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7 Oct 2017

King Harvest " Dancing In The Moonlight"1973 US France Classic Rock

King  Harvest  " Dancing In The Moonlight"1973 US France Classic Rock


Dave “Doc” Robinson - lead vocals, bass, keyboards 
Ron Altbach - keyboards 
Ed Tuleja - guitar 
Rod Novak - saxophone 
Wells Kelly – drummer

A1 Lady, Come On Home 2:40 
A2 Motor Job 2:47 
A3 Roosevelt And Ira Lee 5:32 
A4 Dancing In The Moonlight 2:40 
A5 She Keeps Me High 4:00 
B1 Think I Better Wait Till Tomorrow 3:00 
B2 The Smile On Her Face 2:55 
B3 You And I 2:38 
B4 Marty And The Captain 2:17 
B5 I Can Tell 4:45 

The Falcons *The Falcons’ Fever” 1970 French Psych Rock

The Falcons *The Falcons’ Fever” 1970 French Psych Rock

Dusty Love - vocals 
Vic Chappell - rhythm guitar 
Jimmy Bryce - lead guitar 
Peter ‘Bud’ Heaps - bass 
Eric Murray - drums

A1 Fever
A2 Girl On My Mind
A3 Fire Higher Than The Mountain
B1 Don’t Let Me Be Misunderstood
B2 Water On The Brain
B3 Looking Glass Room
B4 On Broadway

Dave Morgan “Morgan” 1971 US Private Psych Folk Rock

Dave Morgan “Morgan” 1971 US Private Psych Folk Rock

A1 We’re Gonna Change All This 3:02 
A2 Hey Paul 3:22 
A3 Don’t Look Now But 3:18 
A4 Go Tell The Birds 2:09 
A5 So Weary 4:34 
A6 Browned 0:19 
B1 Angel 4:25 
B2 Georgia Here I Come 2:56 
B3 One Month In Tuesday 2:38 
B4 I’ll Wind 2:28 
B5 You’ll Never Get To Heaven 3:18 

Orange Sunshine ‎ “Love = Acid Space = Hell ” 2003 Holland Heavy Stoner Doom Acid Fuzz Hard Psych Rock

Orange Sunshine ‎ “Love = Acid Space = Hell ” 2003 Holland Heavy Stoner Doom Acid Fuzz Hard Psych Rock



Fuzzy heavy rockin retro hard rock vinyl record harking back to the late 60s greats like Cream, Hendrix, Blue Cheer, etc..Import from the Netherlands on the Motorwolf label. …

Killer authentic Acid Psych Blues Biker Rock from Holland..right in the vein of BLUE CHEER, CREAM and FRACTION!! 8 tracks so loud..your hair will grow at once! This is a musical trip..its 1969 again! The perfect platter, if you dig fuzzed out solos..and even 8-minute long drum solos..!!Comes in a 3-d special Gimmic Cover…got it?
Since 1999 Holland’s loudest and wildest power blues trio. Raw and intense hi-volume psychedelic motor blues rock with the real original late-’60’s proto-hardrock/acidfuzz sound of BLUE CHEER! Imagine HENDRIX-style guitar freak-out, raw bluesy vocals, a deep grooving bass and minutes-long drum solos. Their first album ‘Homo Erectus’ (with crazy 3D sleeve!) from 2001 was sold out in a few months. Now their second album has just been released: ‘Love=Acid, Space=Hell’. More back to the roots of blues, rock’n’roll and rhythm’n’blues, but also with more catchy CREAM-like ’60’s pop song structures at the same time, with thumping boogie bass melodies and howling, swinging and ‘singing’ guitar solos mixed with heavy garage punk riffs and dirty psychedelic stoner/hardrock outbursts! An explosive and yet soulful trip through the twisted minds of 3 acid blues freak veterans from Holland’s hard-rockin’ capital The Hague. LOVE=ACID, SPACE=HELL and you’re gonna dig it! DIG! Orange Sunshine just did some US eastcoast shows for the second time in december 2003 to promote their new release, hopefully the south and westcoast will follow later in 2004 so there’ll be your chance for some Dutch drug experience…….by rockinoldies…

It’s no easier as a definition. 
Do you like blues rock? Do you like fuzz so thoroughly that your speakers tremble? Do you like long hair? The beards? San Francisco? Blotters? The naked girls who hide their breasts with their long silky hair? The Crayolas? The DayGlo? The Kool Aid? Beer? Joints? Motorcycles that look like motorcycles, with apehangers that make you have tendinitis on each arm just watching them? The headsets? The jackets cut to the sleeves? The badges? Hippy symbols? Motorcycle boots? Backpacks? Psychotropic experiments? The sex? The pubic hair? The squats? Haight Ashbury? The tatoos? The stickers? Water pipes? Thrift stores? The paws of eph? The flaps? Comics badly printed? Rock concert posters? Psychedelia? Polygamy? Hypnosis? Easy girls? The smell of two moving bodies that smell sweat and ass? The big amps heated to white? 
Save you all this guy, pay you a disc of Orange Sunshine.

“Re-issue of 2nd Album by Holland’s rawest and wildest PSYCHEDELIC power blues trio. Raw and intense hi-volume PSYCHEDELIC motor-bluesrock with the real original late 60’s proto hardrock/acidfuzz sound of Blue Cheer. Quite some HENDRIX style guitar freak-outs with more catchy 60’s pop song structures at the same time. Howling and ‘singing’ guitar solos mixed with heavy garage punk riffs and dirty psychedelic stoner/hardrock outbursts. An explosive and yet soulfull trip through the twisted minds of 3 ACID BLUES freaks from Holland. The vinyl is housed in an fantastic black and silver embossed sleeve!!” “

Talk about a few records dying for reissue. Not that Netherlands-based acid rockers Orange Sunshine haven’t kept up pressings for their three studio full-lengths, 2001’s Homo Erectus, 2003’s Love = Acid Space = Hell and 2006’s Bullseye of Being, through their own Motorwolf imprint, but I’m talking about wide-distro, color-LP, all that do-it-up nonsense that sells out on preorders before anyone’s heard a note. Can’t say the band wouldn’t deserve such fare. As it happens, 2016 marks 15 years since their debut came out, and they’ve been steadily kicking ass all the while, proffering dangerous groove and garage-derived heavy in the spirit of the free-swinging classics. My prevailing memory of them may always be seeing them at Roadburn 2010 (review here) and bearing witness to a set that featured not one, not two, but three Blue Cheer covers. That’s the kind of band Orange Sunshine are. They’re the kind of band who might cover Blue Cheer three times if they feel like doing so. 

As an ethos, it’s hard to argue, and whether it’s the harmonica-topped shuffle of “I’m a Man” or the megafuzzed interlude “Population III” — presumably a sequel to the 1969 album from Blue Cheer guitarist Randy Holden, Population II (discussed here) — and subsequent 15-minute closer “Hey Mama,” they live it all over Love = Acid Space = Hell. That finale is a jam worthy of Cactus, which is not praise I deliver lightly, and it comes only after Orange Sunshine have scorched their way through “Ain’t No Way” (which nods at Thin Lizzy‘s “Boys are back in Town”), the freaked-out “H-Theme” and the proto-punk “Wham Bam Thank You Ma’am,” making the vast, vast majority of the retro-stylized heavy rock that’s come out of Europe in the last decade sound positively safe by comparison in terms of songwriting and production. Kids wanna sound like the first Witchcraft record. They should wanna sound like Orange Sunshine. 

The last few years have been quiet in terms of studio outings, but in 2013, Who Can You Trust? Records issued a tape called Burnout at Roadburn, and Lay Bare Recordings followed that up in 2014 with Live at Freak Valley (review here), so Orange Sunshine — the power trio of drummer/vocalist Guy Tavares, guitarist Arthur van Berkel and bassist Mehdi Rouchiche — haven’t been completely absent, though any major-scale touring or studio work seems to be on hold as van Berkel has battled Crohn’s Disease. Still, their records, the two live outings and a couple other odds and ends singles are all available for downloading/streaming on Bandcamp, so there’s plenty to dig into either way, whether or not more shows up eventually. 
A snow day today has been much needed and much appreciated. In addition to being able to sneak in a couple extra posts about new Causa Sui and Heavy Psych Sounds stuff, it’s just been good not to have to drive to work and to be able to sit on the couch with The Patient Mrs. with our laptops and the dog, hang out and still be reasonably productive. We’re not supposed to get a foot even, so shoveling shouldn’t be too terrible when the time comes. 

I didn’t get that Borderland Fuzz Fiesta mixtape up this week. Should be able to make that happen next Wednesday, so keep an eye out for it. I’ll start putting it together this weekend. Also next week, reviews of Spidergawd and hopefully Rotor, a track premiere from Talmud Beach on Tuesday and videos from The Vintage Caravan and Merlin, along with whatever else should happen into my purview between now and then. Heard a cool demo this week by Brooklyn newcomers River Cult that I’d like to write about. Might be time to resurrect On the Radar since I can’t seem to find time to do a proper post of radio adds. We’ll see. 

I hope you have a great and safe weekend, whether you’re snowed in or not. If you need me, I’ll be in my pajamas as much as humanly possible, rounding out the third season of Star Trek (yup again; my greatest fear is that the new series due in 2017 will be a gritty reboot of The Next Generation) and trying not to spend money. See you back here Monday if I can actually go that long without posting something…..The obelsk…

A few of the cuts here rack the raw fuzz energy of HOMO ERECTUS, and subsequently this record isn’t as gripping. Some of it actually sounds ore like Mudhoney than Electric Wizard, which will either be good or bad news depending on your point of view. There’s still some smoldering stuff here, it’s just a bit too gentle for my tastes, especially when one takes the relentless noise of the debut into consideration………cirithungol …

Lonely Child
No Time To Waste
I’m A Man
Ain’t No Way
Wham Bam…
Population III
Hey Mama 

Mortimer “On Our Way Home” recorded in 1969 US Psych Pop Rock,Soft Rock unreleased second album by Cherry Red Records

Mortimer “On Our Way Home” recorded in 1969 US Psych Pop Rock,Soft Rock unreleased second album by Cherry Red Records…recommended..

Mortimer were a harmony-laden soft rock trio from New York State who were signed by George Harrison to Apple Records in 1968. 
They recorded a second album, On Our Way Home, in 1969 – named after the song given to them by Paul McCartney, which The Beatles later recorded as ‘Two Of Us’ – but it was unreleased. Until now! Perfect for any unusual Beatles cover-related needs…….

Digitally remastered and expanded archive release. Mortimer, the harmony soft rock trio from New York State who signed with Apple Records in 1968 on the strength of George Harrison’s say so. The second LP of their career was due for release in the summer of 1969 but was pulled at the last minute due to changes at Apple. The tapes have sat in the vaults ever since. Now RPM is pleased to present for the first time the LP that should have been the release straight after The Iveys LP in the Apple Records catalog. Mastered from the original tapes, the recordings were originally produced by Peter Asher with additional arrangements by Richard Hewson. This release also includes the songs recorded during the sessions but which were not slated for the original LP, including album versions of ‘Christine Tildsley’ and 'Ingenue’s Theme. ’…..

The long-overdue second album from Mortimer – a US trio who were signed to Apple Records during the late 60s, but never fully got their due, thanks to all the famous difficulties of that Beatles-owned label! The group are in a nicely acoustic setting here – one that’s neither folksy, or too rootsy – and which instead gets some nice sweetening from later arrangements by Richard Hewson, used to color in their sound with these gentle currents that really buoy up the spirit of the trio! There’s a touch of harmonies on the vocals, and this sing-songy approach that almost recalls Alzo & Udine at times – a match that we’d definitely make in terms of the album’s sophistication and subtle sense of darkness. The album was never issued by Apple back in the day, and would have become a sought-after classic if it was…………………..

I can remember seeing a while back an old reprint of advertisement for the Beatles Apple label, showing a one man band who in the ad copy signed to the Fabs label and subsequently made enough to run a Bentley. Looking back now, it seems very much the only people who actually struck gold via Apple were the lawyers. New Yorker trio Mortimer certainly didn’t. They did however manage to get their eponymous debut released on Phillips in 1968, but despite the personal intervention of George Harrison to get the band on board at Apple, the follow up recorded for the label was left to languish unloved for nearly 50 years until its release now. Originally intended to be released after the Iveys album (the future Badfinger got stiffed in the same way too) in the summer of 1969, this record was produced by Peter Asher (Macca’s the girlfriend Jane’s brother), but for reasons we will go into later never managed to reach the pressing plant. 

Mortimer had their roots in Garage quintet the Teddy Boys, who cut four well-received singles for Cameo Parkway in 1966. On the back of that they offered the chance to record an album which was duly completed, but Cameo were taken over by Abkco (the company of one Allen Klein, who will loom large in the Mortimer story unfortunately) and the record was junked. The Teddy Boys were aghast at this setback after their hard work, but slimming down to a three piece they threw themselves into work on the New York Folk circuit (even though they were hardly a folk band at all). This got them noticed by manager Danny Secunda (brother of The Move’s handler Tony), who after organising their debut album with Phillips, decided that they would be able to make more impact in the UK. 

Details are sketchy but as to why “On Our Way Home” was not released at the time, but a key element seems to have been the arrival of Allen Klein (lightning did strike twice for Mortimer unfortunately) at Apple replacing their fervent backer Ron Kass. One might have thought Klein was nurturing some sort of grudge against the Mortimer boys and drummer Guy Masson was unceremoniously escorted out of Apple by Klein’s “business associates” when he tried to find out if that was the case. Whatever the reasons, in the can the LP remained ever since. 

Which is a great shame, because the majority of the LP is jolly good, in fact a bit of a masterclass in late 60s Soft Pop Sike. Mortimer came on like an acoustic Beach Boys/Bee Gees mix up, lots of tight harmony singing with fans of the Lovin’ Spoonful finding much to enjoy here I would think too. Though Mortimer specialised in lazy, hazy sunny day Pop occasionally they did produce the odd tougher offering – “You Do Too” is faster, harder hitting and there is some stinging fuzz guitar, perhaps as a look back to their Teddy Boys days. Singer Tom Smith’s voice is a little reminiscent at times of Mickey Dolenz, no bad thing of course and this song does recall one of the Monkees’ more “out-there” efforts. “Don’t Want To See You Anymore” is a sparsely accompanied beauty and “I Don’t Know” seems in a mad rush to cover as many Pop modes as possible, with orchestral strings jostling with MOR/Easy Listening and Beat to dazzling effect. 

Of the bonus tracks “Christine Tildsley” is a very pretty Harmony Pop character portrait, “Last Of The H” starts with an atypical chant/bongo combination and “Ingenue’s Theme” is a lovely piece of John Sebastian/Paul Simon-style slowly drifting Folk Rock. The title track here was given to them by Paul McCartney (later cut by the Fabs as “Two Of Us”)”, but otherwise the entire record was all self-penned by the three band members, showing such a sure talent for composition that Macca’s effort doesn’t over-shadow the other writing here at all. 

Sadly the set-back from Apple HQ was the final straw for the band as Mortimer split and though Smith and bass player Tony Van Benschoten stayed in the UK (mindful of possibly being drafted to ‘Nam on their return home), Guy Masson did go back to the Big Apple to play on the Van Morrison LP “Moondance”. It’s a real shame as that was the last time any of the trio recorded, as they were clearly a talented bunch, thwarted by business concerns rather than any fault on their part. “On Our Way Home” stands up in 2017 as a gentle but alluring 60s Pop album of no small charm and merit. ……… Ian Canty………….

The New York trio Mortimer’s self-titled first album from 1968 staked out very interesting territory for the times. Stripping their sound down to acoustic guitars and conga drums, they sang lovely pop-psych tunes in beautiful harmony. It was a gimmick that almost but not quite caught on, which led the band to seek greener pastures in London. Through a series of lucky breaks, they ended up signed to Apple Records by an enthusiastic George Harrison, and set up in London to record demos and rehearse while the producer assigned to them, Peter Asher, finished making another album elsewhere. When he returned, the trio had amassed a startling number of new songs, of which ten were chosen. Asher decided to put the full resources of Apple behind the band and called in vocal choirs, string sections, and horns, while handing the boys electric guitars and a full drum kit. Many of the songs still have the basic acoustic underpinnings of Mortimer, but a large chunk of them sounds like a completely different band. The nice melody of “You Don’t Say You Love Me” is punctuated by horn blasts and sawing strings; “You Do Too” is given a jolt by a fuzz guitar running through it like stray current; “No Business Being Here” is one steel guitar lick away from sounding like a Jerry Reed track cut in Las Vegas. Even the tenderest ballad, “Dolly,” is writ large and given an extra boost from a giant-sounding 12-member vocal choir. Mortimer finished the record, and while playing it for Apple execs they were told that Paul McCartney had a song for them. They added “On Our Way Home” (which became “The Two of Us” when the Beatles later cut it) at the last minute, and somewhat ironically gave it the most stripped-down production of all. The resulting album isn’t exactly bad; many of the tracks are first-rate late-'60s pop and the group’s vocals are very pretty throughout. The problem is that it lacks the immediate charm of their debut, as well as a few standout tracks like “Singing in the Sunshine” and “Would You Believe.” The soulful, Association-like “I Didn’t Know” is probably the best song here, and the fact that it sounds like another band rather than Mortimer sums up the album’s problems. But none of it mattered at the time, since Apple decided at the last minute – thanks to a budget crunch – that they were canceling the album’s release. It sat in the archives for almost 50 years before RPM Records finally issued it in 2017. With the full story behind the record in the liner notes and several tracks added on, On Our Way Home is an interesting curio from a lost age, if not quite a fitting follow-up to Mortimer, one of the true lost classics of the '60s………….by Tim Sendra ……………….

An acoustic trio from Hyde Park, New York, who evolved out of a group called the Teddy Boys, Mortimer were little more than a footnote to the history of the Beatles and Apple Records for most listeners. The trio had cut singles for Cameo-Parkway under their original name and, as Mortimer – the name under which they played various New York City venues – they’d done one album for Philips. That record, though never big seller, made its way from John Lennon to the hands of Peter Asher after the founding of Apple Records, Alas, amid the turmoil that enveloped the label, their recording career with the company was still-born, their second album buried. Until now, that is – and I can say that it holds up beautifully as a prime example of acoustic sunshine pop, not all that different from, say, the UK group Prelude or, say, midway between the psychedelic sounds on the Hollies’ Evolution and Butterfly albums and the work of Crosby, Stills & Nash. Its got a lot of great harmony singing and excellent guitar, without a lot of obtrusive production, and it’s going to get a lot of listens here….By Bruce Eder……………

Fabled in Beatles refence books for many decades, American band Mortimer’s 1969 album, On Our Way Home, shelved after the demise of both The Beatles and subsequently their label, Apple Records, finally gets a release on RPM Records 
Headlined by Lennon & McCartney’s On Our Way Home (AKA Two of Us) the album features much in the way of sunny acoustic pop and thought provoking lyrics. Stand out tracks include People Who Are Different and No Business Being Here. 
A precursor of material harmony groups such as Crosby, Stills and Nash and Stealers Wheel would produce only a few years after this album was made, On Our Way Home is the musical equivalent of buried treasure. 
Now is the time for people to finally hear this lost classic………

*Guy Masson - Vocals, Drums, Percussion 
*Tom Smith - Vocals, Guitar 
*Tony Van Benschoten - Vocals, Bass, Guitar 
Richard Hewson - Piano, Arrangements

1. On Our Way Home (John Lennon, Paul McCartney) - 3:06 
2. I Didn’t Know - 3:38 
3. You Do Too - 3:12 
4. Dolly - 4:43 
5. People Who Are Different - 5:41 
6. You Don’t Say You Love Me - 3:03 
7. Miles Apart - 3:12 
8. Don’t Want to See You Anymore - 3:58 
9. No Business Being Here - 3:06 
10.In Memory Of Her - 3:15 
11.Pick Up Your Heart - 4:50 
12.Christine Tildsley - 3:39 
13.Last Of The “H” - 4:22 
14.Laugh Children Laugh - 2:46 
15.Ingenue’s Theme - 2:24 

Scott Finch & Gypsy “Haze Of Mother Nature” 2000 CD Compilation US Psych Blues Rock

Scott Finch & Gypsy  “Haze Of Mother Nature” 2000 CD Compilation US Psych Blues Rock
full vk part 1…

vk part 2

full spotify….

130 minutes of blues and bluesrock, a mixture of self-composition and foreign material, Power Trio: Scott Finch and his band with Peter Alt (lead vocals, bass and harmonica) and Dave Braun (drums and vocals). And all this live! 
Compact, there is a Jimi Hendrix passage at the end of the first CD. Ok, “All Along The Watchtower” is written by Dylan, but Hendrix has also often strung the strings for this song. 
Finch makes it clear that in his youth he did not just follow the Jimi, but the tracks, “Voodoo Chile”, at the end of the second CD, have also been transferred to the stage of their own interpretation. 
In addition to the foreign composers, especially with the second CD, we are in a kind of time machine of the Blues / Bluesrock. 
Not necessarily in the blues is “Tomorrow Never Comes” of the Beatles and Neil Young’s “Down By The River”. A fancy for the Fab Four seems to have Finch, because on his first record, a single from 1969 (!!!), he has presented “Let It Be”. 
Scott Finch can look back on a longer career. The first band Finch played was Bamboozle. It was followed by White Lie and Gypsy (1986 to 1989). 
In 1993 he played under his own name “Pipe Dreams”. A real solo project. Finch played all the instruments (drums, bass, guitar, keyboards) himself. 
With some intermediate stations in 2000, Gypsy was re-launched under the name of Scott Finch & Gypsy. 
The song opens with a track that Finch released in 1978 on a single with the band White Lie: “Scott’s Boogie”. A fine guitar introduction, drums and bass set flashy accents and then the boogie is in full swing. 
Bass player Peter Alt has a good blues voice. Even higher pitches are no problem for him. In the middle part improvised and Dave Braun gets a short drum solo. 
Like Coen Wolters, Finch loves the Wah Wah pedal, which is used for the first time in “The Velvet Groove”. The title of the track is self-talking … 
Almost romantically dreamy it is in “Changer”, an instrumental too. The classic rock pattern of the 1970s is “Close To You”. Memories of Cream come up. 
Finch’s interpretation of “Memory Pain” reaches the class of a Johnny Winter on “Second Winter” or by Savoy Brown on “Hellbound Train Live: 1969-1972”. 
“Dragnet” gives the impression of being completely improvised. 
“The Velvet Groove” was a great treat for Scott Finch in “Groove King” before “Jeff’s Boogie”, “Pie In The Sky”, “Guitar Solo” and “Voodoo Chile” Final of “Live Groove!” comes. 
Also the packaging of the CDs: The Digi-Pack is a small book. It contains a detailed 16-page booklet with many photos. 
This double decker was my entrance into the music of Scott Finch. Is not it like this: If you like a CD, there is a short or long one of the musician in the cabinet. I was with Scott Finch so!

01. Gypsy - Flowers In The Jungle 
02. Gypsy - Gypsy Waltz 
03. Gypsy - Dream Of The Dove 
04. Gypsy - People From The Darkside 
05. Gypsy - Little Bird 
06. Gypsy - The Goddess 
07. Gypsy - The Race 
08. Gypsy - Can’t Live Without It 
09. Scott Finch - Dragnet 
10. Scott Finch - Godora 
11. Gypsy - Acid Joe 
12. Gypsy - Time Keeps Rolling On 
13. Scott Finch - Pipe Dream 
14. Gypsy - Haze Of Mother Nature 
15. Bluehand - I Don’t Live Today 
16. Waltzing Tunas - Love Or Confusion 
17. Waltzing Tunas - If 6 Was 9 
18. Bluehand - Little Wing 
19. Scott Finch - Bend The Stone 

johnkatsmc5, welcome music..







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music forever

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