Saturday, September 24, 2016

HAVE SITAR,,, WILL SLING


Here  is another batch of tunes with the Indian influence. It is said by many that the Yardbirds "Heart Full Of Soul" was probably the first eastern influenced tune. I don't think so. And if they think so that's ok   it is still a great song.. There are some pretty good tunes in this comp. 

01  heart full of soul - Yardbirds
02  sit with the guru - strawberry alarm clock
03  hashish - indian puddin'& pipe
04  norwegian wood - beatles
05  swami - william penn & his pals
06  green tambourine - lemon pipers
07  why - byrds
08  jumin' jack flash - ananda shankar
09  blue snow night - gurus
10  within you without you- beatles
11  govina - kula shakar
12  rajah khan - renaissance
13  raga riff - punjabs
14  just on conception - them
15  eastern jam - counfrt joe & the fish
16  eight miles high - byrds
17  a visit with asjya - merrill fankhauser18
18  square room - them
19  gomper - rolling stones
20  egyptian gardens -kaleidoscope
21  paper sun - traffic
22  the inner light - A concert for george
23  endless tunnel - serpent power
24  tanyet - the ceyleib peopje
    



Friday, September 9, 2016

SIR DOUGLAS ROCKIN' UNTIL THE END




Sir Doug is back, and it's a testament to changing tastes that his retooled '60s sound fits in perfectly with today's jangly alternative music. What's startling is how little it's retooled. The Beatle hair may be gone, but the Austin, Texas-via-Sooke, B.C. songwriter is still purveying his infectious blend of Tex-Mex rhythms, bluesy singing, cheesy garage-band effects, and wall-o'-guitar twang (maybe too much guitar on some tracks). It helps that veteran Quinteters, like Farfisa-man Augie Meyers and guitarist Louie Ortega, are back, and they're joined by Creedence Clearwater rhythm-men Doug Clifford and Stu Cook. Son Shawn Sahm is also in the fold, on guitars and vocals, and he co-wrote the set's catchiest tune, "Too Little Too Late", with his gruff-voiced dad. "Intoxication" and "Dylan Come Lately" are other standouts, with lyrics about the music Sahm still loves to death.                             
Those familiar with the music of Doug Sahm know he has his hard rocking side, especially in the context of the Sir Douglas Quintet. For example, take a cut such as "Baby It Just Don't Matter" from the Mendocino album, which rocks almost as hard as a Jimi Hendrix track. Nonetheless, even albums by the quintet are known for an eclectic mix of rock, country, and folk rock. This particular record is the first one that featured Sahm in a totally hard rocking context, the tracks jumping from one heavy groove to the next like some kind of old Saturday night FM underground radio show hosted by rowdies. Those that connect rock music only with the cult of youth need exposure to this sort of project, which seamlessly presents the music as a meeting of several generations, in this case the Sahm clam. Sons Shandon Sahm playing some drums and Shawn Sahm playing lots of guitar are here rocking out magnificently with their old man. Another hot picker named John Jorgensen is on board, and between him and Sahm father and son, the listener will be bombarded with several generations worth of rock & roll licks, literally. Playing drums on most of the tracks is Doug Clifford, whose distinctive style helped make the records of Creedence Clearwater Revival sound so good. He is in fine form here, locking in tight with quintet veteran Speedy Sparks on bass. A total highlight is the fun track "Dylan Come Lately," with lyrics making fun of Bob Dylan imitators, and a section of guitar solos in which the streams of both Chuck Berry and Eddie Van Halen meet in a bubbling spring. The loud, distorted, crunching electric guitar riffs just seem to keep piling up from track to track. Obviously, if one's taste veers more toward Sahm's country projects, then stay clear of this one. Otherwise, lots and lots of fun.
by Eugene Chadbourne

                                                                             



TEXAS Q






Wednesday, September 7, 2016

CAN'T GET NO





"(I Can't Get No) Satisfaction" is a song by the English rock band the Rolling Stones, released in 1965. It was written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham. Richards' three-note guitar riff?—?intended to be replaced by horns?—?opens and drives the song. The lyrics refer to sexual frustration and commercialism.

The song was first released as a single in the United States in June 1965 and was also featured on the American version of the Rolling Stones' fourth studio album, Out of Our Heads, released that July. "Satisfaction" was a hit, giving the Stones their first number one in the US. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. It later became the Rolling Stones' fourth number one in the United Kingdom.

In 2004, Rolling Stone magazine placed "(I Can't Get No) Satisfaction" in the second spot on its list of "The 500 Greatest Songs of All Time". The song was added to the National Recording Registry of the Library of Congress in 2006.


I'd rather be dead than singing 'Satisfaction' when I'm forty-five.  Mick Jagger Quote


01  rolling stones
02  strangeloves
03  assemblage
04  quavers
05  tritons
06  blue cheer
07  mountain
08  spirit
09  paul revere & the raiders
10  ola & the janglers
11  fabulous echos
12  terry knight & the pack
13  otis redding
14  vagrants
15  charlie & his go go boys
16  junior wells
17  les pharaons
18  jerry lee lewis
19  troggs
20  bohemian vendetta
21  los apson
22  cher
23  devo
24  grateful dead



Saturday, September 3, 2016

ISP


Illinois Speed Press was an American rock band formed - originally, in 1965, as The Rovin' Kind - in Chicago, later relocating to California. The band was formed by Paul Cotton - later of Poco - and Kal David. According to Allmusic, their sound "combined elements of R&B and country music in a powerful double-lead-guitar attack." Cotton and David have occasionally reunited in recent years to perform together under the name.



The Illinois Speed Press
James Guercio discovered the Rovin' Kind at the Chicago Whiskey-A-Go-Go, where they were the house band. He offered them management and production and brought them back to Los Angeles where they were signed to CBS/Columbia Records under their new name, Illinois Speed Press. The change happened in February 1968. They opened for other major recording acts such as Led Zepplin, Chicago & Steppenwolf.
Initial members of ISP were the same as the Rovin’ Kind. Keith Anderson was replaced prior to the recording of the first ISP album mainly at Guerico’s urging. Keith comments:
"We left Chicago during the Democratic Convention riots, 1968, and moved to Hollywood. Later, James Guercio moved the Chicago Transit Authority to Hollywood for recording purposes. Both bands lived in bungalows next door to each other, while recording albums. We started recording the ISP first album. I wrote the song on this album, "Be a Woman". Mike Anthony re-wrote a lot of my lyrics, and is named co-writer with justification. It came to pass, James Guercio felt my bass playing was not good enough during the first ISP album's recording, and he convinced the band to let me go. This was a sad time (witness Paul Cotton's "Bad Weather"). James Guercio then had Freddy Peppalardo and Mike Anthony leave the ISP. Sad, Sad. I truly feel James took the heart out of the band, and then tried to make it go with the brains."

John Kelly, road manager for the band until Oct '69, reflects:
"One night after a gig Freddy, Kal, and I went to Calumet Park to cool off at the beach and see the sunrise (a very big thing in Chicago, at least at that time). While we were there Freddy and Kal were talking about going on the road to California which loomed like a Garden of Eden to all of us. This was not long after California Dreamin was a hit. If you've ever gone through a Chicago winter, you know what I'm talking about. Anyway, Kal said" why don't you come w/ us". Freddy chimed right in, saying "yeah, c'mon". I couldn't wrap my brain around the idea that night but a week later off I went."



Friday, September 2, 2016

RIVERS


Credit for the image is for Rick Griffin. He created this work as part of his " Gospel of John" series.
The Fishers of Men story is a perfect lead in to the Rivers tunes gathered here. As usual there is a wide spectrum of songs.


01  red river valley - gene autry
02  cry me a river - joe cocker
03  big river - johnny cash 
04  yes, the river knows - doors
05  old man river - sllman joys
06  find the river - r.e.m.
07  take me to the river - talking heads
08  james river blues - old medicine show
09  black muddy river - grateful dead
10  the cool cool river - paul simon
11  boat on the river - styx
12  river in the rain - roger miller
13  moon river - andy williams
14  green river - creedance clearwater revival
15  the river -  gary duncan's quicksilver
16  river - joni mitchell
17  pissing in the river - patty smith
18  river - terry reid
19  wide wide river - fugs
20  watching the river flow - rolling stones
21  time is like a river - arthur lee & love
22  down to the river to pray - alison krauss
23 rollin'on the river - ike and tina turner
24  down by the river - neil young & phish



Monday, August 29, 2016

ROCKETS DO SAHM

THE BOTTLE ROCKETS
''SONGS OF SAHM''
FEBRUARY 19 2002

**********

1 Floataway 03:07
2 Mendocino 03:08
3 Be Real 02:33
4 At The Crossroads 05:15
5 She's About A Mover 03:49
6 Lawd, I'm Just A Country Boy In This Great Big Freaky City 03:07
7 Nitty Gritty 03:10
8 Song Of Everything 03:45
9 Sunday Sunny Mill Valley Groove Day 03:14
10 Stoned Faces Don't Lie 04:58
11 You Can't Hide A Redneck (Under That Hippy Hair) 04:04
12 I Don't Want To Go Home 03:08
13 I'm Not That Kat Anymore 03:50
All Tracks By Doug Sahm

***********
Mark Deming AMG
If there's an artist who deserves a tribute album, it's Doug Sahm, the tireless Texas groover whose Lone Star state of mind encompassed roots rock, blues, country, garage rock, norteño, psychedelia, and a countless number of spots in between over the course of a career that spanned five decades. One might have figured some bunch of Austin all-stars would have been the most likely candidates to honor Sahm on disc after his untimely passing in the fall of 1999, but the responsibility has instead fallen to those proud sons of Festus, MO, the Bottle Rockets, who take a lively stab at 13 of Sahm's compositions on their first album for Bloodshot, Songs of Sahm. The Bottle Rockets have long proven themselves a superb straight-ahead rock & roll band with a deep feeling for rough-and-tumble roadhouse country, but while those are both paths Sahm traveled, that was hardly the sum total of his accomplishment, and while there's never a moment on Songs of Sahm where you doubt that the BoRox love these songs with all their heart and soul, on a few cuts they sound as if they're playing a bit out of their league -- the easy shuffle of "Be Real" doesn't quite suit a band whose forte is stomp, the bluesy lament of "At the Crossroads" is a few notches too slow for comfort, and "Sunday Sunny Mill Valley Groove Day" sure sounds goofy coming from a band with no outwardly hippielike tendencies. Also, producer Lou Whitney doesn't get this band's power on tape with the same élan as Eric "Roscoe" Ambel. But, for the most part, Sahm's tunes fit the Bottle Rockets better than you'd have any right to expect, and this album's best moments are superb, especially the hard rock groove of "Floatway," the manic rave-up on "I'm Not That Kat Anymore," and the deathless "Lawd, I'm Just a Country Boy in This Great Big Freaky City." One hopes that Brian Henneman has another batch of quality originals on deck for the Bottle Rockets' next album, but Songs of Sahm is not only a fitting tribute to one of alt-country's primal influences, it's a healthy dose of rockin' country and lots of fun.

BIOGRAPHY/AMG
Jason Ankeny
Festus, Missouri's Bottle Rockets ranked as one of the leading lights of the 1990s roots rock revival, thanks to a sound that bypassed the punk heritage proudly upheld by most of the band's contemporaries in favor of a redneck fusion of Southern boogie, country-folk, and crunching rock & roll. The group was fronted by singer/guitarist Brian Henneman, a Missouri native who formed his first band, Waylon Van Halen & the Ernest Tubbadours, in 1977 with friends Tom and Bob Parr. After a succession of names and a steady rise in musical competence, the threesome began landing club dates both locally and in Illinois, where they became friends with the young Jay Farrar and Jeff Tweedy, who would later start Uncle Tupelo.

In 1985, the trio was playing straight-ahead honky tonk under the guise of Chicken Truck (so named in honor of the John Anderson song) with a new drummer, Mark Ortmann. Instead of giving in to local crowds who wanted to hear covers rather than originals, the bandmembers focused solely on performing their own material, which they began roughing up with a Crazy Horse-like edge. Shortly after frequent tour mates Uncle Tupelo signed a 1990 record deal, however, internal problems led Chicken Truck to disband; while the Parrs returned to civilian jobs, Ortmann moved to Nashville to become a session player, and Henneman became a roadie with Uncle Tupelo, even playing on their March 16-20, 1992 album.

During his roadie days, Henneman recorded a demo tape of new material, which Tupelo manager Tony Margherita began discreetly shopping around. After cutting a solo single backed by Farrar and Tweedy, he re-formed his old band with Ortmann on drums, Tom Ray on guitar, and Robert Kearns on bass, renaming the outfit the Bottle Rockets. After a 1993 self-titled effort, a year later the band issued its second independent LP, The Brooklyn Side, named after a bowling term. A portrait of life in rural blue-collar America, The Brooklyn Side was the subject of lavish critical praise, and the positive notices led to the band signing with a major label, Atlantic, which promptly reissued the 
album

.


Shakeups at the label led to delays in the release of their next album, 1997's 24 Hours a Day, and when the album sold poorly, the Bottle Rockets were dropped. In 1998 they signed with the small Doolittle label and released an odds-and-ends EP, Leftovers; by the time they completed their next album, 1999's Brand New Year, the label had gained major-label distribution, but that deal proved to be short-lived, and in 2000 the Bottle Rockets were once again without a label. In 2001 they signed a deal with alt-country trailblazers Bloodshot Records; their first album for the label, a tribute to Doug Sahm, was released early the following year. Tom Ray left the Bottle Rockets in 2002, and the band moved ahead as a three-piece, signing yet another new record deal -- this time with Sanctuary -- in 2003, and releasing a new album, Blue Sky, in the fall of that year. Zoysia arrived on Bloodshot Records in 2006, followed by Lean Forward in 2009.
Not So Loud: An Acoustic Evening
In 2011 the band released Not So Loud: An Acoustic Evening, which was recorded in an old schoolhouse and featured material drawn from all eras of the band's history. By now, the group once again had a stable lineup, with Henneman and Ortmann joined by guitarist John Horton and bassist Keith Voegele. In 2012 the Bottle Rockets teamed up with Marshall Crenshaw for a series of tour dates, with the Bottle Rockets playing a full set as openers and then backing Crenshaw for the second half of the show. In 2013 Bloodshot brought out a deluxe reissue of the Bottle Rockets' first two albums, accompanied by rare bonus material and endorsements from a handful of well-known fans. As the Bottle Rockets continued to play short tours with Crenshaw, they began previewing new material in their sets, and in October 2015 they released a new album produced by Eric "Roscoe" Ambel, South Broadway Athletic Club.
 **********
Brian Henneman/Guitar, Vocals
Robert Kearns/Bass, Organ, Vocals, Wurlitzer
Matt Netzer/Handclapping, Vocals
Mark Ortmann/Bongos, Claves, Cowbell, Drums, Maracas, Tambourine
Tom Parr/Clarinet, Guitar, Guitar (Acoustic)
Lou Whitney/Guitar (Acoustic) On 3
Dudley Bron/Organ On 9
**********



Sunday, August 28, 2016

SILVER SUMMER 1968



I had a request for this one a couple of months ago, At that time I could not locate it. I stumbled across it yesterday while cleaning  out some files So here you go better late than never I guess

Tracks
1. Light Your Windows 2:09 (3:09)
2. Dino's Song 3:37 (3:36)
3. The Fool 13:25
4. Who Do You Love 12:48
5. Mona 11:49 (11:48)
6. Smokestack Lightning 10:48
7. Codine 6:01
8. Back Door Man 4:30 (4:19)
9. Acapulco Gold and Silver 12:01 (12:11)
Total 78:20 (78:10)


Monday, August 15, 2016

HAVE SITAR...WILL TRAVEL



Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. More recently, scholars have included British rock music from the 1960s and 1970s that utilizes South Asian musical materials and instruments and Western ideas of South Asia.

Raga rock is not normally considered a specific genre of music, but rather a general aspect of any rock significantly influenced by Indian classical music. Since Indian influences are primarily limited to 1960s rock, most raga rock is limited to that decade, although heavily Indian-derived sounds are found in some post-1960s rock.

Ragas are specific melodic modes used in classical music of South Asia. Thus, any rock songs with obvious Indian influences may be deemed "raga-rock" although the term is frequently used to refer to much more explicitly Indian musical outings. A major influence on raga rock was the Indian classical raga music of Bengali sitarist Ravi Shankar, who himself had become a pop music icon by 1966, following the rise of the raga rock trend.

The advent of raga rock is often traced to the July 1965 release of "See My Friends", a Top 10 single for The Kinks in the UK, although The Yardbirds' "Heart Full of Soul", released the previous month, featured a sitar-like riff by guitarist Jeff Beck.The Byrds' March 1966 single "Eight Miles High" and its B-side "Why" were also influential in originating the musical subgenre. Indeed, the term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in print by journalist Sally Kempton in her review of "Eight Miles High" for The Village Voice. However, in his 1968 Pop Chronicles interview, Byrds member Roger McGuinn denied that "Eight Miles High" was in fact raga rock. The Paul Butterfield Blues Band further elevated the concept of Indian influenced rock music with a 13-minute instrumental titled "East-West", which became the title track of their 1966 album, East-West.

The Beatles' song "Norwegian Wood (This Bird Has Flown)", which first appeared on the band's 1965 album Rubber Soul, was the first Western pop song to incorporate the sitar (played by lead guitarist George Harrison). Harrison's interest in Indian music popularized the genre in the mid-1960s with songs such as "Love You To" and "Tomorrow Never Knows" (Revolver, 1966),"Within You Without You" (Sgt. Pepper's Lonely Hearts Club Band, 1967) and "The Inner Light" (released in 1968 as the B-side of the "Lady Madonna" single).

In the early 1970s, the British progressive rock band Quintessence began to mix elements of Indian classical music with rock and jazz.[13] Later in the decade, guitarist John McLaughlin and his band Shakti introduced a jazz-influenced version of raga rock over the course of three albums.

01 norwegian wood( this bird has flown)  hour glass
02 om  moody blues
03 i'm the light - blue cheer
04 venus in furs - velvet underground
05 see my friends - kinks
06 raga - buffalo springfield
07 tabla rasa - solar circus
08 she's leaving home - big jim sullivsn
09 blue jay way -  lord sitar
10 acka raga - shocking blue
11 raga no.11 - kalacakra
12 babaji (twilight raga)- blue cheer
13 the light of love - humble pie
14 within you without you - jimmy herring
15 winds of change - animals
16 moog raga - byrds
17 raga rock - folkswingers
18 the mad hatter's song - incredible string band
19 girl in your eye - spirit
20 white trash raga - mermen
21 utterly simple - traffic
22 white summer - yardbirds
23 paint it black - rolling stones
24 east-west - butterfield blues band


Wednesday, August 10, 2016

AUSTIN JAM AND JELLY


 Fueled by the amazing fiddle of Benny Thurman, former bassist for the 13th Floor Elevators, and featuring the vocals of stunning Jerrie Jo Jones, PLUM NELLY was a part of the “outlaw country” movement created when Willie Nelson moved to Austin and began playing local venues, most significantly the Armadillo World Headquarters. PLUM NELLY was rare among the artists at the era as it featured four lead vocalists, no drummer, and vocal harmonies ahead of their time.

  Tennesse native Billy Stoner created PLUM NELLY as a duo with Jones in 1973, creating a stir at the Kerrville Folk Festival and winning the New Folk Contest that year. Shortly after, Thurman, bassist/vocalist Ernie Gammage and guitarist Johnny Richardson were added to the group. Stoner’s songs were at the core of the Plum Nelly ethos although the rest of the band, individually and collectively, wrote material. Much like the progressive country scene itself, PLUM NELLY was courted by the Nashville music business machine and finally sputtered to its demise in the late 1970s.

  The group was the perfect mirror of the intersection of traditional Nashville country music and the free-wheeling hippie lifestyle of early 70s Austin. Stoner’s song “Devil and the Deep Blue Sea” singularly captures this rare point in America’s musical history. “Used to be a redneck” Stoner sings, but “Hippie or a redneck I don’t know which one to be. I’m in between the devil and the deep blue sea.”