G.O.D. Records Presents The Gem Of The Week - 1967 CANADA THE PAUPERS-"MAGIC PEOPLE"

THE PAUPERS - "MAGIC PEOPLE" PSYCHEDELIC GEM!!!

LABEL:VERVE FORECAST CAT.NO.:FTS-3026

In 1967 the great band from the North released their debut record. The Paupers, along with the Guess Who, were one of the first Canadian bands to capitalize on the British Invasion. They started releasing singles in 1965 with a lineup consisting of Denny Gerrard (Bass), Skip Prokop (Drums), Bill Marion (Guitars) and Chuck Beal (Guitars). Prokop and Marion handled all the songwriting chores on their first clutch of singles. Their early sound was a classy mixture of roots music, blues and folk-rock (think early Byrds or Lovin’ Spoonful crossed with the Blues Project circa 1965). The band began rehearsing 14 hours a day, honing their setlist and evolving into one of the tightest bands around. They hit the hip Yorkville District of Canada, playing to packed out venues daily and in return this gained them immense popularity.

 Rumor has it that the Paupers blew the mighty Jefferson Airplane off stage one night. In 1966/1967, Bill Marion exited the band for reasons unknown, prompting the Paupers to recruit Adam Mitchell. Mitchell (guitar and vocals) proved to be an excellent songwriting partner for Prokop, and at this point the band set out to create their debut lp.

Magic People has a good mid 60’s sound and is anchored by the band’s folk-rock leanings. There are a trio of good psychedelic sunshine pop fuzz rockers on the record. These songs, Magic People, It’s Your Mind and Think I Care, are highlighted by Prokop’s distinct drum patterns, special guitar effects, and great raga soloing. The only dud on the album is One Rainy Day, which is a jaunty good time Lovin’ Spoonful rocker. The remaining six songs are good to great folk-rockers, that recall the Byrds, Buffalo Springfield and the Beau Brummels. The catchy You and Me feels like a throw back to a 1965 Byrds or Brummels folk-rock sound. Tudor Impressions is excellent, reflective, and abstract, including horns, sparkling accoustic guitars and a Beach Boys-like harmony pop ending. Black Thank You Package and My Love Hides From Your View have a great outsider feel. Black Thank You Package has a distinct, exciting intro and a catchy chorus while My Love Hides is an absolute haunting masterpiece of acid-folk. Later on in the year the band would play at the seminal Monterey Pop Festival. Everything that could go wrong for them did. Band members took doses of acid that were way too strong and had equipment/sound check problems. Thus, it was the beginning of the end for the Paupers, a group of individuals who had began with so much promise. In 1968, beneath all the internal turmoil, the Paupers were able to squeeze one more lp out. Ellis Island is a little mini psychedelic gem and fans are strongly urged to check this great album out as well.
The Rising-Storm
LISTEN FULL LP HERE:

Tracks
1. Magic People - 2:43
2. It's Your Mind - 5:20
3. Black Thank You Package - 3:12
4. Let Me Be - 3:10
5. Think I Care - 3:55
6. One Rainy Day - 2:20
7. Tudor Impressions - 4:13
8. Simple Deed - 2:43
9. My Love Hides Your View - 3:20
10. You and Me - 2:40
All songs by Adam Mitchell and Skip Prokop.
The Paupers
*Dennis Gerrard - Bass
*Skip Prokop - Drums, Bass Guitar
*Adam Mitchell - Rhythm Guitar, Drums
*Chuck Beal - Lead Guitar

Post by Michalis Matthaiou.

ΗΑPPY NEW YEAR 2015 TO ALL OUR FRIENDS!!!!!!! G.O.D. Records Presents The Gem Of The Week - 1967 US THE SERPENT POWER-S/T

PSYCH FOLK GEM,IN MY PERSONAL TOP TEN.
LABEL: VANGUARD CAT. NO.:VSD 79252 (STEREO) VRS 9252 (MONO)


The legendary Serpent Power's sole album, a psychedelic masterpiece fronted by San Franciscan poet David Meltzer. The Serpent Power was a sunshiny folk-rock group, whose songs were musical translations of Meltzer's poetry. They were first noticed by Ed Denton, manager of Country Joe and the Fish, when he saw them perform at their first-ever gig, a benefit for the Telegraph Neighborhood Center. This was in November of 1966 — Denton recommended them to Vanguard Records (Country Joe's label) and by 1967 the band was signed and had released their first and only album. The Serpent Power was formed by Meltzer and his wife Tina (who sang both lead and harmony vocals), and also included Denny Ellis and David Stenson on lead guitar and bass, respectively, both of whom had gotten their start with San Francisco folksters the Grass Roots.

The band became a full rock outfit with the inclusion of John Payne on organ and Clark Coolidge on drums. The album, also entitled The Serpent Power, received a somewhat limited pressing and, despite featuring some excellent examples of folk-rock, the band never got that big, known mostly within the San Francisco area.The album's last track was a raga-rock epic which included electric banjo player JP Pickens, who stayed on as a permanent member as the band entered its second incarnation.Ellis, Stenson, and Payne left shortly after The Serpent Power was recorded, replaced by Bob Cuff (who'd come over from folk-pop band the Mystery Trend), on lead guitar and Jim Mocoso on bass. Although they continued reaching in ever-more exploratory directions, the band didn't record another album, and disbanded in 1968. David and Tina Meltzer went on to record another album, Poet's Song, under their own names.
LISTEN FULL ALBUM HERE:

 

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - 1966 GERMANY/US MONKS - "BLACK MONK TIME"

RARE ZANNY GARAGE GEM!! ORIGINALS CHANGE HANDS AT $1,000.
LABEL:INTERNATIONAL POLYDOR PRODUCTION CAT. NO.:249 900


The Monks were comprised of German-based American GIs Dave Day, Eddie Shaw, Gary Burger, Larry Clark, and Roger Johnston. The five formed the The 5 Torquays before and were discovered by German art students Karl-Heinz Remy and Walther Niemann who transformed them into monastic makers of raw garage-punk of the highest order.
The Monks recorded just one album, Black Monk Time, in 1966 for Polydor Records. The strangeness, rawness, and repetitiveness -- not dissimilar to their peers in Music Machine and The Red Krayola -- come from a Bermuda Triangle located between frat rock, psychedelia, and krautrock.

 

LISTEN FULL LP HERE

Black Monk Time is the debut studio album by Germany-based American rock band The Monks. It was released in March 1966 through Polydor Records and was the only album released during the band's original incarnation. The album's subversive style and lyrical content was radical for its time and today is considered an important landmark in the development of punk rock.
Contents [hide]
1 Background
2 Legacy
2.1 Critical reception
2.2 Accolades
2.3 Impact
3 Track listing
4 Personnel
5 Release History
6 References
7 External links
Background[edit]
The album was produced by Jimmy Bowien and recorded March 1965 in Cologne, Germany. "Complication" b/w "Oh, How to Do Now" was released as a single to promote the album. Like the album, it failed to garner commercial success. The single was re-issued in 2009 by Play Loud! Productions.

The Daily Telegraph 5/5 stars
The album was initially released to a muted critical and commercial reception, but has since gone on to become widely critically acclaimed and is now viewed as an important protopunk album. Anthony Carew in a restrospective review for About.com called it "possibly the first punk record, and is the obvious birthplace of krautrock" and "one of the 'missing links' of alternative music history".The Daily Telegraph wrote, "Listening to it now, finally, in full, remastered glory, it's hard to imagine how this primitive and often nightmarish music could have been allowed to be made at that particular time and place. It may not be to every taste but, lurching according to its own sublimely clueless logic, it has a purity and heedlessness which can never be repeated." Uncut wrote, "there's really nothing that can dull the impact of hearing the Monks' music for the first time."

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - 1966 USA Fapardokly - S/T

1966 USA FAPARDOKLY-S/T A GREAT BEAT POP~PSYCH GEM!!!
LABEL: UIP CAT. NO.: LP2250 (MONO)

Merrell Fankhauser :
The Fapardokly album still brings nearly $1,000 for a sealed copy and is one of the most sought after albums from the '60s. I thought it was a good idea to bring a sealed original Fapardokly LP to the autograph session at the Egyptian Theater. I was sitting at a long autograph table with John Charles of The Knickerbokers, Mark Tulin of The Electric Prunes, Billy Hinsche of Dino, Desi and Billy, Van Dyke Parks, Bobby Hart (Monkees songwriter), Kim Fowley, and the creator of the Rhino box set, Andrew Sandavol. I laid the Fapardokly album on the table and I was amazed at the crowd of people that were agasp to see the album! One young musician who appeared to be in his twentys said, "Is this a real Fapardokly album? Can I touch it"? My band and I idolize this record!" It was quite a surprise to me how so many young people knew who I was and knew about the Fapardokly album!
LISTEN FULL LP HERE:
 
Then the questions started coming from older fans and one guy said, "I heard there really wasnt a band that played live called Fapardokly." I would then have to tell the story that, "Yes...there was a band called Fapardokly, and we played at a club in Pismo Beach California for almost a year". And I made up the name by taking letters from the last names of everyone in the group at the time: 'FA' (Fankhauser), 'PAR' (Parrish, a temporary bass player), 'DO' (Dodd), and 'KLY' (Dick Lee, our drummer).

The real Fapardokly story goes back to the end of 1963 when I quit the surf band The Impacts in Pismo Beach and moved to the high desert area of Lancaster, California. There I met a young guitar player named Jeff Cotton and together with Jim Furguson on bass and Greg Hampton on drums we formed Merrell and The Exiles. We were discoverd by Glenn Records in nearby Palmdale and started recording in the small Glenn studio. I recorded one of my first vocals I had written back in 1961, 'Too Many Heartbreaks' and a new song 'Please Be Mine.' It came out as our first single on the Glenn label and got airplay in the Antelope Valley and in L.A., reaching #9 on the local station KUTY April, 1964.

Hand Numbered Limited Edition Of 53/300 Copies, originally on UIP label.

Side 1:

1. Lila 0:00

Recorded 1966 at Gary Paxton Studio, Hollywood.

Merrell - vocal and guitar; Mark Thompson - organ; Jody Cobb, bass; John Parr, drums; Don Aldridge - vocals; and Gary Lotspeich - vocals.

2. The Music Scene 3:30

Recorded 1967 at Gold Star, Hollywood as Fapardokly.

Merrell - vocals and guitar; Bill Dodd - vocals and guitar; John Oliver - vocals and bass; and Dick Lee - drums.

3.Sorry For Your Self 6:10

Recorded 1965 at Glenn Records as Merrell and The Exiles.

Merrell - vocals and guitar, Larry Willey - vocals and guitar; Jim Furguson - bass; Greg Hampton - drums; John Day -organ.

4.Glass Chandelier 8:15

Recorded 1966 at Gary Paxton Studio, Hollywood.

Merrell - vocals and guitar; Mark Thompson - organ; Jody Cobb - bass; John Parr - drums; Don Aldridger - vocals; and Gary Lotspeich -vocals.

5. Tomorrow's Girl 10:35

Recorded 1967 at Audio Arts Studio, Hollywood as Merrell And The Exiles.

Merrell - vocals and guitar; Larry Willey - vocals and bass; Mark Thompson - organ; and Randy Wimer - drums.

6. I Saw Suzie Cryin' 13:09

Recorded 1965 at Glenn Records as Merrell and The Exiles. 

Merrell - vocals and guitar; Jim Furguson - bass; Greg Hampton - drums; John Day - organ; and Bruce Ulch - trumpet.

Side 2:

1. Mr. Clock 15:40

Recorded 1966 Paxton Studio, Hollywood.

Merrell - vocals and guitar; Mark Thompson - organ; Jody Cobb - bass; John Parr - drums; Don Aldridge - vocals; and Gary Lotspeich - vocals.

2. Gone To Pot 18:14

Recorded 1967 at Glenn Records as Fapardokly.

Merrell - vocals and guitar; Bill Dodd - vocals and guitar; John Oliver - vocals and bass; and Dick Lee -drums.

3. No Retreat 22:20

Recorded 1967 at Glenn Records as Fapardokly. 

Merrell - vocals and guitar; Bill Dodd - vocals and guitar; John Oliver - vocals and bass; and Dick Lee - drums.

4. Too Many Heartbreaks 24:55

Recorded January, 1964 at Glenn Records, Palmdale as Merrell and The Exiles.

Merrell - vocals and guitar; Jeff Cotton - guitar; Jim Furguson - bass; and Greg Hampton - drums.

5. When I Get Home

Recorded at Audio Arts Studio, Hollywood, January 1967 as Merrell and The Exiles.

Merrell - vocals and guitar; Mark Thompson - organ; Larry Willey - vocals and bass; and Randy Wimer - drums.

6. Supermarket 27:45

Recorded 1966 at Paxton Studio, Hollywood.

Merrell - vocals and guitar; Mark Thompson - organ; Jody Cobb - bass; John Parr - drums; and Bruce Ulch - trumpet.

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - 1969 Kaleidoscope - S/T Mexico

1969 MEXICO KALEIDOSCOPE-S/T ULTRA RARE PSYCHEDELIC-GARAGE GEM
LABEL: ORFEON CAT.NO.: LP-12-666 MONO
South Of The Border Psych/ Great cover artwork by my friend Bodo Molitor.
Frank Tirado- Vocals bass
Orly Vázquez- Bass,guitar
Pedrín García- Guitar
Julio Arturo Fernández - Organ
Rafi Cruz-Drums


No… not the famed US outfit with David Lindley,or the UK psych group from the same period.
This Kaleidoscope was released in Mexico, in 1969, though, it should be clarified that the members are actually Dominican and Puerto Rican, and the LP was recorded two years earlier in 1967.

The vocals are in English, though, so don’t sweat the translations. The Spanish Kaleidoscope sounds more like the lean & mean, organ & fuzz-based, Tex-Mex garage-rock of Sir Douglas, than your typical acid trippers.

“Once Upon A Time There Was A World” is a bizarre, self-obsessed sidetrack (and the chorus to “P.S. Come Back” sounds like it was written by Morrissey), but elsewhere you can actually hear how these guys have one foot in the garage and the other inching towards spacial regions unknown.

 It’s an effective mix that reeks of psychedelia, but still rocks simply – like a gang of delinquents practicing for a local bash.

LISTEN FULL ALBUM HERE



Hang Out (2:20)
P.S. Come Back (2:11)
A Hole In My Life (2:34)
Let Me Try (3:28)
I Think It’s All Right (3:00)
Colours (2:37)
Once Upon A Time There Was A World (8:09)
A New Man (2:38)
I’m Crazy (3:34)
I’m Here, He’s Gone, She’s Crying (2:28)

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week 1968 USA FAINE JADE - "INTROSPECTION"

A PSYCHEDELIC MASTERPIECE, IN MY TOP TEN.LABEL: RSVP CAT.NO.: ES-8002

LISTEN FULL LP  PRESS HERE HERE:  

One of the highly collectible LPs of the 1960's, Introspection: A Faine Jade Recital . The Introspection LP comprises 10 songs that make up a minimalist psychedelic masterpiece. Using a few overdubs, the recording relies on the five-piece instrumental lineup behind Jade's decidedly Anglicized Long Island accent.

The opening "Doctor Paul Overture" sets the stage for an album bursting with curiously of-center British-influenced psychedelic pop. "People Play Games" reveals Jade's hippie-era lyricism magic lanterns, scarlet scissors, and crystal cornucopia, while its percussive intro and jungle play-out suggests The Beatles' "Tomorrow Never Knows." "Ballad Of The Bad Guys" has a garage attack that benefits its title; A Brand New Groove" features a guitar riff that could have worked for the Rolling Stones; "Don't Hassle Me" proclaims the generation- gap chorus; "No-o-o! Don't you hassle me/ I'm trying to be young/ I'm trying to be free."
The title track "Introspection" leans toward a catchy folk rock, while "Cold Winter Sun" allows Manzi to repeat a lick echoing "Than He Kissed Me" before launching into a clearly mismatched power trio vamp. Jade enshrines his Brit-pop-folk-garage rock influences in the imaginative "I Live Tomorrow Yesterday," an upbeat number that sounds like a hit single. "Grand Finale", a five-minute instrumental experiment, closes the LP with a layered mix of effects, backward tracking, and studio dissonance.

The brilliant psychedelic rock 'n' roll of Faine Jade passed through the orange-colored skies of 1968 like a pink and lavender comet, then was gone... Fortunately Jade left behind a wondrous album to detail his amazing, one-way voyage through the night skies. Introspection: A Faine Jade Recital details every deliciously enigmatic, Syd Barrett-inspired twist and turn of the short but sweet career of this mysterious artist.

Tracklist

A1 Dr. Paul Overture 3:02

A2 People Games Play 4:10

A3 Cold Winter Sun Symphony In D Major 3:11

A4 I Lived Tomorrow Yesterday 2:A5 Ballad Of The Bad Guys 4:25

B1 Introspection 3:35

B2 A Brand New Groove 3:00

B3 On The Inside There's A Middle 5:36

B4 Don't Hussle Me 2:40

B5 Grand Finale 5:25

All songs written by Faine Jade and Nick Manzi except where indicated.

Musicians

*Faine Jade - 12-String Hagstrum Solid Body Electric, Rhythm Guitar

*Nick Manzi - Guild Starfire Solid Body Electric, Lead Guitar

*Brian Cooke - Piano, Farfisa Organ, Hammond B-3, Keyboards

*Victor Muglia - Fender Electric, Bass Guitar

*Randy Skrha - Drums, Tamborine, Bongos, Percussion

*Bruce Bradt - Keyboards

*Kevin Chase - Electric Guitar

Related Act

1966-68 Bohemian Vendetta - Enough

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - 1969 US FJ MC MAHON - SPIRIT OF THE GOLDEN JUICE

1969 US FJ MC MAHON-SPIRIT OF THE GOLDEN JUICE
ACID FOLK ULTRA RARE GEM!!!!
LABEL:ACCENT CAT.NO.: ACS 5049

 

LISTEN FULL LP HERE:

        

Originally released in 1969 on the Accent label. Pressed in a tiny quantity and scattered around the California coastline, Spirit of The Golden Juice has become a top item among collectors and folk/psych lovers alike. Its a spell-binding blend of heartfelt singer-songwriter emotion and spiraling acoustic guitar accompaniment, standing up proudly alongside heroes like Hoyt Axton, Kris Kristofferson, and Fred Neil, but with a raw and adventurous spirit all its own.

As his sole musical release, F.J. McMahon created one of the most emotionally compelling and cohesive albums ever.

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Velvet underground Scepter Studios April 1966

1966 US THE ULTRA RARE NORMAN DOLPH'S VELVET UNDERGROUND SCEPTER STUDIO SESSION APRIL 25 1966 ACETATE NOW AGAIN ON EBAY FOR $ 80,000!!!

The rare April 1966 Scepter Studios recordings captured on acetate featuring early, alternate versions of songs later issued on The Velvet underground & Nico available now!
Norman Dolph's original acetate recording of the Scepter Studios material contains several recordings that would make it onto the final album, though many are different mixes of those recordings and three are different takes entirely. The acetate was cut on April 25, 1966, shortly after the recording sessions.
It would resurface decades later when it was bought by a collector of Montreal, Canada in 2002 at a flea market in the Chelsea neighborhood of New York City for a few coins. It was then sold on E-Bay from that collector for over $25k.
LISTEN TO THE WHOLE ACTUAL ACETATE HERE:


EXCUSE ANY SKIPS,BUMPS,OR HISH BUT IT'S THE REAL THING PLAYING!!!

 

 

Although ten songs were recorded during the Scepter sessions, only nine appear on the acetate cut. Dolph recalls "There She Goes Again" being the missing song (and, indeed, the version of "There She Goes Again" that appears on the final LP is attributed to the Scepter Studios session).
This recording represents the first studio session of The Velvet Underground at Scepter Studios in New York City during April 1966, these tracks represent the original versions of such legendary songs as Heroin, Venus In Furs and Waiting For The Man, before they were re-recorded at TTG Studios in Los Angeles and remixed for release on Verve in 1967 as The Velvet Underground And Nico.
Features:
• Scepter Studios Sessions - Alternate versions/mixes
Selections:
Side A:
1. European Son (Lou Reed, John Cale, Sterling Morrison, Maureen Tucker)
2. The Black Angel's Death Song (Lou Reed, John Cale)
3. All Tomorrow's Parties (Lou Reed)
4. I'll Be Your Mirror (Lou Reed)
Side B:
1. Heroin (Lou Reed)
2. Femme Fatale (Lou Reed)
3. Venus in Furs (Lou Reed)
4. I'm Waiting For the Man (Lou Reed)
5. Run Run Run (Lou Reed)

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - 1972 GREECE KOSTAS TOURNAS-APERANTA CHORAFIA

1972 GREECE KOSTAS TOURNAS-APERANTA CHORAFIA (ENDLESS FIELDS)
ROCK PROG OPERA,CONCEPT ALBUM WITH THE GROUP RUTH AND THE NATIONAL GREEK OPERA.
LABEL: POLYDOR CAT. NO.:20421027
LISTEN FULL LP HERE:
After the split of "Poll", Kostas Tournas went on to record a great progressive-psychedelic concept solo album. A major progressive folk-rock opus with no distinction into separate tracks; it's a autobiographic concept album. Tournas wrote and arranged it for a large orchestra -something unbelievable, speaking for Greece, back in the early 70's- and a rock group (RUTH). He provided the vocals and the guitars by himself.

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Music Emporium 1969

1969 USA MUSIC EMPORIUM-S/T PSYCHEDELIC ULTRA RARE DELIGHT!!
LABEL:SENTINEL CAT.NO.:PC 69001
LISTEN FULL LP WITH BONUS TRACKS HERE:
Very rare lp recorded in the begining as a demo,but Sentinel decided to go along and issue it in 200 copies,most of whom got lost and a 45 in promo and plain edition to forwarn the market,but nothing came up and the lp got lost in obscurity.So originals,if found,change hands at $4.500 nowadays!!!
The band didn't like the issue and thought they ought to re-master the songs but Sentinel felt it was fine,sth i agree with.

Initially called The CAGE, this trippy West Coast psych band from the 60's were quite sophisticated for their time. They started off in 1968 when keyboardist Bill Cosby joined forces with guitarist Dave Padwin and two female musicians, namely bassist Carolyn Lee and drummer Dora Wahl. All four were either classically trained or seasoned club veterans, Cosby himself being a UCLA music major. Evolving smack in the middle of the flower power era, they played their blistering rockers and wispy melodies quite convincingly, borrowing from jazz, classical music, avant-garde and rock. On the psychedelic side, they were definitely more song oriented than, say, early PINK FLOYD; although they did pour a mean dose of organ on their self-titled LP, released in 1969. Unfortunately, a year later Cosby got drafted and the band broke up.

Their album is a fascinating testimony of a different time and place. Highly organ dominated, it has just about everything one would expect from a late 60's album: driving rhythms, heavy guitar riffs, trippy Farfisa organ and cool, groovy male/female vocals by Cosby and especially Lee who delivers her druggy, cosmic lyrics with style. Their solos are concise and they know how to lock into a groove without jamming aimlessly, as did so many bands of that era.

Music Emporium
*Bill "Casey" Cosby - Vocals, Keyboards
*Dave Padwin - Guitar
*Carolyn Lee - Bass, Background Vocals
*Dora Wahl - Drums
1. Nam Myo Renge Kyo
2. Velvet Sunsets
3. Prelude
4. Catatonic Variations
5. Times Like This
6. Gentle Thursday
7. Winds Have Changed
8. Cage 17:18
9. Sun Never Shines
10. Day Of Wrath

 

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - The Fugs First Album 1965

1965 USA THE VILLAGE FUGS-"SING BALLADS OF CONTEMPORARY PROTEST,POINT OF VIEWS.AND GENERAL DISSATISFACTION"
~A ZANNY HIPPIE GARAGE PSYCH FOLK EXPERIMENTAL GEM~
LABEL: BROADSIDE RECORDS CAT.NO.:BR 304 MONO
LISTEN FULL ORIGINAL LP HERE:

The Fugs First Album is the 1965 debut album by The Fugs, described in their AllMusic profile as "arguably the first underground rock group of all time" In 1965, the album charted #142 on Billboard's "Top Pop Albums" chart. The album was originally released in 1965 as The Village Fugs Sing Ballads of Contemporary Protest, Point of Views, and General Dissatisfaction on Folkways Records before the band signed up with ESP-Disk, who released the album under its own label with a new name in 1966.The album was re-released in 1993 on CD.

 

History
When poet and publisher Ed Sanders established a bookstore next to the apartment of beat poet and publisher Tuli Kupferberg in 1963, the two decided to form a band, The Fugs, writing 50-60 songs between them prior to asking Ken Weaver to join.[5] The trio invited Steve Weber and Peter Stampfel of the band Holy Modal Rounders to perform with them at the 1963 grand opening of Sanders' bookstore. Sanders describes the event as heavily attended, with William S. Burroughs, George Plimpton and James Michener among the luminaries in attendance. Harry Everett Smith, producer of the famous Anthology of American Folk Music, persuaded Folkways Records to issue the Fugs' first album. Following recording sessions between November and February 1963-4, the album The Village Fugs—Ballads and Songs of Contemporary Protest, Points of View and General Dissatisfaction was released (Broadside BR 304; also listed with a related Folkways serial number, FW 05304, though it is unclear whether this is a separate pressing/edition). Following a nationwide tour, The Fugs signed a contract with ESP-Disk, who re-released the album in 1966 (ESP-1018), in both mono and stereo, with some changed edits and one substituted take (see below).
A large number of additional performances were captured in the sessions for this album. El Jardín De Las Delicias Psicodelicaseven of them first appeared on a 1967 ESP album entitled "Virgin Fugs" (ESP-1038), and an additional 7 performances (five led by the Holy Modal Rounders) first appeared on the mid-1970s compilation "Fugs 4, Rounders Score" (ESP-2018) The Fugs claim that both of these albums were unauthorized bootlegs. Three additional performances and some studio chatter appear on the Fugs' 4-CD box set "Don't Stop! Don't Stop!"
The currently available CD contains the later ESP stereo version of the album. It also includes, among its 11 bonus tracks, 6 outtakes from the sessions, including 5 from the above two ESP bootlegs. The other 11 tracks, the alternate performance of "Swineburne Stomp" from the Broadside album, and the other Broadside edit variations, remain unreleased in the CD era.
The recent Fugs box set "Don't Stop! Don't Stop!" contains an additional three performances from these recording sessions.
Variations
The original (mono) Broadside release contains different edits of some of the songs from the now standard stereo ESP release.
The first three songs have longer introductions (usually a few seconds or bars of music).
"Supergirl," while the same basic performance, has the line "Fuck like an angel" changed to "mmmm" like an angel." (Both versions render the last line as "shake like an mmmm in an mmmm").
"Swinburne Stomp" is an entirely different performance, introduced with Sanders' line "In the key of metaphysical distress."
"My Baby Done Left Me" edits out the final, very loud "shit", crudely replacing it with yodeling and a fade over a prior chorus. It does, however, leave in the earlier line "I'd give up heifer fucking."
The performance of "Boobs a Lot" starts later in the song, on the line "Down in the locker room."
The sound quality of the first session material is extremely muffled.
At least one pressing on the ESP label includes these same takes and edits. It is unclear when the substitutions were made.
ESP releases included at least three cover variations: a blue tinted cover, a black and white cover with advertisements on the back, and a later psychedelic painting of a wizard.
Track listing
"Slum Goddess" (Ken Weaver) – 1:58
"Ah, Sunflower, Weary of Time" (William Blake, Ed Sanders) – 2:15
"Supergirl" (Tuli Kupferberg) – 2:18
"Swinburne Stomp" (Sanders, A.C. Swinburne) – 2:50
"I Couldn't Get High" (Weaver) – 2:06
"How Sweet I Roamed" (Blake, Sanders) – 2:11
"Carpe Diem" (Kupferberg) – 5:07
"My Baby Done Left Me" (Sanders) – 2:18
"Boobs a Lot" (Steve Weber) – 2:12
"Nothing" (Kupferberg) – 4:18

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Julian Jay Savarin - A Time Before This

 A PSYCH~PROG GEM!!!
LABEL:YOUNG BLOOD CAT. NO.: SYB 2 GATEFOLD COVER DOUBLE LP

LISTEN FULL LP HERE:

Julian's Teatment is yet another forgotten and obscure gem of progressive and psychedelic rock. Not very often does a sci-fi author involve himself with music. Michael Moorcock's involvement with Hawkwind is one of the best examples. And Julian Jay Savarin is another author who involved himself in music, with this band Julian's Treatment. Savarin played the organ and he had an Australian named Cathy Pruden to handle the vocals, with some other guys to handle the guitar, bass, drums, and flute (no liner notes were included, unfortunately).

A Time Before This, released in 1970, was the one and only album by this band (Savarin released an album under his own name called Waiters on the Dance, which varying sources say was released in 1969, 1971, or 1973). Unsurprising, the album is a sci-fi concept album, a bit difficult for me to follow when a lyric sheet wasn't even included, but it seems to involve the destuction of the Earth in which a Terran ends up on a planet inhabited by strange, blue-skinned people, and an evil megalomaniac. Musically, it's late '60s sounding psychedelic with progressive rock with great spacy organ and a cosmic feel to the whole album. Great female vocals as well with the occasional spoken dialog. Highlights include "Phantom City", "The Black Tower", "Altarra, Princess of the Blue Women", "Twin Suns of Centauri", "Alkon, Planet of Centauri", "The Terran", "Fourth From the Sun", and "Strange Things".

All the music sounds like it should belong on some campy sci-fi film from the late 1960s, but that should not come as any surprise. One band that Julian's Treatment gets compared to is The United States of America, the American band that released an self-entitled album in 1968 that featured Joe Byrd and Dorothy Moskowitz. Also comparisons to such prog rock bands lead by female vocalists like Analogy, Sandrose, and Holland's Earth & Fire are pretty common as well. Which is safe to say, if you're a fan of any of these groups, chances are you'll like Julian's Treatment, a great lost gem that sure to grow on you. It's been reissued on CD twice, first by See For Miles which included bonus tracks from Julian Jay Savarin's album Waiters on the Dance, and by Akarma, with no bonus tracks, but excellent, miniaturized LP-style packaging. The original LP (released in Britain by Young Blood and in the U.S. on Decca) isn't exactly easy to come by, but regardless, this album is another excellent obscure gem to add to your collection.

TRACKLIST:
A1 First Chapter: First Prophecy / "First Oracle"
A2 Second Chapter / "The Coming Of The Mule"
A3 Third Chapter / "Phantom City"
B1 Fourth Chapter / "The Black Tower"
B2 Fifth Chapter / "Alda, Dark Lady Of The Outer Worlds"
B3 Sixth Chapter / "Altarra, Princess Of The Blue Woman"
C1 Seventh Chapter: Second Prophecy / "Second Oracle"
C2 Eight Chapter / Part One: "Twin Sun Of Centauri"
C3 Ninth Chapter / "The Terran"
D1 Tenth Chapter / "Fourth From The Sun"
D2 Eleventh Chapter / "Strange Things"
D3 Twelfth Chapter: Epilogue / "A Time Before This"

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Julian Jay Savarin - Waiters On The Dance

Julian Jay Savarin was the leader and main songwriter in Julian's Treatment. He wrote, directed, and played on the 1970 double concept album A Time Before This. It is based on the book Lemmus, A Time Trilogy - Waiters On The Dance, which Savarin wrote. A poet and writer, as well as a musician, he used his multi-talented focus to his advantage on many different projects.
Lemmus / A Time Trilogy-Waiters On The Dance, originally released in 1971 and re-released by Akarma Records in 2001, comes attractively packaged with the original artwork in the vinyl and CD formats.
A concept album with excellent music seems to be more ear catching than any other type of recording. When you know that there is a story behind the music, better yet an entire book, the entire picture begins to formulate in your minds eye. When you then take that formula and add powerful guitar riffs, grinding organ, and Lady Jo Meeks’ (later with Catapilla) voice to tell the story and set it all in motion with feeling, you have all the elements for a successful musical endeavor that spells progressive rock. This LP is a classic that deserves an abundance of attention by those that appreciate what this captivating genre has always had to offer its devout listeners. I am like many of you; I had never heard of this album before and felt entirely blown away by its impact. I am sure you will be too, and then you will wonder why you had not heard of this sooner. As the saying goes… better late then never, get it now!

 

  

Line-up / Medway Garage style group looking for musicians

- Lady Jo Meek / vocals
- Julian Jay Savarin / story, arrangements, keyboards
- John Dover / bass
- Nigel "Zed" Jenkins / guitar
- Roger Odell / drums

Track List
..
01. Child Of The Night 1 & 2 (8:36)
02. Stranger (2:21)
03. The Death Of Alda (5:29)
04. Dance Of The Golden Flamingoes (8:55)
05. Cycles (4:23)06. Soldiers Of Time (2:59)

G.O.D. Records Presents The Gem Of The Week - Phil Pearlman 's "Relatively Clean Rivers"

Relatively Clean Rivers-S/T 1975 US~Late Psych
About : Former Beat Of The Earth leader Phil Pearlman assembled this band in the early seventies and eventually recorded this magnificent rural rock album in 1975. The Relatively Clean Rivers album stands with the very best albums of the era, possessing a purely American sound and walking confidently past the shadow of its previous incarnation. Amazingly well produced for a private pressing, it is the very antithesis of his earlier releases that could be classified as garage (at a stretch, perhaps - they are not without a certain tangible sophistication). No measurable degree of time or expense was spared in the creation of the Relatively Clean Rivers album, which took over a year to assemble and is the most flawless snapshot of the California seventies underground scene you will ever hear.

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Phil Pearlman 's "The Electronic Hole"

The Electronic Hole is band by Phil Pearlman. He 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.
One of first thing you'll notice about this album is that it has strange fuzz and noisy power combined with psychedelic riffing complexity. Second thing may be that it only has 2 song titles - "The Golden Hour" and "Love Will Find A Way" - divided in many parts. Whole noise theory and vocals may remind you of The Velvet Underground, because Pearlman's voice does sound similar to John Cale's. Anyhow, this album contains extremely rare songs from extremely rare band, so copy of this on LP may cost fortune. Original heavy psych sound without hesitation drones you into psych wandering and that's one of biggest qualities of this rare gem. First part of "The Golden Hour" is great trippy track with nice organ background, kinda similar to Iron Butterfly's idea of how psych song should sound like, but with mellow and sweet vocals temptingly pulls you into this album. Part II with great sitar playing became my favorite track of this album and it mesmerized me after only one play. Chilly, relaxed and in Ravi Shankar's style - can't go wrong with that. Part III is however rougher than first two parts, offering more rock and roll, psych rock, noise rock and avant garde in one shot - and that's where The Velvet Underground similarities began. Part IV made touch with blues, where harp playing is present through whole song. First part of "Love Find Will A Way" starts mystically and slowly, bringing unexplained joy of just listening that song, and maybe, if lucky, holding doobie to this song. Part II starts with noisy riff and continues on through whole song, lasting 7:05 and bringing average jam in the middle of the song. Third part it's the peak of noise rock on whole album. Guitar is so fuzzy you hardly hear the voice, but atmosphere is achieved - messed and unclear. You'll love this album if you search for heavy psyched out The Velvet Underground-influenced band, rare early 70 's avant-garde scene mixed with some mellow and cool vibe.
The Electronic Hole exists in a strange netherworld between Cosmic Michael-style endearing ineptitude and strangely effective, stuttering, trance-inducing folk-rock sounds. The main problem, or charm if you want to see it that way, is that the Electronic Hole's ambition tends to outstrip their playing abilities. Drums stumble, vocals waver off key, and the rhythm guitar tends to get a little distracted. On the more conventional songs, this doesn't work out very well. Fortunately, there are some longer, droning tracks which make for a far groovier listen.
My view on this album is that the songs under five minutes are pretty disposable, but the ones longer than that are worth a listen. "The Golden Hour Part IV" is like a distilled, sloppier "Venus in Furs" with a garage-band plunking bassline driving it along, while "Love Will Find A Way Part II" has a fuzzed-out minimalism that strikes me as a predecessor to the signature Spacemen 3 sound. "Love Will Find A Way Part III" is one of those raga rockers that tend to shoot straight for the sweet spot in my ear. Meanwhile, tracks like the opening "The Golden Hour Part I" test my patience a bit as we hear the band attempt a sunburst West Coast rock sound, yet the band can't play their instruments very well and their ability to stay in time with each other is even worse.
Although harboring some serious flaws, the Electronic Hole's long player has at least half of a pretty hep album for you psychedelic junkies. Hey, that's all Love's "Da Capo" can lay claim to as well. Anyway, you can start the dirty jokes about the band's name... now.

Post by Michalis Matthaiou.

G.O.D. Records Presents The Gem Of The Week - Phil Pearlman 's "The Beat Of The Earth"

From today and every Wednesday, G.O.D. Records launches "The Gem Album Of The Week"!!! Articles, with full reviews, pictures, and music links for your ears pleasure:

This Wednesday: The 1st of 3, Phil Pearlman 's gem, "The Beat Of The Earth"...

“The sleeve says, ‘If you’re looking for psychedelic music, do not buy this album unless you’re looking for psychedelic music,’ a fair summing up of this demented cerebral acid-vibe journey. One of the big discoveries of the late 1980s and it certainly is one trancey organ/guitar tribal surfpsych jam trip stretched over two full sides. Warning: this is too far out for many, though I certainly dig it – close to the heart of the LSD experience, even while the main creative force behind it was opposed to drugs. Essential. Phil Pearlman was the main creative force behind the band, and went on to several related projects.” [PL]

According to an interview with former member Karen Darby “the beat of the earth” moniker came about when, “we were playing music with a couple of other people, I was keeping a steady beat by clapping. The words were free-form poetry, political to whimsical. The music was free-form, original, and unrehearsed, since it was all ad lib or spontaneous. I remarked to Phil that it was the steady thrum one experienced when you went to a Love-In. All these small groups of musicians playing guitars, tambourines, flutes, auto-harps, bongos, anything that made sound, all simultaneously created a type of orderly orchestral sound. The combined beats were primitive, primal, the beat of the earth…”

If the name Phil Pearlman sounds familiar, it’s because he later recorded with The Electronic Hole 1970 and the most known Relatively Clean Rivers 1976, which are other two of the most exciting and essential California-based private press records out there. — 

Post by Michalis Matthaiou.