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Tuesday, July 29, 2014

THE ECSTASY OF GOLD Vol.5 - 31 Killer Bullets from the Spaghetti West



Selected from one of the most complete Spaghetti Western audio archives, this series showcases the most inspired tracks in this legendary genre. Digging deep to excavate a treasure trove of obscure and rarely-heard tracks by some of the genre's greatest composers and vocalists, Ecstasy of Gold is the definitive series for aficionados of Euro-Western films and the music that they created. Loud gunshots with reverb and echo appear with the first image of a lawless killer riding a horse... a punchy & trebly bass guitar seeps into your brain as he draws his pistol... a hair-raising scream, half-melodic, half-banshee, spews forth from the speakers as blood splatters yet again onto the desert floor. 
The audio soundtrack to the Italian version of the American West is flamboyant, brutal, intense, and unforgiving. Songs composed for the Italian Westerns of the 1960s and 1970s have become a genre all unto themselves. There were hundreds of European Westerns during this period and the majority of them were made by Italian directors and scored by Italian composers. Crying trumpets, exploding surf guitars, thundering drums, droning organs, dramatic vocal performances, and innovative special effects were woven into a wild and violent desert backdrop creating that undeniable Spaghetti Western sound heard on this record. 
The most famous of all the Italian soundtrack composers is Ennio Morricone and his music for the Italian Western is guaranteed to inspire and amaze until the end of time itself. But there were many other great and legendary maestros who scored their share of Westerns, and this compilation presents transcendent, brilliant, and challenging tracks from the likes of: Bruno Nicolai, Gianni Ferrio, Francesco De Masi, Marcello Giombini, Luis Bacalov, Stelvio Cipriani, Alessandro Alessandroni, Nora Orlandi, Nico Fidenco, Piero Umiliani, and many others.

BRAND NEW VOLUME of KILLER Spaghetti West tunes. Duck, You Suckers!... and Dig!


http://www34.zippyshare.com/v/88156736/file.html


Sunday, July 27, 2014

THE BONGO TEENS - Surfin' Bongos [1963] + Bonus Trax



When Art Laboe of the Original Sound label contacted Paul Buff about recording some surf tracks with bongos in the spring of 1963, Buff got together with guitarist Dave Aerni and became The Bongo Teens. Other than guitar, Paul Buff played and recorded everything else himself.

Laboe’s idea was to combine three tracks from Preston Epps (of “Bongo Rock” fame) with whatever Paul Buff could come up with.  Including Preston Epps’ #14 hit “Bongo Rock” and his #78 hit “Bongo Bongo Bongo,” “Surfin’ Bongos” was completed that summer and was originally issued by Original Sound in September 1963.  Here is the first official reissue of that album from the original mono and stereo album masters, along with many rarities and unreleased tracks drawn from master tapes and acetates.  In addition, The Bongo Teens’ version of “Bustin’ Surfboards” (originally by The Tornadoes) was featured in the film “Aloha Summer.”
 
As part of the bonus rarities, both sides of The Rotations’ single (“Heavies”/ “The Cruncher”) and the Brian Lord & The Midnighters single (“The Big Surfer”/ “Not Another One!”) are included along with extremely rare tracks (“Baja Rhythm” and “La Gran Ola”) that were only released in Mexico.  “The Big Surfer” was written by Frank Zappa, who played guitar and portrayed a surfer on the track.

 More PAUL BUFF 60's surfin' stuff. Original '63 Lp + Rarities = 23 bongo trax!
Dig the Bongos!




http://www58.zippyshare.com/v/79605319/file.html



Friday, July 25, 2014

PAUL BUFF PRESENTS: Highlights from the Pal and Original Sound Studio


Multi-instrumentalist Paul Buff created Pal Recording Studio in December 1957 with a simple two-track Viking recorder. The demand for stereo recording led Buff to create a homemade, five-track recording studio when the industry standard was still mono or two-track stereo recording.

Buff's studio creativity and complete openness in recording musicians of all backgrounds and styles naturally resulted in studio bookings by many local artists. Pal Recording Studio quickly became a place where musicians could record their rehearsals and repertoire and leave with high quality recordings. One of those groups of musicians was The Surfaris, who recorded "Wipe Out" at Pal in late 1962. This surf standard is the best known Pal recording.

"Paul Buff Presents Highlights From The Pal And Original Sound Studio Archives" has many in-demand rarities and unreleased tracks drawn from Paul Buff's mixdown tapes and reference discs. Original releases of the records represented in this box set literally cost hundreds of dollars apiece, reflecting the impressive historical and musical value of Crossfire's set.

Pal functioned as the recording home for Buff's record labels (Pal, Emmy, Yukon, Plaza and Vigah!) and for The Pal Studio Band, a group of musicians revolving around Paul Buff, guitarist Dave Aerni and young guitarist/drummer Frank Zappa. Buff taught Zappa the art of recording studio operation as The Pal Studio Band created a large body of work. On many occasions, this group succeeded in licensing their tracks to larger record labels. When these recordings could not find a home, in-house labels by Buff or Dave Aerni (Daytone, Ador, Daani) released them.

Emmy's releases featured three singles by The Masters, cut by Buff and guitarist Ronnie Williams. The B-side of the second Masters single, "Breaktime," featured overdubbed guitar leads by Zappa. Other early singles that spotlighted Frank Zappa were by The Penguins, The Hollywood Persuaders, The Tornadoes, Buddy And The Crickets, Ron Roman, Baby Ray And The Ferns, Brian Lord And The Midnighters, Mr. Clean, The Heartbreakers, Ned & Nelda, Bob Guy, Conrad And The Hurricane Strings, The Cordells, The Rhythm Surfers, The Woody Waggers, The Decades, and Johnny Barakat And The Vestells. Many Pal Studio Band tracks with Zappa involvement make their CD debuts in this box set, including some with original Mothers Of Invention vocalist Ray Collins.

While still at Pal, Paul Buff started working with Art Laboe, owner of Original Sound Records. Laboe asked Buff to create a new recording studio for Original Sound artists, and in 1964, Paul finished creating his own ten-track recording gear. Buff was already in place as Original Sound's studio engineer when he sold Pal Recording Studio to Frank Zappa on August 1, 1964. Many Original Sound artists were engineered by Paul Buff, who had started making his own recordings at the studio the previous year.

Paul Buff's Original Sound output was credited to his own name as well as many other artists. Tracks recorded with Dave Aerni were released as by The Bongo Teens and The Rotations. One-man-band recordings issued as The Hollywood Persuaders include the well known "Tijuana" and "Drums A-Go-Go." Paul also recorded with his first wife Allison as The Catalinas, Lori Allison, The Buff Organization and with vocalist Ricky Dean. The Friendly Torpedoes featured Buff with The Music Machine's Sean Bonniwell. Nearly the entire output of the All-American label (known for Strawberry Alarm Clock's "Incense And Peppermints") was engineered by Buff, as was Sugarloaf's "Green-Eyed Lady" for Liberty.

Buff was a self-taught pioneer in the field of independent record production in the early 1960's, developing his skills through the necessity of low budgets and creating unique techniques, recording equipment and sounds that would elevate such groups as The Surfaris and The Chantays into the limelight. Unsung genius of the recording world, the crazy guy built a 5-track machine when 3-track was the standard in the early 60's, and a 10-track machine in the mid-60's when 4-track was the standard. Frank Zappa later bought the studio from Buff, and changed its name to Studio Z.

Gadzooks! A bit of an overkill 156 tracks compilation (58 early masters with Frank Zappa contributions as performer, writer and/or producer) of 60's recordings from Pal and Original Sound Studio. Here you got to deal with hodgepodge of cool surfin', garage, psych, r-billy, pop and some lame stuff. Anyways, overall, it's an interesting trip so you gotta dig real hard!



Disc 1     Disc 2     Disc 3     Disc 4     Disc 5     Art

Wednesday, July 23, 2014

BO DIDDLEY - Hey! Good Lookin' [1965] Vinyl Rip!!!



One of Bo Diddley's least-known albums, mostly recorded in April of 1964 and released a year later, at the point when none of his records were selling in America. With an edgy, raunchy sound and modern record techniques (it's in stereo), Diddley and band come up with a solid '60s version of his original sound. The title track is a real jewel, featuring Jerome Green on the maracas and Lafayette Leake on the piano. "Mama Keep Your Big Mouth Shut" isn't a bad soul-styled number, with Diddley abandoning his standard beat in favor of a smoother, more Motown-like sound. He tries for a similar sound on "I Wonder Why (People Don't Like Me)" and "Brother Bear." In addition to the title track (which is not the Hank Williams tune), the Bo Diddley beat gets a workout on "La La La," "Rain Man," and "Bo Diddley's Hoot'nanny." Bo gets to have some real fun on "London Stomp," his commentary on the sudden fashionability of British rock & roll, parodying the accents and attitudes of most of the bands that he encountered on his visit to England in October of 1963. Other tracks sound like they'd have worked well as part of extended jams of the kind that Diddley did on-stage--"Yeah Yeah Yeah," in particular, could've come from the middle of one of his 15-minute shuffle-and-chant workouts, and would've been great in such a setting, although here, as a free-standing 2:25 track it's a little weak, but that can be forgiven in view of the strength of the rest of the material. [Bruce Eder]

Same ole "Diddling" but hey! It's a Bo Diddley Beat alright. Diddle Dig!!!




http://www37.zippyshare.com/v/44037765/file.html



Tuesday, July 22, 2014

THE SHADOWS - Jigsaw / From Hank, Bruce, Brian And John [1967]


1967. The Summer of Love. Sgt. Pepper's and Satanic Majesties, San Francisco, flowers in your hair...and the dear old Shadows, still besuited and a-twanging, a-grooving, and a-moving, and so firmly locked in a bygone age that even grandma thought they were a little square. And then you play their latest album. No one's ever going to believe that Jigsaw (released elsewhere as Shadows 67) is a lost psychedelic masterpiece; no one is ever going to line the Shadows' version of "Tennessee Waltz" up alongside "Lucy in the Sky with Diamonds," no matter how revolutionary John Rostill's use of fuzz bass may have been. But if Eric Clapton borrowed Jimi Hendrix's effects board, and you dropped more acid than either of them, closed your eyes, and drifted away, you could forget the sleeve's slick warning of "smooth arrangements in the style of today" and wonder what would happen if Pete Townshend sent some trademark chords through one song, Cream muscled in on another, and the Jeff Beck Group decided to take out "Cathy's Clown." "Prelude in E Major" and a dreamy "Stardust" head off the handful of undeniably traditional Shadows arrangements, and do so with applaudable aplomb. But the real meat on the album comes when the Shadows forget to reflect past glories, and simply let rip. 
"Friday on My Mind," the Easybeats chestnut so beloved of the garage band revival, is positively nasty and so accurately predicts David Bowie's later version that one has no doubt what he was doing during this halcyon year. Equally rousing is the cod country cowpoke anthem "With a Hmm-Hmm on My Knee" -- so loudly does history acclaim the Shadows' instrumental prowess and influence that their contributions to musical humor are frequently overlooked. Suffice to say, "Hmm-Hmm" slips effortlessly into the same bag as the earlier "What a Lovely Tune" and so on and, if the Shadows' place alongside the Bonzo Dog Doo Dah Band in the pantheon of rock's great comics remains in doubt, check out "Winchester Cathedral," which can barely stand for smirking, and "Green Eyes," which shares its rhythm with the Bonzos' own "Hunting Tigers Out in India." All of which adds up to one incontrovertible fact. This album is one of the all-time psych-era greats. And it's still a well-guarded secret. Funny how that happens, isn't it? [Dave Thompson]


By 1967, the Shadows were at the end of their hitmaking career, and very close to breaking up altogether. Before they went, however, they had one final classic to deliver, an album that arrived packaged up like a parcel, which, when unwrapped, revealed a host of solid gems, evidence that no matter how far pop music had moved from the model they helped style a decade earlier, the Shadows had no intention of being left behind. From Hank, Bruce, Brian, and John peaks with a typically well-crafted Graham Gouldman original, "Naughty Nippon Nights," but from start to finish, it rattles with a defiance that makes a mockery of the band's so-called "veteran" status. No matter that they scored their first hits (with Cliff Richard) while Lennon and McCartney were still killing time in the Quarrymen. For all that the Beatles brought to the '60s, none of it would have been possible without the Shadows, and their blistering version of "You're a Better Man Than I," the jokey "Snap Crackle and How's Your Father," and excellent covers of "The Last Train to Clarksville" and "The Letter" are career best album tracks (even if they can't compete with the band's best 45s). Plus they play with a ferocity that borders on menacing at times, even when slowing everything down and welcoming Cliff Richard into the pack for the hit "The Day I Met Marie"; it's a beautiful, dreamy song, but there's something oddly menacing about it as well, a moodiness that taps so thoroughly into the underbelly of psychedelia that, if this wasn't good ol' Cliff and the Shads, it could have been almost anyone.
[Dave Thompson]



 Two maybe lesser known but pretty interesting Shadows '67 slabs. Dig!




Saturday, July 19, 2014

CHICO ARNEZ - New Sounds Of [1972]



Chico Arnez, real name Jackie Davis, was a proponent of the Latin sound in England, having a BBC Radio show in the 60's and 70's and recording several albums. The liner notes say that he was convinced to record this collection of mostly covers because his public wanted a newer sound. He starts off with a swinging little Go-Go type number played by a big band called "Would I". The record is actually mostly loungey big band numbers such as One Note Samba, but Arnez does come through with some good covers like "Hawaii Five-O" with some open drums, a fast version of Fleetwood Mac’s "Oh Well" that sounds like it could be used in a TV cop show, and "Whole Lotta Love" with some more open drums. Cool covers of Bacharach tunes, spy-fi version of "Night Train", "Aquarius", Jobim's "One Note Samba"...

Some "New Sounds" here on Surfadelic. This Easy Listening classic was introduced to me by the GROOVIE tune called "Would I" which landed on supercool comp. TITTY-TWIST-A-GO-GO! alredy posted here. Well, I'm not an "Easy Listening Expert", but I can tell it's a Lounge slab "Par excellence". If I were you, I Would dig this stuff... Would I ?!? Dig!!!



http://www32.zippyshare.com/v/66462011/file.html



Friday, July 18, 2014

MEN FROM S.P.E.C.T.R.E. - The Living Eye [2006]



The Switzerland band Men From S.P.E.C.T.R.E. combines the best psychedelic groove with the funkiest 60’s spy-fi and the swingingest library music. The rough edges and instrumental action sound echoes the space-rock-bands and soundtracks of the 70s. The catchy beat of Drums, Congas and Bass join the wild Hammond organ and fuzzy Guitar to mash-up the scenes. Their influences cover Soundtracks, Hippies, 60s Beat, Mods, Rockers, Mockers, Library Music, Pill-Parties, 70s Rock music.

 
"The Living Eye" is the third record of the S.P.E.C.T.R.E.’s released on American label Hammondbeat Records. It is more indulgent, more psychedelic, and hits the beat harder than the previous records. Rather than trying to recreate the 60's mod sound, the men are now incorporating a more modern vision while staying true to the roots of the movement they further. Their songs are layered with multiple levels of sound, impeccable timing with sound effects that work with the music and don't stand out as cheap sonics, and the rhythms are both groovy and psychedelic at the same time. This album has good flow while each song is very polished and fluid in it's own right. No dead spots. [audiovisor]

Funky hammond grooves, space and psychedelic 60's to 70's rock, spy movie themes summed with FX sounds and hard beating drum breaks! For fans of Stereophonic Space Sound Unlimited, Dig!



http://www5.zippyshare.com/v/49451117/file.html



Tuesday, July 15, 2014

TRASHWOMEN - Spend The Night With / Vs.Deep Space / Live! / Lust EP



The Trashwomen were an all-women surf revival and garage punk band from the area of San Francisco that formed in 1991. Infatuated with the 60s Minneapolis surf-garage band The Trashmen, they developed their own fans, including The Donnas and The Spastics. The members were Tina Lucchesi (ex-Count Backwards), Danielle Pimm (also ex-Count Backwards) and Elka Zolot (formerly with Eight Ball Scratch). The group's first release was an EP of 1000 copies on the small, new independent label Hillsdale Record Company in 1992; it also was the label's first release. Tina Lucchesi and Danielle Pimm later were members of the garage supergroup The Bobbyteens (featuring Tina as singer), who inspired and helped start the career of their friends in the band The Donnas. [rateyourmusic.com]

Surf-rock hellcats howl at the moon. I can't think of an all-girl band who sound more psychotic than this. The lo-fi fidelity sounds blasted through a tin can and the music sounds straight from a garbage can. Half of these songs are covers of old surf instrumentals. The other half are snarling originals that blend in with the classics just fine and often feature the great grating vocal caterwaul of Elka Zolot. It's truly fun trash. If you like The Mummies, here's their girl counterpart.
[Jason Hernandez]

Yep! Here are almost everything they recorded.
Half Surf / Half Garage / Half John Waters
Dig!

















Sunday, July 13, 2014

RAMONES - s/t [1976] Vinyl Rip!!!



Original 1st line-up of my alltime favorite rock'n'roll band is no more. Now I can say it's the real "End of the century". I already have posted some RAMONES vinyl rips and had this one in process as this sad news breaks. Anyway, here's SUPER-SONIC Surfadelic vinyl rip of their debut slab from original US plastic. This one goes for Tommy. 1,2,3,4...!




http://www6.zippyshare.com/v/3149806/file.html



 It's a Baseball Bat Beat Alright!


Friday, July 11, 2014

CALIFIA: The Songs Of Lee Hazlewood [2010]


A gold mine for the devoted followers of Lee Hazlewood, and a good set compiling chart-minded pop of all stripes, Califia: The Songs of Lee Hazlewood spans the mid-'50s breakthrough of pop/rock that Hazlewood helped spark with his Duane Eddy productions all the way to the early '70s -- a mere dozen years in chronology, but an epoch in popular music. Hazlewood was one of the first and best producers of the rock age, a man whose innovative sounds on Eddy brought a young Phil Spector to Arizona in the late '50s to learn at his feet. Fans of Lee Hazlewood have ensured that nearly all of his solo recordings have been reissued at least once, but his flood of songwriting and production for various labels and artists between the mid-'50s and early '70s has never been surveyed like this. Although his only number one hit is not included here (Nancy Sinatra's "These Boots Are Made for Walkin'"), the material is uniformly good. Granted, since Hazlewood was usually aiming for the charts with these productions (as opposed to his solo material), it leans toward the pedestrian, but for those who've spent a lot of time listening to pop music of the '60s, it's easy to hear how the innovative productions elevate these songs and performances above the mediocre and to a higher level. The emphasis is on the range of artists he produced, so associated acts like Nancy Sinatra, Sanford Clark (who recorded the only big hit here, 1956's "The Fool"), Duane Eddy, Suzi Jane Hokom, and the Shacklefords are given only two tracks each at the most, with more time accorded for one-shots from artists both famous (Ann-Margret, Dusty Springfield, B.B. King) and not so much (the Darlenes, the Wildcats, Don Cole, and studio-drummer extraordinaire Hal Blaine). [John Bush]

[Special Tanx goes to Mattia, a friend from Italy, who sent me this super-nice collection]






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