The Avant-Garde was an American psychedelic pop group formed by Chuck Woolery and Elkin “Bubba” Fowler in 1967. They released three singles on Columbia Records in 1967 and 1968, backed by different session musicians on each release: “Yellow Beads”, “Naturally Stoned” (which hit No. 40 on the BillboardHot 100 charts in mid 1968), and “Fly With Me”. Despite the success of “Naturally Stoned”, the group disbanded after “Fly With Me” and never released a full album.
This is a really good song. I like it a lot and have listened to it many times. I wish Columbia had issued it with a picture sleeve.
01. Two Shocks
02. Don't Take Me To Space (Man)
03. Red Rag
04. Worry About It Later
05. Crush On You
06. Eternal Return
07. Do You Feel The Same?
08. Ancient Mysteries
09. Oh! Forever
10. Hey Hey
11. Why Tell the Truth (When It's Easier To Lie)
12. Leaving England
Indie rock supergroup Brakes serve up their first long-player together after,
pooling the talents of musicians who've done the rounds in British Sea Power, Electric Soft Parade,
Restlesslist, The Pipettes and Tenderfoot. Like so many of these supergroup-type projects there are times at which you suspect
the constituent members aren't necessarily taking the enterprise entirely seriously: on the rollicking 'Don't Take Me To Space (Man)'
lyrics such as "I don't care that this world's Masonic/I got a true love keeping me on it" are despatched with frivolous abandon,
and the Pixies-esque 'Crush On You' has to count as one of the weirder list songs of all time, with vocalist Eamon Hamilton declaring
"Oh I've got a crush on you" having just reeled off "Fritz Lang, laser eyes, freedom fries" and "Joan Of Arc,
redwood bark, Cutty Sark" as chuckle-inducing targets of his affection. As the album continues the silliness persists,
and you start to wonder if Brakes are attempting to emulate the surreal free-associatiative poetry of Stephen Malkmus.
Whatever they're up to, it's probably not quite as clever as they'd like to think,
although the music itself tends to rectify any ambivalence you might feel towards the words on offer.
'Oh! Forever' is a real triumph of '90s pop revisionism, cross-pollinating JAMC gravy train-hopping with Breeders-style vocal melodics.
The resulting track is a slow builder that escalates to ridiculously massive sounding proportions,
its scale contributed to greatly by Delgados member Paul Savage whose Chem 19 production lends a real weight to the album.
Stunning 1970 Original Housed In A Heavy-Duty, Textured Gatefold With The Rare Poster. Appears Unplayed. “Cricklewood Green Provides The Best Example Of Ten Years After’s Recorded Sound. On This Album, The Band And Engineer Andy Johns Mix Studio Tricks And Sound Effects, Blues-Based Song Structures, A Driving Rhythm Section, And Alvin Lee’s Signature Lightning-Fast Guitar Licks Into A Unified Album That Flows Nicely From Start To Finish. Cricklewood Green Opens With A Pair Of Bluesy Rockers, With “Working On The Road” Propelled By A Guitar And Organ Riff That Holds The Listener’s Attention Through The Use Of Tape Manipulation As The Song Develops. “50,000 Miles Beneath My Brain” And “Love Like A Man” Are Classics Of TYA’s Jam Genre, With Lyrically Meaningless Verses Setting Up Extended Guitar Workouts That Build In Intensity, Rhythmically And Sonically. The Latter Was An FM-Radio Staple In The Early ’70s. “Year 3000 Blues” Is A Country Romp Sprinkled With Lee’s Silly Sci-Fi Lyrics, While “Me And My Baby” Concisely Showcases The Band’s Jazz Licks Better Than Any Other TYA Studio Track, And Features A Tasty Piano Solo By Chick Churchill. It Has A Feel Similar To The Extended Pieces On Side One Of The Live Album Undead. “Circles” Is A Hippie-Ish Acoustic Guitar Piece, While “As The Sun Still Burns Away” Closes The Album By Building On Another Classic Guitar-Organ Riff And More Sci-Fi Sound Effects.”
The music critic cliché about double albums is that they’d often be better if they were boiled down to single album size, but that’s not the case with the second release from North Carolina duo Mandolin Orange. Besides the consistent quality of the material, the thing that keeps this two-CD set from falling into the aforementioned category is the fact that it’s really two separate albums packaged together, rather than one double-length slab of songs. Haste Make and Hard Hearted Stranger were each recorded at different studios during different periods of time; each has different guest players and its own distinct sonic identity. Naturally, both discs find singers/multi-instrumentalists Andrew Marlin and Emily Frantz delivering graceful, organic-sounding vocal harmonies and supporting their songs with deft acoustic instrumentation, including guitars, mandolin (of course), fiddle, and viola, all employed in a low-key folk setting. But Haste Make is a rather more full-bodied set, achieving a bit of a folk-rock sound, while Hard Hearted Stranger is a much more sparsely arranged, fragile-sounding collection of tunes. Still, it’s not as though the first disc gets into gritty, Crazy Horse-style territory or anything — it’s still a relatively laid-back affair, but the minimalist settings of Hard Hearted Stranger are such that even the subtlest of musical additions seems striking in contrast. In the end, though, the true measure of this outing’s success is the fact that each disc works equally well on its own terms.
This is a Chapel Hill, NC duo, made up of songwriter Andrew Martin and instrumentalist Emily Frantz, which has already found a solid fan in Ms. Rosanne Cash. This release consists of two LPs in one, and it’s chock full of alt-country bric-a-brac that rumbles up from the ground right underneath our feet. The first album, recorded during the winter of 2010/11, seems like it has a decidedly slicker country- rock sound, maybe it’s the mastering, but that’s not really a knock, just an observation. Standouts include: “Haste Make” and “Runnin’ Red.” The second album, recorded during summer 2011, is even grittier and earthier, as heard in the 70s style dirt-folk of “Big Men in the Sky,” for example. “Never Die” and “Birds of A Feather” go for more grass, as in the new bluegrass, and they show off some nifty playing. “Clover” also utilizes some excellent vocal work by Andrew Martin. MO can undoubtedly hang with the big boys.
This is the first of two super session albums that Chess produced in the late ’60s. Time has been a bit kinder to this one, featuring Muddy, Bo Diddley and Little Walter, than the one cut a year later with Howlin’ Wolf standing in for Walter. It’s loose and extremely sloppy, the time gets pushed around here and there and Little Walter’s obviously in bad shape, his voice rusted to a croak and trying to blow with a collapsed lung. But there are moments where Bo’s heavily tremoloed guitar sounds just fine and the band kicks it in a few spots and Muddy seems to be genuinely enjoying himself. Granted, these moments are few and way too far between, but at least nobody’s playing a wah-wah pedal on here
Peter Fonda/Dennis Hopper movie written by Jack Nicholson & produced by Roger Corman- pretty much a dry run for ‘Easy Rider’ in all ways. Music is instrumental & by a yet unnamed version of the Electric Flag. Mike Bloomfield, Buddy Miles, plus Paul Beaver of Beaver & Krause. For all the R&B influence of the band, the soundtrack is quite varied & loungy. There’s some passably contemporary jazz, and the moog freakouts are great (and were even lifted for reuse in ‘Easy Rider’). The band was hired because they were using Gram Parson’s house as a practice space. Fonda wanted Parsons to make the soundtrack, but Corman nixed it, thinking it was too countrified for an LSD-inspired soundtrack.
Joe Pass’ recording career was in a slump in 1969. His string of World Pacific and Pacific Jazz recordings had come to an end, and he was still four years away from being discovered and fully showcased by producer Norman Granz. This odd LP certainly stands out in his discography. The five brief “Interludes,” along with “Joey’s Blues,” feature Pass playingunaccompanied for some of the first times on record, but with the exception of the “Blues,” athe music is quiet and uneventful. The remaining seven selections are quite a contrast, for they feature Pass and a funky rhythm section essentially accompanying seven singers on a variety of very dated pop songs (plus a short rendition of Debussy’s “The Maid with the Flaxen Hair”), most of which were written by Irwin Rosman and quickly forgotten; for his part, Pass sounds quite uncomfortable
This a very cool album. It’s at once familiar-sounding and oddly comforting but also conveys a real sense of melancholy. My teenagers didn’t like it when I played it to them, but I caught them singing along to July, July! the very next day. I couldn’t tell you my favourite track as they all form an essential part of the story. Just download the whole album – you won’t regret it. Castaways & Cutouts would also make a perfect gift on Father’s Day.
Songs / Tracks Listing 1. Leslie Anne Levine (4:12)
2. Here I Dreamt I Was An Architect (4:29)
3. July, July! (2:53)
4. A Cautionary Song (3:08)
5. Odalisque (5:20)
6. Cocoon (6:48)
7. Grace Cathedral Hill (4:28)
8. The Legionnaire’s Lament (4:44)
9. Clementine (4:07)
10. California One/Youth And Beauty Brigade (9:50)
The Wild, the Willing, and the Innocent was,for me, a landmark UFO album. My favorite album OF ALL TIME. Sort of a concept album, the flow from soft to brutally heavy is breathtaking in its scope and clarity. There is not a weak moment on this album,PERIOD. Paul Chapman rebounds from the tentative No Place to Run to provide punishing rhythm (he’s a better rhythm player than Michael) and blistering leads on tracks like the title track, Lonely Heart, and Couldn’t Get it Right. Phil is, well, Phil. And that’s as good as it gets. Andy Parker controls the flow of the album with Zeppelin-esque bottom. Neil Carter is a welcome addition on this album,contributing sax and guitar.
The song order,production, and over all feel of this album are incredibly well thought out. It didn’t chart that high over here, and it’s too bad because this is UFO’s finest hour. The absolute pinnacle of their career. This album creates a mood and atmosphere that transcends the music! I’d give it 50 stars if i could. Not just UFO’s best album,but one of the greatest rock records ever made.
Deleted German 4 track CD single of Losing My Religion.
1: Losing My Religion
3: Losing My Religion (Live Acoustic Version)
4: Rotary Eleven
Stipe told Rolling Stone magazine: “I wanted to write a classic obsession song. So I did.” In addition to calling it a song about “obsession,” Stipe has also referred to it as a song about “unrequited love” in which all actions and words of the object of your obsession are scrubbed for hidden meaning and hopeful signs. The lyrics pretty clearly support this: “I thought that I heard you laughing, I thought that I heard you sing. I think I thought I saw you try.”