13th Floor Elevators - Complete Easter Everywhere
This boot includes the tracks from "Easter Everywhere", plus four outtakes from the sessions, including a great version of "Dust", followed by "Splash 1" and "Right Track Now" which are a couple of great duets with Roky & Clementine Hall. Then there are seven tracks recorded for an unreleased album, "Beauty And The Beast". Three of those seven songs appeared on the "Bull Of The Woods" LP. This is a real good listen, and should be downloaded by everybody!
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Bulbous Creation - You Won't Remember Dying (1970)
Originally recorded in Kansas City USA in 1970, this is great jammy hardrock/psych with an intense atmosphere and far-out vocals. Lyrics deal with heroin, Viet Nam, satanism and more. The opening cut, "End Of The Page", has a real nice guitar intro and the other highlight is the lengthy "Let's Go To The Sea", which features some great Hendrix-style psychedelic guitar work. The remainder of the album comprises harder edged rock cuts, their own interpretation of "Stormy Monday" and "Hooked", which is the best moment on the album vocally. Worth checking out.
Canned Heat - Future Blues (1970)
The final Canned Heat album to feature co-founder Alan Wilson, Future Blues was also one of their best, surprisingly restrained as a studio creation by the band, the whole thing clocking in at under 36 minutes, as long as some single jams on their live discs. It was also one of their most stylistically diverse efforts. Most of what's here is very concise and accessible, even the one group-composed jam — Alan Wilson's "Shake It and Break It" and his prophetically titled "My Time Ain't Long" (he would be dead the year this record was issued), which also sounds a lot like a follow-up to "Going Up the Country" until its final, very heavy and up-close guitar coda. Five bonus tracks, including a funny take on "The Chipmunk Song".
Julie Driscoll, Brian Auger & The Trinity - Streetnoise (1969)
This is an excellent, smooth as silk, example of early jazz-rock, with Julie Driscoll contributing smoky, powerful vocals to about half the cuts. A wide range of influences gives us a musical soundscape ranging from some really funky organ workouts, an unbelievably cool version of the corny "Flesh Failures (Let The Sun Shine In)" from the musical "Hair", to the amazing progressive jazz-rock of "Ellis Island", with the high point being Julie Driscoll's strange and haunting vocal version of Miles Davis' "All Blues".
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Geronimo Black - Geronimo Black (1972)
This is the only LP from the incipient version of Geronimo Black -- a supergroup of sorts featuring contributions from former Mothers of Invention members Jimmy Carl Black (drums/vocals), Buzz Gardner (cornet), his brother Bunk Gardner (horns/organ/vocals), and Denny Walley (guitar/organ/vocals). Evidence that Frank Zappa initially worked with these musicians for their tremendous instrumental prowess is obvious throughout this self-titled effort. The angular and Baroque progressions of "Quaker's Earthquake" recall Zappa's orchestrations circa the Uncle Meat (1969) project. "Siesta" allows Bunk Gardner to unveil his tremendous versatility on what is undoubtedly the most pleasant surprise for listeners expecting an album of nothing but avant-garde and R&B material. The gentle tune recalls Erik Satie's 3 Gymnopédies (1888), with multiple melodies that diverge and reunite in an effortless interaction. The more introspective performances sit remarkably well beside the hammer-down ethos of "Low Ridin' Man" and the equally gritty "Bullwhip." As a rock & roll band, Geronimo Black foreshadows the sonic attack and verve that informed many of Captain Beefheart's Magic Bands. This is prominent throughout the cut "Other Man," which boasts a rhythmically off-kilter introduction and gallop that is strikingly similar to "Safe as Milk." The horn section takes the combo into the realm of jazz fusion. However, rather than leading the group, as per Chicago or the Loading Zone, they simply augment the arrangement à la the Tower of Power horn section, which adds a bite of brass within the context of R&B and soul. "L.A. County Jail '59 C/S" is an odd blues that invokes the spirit of the Electric Flag's "You Just Don't Realize." The straight-ahead rocker "Let Us Live" is a protest boogie that rises to the occasion with some nifty little horn riffs punctuating the emphatic vocals. (All Music.com review)
Traffic - John Barleycorn Must Die (1970)
What started out to be a Steve Winwood solo album ended up being the best album released under the name "Traffic". This band was a pretty fluid collection of musicians that would break up, then reform to make a new album, but always with the same core of members - Winwood, Jim Capaldi and Chris Wood. This album is much better than their previous three, being at the same time more acoustic and soulful, a superb fusion of jazz, rock and traditional folk - the title track dates to the 15th century. This is a brilliant album and is recommended for fans of any kind of rock from any era! This is the version with bonus tracks.
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John Mayall - Hard Road (1967)
After Eric Clapton left the Bluesbreakers to form Cream, Peter Green played guitar on this record and pretty much shocked everyone by being every bit as good as Clapton (maybe even better)! With Aynsley Dunbar on drums and John McVie on bass, aided at times by a terrific horn section, with Mayall on guitar, harmonica, organ and piano, this group turned out one of the best of the British electric blues albums.
George Harrison - Beware Of Darkness - Outtakes And Sessions
This is a great bootleg album featuring alternate versions, and unreleased material recorded for the "All Things Must Pass" album. I mean, this is some high quality stuff, any of these songs could have easily been on the album. There is something very soothing and calming about Harrison's music that really comes out here, it's probably due to the fact that he was a spiritual person. This is the kind of music that will never sound dated. (Thanks to original uploader - schaumermal)
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Kossoff, Kirke, Tetsu & Rabbit (1972)
After Free broke up in 1971, Paul Kossoff formed this short-lived studio group with fellow Free member Simon Kirke on drums, with Tetsu Yamauchi on bass and John "Rabbit" Bundrick on keyboards. Not too surprisingly this group sounded a lot like Free, only with a keyboard player the sound was much more full. After this was recorded Free got back together, with Tetsu and Rabbit eventually joining the group on it's last record, "Heartbreaker"'
OK, well, there you have it. If enough people survive a week without any Krautrock, I may actually do a week of folky-type stuff in the future! Bye!