer was Curt Boettcher (like on "Seasons of Our Lives"). Even some of the other vocalizations are similar (which is a good thing): --Ooh!-- and --Ahh!-- backing vocals on several tracks along with multiple singers, instrumentation varied from song to song, etc. The album is solid throughout, with no real "clunkers" to be found. Fillers, (see below), yes perhaps... but even the fillers aren't horrible. On repeated listens I've grown to appreciate it more and more. Highlights: "Earth People's Park" "This Island Earth" and "Ride the Universe" stand out to me. I didn't really care for "Peace and Understanding, Toronto 1970" as it just felt like tossed-together filler material compared to the rest of the record. Same with "The Hungry Planet"; they tried to spice it up with backing vocals but it's still a simple blues-themed jam in the end. Actually the second side is the weakest part of the record, with the first few tracks being very solid. If you can get your hands on it and enjoy Psych-lite/Millennium-style 60's Pop, I recommend checking out the first few songs at least.
From RYM (Faltain)



Earth Quake - 8.5 (1976 usa hard rock)

Fri, 27 Jan 2012 04:30:00 +0000


Most people seem to think that Greg Kihn was the mainstay of Matthew Kaufman's Beserkley Records. Kihn may have become the label's chief money maker, but the label was originally formed and financed by the band Earth Quake. Having recorded a pair of early-1970s albums for A&M, 1976's Kaufman and Glen Kolotkin produced "8.5" was the group's sophomore release for Beserkley. The album gets off to a roaring start with the heavy metal 'Finders Keepers'. Imagine Def Leppard had they come from California and you'll get a feel for this track. Unfortunately, tracks such as 'Little Cindy' and '' offer up a more conventional set of rockers. Powered by Doukas voice, most of the up tempo tracks are actually pretty good, but there isn't much in the way of originality or spark goin' on here. As for ballads such as 'And He Likes To Hurt You' and 'Girl Named Jesse James' ... well at least there aren't too many of 'em. Nice art noveau cover ... "8.5" track listing: (side 1) 1.) Finders Keepers (Johnson - Bowen) - 2.) Little Cindy (Gary Phillips) - 3.) And He Likes To Hurt You (D. Linde) - 4.) Savin' My Love (Robbie Dunbar - John Doukas - Gary Phillips) - (side 2) 1.) Girl Named Jesse James (Robbie Dunbar - John Doukas) - 2.) Motivate Me (Robbie Dunbar - John Doukas - Gary Phillips - Bimier) - 3.) Hit the Floor (Robbie Dunbar - John Doukas - Stan Miller) - 4.) Same Old Story (Robbie Dunbar - John Doukas) - 5.) Don't Want To Go Back (Robbie Dunbar - John Doukas - Gary Phillips) - 

From RYM (RDTEN1)






Neo - Neo (1980 fra prog)

Mon, 23 Jan 2012 07:00:00 +0000


Instrumental, Jazz-rock avec quelques dérives Canterburiennes et effleurements Neo-prog mais surtout une sorte de Space Rock à la Ozric bien que ce goupe n'existe pas encore à cette époque. J'achève la description par des moments Jazz-Fusion du meilleur effet et vous aurez compris que ce disque est une merveille. A la charnière des années 7O-8O, années du Neo et de la quasi-inexistence du rock progressif dans le grand public, cet album fait figure d'OVNI musical en plein boom de la Disco, Funky et New Wave music. Un très grand disque qui est réédité avec bonus... Mais d'où diable sortent-il ces titres bonus ?? Y en a t-il d'autres ? Si oui où sont-ils, pourquoi ne pas en faire un CD ?? 1. Osibirsk (6:53) 2. Scene De Chasse (7:32) 3. Joiwind (3:57) 4. Neoplasme (3:14) 5. Sortie De Bain (10:42) 6. Plage II (2:59) Bonus tracks (CD reissue) : 7. Jazz ‘N’ Roll (7:20) 8. Song 4 Miles (5:20) 
From RYM (BronDune)



Floating Opera - The Floating Opera (1971 psych hard psych usa)

Mon, 23 Jan 2012 05:00:00 +0000


Male and female vocal, semi-commercial rock with some hard rock cuts and good period flavor. Grades - 2 B+'s, 1 B, 3 B-'s, 1 C+, and 2 C's. They were from Ann Arbor, Mich. 
From RYM (tymeshifter)



The Fort Mudge Memorial Dump - The Fort Mudge Memorial Dump (hard psych usa 1969)

Thu, 19 Jan 2012 22:12:00 +0000


I think, percentage wise, Boston trumps San Francisco for best psych output. F.M.M.D. are a strong representative. The album features somewhat heavy psych hard rock with organ, female vocals and great guitar with fuzz, wah-wah, and some dual leads, as well as tremendous period flavor. This is the kind of album most psych neo-phytes hope to discover when searching the genre out. Consistently great and recommended. Grades - 1 A, 1 A-, 3 B+'s, 3 B's, 1 B-, and a C. Incidentally, I have seen plenty of reference sources claiming this to be a 1970 release, and since they only formed in 1969, I think this is more plausible. I have been unable to verify this on the internet. 
From RYM (tymeshifter)









Sammy - Sammy (1974 hard rock, prog)

Fri, 13 Jan 2012 08:30:00 +0000


It's doubtful many folks have ever heard the British band Sammy - I certainly hadn't which was kind of surprising given the band's impressive pedigree. Drummer Mick Underwood was apparently the band's driving force, with the line up rounded out by a collection of rock veterans including ex-Audience horn and woodwinds player Keith Gemmell, ex-Billy J. Kramer keyboardist Mick Hodgekinson, former Ginhouse guitarist Geoff Sharkey, and ex-Roy Young Band bassist Paul Simmons. Signed by Philips, the band debuted with a 1972 45 'Goo Ger Woogie' b/w 'Big Lovin' Woman' (Philips catalog number 6006 227). While the single did little commercially, it attracted enough interest and attention for Philips management to green light an album. Co-produced by Louie Austin and Deep Purple's Jon Lord, 1973's "Sammy" offered up a competent, if slightly worn set of mid-1970s hard rock. Largely penned by Sharkey and Simmons, lyrically and musically there wasn't a lot of originality going on here (kind of like the album cover) - Gemmell's sax adding occasional jazz-influenced runs to the band's blues and rock oriented sound. As lead singer Sharkey wasn't bad; his raw raspy voice sounded surprisingly good on tracks like 'Give Me More', their unlikely cover of 'I Ain't Never Loved a Woman (The Way That I Love You)', and 'Get Into a New Thing'. Imagine uriah Heep-lite with the saxes, a little more boogie and variety ('Who Do You Really Love') and you'll be in the right aural neighborhood. The band was actually far more impressive on their isolated stabs at more-pop oriented material like 'Sioux-Eyed Lady' and 'Jo Anne'. Elsewhere the album spun off a UK single in the form of 'Sioux-Eyed Lady' b/w '70 Days' (Philips catalog number 6006 249). Brainless fun, it's actually not a bad effort, especially if you approach it with the right mindset. One LP and two 45s appears to cover the band's recording legacy. By the way, the British album release featured different cover art. 
From RYM (RDTEN1)
 



Time 1&2 (1972+75 Youg. hard prog)

Wed, 11 Jan 2012 09:00:00 +0000


Everytime i have listened to this album ive had shivers inside me, "Pjesma no. 3" can bring me to tears "Za koji život treba da se rodim / For What Life Should I Be Born" is one of the best moments of my intire music listening ! and "Makedonija" is a very memmorable song. best get the version with that song on it! the Vrijeme remastered version is even better :) 
From RYM (rixsta)






Christopher - What'cha Gonna Do?(69 heavy psych usa)

Sat, 07 Jan 2012 09:00:00 +0000


A diverse mix of hard rock, blues, punk, and psych, all with a semi-garage flavor, and fairly non-commercial orientation. Grades - 1 A, 2 B's, 3 B-'s, and a C. This issue is anumbered micro-press of 350 copies.
From RYM (tymeshifter)



T.I.M.E. 1+2 (1968+69 usa psych)

Thu, 05 Jan 2012 09:30:00 +0000

Guitarists Larry Byrom and Bill Richardson had previously been members of San Diego-based The Hardtimes who over the 1966 - 68 timeframe managed to release a series of five singles and one interesting LP (1968's "Blew Mind" World Pacific catalog number WPS 21867), before calling it quits. Relocating to Los Angeles, Byrom and Richardson wasted little time forming their next band - Trust In Men Everywhere (wisely abbreviated to T.I.M.E.). Recruiting drummer Steve Rumph and former Jack London and the Sparrows bassist Nick St Nicholas the quartet was quickly signed by Liberty Records,. Teamed with producer Joe Saraceno, they subsequently made their debut with 1968's cleverly-titled "T.I.M.E.". A musical timepiece, the album was quite diverse, including competent stabs at a broad array of genres including blue-eyed soul, folk-rock, psych, and plenty of sunshine-pop. Unfortunately, nothing here was particularly original, making for one of those fun spot-the-influence collections. In fact, driven by tracks like 'Make It Alright', 'Let the Colors Keep On' and 'What Can It Be' at times the collection sounded like it had been recorded in 1965 rather than 1968. The band's other big problem stemmed from the fact they didn't have a great singer. All four members apparently sang, with most of the tracks having kind if a group vocal feel that added to the album's sense of anonymity. Exemplified by songs like 'Tripping Into Sunshine' and 'You Changed It All' the results weren't bad, but with a more distinctive lead vocalist, the results would have been far more impressive. All of those criticisms aside, it was one of those albums that's better than the sum of its parts. A truly fun collection that simply screams 1960s vibe (good, bad, or indifferent) - Opening up with some sustained guitar feedback, 'Tripping Into Sunshine' quickly shifted gears into a more commercial direction. Yeah, the track retained had a heavy psychedelic feel, but that edge was balanced out by some unexpectedly sunny harmony vocals. Imagine The Mamas and the Papas having decided to record a truly heavy psych tune. rating: **** stars - 'Label It Love' sported a totally unexpected Western influence ... seriously. Complete with Spanish-flavored acoustic guitars and percussion, this rollicking rocker was great. Every time I listen to it I think of zonked out cowboys. rating: **** stars - More fuzz guitar and a pounding,, almost soulful beat, gave 'Finders Keepers' a nifty blue-eyed soul feel, though the abrupt time shifts were disconcerting and detracted from the overall feel. The song highlight was the brief Beatles-styled jangle guitar solo. rating: *** stars - 'Love You Cherish You' found the band shifting gears into lounge act crooner territory. It wasn't much to be excited about, but the highlight came in the form of St. Nicholas' short bass solo. The song was so bad it was almost worth listening to. No idea if these guys played live, but easy to imagine screaming women fans if they played this one. rating: * stars - Complete with a Dylan-styled harmonica solo and some Beatles-styled harmony vocals, 'Make It Alright' had a distinctive folk-rock feel. Much more 1965 than 1968, but catchy and fun and easy to see why Liberty tapped it as the leadoff single. rating: *** stars - Again, it sounded more 1965 than 1968, but 'Let the Colors Keep On' offered up a wonderful slice of sunshine pop. Easy to imagine a group like Spanky and Our Gang having covered this one. rating: *** stars - Side two started with my choice for the set's the best performance - the fuzz guitar propelled rocker 'You Changed It All'. Great tune with nice blend of commercial me[...]



Crystal Image - II (1975 us rock)

Tue, 03 Jan 2012 08:30:00 +0000




Ocarinah - Première vision de l'étrange (fra prog space prog 1978)

Sun, 01 Jan 2012 07:30:00 +0000


Imagine the first two Clearlight albums as strictly a keyboard trio (with occasional guitar), combined with a strong dash of metronomic rigidness similar to the Canterbury movement, in particular the early albums by Egg. Five long tracks of incredible creativity and complexity. 
From RYM (ashratom)



Public Foot the Roman - Public Foot the Roman (1973 prog jazz prog uk)

Fri, 30 Dec 2011 07:00:00 +0000

I probably shouldn't admit it, but the truth of the matter is I bought this album based entirely on the bizarro band name, the label (Capitol's short-lived Sovereign imprint had some interesting acts on its roster), and the interesting Hipgnosis cover (a bunch of folks standing in the middle of a Chelsea's soccer stadium looking up at what appears to be a UFO). These guys actually had an interesting background. Irish-born singer/guitarist Sean Byrne had been a member the California-based The Count Five who had a classic one-shot single with 'Psychotic Reaction'. When that band fell apart Byrne eventually returned to Ireland where in the early 1970s he ended up as a member of Public Foot the Roman along with lead guitarist Greg Knowles, drummer Jaime Lane, keyboardist Dag Small, and bassist Ward (guess he couldn't afford a last name). Produced by Derek Lawrence who handled a bunch of the Wishbone Ash catalog, 1973's oddly titled "Public Foot the Roman" was kind of an odd hybrid of AOR and progressive moves - occasionally blended together in the same song ('When You Lay It Down'). With Byrne responsible for all eight tracks on the surface that wouldn't sound particularly promising (I can see folks thinking along the lines of a second tier Genesis or Gentle Giant). The fact of the matter is that while there wasn't a great deal of originality here, the band played with considerable energy and with one of two exceptions (the country-tinged 'King for a Day'), this album was a lot of fun to hear. Byrne, Lane, and Small all handled lea vocals, though Byrne seemed to be the most prominent of the three. All of them had decent if slightly anonymous voices that managed to cover the band's entire catalog. For his part Knowles was a truly overlooked guitarist who turned in some first-rate performances on this overlooked set.. That said, the band's secret weapon (well I guess he really wasn't much of a secret) was keyboardist Small who managed to salvage virtually everything he touched. - 'Land Owner' opened the album with a fairly conventional slice of AOR. The highlight came in the form of a nice Byrne and Knowles double lead guitar solo that sounded like it had been borrowed from an early Allman Brothers track. Small kicked in some nice Supertramp-styled keyboards. rating: *** stars - In contrast to the first track, 'When You Lay It Down' found the band diving headlong into progressive rock. Mind you the results were still fairly mainstream with a recognizable and enjoyable melody and some tasty lead guitar and keyboards from Knowles and Small. The album also showcased some very nice harmony vocal work from the band. rating: **** stars - Completely unlike the rest of their catalog 'King for a Day' sounded like a cross between Commander Cody and early UK pub-rockers like Brinsley Schwartz. Once you got over the initial shock, the song kind of grew on you with Knowles turning in a simply blistering Telecaster solo. Very commercial, you could just hear progressive and rock fans scratching their heads trying to figure how someone slipped a pub-rock song on their turntables. rating: *** stars - Probably because it had the highest 'progressive' content and bowed in non-too-subtle aural homage to Yes and other English progressive bands, 'Judas Returns' (along with "Decline and Fall') was one of the two PFTR songs that folks typically acknowledge off the album. If you liked Yes at their most commercial and didn't mind some really dumb lyrics (c'mon, they were from Cambridge, so you couldn't be blamed for expecting something a bit more substantial ("men in [...]






Cat - Cat (psych pop 1970 us)

Sat, 24 Dec 2011 08:00:00 +0000




Blitz - Oga Erutuf (1975 usa hard rock)

Thu, 22 Dec 2011 09:00:00 +0000




Out of Darkness - Out of Darkness (1970 uk hard rock prog)

Mon, 19 Dec 2011 06:30:00 +0000


none too consistent, but very good overall, guitar driven bluesy prog hard rock, with Christian lyrics, and mixed with some softer rock. Grades - 1 A-, 3 B+'s, 2 B's, 3 B-'s, 2 C+'s, and a C. 
From RYM (tymeshifter)



Arbuckle - Arbuckle (1971 us psych prog)

Sat, 17 Dec 2011 10:30:00 +0000







Ark - Voyages (1978 us psych xstian)

Tue, 13 Dec 2011 09:30:00 +0000


Very good, but not extraordinary album. It's a Christian hard rock LP, with a mix of vocal and instrumental material, and featuring good guitar. I think I'll reserve final judgement until after I listen a few more times, but as of now, atleast half the LP is worth a solid B or better.
From RYM (tymeshifter)