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29 Jul 2017

Atavismo ‎"Inerte" 2017 Spain Psych Prog Limited release of 200 copies second album

Atavismo ‎" Inerte" 2017  Algecira Spain Psych Prog Limited release of 200 copies second album


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If you need to, take a second and get your brain properly excited for how good the second Atavismo album is going to be. Remember how frickin’ excellent their 2014 debut, Desintegración (review here), was when that arrived, and then go ahead and picture something even broader in its scope and with more depth of melody and tone. Something more progressive but not necessarily less ethereal. I’m telling you it’s one of the best records you’re going to hear this year, and yes, I say that having heard it. I’m usually shy about saying that kind of thing, but I got this one early and it’s just pure immersive bliss. It’s out April 7. I’ll be reviewing it Feb. 21 with a track premiere, so watch out. I’m already stoked to be able to share some of it with you.

Already indicating the trio's qualities and prog fundament, I can remember their debut 'Desintegracion' from 2014, which already attracted my attention. However, this new album, just released on Temple Of Torturous Records in these days, surely is a step forward to something really superb. The five songs, two of them crossing the ten minute border, are well thought out compositions. They are still reserving enough space for some instrumental excursions, though on the other hand will step away from a jamming attitude basically. Furthermore to state, I would say it's not that usual to use native lyrics.
Let's start with the opener Pan Y Dolor and the band's rhythm backbone, consisting of Mat (bass) and Pow (drums). Both are serving a tremendous groove, partially tending towards southern rock throughout. All members are also responsible for the subtle use of vintage keyboard stuff including mellotron and farfisa. Anyhow, Pot's electric guitar is dominant over the course, first of all the fantastic centerpiece El Sueno evolves to a magical showcase. A swinging La Maldición Del Zisco then appears with moog support and surprising facility.

Belleza Cuatro offers a fine blend of psychedelia and shoegaze where Volarás comes with charming polyphonic vocals, evolves into an atmospheric orientation soon, close to Airbag respectively Pink Floyd. 'Inerte' is another effort which contrasts pleasantly from the vast number of albums presented to this concept of genre in recent times. Enjoyable from the first to the last minute, developed with much empathy, including prominent mix and sound quality. Excellent move, ATAVISMO! Rivertree .

Progressive power trio, ATAVISMO, have today announced details of their upcoming sophomore album, entitled Inerte. The five-track album will be released on April 7, via Temple of Torturous Records. 

Hailing from Spain, and with a critically acclaimed debut album, Desintegración, already under their belts, ATAVISMO are exploring new territories with their second full length release. Breaking away from the space rock jams of their debut, ATAVISMO have maintained a psychedelic edge, only this time around the evolution of the band is reflected in their more compact, progressive sounds. 

The writing process starts with a jam session – as many great creations do – before a firmer structure is applied to the songs. Lysergic lyrics revolve around soulful feelings, love, and bad dreams which the band describe as “existential poetry”. The result, among other things, is a submersion into the Andalusian rock legacy of the legendary band Triana, without losing sight of more current means of understanding psychedelic or progressive rock from bands like Black Mountain, Wolfpeople or Motorpsycho. 

Already considered one of the most exciting and eclectic bands emerging in their home country, Inerte looks set to secure ATAVISMO similar acclaim world wide. Inerte was recorded in October 2016 at Trafalgar Estudios, El Palmar (Cádiz), Spain...

Expectations for the second album from Spanish trio Atavismo were set pretty high following their gorgeously cosmic and serene 2014 debut, Desintegración (review here). Inerte makes short work of them. Expanding from four to five included tracks, it sees guitarist/vocalist/synthesist Jose “Poti” Moreno (ex-Viaje a 800, Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) push brazenly past the fluid textures of their first outing and hold onto some sense of ethereal psych-jazz jamming — hola, “El Sueño” — as they find ultimately more progressive footing.

Released like its looser-feeling-in-hindsight predecessor through Temple of Torturous, Inerte answers some of the questions the band posed with the space-rocking single “Haribo” (discussed here) and affirmed for their audience that they’ll not necessarily be defined by one course or another, one sound or another, and that their goal is far more individualized than to simply execute the tenets of heavy psychedelia, space or prog rock, even as their aesthetic pulls from each of those and more besides. Songs like “Belleza Cuatro” and opener “Pan y Dolor” offer distinctive moments of resonance marked by beautiful melodies and rhythm that can either be insistent and winding, as in “Pan y Dolor”‘s first half, or barely there at all, something carrying the song forward like a gentle river current, as in the drifting guitar-led midsection of the aforementioned, 11-minute “El Sueño.” This nuanced blend is presented with a lush but natural production captured this past October at Trafalgar Estudios in Cádiz, and does nothing across its 42-minute span to rescind the invitation to the listener issued by its in medias res launch.

The tighter feel of Inerte and the uptick in progressive influence from Atavismo is as immediate as that launch itself. A quick, fuzzy lead line careens into forceful Iberian acoustic strum as the vocals arrive for the first verse. It happens fast, but is welcoming nonetheless, and a play back and forth between the electric and acoustic ensues between chorus and verses for the next several minutes, Moreno and Pow and Mateo singing together in classically prog form as a kind of mini-chorus themselves — an element of space rock willfully repurposed and put to excellent use. Shortly before the halfway point of its eight-and-a-half-minute run, “Pan y Dolor” breaks into a wash of guitar and keys/Mellotron that is as hypnotic as it is joyous, with just an undercurrent of foreboding, cutting itself off at 6:48 in order to reintroduce the acoustic strum and resume the song’s prior course, as if to say, “don’t worry, it was just a dream.” It may well have been, and if so, it wasn’t the last.

“Pan y Dolor” builds to its conclusion and “El Sueño” kicks in with lower tone and a deceptively fast tempo, Mateo‘s bass more prominent in the mix. This is the bed over which vocals soar for another soon-arriving verse, and their being somewhat more drawn out — notes held longer — than the opener prefaces the turn into calmer fare that the second track makes at about the 4:20 mark, the tension Atavismo have thus far mounted seeming to let itself go in favor of more improvised-sounding jamming driven by fuzzed-out psychedelics and effects flourish that settles in a delight of meandering wah and builds to an apex over its last couple minutes as it recalls its own early going without necessarily returning to it outright. That jam carries Inerte‘s longest inclusion to its finish and the finish of side A, ending in a cymbal wash and surge of guitar noise that emphasizes the live feel it has fostered all along.
Centerpiece “La Maldición del Zisco” backs sparse guitar with a steady bass and drum progression and fills out its arrangement with keys, using the guitar more as an outward-ringing accent to its early verses, spacious and patient, before it at last launches into what one might call its chorus right around three minutes in. It’s a moment of taking flight through sound and Atavismo make the most of it in terms of thrust, but they’re still not forcing the song to go anywhere it doesn’t want to go.

They dip back into the verse easily and return to the mostly-instrumental chorus quicker the second time through, then proceed to jam their way out of the track, fading to silence just before the seemingly complementary “Belleza Cuatro” — the two are the shortest cuts on Inerte at 6:18 and 5:18, respectively — takes hold in a soothing trance of liquefied guitar and keys. Its importance in being positioned as the penultimate track before 10-minute closer “Volarás” shouldn’t be understated, and as Moreno, Mateo and Pow drift toward that grand finale, they do so with no less purpose behind them than they had rushing at the outset of “Pan y Dolor.” Vocal harmonies echo under sweet lines of guitar and softly-thudding drums, and a louder, fuller tone rises in the second half, but they still cap quietly, which gives the percussion/keyboard opening of “Volarás” an even more dramatic sensibility. This is something of a ruse, on the band’s part — another dream, maybe — because just after three minutes of building to who knows what, they juke left and shift into a particularly Floydian blend of lightly-strummed guitar, keys, bass and drums, a memorable keyboard line serving as the core around which the rest is placed.

This will be the movement that carries Atavismo out of their second record, and it seems to be a final highlight of the point that their progression is by no means a settled issue. It is striking how many different looks the band gives in these five tracks and how able they are to tie them together as a single flowing work. As “Volarás” quietly makes its way out, Inerte seems to have done as much through understatement as through its reaching new heights, and if it’s in that balance that Atavismo will find their place, then all the better. Whatever they do going forward — Moreno and Pow also have a new four-piece project in the works with former Viaje a 800 guitarist Jose Angel “Oceano” Galindo called Híbrido, adding intrigue to this release — Atavismo have exceeded the potential their debut showed with Inerte and given their listeners a work of depth and breadth that should be treasured for years to come. 

Spanish progressive space rockers Atavismo impressed on their debut release Desintegración, with it’s mid-period Pink Floyd influences providing a rather listenable experience. They now return with new release Inerte and, although they haven’t strayed too far from the formula, impress once again. Still in place are the liquified guitars reminiscent of Floyd’s ‘Echoes’, but also a new-found confidence in mixing in some quite funky vocals.
Completely delivered in their mother tongue, it is difficult to ascertain what they may actually be singing about, but this sense of disassociation adds the fun. That you never quite known where you are with the album is another great plus and as you get more and more drawn into the extended aspects of the songs, a sense of understanding embraces you. It’s the universal language of music and aside from the obvious niche space rockist trappings, this is where Atavismo excel.It’s almost impossible to separate the songs on here and from the opening ‘Pan Y Dolor’, a template is set in place of tribal vocals against bass driven excursions into space. ‘El Sueno’ bursts in on a powerful riff which drives the song forward. Later, the band get all spaced out on ‘La Maldicion Del Zisco’ whilst on final song ‘Volaras’, the tribal rhythms play off against B movie sci-fi synths before bringing us full circle again. 
Whilst the songs fulfil all genre necessities, it is in the seeming simplicity we find our enjoyment. By using the bass as an anchor, Atavismo colour the songs in little ways just to keep pushing at more exploratory avenues. There’s a sense of sun, and confidence abound and, on a song like ‘Belleza Cuatro’, a majesty unleashed. They’re the kind of band who always have a little left in the tank to surprise you. Why unleash all your tricks when you can slowly ease your way through? 
Where the band truly impress is in the full flow moments such as on ‘La Maldicion Del Zisco’, where they tease out the melody against a formidable backdrop of rhythmic tension. Never quite exploding, the tenseness of the song keeps you on edge, forever waiting for that release. Indeed, it also becomes a failing as you wish at times that they do just go full throttle into whatever spaced out dimension they are heading. All in good time though, maybe on the next album. 
Inerte is the kind of album that creeps up on you. It’s inbuilt familiarity brought on by the obvious influences enables you to fall in step with the band easy enough. Atavismo then continue to capture your attention through their measured approach to progression and progressive rock. Language restrictions may prevent them from truly breaking through, but in the world of space rock where the universal language is head music, they cannot fail. Another impressive release from them and we can only hope this rich seam Martyn Coppack.

Line-up / Musicians
- Pot / guitars, vocals, mellotron, farfisa, moog
- Pow / drums, vocals, mellotron, farfisa, moog, percussion
- Mat / bass, vocals, mellotron, farfisa

A1 Pan y Dolor
A2 El Sueño
A3 La Maldición De Zisco
B1 Belleza Cuatro
B2 Volarás

Atavismo "Desintegracion" 2014 Spain Psych Prog Space Rock

Atavismo  "Desintegracion" 2014 Spain Psych Prog Space Rock recommended….!


Outstanding modern day Psychedelic Rock!!! Power trio featuring members of another great Spanish band, the sadly disbanded Viaje a 800, their debut album consists of four long guitar jams with fantastic guitar work. A future classic, recommended if you are into early Pink Floyd, Randy Holden or Grateful ....

With former members of Mind! and Viaje a 800 in the lineup, Spanish trio Atavismo will make their recorded debut with the full-length Desintegración this week. The release is four songs of immersive and dreamy progressive psychedelia, not as space rocking as Mind!, who released Stunde Null (review here) last year, or as tonally weighted as the last Viaje a 800, 2012’s Coñac Oxigenado (review here), but exploring psychedelic ground somewhere between the two, the subdued bliss of “Oceanica” and classic swirl of “Kraken” sandwiched between two 10-plus-minute adventures that, one hopes, are the first of many to come....

I will not enter, because I do not want to, to elucidate about the musical genres or the tendencies of this more than incredible sound artifact published by a debutante formation of Algeciras, Cádiz, of Atavismo name, denomination that by itself already allude to the inheritance Of previous projects, read Trip to 800 or recently dissolved Mind! And I will not enter into dogmatic disquisitions of whether we are facing an experimental work, an exercise hard psychde inheritance or if this is a recurrence of experienced musicians in an eagerness to go further and evolve.

All that would be to lose ourselves, to lose myself, in a jungle of long terms that would not describe, could never do, music that emanates from the heart, the sentiment that atavistically feeds the spirit of a musician and the honesty with which a group shows, Gives, an infinite, timeless and one, I predict from this very moment, essential and fruitful trajectory.
Soundwaves impregnated with Floydian grooves of the early seventies and long developmental desires that, at last, transmit musical essences thought and devised to the limit, are the approach of this clever trio formed by an inspired Poti, both in voices and in His eternal guitar, sculpting imperdurable melodies, full of a special sensitivity that does not need virtuosity to expose authentic hymns melancholy and fierce at once, with exciting performances of unspeakable beauty; Sandri Pow, a true percussive heart, which is only the powerful soul, sweet and vital at the same time, of a group that is guided by intricate and dreamlike instrumental passages, solving with powerful fluidity each of the sonic spaces of the group and generating Feelings of difficult oblivion; And Mateo, a resolute and conscientious bassist who traverses the rhythmic aspects of Atavism with professionalism and equal feeling, unhurried, methodical, constant, disciplined.

The result is fluid music, complex, sensitive, full of winks, seductive, ultimately, honest and credible. No improbable artifice, except for small details that embellish each of the four themes that make up Disintegration, added, no doubt, in the background to help, from postproduction, to give personality to a tanned group that touches the Advantage of knowing each other and, most importantly, that he knows everything that surrounds him.
Atavismo knows how to press as none has done so far, thanks to his music and his lyric, the mechanisms of a listener eager for intelligent and satisfying sound experiences; a sick listener perishable produce for private benefit. Here there is soul, there is duende (forbidden to confuse it with topics, I'm not talking about that). I am talking about magic, strength, meaning, feeling, communication, satisfaction on both sides ... I am referring, in short, to Music, with capital letters, Contemporary art made joy and delight for anyone who wants to be seduced by A sincere exercise of an unusual quality.

From the depths of the mind to the pores of the skin, Disintegration fulfills several requirements that make it a classic of the future: feeling (I will not tire of saying it), honesty, taste and love; Love for the listener who is, in short, the impassible recipient of the universal and imperishable work of the greatest promise, converted into reality, of progressive Spanish rock:é Luis Martínez Arilla..

 I am not going to, because I do not want, speculate on the musical genres and trends of this beyond amazing sound device issued by a new band of Algeciras, Cádiz, named Atavism, a name which itself already refers to the heritage of previous projects, Viaje a 800 or the recently dissolved Mind! And I do not want to speak about dogmatic treatises about experimental work, exercises of hard psych from the seventies inheritance or if this is a recurrence of some experienced musicians in a clear effort to go further and evolve. All that would be to get lost in a jungle of burdensome terms that do not describe, they could never do, a music that emanates from the heart, from an atavistic feeling that feeds the spirit of a musician, and the honesty which a group gives the listener with an infinite, timeless music, as I foresee from this moment, in an essential and fruitful career. Marvelous sounds infused with early seventies floydian grooves and devoted to extensive developments that, finally, transmit musical essences conceived and thought to the limit. The music of Desintegración is the approach of this smart trio formed by a extremely inspired Poti for both, voices and his eternal guitar, sculpting timeless melodies filled with an special sensitivity, that does not need to expose genuine virtuosity, and fierce melancholy anthems at a time, with exciting performances of unspeakable beauty; Sandri Pow, a real percussive heart, which is the powerful, sweet and vital soul of a group guided by intricate and dreamy instrumental passages, resulting an exercise of powerful sonic spaces and generating feelings hard to forget; and Matthew, a resolving and conscientious bass guitar than shows the rhythmic aspects of Atavism with professionalism and smooth feeling, unhurried, methodical, consistent, disciplined. The consequence of all of this is a complex, sensitive, full of winks, seductive, ultimately, honest and credible smooth music. No improbable contrivances, but for small details that embellish each of the four tracks of Desintegración, added, certainly in the background, in order to help, from post-production, to add personality to a seasoned group that plays with the advantage of knowing each other and, most important, knowing everything around it. Atavism knows how to press, as none have done so far, thanks to its music and its lyrics, the mechanisms for a smart avid listener that search for satisfying sound experiences; a listener that hates perishables items presented to particular benefit. Here's soul, there is 'duende' (it is forbidden to confuse all those Spanish topics; I'm not talking about that). I'm talking about magic, strength, sense of feeling, communication, satisfaction... I am referring, definitely, to Music, with capital letters, to contemporary Art made to joy and delight anyone who wants to be seduced by a sincere exercise of a quality out of the ordinary. From the depths of the mind into the pores of the skin, Desintegración meets several requirements that make it a classic of the future: feeling (I never get tired of saying that), honesty, taste and love; love for the listener who is the ultimately impassive adressee of the universal and timeless work of the greatest promise, turned into reality, of Spanish progressive rock: Atavism. I did not hesitate for a cajapandora3.

Expression of a gene that had been inactive in the phylogenetic history of the species, vestiges that return, ancestors that reappear
Understood as the psychedelic world, despite its past character is more fashionable than ever, little margin for chance that Poti (former leader of the mythical Journey to 800) has chosen a word as Atavismo as a letter Presentation for your new project. In fact what Disintegration (Not On Label Records, 2014) shows is precisely, it puts you on tray sounds and forms of the past with imprint of present, not because the psychedelia has never gone (although in its transformations it seems), but Because the translational power that characterizes the prism travels in space as well as in time.
And Atavismo construct their first length around this last premise, to the translation by means of suggestion that clean guitars, white noises and classic approaches achieve in us like listeners. Obviously it is necessary for the receiver to enter the game and do it with a predisposition, but when an album begins with a piece of the stature of the imposing 'Blazava' it is impossible to resist, however high you have the guard.
Disintegration: a factory of deja vu, of unknown sensations that become familiar
The tools used are as basic as they are effective, alluding to times when Pink Floyd invented Space Rock with 'Set the Controls from the Heart of the Sun', make you levitate until you transport yourself beyond breathing atmosphere. Disintegration is an album that kidnaps and rescues you, that extirpates you from reality and lets you loose in unfamiliar places but become familiar while playing with your feelings, with sounds that allude to moments in your life, even if you have never heard them, that They awaken nostalgia towards situations that you do not know.
The space and its immensity or pressure that looms over your lungs reaching the bottom of the ocean, sensations unknown but become familiar in successions without fuss, in intelligent developments that flee from the efectismo and flow with a regular flow that puts you In a sea of warm and calm waters while the light of the moon adds gray and indigo shades around you.
Atavismo are almost in the antipodes of the lysergia of Electric Moon and the unrestrained party of Hookworms, its proposal is much more reflective, more breezy but without falling into the pedantry or the requirement of excessive gray matter. The four songs that make up Desintegración put your head to work although they achieve it effortlessly, putting everything on a tray because there are no artifice or hieroglyphics, everything is transparent and can be smelled, touched and savored.
And as easy as it pulls you out of reality you get back to her, going through the Space / Kraut / Whatever alluding to London and Westphalia but dodging the craziness in which psychedelia usually falls so easily. The instrumentations are built with solidity from crystalline environments, they move without teleportation, the landscape does not change abruptly but it adapts to the expectations, they do not fall into the stridency nor when the development becomes alone and it finishes in the logic rise of revolutions .
Disintegration is a journey with four stages but without stops, without change of course or rhythm when entering the station. It is an atavistic rescue, it is an awakening of forgotten feelings or unknown memories, it is a deja vu factory that wins in the long run thanks to that it catches you from the beginning. Being present with this solidity speaks a lot of the talent of who is behind this plate, with Atavismo we finally have a national candidate for the first division of psychedelia. He misses Trip to 800, of course, but you can settle for this. Go if youónica.

If 'Disintegration' (2014) confirmed that there was life beyond Voyage at 800 and Mind !, 'Inert' shows categorically that Atavismo is far ahead of his own - and recent - track. Naturally, the places to explore continue to orbit between psychedelia and space rock, but the (possible?) Borders are engulfed by new sounds and nuances that make this a proposal as fascinating as incomparable. As a Triana of outer space, those of Algeciras combine instrumental power with poetic catharsis, sighting in a particular sonic kaleidoscope a universe plagued with suggestive and cryptic texts, melodies in constant tension and a breath more progressive and warm than ever. From the monumental fire of "Pan y Dolor" to the glittering revision of the very floydiana "Volarás", through the trepidantes in crescendo rhythms of "El Sueño" and "La Maldición del Zisco" and the ethereal melodic spell of "Beauty Four ", the five themes that make up" Inert "wander between the sci-fi subterfuge and the most primitive return to the roots. From mud to supernova, the music of Atavismo is pure sensory evasion, an experience you must listen to, live it, make it yours ... and rediscover it constantly, as each listening brings a new range of nuances to its inspiring canvas. Firm candidate to become one of the most impressive works of this year, ignore his epigraph and run headlong - and with the heart - for him: 'Inert' will not leave them impávidos. Rather the complete opposite.....ALBERTO DIAZ...

Atavismo is an experimental space rock collective from Spain featuring former members of 'Viaje A 800' and 'Mind'. The band's hypnotically cosmic compositions and jams are suitable for fans of a.o. Earthless, Motorpsycho, Wand and Dead Meadow..

Poti: guitarra, voz, mellotrón, Farfisa, Theremin 
Pow: batería, voz, mellotrón, Farfisa 
Mat: bajo

1. Blazava 
2. Kraken 
3. Oceánica 
4. Meeh

Brinsley Schwarz "It’s All Over Now" 2017 UK Pub Rock last unreleased album

Brinsley Schwarz  "It’s All Over Now" 2017  UK Pub Rock last unreleased album


Recorded in the Autumn of 1974 at Rockfield Studios.  the "It's All Over Now", which is went unreleased but was completed.

In 1974 Brinsley Schwarz’s began work on It’s All Over Now, the album intended to relaunch their career in the United States, but things did not go as planned. At that time the band was breaking up with members going in multiple directions, but they managed to keep things together long enough to record the album. However, it was the end of the band and the album languished in the studio’s tape library for years until rescued from the dumpster by the band’s guitarist Ian Gomm. Ian mixed the album and almost released it in the 80s, but withdrew it before it could be distributed. Several years ago Ian offered the album on his web site as a CDr, and as of April 28, 2017 it is officially available on Mega Dodo Records in several formats: limited edition orange vinyl LP, black vinyl LP, CD, and cassette. Now to the music. The album is roughly a 50/50 mix of original and cover songs. Overall the music is a collection pretty lightweight pop, soul ,and love ballads with a couple of rockers thrown in. Of note is the title track, a dub version of the Rolling Stones’ hit that works remarkably well, and the rocking instrumental “Do the Cod” that also appears on their recently released live album. Those of us long in the tooth will recognize the covers of late 60s pop tunes: The Buckingham’s “Hey Baby (They’re Playing Our Song),” Tommy Rowe’s “Everybody,” and William Bell’s “Private Number.” Nick Lowe provided lead vocals on most the songs and the album includes the Lowe/Gomm tune “Cruel to Be Kind” that was intended to be their hit single. This album is for the Brinsley Schwarz Henry Schneider............

Brinsley Schwarz released a string of classic Pub Rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launched the group in America, but like their much-hyped visit to New York it didnt go as planned. Indeed, the album languished in Rockfield Studios tape library for years until rescued by the bands guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Until now. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version on limited vinyl and CD. The best Brinsley Schwarz album you have never heard now sounds even better.....

Great album, more soulful than their previous LPs. Could have done without the 'Direct Metal Mastered' crap of course, especially on a vinyl record! No recording information, no liner notes, (I know, I know, look it up on the web), awful title track sounding like a totally unnecessary micky take of, you've guessed it, Mick Jagger! (Please fellers, leave the parodies to Mick, he's the expert, innit Mick). Apart from those few caveats, another tasty Brinsley Schwarz to enjoy any time of the day or night; almost as much fun as their 1974 'Live Favourites', released in 2016, but not quite. They were always at their best playing live. I bet they still are! I've said it before & I'll say it again, ain't none of us getting any younger, so digitum exractum est please. Come on sleepyheads, get outta that bed & make some noise with the pots & pans!...ByG H..

Originally scheduled for release in 1975, It’s All Over Now was supposed to be Pub Rock legends Brinsley Schwarz’s commercial breakthrough………….Rescuing their career after the infamous “Brinsley Schwarz Hype” PR disaster, the band had retreated to London’s pubs where they built a solid reputation as one of the best live bands on the circuit playing a mix of good time, self-effacing Rock & Roll, Soul and Country Rock, releasing a handful of well received but commercially disastrous LPs. Despite strong reviews and a dedicated fan base, the Brinsleys never managed to escape cult status, yet they influenced a legion of other artists, creating an underground, back-to-basics movement that laid the foundation for Punk Rock. By 1975, there was a seismic change in the air………….the Pub Rock bands were soon to be swept away by Punk bands and there is sense that Brinsley Schwarz knew a change was coming. The band split up not long after the recording sessions and before the record was due for release, seeing the album binned by United Artists (the album almost made the shops in the 80s but was withdrawn just before release) and it has remained officially unreleased ever since. The archive diggers at Mega Dodo have rescued this gem of a record, given it a good dusting down and will be releasing the album on vinyl as originally intended with copies also available on CD and, for that proper retro vibe, on cassette. 

For fans of the band, It’s All Over Now is an essential purchase……………….the record was recorded with Brinsley Schwarz cohort Dave Edmunds in the producer’s chair and a eye on the American market. The album contains several strong Nick Lowe/Ian Gomm penned songs (including the original version of ‘Cruel To Be Kind’ which was to be a massive hit for Lowe a few years later), a studio version of the live favourite William Bell's ‘Private Number, a groovy instrumental Soul stomper ‘Do The Cod’ and a Reggae version of the Bobby Womack song/Stones big hit ‘It’s All Over Now’………hey, it was 1975 and everybody was doing at least one Reggae influenced cut on their records. The album is effectively Pub Rock’s last stand and harks back to a time in the 70s when rootsy Americana, cod Reggae and blue eyed Soul side to side on the same record was not deemed strange…………………Dr Feelgood had made such a impact on the scene and as Nick Lowe said about the era “When the Pub Rock scene started going downhill, largely due to Dr Feelgood, who were so great they spawned many duff copyists, it was time to move on”. It’s All Over Now is a record of it’s time, how it would have fared if it had been released back in 1975 is anyone guess………………being a Brinsley’s record it would have no doubt died on it’s arse……but it has aged well for being near 40 years old. One to check out for fans of Graham Parker, Elvis Costello and the ton of bands Brinsley Schwarz’s classy blend of no nonsense Rock, Roots and Soul have influenced. 

Due for release on 28/04/2017, the album will be available in limited edition orange vinyl (150 copies), black vinyl (350 copies), cassette (50 copies) and CD...

Missing in action to one degree or another for over forty years, 70's country-rockers Brinsley Schwarz’s final album will properly see the light of day on Mega Dodo on April 28th. The aptly named 'It’s All Over Now' was recorded at Rockfield Studios with producer Steve Verocca, who was brought in to steer the project toward an American audience. 

Despite Brinsley Schwarz’s management’s legendarily disastrous attempt to break America the first time, with a badly planned press junket and publicity event surrounding their Fillmore East debut, they were determined to give it one last try with this album. It may well have done so, too, with a pub rock by way of Nashville sound and the first recording of singer Nick Lowe and guitarist Ian Gomm’s song 'Cruel to Be Kind'. The problem was that the band was also in the process of breaking up. 

The album was shelved for the first time and languished on a shelf at Rockfield Studios. Meanwhile Brinsley Schwarz had launched the successful careers of its members: Nick Lowe and Ian Gomm as solo artists, guitarist Brinsley Schwarz and Bob Andrews as the nucleus of The Rumour, and Billy Rankin as a member of Big Jim Sullivan’s Tiger. 

In a rescue effort that should earn Ian Gomm a service award for the arts, he prevented the album’s master tapes from being destroyed in the 80s. “When I came to Wales to work at this recording studio, and help build it, Royal Studios it’s called, we had a sixteen-track recorded there that took two-inch tape,” Gomm says. “We’d wired the studio up and wanted to test it, and I thought two-inch tape, that’s what that Brinsleys album was recorded on. So I phoned up Kingsley Ward at Rockfield Studio and said ‘Do you remember that Brinsleys album that never got finished?’ And Kingsley said: ‘Funny you should mention that we’re clearing out the tape library this week and that’s going in the dumper.’ So I got in my car and I drove that afternoon to Rockfield and rescued it. Then I mixed it down because I had the studio time.” 

'It’s All Over Now' was again scheduled to be released in the 80s but was then withdrawn – for a second time. Undaunted, Gomm sold CD-Rs of the album for years on his website. 

The album sounds like a bar band on the verge of a massive breakthrough, but the choice of material designed to achieve that breakthrough in America is somewhat odd. There is the expected country-tinged rock, but there’s also a strange glut of AM radio sweetness emphasizing sugary harmonies and nods to early soul. The band’s interpretation of white soul works best on their brilliant version of Garnet Mimms’ 1966 hit 'I’ll Take Good Care of You' but is baffling on 'God Bless (Whoever Made You)', recorded by Jona Lewie a few years later. 

Nick Lowe’s voice is rich and unabashedly sentimental, somehow cutting through the heavy orchestral backing on 'As Lovers Do' (written by Dave Edmunds) and 'Hey Baby (They’re Playing Our Song)' that seem taken from early 60's American pop vocal groups. Lowe uses his effective and now well-established narrative voice of a wayward lover, who is well aware that he is a bit of a bastard, swanning back into someone’s life on 'We Can Mess Around' and 'Private Number', either of which could have been an early Rumours song. 

The lovely early version of 'Cruel to Be Kind' here is much mellower and less choppy than the well-known hit from Nick Lowe’s solo album 'Labour of Lust'. A similar version was recorded for the B-side to Lowe’s 'Little Hitler'. It’s by far the strongest original track and undoubtedly would have been the first single off 'It’s All Over Now'. Glimpses of Rockpile to come, 'Everybody' and 'Give Me Back My Love' are the hardest rocking and least treacly moments on the record. There is a pointless instrumental, 'Do The Cod', and a silly reggae version of Bobby Womack’s 'It’s All Over Now' that was hopefully recorded when they were all very high indeed. Kimberly Bright ..

Vinyl LP pressing. Archive release from the pub rock band featuring Nick Lowe, Ian Gomm, Billy Rankin and future Rumour members Brinsley Schwarz and Bob Andrews. Brinsley Schwarz released a string of classic pub rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launch the group in America, but like their much-hyped visit to New York, it didn’t go as planned. Indeed, the album languished in Rockfield Studios tape library for years until rescued by the band’s guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn’t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Until now. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version. The best Brinsley Schwarz album you have never heard now sounds even better. .

 1. We Can Mess Around 
2. Cruel to Be Kind 
3. As Lovers Do 
4. I'll Take Good Care of You 
5. Hey Baby (They're Playing Our Song) 
6. Do the Cod 
7. God Bless (Whoever Made You) 
8. Everybody 
9. Private Number 
10. Give Me Back My Love 
11. It's All Over Now

Vivian Stanshall & biG GRunt "In Session" 2016 Recorded for the John Peel Show on BBC Radio 1 on 16/03/1970 transmitted 21/03/1970

Vivian Stanshall & biG GRunt "In Session" 2016  Recorded for the John Peel Show on BBC Radio 1 on 16/03/1970 transmitted 21/03/1970

First official release of these historic recordings.
Includes the previously unreleased Cyborg Signal.


Recorded on March 16, 1970 for the BBC’s legendary John Peel Show on Radio 1, Big Grunt (Dennis Cowan – bass, Roger Ruskin Spear – saxophone, Vivian Stanshall – vocals & euphonium, Ian Wallace – drums, Bubs White – guitar) emerged from the break-up of the Bonzo Dog Doo-Dah Band. Stanshall was a wild performance artist and psychedelic rocker, and Big Grunt combined excellent rock chops with wild costumes, robots, and enough trippy lyrics to make your head spin.

The Peel Session was only four tracks, but they’re all a neat slice of early 1970’s British psych-rock. “Blind Date” is a quirky, weird track full of Stanshall’s goofy humor about meeting a woman from a dating service. “11 Mustachioed Daughters” is probably the band’s biggest hit, and it’s easy to hear why with Wallace’s big drums, Cowan’s killer bass line, White’s near-stoner rock guitar, and Stanshall raving like a mad druid.

“The Strain” is about trying to poop as Stanshall sings from the perspective of whatever’s inside him and needs to get out and then about his grief as the phone rings and people knock on the door. White’s surf guitar is outstanding on the track. “Cyborg Signal” is a cool instrumental that shows the band weren’t just a one-trick pony that made songs about sitting on the crapper..........

Between the years following the split of the weird and wonderful Bonzo Dog Doo-Dah Band (the Dadaist wing of Psychedelica Britannia) and really getting his mojo back with the deliciously surreal Sir Henry At Rawlinson End broadcasts on the John Peel show, Vivian Stanshall was involved with various short lived musical projects that have more than often been relegated to little more than a footnote in articles and books about him. Somewhat overshadowed by his drunken, and often hilarious, escapades with drinking chum Keith Moon (which included touring the drinking dens of Soho dressed in full Nazi regalia……bad taste for even the early 70s), biG GRunt where one of the many collective alter egos/bands fronted by Stanshall post split………….. If you have ever considered what the Bonzo’s would of sounded like stripped of Neil Innes’s pop smarts but with Vivian Stanshall’s fertile imagination and penchant for musical experimentation given free reign then biG GRunt were that band. Including former Bonzo’s, bassist Dennis Cowan and saxophonist Roger Ruskin Spear (in addition to having been the most manic member of The Bonzo Dog Doo-Dah Band onstage and after Stanshall and Innes the third most prolific songwriter of the band, was also a self-styled inventor who built bizarre robots, exploding props and absurd mechanical contraptions for their live shows) along with guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo Dog Doo-Dah Band's road crew, plus powerful drummer Ian Wallace (who was later to join King Crimson and then drummed for a whole host of 70s/80s rock A-listers), even without biG GRunt having played a note of music in public, the background of the individual members made it clear that they were a formidable prospect both musically and as performers. Tipped for “very big things”, music press interviews of the time caught Stanshall enthusiastically discussing his ambitious plans for the band, aiming to create “a fusion of serious music with avant-garde humour and over-the-top visuals” However, Stanshall's well-documented personal problems made it difficult for him to give the project his full attention and keep the line-up together, so by the summer of 1971 biG GRunt were unofficially but obviously defunct. Leaving a slight legacy of a few well received live shows, a B-side of a single which had the dubious honour of being produced by Keith Moon, a berserk live performance on "Marty Amok" (a BBC1 special featuring the comedian Marty Feldman) and a lone session for John Peel, biG GRunt disappeared, reduced to mere mentions when Stanshall was finally recognised as “The Greatest Living Englishman” before his untimely death in 1995 ……..until now. The biG GRunt Peel Session, after languishing in the BBC vaults for nearly half a century, has been dusted down for the first official release of these historic recordings by the good folk at Mega Dodo. What is surprising is that these tracks remained in the vaults for so long with the Bonzo’s/Innes/Stanshall outstanding work from the 60s/early 70s has never being recognized with a full on, deluxe packaged retrospective box set when lesser lights of that era have had every single note of music of varying quality exhumed…….it has taken the musicologists at Mega Dodo to unearth this gem. 

Broadcast on 21/3/1970, the biG GRunt Peel Session saw the band perform four tracks of mostly brand new material, each of tune as exciting and invigorating as the initial promise had suggested and totally justifying the buzz around the band at the time. ‘Blind Date’, a track later to turn up as a the B side of a cover of the Elvis Presley tune ‘Suspicion’ by Vivian Stanshall & Gargantuan Chums, is typical of the mannered, over-articulated material Stanshall would write for the Bonzo’s………….a C&W shuffle through a first person tale of boy meets girl for a blind date at Waterloo Station with the twist being that it is a primate and a pygmy monkeying about before the narrator is captured and returned to Whipsnade Zoo. There is an apocryphal tale that ‘Blind Date', had been “written when Vivian Stanshall, for some bizarre and unexplained reason, was asked to provide a song for the wholesome easy listening crooner Matt Monro. The singer's management, who were presumably expecting something more in the style of the Bonzo's crooner parody 'Canyons Of Your Mind' were understandably less than pleased to be presented with a song that, while undeniably catchy, was about a gorilla and a pygmy being introduced by a dating agency”. Revisiting the Avant-Jazz shronk of ‘11 Mustachioed Daughters', a hypnotic and rhythm-heavy track with strange lyrics concerning witchcraft, paganism and voodoo which had originally appeared on The Bonzo Dog Doo-Dah Band's second album "The Doughnut in Granny's Greenhouse" in 1967, biG GRunt retool the tune as an Beefheart-esque psychedelic wig out with dynamic guitar riffs, funky bass and massive drumming underpinnng Stanshall's demented vocal delivery. This is a tantalizing taste of the direction that Stanshall and biG GRunt may have taken if the band had lasted more than twelve months…………ditching the vaudevillian whimsy of the Bonzo’s and moving towards a heavier, far out “Art Rock” sound which has a proto-Prog/Psych vibe, it is unknown whether biG GRunt actually recorded any more material in the studio, but it's tempting to speculate what may be gathering dust in the vaults. Also recorded for this session was 'The Strain'……..another song associated with the Bonzo’s which turned up on the lacklustre 1972 contractual obligation reunion album Let's Make Up And Be Friendly. However, it started out as a biG GRunt number and was noticeably different in its original incarnation, as presented here. The Peel session version is far more rough and ready than the version that the Bonzo’s recorded with a basic good-time Pub Rock boogie feel. The track that is going to get the hardcore Bonzo/Stanshall fans drooling is the final track on the EP, the previously unreleased instrumental ‘Cyborg Signal'. Although its melodic motif would later form the basis for 'Strange Tongues' on Stanshall's solo album Men Opening Umbrellas Ahead, ‘Cyborg Signal’ has, up till now, not been heard since the session was originally broadcast……………………unlike anything you would normally associate with Viv Stanshall, this track is a Progressive Rock outing to the stars and back in time for tea, cramming more interesting and complex compositional ideas into a five minutes than some early 70s bands managed over six sides of vinyl. Light years ahead of its time, this astonishing track is a firm reminder that there was so much more to this man than the eccentric “ginger geezer” who cropped up on John Peel during the 70s and 80s with tales of the gloriously dysfunctional Rawlinson’s and what a genuinely exciting musical project biG GRunt were…………..if not for Stanshall’s unfortunate personal problems at the time, in an era of long haired, ex-Army greatcoat/afgan wearing ProgHeads, biG GRunt couldda bin serious contenders. As Tim Worthington wrote in Issue 26 of the Arts and Culture magazine Paintbox, “For a brief but invigorating moment, they appeared to be doing something that was genuinely intriguing and pioneering. It could be said that it's easy to speculate about what might have been, but the band's Peel session is evidence of what actually was, and it still sounds thoroughly exciting to this day”. 

Due for official release towards the end of September as a limited edition run of 500 copies on 12” yellow vinyl, the biG GRunt In Session EP will be available to pre-order in August from the Mega Dodo website……so keep ‘em peeled. It goes without saying that this is an essential purchase for the legion of Bonzo Dog Doo-Dah Band/Vivian Stanshall fans out there.......

By the time that The Bonzo Dog Doo-Dah Band played their final live dates early in 1970, the individual members had been planning their next move for several months. While for Rodney Slater this meant a career in social work, the others had a more musical direction in mind - and, predictably, nobody's plans were more inventive, ambitious or downright eccentric than those of Vivian Stanshall. 

In the months leading up to the band's split, both Stanshall and Neil Innes had formed new bands and had already started recording, but while Innes' new project The World had released an album (the superb "Lucky Planet") by the end of 1970, Stanshall's Sean Head Showband, a loose collection of musicians which included Eric Clapton, only managed to put out one single. 'Labiodental Fricative'/'Paper Round' was certainly an impressive single - particularly the a-side, with its ringing guitars, dreamy middle eight and absurd tongue-twister lyrics - but the Sean Head Showband was clearly never intended as anything more than a short-term stopgap project. Barely a month after the release of 'Labiodental Fricative', the Sean Head Showband were effectively defunct and Stanshall announced the arrival of his major new project - biG GRunt.

In addition to Stanshall as lead vocalist and multi-instrumentalist, biG GRunt included two other former members of The Bonzo Dog Doo-Dah Band in their ranks, demonstrating that Stanshall was playing as close attention to the band's visual style and use of humour as he was to the music. Bassist Dennis Cowan, who at that time was also a member of The World, was a reliable musical anchor and renowned by his former bandmates for his highly distinctive sense of humour. Saxophonist Roger Ruskin Spear, in addition to having been the most manic member of The Bonzo Dog Doo-Dah Band onstage and the third most prolific songwriter of the outfit (after Stanshall and Innes), was also a self-styled inventor who built bizarre robots, exploding props and absurd mechanical contraptions for their live shows. The other members of biG GRunt were guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo Dog Doo-Dah Band's road crew, and powerful drummer Ian Wallace. Even without biG GRunt having played a note of music in public, the background of the individual members made it clear that they were a formidable prospect both musically and as performers. .........

How do you explain The Bonzo Dog Band to people who have never heard of The Bonzo Dog Band? More complicated, how do you explain Vivian Stanshall’s Big Grunt?

The Bonzo Dog Band were one of the premier Outrageous/Spoof Rock bands of the 1960s. Alumni included members who eventually became members of Monty Python’s Flying Circus. More recently The Rutles. In between, offered some of the enduring classics, such as Can The Blue Men Sing The Whites? The Intro and The Outro, Canyons Of Your Mind, I Am The Urban Spaceman – and on and on. One of their classic songs, Death Cab For Cutie, was featured in The Beatles Magical Mystery Tour movie and eventually became the name of another band of admirers who are currently making the rounds.

So you kind of know who they are – even if you can’t put your finger exactly on how.

Formed in the early 1960s, the Bonzo Dog Band took to reworking songs of the 1920s and 1930s as their model. They quickly gained a reputation as one of the most outrageous bands to perform on stage, and were subsequently hugely admired by everyone from Paul McCartney to Steve Winwood. Vivian Stanshall’s association with The Who’s Keith Moon became the stuff of legend and Stanshall was later credited as the Narrator on Mike Oldfield‘s legendary Tubular Bells. And that doesn’t begin to tell the whole story.

After The Bonzos called it a day in early 1970, Vivian Stanshall along with ex-Bonzo’s Dennis Cowan and Ruger Ruskin Spear formed the short-lived Big Grun in March of that year and this session was one of the first (and only) from the new band, recorded for John Peel‘s program on March 16.

If you’re familiar with the work of Vivian Stanshall, you probably know this session – even though it’s rather obscure. If you don’t know who Vivian Stanshall was, or who the Bonzo Dog Band were – Big Grunt might give you some idea......BY GORDONSKENE ·.........................

This August, Mega Dodo unleashes the debut John Peel session by Vivian Stanshall & biG GRunt. For those of you unfamiliar with the band, here's a short history by Tim Worthington.
By the time that The Bonzo Dog Doo-Dah Band played their final live dates early in 1970, the individual members had been planning their next move for several months. While for Rodney Slater this meant a career in social work, the others had a more musical direction in mind - and, predictably, nobody's plans were more inventive, ambitious or downright eccentric than those of Vivian Stanshall.

In the months leading up to the band's split, both Stanshall and Neil Innes had formed new bands and had already started recording, but while Innes' new project The World had released an album (the superb "Lucky Planet") by the end of 1970, Stanshall's Sean Head Showband, a loose collection of musicians which included Eric Clapton, only managed to put out one single. 'Labiodental Fricative'/'Paper Round' was certainly an impressive single - particularly the a-side, with its ringing guitars, dreamy middle eight and absurd tongue-twister lyrics - but the Sean Head Showband was clearly never intended as anything more than a short-term stopgap project. Barely a month after the release of 'Labiodental Fricative', the Sean Head Showband were effectively defunct and Stanshall announced the arrival of his major new project - biG Blaney ......................

biG GRunt was one of Bonzo Dog Doo-Dah Band lead singer and celebrated eccentric Vivian Stanshall’s first post-Bonzos bands following their break-up in early 1970. This band came fast on the heels of his brief projects the Sean Head Showband, Bonzo Dog Freaks, and Gargantuan Chums (with Keith Moon). 

For biG GRunt the very restless Vivian recruited drummer Ian Wallace, two Bonzos – the frenetic and underappreciated saxophonist and inventor Roger Ruskin Spear and bass player Dennis Cowan – and two former Bonzos roadies – Bubs White and Borneo Fred Munt. Vivian said at the time of the band’s formation that he wanted it to be much more musical and experimental than the Bonzos but still contain visual gags and costumes, as well as a machine – created by Spear, of course – that pumped smells into the audience.

'In Session' contains four songs biG GRunt recorded in a live session on John Peel’s Radio 1 show in March 1970, which have somehow taken 46 years to be officially released, despite their historic significance. Troubled genius that he was, Vivian’s post-Bonzos output was unfortunately small, so it makes previously hidden songs like these that much more valuable.

In a Radio 4 documentary about Vivian in 2014 John Peel producer John Walter described how biG GRunt ended up on the show:

“Viv, after the Bonzos, kept calling me and wanting to come on the Peel show. Frankly he had nothing he could do. He’d start to, he’d get a band together. biG GRunt was one of them, I can’t remember all the others, but then he’d ring round all these mates, Stevie Winwood and people who’d do him a favour, because people loved him, really. I mean, it’s quite amazing.”

The four songs here are an abbreviated display of Vivian’s surreal humor, quicksilver Dadaist wordplay, and brilliant mastery of parody. “Blind Date” was originally written for old school crooner Matt Monro, whose manager took the Bonzos’ 'In the Canyons of Your Mind' at face value and expected something similar, not a talking blues backed with country-rockabilly guitar about the blind date of a recently escaped gorilla (with a flawless American accent) and a pygmy: “I softly brushed your lips in the fur-tongued horror of a kiss/They were filthy.” 'Blind Date' ended up as the B-side on the Gargantuan Chums’ single 'Suspicion'.

'The Strain' was described by Tim Worthington in Paintbox as Vivian’s “bizarre attempt at creating a dance craze involving lavatories.” The song is dominated by Vivian’s echoey constipated grunting that sounds like he’s on the verge of rupturing something. 'The Strain' appeared in a different form on the Bonzos’ reunion album 'Let’s Make Up and Be Friendly' two years later.

'11 Mustachioed Daughters' is a free and unrestrained version of the slightly witchy, mystical original that appeared on the Bonzos’ second album 'The Dougnut in Granny’s Greenhouse'. Both versions contain the heavy African percussion Vivian loved so much, but this remake with drummer Ian Wallace is wilder by far. None of the song’s elements would be out of place on an Arthur Brown album. Like much of his work, it brings to mind Captain Beefheart, a friend of his with whom he had frequent marathon transatlantic telephone conversations. (That scenario alone is worth a play.) The surprise on the album is the delightfully strange spacey prog rock jam instrumental 'Cyborg Signal', a colourful swirl of Vivian’s euphonium, Spear’s sax, and Bubs White’s guitar, held together by Ian Wallace who, not surprisingly, went on to join King Crimson.

biG GRunt was short-lived, due to Vivian’s psychological breakdown and hospitalization shortly after a few live gigs, Peel’s show, a Marty Feldman television special, and the Easter edition of 'The Peter Cook and Dudley Moore Show'.

This release on the Mega Dodo label is a very limited one, with only 500 copies in yellow vinyl being pressed. Perhaps it’s time for all the Vivian Stanshall odds and ends in the BBC archives and elsewhere to be gathered up into a box set? ....By:Kimberly Bright ....................

On 12-inch vinyl, here's a historic biG GRunt John Peel session from the early '70s, featuring former Bonzo Dog Doo-Dah Band-members Vivian Stanshall (vocals and various instruments), Dennis Cowan (bass) and saxophonist Roger Ruskin Spear. The other members of biG GRunt were guitarists Bubs White and Borneo Fred Munt, both of whom had been members of The Bonzo's road crew, and drummer Ian Wallace. For fans of the Bonzo Dog Band's music and witty humor, this 12-inch is a must have.........................

A1 Blind Date
A2 11 Mustachioed Daughters
B1 The Strain
B2 Cyborg Signal

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