01. Under My Thumb
Clutch is an American rock band from Germantown, Maryland, formed in 1990. The band's first release was an EP entitled Pitchfork, which debuted in October 1990. Their first studio album, Transnational Speedway League, was released three years later in 1993.Clutch formed in 1990 and built a local following through constant live performances. Following the initial 7" single release of "Passive Restraints" on the Earache label, Clutch was signed by the EastWest Records label. The debut LP, Transnational Speedway League, was released in 1993. It was followed by a self-titled album two years later that afforded Clutch mainstream exposure. The band moved to the larger Columbia label for 1998's The Elephant Riders release.
Pure Rock Fury appeared in 2001 on the Atlantic label. The title track was initially released as the first single. The program director for North Carolina rock station, WXQR (Rock 105), Brian Rickman, suggested that the label switch singles to another track from the album, "Careful with that Mic". Atlantic did so, and Clutch was afforded a surprise hit single. The follow-up tracks, "Immortal" and "Open Up the Border" were also well-received by American rock stations.
The album Blast Tyrant was released three years later, their first for DRT Records. The band once again enjoyed more rock radio airplay and heavy rotation on the Music Choice cable service thanks to the single "The Mob Goes Wild". Its accompanying video was directed by Bam Margera, and featured Margera's Viva La Bam co-stars; Ryan Dunn, Brandon DiCamillo and Don Vito.
Among Clutch's numerous side releases were a groove-based album, 2000's Jam Room, as well as Live at the Googolplex and the rarities record Slow Hole to China, both issued in 2003. The 2005 release Pitchfork & Lost Needles combined Clutch's 1990 Pitchfork 7 with unreleased demos and early tracks. In 2005 the band saw their first lineup change since the early 1990s with the addition of organist Mick Schauer, who performed on the albums Robot Hive/Exodus and From Beale Street to Oblivion. The latter album was released in March 2007 and featured producer Joe Barresi (Kyuss, Melvins, Queens of the Stone Age, Tool). The album was leaked onto the internet in early March. Critical reaction has been overwhelmingly positive; the magazine Metal Hammer called it a "future classic, the best album the group has ever produced, and easily a front runner for album of the year."
While the band has not recovered their previous radio airplay with subsequent releases, Clutch have accumulated a devoted cult following. The following has been cultivated by an ambitious touring schedule; the band often performs more than one hundred shows per year. The band's first live DVD, Full Fathom Five, and accompanying CD, produced/directed by Agent Ogden, were released in September 2008. The band also released a remastered version of Slow Hole to China: Rare and Unreleased on April 28, 2009
The band's ninth studio album Strange Cousins From The West, was released on July 14, 2009. Some of these songs were performed at the venue The Crazy Donkey in Farmingdale, NY, Kuma's in Chicago, IL, as well as Jed's (formerly Headliners) in Toledo, OH, prior to the album's release. [@Wikipedia]
John Charles Alder is Twink. Born in November 29, 1944 he was a prominent member of the U.K. Psychedelic scene in the late 60's and early 70's.Twink – Drums, Vocals
Paul Rudolph – Guitar, Bass, Vocals
John 'Junior' Wood – Bass
Wally Allen – Piano
John Povey – Sitar, Mellotron
Steve Peregrin Took – Guitar, Percussion, Vocals
Viv Prince – Drums" (Mexican Grass War)
TWINK is essentially John Charles Alder and with the help of various members of the British psychedelia scene he recorded and released this fine album in 1970 (although the recording quality and music are firmly rooted in the 60s).
'The Coming of the Other One' starts off our journey and is the most psychedelic song on the album, it's really out there and one interesting thing to note is the similarity that it bears to later krautrock acts with the ethnic percussion and sitar as well as spoken word parts (focusing on the apocalypse in the year 1999, a novel concept now that year has passed). 'Dawn of Magic' is another real highlight, a short song of chanting and building, very intense. 'Tiptoe on the Highest Hill' provides us with some great jamming and sparse soundscapes. Mexican grass war is quite a unique song with a marching motif and various percussion along with tympani and yelps and guitars coming in and out of the mix. Suicide is a very raw and melancholy investigation of the dark side of the mind, made even more so by the fairly upbeat nature of the main part of the song, contrasted with the spacey reverberant vibraphones.
The production on this album is fantastic (disregarding the fact that it's quite gritty and raw due to the technology available), it always seems very rich and dense and there are some very interesting delays and reverbs present which is a formidable achievement given the resources available to achieve those sounds back then.
Think Pink is a great little gem that's well worth investigating by any psychedelia fan, kraut fans will find something to enjoy here too.[@Progarchives]
"Age of Madness" has all the traits of a band on autopilot - no truly outstanding songs, mostly shorter material, repetition of simple motifs beyond their usefulness, overall brief running time, etc. After the almost uniformly adventurous and convincing "Between Heaven and Hell", given the lateness of the hour for such epic material, a disappointment was inevitable. Yet in the case of Jane, "Age of Madness" also played to their strengths. Their ability to stick doggedly to a simplistic yet catchy theme and plod along with slight variations was without peer in the German scene and beyond. It also strangely fits with the theme of madness, when one is unable to completely escape the infinite loops and disconnected circuits in one's brain. The title cut here is such an example, spacey, textural and hypnotic. "Memory Symphony" is similar, but more symphonic, with string synth sounds galore. The marriage of Jane's trademark psychedelia with country and western motifs in "Love Song" even shows a willingness to break new ground; even if this may have been commercially motivated, it doesn't seem like compromise. For a heavier repeating loop, try "Bad Game" - again, Jane takes a riff where it has gone before, again and again, and does it better than anyone, thanks to Hess and Wieczorke, amply backed by the rhythm section.
"With Your Smile" is perhaps the best thing here, kicking off mid-song and highlighted by some of Hess' best work and a near danceable beat. It is the ultimate expression of Jane's paradoxical blend of professionalism and amateurism.
On the negative side, "Get this Power" combine the worst of all eras of Jane, and must have sounded laughably retro even in 1978, and "Auroville" fails to inspire in spite of a similar formula to the album's successes. Nevertheless, as an overall collection, this late stage album has the temperament to outlive the vicissitudes of its age. 3.5 stars rounded up. [@Progarchives]
Studio Album, released in 1978
Songs / Tracks Listing
1. Age of madness (5:45)
2. Memory symphony (4:25)
3. Auroville (3:40)
4. Love song (3:53)
5. Bad game (5:14)
6. Get this power (2:40)
7. With her smile (4:20)
8. Meadow (3:27)
9. Age of madness (part II) (2:39)
Line-up / Musicians
Klaus Hess / guitars, vocals
Martin Hesse / bass, vocals
Peter Panka / drums, percussion, vocals
Manfred Wieczorke / keyboards, vocals
Futilist's Lament and Death Warmed Up are really a true devil's ride with extremely amped guitar and violin. At times HAWKWIND is coming to my mind. Quite heavy stuff, but for my ears and listening habits becoming a bit too monotonous and noisy after a while (the same problem I have with the heavy stuff of the mentioned band). A rather huge contrast when third track Pushed, But Not Forgotten is starting even very mellow, soon after amps are switched on again, but on this one the music is much different from before and of much bigger quality and versatility. Especially here and as well in Walkin Down Their Outlook in the more quiet sections Tony Hill's vocals remind very much to those of Jim Morrison. The violin is sounding in these and in the following tracks much better and less distorted than in the first two. Missing Out reminds a bit to CREAM at least in the beginning before violin comes in. The longest track of the album is a very heavy and very interesting versatile one as well. Nowhere is a bit less heavy featuring again nice vocals reminiscent of THE DOORS.
HIGH TIDE's debut is for sure one of the best Proto-Prog albums released. Maybe I wouldn't call it necessarily a masterpiece, since I'm usually careful with my 5- stars ratings, but anyway together with their second one
an excellent addition to any prog collection! [@Progarchives]
This band is an historical band in Czechoslovakia. They was active from 1971 until 1981 with 6 releases plus one live lp. Their style is like ELP with Wakeman, The NICE and clear classical influences. The band was composed by vocals, guitars (Ludovít Nosko); keyboards (Marián Varga); guitars (Karel Witz); bass (Fedor Freso) and drums (Dusan Hájek).
The album kicks off with "For Mad Men Only", with a heavy fuzzy power chord guitar and driving beat, it contains some great riffs and solos, certainly a sign of things to come as they are similar to bands such as Black Sabbath. This track also reminds me of the typical heavy sound from UK underground Psyche/Space rock band "Stray". The style of vocals in "Snakes and Ladders" sounds reminiscent of Hendrix, has a strong bass line, fuzz power chords which sound very Black Sabbath indeed. There are echoed backing vocals and "space" effects swirling around, now we're in Hawkwind territory! "The 25th of December" as you'd guess is a Christmas song which swings along beautifully, occasionally leading into whispered vocals and a jazzy style rhythm and bluesy guitar. "In Part" is a jazzy style number which has a flute playing in the background, funny thing the vocals are half sung half spoken, almost rap-like, which leads into a fine drum solo. I don't care what anyone says, i love 'em!! The next track on the cd is called "8 Mad Grim Nits", not sure who they refer to but it is a crazy fast jazzy jam featuring very fast drum and bass playing and some wild fuzzy, phased over- amped lead guitar, really sounds like they had a lot of fun doing this one! Here's another group i would have loved to have seen live. "High Beech" is a beautiful folky song overlaid with watery acoustic guitars and nice lyrics, "shadows spring to life", "today is the beginning of the rest of our lives". "Honey Coloured Time" is another beautiful song about our hypocritical world with hushed vocals, which includes some fine jazz style guitar and bass and a Hendrix style ending, talk about mixing styles. "Just Thinking" is a ponderous, dreamy love song, very laid back, and features some interesting echoed "squeaky" guitar effects.
I enjoy listening to this album very much and it's a shame May Blitz didn't do more after they were dropped from Vertigo. James Black and Reid Hudson returned to Canada and Tony Newman went on to work with such artists as Three Man Army, Marc Bolan, David Bowie & Mick Ronson, Chris Spedding and David Coverdale's Whitesnake. IMO an essential addition to any Prog/Space/Psyche collection. [@Progarchives]
Santana Live at the Fillmore is a live album by Santana, recorded between December 19 and December 22, 1968 and released in 1997.
1970-06-26 
1971-10-14 
1971-10-07 
Roseland Ballroom NYC NY
Steel Mill is an obscure English band that released only one album of fairly heavy rock with a few progressive touches. Musically, Steel Mill has similarities to bands such as Blodwyn Pig, Golden Earring, the Free, Fleetwood Mac, and the heavier side of early Jade Warrior. The album features great aggressive guitar playing, good vocals, and some wild pounding drumming. The longer tracks include extended instrumental sections for guitar, sax, and flute. For example, the ten-minute title track is rather typical for the music heard on the album: it starts with dreamy flute playing and a thumping drum. Slowly, guitar and vocals are added. Here they sound very much like Fleetwood Mac at the time that Peter Green was in the band. After a few minutes a heavy guitar riff sets in (think of early 70's heavy Golden Earring) and next a scorching lead guitar solo follows. A long section with guitar and saxophone riffing follows. The track ends with a coda for flute and drums. Altogether, I found Green Eyed God a pleasant album. It's worth checking out if you like this particular type of heavy guitar rock. [@oldishpsychprog]- John Challenger / woodwinds
- Chris Martin / drums
- Dave Morris / keyboards, vocals
- Jeff Watts / bass
- Terry Williams / guitar
APE - COVERS - 248.42 MB
Bloodrock initially formed in Ft. Worth, TX in 1963 under the name The Naturals. This first lineup featured Jim Rutledge (b. January 24, 1947) – drums/vocals, Nick Taylor – guitar/vocals, Ed Grundy(b. March 10, 1948) – bass/vocals, and Dean Parks – guitar. They released their first single in 1965 “Hey Girl” b/w “I Want You”(Rebel MME 1003). Shortly thereafter they changed their name to Crowd + 1 and released three more singles: “Mary Ann Regrets” b/w "Whatcha Tryin’ to Do to Me"(BOX 6604), "Don’t Hold Back" b/w "Try," and "Circles" b/w “Most Peculiar Things.”
In 1967 Parks left Crowd +1 to become the musical director for the Sonny & Cher Show (the beginning of a long career as a session musician). He was replaced by Lee Pickens (b. 12-08-??) – guitar. It was also at this time that Stevie Hill (b. Tulsa, OK) – keyboards/vocals joined the group. They continued as Crowd + 1 until 1969 when they changed their name to Bloodrock. They also recorded their first album the Terry Knight produced Bloodrock (ST-435). The album peaked at 160 on the Billboard Pop Albums Chart in 1970.
In 1970 Rutledge moved from behind the drum set to take on lead vocal duties exclusively. Rick Cobb (b. James Richard Cobb III) took over the percussive duties and added his voice to the group as well. This lineup recorded their next four albums: Bloodrock 2 (ST-491), Bloodrock 3 (ST-765), Bloodrock USA (SMAS 645), and Bloodrock Live (SVBB-11038).[@Wikipedia]
As heavy 70's slabs go, this band rates pretty high. They had a slightly more cleaned up Sabbath style sound, that on this album resembles more what Ozzy and company would be doing in the mid 70's. Not a smooth ride all the way through (skip the awful cover of "No Sugar Tonight") but side one is mighty solid. [@orexisofdeath]
- Jan Akkerman / guitars
- Hans Cleuver / drums
- Martijn Dresden / bass
- Thijs van Leer / vocals, keyboards, flute
This is Dutch progressive rock. The keyboards are basic: mostly organ and piano. Some songs are more catchy and accessible with very good lead and backing vocals ("Black Beauty", "Sugar Island"). Other songs are more instrumental, with tons of drums and flute through fast bass and electric guitar rythms. For instance, "House of the King" has a melodic flute that steals the show in front of rythmic patterns (It is similar to the JETHRO TULL of the 70's). The instrumental FOCUS is full of good piano, organ, elaborated drums and electric guitar high notes that are even a bit romantic and rythm changing. [@Progarchives]
el principio de razón. ¡Cómo podríamos decir legítimamente, si la verdad fuese lo único decisivo en la génesis del lenguaje, si el punto de vista de la certeza lo fuese también respecto a las designaciones, cómo, no obstante, podríamos decir legítimamente: la piedra es dura, como si además captásemos lo “duro” de otra manera y no solamente como una excitación completamente subjetiva! Dividimos las cosas en géneros, caracterizamos el árbol como masculino y la planta como femenino: ¡qué extrapolación tan arbitraria! ¡A qué altura volamos por encima del canon de la certeza! Hablamos de una “serpiente”: la designación cubre solamente el hecho de retorcerse; podría, por tanto, atribuírsele también al gusano. ¡Qué arbitrariedad en las delimitaciones! ¡Qué parcialidad en las preferencias, unas veces de una propiedad de una cosa, otras veces de otra! Los diferentes lenguajes, comparados unos con otros, ponen en evidencia que con las palabras jamás se llega a la verdad ni a una expresión adecuada pues, en caso contrario, no habría tantos lenguajes.Comentario aparte:
No importa si ustedes piensan que tal banda hace krautrock o heavy progressive, solo es una forma de guiarse, gente. No lo tomen tan a pecho.
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