Nine Albums of Psychedelic Rock-Heavy 1968-72

Size: 705 MB Bitrade: 256 mp3 Ripped By: ChrisGoes(Rock) Artwork Included tracker: tracker.prq.to/announce *********************************************************************************** http://img455.imageshack.us/img455/5941/shiverfront0af.jpg Shiver - San Francisco's Shiver (US Raw Heavy Psychedelia1972) The music on this cd represents the entire recorded output of this obscure early '70s acid-rock band. Shiver recorded this stuff live to two-track tape in the summer of 1972, and while they never released an album back in the day, it's clear that the world is ready for their heavy guitar jams now. Well, maybe not the world -- but certainly those of us, mostly too young to have "been there then", who aren't entirely satisfied with today's stoner metal and are always looking for the real deal, the lost stoner psych monster. Basically, Shiver were a bunch of hard-rocking hippie freaks, brought together by a Texas-bred drummer who moved to San Francisco to take up where his obvious heroes Blue Cheer left off. They soon had a rather rough, tough reputation, playing Haight street fairs and Hells Angels biker parties. At one point they even had a singer with an iron hook for a hand, which he could use as a slide for his guitar, or for more violent purposes. Shiver played "heavy psychedelic rock" at its most primal -- no overdubs, raw as hell. Rising from the same scene of Texas freaks like The 13th Floor Elevators, Johnny Gee & The G Men, and a pre-ZZ Top, Warlocks, Shiver moved to SF and this CD documents their complete output of early 70s heavy psychedelic rock. In a city known for peace, love and flower power, Shiver was an over the top, in your face, balls to the wall 'gang' of musicians that felt at home with Hell´s Angels and Hippies alike. Free Love, Free Dope. Shiver played a lot of Street Fairs on Haight, Market and Castro streets, and got to jam with guys from Big Brother (Gurley & Albin) and other local heroes. These recordings were done on a twotrack machine at 2909 Mariposa in the Summer Of ´72 and feature no overdubs or studio 'wizardry'. What you hear on these tracks is Shiver in it´s raw, powerful glory." 1. Tough As Nails 2. Fixer 3. Bone Shaker 4. Interstellar Vision 5. Alpha Man 6. Rocky Road 7. Keep On Rocking 8. Up My Sleeve 9. Winter Time ************************************************************************************ http://img455.imageshack.us/img455/686/robertsavagefront8ka.jpg The Adventures Of Robert Savage - Vol.1 (US Heavy Fuzz Rock 1971) From California, Robert Savage was obviously influenced by Hendrix and his album is recommended to fans of hard rock trios with inventive guitar parts. It comes in an unusual mediaeval style cover featuring a dragon. We are still, however, waiting for the volume 2... 01 - Beaver Baby - 3.10 02 - Milk Run - 3.13 03 - Don´t Run And Hide - 4.06 04 - A Hard One - 3.22 05 - 7 Days Drunk - 4.32 06 - Save Us From The Cyclops - 5.51 07 - Amy - 3.53 08 - Lonely World - 3.12 09 - Road Apples - 4.29 ************************************************************************************ http://img461.imageshack.us/img461/667/stainedglassfront3sv.jpg Stained Glass - Aurora (US Psychedelic Folk-Rock 1969) More of a folk-rock band than a psychedelic band Stained Glass started out in 1966 playing Beatles cover versions in San Jose. Originally recording for RCA they issued a series of singles. The first two, which were a mixture of folk and Merseybeat, met with some local success. The best was We Got A Long Way To Go, a driving rock song with immediate appeal, which was a big hit in San Jose during April 1967. They moved to Capitol in the Spring of 1968, issuing three singles and two albums. Of the six 45 sides on Capitol only Lady In Lace is non-LP. Both albums were quite highly-rated, but failed to make much impact and the band disbanded in November 1969, although McPherson went on the play with Copperhead. Second, and regarded by some as the better of the band's 2 albums that they recorded for Capitol in the late '60s. Formed in 1966, stained glass began life as a Beatles cover band and then mutated into a pop psych rock outfit with Quicksilver Messenger Service leanings. They performed in and around their native San Jose until an A & R man from RCA signed them to the label later that year. Vocalist/bass player Jim McPherson would go on to form Copperhead with John Cippolina after this final Stained Glass Release which had a looser, more jamming feel than the previous album. Highly recommended to any US psych fan. 01 - Gettin´ On´s Gettin´ Rough - 3.00 02 - Jim Dandy - 3.15 03 - A Common Thief - 5.21 04 - The Kibitzer - 5.02 05 - Inca Treasure - 3.37 06 - Daddy´s Claim - 3.40 07 - Sweetest Thing - 3.27 08 - Mad Lynn Ball - 3.44 09 - The Necromancer - 3.46 ************************************************************************************ http://img461.imageshack.us/img461/2226/suckphoto1pd.jpg Official release of this rare South African hard rock album from 1971 that contains wild heavy guitars and screaming vocals that is on par with any UK underground rock act from that period. Excellent cover versions of 'Into the Fire' Deep Purple, 'War Pigs' Sabbath and an extended 10 minute version of 'Season of the Witch' which is mind frying. Excellent booklet detailing the history of this wild rock group. This is heavy 70's rock with a real attitude and deserves your attention. CD reissue taken from the original master tapes. The loudest, most controversial and obnoxious revolutionary fist-in-your-face rock album of the early 70`s.Suck`s rapacious musical rampage through a conservative South Africa in 1970 is stuff the legends are made of! "Time to Suck" is all howling guitars! Including covers of "Black Sabbath", "Grand Funk" and "King Crimson" Tracks: 1. Aimless Lady [3.12] originally by Grand Funk Railroad 2. 21st Century Schizoid Man [4.51] Listen originally by King Crimson 3. Season Of The Witch [10.07] originally by Donovan and covered by Brian Auger 4. Sin's A Good Man's Brother [3.35] originally by Grand Funk Railroad 5. I'll Be Creeping [3.19] originally by Free 6. The Whip [2.54] Listen written by Suck 7. Into The Fire [3.18] originally by Deep Purple 8. Elegy [2.58] originally by Colosseum 9. War Pigs [7.14] Listen bonus track on CD, originally by Black Sabbath - first released on the Rock Today With The Big Heavies compilation album ************************************************************************************ http://img461.imageshack.us/img461/6549/thecollectorsfront2wu.jpg The Collectors - Grass And Wild Strawberries (Good Canadian Rock 1968) On their self-titled 1968 debut album (also reissued on CD by Collectors' Choice Music), the Collectors had made an idiosyncratic contribution to the wealth of psychedelic music flooding North America in the late 1960s. In its melodies and instrumental/vocal arrangements, the record fused classical and jazz influences with more conventional rock and pop, particularly on the side-long, 19-minute "What Love (Suite)." Their second and final LP, 1969's Grass & Wild Strawberries, was an equally unusual recording, though one quite different to its predecessor. For this time around, they collaborated with respected Canadian author George Ryga to provide the musical soundtrack to his play Grass & Wild Strawberries, exploring a yet wider range of styles than they had on their first outing. "I had been writing music for theater productions when I was at university and later on as well, before the Collectors came along," explains guitarist Bill Henderson. "I worked with Joy Coghill, the artistic director of the Playhouse Theatre Company, which was the big theater company in Vancouver. They had commissioned George to do this piece; he had done an earlier piece for them which was his most famous one, The Ecstasy of Rita Joe. Then he created Grass and Wild Strawberries, and they wanted it to be a play with music. Joy connected me up with George to see if we wanted to do this. We started working with him, and enjoyed working with him. We actually played the theater production in [the band's native] Vancouver behind a scrim onstage; we were lit sometimes and not lit other times. So it wasn't a musical, but it was a play with music, and had an actual rock band live on stage. It was probably about a three-week run that the play had; we played it every night." When they made an album of the music, they'd again be produced by Dave Hassinger, who'd also produced The Collectors, as well as working with (as producer) the Electric Prunes and the Grateful Dead, and (as engineer) the Rolling Stones and Jefferson Airplane. "He figured he knew what we could do and wasn't interested in doing less than that, which was pretty neat," says Henderson of Hassinger's contributions. "We were young guys, but we were professional musicians, and really proud of the work we did. We'd do a take, come back in the studio and go, 'No, I was out of tune on that,' or 'I'm a little out of time on that, no, that's not quite right. We gotta go do it again.' So he'd let us do it a few times, and then finally [say], 'Look, you guys. You should take a tip from the Stones. It's not about how perfect you are. When they go out and play, they play until it feels great, and when it feels great, they come back in and say, "Yeah, it feels great." And that's it.' I had never really even thought about that, and he's quite right. You get the one that speaks, and you go, 'This thing rocks, man!' "On the second album," Bill continues, "it was George's lyrics that tied it together, and we created a number of different kinds of music to go with those lyrics. We got to do more layering, and it might be a little mushier as a result. What we had in the band was a kaleidoscope of talents and skills, and that had to be managed. I didn't know that. But Dave knew that." There's certainly a kaleidoscope of approaches on the album, from "Things I Remember," which echoes the Gregorian-like vocal arrangements that had figured so prominently on their debut LP; the grinding, ominous heavy rock of "Teletype Click," where the robotic vocals were created by singing the parts at twice the normal speed and slowing them down; the more conventional psychedelic folk-rock of the title track, embellished by Claire Lawrence's jazzy sax; and the almost Youngbloods-like country-folk-rock of "My Love Delights Me." Occasional recorders gave numbers like "Don't Turn Away" and "Rainbow of Fire" a pastoral feel, while "Seventeenth Summer" -- which would be re-recorded shortly thereafter on the first album by Chilliwack, a group including most of the Collectors -- would sometimes be extended to 20 minutes by improvisations in live performance. Asked what made the Collectors stand out from many of their contemporaries at a time when so many rock bands were breaking stylistic boundaries, Henderson speculates, "We didn't come from blues, the way a lot of bands did. Some of the guys did; the bass player [Glenn Miller], drummer [Ross Turney], and lead singer [Howie Vickers] all came from blues and R&B. Claire and I, we'd both played rock as well, but we weren't as steeped in the black tradition. [We] came from something different; jazz, classical, and rock. Both Claire and I had some classical training at university. The classical music that the academics were into at that time was what they called avant-garde. We had a lot of influences that were quite analytical and kind of iconoclastic; the whole thing going on in classical music was breaking the old musical traditions. "We liked that idea, breaking traditions; that sounded like fun, so we did a lot of that. We had this analytical thing; it was an edgy kind of thing, and there weren't many bands doing that. There were bands that were supposed to be experimental, and we were way more experimental than they were. They were on acid, and we were straight, yet we were playing stuff that everyone thought, 'Oh boy, those guys are heads.' But it wasn't that. It was where our minds were, what we were thinking about, and the way we were treating music, which was fairly unusual. "There was a palette that had a lot of colors on it, and we just went ahead and used them. We would do bizarre things with music that people don't normally do. One of the songs the Collectors did, you had to start it playing it as slowly as you possibly could, the slowest tempo possible. And then the idea was to gradually speed it up over the period of the song in a way you didn't really notice it was speeding up, but by the end, it had to be going as fast as you could play. I remember some writer from, I think it was Rolling Stone, saying, 'Are you guys really into Jewish music?' Because he heard us doing all these" -- here he breaks off to sing a melismatic line much like a cantor might in synagogue -- "and we loved that stuff. Claire had a real passion for that kind of soul." The Collectors would not create another long-playing recording after Grass & Wild Strawberries, however, although they did do some work for soundtracks on Canadian films, as well as music for the Canadian Pavilion at the World Exposition in Osaka, Japan in 1970. "We could have gone a lot of different directions," reflects Henderson. "On that first album, there was a sound. I think we lost momentum on the second album because there wasn't, and not only that, it wasn't the same sound; whatever it was, it was different. There was a stream in the Collectors that was growing -- the improvisation stream. We would do it a lot, and we preferred it to writing, actually, 'cause it was writing in the moment. It was where Claire and I were going, big-time." They would keep going in that direction in Chilliwack, whose first lineup was mostly identical to that of the Collectors, the difference being the departure of Howie Vickers, which reduced the quintet to a foursome. Summarizing his experience in the Collectors now, Henderson adds, "I was a lot younger then, and didn't realize the value of what we had started, if we could continue it. If we could somehow work from a similar template, just try to stay within this vibe that we'd created, especially with the first album. I know that if we could have done that, the band would have really gone on, and I think done really, really well in continuing those kind of traditions. There are bands that did do that, and it worked for them. But in my own mind, it was, 'I got something else I want to do, boom, let's do it.' Not thinking about building a career, thinking about kind of expressing my musical ideas." Not that Bill's done too badly out of building a career out of music -- he became the mainstay of Chilliwack, recording numerous albums with the band, with whom he still tours, as well as working in record production and composing for film, television, and theater (check his website, www.gonegonegone.com, for more info on his present and past activities). And now with the CD reissues of their two albums, twenty-first century collectors can finally hear the Collectors -- the band, that is. 01 - Overture 02 - Grass & Wild Strawberries 03 - Things I Remember 04 - Don't Turn Away (From Me) 05 - Teletype Click 06 - Seventeenth Summer 07 - The Long Rain 08 - My Love Delights Me 09 - Dream of Desolation 10 - Rainbow of Fire 11 - Early Morning 12 - Sheep on the Hillside ************************************************************************************ http://img461.imageshack.us/img461/3074/theelectronicholefront3tf.jpg Last time we discussed Phil Pearlman, I stated he must've been some kind of musical genius, though I knew very little about him apart from the evidence of two highly obscure privately pressed albums. This time around I only know a touch more about his back-story, but this record of his from 1970 under the moniker the Electronic Hole proves he was indeed, a musical genius. Recorded in between the Beat of the Earth and the rural rock masterpiece Relatively Clean Rivers, the Electronic Hole bridges the gap between the drone raga rock of the former and the tunefulness of the latter. And it just may be the best of the three. Two long suites comprising seven songs of very forward-looking psychedelic rock quite unlike any I've ever heard before, effortlessly prefiguring the likes of Galaxie 500 and Spacemen 3. The Electronic Hole is somewhat more menacing than either of Pearlman's other incarnations, more heroin-y sounding perhaps, but from what I understand he was a teetotaler only prone to getting high on life and the fragrance of incense. Heroin seems an appropriate touchstone though as the only other group even coming close to the primal-ness of these songs were the Velvet Underground, and by 1970 even they'd primarily traded those baser emotions in for a sort of melancholic roots rock. On the final track, an early incarnation of one of the Relatively Clean Rivers songs appears, devoid of any ruralness with pure white noise in its stead. And I mean like Les Rallizes Denudes molten white noise. Superb. Reissue of the extremely obscure 2nd Radish label album, originally issued in 1970. "Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of 'compositions', including a wild cover of Frank Zappa's 'Trouble Every Day'. Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable -- an effect he achieved by running his Fender amplifier out of a child's chord organ ('sounded great for about two weeks, then it blew up!'). Few albums have such an eclectic yet appealing sound." A raw, noisy, droning and completely mesmerizing album recorded by PHIL PEARLMAN between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled the ELECTRONIC HOLE in 1969 strictly for personal use to audition musicians for his new band." Recorded in local studios during off-hours, the album is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of "compositions," including a wild cover of Frank Zappa's "Trouble Every Day." Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable. 01 - The Golden Hour Part I 02 - The Golden Hour Part II 03 - The Golden Hour Part III 04 - The Golden Hour Part IV 05 - Love Will Find A Way Part I 06 - Love Will Find A Way Part II 07 - Love Will Find A Way Part III ************************************************************************************ http://img461.imageshack.us/img461/1172/theflowfront2tm.jpg The Flow - The Flow´s Greatest Hits (US Stoned HeavyFuzz 1972) "Very rare album by The Flow with Pete Fine on guitars/vocals, Monte Farber on bass/vocals, Steve Starer on drums, compositions by Pete Fine and Monte Farber. This is a guitar burner total. If you´re into Blue Cheer and extra heavy Fuzz guitar is your thing, you´ll love this album. Great songs, a mindblower. Finally it came out on CD with 3 bonus tracks and poster-booklett. 'In those rebellious and psychedelic times we barely earned enough to pay for food at times, while developing our musical horizons. I am amazed we survived those days. Eventually, we became a 3 piece band - The Flow. We rented a room in NYC -- also renting a room was Wicked Lester, a band later to be known as KISS. We used the space for our own explorations. With our limited funds, we could only complete half of the project so we released the record with one blank side and later on, added more material.' Tracklist: 01. It swallowed the sun 02. Searchin 03. Funny funkin woman 04. Mediations 05. Toccata 06. Bijinkes 07. Mousely 08. Troubadour between sets 09. Third movement 10. Get up & smile 11. Sunday night randoms 12. I saw a dog 13. Insanity creeping 14. Things we said today 15. Baghdad express 16. Wynds ************************************************************************************ http://img461.imageshack.us/img461/748/thehumaninstinctfront2in.jpg The Human Instinct - Stoned Guitar (Heavy Guitar Psych NZ 1971) Human Instinct is a continuation of the group, the Four Fours. The transition to Human Instinct began in 1966 when Trevor Spitz, founding member of the Four Fours, decided to leave when the other group members wanted to embark on a trip to England to seek their fortune and fame. Trevor was replaced by 19 year old Maurice Greer. Hailing from Palmerston North, Greer had formed his first band when he was 14, and two years later joined Manawatu's number one group, the Flares Show Band. In 1963 Greer and his brother Frank opened their own Palmerston North nightspot, the Flamingo, and the following year Maurice formed the Big Three with ex-Flares Peter Knowles on guitar and Trevor Harrison on bass. It was with Big Three that Greer first used a restructured drum kit, allowing him to play while standing, to allow him to better handle lead vocals. In 1965 Greer formed the Saints, (not to be confused with the Christchurch Saints from 1962), with Doug Rowe on bass, Dave Hurley on guitar and Winston Cartelli on vocals. They played in the Manawatu area, but in order to get greater recognition they were soon gigging in Wellington, before moving up to Auckland, which is where Greer came to the attention of the Four Fours. He passed an audition to join the group and his first recording venture with them was the very successful 'Go Go'. Within six months he was on his way to England with the rest of the group. Dave Hartstone had been planning this trip for some time and arranged for them to take up a residency on board the Fairsky in return for reduced fares to England. It was during that voyage that it was decided that a name change was required to something more fitting for a group about to conquer the hip UK market. Human Instinct was the name decided upon. Three months would pass before they got their first paying gig, but in the meantime they caught up with all the new sounds and what was hip in the fashion world. At the beginning of 1967 they auditioned for a booking agency. Playing an impressive version of the Beach Boys classic, 'Good Vibrations', they were successful over a number of other hopeful groups and soon found themselves gigging regularly, even landing a support role for the Small Faces on a tour of Northern England. A recording contract was signed with Philips, who released three singles for them on the Mercury label. All songs were written by Dave Hartstone. The first release was 'Can't Stop Around'/'I Want To Be Loved By You My Friend' in 1967. The 'Can't Stop Around' song has often been referred to as 'Can't Shop Around' and 'Can't Stop Loving You'. The single was not successful, but the follow-up 'Rich Man'/'Illusions' received the following favourable review in New Musical Express: "A pounding up-tempo piece with ear-catching lyrics and some weird guitar sounds. Self-penned and out of the ordinary". Unfortunately the review didn't help with sales and the third single release, a remake of the Four Fours 'Go-Go' backed with 'I Can't Live Without You' fared even worse. As a result, Philips terminated the contract, but they were immediately picked up by Decca for release on their Deram label. The first Deram single in 1967 was 'A Day In My Mind's Mind'/'Death Of The Seaside' and this was followed by a Byrds cover, 'Renaissance Fair'/'Pink Dawn' in 1968. Human Instinct once again failed to achieve recording success in Britain and Decca soon lost interest in them. Most of the two years the band had been in England was spent on the road. It was not a lifestyle that Bill Ward was happy with so he decided to return to New Zealand. Dave Hartstone had no plans for leaving England, while Frank Hay also decided to return to New Zealand for a break. Maurice Greer was undecided, as he had been offered the drummer's seat with the new Jeff Beck band, the line-up which also included Rod Stewart. In September 1968 he decided to return to New Zealand to reform a new line-up with the hope of eventually returning to England. Back in New Zealand Maurice replaced Bill Ward with a friend of his from Palmerston North, 21 year old Billy Tekahika, who had been with the Sinners. Billy was later better known as Billy TK. Frank Hay stayed for a short time, but when Maurice decided to take the band on a national tour, he decided to leave and was replaced by Michael Brown. During the tour Michael left to join Dunedin band, the Klap, and was replaced by Peter Barton. After the tour, a short residency was taken up at the Bo Peep in Auckland, before Greer, Barton and Tekahika flew to London in February 1969 for a second assault on Britain. When they arrived there, they immediately bought a massive PA and lighting system and attracted an audience who wanted to experience the mountain of sound. The group's repertoire at this stage was all original. Although Greer handled most of the vocals, the focal point of the trio was Billy TK, who was becoming a guitar legend in his own right. The second visit only lasted three months, but during that time they did meet up with Doug Jerebine, previously with the Embers and the Brew. Doug was in England also trying to crack the London scene. He was there recording under the name Jessie Harper. Doug had impressed Maurice and in time Human Instinct were to record seven of his songs. On their return to New Zealand, they began recording an album at Stebbing's studios. About half way through it Peter Barton left the group and Larry Waide was brought in to complete the album. Released late 1969, the album was called 'Burning Up Years'. From it came the single 'I Think I'll Go Back Home'/'You Really Got Me'. Work then began immediately on the second album. It was recorded in June 1970 and released as 'Stoned Guitar'. From it came the singles 'Midnight Sun'/'Idea' and 'Black Sally'/'Tomorrow'. These were the only two of their singles to be released with picture sleeves. Below is both sides of 'Black Sally'/'Tomorrow'. Larry Waide left the group after recording the second album, as musical directions began to change. His position was filled in February 1971 by former Underdogs bass player Neil Edwards. No sooner had he joined and the group was back in the studios to record their third album. This was called 'Pins In It' and was released in June 1971. One single, 'Rainbow World'/'Highway', was issued from this album. At the same time as its release, the group headed to Sydney for a three month tour. It was not a happy time for the band and at the end of the visit, Billy TK announced that he was remaining in Australia. This basically signaled the end of Human Instinct as a heavy rock band. Instead of replacing Billy with another guitarist, Maurice decided to go for a totally different sound and added Graeme Collins, previously with Dedikation, on keyboards. This configuration didn't last very long and in 1972 Maurice started again with a completely new line-up which consisted of himself, Martin Hope, from the Fourmyula, and John Donoghue, from Timberjack, both on guitar, and Glenn Mikkelson (also known as Zaine Griff) on bass. This combination concentrated on country rock. From late 1971, Maurice divided his time between his music and nightclub construction with his brothers, Barry and Frank. They were responsible for opening quite a few clubs in Auckland, notably Hatchett's, Granny's, Shantytown, Ruby's Saloon and Croft's, as well as quite a number of others around the country. Human Instinct released another single 'Texas Sparrow'/'Children Of The World' in 1971 and two more albums. One in 1972 called 'Snatmin Cuthin' and the other in 1974 called 'The Hustler'. 1972 saw a single on the Zodiac label called 'Down The Hall On Saturday Night'/'Simple Man' and then in 1975 the final single on Family 'Tropical Paradise'/'Dixie Holiday'. Between 1972 and 1982 there were many combinations of the group. Others to have had a stint with the band were Paul Whitehead, Steve McDonald, Peter Cuddihy, Andrew Kaye, Chris Gunn, John Parker, Malcolm Weatherall, Len Whittle, Kevin Fury, Steve Hubbard, Murray Hancox, Stuart Pearce and Peter Woods. Around 1982, the Human Instinct was formally disbanded by Maurice Greer. After his time with the band, Billy TK went on to form Powerhouse. Recently the first three albums by Human Instinct have been re-issued on CD by Ascension Records, along with a CD of all of their singles. In late 1975, when the line-up consisted of Greer on drums, Whitehead on guitar, Mikkelson on bass, and McDonald on keyboards, a recording session for an impending album was done. The group at that time had been playing together for around 18 months at the Shantytown nightclub under Auckland's Civic Theatre. Several months passed before a rough mix-down of the tapes were performed. By the time the sessions were finished, the Human Instinct had moved on to a new residency at Crofts and there style of music had changed, along with new members in the band. The project was subsequently shelved. In 2001, the session tapes were located at Stebbing's warehouse and a long slow process of restoring and re-mastering the tapes took place with the final result being the release of that 1975 album on CD called 'Peg Leg - The Lost Tapes'. Track Listings: 1. Black Sally 2. Stoned Guitar 3. Jugg A Jugg Song 4. Midnight Sun 5. Tomorrow 6. Railway & Gun ************************************************************************************ http://img461.imageshack.us/img461/6258/theinsecttrustfront5rf.jpg The Insect Trust - Hoboken Saturday Night (US Surrealistic Folkrock 1970 One of the more interesting one-shot bands in rock & roll, the Insect Trust's most famous member was writer/critic/ethnomusicologist Robert Palmer, who played alto sax and clarinet. Less famous, but still a notable member, was guitarist/songwriter Luke Faust, who went on to add creative input for the Holy Modal Rounders' string of wonderful early- to mid-'70s records. The Insect Trust released two albums, their self-titled 1968 debut on Capitol, and their second and final LP, Hoboken Saturday Night. Along with the loose-limbed music, Hoboken Saturday Night features musical contributions by heavy hitters (no pun intended) such as drummers Elvin Jones and Bernard "Pretty" Purdie, guitarist Hugh McCracken, and novelist Thomas Pynchon. The music ranges from surreal folk-rock (à la the Holy Modal Rounders and Fugs), to Booker T.-like pop-soul, to flat-out free jazz. Decades after its release, Hoboken Saturday Night sounds a bit dated, but its charm is irresistible, especially when Nancy Jefferies sings and the band cranks up its raucous onslaught of reeds and percussion. Never intended to be a traditional pop act, the Insect Trust should be best remembered for extending rock's boundaries and taking the genre to a much hipper level without resorting to a lot of banal technique. Good luck locating their records. The Insect Trust were a musical collective based, as the title suggests, in Hoboken by way of Memphis and by way of a brief fling with the Holy Modal Rounders. The resumes of the regular members are impressive enough?reedist Robert Palmer became one of the most famous rock critics in the land, singer Nancy Jeffries wound up signing Suzanne Vega and Ziggy Marley among others to Elektra, and guitarist Bill Barth rediscovered Skip James. But the list of sidemen on this album is truly staggering, with two bona fide drumming legends, Elvin Jones and Bernard Purdie, heading the list, followed closely by bassists William Folwell and Bob Bushnell. And the music they created on this 1970 album is as fresh and unique as you might expect given the talents involved, a bubbling stew of blues, jazz, old-time music, folk-rock and even, as liner-note writer Robert Christgau points out, bubblegum, with a bohemian-but-not-hippie slant to the lyrics that was utterly refreshing for the time. Word-of-mouth on this record has just been growing and growing, and now, over 30 years later, we're proud to be the ones to turn the wishes of a multitude of collectors into reality with this exclusive reissue. Includes 'Be a Hobo; Hoboken Saturday Night; The Eyes of a New York Woman; Ragtime Millionaire; Somedays; Our Sister the Sun; Reciprocity; Trip on Me; Now Then Sweet Man/Mr. Garfield; Reincarnations; Glade Song', and 'Ducks'. 1 Be A Hobo 2 Hoboken Saturday Night 3 The Eyes Of A New York Woman 4 Ragtime Millionaire 5 Somedays 6 Our Sister The Sun 7 Reciprocity 8 Trip On Me 9 Now Then Sweet Man/Mr. Garfield 10 Reincarnations 11 Glade Song 12 Ducks ************************************************************************************

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Yrreb (2006-02-08)

Thank you so much. Al these psychedelic torrents you uploaded are just amazing. I cant thank you enough!

KaoZ_666 (2006-02-19)

check out FIRST BAND FROM OUTER SPACE!!
a great Psychedelic band from gothenburg!
THANK YOU for for this torrent!!! :)

evelynjh8 (2006-02-28)

Thank you for the the music !!!! :)

harpoonman (2006-03-07)

Gee....what a revival torrent...
Thanks a mill....hope someone still seeds though :)

skankynigga (2006-04-07)

gee dogg
isn't that a bit like spam o_0

Sazger (2006-04-18)

Thanks for the awesome 70s much man. Just started listening to it and really apprecaite it, being able to hear some of these classic albums. Gives me a greater understanding of music, ya know? Anyways, thanks man and know that some people out here in wonderland really appreciate these awesome uploads. you = rock

ouiglz (2006-06-29)

I can't wait to listen to this music. Never heard of any of them, but your short bios make 'em sound great. thanks for this torrent.
ouiglz

|34(h3r (2006-07-22)

Great music!!! THANKS!!!!!!!

bwp (2006-11-29)

Wow!
Great stuff!
Never heard of these bands, but this was a BIG positive surprise.
Just love it!
Thx a zillion Chris :)

krum (2006-12-19)

Thanks so much for this torrent. Had to come home for the holidays to a computer with no music at all so I got this torrent on the off chance it would be good. Not really into rock that much but the Suck album is mindfuckingly brilliant. Thanks again :D

THEM (2007-04-15)

Yes super Nice! thanks this is so great.

rhebult (2007-06-06)

harhar
"good canadian rock"
harhar
that's funny

ChrisGoes (2007-06-15)

More at: http://chrisgoesrocks.blogspot.com
//ChrisGoesRock

Linneeea (2007-07-13)

Finally! The Flow-Mediations and Wynds, thanks:)

MidnightSun (2007-08-23)

More of this style here at
http://lead-free-box.blogspot.com/

Negrom (2007-09-09)

Thank you! It was great!!!

lavterskel (2007-09-21)

The the greatest torrent ever uploaded! This is like the crossover between Hendrix and the b-sides of Smashing Pumpkins. What fun!

ChrisDubyaSays (2007-09-25)

Good to know real Rock N' Roll still lives on. Keep it up.

prmj1438 (2007-11-14)

thanks for the great music lets all roll a big one and drop out

luciverse (2007-11-18)

Great great stuff.
Thanks.

jasonbir (2007-12-08)

I normally don't listen to rock music, but I've got some killer weed, and need something to chill out with, hope this is good bro.
Never would have heard of these bands on my own I'm sure of that.

rigadoon (2008-01-28)

The Flow is so great...
thx chris

goliwaug (2008-02-15)

Merci mon gars...
Ca c'est du bon son!!!

MrMalkovich (2008-02-28)

This is one amazing collection! It's such a boost......

wumpman (2008-03-23)

Great music thanks!

evotronic (2008-04-29)

TNX mon,got any more psyrock from the 60-70`s (all i really ned is a tip) keep seeding

laicosa (2008-05-19)

thank you kind sir

Sebiestor (2008-07-06)

Everything soderstadion said.
Thanks a lot chris!

wotascandal (2008-07-07)

Incredible and the extensive notes - as has been said before this is where filesharing is so damn good! Thanks a lot!

kenpage (2008-07-24)

What a great up! THANKS!

ConcreteD (2008-08-23)

why does this torrent not let me d/l ?

mic... (2008-10-11)

BEAUTIFUL=)

comendante (2008-12-04)

I can't play any of the files, on any media player. Is there anyone who knows why?
I was really looking forward to this music :(

lemonsqueeze (2008-12-20)

seed please:9

Rockandre (2009-03-27)

This is the real stuff, mate!Cheers to all who enjoy good music.

panteradeathwish (2009-03-29)

such good stuff.....thanx

IMCDeacon (2009-06-15)

This is a joke, right? I've been trying for a week to download the file.....I've downloaded 5 movies, but no connection on this. 62 seeders, I doubt it.

 idf560 (2009-06-27)

Thank you. Some really obscure stuff here.

nephta (2009-09-25)

Thank so much man !
Some really good stuff I didnt know existed...
Till we can say "Land Ho !!! Long live the pirates !!!"

Tr1pod (2009-11-25)

Found soon two favs, Suck and Flow ! I will buy Flow best of, perhaps much more. Thx for upload.

Mifa2Pac (2010-04-12)

can someone send me lyrics from this bands, I can't find anywhere on google. especialy from the collectors and the insect trust? pls

annatar777 (2010-05-01)

v0?

missLSD25 (2010-05-27)

---^---thanXs for the UP---^---
---^---?Feed your head, feed your head?---^---

Hanna55 (2013-02-07)

Thank you being only 16 I am only starting out to find 60-70 rock Hugs

ChrisGoes (2013-05-16)

Hi all. my torrent is still alive, 8 years now :-)
//ChrisGoesRock