Max Webster - Universal Juveniles - Mercury - `82

well , goin a bit out of order but here is the last ! max webster LP , with rush starring on one track , battle scar. more guitar oriented than previous , some mighty licks here-in , ha
enjoy




Terry Watkinson [ KEYS ] has left at this point leaving Kim to pretty much run the show. Watkinson does play on the song "Battle Scar" but it wasn't recorded at the same time as the rest of the album. Gotta love the album cover with Mitchell on the run wearing a bright yellow body suit with white boots on. Haha. "In The World Of Giants" opens with some speed of light guitar work from Kim before the rest of the band comes in. Not a bad uptempo tune. "Check" is one of my top three songs on here. It's a short pedal to the metal rocker. Guitar riffs to open as Kim tells his story with passion.Classic WEBSTER. "April In Toledo" has grown on me somewhat. I like the chorus and those earlier words "She's taking a break from my face." "Juveniles Don't Stop" is a straight forward rock tune. "Battle Scar" doesn't sound like it belongs for a reason.We have two bands in the studio(RUSH & MAX WEBSTER) playing this song together, so it's much more powerful.It opens with low end guitar and bass as heavy drums come in and then Kim starts to sing. Geddy comes in vocally 1 1/2 minutes ripping it up with those high pitched screaming vocals like he did in the seventies.Check him out 4 1/2 minute in as well. Great finale to this one. A friend of mine saw MAX WEBSTER at "Maple Leaf Gardens" on New Years eve play this song, and he watched in amazement as Geddy came out on stage playing his teardrop bass, and then he started to sing to the roar of the home town faithful. "Chalkers" features some nice bass throughout. The title of the album comes from a line in this song. "Drive And Desire" opens with some nice drum work as guitar comes in grinding then vocals.Good tune. "Blue River Liquor Shine" is my other top three track along with "Battle Scar" if your keeping track at home.Drum intro as vocals and strummed guitar follows.Something uplifting about this track.I think it's Kim's soaring vocals actually. "What Do You Do With The Urge" features in your face vocals with lots of piano. The best parts of "Cry Out Your Life" are the guitar solos before 3 minutes and 5 minutes in. I would suggest any of their four earlier albums to this one,but RUSH fans will want to hear "Battle Scar" for sure. [sinkasotentree ]


Max Webster - Universal Juveniles - Mercury - `82
all trax from wax - akashaman - 2010
MP3 @ 320kbps - includes high rez scans


Line-up / Musicians


Kim Mitchell - guitars and vocals
Garry McGracken - drums
Dave Myles - bass
Pye Dubois - lyrics


also playing:
Geddy Lee , Neil Peart , Alex Lifeson  and Terry Watkinson on "Battle Scar"
Dave Stone - synths
Doug Riley - piano


1 - In the World of Giants
2 - Check
3 - April In Toledo
4 - Juveniles Don't Stop
5 - Battle Scar
6 - Chalkers
7 - Drive and Desire
8 - Blue River Liquor Shine
9 - What Do You Do With the Urge
10 - Cry Out Your Life


DOWNLOAD -- HERE --

Max Webster - Hangover [DEBUT] - Mercury Records - `76

OK : as promised , here is the max webster debut ~ next up , "universal juveniles" with battle scar on it ! then i might do kim mitchells solo with go for a soda on it ;
these guy are pretty bizarre , so hang on - fans of prog & quirky /zanny / smart music in general will digg this. all i know is kim mitchell can play his ass off , as can rest of band [ their own asses respectively ! ]
ha -- enjoy


Line-up / Musicians


Paul Kersey - drums
Mike Tilka - bass
Kim Mitchell - guitars and vocals
Terry Watkinson - keyboards and vocals


Debut album from one of the most original groups coming from Canada, and certainly a bloody stunner that stayed in the subconscious of almost every teenager from Toronto, but of all Canada as well. This writer remembers being a fan as far back as possible, buying the debut album and playing it until the vinyl became almost transparent. These guys were all very exciting on stage with their energetic music, stage antics (leader Mitchell being a very athletic young man) and their imaginative and original songwriting. They even managed to get the girls started with their glitter outfits. Webster (these guys were looking for a name like Jethro Tull - this is the only real explanation about their name) was always the thing of two songwriters even though guitarist Mitchell was much more prolific than keyboardist Watkinson, but Mitchell's tracks were always written with Pye Dubois' lyrics (Rush fans will remember him) and the group found a home on Anthem Records, which is also well known to us progheads.
How could any teen getting drunk and ignore the opening Hangover track (to which the weird square heads refer to on the artwork). This track, starting out on a heavily distorted and feedback guitar is a stunning start and a fitting intro into the crazy world of Max Webster. To describe their sound is rather uneasy as they could range from early Queen, have 10 CC's best inspirational moments, with quirky songwriting The Cars would not have denied. Not very progressive you might say, but please bear with me for Webster is always changing tempo, sometimes cramming so many idea into one track that others groups would make a whole album out one of their songs. Their constant rhythm changes were quite impressive, almost (certainly IMHO) progressive but the typical chord progressions of what made classic prog bands their trade is a bit absent in their albums. Hangover is then followed by another killer track Here Among The Cats, another live favorite and also a fave of mine (since back then all young dudes were the cats). Next is a rather different-sounding (because written by KB-man Watkinson) followed a typical slow Webster track - there will be a few in the following albums, but they were quite at ease with those too, even if their forte were full-blown rock party tracks. The first wax side is ended by another stunner (and maybe the definitive pop side of Webster) with the stunning Toronto Tontos, which came some seven years before The B-52's Rock Lobster. A stunning témoignage that these guys were also ahead of their time, this track is truly a joyful moments of musical delirium.
The second side starts with one of the obsessions from the quartet, their lunatic bizarrerie, as if they were coming of our natural satellite planet, the Moon: for the next four albums, there will always be a track making reference to it, maybe explaining how lunatically strange these guys could be. This is another highlight of the album but hardly the only one, since most of the first side of the album are classics. Only Your Nose Knows and the lengthy (almost 8 min) Lily are also excellent and typical tracks while Summer's Up has a bit of Zappa feeling in it.
Maybe this group is not a prog icon per se, but all progheads loving intelligent rock and pop should get a load of this superb band that never got the recognition it deserved until it was dying. [ sean trane ]


more reviews here - www.progarchives.com


Max Webster - Hangover
Studio Album, released in 1976
All Trax From WAX - akashaman - 2010
MP3 @ 320 kbps includes high rez scans ; front / back / lyrix / kim !


Songs / Tracks Listing :


1 - Hangover (4:36)
2 - Here among The Cats (3:07)
3 - Blowing the Blues Away (3:33)
4 - Summer turning Blue (3:05)
5 - Toronto Tontos (3:40)
6 - Coming Off The Moon (3:38)
7 - Only Your Nose Knows (4.16)
8 - Summer's Up (2:45)
9 - Lily (7:42)


DOWNLOAD -- HERE --

The Box Tops - Non Stop - Bell Records - `68

well , as most of you know , we lost alex chilton recently so i thought it befitting to lay one of thier lp`s on yaz !
this one is pretty good ! prob the hardest one to find as well. hope u guys enjoy it !  [ sorry its a little scratchy folks ! ]


The Box Tops -- or more precisely Alex Chilton and producer Dan Penn -- were treading water on the third album to be churned out under the group's name in less than a year. The usual blue-eyed soul dominates the program, without anything on the order of "Cry Like a Baby" or "The Letter," although with "I Met Her in Church," Penn and songwriting partner Spooner Oldham were probably trying for something on that level. Sometimes the moods are a bit on the bluesy side ("Choo Choo Train," "Rock Me Baby"), at others on a gentler and poppier one ("Rollin' in My Sleep"). For the first time Chilton had the opportunity to write an LP track, and with "I Can Dig It," he brought out his most gravelly voice for an average midtempo soul belter. That's nothing compared with "Yesterday Where's My Mind," in which he sounds like he's trying to out-gravel the most sandpaper-voiced white singer of the era, Tim Rose; in fact, the track bears more than a passing similarity to "Morning Dew," one of the songs Rose interpreted on his debut album. "Sandman," a luscious ballad by the composer of "The Letter," Wayne Carson Thompson, is the most interesting little-known cut. Overall, though, this, like all of the Box Tops' albums, is a middling product with its share of filler. [The 2000 reissue on Sundazed adds five bonus tracks: two of them mono single versions (of "Choo Choo Train" and "I Met Her in Church"), the others from non-LP 45s. Those non-LP items include a Randy Newman cover ("Let Me Go") on which Chilton sounds like Paul Jones of Manfred Mann, and another of Chilton's earliest self-penned numbers, the soul-pop ballad "Since I Been Gone.."]  -- [ amg ]


The Box Tops - Non Stop - Bell Records - `68 
all trax from wax - akashaman - 2010
MP3 @ 320 kbps - includes high rez cover scan

Choo Choo Train

I'm Movin' On

Sandman

She Shot A Hole In My Soul

People Gonna Talk

I Met Her In Church

Rock Me Baby

Rollin' In My Sleep

I Can Dig It

Yesterday Where's My Mind

If I Had Let You In

DOWNLOAD -- HERE --

MAX WEBSTER - High Class In Borrowed Shoes - Anthem Records - `77

well , i think its time to bring back the ROCK after these last few mellow lp`s ! those of u that know of max are already smiling ! well , keep on smiling , the debut is up next ! - if u really wanna have a good time , know that i have all of max`s lp`s + most of kim`s solos , :P [ yes that includes that KILLER song with geddy lee &  KIM`S "might as well go for a soda" ! ] begging helps .:) - guitar players note that kim can play his ass off ! very underated shredder ! have fun
enjoy this one !




MAX WEBSTER - High Class In Borrowed Shoes - Anthem - ANR-1-1007
Studio Album, released in 1977
all trax from WAX - akashaman - 2010 
MP3  @ 320kbps - includes high rez cover scans + 


Songs / Tracks Listing


1 - High Class In Borrowed Shoes (4:00)
2 - Diamonds Diamonds (3:18)
3 - Gravity (4:53)
4 - Words To Words (3:34)
5 - America's Veins (4:08)
6 - Oh War! (4:25)
7 - On The Road (3:25)
8 - Rain Child (4:22)
9 - In Context Of The Moon (5:13)


Line-up / Musicians
Mike Tilka - bass
Kim Mitchell - guitars and vocals
Terry Watkinson - keyboards and vocals 
Garry McCracken - drums


Max are best described as classic rock meets frank Zappa
and this album shows Max at there wacky best
"the title track", "gravity","in context with the moon"
"america's veins"
and the brilliant "Oh war"are classic hard rock with more changes within the song then usual (thanks to the zappa influence)
Words to words and "On the road" are a couple of fine ballads and exemplify the talents of fifth member lyricist Pye Dubois 
We also get the first taste of the fine singing voice 
Of keyboardist Terry Watkins with the moody melodic "Rainchild"
Also this is Kim Mitchell at his best certainly one of the most underated guitarists he smokes ninety percent of the householdnames Kim's voice is underated as well as he shows versatility between ballad "Diamonds, Diamonds" compared to 
hard rocker "Oh War" - [ andy - amazon ]

[ Review of album by Martin Popoff, taken from his book " The Collectors Guide to Heavy Metal - Volume 1: The Seventies" ]
Max Webster - High Class In Borrowed Shoes - (Anthem '77)

The one unifying factor coursing through Max Webster's magnificent
premiere was a rural warmth that evoked images of. I dunno. carved
cherry wood. In comparison, High Class In Borrowed Shoes, although no
heavier, evokes a sheen of polished aluminum, with its bright,
uncompromising headphone-ready drum sound, its everlite, dewdropped
piano work, and its painstakingly perfect execution. But High Class
sails the same passionate seas of wanton adventure, offering arguably
four metal or hard rock works, most panoramic, scorching and insistent
being America's Veins and the swooping and snatching title track, the
song improbably combining boogie and pomp until circumstance breeds good
fortune. Lyricist Pye Dubois, although not an official noise-making
member of the band (in the great tradition of The Dead's Robert Hunter),
continues to be the Max Webster's philosophical engine and perfect,
crucial soulmate to Kim Mitchell's fluid guitar mathematics, Pye
offering memorable yet cryptically cast aspersions on society's ills and
man's monologue with respect to his allotted space. And as was the case
with the debut, all points of the compass lead to the heart no matter
what the action level, the album scrubbed clean then chiming by way of
elegant Terry Watkinson keyboard work, and absolutely top-of-the-line
pride in craftsmanship on the part of the whole circus. It seems almost
a mixed symbol that the band would so plainly embrace controversy with
the gender-bending weirdness of the cover art, given that all parties
involved, including producer Terry Brown, worked so hard to make Max's
challenges so warmly inviting and simultaneously so state-of-the-art. It
basically stands as more evidence that the complexities of both Max's
message and its medium were beyond marketing comprehension, and
unfortunately, as history would bear out, beyond the market.

DOWNLOAD -- HERE --

Harry Nilsson - Nilsson sings Newman - Pickwick Records - 70

ok kids , back to the early stuff. this one has been said that it should be ranked up there with pet sounds & the like ! it is an epic session. with harry doin all vocals & randy all music & piano its really is a poignant affair. really low key , not too much goin on - so harrys voice really shines here. it really is one of his best vocal recordings , the man could really sing , ha 
this one goes best with your fave beer ! as always , turn it up !


************


Nilsson is dead, while Newman now scores movies like his illustrious forbears. Back in the day, however, for one brief, shining moment, the two aspiring songsters united for this still-unrecognized masterpiece. While each participant was well-skilled in singing and songwriting, Nilsson, arguably the better singer, sang, while Newman, arguably the better songwriter, provided the songs and played piano. Neither was well-known to the public, despite chart successes recognized by at least a sliver of the industry. The resulting album was well-reviewed at the time, but failed to click with the buying public. Mine own vinyl copy was purchased at a garage sale a few years after its release; even then it was a radio station freebee with the signature "Jim Sloane" scrawled in Magic Marker on the album's cover. After a few listens, the album became a frequent play for me and vivid enough to provide me, as a budding high school film maker, with the inspiration for several (unmade) animated films. As I listen to it now, at least two decades removed from my initial infatuation, I find that the album holds up quite well. More lieder recital than "rock'n'roll record," points must be given for sheer timelessness. These two took songwriting seriously; they weren't only in search of the latest hit, though both saw chart success, but each also seemed to pursue songwriting for its own sake. Fact is that I still prefer the versions on this album to several of the tracks on Newman's debut; Nilsson's spontaneous studio-smarts and seeming emotional directness as a singer trump Newman's painstaking orchestral arrangements and studious Fats Domino mumble. Take this, then, as a qualified rave. If you've ever responded to either of these artists, or to great song themselves, then give this a try. I don't think you'll be disappointed. - [ AMAZON ]

Harry Nilsson - Nilsson sings Newman - Pickwick Records - 70/79 

all trax from wax - akashaman 2010

MP3 @ 320 kbps 

1 Vine Street
2 Love Story (you and me)
3 Yellow Man
4 Cowboy
5 Caroline
6 I'll Be Home
7 (So hard) Living Without You
8 Dayton Ohio 1903
9 So Long Dad

DOWNLOAD -- HERE --

Spellbound - EMI records - `78

ok , i got nothing on these guys , but this is a great session here ! i guess its kinda southern rock , but i wouldnt pigeon-hole it there ! . very melodic , lots of keys & vocals.
top notch production & playing ~ these guys had thier shit together for sure : enjoy -- let me know if u heard of this one ! - 
this one cost me a whole dollar ! i bought it mainly cause of the nice shiny colored embossed logo - they dont make em like dat anymore - ha ! - OH , and it sounds good really loud 




Spellbound - EMI records - `78
all trax from wax - akashaman 2010
MP3 @ 320kbps - includes high rez cover scan


Spellbound is :
* Bill Burgess
* David Lenchner
* Ralph Carter 
* Barry Fast 
* James Preston


Just Not A Fool
Our Time Will Come
The Eyes Of Mary
Let It Down Easy
Raise That Silver
Rumor At The Honky Tonk
A Taste Of The Devil
The Way That You Do
The best Is Yet To Come
The Light That Shines


DOWNLOAD -- HERE --

James Griffin & Co. - `74 - Polydor Records

here is one for bread fans. found this recently , and had to share. its really good !
a lot of ballads , but its all well produced & top notch players. - enjoy ~


James Griffin & Co. - `74 - Polydor Records
all trax from wax - akashaman 2010
MP3 @ 320 kbps - includes high rez cover scans !


Breakin' Up Is Easy
Someday
Love You Till the Cows Come Home
She Knows
Father and Son
You'll Get Along
Lifeline
Goin' Back to Boston
Only Now
Love to Light the Way


This is an incredible album from start to finish. One point before going into the songs in depth. Many people have made a point that David Gates wrote all the sugar sweet ballads for the group and Jimmy Griffin wrote more of the punchy material. I think this is so innaccurate. Gates could write rock and wrote some of the heaviest rock by Bread's standards - 'let your love go' and 'mother freedom' were heavier than anything I can hear Jimmy having done. And Jimmy wrote some incredible ballads during Bread's tenure.
This album shows the soft side of Jimmy's writing and each song is absolutely beautiful and poignant. I am so pleased to have purchased ot and would recommend anyone who likes the melodic beautiful ballads of bread to scoop this up, while it is still available.
All the songs are ballads, except for 'love you till the cows come home', which is a really fun rocker. 'She knows' is just about the best song Griffin ever wrote, with beautiful sentimental words and a subtle orchestral backing. On par with this is 'Only now', equally as soft and beautiful.
'Father and son' is a really catchy song, featuring John Miles of all people- (talented guy who wrote 'music'). It seagues into a protracted middle eight ballad section of the song, then reverts back to the up-tempo main section. again, excellent lyrics and really memorable.
'Love to light the way' is an amazing piano ballad with an excellent electric guitar solo. Great falsetto singing and really soothing. 'Breaking up is easy' is also a piano ballad in a similar vein.


DOWNLOAD -- HERE --

Sparklehorse - Its a Wonderful Life - 2001

well folks , we lost another good one. the main man behind sparklehorse commited suicide about a week ago. i thought it would be fitting to post an lp of his. i happen to have this one & its one of his best. very minimal music , lo-fi if u will but very spacey & poppy. for those who have never heard them , enjoy ; for those that know of this band , enjoy the LP bonus track  ! -
R.I.P. Sparklehorse's Mark Linkous

***************

Focus can be a difficult thing to maintain in art. Once you've begun creating something, it's easy to find yourself off on some tangent you never saw coming. It takes a certain amount of discretion, and often, a certain amount of objective distance, to decide which roads to continue down and which ones to abandon. In music, this is, of course, where producers come in. Their job is essentially to stop the artist from getting carried away with a questionable idea and to moderate decisions about direction and material.

Past Sparklehorse efforts have been plagued by a certain lack of focus. This doesn't mean they weren't good records-- in fact, 1998's Good Morning Spider was something of a creative triumph, even in spite of its general disorganization. That said, though, hiring an outside producer (not to mention fully ridding himself of all drug habits) seems to have done Sparklehorse frontman Mark Linkous a great deal of good. Superproducer Dave Fridmann has developed a certain Midas Touch over the years, imbuing nearly every album he works on with a distinctive sonic character, and It's a Wonderful Life has his fingerprints all over it.

The most focused Sparklehorse effort yet, the album flows along with the grace of a river occasionally stirred by a rapid or two. The half-songs and quickly squelched ideas of Linkous' past releases are absent in favor of fully fleshed pieces stuffed full of mellotrons, optigans, orchestrons, and sundry humming keyboards. Only once is its flow is only badly disrupted. (We'll get to that in a second.)

The majority of It's a Wonderful Life brims with electro American gothic ballads and fuzzy purees of lo-fi and hi-fi aesthetics. There aren't really any out-and-out rave-ups like "Pig" or "Happy Man," but a few of the mid-tempo numbers display enough bite for commercial radio play. (I'm asking too much, aren't I?) "Gold Day" snags the ear with a concise melodic hook and some snazzy mellotron flutes. And Linkous' defiantly surrealist approach to lyrics is in full effect here, with all manner of references to smiling babies, organ music, birds, and celestial bodies.

In fact, some of the lyrics are so surreal that it's hard to imagine they're even metaphors for anything. When Linkous implores, "Can you feel the rings of Saturn on your finger?" in the Vic Chesnutt-cast-adrift-in-a-post-modern-sound-collage number "Sea of Teeth," it's hard to believe that there's much hidden meaning behind it. Animal imagery also abounds; bees, poison frogs, roosters, dogs, doves, and horses all pop up on the first track. How exactly the line, "I'm full of bees that died at sea," proceeds logically to the title refrain of, "It's a wonderful life," is questionable at best, but the claustrophobic mix of optigan, static, chamberlin, and Linkous' plaintive delivery redeems the lyrical content with beautiful production and shimmering instrumentation.

The soulful PJ Harvey duet "Piano Fire" picks up the energy a bit, proffering lyrical imagery of dusty organs and pianos washing up on beaches, amid a heavily distorted guitar racket and subtly employed electronics. In different places, It's a Wonderful Life conjures recent Flaming Lips, Mercury Rev, and Grandaddy, all bands who operate in roughly the same headspace as Linkous. The quietly bleeping "Apple Bed," in particular, recalls some of The Sophtware Slump's more elegiac moments.

Unfortunately, there's that one aforementioned sore thumb that interrupts the otherwise smooth flow of the album, so allow me to preface my next statement with the following diatribe: I love Tom Waits. His music is rarely short of brilliant on some level, and I've long admired his position as one of the most fearless, innovative, and downright unique songwriters on the planet. The man's craft is his genius personified, and I can't get enough of it.

So why does his contribution to It's a Wonderful Life suck so much? "Dog Door" is a miserable distraction. Imagine you're floating down a peaceful river on a raft. It's just you, the trees, the birds, and the fish. You don't have a care in the world. Then, suddenly, the violent hillbillies from Deliverance swoop down out of nowhere, pelting you with rocks and shouting an unmemorable phrase over and over again in an annoying, processed falsetto. That is "Dog Door." Allow me now to sulk like a denied child.

The flow of the album actually picks back up rather easily after "Dog Door" finally, mercifully ends, returning to the eerily placid fare that characterizes the rest of the proceedings with "More Yellow Birds." Soon after, "Babies on the Sun" closes things on a tired, but musically inventive note, with burbling electronics and looped string samples supporting typically cryptic lyrics.

It's a Wonderful Life is a strong offering for Sparklehorse, largely shaking off the excesses of past efforts (maddening Tom Waits collaboration aside) in favor of cohesion and structure. The focus unfortunately keeps Linkous from accessing any truly awe-inspiring standout moments like the ones on past records, but the overall result is a lot more rewarding in the long term.

— Joe Tangari, September 30, 2001


Sparklehorse - Its a Wonderful Life - 2001

all trax from wax - akashaman - 2010
MP3 @ 320kbps

It's a Wonderful Life
Gold Day
Piano Fire
Sea of Teeth
Apple Bed
King of Nails
Eyepennies
Dog Door
More Yellow Birds
Little Fat Babies
Devil's New
Comfort Me
Babies on the Sun
maxine


DOWNLOAD -- HERE --

The American Breed - Lonely Side of the City - `68 , acta records

this one is not that obscure , but will be nice for completist
another installment of the american breed. this one is all out gloomy , ha - kinda ironic with all the sunny vocals , but there ya go.
might go good on a rainy day or if you are goin through a miserable breakup :(


"The final American Breed album is as gloomy inside as it looks outside on the cover. This isn't a negative review by any means. Each track seems to be a puzzle piece in the life of a depressed person.
"Always You" begins with a bass guitar played with a pick and that signature snare drum sound. Enter some sparse piano chords and Gary's fragile voice.
The album progresses into more flowery topics but always leans toward the sadness in relationships. Their version of Paul Williams' "To Put Up With You" (also found on Paul's debut lp) is watered-down bubblegum. Complete with "bum-bum-bum-bum" sing a long refrain. "Another Bad Morning" could have easily been rerecorded by Roxy Music, for it sounds just like them. "Partners in Life" is very reminiscent of The Beatles "Elenore Rigby" dealing with old age and death.
Who knows what would have been had the Breed stayed together long enough for another lp? They did manage to release 2 more monsterous flop singles (1) "Hunky Funky" A Chuck Colbert sung soul jumper and (2) "Private Zoo" a sizzling acid-rock-lite
tune with fuzz guitar."


The American Breed - Lonely Side of the City - `68 , acta records
all trax from wax by akashaman 2010
MP3 @ 320 kbps - high rez cover scan


1. Always You
2. Walls
3. Partners in Love
4. Out in the Cold
5. Love Is Just a State of Mind
6. New Games to Play
7. I've Got to Get You Off
8. Another Bad Morning
9. What Can You Do When You're
10. River of No Regrets

DOWNLOAD -- HERE --

City Boy - Young Men Gone West - `77 , mercury

ok , here is yet another CITYBOY installment !
and yet another great album. sad music this good never got just credit. my fave tracks are bordello night , young men gone west & millionare , but they all are great !


"Young men gone west" was the first City Boy album to see a change in the line up, with Tony Braunagel sitting in on drums for the departed Roger Kent. Braunagel would not actually join the band though, and no drummer is credited on the album sleeve.


This album does not quite follow the pop ethos of ten songs, five on each side of the album, but only in that there are six tracks on side two! Apart from that, what we have here is sophisticated pop of the 10CC variety, pure and simple. There is a sort of overall concept to the album which mainly focuses on a young man's experiences with ladies of ill repute.


The opening "Dear Jean (I'm nervous)" is the longest and best arranged song on the album, with a fine guitar ending. Incidentally, the LP sleeve mixes up the track order of the first two songs, showing the second song "Bordello night" as the opener. The 10CC similarities are most evident on tracks such as "Honeymooners" with its clever lyrics and jaunty, shuffling melody and "The runaround" which features high range melodies.


It is difficult to pick out highlights here, if one track appeals to you, chances are they all will. The theme of the album though is rather appropriate, as here City Boy are being led astray from any prog sensibilities which might have been present on their earlier albums, into the crowed arena of sophisticated pop. - [easy livin]


City Boy - Young Men Gone West - `77 , mercury
all trax from wax - by akashaman - 2010 ~
MP3 @ 320 kbps - high rez cover scan


1. Bordello Night
2. Dear Jean (I'm Nervous)
3. Honeymooners
4. She's Got Style
5. Bad for Business
6. Young Men Gone West
7. I've Been Spun
8. One After Two
9. Runaround
10. Man Who Ate His Car
11. Millionaire

DOWNLOAD -- HERE --

Stardrive featuring robert mason - `74 , columbia records

ok , found this one recently & its so far out there i had to post it at the kosmos !
the moog obviously wasnt good enuff for this guy , he had to build his own synth & he named it "STARDRIVE". AND he sure knows how to play it : prog fans delight , synth fans delight , space rock fans in general delight ; this one smokes... hang on tight .


found this info on the web , ha !




*************


STARDRIVE IS A ROCK GROUP.
It is named for the power that propels a moving body to the speed of light -- the velocity at which matter ceases to be matter and becomes pure energy.This energy is the source of STARDRIVE's musical aesthetic.
And at the center of STARDRIVE's energy is a man and a machine bonded in an organic relationship that signals the future for us all -- a time when machines are true extensions of our feelings.
The man is Robert Mason.
The machine, which he built, is literally the most advanced keyboard instrument in ex­istence. It is an electronic synthesizer that combines the infinite musical possibilities of studio systems like the Moog, the Arp, and the Buchla, but with one very important dif­ference .......... Mason's machine has an incredible, real-time, live performance capability. And when man and machine play perform, they are one.
STARDRIVE's idiom is rock unlike anything ever performed before.
It is wailing and pounding and flowing and ebbing and ethereal and hypnotic........ with brilliant, sensuous whirlpools of light and color and texture. It is basic and emotional, almost a tactile thing. And it is very hard to forget, once you've experienced it.
When STARDRIVE begins to play and you begin to listen---sit back and really listen. You're taking the next step outward...... a journey where time takes on a new dimension. A journey through the infinite possibilities of music.

about robert mason

His formal musical background began at the prodigious age of twelve. He studied piano and composition at the Mannes and Julliard Schools in New York City, at the same time studying privately with several contemporary composers. During these years, he compos­ed and conducted a lot of music - a remarkable feat, but unsatisfying for Mason as an ef­fective means of musical expression.
He graduated from the Oberlin Conservatory, with a bachelor's degree in composition, and began exploring outward, composing tapes at the Columbia-Princeton Electronic Music Center. Later, he worked with Morton Subotnik at the New York University Electronic Music Workshop, playing with composers Steve Reich and Paul Bley. It was around this time that he began searching for something beyond the musical limitations of the Moog, Arp and Buchla synthesizers.
Each step along the way he added something to his musical insights and sensibilities: mixed-media concerts at the Electric Circus, arranging for rock bands, joining Free Life Communications (a collective of New York's top instrumental musicians), and collabor­ating with several dance groups at the Space for Innovative Development in New York. It was at this time that Mason completed the major developments of his performance synthesizer, and started assembling the personnel for a group.
STARDRIVE is the culmination.
What also brought him to this point is the persistent feeling that "electronic music has been limited in its development on one extreme by the dry hand of intellectualism the on the other, by musical hacks looking for a gimmick to suck in a pop audience. They don't play electronic music any more than my instrument can play without me".
What really makes Mason different from anyone else in music today - pop or so-called 'pure electronic' - is that he is equally at home in the European musical tradition, the rock and blues idiom, and the world of electronic music.
He also believes that "electronic music will grow more in an emotional climate, because human beings can have energy relationships with machines. Right now, it's an all or no­thing situation for me. Either I can use what I presently have - a direct linkage of my fingers to electronic infinity- or else find a machine that responds directly to my thoughts. Do you know how fantastically spontaneous that would be - to have a telepathic instead of of mechanical relationship with an instrument?"
"Maybe these notions are 21st century ideas. Who knows, they'll probably seem anti­quated to a 22nd century musicologist. But tfiiat's show biz."'

Hornplayer TREVOR KOEHLER doubles on soprano and baritone sax, as well as flute and brings to STARDRIVE a rare dynamism and versatility. He was voted ##1 (baritone sax) in the 1970 Jazz & Pop Critic's Poll. And his range of experience extends from country and western to the outer limits of musical expression. Most recently, he has played with the Gil Evans Orchestra and the Insect Trust.
Guitarist STEVE KHAN has worked with people like Tim Buckley, Paul Anka, the Friends of Distinction and the Jazz Crusaders. He's a perceptive and forceful player with a fluid style that wastes no effort.
Drummer, BARRY LAZAROWITZ is a seasoned studio musician who's played with Chuck Jackson, Peter Thom, Janis Ian and James Moody, among others. His fantastic energy output is channeled into a remarkably articulate precision sound.
JOHN MILLER is not only an extraordinary bass player, he's one of the best known in New York. Equally at home in rock, jazz and even classical music, he's played with Tim Buckley, Dreams, Pete Seeger, Chico Hamilton and Richie Havens


STARDRIVE is THE ELECTRONIC MUSIC BAND.
We are building toward a higher future, one in which music will be ultra-tech­nological and yet truly human. The path is clear - man's collective knowledge is immense and continues to expand - unless we make music with it, it will only serve itself and stifle our joy - and without this joy a future harmony of men and machines is impossible.
The music of STARDRIVE is truly a music of all races and cultures. Not an eclectic tapestry of styles, it is a unified sound-form that cuts through social barriers and cultural categories. This sound will eventually communicate to the entire planet. It is the music of Marshal McCluhan's global village and of Buckminster Fuller's spaceship earth.
Perception of time is the most revealing aspect of a man's total philosophy. The West's constant urge for recapitulation, the East's embrace of the aim­less flow; these are the polar opposites that conflict in the conscioussness of every man. The music of STARDRIVE expresses both these time-perceptions simultaneously; the listener's conscioussness becomes a balanced composite. This is the normal frame of mind for the citizen of the future.
Electronic sound is the key to these changes of music and mind. After thou­sands of years, there finally exists a new sound vocabulary capable of profoundly re-arranging our thinking processes. The electronic equipment STARDRIVE uses is the most advanced of its kind; never have machines been so attuned to muscular responses, never before have mind and body come so close together.

STARDRIVE, THE ELECTRONIC MUSIC BAND, is aware of all this. We are continually projecting our largest and smallest dimensions through the har­monious rhythm of sound.
- Robert Mason



Stardrive featuring robert mason - `74 , columbia records
all trax from wax by akashaman - 2010 -
MP3 @ 320kbps
includes high rez cover scans !

********

1. Funkascensions
2. Ballad I
3. Jupiterjump
4. Pulsar
5. Ballad II
6. Air Sauce
7. Ballad III
8. Journey

DOWNLOAD -- HERE --

Rotary Connection - Aladdin - `68 - cadet concept records

top download of the kosmos here @ over 4,000 so far ! back to the top it goes , enjoy this one a real mind blower.
OMG , he actually came back. ha
internet has been down , sorry kids.
but i am back with a heavy hitter ,
if this one doesnt blow your mind ,
chances are its already been blown.
this lp was recorded in chicago in the
summer of `68.tons of horns , heavy
arrangements & fuzzed out leads ,
soaring vocal harmonies - wierd chitter chat ,
earth shattering drums / bass , this lp has it all.
every time i hear it , i like it more.
its quite simply "the bomb"
let me know what "you" think.
oh & thats not me shreddin on "paper castle" ,
even tho it sounds like it , lol.
what were they thinkin ?

"Rotary Connection -- the celestial Chicago group that featured the voice of a young Minnie Riperton, and production by the god-like Charles Stepney! This lp is completely unique -- a mad blend of soul, rock, jazz, and lots of stunning studio touches. Tight rhythms and bassy grooves meet with strings and soul -- and the result is a majestically floating approach to pop that's never been duplicated again! More than a few cuts have some really nice drums in them -- funky where you wouldn't expect, and in a good way"

ha , this one is guaranteed to put a smile on your face , & 40 yrs later , its the same old shit & nothing has changed.!!?

highlights - teach me how to fly , let them talk , **aladdin , magical world & paper castle

rotary connection - aladdin - `68 cadet concept records - MP3 @ 320 kbps - 85 MB
"ALL TRAX FROM WAX" transferred by da` shaman - 2007
* high rez cover art , liner notes included

trip II
1. Life Could
2. Teach Me How To Fly
3. V.I.P.
4. Let Them Talk
5. I Took A Ride (Caravan)

trip II [ cont.]
6. Aladdin
7. Magical World
8. I Must Be There
9. I Feel Sorry
10. Paper Castle




DOWNLOAD - -- HERE --

Intergalactic Touring Band - `76 - Passport Records

DON`T FORGET ABOUT THIS ONE !

ok , here is yet another lost gem from the 70`s. this one is more in the art rock / prog rock vein , similar to yes & early prog pioneers. very expansive , proposterous piece , bordering on rediculous , but this is what i personally love about it. over the top in many ways , but still very enjoyable for those into conceptual pieces & storylines.
here is a rundown of some players involve here , including a pre "bat out of hell" meatloaf !
* Brian Cuomo: keyboards, orchestral arrangement on "Robot Salesman" and "Love Station"
* Larry Fast: synthesizers, mellotrons and vocoder, prepared effects on "Starship Jingle"
* Paul Marchetti: drums and percussion, primitive percussion on "Universal Zoo/Why"
* David Scance: acoustic and electric guitars, backing vocals on "Silver Lady", group vocals and electric guitar on "A Planet Called Monday/Epilogue"
* Peter Sobel: bass, backing vocals on "Silver Lady", primitive percussion, additional vocals and prepared effects on "Universal Zoo/Why?", acoustic guitar on "Reaching Out" and "Robot Salesman", additional percussion on "Love Station"
* Rod Argent: lead vocal on "Silver Lady"
* Steve Barth: lead vocal on "First Landing"
* Danny Beckerman: orchestral arrangement on "Universal Zoo/Why", "First Landing" and "A Planet Called Monday/Epilogue"
* David Bedford: orchestral arrangement on "Heartbreaker", "Space Commando" and "Love Station"
* "The Boss": effect vocal on "Universal Zoo/Why"
* Arthur Brown: lead vocal on "Universal Zoo"
* Ryche Chlanda: electric guitar on "Robot Salesman"
* Clarence Clemons: sax solo on "Love Station"
* Irene Conrad: effect vocal on "Silver Lady"
* Dave Cousins: lead vocal on "Heartbreaker"
* Jim Cuomo: lead vocal on "Robot Salesman"
* Frank D'Agostino: group vocals
* Stephen Gaifas: orchestral arrangements on "Silver Lady", "Starship Jingle", "Heartbreaker", "Space Commando", "Robot Salesman" and "Love Station"
* Bill Guerra: additional vocals on "Universal Zoo/Why?"
* Annie Haslam: all vocals on "Reaching Out"
* Mighty Joe Young Intile, B.E.: tympani on "Reaching Out", additional percussion on "First Landing"
* Percy Jones: fretless bass on "Why" and "Keeper Keep Us"
* Ben E. King: lead vocal on "Love Station"
* Joel Krantz: group vocals, lead vocal on "Why"
* Jeffrey Leynor: lead vocal on "Epilogue"
* Wil Malone: orchestral arrangements on "Approach", "Silver Lady", Starship Jingle", "Reaching Out", "First Landing" and "Keeper Keep Us"
* Pepe Marchello: lead vocal on "Starship Jingle"
* Meatloaf: lead vocal on "Keeper Keep Us"
* Rick Parfett: lead vocal on "A Planet Called Monday"
* Passport Munchkins: additional vocals on "First Landing"
* Janis Pendarvis & Friends: background vocals on "Love Station"
* Anthony Phillips: acoustic guitars on "Reaching Out"
* Frank Prescod: bass on "First Landing" (with Peter Sobel), "Robot Salesman" and "Love Station"
* Harry Rabinowitz: conductor of London Symphony Orchestra on "Approach", and members of the LSO on "Reaching Out"
* Marge Raymond: Silver Lady vocal on "Silver Lady"
* Francis Rossi: lead vocal on "A Planet Called Monday"
* Marty Scott: backing vocals on "Silver Lady", primitive percussion and additional vocals on "Universal Zoo/Why?", electric autoharp and prepared effects on "Starship Jingle", additional percussion on "Space Commando"
* Mr. Snips: lead vocal on "Space Commando"
* Shelly Thompson: group vocals
* John Tropea: electric guitar on "Love Station"
* John Zangradno: flutes on "Starship Jingle" and "Heartbreaker"


The Inter-Galactic Touring Band is a wonderful combination of rock music and science fiction that takes us on an imaginary romp through the cosmos. Special sound effects, mostly performed by Larry Fast of the Synergy® Electronic Music label accentuate the experience and add realism to the entire work.

Each song tells a different story. All of them are awe-inspiring. If you like science fiction, you will enjoy the ideas presented in these wonderful stories. The music is impeccably arranged and performed and some of the best vocal artists were chosen to sing the scores. (Such as Meatloaf and Status Quo )

• fan site here with more info than you need : I G T B
  

• Intergalactic Touring Band - `76 - Passport Records - 320 kbps - 88.8 MB
  *includes high rez front cover art

• 1. Approach
• 2. Silver Lady
• 3. Universal Zoo/Why?
• 4. Starship Jingle
• 5. Heartbreaker
• 6. Reaching Out
• 7. First Landing
• 8. Space Commando
• 9. Robot Salesman
• 10. Love Station
• 11. A Planet Called Monday/Epilogue
• 12. Keeper Keep Us

download -- here --

tommy roe - its now winters day - `69 - abc records

i already posted tommy roes phantasy LP , here is another in the same vein. pretty trippy stuff ! - vocal arrangements by curt boettcher - of association & tons more / need i say more ? he also did percussion & who knows what all , ha . this album is really good ! here is a lossless share. have the mono lp , but its too noisy !
i really love this album. i give it 5 stars MF ! -- ! there is a lot to listen to , they had fun with this one in the studio ! - TURN IT UP !!!!


***

This album takes me back to the winter of 1967. Here Tommy Roe musically embraces the more experimental atmosphere of the period just prior to the Summer of Love and creates a gem of mod/pop/rock with tinges of psychedelic influence. While Tommy Roe wrote or co-wrote all the tunes, the production of the album is heavily influenced by Curt Boettcher who produced the classic Association hits "Along Comes Mary" and "Cherish". Boettcher is credited with Vocal Arrangements although the liner notes indicate he was involved with a large part of the production of the album.

While this album is all Tommy Roe, you can hear similarities to other artists of that era. "Leave Her" is a good pop/rock opener with a Lou Christie-type feel. There's a tinge of early Neil Diamond in "Aggravation" and "Misty Eyes", two other pop/rockers.

"Long Live Love" and "Nightime" have a message similar to the non-comedy songs of Ray Stevens ("Mr. Businessman"/"Unwind") with the theme of slowing down and appreciating life.

"Golden Girl" is a pop love ballad with a Tin Pan Alley tint that could easily have been done by Davy Jones.

"Sing Along With Me" is a sunshiny-sweet 60's pop song (remember the Coke commercials teaching the "world to sing") which (for me at least) can get a little old.

"Moontalk" is a unique pre-moonlanding gem (written just as the Gemini program was winding down and the Apollo program was starting up) about the romantic ramifications of landing a man on the moon. I don't know of any other song that ever tackled this topic.

"Have Pity on Me" is a bluesy torch song which I don't remember liking that much back then, but now I see it as something that could be done by the Blues Brothers.

"Cry on Crying Eyes" is not a typical Tommy Roe song having a darker feel of a love gone wrong and reminds me of the later hits of the Turtles.

"Sweet Sounds" is a nice song is probably the tune closest to a typical Tommy Roe hit ("Sheila", "Hazel", et al.). It was released as a B-side single ("Moontalk" as the A-side). Perhaps the record would have charted better with Tommy Roe's core fans if the sides had been reversed.

The title cut - "It's Now Winters Day" - is my favorite cut. It evokes wintertime imagery and could have become a seasonal Christmas song. I find similarities in this track to the songs on the recent Kenny Loggins "December" album. Quite a nice track.

The bonus track, "Kick Me Charlie" is the B-side of the "It's Now Winter's Day" single and is a good rocking cut from that era.

According to the liner notes (which are quite informative), this album was not embraced by Tommy Roe's fans. It was a departure, less pop/bubblegum and frankly, was a more mature album. I think anyone interested in Tommy Roe, the styles of the Association, Lou Christie, early Neil Diamond or the mod/pop/pre-psychedelic period on the eve of the Summer of Love might want to give it a listen. [bruce d. davis]

tommy roe - its now winters day - `69 - abc records
LOSSLESS


1. Leave Her
2. Moontalk
3. Aggravation
4. Golden Girl
5. Misty Eyes
6. Have Pity on Me
7. Sing Along with Me
8. Long Live Love
9. Nightime
10. Cry on Crying Eyes
11. Sweet Sounds
12. It's Now Winter's Day


DOWNLOAD -- HERE --

tommy roe - its now winters day - `69 - abc records

dick hyman - the electric eclectics of - `69 - command records

alright !
here is another request. gotta luv this one. all out MOOG from the man himself , mr. dick hyman ~ i am still seeking his 2nd one on command , the orange one !
but this one rox - very experimental & vintage .. this one is real fun !
enjoy

*********************

Dick Hyman. Tell me this guy did not get beat up in school because of his name! Yet, somehow he managed to survive and become a prolific musician, multi-keyboardist, and film composer. Though he is best known for his talent at capturing the keyboard sounds of the past, some of his earliest work was with giant Moog synthesizers.

The Electric Eclectics of Dick Hyman is a snapshot of some of the earliest Moog music, at the height of Moog-mania. Moog albums were popping up everywhere, thanks to Switched-On Bach, and Gershon Kingsley’s cheesy psychedelic Moog albums. This CD captures that era in all its glory(?). The tracks range from the goofy to hardcore lounge synth work that will bring a smile to your face. Hyman’s tunes may sound a little dated, but that’s part of their charm, and his playing is nothing if not virtuosic.


Several cuts foreshadow the music of recent electronica artists. “Topless Dancers of Corfu” is cheesy as hell, with its squawky synth sound, and European folk dance melody. Yet, Hyman was doing something that nobody had really done before, making pop music with the giant Moog modular synthesizer. “The Legend of Johnny Pot” is cheesy, too, but the songs have a retro appeal. In fact, you’ll hear some sounds and grooves that would be right at home on some modern lounge electronica.

“Four Duets in Odd Meter” are more experimental. The sound choices are more “far-out”, sounding odd, if not quite spacey. The track has an improvised feel, and it explores continous key changes and complex rhythms.

Listen to “The Minotaur”, and you can hear where Keith Emerson cribbed some of his ideas. The track starts with a primitive drum machine track, and some early sequenced bass. On top of this, Hyman plays a short tune, and then plays variations and improvisations on the theme. The sound he uses sounds very familiar…think “Lucky Man”. Hyman’s improvisational style on “The Minotaur” seems to anticipate the chromatic style that Emerson made popular a few years later. He also uses lots of octave jumps, with the notes sliding from one octave to another. This is one of the most listenable cuts on the album because of the great playing. It’s also interesting as one of the earliest examples of jazz-rock synthesizer improvisations.

Several other improvised tracks explore other territory, from a quiet, almost ambient track, that will remind some listeners of Raymond Scott’s work, to a funky take on James Brown’s “Give it up, turn it loose”.


Not a classic, but nevertheless enjoyable listening and an interesting record, The Electric Eclectics of Dick Hyman is old enough to be appreciated for what it is, well-crafted pop electronica from the early days of electronica.

dick hyman - the electric eclectics of - `69 - command records

all trax from wax - akashaman - 2010

MP3 @ 320 kbps - includes high rez scans of front/back - inside covers ~!

Topless Dancers Of Corfu
The Legend Of Johnny Pot
The Moog And Me
Tap Dance In The Memory Banks
Four Duets In Odd Meter
The Minotaur
Total Bells And Tony
Improvisation In Fourths
Evening Thoughts



DOWNLOAD -- HERE --

Very Best of Orpheus - 2001 - CD

here is another request. i have 3 orpheus lp`s , but they are pretty common via da blogs. so here is the best of from cd , still @ 320 !
[ MIGHT STILL GET TO THE FULL LENGTH LP`S , SO HANG TOUGH , NOT AT TOP OF LIST THO ]
enjoy

*****

Orpheus is a Worcester, Massachusetts-based rock band that enjoyed popularity in the 1960s and early 1970s. In recent years there has been a resurgence of interest in the avant guard band. Original members included guitarist/vocalists Bruce Arnold and Jack McKennes, bass guitarist Eric "The Snake" Gulliksen, and drummer Harry Sandler but many others have since been a part of the group. Orpheus recorded three albums and four singles for MGM Records produced by musical legend Alan Lorber, including their best known hit, Can’t Find The Time, though it was later work that came to actually define the band.

Very Best of Orpheus - cd , 2001
MP3 @ 320kbps , includes scans ~

1-Can't Find the Time
2-I've Never Seen Love Like This
3-Walk Away Renee
4-To Touch Our Love Again
5-Joyful
6-By the Size of My Shoes
7-Congress Alley
8-I'll Stay With You
9-Me About You
10-Brown Arms in Houston
11-Never in My Life
12-I Can Make the Sun Rise
13-I'll Fly
14-Just a Little Bit
15-Big Green Pearl
16-Tomorrow Man

DOWNLOAD -- HERE --

Kasenetz-Katz Super Circus - `69 , buddah records

ok kids ; this one is by request ; a bit of bubblegum for ya , from the leaders of the pack -- Kasenetz-Katz ! - enjoy ~


Future bubblegum producers Jerry Kasenetz and Jeff Katz met at the University of Arizona, where Katz was attending on a football scholarship and Kasenetz was one of the managers on the football team. Upon leaving the University, Katz returned to New York and received a call from Kasenetz who was living on the West Coast. Kasenetz asked Katz to come out west and join him in starting a new business, something in the music business. Katz didn't know a thing about the business and had no intention on moving to California. So Kasenetz moved to New York and the two started to manage acts in Greenwich Village. One of the groups, the Palace Guards, were signed to Mercury and a single was produced. Kasenetz and Katz didn't like the results and figured they could do a better job of producing. And that's how they started producing!

They met up with Neil Bogart at Cameo and followed him to Buddah, his new label. Once set, K&K were responsible for Little Bit O' Soul by The Music Explosion (for Laurie Records) and -- with their first project for Buddah -- the 1910 Fruitgum Company. The group was one of a billion garage bands back then, but K&K gave them a new name and a song: Simon Says, a #4 hit in early 1968. They continued their initial success by having studio musicians play instead of the group only keeping singer Mark Gutkowski for the hits 1-2-3 Red Light and Indian Giver. Working with the Ohio Express and Joey Levine in the same manner, at the same time, they produced the massive hits Yummy, Yummy, Yummy and Chewy, Chewy.

The Buddah label took off and this inexperienced production team was now dominating the charts. The Express followed with Down At LuLu's and Mercy and Levine handled vocals for Quick Joey Small (Run Joey Run) for the Kasenetz-Katz Singing Orchestral Circus and Bubble Gum Music for the Rock 'N' Roll Dubble Bubble Trading Card Company of Philadelphia 1914 (whew!). Probably the most respected song of Bubblegum was Gimme Gimme Good Lovin' by Crazy Elephant and the list goes on. Admittedly, Bubblegum music is a small niche of pop but imagine if one production team produced The Beatles, Rolling Stones and The Who . . . well, that's the impact Jerry Kasenetz and Jeff Katz had on the charts and on your big sister and brother's transistor radio.

Probably the most endearing quality of the duo was their willingness to get product out on the streets as soon as they could. Only an A-side recorded? No problem! They'd quickly write Sticky, Sticky, the simplest song of all time or Pow Wow a pre-recorded song played backwards! Call it psychedelic experimental if you want, but don't think for a minute that Bubblegum didn't try to push pop farther than it had ever gone. They even orchestrated a Bubblegum concert at Carnegie Hall and recreated the event in the studio in order to release a good sounding "live" album.

"Those two were difficult to work with," said Ohio Express guitarist Doug Grassel. "It was strictly a money game with them. They'd tell us, 'Keep it simple. Hurry up. You're costing us money. They'd tell us what songs to play. And if we didn't like a particular song, they'd say something like, 'Who do you think you are? Jimi Hendrix?'"

By 1972, Bubblegum lost its flavor with the public and Kasenetz and Katz tried to move on. They produced a slew of mid-western rock groups and found little success until Ram Jam had a hit with Black Betty in 1977. Like most, if not all of the Bubblegum participants, K&K haven't resurfaced since. Maybe they'll be surfing the net one night and find a site dedicated to Bubblegum and . . .

check out what they are up to now ! kasenetz and katz all-stars

Kasenetz-Katz Super Circus - `69 , buddah records
all trax from wax , by akashaman - 2010
MP3 @ 320kbps - includes high rez front cover scan

Quick Joey Small
Let Me Introduce You
Easy to Love
Log in Fire
Shake
I'm in Love with You
New York Woman
Up in the Air
I Got It Bad for You
Down at Lulu's
The Super Circus

DOWNLOAD -- HERE --