Kim Fowley “International Heroes”

Art,Power

This was waxed around the time he produced legendary recordings by the Modern Lovers so it’s no surprise that this is one of the best albums from the ubiquitous Kim Fowley. Son of actor Douglas Fowley, he produced the novelty hit “Alley Oop” in 1960, then went on to release some commercially unsuccessful solo albums, produced and wrote more oddities for other artists (including Kiss) and eventually unleashed Runaways on the world. And that’s just to name a few. He even found time to write songs with Skip Battin, which were recorded by the Byrds (Untitled LP) and Gene Parsons.

Those who’ve worn out their copies of Roxy Music/Eno/Bowie albums will be thrilled to exhume this forgotten (or never really even known) specimen of oddball glam. Judging from the cover, he didn’t want to leave anyone guessing about the sound he was shooting for. This platter plays like an instant classic, falling into some no man’s land somewhere between Roxy Music and the New York Dolls. Like Eno, he’s often playing post-punk years before it existed, but Fowley’s songs are looser and more accessible, sure to get you hooked on the first spin. Something New is simply a perfect pop song with a great update on a Byrdsian jangle feel. I Hate You is a gloomy slice of contempt that’ll leave you feeling good about your shitty mood. There are nice female soul/gospel backings throughout. Dancing All Night rocks like a garbage can bound outtake from Sticky Fingers.

International Heroes is another exceptional rocknroll record that is in dire need of CD release. Good luck finding any cheap copies on ebay.

“E.S.P. Reader”

;) MP3 Album | download at amazon ]
:) Original Vinyl | 1973 | Capitol | search ebay ]

Poco “Pickin’ Up The Pieces”

Concept Albums,Country Rock

Poco came to fruition after the breakup of Buffalo Springfield. The late Buffalo Springfield masterpiece Kind of Woman (every bit the equal of Gram Parson’s Hickory Wind), written by Richie Furay, had already provided a template for Poco’s sound. Jim Messina (a late Buffalo Springfield addition) and Furay built a group around this new, emerging country-rock sound. The lineup that recorded the above debut was Richie Furay (guitar/vocals), Jim Messina (guitar/Vocals), Rusty Young (dobro/pedal steel/organ/vocals), Randy Meisner (bass/vocals) and George Grantham (drums/vocals).

Prior to the recording sessions Poco had worked on creating a live following, a clear vision, and a strong group identity. Song for song, this 1969 debut is one of the best buys in the country-rock genre. The playing is well above average, and because of the early release date and origins of this group, Poco’s importance was understood from the very beginning.

Many of these tracks are graced with beautiful hickory smoked harmonies and plenty of fine guitar playing. I have noticed that Poco is usually labeled as a good-time effort and while this is only partially true (due to the excellent Pickin’ Up The Pieces) there are plenty of country weepers and superb hard rockers. Tracks like Tomorrow and First Love capture the group in a reflective, mellow buzz mood and are highlighted by excellent lead vocals and great steel playing. Other stellar tracks like Short Changed and Calico Lady rock really hard and give the listener a solid dose of blistering fuzz guitar. The above mentioned Pickin’ Up The Pieces captures the genre’s essence and is one of the great country-rock classics. Another classic, Make Me Smile is one of the most heartbreaking love songs you’re likely to hear, with a great guitar oriented arrangement and plenty of unique twists and turns.

Poco had already developed into a first-rate group by the time of this recording, that’s a rare thing and it’s part of what makes these songs so great and fully realized. Also of note is the group’s strong, varied songwriting. Unlike many of their country-rock/country contemporaries Poco was able to deliver an album full of well written, fully formed originals. Poco would go on to record another 4 or 5 good albums but this is their finest and one of the seminal, early country-rock lps.

“Pickin’ Up The Pieces”

:D CD Reissue | 1995 | Sony | buy from amazon ]
:) Original Vinyl |1969 | Epic | search ebay ]
;) MP3 Album | download at amzn ]

Ernie Graham (self-titled)

Americana,Folk,Pop

Ernie Graham

Ernie Graham was a member of Eire Apparent, whose claim to fame was their Sunrise album, produced by Jimi Hendrix. His brilliant 1971 solo record often gets the ‘pub rock’ tag, but sounds closer to genuine Americana, like The Band record that never was. It doesn’t feel like most pub rock (even considering Nick Lowe’s Brinsley Schwarz filled out the backing band); it may just be because Graham hailed from England that we call it pub rock. Labels aside, this is a pretty much perfect record.

“Sebastian” is a wonderful folksy opener, but overtly dylanesque.  “Belfast,” the closer, is the other anomaly on this disc, definitely a good number but drastic in its divergent Irish style. All the tunes in between are delicately produced gems and true lost classics. Thankfully, the Dylan impersonation tones down as Ernie lets his natural voice shine through. “So Lonely” kicks in with that mellow groove and tunes like “Girl That Turned The Lever” etch their melody into your mind. A laid-back combo: acoustic guitar, touch of organ, the bass and drums sound warm and wooden, with doubled electric guitar punching it up. Even the harmonies are low key, just barely there, lending to the album’s lovely, lulling mood. The “la la” refrains to “For A Little While” and “Don’t Want Me Round You” are positively anthemic and the psyched-out shuffle of “Blues To Snowy” and dreamy feel to “Sea Fever” seal the deal.  It’s hard to believe this record could fall so far through the cracks.

Beautiful growing melodies, choruses that resonate before you even know the song. Bruce Eder calls this “perhaps the greatest unknown album of the 1970s” and I tend to agree.

The bonus tracks included on the Hux Records reissue are interesting but severely out of place, sounding like Springsteen jams. After this record, Graham would play guitar and pen tunes for Help Yourself, who released their own Cali-flavored gem from the pub rock scene, and would later form his own band, Clancy, who released two albums in 1975.

“So Lonely”

:D CD Reissue | 2003 | Hux | buy from amazon ]
:) Original Vinyl | 1971 | Libery | search ebay ]

Bohemian Vendetta “Enough”

Garage,Pop,Psych

Bohemian Vendetta

A melee of clangy guitars, screeching Vox Contintental, thick fuzz, angst, acid, and pure energy make Bohemeian Vendetta’s album one of the best garage finds ever reissued. It’s maybe no masterpiece, waiting to change your life or blow your mind, but it is the essence of rock music, and too powerful to miss out on.

After a series of ripping beat demos and a single for United Artists, even scoring a tv spot on Dick Clark’s Rate-A-Record, the Long Island bred Bohemians got a shot at a full LP on the legendary Mainstream label in 1968. Given the chance, this small group of teenage acid punks let loose with their monster, penning some excellent original numbers and warping a couple of very popular covers. The label delayed their album and hardly promoted it, relegating Enough to the cracks in the floor, but it screams.

While the album’s lead-off, Riddles & Fairytales is a little too good for words, songs like I Wanna Touch Your Heart combine a healthy Rnb feel with psychedelic interludes, and suprisingly well played vocal backups. Love Can Make Your Mind Go Wild shows the band could write and sing tunes on par with The Remains, adding their own touch with the fuzz lead breakdowns. And narrated segments and operatic interludes in numbers like Deaf Dumb & Blind and Paradox City reveal the band’s psychedelic tendencies. The two non-originals are daring and disturbingly drawn-out cover versions of Satisfaction and House of the Rising Sun. It makes you wonder why modern groups fear the notion to cover songs of their contemporaries – it’s part of the tradition of rock and roll, and so many rediscovered garage bands make that exceedingly clear.

After their album went nowhere, members of Bohemian Vendetta formed the backing band for Faine Jade. Today the record is available on an anthology put out by Distortions Records, including all the singles leading up to the album and unreleased acetates. There are also several fairly recent LP reissues. Enough is strange, but a record to reaffirm your love of garage rock.

“Riddles & Fairytales”

:D CD Reissue | Distortions | buy from amazon ]
:) Vinyl Reissue | 2006 | Tapestry | search ebay ]

Touch “Touch”

Art,Prog,Psych

Touch

Touch’s sole album was released in early 1969. Prior to that, the band’s leader, Don Gallucci, had been in the Kingsmen and later on with Don and the Good Times. With the Kingsmen ,he co-wrote and played electric piano on Louie Louie, the most legendary of junk rock classics. Don and the Good Times were a Portland based rock & roll/pop-rock group who had a few small local hits in the mid 60’s. In 1967 the band’s old school style of pop had become passe, a change was needed, and in a fit of inspiration Gallucci wrote Seventy Five. This track would prove to be the centerpiece on Touch’s only album.

The lineup that recorded Touch was Don Gallucci (vocals, keyboards), Jeff Hawks (vocals), Bruce Hauser (vocals, bass), Joey Newman (vocals, guitars) and John Bordonaro (vocals, percussion). The group rented a castle in the Hollywood Hills in which they would rehearse and invite interested record company executives who would see them play live. With numerous record companies competing for a contract, Coliseum/London Records finally won the bid with a record breaking $25,000 advance. The band began recording at Sunset Sounds but sessions were soon plagued with hype and out of control partying. Word quickly spread about the mind blowing music Touch had been recording at Sunset Sounds. Grace Slick, Mick Jagger, and the great Jimi Hendrix stopped by the studio to witness Touch in action. What they heard on those sessions was thankfully put down to wax and released at the tail end of the decade.

The Touch album is graced with the adventurous spirit of the 60s, a record overflowing with ideas, killer musicianship, and great performances. It’s one of America’s first progressive rock albums albeit one that still has a strong psychedelic hangover. The above mentioned track, the nearly 12 minute Seventy Five is one of the great early progressive rockers with a fabulous guitar solo and a wonderful, atmospheric vocal performance from Jeff Hawks. Seventy Five is often described as a theatre-of-the-mind epic but is by no means an overblown ELP keyboard extravaganza. Two straight ahead rockers, We Feel Fine and Miss Teach, are really good and distinctive too, with confident vocals, great guitar work, and well written lyrics. Other songs are more psychedelic like the piano dominated Friendly Birds, the classically influenced ballad Alesha and Others, and the experimental Down At Circe’s Place. Down At Circe’s Place is an underrated psychedelic classic with flanged vocals, a great spaced out guitar solo, powerful drum work, trippy sound fx ,and noisy keyboard work – it’s got everything you’d want from an album like this.

Touch hangs together as an album quite well and never succumbs to endless jamming or unfinished ideas. This is a great album and one that deserves its classic status. Gallucci would go on to produce the Stooges’ Funhouse but Touch is probably his finest hour as a musician. Touch has been repressed numerous times but the best reissues in recent years have been by Wild Places and Eclectic.

“Alesha And Others”

:D CD Reissue | 2008 | Rock Candy | buy from amazon ]
:) Original Vinyl | 1969 | London | search ebay ]

Mu “Mu”

Pop,Prog,Psych,RnB

Recognize those licks? Fans of Antenna Jimmy (Jeff Cotton’s) unmistakable slide guitar work will hear it off the bat. And this may be the record to clue the skills behind the Magic Band to those who ever thought Captain Beefheart’s troupe were overrated hacks. But Mu is really a Merrell Fankhauser project, the man behind a string of awesome albums including Fapardokly and HMS Bounty’s Things.

The band happened across a copy of James Churchward’s The Lost Continent of Mu, a book about the mythical “Hawaiian Atlantis.” This provided the band name and a set of ideals (the bands’ matching those of the lost civilization) for inspiration. The fascination grew to a point that the group moved to Maui to try and find the lost city themselves.

The sound of Mu is a wholly unique mix of psychedelic rock and rhythm and blues. The interlocking rhythms and primal pulse of the Captain’s music shows its influence, but Mu is a more radio-friendly affair, think the Magic Band Lite. The tunes are largely instrumental and mildly progressive suites, with just enough structure and restraint to entice more conventional listeners. Mu benefits from this, the rare even blend of experimental with consonant songcraft. Cotton turns in some excellent slide, but also bass clarinet, and contributes a good deal of the songwriting. The rhythms are undeniably good, the songs sound better and better, and the drum break on the 9 minute Eternal Thirst (the longest track by a while) nudges the album into the realm of the hypnotic.

After an unissued follow up record recorded in Maui (included on the Sundazed 2CD set). Jeff Cotton, along with Randy Wimmer, left Mu in 1975 to study the Christian Ministry. Merrell grew increasingly fascinated with the lost continent of Mu, recording more albums based on the Mu theme and continuing to play music in the Hawaiian islands. The record they created in 1971 is remarkably fresh, out-there, and absolutely one-of-a-kind. Recommended.

“Ain’t No Blues”

:D CD Reissue | Sundazed | buy from sundazed ]
:) Original Vinyl | Lemurian | search ebay ]

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News: Music Blog Survey

Site News

This questionnaire came thru the mail and I find it interesting, so if you’re not busy maybe you could take a couple minutes and fill it out. Try our podcast if you need some background music.

“Help policy makers, record company executives, artists and promoters alike better understand the new phenomenon of music blogging by filling out this short questionnaire. By answering these questions you are helping to define a very important aspect of the current music industry and we appreciate your help.

The results will be used alongside Hitwise data from over 2,500 blogs to give us the first large-scale study into a specific area of blogging. We believe this will be an exciting and interesting study that will help us to better understand the music blogshpere and its impact on the music industry. “

TAKE THE SURVEY

While you’re at it, send any suggestions or questions you might have for this site my way. It’s summer time and the blogging is easy but I have every intention of continuing and improving THE RISING STORM.

Big thanks to the readers out there, as always.
-B

Classic Gear: The Minimoog

Classic Gear

Minimoog

Bob Moog’s modular systems were some of the first widely used synthesizers, but the Minimoog was created for portability and performance, designed for keyboard players looking to easily tweak some expression into their playing. Use of the Minimoog gained popularity in the early 70s and quickly found its place in nearly all genres of music. Today the Mini is still the most in-demand vintage analog synthesizer and has achieved iconic status.

Sound is produced by one, two, or three oscillators – basically tone generators that can produce sawtooth, square, or triangle waves – and then processed through a mixer, noise generator, filter, and amplifier, all with fully adjustable controls. Further control of the sound was easily accessible via the modulation and pitch wheels located to the left of the keys.

It’s a monophonic synth, meaning you can only play one note at a time (ie. no chords). Mono synths are useful for leads however, in that quick melodic runs (and bass lines) never have overlapping notes and sound exceptionally neat and fluid. Besides, tweakable sound modules hardwired inside this unit guaranteed that the lack of polyphony could never be a limitation. Performing with the Minimoog goes beyond the keyboard; to truly master the instrument you have to play the knobs.

Today Minis trade at high prices on ebay and demand has led Moog Music to produce a reissue, the Minimoog Voyager boasting MIDI support and the ability to save presets. For analog purists they have even introduced the Voyager Old School with absolutely no digital interference. French company, Arturia has even released a faithful software emulation of the Mini, the Minimoog V (as well as several other classic synths).

Note: the word “Moog” rhymes with “rogue” or “vogue.” This is detailed at the Robert Moog wikipedia page and the official Moog homepage. It is considered polite not to correct people who pronounce it with a cow’s “moo” but those insisting that your “mogue” pronunciation is incorrect will not be tolerated.

Examples
Sun Ra’s “Seen III Took 4” from The Solar-Myth Approach Vol. I is a great example of the minimoog. I believe he used a prototype that he got directly from Bob Moog on a trip to Trumansburg in 1970. It was the model B, as opposed to the Mini D that became the standard. –Kenneth

Sun Ra – Seen III Took 4

Don Preston tears the Mini apart during the encore of the Mothers performance on Fillmore East, June 1971.

The Mothers – Lonesome Electric Turkey

After three experimental records, Kraftwerk released Autobahn in 1974, a massive success and a blueprint for much of electronic pop to come. Here’s an awesome cut from side 2:

Kraftwerk – Kometenmelodie 2 (Comet Melody 2)

To be honest, it can be difficult discerning which records used the Minimoog unless it is specifically noted in the credits. But I am sure the Beach Boys had a Mini lying around during the Love You sessions. First time listeners and critics often mistake this 1977 record for a low point in the Beach Boys career, but I assure you it is brilliant synthesizer pop and the best Brian Wilson album.

The Beach Boys – I’ll Bet He’s Nice

Let us know if you think of some other essential Minimoog recordings!

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PODCAST 5 Frozen Laughter

Podcast

TRS Podcast Logo

Running Time: 61 Minutes | File Size: 55.8 MB
Download: .zip | .mp3
To subscribe to this podcast: https://therisingstorm.net/podcast.xml [?]

PLAYLIST
Clip from Tim Buckley “Starsailor”  [1970]
Clip from The Rising Storm “Frozen Laughter” [1966]
The Byrds “So You Want To Be A Rock And Roll Star” [1971]
from Live at Royal Albert Hall 1971

Bo Diddley “I’m Looking For A Woman”[1956]

Louie and the Lovers “Sittin’ By The River” [1970]

Mouse and the Traps “Sometimes You Just Can’t Win” [1968]

Dillard & Clark “Through The Morning, Through The Night” [1969]

Jim Ford “Love On My Brain” [1969]

Tony Schwartz “Music In Speech” [1954]

Johnny Jenkins “Sick and Tired” [1970]

Ronnie Lane “Ain’t No Lady” [1974]

EYE OF THE STORM
Clip from: Radio Show – Theater Five “The Eye of the Storm” [1965]
Arrogance “It’s Sad But You Can’t Really Hear Me At All” [1976]
Daughters of Albion ” Still Care About You” [1968]

The Keggs “To Find Out” [1967]

Brian Eno “Blank Frank” [1973]

SPONSOR
The Tokens “Commercial” [1971]

Space Opera “Country Max” [1973]

The Velvet Underground “Train Round The Bend” [1970]

The Pretty Things “Midnight To Six Man” [1965]

Joe Tex “The Love You Save (May Be Your Own)” [1966]

CLASSIC CLOSER
More from that live Byrds release

Euphoria “A Gift From Euphoria”

Baroque,Country Rock,Folk,Pop,Psych

A Gift From Euphoria

A Gift From Euphoria is a well-funded album loaded with symphonic arrangements, excellent studio musicianship, psychedelic audio collage, and sound effects. It’s probably near to the apex of experimental rock from this era, and of the melding and juxtaposition of different styles of music.

The first two tracks on the record demonstrate the pace. Lisa an expansive and string laden orchestral number gives way to a legit bluegrass-country tune with banjo and pedal steel. Wait a little longer and you’ll get some fuzz guitar brain melters. Euphoria is all over the place on this album, which was recorded in Hollywood, London, and Bradley’s Barn. Some of the best session men in town put this one together, and it shows. Nary an unprofessional sound is on this record and some of the arrangements are stunning. They could use this album to replace the orchestra at the Boston Pops.

This is the only album released by the short lived Euphoria. The liner notes imply that the members disappeared, but parts of the liners are as out there as the sounds. Get this one for a supreme example of country and rock gone suicidally psychedelic, sounding remarkably fresh today.

For more from the Euphoria guys, be sure to check out the Bernie Schwartz record, The Wheel.

“Did You Get The Letter”

:D CD Reissue | 2003 | Revola | buy from amazon |
:) Original Vinyl | 1969 | Capitol | search ebay ]
reposted from June 6, 2007