You miss the Bastards, Drive Like Jehu, and Hotsnakes (or Liquid Tricks), here's the band for you (and actually for me). A good sound washing in the face, fresh energy, a bit dirty of course but a welcome electroshock to take us out of the morbid apathy doom music can lead us to. The most exciting thing I heard since the above mentioned bands, ones of my faves all styles and times, so you see what you must do: DL it as quick as you can. It's to note that the band is not a girly one contrary to what the cover sleeve may indicate. I suppose they wanted also that their cover breaks the rules and question the potential listener. I didn't find anything on this band on the net except their bandcamp here and their myspace there but all I know it's they've done a hell of album that I will (if I'm still alive, quite not sure) still fancy and promote in 10 years from now So enjoy it here.
In July 1971, contrary to what most of cover sleeves of this bootleg seems to indicate, CCR are a trio, Tom Fogerty was gone since February. Although the band is still tight and compact, and songs are often classics among classics, something's missing in this reduced format. In particular John Fogerty seems to have too much work in singing and playing rhythm and solo guitar parts. But the sound of this concert (the closing of the Fillmore West) is much better than most of the CCR bootlegs we can find here and there. Surely because it was recorded and broadcasted by KSAN FM. The setlist of this concert is quite similar to the Live in Europe released by Fantasy. The cover sleeve is derived from a painting by an Austrian guy called Jestsam42 (here his deviantArt gallery, and the whole painting below). Fits well with the music I think. This recording is posted in mp3 and in wma. The concert is in one part so I can't post singular songs. Enjoy it here.
The whole painting
Another gem. Not in the epic doom or noise genre here, but in the pure tradition of sludge, somewhere between EyeHateGod and Autopsy but never truly passeist. No. Sludge for the XXIst century. A bit like the great Thou. Exactly what we need while nuclear pollution and civil wars are drawing a macabre and terrific picture of our (no)future. "Start Saving For Your Funeral" says one track title. Good one this one. But all are prime cuts. A future classic for you if you dig this style (and I'm sure some of you now get used to it, at least I hope). An antidote for the stupid and dull music that the record industry pours in our ears. They're US, from Indianapolis. I was there one night 2 years ago. Only in an hotel near the airport. But it seems this city begins to be a nest for great doom and sludge. I hope to get back there who knows. Meanwhile, enjoy this morbid hate LP here, and then get there to buy it in a correct quality, that means in a CD form.
You won't listen something stronger that this band this year. From Canada, they mix doom and Today is the Day/Crow with a strenght quite rare. It's noise, it's sludgy, it's heavy and violent as our most intimate self-destructive instincts. Although 2 years old, I think this LP has been reissued recently. I would like to say that I listen to a load of LPs, EPs, demos (at least some minutes of them since I quickly know if they belong to my cuppa tea cupboard), and I post here the rares I think worth the listen and the support. Here's one of the best I ever heard. Quite a shock actually. Don't miss them. Yes, take the 70's old gems but stay connected to the best of today's music. And this is one of them. Without hesitation, discussion, opposition. Enjoy it here. And buy then.
Some days ago, Leon Russell was inducted to the Hall of Fame by Elton John (whatever this sentence may mean since I'm not sure I know exactly what the hell it's about to induct someone to the Hall of Fame). A good opportunity to say here how, with Dr John and Al Kooper, this charismatic man was underrated over his career. Of course, it's his role next to Joe Cocker that gave him this special aura he's associated to, this so special look that I found so "rock 'n' roll" when I was 12 when actually it was not rock 'n' roll but gospel rock. In studio, Leon Russell never reached the intensity of his live sets (and actually was surely the less talented of the 3 for studio work). But on stage, he was able to put the room on fire only with his strange donald duck voice and his piano-à-là Jerry Lee Lewis. In this live 3 LP album, he closed his fame period, since then he'll try to touch to a wider variety of genres without the success he met with gospel rock. If the band is not as shaky as was the one playing on Mad Dogs and Englishmen, there is enough groove and excitation to make it a classic that I surprise myself to listen to very often, particularily when I don't know what to listen to and I'm not in a doom mood. Sometimes, Leon's band sounds as Mott the Hoople (pre-Bowie era). If there are many self-indulgent passages, there's enough here to make you dance all around the place in screaming the choruses with the choir. So c'mon for celebrating the old Leon here (1st part) and there (2nd part), when he (and we) was young and crazy. In streaming 2 great moments, "Roll Away The Stone" (nothing to do with the Mott's song) and the incredible version of Dylan's "It' All Over Now Baby Blue" that closes the concert.
After Free disbanded for the second time in 1973, John Bundrick aka "Rabbit", recorded a second solo LP, still less known and more forgotten than his previous one (Broken Arrows the previous year). Strange since it's really a good one, the kind of solo albums some were making a lot of money and reached celebrity with, but in this case, it's true there's, like with Todd Rundgren, something lacking in it to be widely popular. Good since what's lacking is what's making most popular albums quite shitty actually. And this one is not. If you love Al Kooper, you'll like this one, recorded with the bassist and the drummer of what will be Back Street Crawler. Actually, John Bundrick would have liked to record with Free members, Kossoff included, but they were not ready for that. So, here another recorded from the Free galaxy. And a unjustified forgotten one. Enjoy it here.
Sorry if you're heard (actually read) this one before but here's another great sludgy noise band. The perfect mixture between the Black Sabbath heritage and early Today is the Day's energy and complex constructions. The more years are driving me towards the fatal issue, the more I look back at my lifepath, the more I finally consider music, more than anyone on earth, will have been my greatest help for making this living not too heavy, and sometimes to bring me some consolation. This is the case tonight, when most people in my small universe are sources of problems, are making their so-called love and affection so selfish, or even show their putrid inside (this for those that I must talk to in my job space). Ponds are saving my evening with this EP (1st part of a 2 part-one) that is surely one of the strongest thing I heard these last weeks, specially "A New Hamshire Mirage", an incredibly strong number. They're from Massachusetts and I hope they'll do great other things. Enjoy here and then support them there in buying their stuff, it's an help you must contribute if you're not selfish bastards you too (and if you're not starving since even cheap can be expensive when you got nothing).
After Free definitively disbanded, in 1973, Paul Kossoff drowned more and more in his addict-habits, probably because, like Brian Wilson and so many more, he had been broken by an authoritative dad all his youth. But spring 1975, he finally was in charge of his band , a strange outfit composed of John Rabbit Bundrick US friends and some English ones (notably the excellent singer from the UK band Beckett, Terry Wilson-Slesser). The biggest surprise was that, except for the quite bad production, their self-titled 1st LP was a gem, somewhere between Humble Pie, Led Zeppelin, the Stones, Chicago and, of course but not so much, Free. The best was that they had as soon as the 1st LP, a collection of songs to defend on stage and that assured them an audience that would enjoy herself without asking for Free favorites (except "The Hunter", they didn't play any). Mike Montgomery, the main writer of the band (almost all songs are his signature) was a fantastic new ally for Kossoff, and to have found a nice singer, much more in the Marriott-Plant file than the Rodgers one, was a good point to avoid constant comparison. This concert catches them ar Croydon, a place so legendary for Free, at their beginnings and the excitation, energy and dynamics are all there. Kossoff is not always in tune but takes some wonderful solos. Impressed, they would sign a big contract with Atlantic, the label of Koss old pals Rodgers and Kirke. What would come later would be a total wreckage due to Paul Kossoff himself, going deeper and deeper in his demonworld of addiction and inconsequence. A boy that everybody says was nice, but unable to cope with his fatal attraction for mandrax and then coke and even heroin. His heart would cease to beat during a plane trip one year later, after months and months of a downline road with more and more uneven apparitions on stage. Enjoy this superb testimony of survival here. This concert has been released 3 times (with rather ugly cover sleeves), always under the name of Paul Kossoff, and it's a shame since he was quite proud to have a band back. So it's more respectful to give credit to the full name. The front picture was taken from a photographer calling him or herself "privatedancer" on deviantArt.
Gosh, this band from Portland succeeds in being sludge, punk and noise, without sacrificing the quality of one of the 3 genres. Yes there is some Buzzov.en and Bastards in it, but also an incredible energy that revives the punk one, and also something of the modern experimental approach of noise (Lightning Bolt if you want). But it remains down to earth, dirty as diarrhea, thick as mud, stinky as vomit. It's one of these albums that you feel maybe nobody is able to do again, cos' it's crazy, not full of references, not based on a specific project, resulting from endless discussions about this sound or this riff. Spontaneity in its most glorious form. Don't know why they took this stupid name of Rabbits (I suggest they do a cover of "The Hunter", just for laugh), maybe a private joke, but nothing's a joke in this new LP freshly released. I don't know whether it's a good thing to post it here since it can be bought at Relapse, but if they ask, I'll remove. You know, my philisophy is you listen to this MP encapsulated version and then invest in the true shit, and here is a real album. You won't regret. It's a highpoint of the year as was the Daughters album last year at the same period. Enjoy here.
What a pleasure to have 2 recent great songs from Steve Harley to post. I must say that I am quite not a lover of his late career. Not that it's bad, but compared to his ancient grandeur, it's quite common. The last LP, Stranger Comes To Town is an uneven affair but there's more to enjoy than on the previous ones. And there's more ballads, violins, real intruments than on the previous ones. And also, there's the great Stuart Elliott on drums (yes the Stuart Elliott of the first Cockney Rebel era, he always appeared here and there in the Steve Harley discography but here he's constantly behind his sticks). "No Bleeding Hearts" has the charm of the best Dylan ballads and the long final is a "ô combien delicate" conclusion to this successfull composition. On the B side, I chose to put "The Old Man", almost similarly exquisite and thus you got a rather perfect couple of songs. Enjoy it here (I fixed the link correctly on 3/03, it was not initially). Then buy the album, there's enough on it to please you. The cover sleeve was conceived from a digital composition of Mario Sanchez Nevado, a Spanish artist you can see the gallery here.