body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

Saturday, 11 November 2017

Alejandro Medina Y La Pesada "Alejandro Medina Y La Pesada" 1974 Argentina Psych Folk Rock,Blues rock


Alejandro Medina Y La Pesada  "Alejandro Medina Y La Pesada" 1974 Argentina  Psychedelic Folk Rock,Blues rock
full

“Born on October 1st, 1949, this excellent singer and bass player formed his first beat group, The Seasons, while still a teenager. (The Seasons released two singles and an LP -Liverpool at B.A. [Microfón IP100] sung in English. Medina was credited as… "Rodney”!). 
After playing with Manal (the extremely important pioneer group of Argentine rock) he joined Billy Bond y Pesada. 
Like his mates, he released his own solo album with them as guests: Claudio Gabis & Kubero Díaz (guitars), Jorge Pinchevsky (violin), Isa Portugheis, Juan Rodríguez, Pomo & Zurdo Roiztner (drums), along with the ever present Bond producing. 
This great album features the hard rock “Yo sé que a veces pierdo la cabeza”, the blues “Un estado natural”, the acoustic full-of-effects blues “Tiempo de reflexión”, and “Blues en mi menor para cantar al amanecer”, with great guitar work, among other songs. Even the cover, drawn once again by Juan O. Gatti, was great. A highly recommended album, especially for those fans of La Pesada’s and Pappo’s Blues records. 
Medina later played with Pappo in Aeroblues and Pappo’s Blues. In the 80s he participated on Manal’s comeback and in the 90s he released a solo CD. 
His debut album was not reissued on any format and is very rare…

Alejandro Medina, (neighborhood of Almagro, Buenos Aires, November 1, 1949) is a bassist and Argentine singer of rock and blues. Manal was one of the founders of national rock. In 1973 he made his first solo album with the title of “Alejandro Medina y la Pesada”, album of great strength and very ahead of his time. The album is a heartrending reflection of the harsh social political reality that the country lived in those years. They accompany medina in their work, among others: Billy Bond, Jorge Pinchevsky and Kubero Diaz
Guest musicians: Claudio Gabis Jorge Pinchevsky Billy Bond Isa Portugueis Kubero Diaz Juan Rodriguez Pomo The lefty Roiztner Themes 1. I know that sometimes I lose my head 2. Come to me, pretty babe 3. A natural state 4. Reflection time 5. Blues in my youngest to sing at dawn 6. Something very profound 7. Song of goblet …
with Billy Bond

Personel
Claudio Gabis 
Jorge Pinchevsky 
Billy Bond 
Isa Portugueis 
Kubero Diaz 
Juan Rodriguez 
Pomo 
El zurdo Roiztner 

Tracklist 
Yo Sé Que A Veces Pierdo La Cabeza
Ven A Mi, Linda Nena
Un Estado Natural
Tiempo De Reflexión
Blues En Mi Menor Para Cantar Al Amanecer
Algo Muy Profundo
Canción De Cubilete 

Stephen And The Farm Band* ‎"Up In Your Thing" 1973 US Private Psych Country Rock Hippie Psych


Stephen And The Farm Band* ‎"Up In Your Thing" 1973 US Private Psych Country Rock Hippie Psych
full youtube
https://www.youtube.com/watch?v=hjvsb-TWdY0

full vk

https://vk.com/wall312142499_8000


An excellent follow-up to their debut, ‘73’s “Up in Your Thing was credited to Stephen and The Farm Band. It features a good mix of hard and soft rural rock, with guitar, piano, and electric violin, and with male vocal harmony. …by…tymeshifter …


In the late 1960s, Stephen Gaskin made a name for himself teaching a weekly class on the meaning of the psychedelic experience in San Francisco’s Haight-Ashbury District. At the start of the 70s, he led a hippie exodus to Tennessee, where he created "The Farm,” just about the only successful hippie commune still standing. This is the second album by Gaskin and the Farm Band who fall somewhere between the Grateful Dead and Jethro Tull performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community.”…bad cat……..
Second album by the farm community also known as the Farm Band. From Tennessee, a perfect hippie combo that lies somewhere between the Grateful Dead and Jethro Tull, performing long psycho blues suites with flute and violin solos. Featuring the original artwork which a poster and inlay notes about the history of the community…


Stephen Gaskin, pioneering San Francisco hippie and founder of the celebrated Tennessee commune the Farm, died this week at the age of 79. And though Gaskin’s life story includes hosting Monday Night Classes in San Francisco, leading a caravan of school buses across the country to found the Farm, and spending time in jail for marijuana cultivation, few obituaries have mentioned the Farm Band. 

Formed as rock 'n’ roll mission to spread the word of Gaskin’s sometimes outlandish spiritual beliefs beyond the commune’s borders, the Farm Band managed to tour extensively around the country while releasing four full-length albums – now highly sought by psych collectors (three of which were finally reissued by Akarma Records in 2004). The band remains, however tangentially, a missing piece in San Francisco’s musical history. 

You could say the Farm Band were accidentally prescient in their DIY manner, and you’d be right, except for the “accidental” part. In keeping with the independent spirit of their country home, the band had its own label, Farm Records. Jackets for LPs and 45s were produced at the Farm’s own printing facility on the commune. Shows were scheduled not by a booking agency but by band members and Farm residents. 

And the music? Well, it was hit-and-miss. The Farm Band, the group’s debut double-album from 1972, is clearly the band’s highlight – a scorching blend of Jerry Garcia-tinged ballads, long guitar freakouts and solos on flute and French horn. About four minutes in, album opener “Loving You” slowly morphs into a dense, Dick’s Picks-worthy jam that typifies the rest of the album:Gaskin wasn’t an integral musician in the band (the 1973 LP Up In Your Thing credits him with “Hollers, Kwatz, Drums and Spiritual Teachings”), but he viewed rock concerts as a way for the Farm to temporarily reintegrate back into society; a local show at Vanderbilt University was described by one band member as a way “to improve the group’s image.” Perhaps in that spirit, the Farm Band’s next two releases would ditch the John Cippolina-style excursions for more accessible folk, blues and – since this was Tennessee, after all – a country-and-western feel. Witness the barstool honky-tonk of “Tennessee Scrap Iron Man,” from the 1975 album On the Rim of the Nashville Basin, replete with hot pickin’ solos and a “Convoy”-esque CB-Radio break:What’s impressive is how the Farm Band changed stylistically with the times despite living in the middle of nowhere. By the time of 1977’s final album Communion, they’d begun to write distortion-heavy songs that wouldn’t be out of place on a Thin Lizzy album–like “Fried Chunks” from the “Hot Tofu MedleyToday, the Farm Band remains an overlooked part of San Francisco’s musical counterculture history, one whose story remains to be fully told. Many residents of the Farm found their way back to the Bay Area after leaving Tennessee, and if you’re among them that sang or played an instrument in the Farm Band,….By Gabe Meline…








Personnel: 
Stephen Gaskin — vocals, drums, holler, kwatz & spiritual teachings 
Walter Rabideau — lead guitar 
William — bass 
Thomas Dotzler — lead vocals, organ 
KayMarie, Linda Hershfield — vocals 
Phillip Schweitzer — lead vocals, fiddle, rhythm guitar, piano 
David Chalmers — drums



Tracklist 
A1 Think It Over 8:07 
A2 This World 4:05 
A3 Come On Back 3:02 
A4 Sooner Or Later / Pick It Up 7:01 
B1 Hey Beatnik! 5:03 
B2 Nice Ladies 4:43 
B3 A Better Look 5:53 
B4 Easy Does It 5:06 

Polyfeen “Silhouetter"2017 Danish Psych Rock released late June 2017


Polyfeen “Silhouetter"2017 Danish Psych Rock  released late June 2017 
full vk
bandcamp
https://polyfeenband.bandcamp.com/releases

facebook

https://www.facebook.com/polyfeen/


Here’s the 2017 album by Danish ‘70s prog-psych cult legends Polyfeen, recorded with a (partly) reunited line-up, including two new members. Musically, 'Silhouetter’ is comparable to the 1972 recordings as heard on the o.o.p. live-LP 'Langt Ude T Skoven’ (issued by Orpheus Records in 2005). In other words: prepare yourself for intense progressive/psychedelic compositions, wrapped up in stoned atmospheres. The material consists of re-recorded oldies as well as newly written songs. The LP is recommended to fans of a.o. Alrune Rod, Rainbow Band and Hurdy Gurdy



Polyfeen was formed in 1970 and performed in the 70’s together with the main progressive psychedelic acts on the Danish music scenes such as Alrune Rod, Gasolin’, Rainbow Band and Hurdy Gurdy. 

Polyfeen performed on Roskilde Festival in 1972. Strangely enough a studio album was never released at the time, but in 2005 Opheus Records found and released a live performance recorded at Nysted Ungdomsskole on February 18th, 1972. The record was released under the title Langt ude i Skoven (Far out in the Forest) and is since long time sold out. 

Polyfeen re-formed in 2015 with a new set-up and two new members; Michael Stanley on bass and Frederik Leo on drums. The band has maintained its roots in the progressive psychedelic rock and is an active band both in the studio and on live scenes. During the last years the band has performed at sold out venues in clubs and on festival scenes amongst others the Psych Fest Copenhagen and the Kildemose Festival. 

The new album consists of both brand new material and re-recordings of old songs. This vinyl release will have the new songs on side A and rearranged old songs on side B. The recording has been produced by Dr. Hansen and Polyfeen, recorded in the TAPF and Black Tornado studio, mixed at STC studios and mastered by Flemming Rasmussen (mostly known for his work with Metallica) at Sweet Silence. Further as icing on the cake Peter Peter (formerly of Sort Sol) has contributed extra guitar on two of the new songs. 

Polyfeen will be released on vinyl by Kommun2 (home to Agusa, Hills, Måneskjold, Öresund Space Collective) and distributed outside Scandinavia by Sound Effect.






Erik Hansen - vocals 
Finn Sørensen - guitar 
Per Rotbøll Nielsen - Hammond organ 
Michael Stanley - bass 
Frederik Leo - drums & percussion 
Peter Peter - sitar



Tracklist

Silhouetter 
Stress 
Drømmen 
Campingturen 
Pigen i skoven 
Leve livet  
Nattens Nar 

White Manna "Bleeding Eyes" US Alabama Psych Rock Release date: 6th October 2017


White Manna  "Bleeding Eyes" US Alabama Psych Rock Release date: 6th October 2017
full bandcamp
full  vk
full spotify
facebook
Comes with download code. Includes b/w photo insert and a poster exclusive to orders from Cardinal Fuzz. 
Supposedly 350 copies were pressed in random colours (this release). The remaining 650 were black vinyl (White Manna - Bleeding Eyes) 
The first 100 pre-orders also included the Temporary Lines tour cdr…….
2017 release. The times really are good for modern psych rock fans at the moment, with bands like White Manna turning out quality records on a regular basis. Bleeding Eyes is a potent set of tune-in drop-out heaviness, with fierce rhythmic drive and wah-wahed riffage throughout it’s eight tracks. Bleeding Eyes is the sound of White Manna soaring and searing with riffs and grooves that float their own take on sike rock to a higher plane. Recorded and mixed at El Studio San Francisco, Ca and The Compound, Manila, CA by Phil Manley and White Manna. For fans of Hawkwind, The Heads, Spacemen 3, Mugstar and Detroit rawk will thrill to this. Northern California has never sounded so spaced out and visceral, plug in, turn it up and drone out?…


Californian head rockers White Manna, who’ve already been confirmed for Desertfest Belgium 2017, will be releasing their third long-player, Bleeding Eyes, via Agitated Records and Cardinal Fuzz on Oct. 6. Since Desertfest is happening from Oct. 13-16 and the album is out the week before, I kind of assume that means they’ll be sticking around Europe once they finish the UK tour that will find them at Liverpool Psych Fest on Sept. 23 and continue through to Sept. 28. That’s an awful lot of air travel, otherwise, especially with a record coming out in between. 

Bit of a gap then to fill in as regards tour dates, but in addition to what’s listed here, the band has a few others in Croatia and in the Netherlands listed on their Thee Facebooks page for the time between, so maybe there’s more to be announced or that I just missed because I suck at this. Either way, here’s the info I got, which came down the PR wire:
Following on from an incredible one-two brace of releases on Holy Mountain, a release on Valley King, a limited Live album (Live Frequencies) on Cardinal Fuzz, and then their last sonic attack (PAN) on Cardinal Fuzz in 2016, White Manna release their new studio album as part of a joint venture between Cardinal Fuzz and Agitated Records. 

Unleashed at the end of September in Europe to tie in with a UK/EU tour that features another sure to be main stage storming appearance at Liverpool Psych Fest, Bleeding Eyes is the sound of White Manna soaring and searing with riffs and grooves that float their own take on SIKE ROCK! To a higher plane. The 8 tracks herein deliver serious motorik action along the way, with some lo-fi pop glaze over the top of solid rhythmic pummel. Riffs? You got it, great rafts of guitar interplay blitzing your ears in a dronesome scree, ricocheting through space and time to transport you to a sonic enlightenment. 

Recorded and mixed at El Studio San Francisco, Ca and The Compound, Manila, Ca by Phil Manley and White Manna. Mastered by John McBain at JPM Mastering San Francisco. 

Fans of Hawkwind, The Heads, Loop, Mugstar, White Hills, Spacemen 3 and Amon Duul will thrill to this. Northern California has never sounded so spaced out and visceral, plug in, turn it up and drone out?….the….obelisk….



Bleeding Eyes, on Cardinal Fuzz, is White Manna’s sixth album of Motorik Drone-Rock. It was recorded and mixed by Phil Manley and White Manna and the mastering was done by the legendary John McBain. 
The title track kicks off proceedings. Essentially a two-chord, almost poppy, punk droner with an Ozzy vocal. Following Bleeding Eyes is the almost Reggae-like Vimanas. I suspect that they were aiming for the Dinger beat. The bass is hugely fuzzed up but the guitars are cleaner and there is nice use of a rotary speaker effect on the vocals. The song itself is a fairly basic three chord affair with just enough melody to maintain the interest. This is followed by Trampoline, another three chord affair (albeit with quite a few more chords in the chorus). The section after the chorus is taken straight from Hawkwind. White Manna do make a wonderful noise when they all head off into space at the same time. Invisible Kings is a freakier affair, and better for it. It’s a Psychedelic nightmare of a track with the vocals a little more buried in the mix and swirling sounds all around you. It’s the best thing on here and I hope White Manna research this territory more often in the future. Feedback starts Speed Dagger (as it does most tracks here) and it’s back to fairly basic Riff Rock. Unfortunately, the vocal melody also follows the riff which is one of my pet peeves (yes, even on Iron Man). Fortunately, the riff is pretty good and the sound is awesome. English Breakfast has another Hawkwind-like chord progression. The heavy use of effects on the vocal really work well here, as does the more adventurous drumming. The whole effect is only heightened when the band set out for space again at the end. You Are The Movie has a nice, warm, fuzzy feel to it, mainly because of the bass line. It’s a groovier affair than the other tracks on the album and it reminds me of Black Angels. Another strong bass line is at the heart of Freak. It’s another slightly unhinged track and a great way to end the album. Predominantly built around one chord, it is Psychedelic and exuberant enough to be a rivetting listen. 
Bleeding Eyes is an enjoyable album, but not a classic. There are hints (on Invisible Kings and English Breakfast) that White Manna could turn into something quite awe-inspiring if they favoured their freakier side rather than their riffy side. I don’t particularly think the Motorik style plays to their strengths as they are best when the drumming is more adventurous….by Sean Hewson ……..soundblab…



White Manna seem to live by that old maxim of not fixing anything that ain’t broke. The same imperatives that drove their self-titled debut of 2012 – rampaging space rock, locked riffs, overdriven guitars – have now sustained the quintet over five albums. Yet this doesn’t mean they’re stuck for ideas. Rather, their adherence to the intangible mysteries of fuzz-heavy psychedelia feels like a statement of faith, the band exploring a rich niche of music with an ambitious fervour that borders on the devotional. Bleeding Eyes, their sixth outing, is the kind of howling mindfuck that aligns them to Carlton Melton and The Black Angels. Regular engineer Phil Manley is at hand, helping leader David Johnson shape these compositions into vast, open-ended grooves. The devilish riff of Vimanas is joined by a vocal that sounds beamed in from some distant Californian mountaintop. The title of Speed Dagger is a pretty good indicator of the pleasures within, as heads-down Stooges meet Spacemen 3. Trampoline takes 60s garage rock and bends it through a psychedelic lens, while Freak speeds along on a motorik rhythm. Breathless and intense, it’s everything we’ve come to expect……by….by Rob Hughes…


  Oooooh! What have we here?! Sure, long-time [sic] favourites White Manna are back with a hotly anticipated new platter, but it’s what they’ve done with it that’s interesting. Following on from last year’s raw and dangerous Pan LP, a cosmic biker-brawl of an album, Bleeding Eyes’ opening title-track both picks up where that record left off and yet still manages to surprise. White Manna usually assault the ears with feedback and fuzz and the first few bars here are fully compliant, but now the band go for the eyes too, strutting proto-punk rooted in tight rock rather than psychedelic meandering, the vocal cleaner too during these opening exchanges than on previous doomed missions. The same tricks aren’t repeated everywhere, but scraping back the scree reveals a remarkably classic lo-fi sound. 

Part of a great opening trinity (which includes the whooshing 60s garage of “Trampoline” blasting skywards as if aboard one of the Apollo missions), Bleeding Eyes has a killer closer too, let down only slightly by a soupy middle. You can’t be too critical of a psych-rocker named “English Breakfast” though (it’s just too tempting to think of a side of psilocybin ‘shrooms with your black pudding and fried bread), it and its central companions slowly winding sludgers and oddities that alternately break into weird freak-outs, heavily reverbed oscillations and, of course, pummelling riffs. These are not bad tracks at all; it’s just that ones like motorik monolith “Vimanas” are better. Full of Wooden Shjips-style hypnotism, melting licks drip like Dali’s clocks and, just as you’re about to suffocate, White Manna veer their craft off in the direction of open space. 

Closing with a destructive display of force, “Freak” is one step up again. Strap in and feel the Gs rip back your cheeks as the windscreen implodes on take-off, stinging solos and roaring boosters catapulting The Stooges deep in to space; it’s as bracing as it is hallucinatory, sounding entirely like it should having been mastered by Monster Magnet’s John McBain and produced by Phil Manley. White Manna and their Bleeding Eyes are, at this point at least, almost supernaturally good……..by : Gannon





Following on from an incredible one-two brace of releases on Holy Mountain, a release on Valley King, a limited Live album (Live Frequencies) on Cardinal Fuzz, and then their last sonic attack (PAN) on Cardinal Fuzz in 2016, White Manna release their new studio album as part of a joint venture between Cardinal Fuzz and Agitated Records. 

Unleashed at the end of September in Europe to tie in with a UK/EU tour that features another sure to be main stage storming appearance at Liverpool Psych Fest, Bleeding Eyes is the sound of White Manna soaring and searing with riffs and grooves that float their own take on SIKE ROCK! To a higher plane. The 8 tracks herein deliver serious motorik action along the way, with some lo fi pop glaze over the top of solid rhythmic pummel. Riffs? You got it, great rafts of guitar interplay blitzing your ears in a dronesome scree, ricocheting through space and time to transport you to a sonic enlightenment. 
Recorded and mixed at El Studio San Francisco, Ca and The Compound, Manila, Ca by Phil Manley and White Manna. Mastered by John McBain at JPM Mastering San Francisco. 

For fans of Hawkwind, The Heads, Loop, Mugstar, White Hills, Spacemen 3, and Amon Duul will thrill to this. Northern California has never sounded so spaced out and visceral, plug in, turn it up and drone out?……











Tracklist 
1. Bleeding Eyes 
2. Vimanas 
3. Trampoline 
4. Invisible Kings 
5. Speed Dagger 
6. English Breakfast 
7. You Are The Movie 
8. Freak 

johnkatsmc5, welcome music..

volume

volume

Fuzz

Fuzz

Analogue

Analogue

Cassette Deck

Cassette Deck

Akai

Akai

vinyl

vinyl

Music

Music

sound

sound

Hi`s Master`s Voice

Hi`s Master`s Voice

Vinyl

Vinyl

music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958

vinyl

vinyl