Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:22)
Brian Auger & The Trinity - "Black Cat" (3:23)
Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.
Review: Dantalian's Chariot was Zoot Money's brief foray into the psychedelic world, fronted by a young Andy Somers, later known as Andy Summers of The Police. This 1967 project emerged from the remnants of Zoot Money's r&b group, Zoot Money's Big Roll Band and ventured into the experimental sounds of the psychedelic era. The band's only single, 'Madman Running Through The Fields', became an underground classic, blending West Coast influences and trippy Eastern sounds with inventive use of backward tapes and a swirling organ. The album "Chariot Rising" encapsulates the spirit of British psychedelia, with tracks like 'Sun Came Bursting Through My Cloud' and 'Soma' that showcase sitar-driven melodies and hypnotic rhythms. The band's sound is an eclectic mix of fuzzed-out guitar, jazz-inflected organ, and light Eastern touches, clearly influenced by both the British underground scene and the West Coast of the US. Tracks like 'World War Three' and 'High Flying Bird' explore darker, socially-conscious themes while maintaining the colorful sonic palette that defines this album. Although Dantalian's Chariot disbanded after just one single and an unreleased album, this record offers a fascinating glimpse into the psychedelic era and demonstrates the raw creativity of its members. Chariot Rising stands as an essential artifact of late 1960s British psych-rock.
The Chocolate Watchband - "Sweet Young Thing" (2:56)
The Music Machine - "The People In Me" (2:50)
The Knight Riders - "I" (3:19)
The Shillings - "It's Up To You" (2:09)
The Venturie 5 - "Good 'n' Bad" (2:24)
The Hooterville Trolley - "No Silver Bird" (2:20)
The Fog - "Grey Zone" (3:24)
The Lyrics - "They Can't Hurt Me" (2:50)
The Nightcrawlers - "Who Knows" (2:20)
The Tormentors - "She's Gone" (2:24)
The Cords - "Too Late To Kiss You Now" (2:29)
Review: Darge curates a selection of US garage stompers from the 60s, blending the easily accessible with the rare and coveted. Aimed at both new listeners and seasoned collectors, the compilation features artists like the Hooterville Trolley, the Litter, the Music Machine, the Venturie "5", the Lyrics, and the Nightcrawlers. These tracks reflect the raw energy of the 60s garage scene and pay homage to the British invasion bands such as the Who, the Kinks, and the Rolling Stones. With fuzzed guitars, driving beats, and a proto-punk attitude, the music feels fresh and is gaining traction with a new generation of fans. The compilation includes standout tracks like 'Action Woman' by The Litter, 'Hang It Out To Dry' by Bud & Kathy, and 'No Silver Bird' by The Hooterville Trolley. Housed in a sleeve designed by Robin Banks, who also created the artwork for Darge's Rockabilly compilation, this release is a visual and auditory treat. Liner notes from Keb Darge add a personal touch, making this an essential addition to any garage punk collection.
Review: Darkside - the duo of visionary producer Nicolas Jaar and guitarist Dave Harrington - have brought their touring drummer Tlacael Esparza into the recording process for this third album of theirs and he's now a full-time member. The songs for this album, which were recorded in Los Angeles, the south of France and Paris, came out of a series of improvisational jam sessions and they transport you into their swaggering and inventive universe where anything goes. The sheer joy of 'S.N.C' brings to mind Jaco Pastorius in terms of taking the bass guitar to new heights and the funk keyboard is a throwback to the 80s Casio era. 'Graucha Max' is a lot darker and twisted, delving into psychedelic rock with distorted lines, but then splicing it with sub-heavy bass that would ignite any club dancefloor. Darkside are right up there with the best the Los Angeles scene has to offer right now.
Review: Dead Meadow's latest offering marks a major leap forward for the legendary American psychedelic trio, blending their signature sound with new emotional depth. While their past albums have dazzled with expansive, mind-melting riffs and heavy cosmic grooves, this release brings a raw, introspective energy that highlights their lasting presence in the psych-rock world. Tracks like 'The Space Between' and 'A Wave Away' show the band experimenting with softer, more reflective moments, balancing their traditionally heavy sound with delicate, expansive textures. Drummer Mark Laughlin delivers some of his best performances yet, especially on 'Dead Tree Shake,' while the influence of late bassist Steve Kille is strongly felt throughout. His final contributions are heard in the powerful closing track, 'Voyager to Voyager,' where his artistry resonates deeply. This album proves Dead Meadow are evolving i not just in their sound, but in the essence of what continues to make them a standout act in modern psychedelic rock.
Review: Dead Sound is collaborative project featuring Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods, two artists with existing links to the Music From Memory label, Sterk being part of the trio Gaussian Curve and Moods released the 2022 album Hidden Gem with The Zenmenn. The eight tracks here are delicate and atmosphere-laden, drawing on everything from reverb-soaked, harmonic folk - 'Eye In Disguise' - to the Geiger counter rhythm and low-in-the-mix mutters of 'Force of Nature', like an understated Throbbing Gristle if such a thing could be imagined. If you enjoyed Trentemoller's recent reinvention of shoegaze, Scandi synthpop and post-punk on Dreamweaver, then this will be well up your street.
Trilogy: 2:30 Casino/In Between A Dream/Lady Of The Garden (4:56)
Sweet Talkin' Woman (2:57)
Jane's Song (The Slow One) (2:15)
Hide The Water (2:32)
Afternoon (2:40)
Slow It Down (3:40)
Too Early To Be Late (2:52)
Last Monday Night (2:37)
Back Road Rider (2:39)
Livin' (Way Too Fast) (3:37)
Review: December's Children's self-titled album, a gem from 1970, encapsulates the shifting musical landscape of the late 60s and early 70s. With a blend of blues, country and rock, their dynamic sound bridges the gap between pop and heavy rock featuring both male and female vocalists, tight harmonies and a touch of psychedelia. While not explicitly psychedelic, the infusion of psyche-style keys and organ adds a depth that's especially evident in tracks like 'Trilogy' but the band's inclination towards straightforward rock 'n' roll sets them apart from the overtly psychedelic trends of the time. Their country-blues roots serve as a precursor to later acts like Savoy Brown and Blodwyn Pig, showcasing their influence on the evolving rock sound. Pressed on eye-catching pink vinyl, December's Children's sole album remains a testament to their musical innovation and versatility.
Review: Critically acclaimed guitarist and songwriter Steve Marion, known as Delicate Steve, drops his new album Delicate Steve Sings and the title raises questions. Does it refer to the distinct "voice" of his guitar, or is there actual singing this time? Marion's guitar sound is instantly recognisable and sets him apart in a crowded indie rock scene. His unique style has led to collaborations with Miley Cyrus, Paul Simon, Amen Dunes, and The Black Keys, and was even sampled by Kanye West. Inspired by Willie Nelson's Stardust during a trip to Greece, Marion's latest album channels iconic voices through his guitar and showcases its smooth, bold, and singular tone.
Review: This is a special ivory white vinyl version of Zani Diabate's Super Djata Band is another essential release from Numero Group. The band was a leading force in Mali's music scene during the 1980s when they blended Wasulu hunter music, griot praises, Senufo dances, Fula and Mandingo tunes with Western psychedelia, blues, and Afrobeat. Their 1982 album captures Diabate's virtuosity and is a showcase of his mastery of the guitar through eight compelling tracks. The resulting album is a gold standard in world music that confirms Diabate's place among the legendary West African guitarists and illustrates his unique ability to fuse diverse musical traditions.
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