Oral – Sex
Label:
Conquest Records – QUEST 6
Format:
Vinyl, 12", EP, 33 ⅓ RPM
Country:
UK
Released:
Jun 1985
Genre:
Rock
Style:
Hard Rock, Punk
Tracklist Hide Credits
A1Head
A2Love Pole
A3Gas Masks, Vicars And Priests
B1Black Leather
Written-By – Cook, Jones
B2Pearl Necklace
B3I Need Discipline
Credits
Bass – Candy
Design – Pyramid
Drums – Dee
Engineer – Ralph Jezzard
Guitar – Monica
Photography By – Nick Segal
Vocals – Bev
Written-By – Oral (3) (tracks: A1 to A3, B2, B3) Oral
Biography:
Very little is known from this curious all-female band from the mid 80s. Originally from Brighton, England, they issued a unique and controversial demo entitled “Oral Sex”, halfway between rock and heavy. And thus still considered part of the NWOBHM.
As its title suggests, the main subject of the record was purely sexual from a sado-masochistic and fetish perspective. No longer available, it was released only on vinyl and has not seen the light on CD.
While in the band “official” photo it appears only Bev, Monica (ex-Penthouse model) and Candy (who left the band by the time the record was released), there was a fourth component called Dee, being so “hidden” that leds to suspect that was a male drummer.
Monica always said that Lemmy (Motorhead) was who had taught her to play guitar. True or not, you can notice his influence in songs like “Head”.
- The Bennelong Trio, Peter Draper / guitar (4, opening)
- The Bennelong Trio, Brian Strong / cello (4, opening)
- The Bennelong Trio, Nick Negerovich / flute (4, opening)
- Mike Perjanik / ARP synthesizer (1-3)
- Doug Fosket / saxophone (4) 'Awesome solo by the way !'
Releases information
Harvest (EMI Australia) SHVL.612
Producer: Peter Dawkins
Engineering: John Taylor, with additional engineering by Martin Benge
Rip: Saturnino Gordon
'The Star Suite' is an interpretation of the Four Elements of the Zodiac: Air, Fire, Water & Earth
It is basically the brainchild of Peter Dawkins, drummer of New Zealand origin and later an Aussie producer, including for Spectrum
Dawkins conceived, co-wrote and produced the whole thing, a concept album based on, rather obviously, astrological themes.
The band is made up mainly of Ariel personnel, this band being Spectrum in pop diguise, guitarist and fine singer - songwriter, Mike McClellan and others. It is not hard to pick out Spectrum / Ariel's Mike Rudd's guitar in the mix.
The music is entirely instrumental and is prog at its best. Despite being made up of only 4 tracks and being over 40 minutes long, it is by no means boring. It has an ethereal, dreamy feel, building to great climaxes, all rather good, really. The music, by the way, is rather better than the awful cover.
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The idea of this Aussie project, based in Melbourne, was conceived by producer Peter Dawkins, who gathered a line-up of rock veterans and session musicians to play music inspired by the four elements of the Zodiac:Spectrum and Ariel's Mike Rudd on guitars, keyboardist Tony Esterman, New Zealander Rod Coe on bass, Folk singer Mike McClellan on acoustic guitar and drummer Doug Gallacher, later of Madden & Harris.They were supported by a number of guests, like percussionist Ian Bloxsom from Crossfire, Tony Ansell on organ, bassist Bill Putt, also of Spectrum and Ariel, cellist Nathan Waks, Ariel's and Taman Shud's guitarist Tim Gaze and saxophonist Doug Foskett.''The star suite'' came out in 1973 on Harvest.
Four long, instrumental tracks with a gentle atmosphere was what Patch had created and the opening ''Air'' sounds pretty promising, despite its soft and elaborate atmosphere, it sounds like the instrumental efforts of GOLDON GILTRAP, featuring a heavy acoustic content next to some jazzy keyboards and mellow electric guitars and swirling around orchestral, Fusion and light, psychedelic overtones.I am afraid that the next three pieces ar not that good, even if the extended running times give promise for some charming musicianship.''Fire'' holds a very long Classical-drenched harpsichord theme, which is hardly memorable, then the music sinks into a mellow Fusion style with decent organ and electric piano, before evolving into somekind of electric Folk Rock.Not the most coherent effort of the world.''Water'' is without question the jazziest cut of the album, but it lacks the nerve and density of the better bands of the style, again the keyboard work is worth mentioning, but I can find no relation between the stretched jazzy experiments and the following Psych/Folk enviroments on acoustic guitar and organ.''Earth'' is a constantly developing Fusion piece, opening with flute and acoustic guitars, synths and calm electric textures take over, but the addition of sax after the middle make this one sound more like Jazz Funk.Overstretched and weak as a whole.
Forgettable combination between Jazz Rock, Folk Rock, Fusion and Psychedelia.Very relaxing overall, close to the likes of Gordon Giltrap or the Argentinian Julio Presas.This kind of music requires some incredible inspiration to be appreciated within its softness, Patch were not among the best bands to perform this style though
Tracklist
A1God Help Me
Written By – Johnny Lopez
3:11
A2More And More
Written-By – D. Juan, P. Vee
4:15
A3(You Make Me Feel Like) A Natural Woman
Written-By – Carole King, Gerry Goffin, Jerry Wexler
3:57
A4The Squirrel
Written-By – Jim Waller
3:58
A5If You Must Leave My Life
Written-By – Jim Webb
3:27
B1Ain't That Loving You
Written-By – D. Malone
3:29
B2Spirit In The Dark
Written-By – Aretha Franklin
2:55
B3Vegas Funk
Written-By – Jim Waller
2:46
B4Life Is Just A Bowl Of Cherry Bombs
Written By – Johnny Lopez
3:16
B5Smiling Phases / MacArthur Park
Written-By – C. Wood, J. Campaldi, Jim Webb
6:18 Los Blues
This wholesome bunch originated from Grantham in Lincolnshire, birthplace of the titular physicist and astronomer but more known these days as the place that created Margaret Thatcher. Not that that has anything to do with the record, but once again there is precious little out there about the group, so that's the sound of me clutching at straws. The sleeve notes, although refreshingly brief and non self-aggrandising, also offer little. There's not even much to say about the low-key artwork, except I've been finding myself slighty smitten by the lovely mumsy face of Jo-ann on the lower right - she looks like butter wouldn't melt but her dirty Hammond dominates the LP. Interestingly, when I was taking the photo of the sleeve for this post, my camera's face recognition feature picked up all but the Ray Davies lookalike in the top left. Possibly this is because his face is partly obscured but I like to think it is because of the schoolboy doodle on his head which looks variously like a knife or a willy (sorry Ray). In fact, anything but the apple stalk I eventually realised it was supposed to be, and not just graffiti scribbled on by the previous owner.
There's something rather sweet about the music on this record. As ever, it's mostly covers but with one slightly unorthodox choice, the Supremes fantastic and pretty much forgotten Automatically Sunshine, although the version here is a bit underpowered compared to, say, the band's Spinning Wheel, which I'm assuming from the little improvisation in the middle was a live favourite. There's one original, a slightly twee personality song called Gravity, thanking Newton for allowing us to stay attached to the planet (we must have been tethered to ground by ropes before then), but it's in the same lineage as the many such songs that litter innumerable UK pop-psych LPs from 1967-1968...albeit with a rather more cheesy organ sound.
Забавный такой семейный альбом.но звучит мило и ностальгически !
Diamond Reo - известная американская фирма, выпускающая тяжёлые грузовики и седельные тягачи. Огромные "крутые" красавцы вначале сходили с конвейера в Чикаго и предназначались для использования британскими военными во Второй мировой войне как транспортеры-танкеры, но после окончания войны грузовики-монстры Diamond Reo в различных модификациях применялись в США повсюду и даже стали неотъемлемой частью американского пейзажа. Несмотря на то, что грузовички Diamond Reo, щедро оснащённые лихими прибамбасами, явно были вне конкуренции, в европейских и азиатских странах они почему-то популярностью не пользовались...
В 1974 г. в Питтсбурге появилась на свет задорная хард-роковая формация, не преминувшая использовать национальный бренд для своего названия1. Это был квартет, в состав которого вошли далеко не простые американские парни Frank Zuri (вокал, клавишные), Robert Johns (ударные), Norman Nardini (бас-гитара) и Warren "Kingfish" King (гитара). Наиболее яркой фигурой в этой компании был Норман Нардини, уже известный в музыкальных кругах блюз-рокер, сотрудничавший с Билли Престоном, Sly and Тhe Family Stone, игравший в составах The Sonics, The Cherry People, Little Anthony & The Imperials, The Detroit Emeralds, The Manhattans, Big Mama Thorton, The Jazz Workshop, Jimmy Beaumont & The Skyliners, Lou Christy, Terry Bradshaw и т.д.
Diamond Reo оказались востребованными, выпустили три альбома (первый, без названия, вышел в 1975 г.), ни на йоту не меняя стиля, и пользовались нешуточным успехом у публики во время гастролей совместно с Kiss, Тедом Ньюджентом, Aerosmith, Kansas, Canned Heat, Blue Oyster Cult и Rush. Однако успех этот был кратковременный и после распада коллектива в 1978 г. (последний их альбом - "Ruff Cuts The Diamonds") Diamond Reo были быстро забыты. Но прошли десятилетия и теперь всё записанное этой группой - классика...
Интересно, что после издания каждого студийного альбома квартет менял лейбл. "Dirty Diamonds", их второй диск, возможно лучший, по крайней мере так считают многие. Вышедший в 1976 г., он включает десять треков, девять из которых собственного сочинения музыкантов, а десятый - кавер-версия песни The Beatles "Helter Skelter". Продюсером грампластинки был Adrian Barber, известный своей работой с Aerosmith во время записи и реализации их первого лонгплея.
После распада Diamond Reo только Норман может похвастать долгой и бурной музыкальной карьерой. Его, собственно, нередко называют "Manful! Handful", "the high priest from the church of rock’n roll" ("верховный жрец церкви рок-н-ролла") и “Uncrowned King" of rock and roll" ("некоронованный кoроль" рок-н-ролла")! В конце 70-х он уже имел собственную команду Norman Nardini and Тhe Tigers, куда вошли и два бывших музыканта Diamond Reo - Уоррен Кинг и Робби Джонс. О его сотрудничестве с Риком Дерринджером, Д-ром Джоном, Полом Шаффером, The Brett Cain Band, The Pittsburgh Blues Allstars (кстати, очень интересный и представительный проект) и другими исполнителями, а также выпущенных альбомах, можно почитать на его сайте. Для того, чтобы ознакомиться со всеми многочисленными проектами и дисками Нормана Нардини, придётся изрядно потрудиться...(internet)
Bruce Palmer – The Cycle Is Complete
Genre:
Rock
Style:
Psychedelic Rock
Year:
1970
Tracklist
Alpha - Omega - Apocalypse16:45
Interlude1:55
Oxo8:00
Calm Before The Storm10:12
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).
The Pigmeat Blues Band – What Ever Happened To Ian Buchanan
Label:
GRT – GRT 10013, GRT – GRT-10013
Format:
Vinyl, LP, Album
Country:
US
Released:
1969
Genre:
Blues, Folk, World, & Country
Style:
Tracklist Hide Credits
A1Pigmeat Theme
Written-By – Buchanan*, Braunstein*, Brennan*, Winchell*
5:25
A2New Fort Worth Blues
Written-By – Buchanan*, Braunstein*, Brennan*, Winchell*
3:15
A3Kind Hearted Woman
Written-By – Woody Payne (2)
3:50
A4Like A Circle Around The Sun
Written-By – Buchanan*, Braunstein*, Brennan*, Winchell*
3:05
A5Come Back
Written-By – Buchanan*, Braunstein*, Brennan*, Winchell*
2:20
A6Desert Blues (Big Chief Buffalo Nickel)
Written-By – Jimmie Rodgers
2:00
B1Sweet, Sweet Marie
Written-By – Buchanan*, Braunstein*, Brennan*, Winchell*
3:50
B2Don't You Lie To Me
Arranged By – Buchanan*, Braunstein*, Brennan*, Winchell*
3:10
B3Tombstone
Written-By – M. Brennan*
3:35
B4Down The Highway
Written-By – Woody Payne (2)
3:44
B5Me And The Devil
Written-By – M. Brennan*
2:30
Here
Credits
Bass, Vocals – Marty Brennan
Design, Artwork – Jack Ellis
Drums, Vocals – Steve Winchell
Engineer – Jack Malkin
Guitar – Kurt Braunstein
Guitar, Vocals – Ian Buchanan (3)
Harmonica – Buddy Lucas
Lead Guitar – Ian Buchanan (3) (tracks: A1, A3, A4, B1, B2), Kurt Braunstein (tracks: A2, A5)
Lead Vocals – Ian Buchanan (3) (tracks: A1 to A5, B1, B2, B5), Marty Brennan (tracks: A6, B3), Steve Winchell (tracks: A6)
Piano – Richie Gottherer*
Producer – Harold J. Kleiner, Souren Mozian
Slide Guitar – Kurt Braunstein (tracks: B3)
