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Post by boogieboarder on Nov 28, 2021 9:47:30 GMT -5
Bad Manors, by Crowbar - a 1971 LP by a Canadian group that backed Ronnie Hawkins, and then King Biscuit Boy recorded the strangest most partying fun blues rock loose but tight LP that was a favorite in college dorm parties at the time. www.amazon.com/Bad-Manors-Crowbar/dp/B00CXN4JPE/ref=nodl_Attachments:
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Post by jk on Nov 28, 2021 10:19:29 GMT -5
Bad Manors, by Crowbar - a 1971 LP by a Canadian group that backed Ronnie Hawkins, and then King Biscuit Boy recorded the strangest most partying fun blues rock loose but tight LP that was a favorite in college dorm parties at the time. www.amazon.com/Bad-Manors-Crowbar/dp/B00CXN4JPE/ref=nodl_I thought I'd linked Bad Manors before but no -- I was confusing it with the band Bolder Damn, a similar play on words. Thanks, bb. I do like this track, "Oh What A Feeling":
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Post by jk on Nov 29, 2021 10:58:16 GMT -5
I see my blogger friend's lists include a couple of albums by UK rock band Atomic Rooster, probably because of their connection with the lone album by The Crazy World of Arthur Brown, which I know she likes. Regrettably both albums -- Atomic Roooster [sic] (1970) and In Hearing of Atomic Rooster (1971) -- ended up in the "Wasn't Impressed With" pile. So instead I approached the album Atomic Rooster released between those two, namely Death Walks Behind You from 1970 with Blake's Nebucadnezzar on the cover. I must confess keyboard-fuelled prog rock is not really my cup of tea. That said, a friend of mine saw the band in action at the Great Western Express festival near Lincoln in 1972 and was most impressed by them! This is the sprawling closing track, "Gershatzer" (great name!), featuring the ill-fated Vincent Crane giving his organ a birthday and Paul Hammond showing himself to be as fine a drummer as any in the genre at the time: en.wikipedia.org/wiki/Death_Walks_Behind_You
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Post by jk on Dec 1, 2021 9:43:49 GMT -5
While I think of it... Should anyone wish to explore the contents of the three opening posts of this thread, you could do worse than visit my revised version of that list. I have standardized the layout of each of the three tiers, checking dates and spelling and tweaking information where necessary. All the value judgements scattered throughout the list are the OP's. Any inaccuracies that may have remained or crept in during the editing process are my responsibility and mine alone. This revised list is designed to help those wishing to seek out the albums in question: thebeachboysforum.forumotion.com/t193-mr-k-s-revised-list-of-obscure-albums-from-the-mid-60s-to-the-mid-70s
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Post by jk on Dec 5, 2021 15:26:18 GMT -5
The UK band Jade Warrior are not on my friend's list, probably because they were out on a limb. They have been compared to Jethro Tull but I suspect this happened to any early to mid '70s band with a flautist on board. Although they featured in the 1972 Great Western Express, they made little headway after that -- a web page on that festival notes that "the relatively unknown Jade Warrior deserved far more success than they ever achieved". Their self-titled debut album of a year earlier is not a bad place to start. Here the line-up, which would be augmented on future albums, is just the core trio: Jon Field on flutes and percussion, Tony Duhig on guitars and Glyn Havard on bass and vocals. The kaleidoscopic "Dragonfly Day: Metamorphosis / Dance Of The Sun Spirit / Death" ends side one: en.wikipedia.org/wiki/Jade_Warrior_(band)
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Post by jk on Dec 12, 2021 15:32:27 GMT -5
The lone self-titled album from mid 1969 by London quartet The Open Mind is among my blogger friend's "Wasn't Impressed With"s. I must admit I was ready to dismiss it in like terms but something drew me back to it. And then it began to grow on me... There is a guilelessness, one almost wants to say amateurishness, about this album that appeals to me almost against my better nature. Perhaps "lack of pretentions" is a kinder and more accurate description: en.wikipedia.org/wiki/The_Open_Mind_(band)
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Post by jk on Jan 4, 2022 5:37:29 GMT -5
And the obscure albums keep coming... These are the New Zealand band Human Instinct with "Black Sally". Written by one Dennis Wilson (!), it's the opening track from their second LP, Stoned Guitar (1970), when the lineup consisted of Maurice Greer (lead vocals and drums), Billy TK (Bill Tekahika, guitar) and Larry Waide (bass). Uploader Findusam's YouTube blurb, which builds upon the band's page linked below, describes the album thus: " Stoned Guitar was the second album by Human Instinct -- one of New Zealand's most famous bands. This legendary heavy psych acid guitar rock album was released 1970. Full tilt wah wah fuzz guitar in all its glory! The cover featured a painting by New Plymouth artist Michael Smither, Two Rock Pools. "The album's closing track, 'Railway and Gun', was recorded live at Auckland's Bo-Peep Club, where the band had a residency. The song, originally by Rory Gallagher, was one of three cover versions on the album: 'Tomorrow' was a version of John Kongos' 'Tomorrow I'll Go' (which later appeared on his Kongos album (Elektra, 1972) and 'Black Sally' had been released as a single in March 1970 by Sydney band Mecca, which featured singer/guitarist Dennis Wilson and bassist Bob Daisley. The pair formed Kahvas Jute in June 1970. "Maori guitarist Billy TK was the Jimi Hendrix of the Southern Hemisphere. He obviously took the lessons of the Master to heart and, on his albums with Human Instinct, took Hendrix's psychedelic approach to absurd new extremes. Not necessarily the greatest listening experience, but definitely the farthest 'out' of any guitar psyche you're likely to ever hear. This album is one of the most important chapters of rock from that era." www.wordworx.co.nz/humaninstinct.html
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Post by jk on Jan 5, 2022 15:48:41 GMT -5
I remember enthusing about this 1971 album in a thread with this title but it must have been first time round at PSF. (Robert A has a lot to answer for.) So out of necessity here it is again. Why Leaf Hound never made it big is utterly beyond me. I recall their predecessor, Black Cat Bones, whose music I must surely have heard on John Peel's radio show at the time. Half of the band Free came from an early incarnation of BCB and I hear the same urgency in Growers of Mushroom as I hear in that legendary quartet. There is some overlap musically, but Leaf Hound have a style and flair all their own. A big thank-you to the OP for bringing this thrilling UK band to my attention. en.wikipedia.org/wiki/Leaf_Hound
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Post by jk on Feb 2, 2022 9:26:19 GMT -5
Mr Tubey alerted me to the UK "art rock" band Audience by way of their self-titled debut, where commenter Scott Stone pointed out that "The House on the Hill album is one of the most underrated, underappreciated gems of all". So off I went. I see this band failed to make my friend's list -- once again, their connection with other bands there must have been too tenuous. Did I hear them at the time? The name sounds vaguely familiar. I was averse to UK music in those days, classical and pop (with the odd notable exception) so I may have simply ignored them. My, how tastes change. A YouTuber remembers Audience opening for King Crimson in 1969 -- that must have been quite a concert! From their third album The House on the Hill (1971), this is the opening track: en.wikipedia.org/wiki/Audience_(band)R.I.P. Keith Gemmel (woodwinds).
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Post by jk on Apr 29, 2022 4:00:43 GMT -5
I discovered this oddball album by The Deep while looking for victims for the 1966 thread. (Note the grammatical error on the cover.) And yes, there it is in the OP's list, in the second tier. I can't make up my mind about this album at all. The words "kitchen sink" come readily to mind. That said, I do like the vocal harmonizing when it occurs. Is the female voice that of Caroline Blue? (See the credits on the album's wiki page). As the OP says, it's "worth another listen". These are the two tracks she singled out, "Color Dreams" and "Shadows On The Wall": en.wikipedia.org/wiki/Psychedelic_Moods
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Post by jk on May 12, 2022 3:36:14 GMT -5
Vashti Bunyan's gossamer-fine 1970 album Just Another Diamond Day is the ultimate example of a "sleeper" and indeed, 30 years may be something of a record (no pun intended). I see it never made it to the OP's list, maybe because she considered it too "folksy" or more likely because there was nothing on that list that could possibly have made the connection. It certainly made no impression at the time and I have no recollection of ever having heard of it (the original LP now sells for four figures). To be honest, from the pictures of her I'd seen since then, I'd long assumed she was of the generation of Devendra Banhart. See the album's wiki page for the impressive line-up of contributing musicians: en.wikipedia.org/wiki/Just_Another_Diamond_Day
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Post by dauber on May 17, 2022 15:55:27 GMT -5
Talk about obscure albums? Here ya go.
I'm not much of a guy for musicals, but I absolutely love Hair. It's an obsession of mine. Because of my obsession I actually got to befriend some members of the Broadway cast and got to twice have lunch with producer Michael Butler at his Chicago apartment.
Some time in the '90s when I was at a record show, I stumbled across an album called Divine Hair / Mass in F. It was an album recorded by the then-current Broadway cast of Hair in the summer of 1971 at the Cathedral of St. John the Divine. The "Mass in F" part was a mass that Hair composer Galt MacDermot had just composed. The mass on that day was put on to celebrate Hair's anniversary. (Previously they would give a free concert in Central Park, but they changed things up for 1971.) The hymns selected for this particular service: songs from the show. In addition to the show's cast and band, various choirs from the Cathedral performed as well. (You wanna hear a breathtaking fusion of modern pop with a church choir? Listen to "What a Piece of Work is Man" from this album.) I consider Divine Hair / Mass in F one of the plethora of amazing albums that came out in 1971. (In fact, I podcasted about that topic fairly recently -- here's a link in case you're interested.)
My favorite moment of the album: this haunting reading of "Where Do I Go?" by Robin McNamara, who was performing as the lead character Claude at the time. This is the song that ends act 1, with the [in?]famous nude scene. (I somehow think the cast kept their clothes on for this occasion.) I've never heard a more powerful version of this song. And the band just absolutely cooks here and probably sounded closer to how they actually sounded during a typical performance than how they sounded on the 1968 cast recording.
Robin McNamara, as some of you probably know, was a one-hit wonder with a song called "Lay a Little Lovin' On Me," produced by his friend Jeff Barry in 1970, with the cast of Hair singing backup. I got to be friends with Robin online in the '90s and eventually finally met him in person on September 10, 2005 in New York. He greeted me with the craziest hug ever. He was such a joyful and silly guy. Unfortunately, he died late last year of undisclosed causes; personally, I think it was heartbreak: his wife Suzy had died a few years earlier shortly after a cancer diagnosis, and he had a really rough time with it.
Going back to the '90s, I had mentioned this album in an online forum. Hair's producer Michael Butler, who made this mass happen, e-mailed me and asked if I'd mind sending him a cassette copy. I expressed surprise that he, the producer, didn't have a copy of the album. He said he did have a copy, but it was deep in storage and not convenient to get to. So I happily obliged and dropped the copy in the mail for him. A few days later he e-mailed me saying the tape arrived safely and that he listened to it several times, sobbing in tears of joy because it brought back great memories. As a thank-you, he told me next time I'm in Chicago let him know and we'd do lunch. I took him up on the offer once when I drove into town to do some record shopping. When I arrived he had just finished a tennis lesson, and he whipped up a quick vegetarian lunch that I, as a definitive MEAT EATER, really enjoyed. (He said he avoids meat as much as possible.) We talked a lot about Hair, Paul McCartney's new album (Flaming Pie), and, well...that was 25 years ago, I don't remember the rest. About a month later he invited me and several other Hair fans for a nice afternoon at his massive apartment and did it all over again.
Anyway...here ya go:
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Post by jk on May 18, 2022 8:51:12 GMT -5
Hi, dauber. Thank you for this ^^^^^. Actually, the embedded video doesn't work for me. I see the album's on Spotify, which I can only access on my phone. *** Regrettably the Spotify on my phone can't find it! Odd, because my computer gives me a Spotify code: h t t p s : / / o p e n . s p o t i f y . c o m / a l b u m / 1 0 b I h 2 F i Y 2 i n o d r k k B h N I K Maybe it will turn up in time, there or somewhere else. That said, your account is a compelling read in itself. *** After typing in the code into my phone and still getting nowhere fast, the one safe place left was Amazon and the few seconds they play of each track: www.amazon.com/Divine-Hair-Mass-Members-Cast/dp/B005LYPOWEEven from these brief snippets, dauber , I have to confess it's not my cup. I guess I just don't like musicals, period -- or gospel, come to that. All this aside, thanks for contributing!
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Post by jk on May 25, 2022 7:19:31 GMT -5
I see my blogger friend's "Worth Another Listen" tier includes an album by the/The West Coast Pop Art Experimental Band (they can't seem to make up their minds whether "The" is part of their name). Her choice, Where's My Daddy?, was the WCPAEB's fifth album and dates from 1969. The only album of theirs I recall hearing at the time was its predecessor, Volume 3: A Child's Guide to Good & Evil (1968), and then just its silent closing track, which John Peel played on his Sunday afternoon show. "Eighteen Is Over The Hill", the album's opener, sounds at times like CSN avant la lettre: "As Kind Of Summer", its penultimate track, sees them in full experimental mode: To say nothing of the album closer: en.wikipedia.org/wiki/Volume_3:_A_Child%27s_Guide_to_Good_and_Evil
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Post by jk on Jun 22, 2022 9:18:09 GMT -5
This one isn't on my friend’s list -- not surprisingly, as most of her other choices were reached via previous finds, and how on earth do you arrive at the preposterous likes of An Evening with Wild Man Fischer, certainly when its far-from-obscure producer Frank Zappa is not part of the discovery process. And if you did arrive at AEWWMF, where on earth would you go from there? Back in 1969, legendary UK disc jockey John Peel played large chunks from this double album, which I must confess I've always been out on. The drummer in the group I was with at the time even used to sing snippets of the track I've chosen (thankfully not on stage). I'm following it with a much more listenable duet between Larry Fischer and Rosemary Clooney. They both suffered from bipolar disorder, which is what brought this unlikely pair together: en.wikipedia.org/wiki/An_Evening_with_Wild_Man_Fischer
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Post by jk on Jul 2, 2022 3:22:57 GMT -5
The only song I ever heard by Jobriath (born Bruce Wayne Campbell) at the time was the intriguing Bowie-esque ”Take Me I'm Yours", released in 1974. If anything else of his ever got played on the radio, I certainly can't recall hearing it. Five years earlier, Jobriath Salisbury, as he then called himself, joined an LA-based folk-rock outfit called Pidgeon. According to my spies, the lineup was Cheri Gage (autoharp and vocals), Richard T. Marshall (poetry [sic]), JS (keyboards, guitar and lead vocals) and Bill Strong Smith (drums, percussion and vocals). I looked through the OP's lists at the onset of this thread and discovered their lone self-titled 1969 album in the "Worth Another Listen" tier. On the frantic second track, "Milk And Honey", lead singer Jobriath shines on keys and guitar: en.wikipedia.org/wiki/Jobriath
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Post by jk on Aug 9, 2022 7:55:42 GMT -5
Back in 1969 I bought the self-titled debut LP of a year earlier by the Massachusetts band Ultimate Spinach, who were touted as a part of a fairly forced answer to the West Coast psychedelic bands of the day. It's a patchy album to these ears -- I prefer its successor, the wide-screen Behold and See, which also dates from 1968 and which I bought first, in the year of its release. en.wikipedia.org/wiki/Ultimate_Spinach
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Post by jk on Aug 11, 2022 16:12:17 GMT -5
I've pretty well given up on new candidates for this thread but this album by Calcium (actually a 2017 comp of stuff originally recorded in 1969) caught my eye -- maybe it was the French connection that did it. So I listened to it all the way through and thoroughly enjoyed what I heard. Read the article linked below for a little information and a bewildering bunch of names (substitute Grace Slick for Janis Joplin). I compiled the lineup of musicians from three sources, with all the risks that entails: Francis Darizcuren (bass on B7) Jacques Zins (bass, vocals on A1–B6) Alain Sireguy (drums on A1–B4, B6), Michaël Rushton (drums on B5, B7) Denys Lable (guitar on B5) Christophe Vilar (guitar, vocals(?) on A1–B4, B6) Stéphane Vilar (guitar, vocals on everything?) Eddie Rabin (organ on B7) Patrick Greussay (piano, organ on A1–B4, B6, B7) Danièle Ciarlet aka Zouzou (vocals) The capitalization in the titles looks odd but there you are: A1 Je T'ai Crue 3:11 A2 Elle Regarde Et Elle Rit 2:39 A3 J'ai Perdu La Vue 2:57 A4 Mes Convenances 3:28 A5 Corps A Corps 3:38 A6 Jouer Avec Toi 2:55 B1 Si Tu Restes Absente 3:31 B2 Il Fait Jour 2:47 B3 Une Convention 0:59 B4 Psykopathologie De La Vie Mitoyenne 2:41 B5 Je Suis Vieux 3:13 B6 Ce Matin 1:45 B7 Du Fond 3:40 www.monstermelodies.fr/calcium
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Post by jk on Aug 19, 2022 3:44:02 GMT -5
The name Conny Veit will be familiar to fans of Popol Vuh. That’s him playing the fluid guitar lines on Hosianna Mantra. But he and three others constituting the band Gila were also responsible for a lesser-known psychedelic classic. The lineup on Free Electric Sound (1971) is Conny Veit (guitar, voice, tabla), Fritz Scheyhing (organ, mellotron, percussion), Walter Wiederkehr (bass) and Daniel Alluno (drums, bongos). The entire album is worth checking out -- the linked article is most illuminating. This is for the OP, who I hope is OK (although it would most likely have ended up on her "Wasn't Impressed With" pile): Track times thanks to commenter Tony Taurus ("most songs flow into each other so the time stamps may not be entirely accurate"): 00:00 Aggression 04:45 Kommunikation 17:40 Kollaps 23:13 Kontakt 27:46 Kollektivität 34:25 Individualität www.psychedelicbabymag.com/2020/04/gila.html
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Post by lonelysummer on Aug 19, 2022 21:31:55 GMT -5
I honestly do not know how some people find time to listen to all the music they listen to. Some people have an album collection numbering in the thousands. I'm a record collector, with probably over a thousand albums in my collection, and there's no way I can get to all of those in a year. Some get forgotten, and 5, 10 years later I pull one out "man, it's been a long time since I've heard this!" I think I appreciated my music collection more when I only had 100 albums. I played those records over and over, until I knew every nuance, every scratch. Now there's all kinds of details I miss. Sometimes i think I should whittle it down to just the best 200, but there are too many that I love, too many I cannot make myself part with.
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Post by jk on Aug 20, 2022 4:52:52 GMT -5
I honestly do not know how some people find time to listen to all the music they listen to. Some people have an album collection numbering in the thousands. I'm a record collector, with probably over a thousand albums in my collection, and there's no way I can get to all of those in a year. Some get forgotten, and 5, 10 years later I pull one out "man, it's been a long time since I've heard this!" I think I appreciated my music collection more when I only had 100 albums. I played those records over and over, until I knew every nuance, every scratch. Now there's all kinds of details I miss. Sometimes i think I should whittle it down to just the best 200, but there are too many that I love, too many I cannot make myself part with. The OP, who never does things by halves, claims on her blog to have listened to "over 500 albums from the '65–'75 period [over] the course of about 3 years". Ye gods. It's fun keeping this ex-PSF thread alive, although it would be easy to overload it with mediocre material and/or stuff I don't like. That’s why it's a periodic thing these days. I can't comment on your listening behaviour, LS, but mine is restricted to classical radio and daily explorations in all directions on YouTube -- and sometimes what gets recommended here. I've hardly touched my own record collection in the past five years. I even arranged the middle shelf of CDs into potential listening material last year but I needn't have bothered. I feel happier dipping into new things online than putting on a physical album and listening to it all the way through.
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Post by jk on Aug 26, 2022 13:51:29 GMT -5
Looking through the OP's list to see if Hawkwind was on it to perhaps help me choose which of their albums to link (they weren't, so I'm still stuck) I instead saw (to my great joy) among the "Keepers" an old favourite, Valentyne Suite (1969), the second album by another, more jazz-rock oriented UK outfit, Colosseum. Listening to the side-filling 17-minute title track, I was struck by the sobering thought that the OP (who wasn't anywhere near being born at the time) discovered this album 45 years after I'd heard it on John Peel's radio show in 1969/70. That magnificent chorale first heard at just after 9:55 gave me chills then and gives me them now. Although the chances she'll see this are zero, I'd still like to offer her my grateful thanks for reacquainting me with not just this gem but so much wonderful music besides. Thank you, C. en.wikipedia.org/wiki/Valentyne_Suite
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Post by jk on Aug 27, 2022 9:29:53 GMT -5
Looking through the OP's list to see if Hawkwind was on it to perhaps help me choose which of their albums to link (they weren't, so I'm still stuck) I instead saw (to my great joy) among the "Keepers" an old favourite, Valentyne Suite (1969), the second album by another, more jazz-rock oriented UK outfit, Colosseum. Mark , perhaps you can help here. Assuming you're familiar with Hawkwind, which album of theirs would you choose?
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Post by jk on Aug 27, 2022 16:41:03 GMT -5
Here's one to be getting on with for now: it's Escalator (1969) by Sam Gopal, a band that was just another name to me at the time: What follows is derived from the excellent YouTube blurb: Side one:"Cold Embrace" (Group) [3:19] "The Dark Lord" (Group) [7:00] "The Sky is Burning" (Ian Willis) [9:31] "You're Alone Now" (Group) [13:13] "Grass" (Ian Willis) [17:16] "It's Only Love" (Ian Willis) Side two:[21:34] "Escalator" (Ian Willis) [24:24] "Angry Faces" (Leo Davidson) [28:28] "Midsummer Night's Dream" [30:42] "Season of the Witch" (Donovan Leitch) [35:10] "Yesterlove" (Ian Willis) Sam Gopal: tabla, percussion; drums on "Season of the Witch" and "Midsummer Night's Dream" Ian Willis (Lemmy Kilmister): vocals, lead & rhythm guitar Roger D'Elia: lead & rhythm guitar, acoustic guitar on "Yesterlove" Phil Duke: bass guitar The original Sam Gopal Dream formed in the midst of London's underground scene in 1967. Besides Gopal, the band featured Andy Clark (previously of The Fenmen) on keyboards and vocals, Mick Hutchinson (previously of Sons Of Fred) on guitar and Pete Sears on bass. Regular performers at Middle Earth, UFO and other London clubs, they split up in mid-1968. Lemmy's first band of note was Blackpool combo The Rockin' Vickers. Inevitably, with the breathless pace of the times, the band fell apart, and Lemmy drifted to London, where he became a gear humper for Jimi Hendrix on the legendary Hendrix/Move/Pink Floyd/Nice/Amen Corner package tour of late 1967. Now naming his band simply Sam Gopal, Gopal recruited Lemmy along with Phil Duke and Roger D'Elia in late summer 1968, in time to record this album in the late autumn of that year. This release marks the first time that Escalator has enjoyed a legitimate CD issue. A study of the sleeve reveals that the band doesn't have a drummer as such. Sam Gopal himself provides tabla and percussion as the driving rhythmic force behind the band, along with Phil Duke's bass guitar pulse. Lemmy, known as Ian Willis at the time, plays guitar with Roger D'Elia. By this time, Lemmy had served his ten-month apprenticeship as a roadie for Jimi Hendrix, and such proximity to the "Wild Man of Pop" can't help but have left an impression on the relatively callow Motörhead main man. This is clearly in evidence on tracks like the opener, "Cold Embrace", and other items like "You're Alone Now’", which features such mode-ish devices as fade-outs and fade-ins. Tracks like "The Dark Lord" anticipate the portentous doominess of Black Sabbath.
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Post by jk on Aug 31, 2022 4:45:21 GMT -5
YouTube fed me this album yesterday. I'd never heard of Gringo (or Toast) before then. The following description is a mashup of track uploader DeKay's blurb and Night Woman's comment on the full album, with a modicum of tweaking by jk: "Organized in 1968 and successfully touring, the trio called Toast -- Henry Marsh (guitar, vocals), John G. Perry (bass, vocals) and Simon Byrne (drums, vocals) -- changed its name to Gringo in the spring of 1970 following the arrival of Irish vocalist Annette Casey. They worked part-time in the resorts of France, then in England they opened concerts for Barclay James Harvest and Caravan. In March of the following year, Gringo signed a contract with MCA and their eponymous album was released in the summer of 1971 following a Dutch tour. The band's hectic schedule had seen them performing to eager audiences in England and throughout the continent. In November of that year Perry left the band to join Tranquility. Despite this, the decision was made to record a second album, rumoured to be produced by Jon Hiseman of Colosseum. Meanwhile, Casey got married and changed her name to Casey Synge. "The band carried on until the summer of 1972 but sadly there was to be no follow-up album to their promising debut. Guitarist-singer Henry Marsh went on to play in Sailor whilst Casey joined a female outfit called Thunder Thighs who had a hit in 1974 with 'Central Park Arrest' and also provided backing vocals for Leigh Stevens, Pilot, Lou Reed, Mott The Hoople, Cockney Rebel, Marsha Hunt and Maggie Bell. After his stint with Tranquility, Perry went on to join Spreadeagle, Caravan and Aviator. In 1976 Decca released his solo album Sunset Wading." This is the opening track from this eminently listenable album, "Cry The Beloved Country": [ Picture]
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