Recorded in Jackson MS in 1968 by Thomas Edisun's Electric Light Bulb Band for the Red Day Album, Engineered by Mike Daniels. The Red Day Album was recorded in one weekend and consisted of 10 original songs by the band. Members consisted of Richard Orange, Kim Foreman, Clay Smith, and Gary Simon Bertrand from Lafayette, Louisiana. Later they would change their Band name to "Zuider Zee" recording an LP with Columbia Records in 1973.
In the late 1960s, Chris and James KELLESIS formed a hard progressive-psych band called JACKAL in Toronto. Organist Chris KELLESIS and brother James wrote the material and were joined by singer Charlie SHANNON and guitarist Dave BERNARD for their only LP 'Awake', released on obscure Canadian label Periwinkle in 1973 [reissued by Radioactive in 2004].
Reminiscent of TEMPEST, WARHORSE, and early LORD & BLACKMORE, JACKAL did perfectly ratty and ragged heavy prog and even evoke brethren RUSH at moments. Absolutely authentic prog/psych, 'Awake' is among the definitive LPs of the post-underground Canadian rock scene
Bruce Palmer, родился 9 сентября 1946 года в Ливерпуле (Новая Шотландия) и умер 1 октября 2004 года в Бельвилле (Онтарио), - был канадским музыкантом, самую большую славу которому принесло участие в качестве бас-гитариста в составе влиятельной фолк-рок-группы Buffalo Springfield (а до этого в The Mynah Birds), где, как все знают, начинали такие значимые фигуры в рок-музыке, как Stephen Stills, Richie Furay, Neil Young, Jimmy Messina, Dewey Martin. В записи единственного, классического psychedelic-rock альбома Брюсу Палмеру (acoustic & electric guitars, bass guitar [Fender]) помогали известные американские музыканты: Paul Lagos (drums), Rick Matthews & Big Black (percussion, vocals), Ed Roth (organ), Jeff Kaplan (piano), Richard Aplan (oboe, flute) и Templeton Parcely (violin).
01- Venturi Tubes - Fuzzy And Wild (03:05)
02- Johnny Fever - Zombie (03:05)
03- Bill Dogget - The Worm (02:00)
04- Mark IV - Night Rumble (01:48)
05- Bobby Taylor - Temptation (02:15)
06- Time Keepers - Nasty (02:13)
07- The Stormers - Bug Stompin' (02:07)
08- Cousins - Robot (02:09)
09- Big Guys - Tombstone (02:37)
10- Tikis - Big Feet (02:29)
11- Rayders - Orbit (02:14)
12- Candy Johnson Show - The Hook (02:21)
13- Rusty Day - I Gotta Move #1 (02:53)
14- Johnny Wells - Lonely Moon (02:11)
Tracklist
Brown Eyes4:21
Busted Love3:50
Juggler3:26
Soldier Of Love3:41
Train4:51
Armageddon2:50
Ray's Electric Farm3:05
Stormy Weather2:47
Cats In The Alley2:56
Bandits Of Rock3:51
Circus World3:42
Danny Johnson (guitar, vocals),
Jay Davis (bass),
Vinnie Appice (drums)
Легендарное пауэр-трио из Шривпорта, шт.Луизиана (США), записавшее единственный альбом. В состав Axis вошли: местная рок-звезда гитарист Денни Джонсон, супер-басист Джей Дэвис и барабанщик "всех времен и народов" Винни Эппис. А познакомились музыканты в начале 70х, когда входили в состав группы Рика Дерринджера (Rick Derringer). Музыка, записанная на диске представляет собой очень добротный олд-скульный хард-рок, сыгранный незаурядными музыкантами. К большому сожалению, продолжения не последовало.
Позже в начале 80х гг Денни Джонсон создал свой сольный проект Danny Johnson & The Bandits. В 90х играл в группе John Kay & Steppenwolf.
Дальнейший путь Винни Эписа (род. 13 сентября 1959г в Бруклине, Нью-Йорк) иначе, чем "звездным" не назовешь - он стучал в таких коллективах, как DIO, BLACK SABBATH, HEAVEN AND HELL, возрожденный DERRINGER и др. Кстати, Винни является младшим братом другого рок-барабанщика легенды Кармина Эпписа (Carmine Appice) - участника таких групп, как Vanilla Fudge, Cactus, Beck, Bogert & Appice и многих других. А начало карьеры у Винни тоже выдалось неординарным - в возрасте 16 лет он, вместе со своей группой BOMF в Нью-Йорке на рекорд-компании повстречался с Джоном Ленноном и, в результате, отметился не некоторых проектах экс-битла.
В 2008г состоялся ре-юнион оригинального состава группы Рика Дерринджера, который провел успешный тур.
Calling Hal Blaine a drummer is like calling Elvis Presley a singer. Blaine may not be a household name, but trust me, if your thirty or over, you have heard tons of his work.
And there is tons. In the 1960s and 1970s, if you were a vocal group in LA and did not have a permanent band, chances were you were using Hal on drums. The Fifth Dimension, The Mamas and the Papas, the Association, the Carpenters, The Monkees, Tommy Roe: Blaine has a body of work so big, I just gave you a pinky nail. Turn on any oldies station for an hour, and it is almost a sure thing you will hear Blaine at work. And if you are an old FM guru, listen now to any of the above music.
You may not like the groups, but the drumming is top tier. Listen to Blaine blaze with Joe Osborn on bass on the 5Ds "Let The Sunshine In," and in a different context, his playing could be a funk jazz jam worthy of any progressive band from the era.
Psychedelic Percussion is all the proof you need that Blaine was far hipper than the top forty hits he banged out all the way to the bank. This `1967 Dunhill album in a sense seems like a novelty album, but I prefer the word project.
The drums and sound effects are a product of era, but LISTEN to this guy. His flexibility, his speed, his light but potent touch shows him to be one of the best around, and not just in terms
of skill. He is tuneful, melodic, and has an incredible feel for his drums as a MUSICAL instrument, not a percussive one
We can all as listeners and musicans and music writers learn a hell of a lot from ANY record Hal Blaine played on, but if your not ready to disect the finer points of 1960s LA top forty, although you should be, start with Psychedelic Percusion.
You’ve gotta love this! A dozen, two-and-a-half minute drum excursions peppered with all manner of psychedelic trimmings – from spacey, echoed sound effects to dissonant, disembodied accompaniment. Having originally missed out on this LP in the 60s, I’ve never had any clue if drummer Hal Blaine’s Psychedelic Percussion was just a marketing concept or if Hal was actually, personally influence by the drug culture – breathing Brian Wilson’s air as much as he did for all those years. But, you’ve gotta suspect the former, as Hal’s 1963 solo album was timely titled, Deuces, T’s, Roadsters and Drums, and his 1966 effort was Drums! Drums! A Go-Go. Making it apparent that Blaine was intent on keeping thematically current with whatever fickle trend was passing by. Still… this record is a bona-fide trip! These days, of course, we all live in a drum ‘n’ groove-driven culture. Raw beats backdrop a lot of what we hear on TV and in movies. But in the 60s, people were still largely expecting “songs” when they bought an album, so this one must have confounded non-connoisseurs. Modern ears will surely be more adept. Twelve tracks, each between 2:14 and 2:37 in length, and all aptly demonstrating Blaine’s drum chops in “psychedelic” settings, with electronics provided by Paul Beaver (of Beaver & Krause). Drums, Drums, Drugs might have worked as a title, too. There are a few different LP covers for this release, including a bland 2008 CD reissue with Hal in a bow tie, and a close-up variant of the very cool original Dunhill LP jacket you see above. For you purists, this is a vinyl rip
Peter and Gordon were a British pop duo, comprising Peter Asher and Gordon Waller, who achieved international fame in 1964 with their first single, the million-selling transatlantic No.1 smash "A World Without Love." Dubbed "the Everly Brothers of the British Invasion," the harmonizing, acoustic guitar-playing Peter & Gordon had a transatlantic No. 1 hit with their 1964 debut single, “A World Without Love.” The song was written by Paul McCartney, who was dating Asher's sister, Jane, at the time.
Two more McCartney-penned hits, credited to Lennon-McCartney, followed: "Nobody I Know" and "I Don't Want to See You Again." Another hit song, "Woman," was written by McCartney under the pseudonym Bernard Webb to see how one of his songs would fare without the Lennon-McCartney credit. (It peaked at No. 14 on the Billboard chart in 1966.)
As part of the British Invasion, Peter & Gordon appeared on "The Ed Sullivan Show," "Shindig" and "Hullabaloo." Among their other hits were "I Go to Pieces," "True Love Ways," "Lady Godiva" and "Knight in Rusty Armour."
After nine Top 20 records (three of them gold), the duo broke up in 1968.
"Peter & Gordon were the essential U.K. duo of the British invasion," said Howard Kramer, curatorial director of the Rock and Roll Hall of Fame and Museum. "They were cool, their records were great, and the songs were memorable." Gordon Waller, he added, "was a lovely man; a very sweet, gentle guy."
After Peter & Gordon broke up, Asher became head of artists and repertoire for the Beatles' record company, Apple Records; he later founded Peter Asher Management. Waller, who continued to pursue a solo career, played the Pharaoh in the musical "Joseph and the Amazing Technicolor Dreamcoat" at the Edinburgh Festival in 1971. He also appeared in the play in London. He later launched his own music publishing company.
Waller was born June 4, 1945, in Braemar, Scotland. He met London-born Asher at Westminster School in London. "Our voices are quite different, Gordon's and mine, but we tried singing together experimentally and we found that we could achieve this very nice harmony," Asher told the Sacramento Bee in 2006. When they began playing in pubs and small clubs, they initially were known as Gordon and Peter.
They were playing an engagement at the Pickwick Club in London when Norman Newell of EMI records heard them. They were quickly signed to the label. In 2005, Peter & Gordon reunited to perform at a benefit for a hospitalized Mike Smith of the Dave Clark Five, and they continued to perform occasionally together. They had a number of engagements lined up over the next several months at the time of Waller's death.
"Gordon remains one of my very favorite singers of all time, and I am still so proud of the work that we did together," Asher said in his statement. "I am just a harmony guy, and Gordon was the heart and soul of our duo." On his website, Waller described his time with Peter & Gordon, which included touring with the Beatles, his website as "some of the happiest moments of my life." Waller died from a heart attack on July 17, 2009 at the age of 64 [dennis.mclellan @latimes.com]
Interview with Pater Asher (Rock And Roll Hall Of Fame)
======================================================
Peter Asher’s legendary music career began in 1964 with the formation of Peter & Gordon. In 1968, Asher became head of A&R for the Beatles newly formed record company, Apple Records. Three years later, Asher decided to literally head in a different direction and moved to the U.S., where he founded Peter Asher Management. Peter Asher Management became one of the most successful artist management companies in America, handling artists such as Joni Mitchell, Randy Newman, James Taylor, Linda Ronstadt and Carole King. Asher has produced 12 Grammy Award-winning recordings, and in 1977 and 1989 was honored individually with the Grammy Award for “Producer of the Year.” Playing select dates now, Asher stopped by the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, to talk about his recent projects, keeping current, and being among the first people to ever hear the Beatles "I Want to Hold Your Hand" when Paul McCartney was staying at his house.
Some magic moments "Peter Asher & the Beatles"
RRHOF Interviewer: Like an interesting demo you came across?
Peter Asher: I recently found the demo Paul McCartney had made for me of "A World Without Love." Once you find something and put it in the show, it's everywhere the next day, there’re no secrets. We play that now, and I found that about six months ago. I thought the reel–to-reel tape had gone, but I found a DAT transfer, which I had done at the time when DATs were going to be the future, that still hasn't quite happened (laughs). I have added in a couple of poster and photos that I found very recently. In fact, I was just mentioning that we found this poster of us and the Rolling Stones when we toured together, we were co-headlining. They were closing, but we were billed equally. I threw that in somewhere, found a way to fit that into the narrative. [pictured: Paul McCartney and Peter Asher / from Peter Asher Collection]
RRHOF Interviewer: I heard a story that you were coming downstairs in your house and a couple Beatles were sitting at your piano, having written a rather famous song. Is that true?
Peter Asher: No, I came downstairs at their request. In our house, Paul [McCartney] was living in our family home for a couple of years when they weren't on the road. He and I shared the top floor where the guest room and my bedroom were. In the basement, there was a little music room where my mother gave oboe lessons. She taught at the Royal Academy of Music up the road, where she was an oboe professor and she also gave private lessons at home. To digress for a second, one of the interesting facts is that long before I had anything to do with the Beatles or had anything to do with anything, one of my mother’s pupils, whom she taught the oboe, was George Martin. Just weird, couldn't make that stuff up.
Anyway, Paul would sometime use the music room when my mother wasn't teaching there. It had a small upright piano, a music stand and a sofa. One afternoon early on, shortly after he moved in, John Lennon came over and they were down there together for a couple of hours. No guitars, sitting at the piano, side by side, and Paul stuck his head out the door and called upstairs and asked me if I wanted to come down. He had the song they finished. So I came down and sat on the sofa, opposite the upright piano, and they played “I Want to Hold Your Hand” for the first time, and they asked me what I thought. “What did you think?” I said it was very good!
It does sound a bit pretentious because it's only rock and roll, but there actually is something extraordinary about being present at the moment of the creation of great art. Your first reaction is you want to hear it again because it is just so incredibly good. You do wonder if you are losing your mind or if it's about the best song you ever heard or both, but it was. At that point I was 20.
Gary Gene & The Kounts
Johnny Tee And The Titans
Larry Wilson & The Continentals
Mechanical Switch
Stereo Shoestring
The Aggressors
The Avengers
The Islanders
The Ivy
The Pack
The Purple Haze
The Souls
The Synthetic Sound
The Trackers
The Twilighters
The Unexpected Party
The Wullabies
Thee
Сборник синглов гаражного рока 60-х годов,Почти на все группы инфа в папках HERE
David Blonski - Flute, Synthesizers & Electronic Percussion
Jon Allasia - Guitars & Synthesizers
String Bass - Hans Halt , Cliff Hill / Violin - Michael Harrison, Dan Rosen, Kevin Lancaster
English Horn & Flute - Frank Benvenuto
String Arrangements for Softer Side of Heaven & Yesterday's Sunset - Michael Harrison
Recorded at Allasia Studio South Lake Tahoe, CA
Mastered at Timeless Productions Studio, Garden Valley, CA
Graphic Design: David Blonski
This recording from David Blonski and Jon Allasia features acoustic guitar and flute with vast electronic and orchestral backdrops paying tribute to our planet's frozen arctic and mountainous expanses and the beauty that can be found in these most desolate of places. The music flows smoothly from soft ambient spaces to bold orchestral and rhythmic statements and back again.
Land of the Midnight Sun
All music composed, arranged and performed by David A. Blonski & Jon Allasia
