Pugh's Place is a Dutch band from 70's. West One is the first and only album. The band offers seven tracks on this record. Musically this is a very nice record.
Members
Jan van der Heide (guitar, flute, vocals), Hans Kerkhoven (guitar, 12-string guitar, acoustic guitar), Nanne Kalma (vibraphone, vocals), Jan Ottevanger (bass), George Snijder (drums), Henk Kooistra (keyboards), Wolfgang Gobetz (bass guitar)
It's immediately apparent that on album number two, this band have opted for a smoother, more sophisticated sound. Sadly it didn't leave them with a lot of charm or verve. There's more of a general rock/prog feel here than on their fine debut, leaving this one quite anonymous in the process. Fans of lighter prog fare (Styx, Rush, Kansas) might find stuff to love here..
Members
Peter Lee Stirling [Peter Charles Greene, aka Daniel Boone] (vocals), Alan Hawkshaw [aka Jeremy Eagles] (keyboards), Alan Parker [aka Andrew Balmain] (guitar), Clem Cattini [aka Rupert Baer] (drums), Herbie Flowers [aka Jackson Primrose] (bass)
This one has just way too much soul flavour for me to get much musical pleasure from it. There are occasional moments that are enjoyable, but the band never seems to be able to fully unleash the furious guitar crunch I so desire with this type of music. The momentum is there, and it's there, and IT'S THERE and then...wait wtf, where did it go? That scenario seems to play out with almost every track. There are about four songs here out the eight (that's one half or 50% for you math-heads out there) that I consider somewhat worthwhile. Make Me Make You and Pate De Foie Gras start out decently enough but end up suffering from the fate I described above. And the self-titled title track and Squadron Leader Johnson are not too bad either, but never quite get beyond the realms of just good. The remaining tracks I could do without though. Some people may dig this, but it ain't my scene man.
Members
Peter Lee Stirling [Peter Charles Greene, aka Daniel Boone] (vocals), Alan Hawkshaw [aka Jeremy Eagles] (keyboards), Alan Parker [aka Andrew Balmain] (guitar), Clem Cattini [aka Rupert Baer] (drums), Herbie Flowers [aka Jackson Primrose] (bass)
A debut album that is not well known to many. Instrumental experiments were done very well in the album. There are songs that develop in strange ways. The female vocalist's voice is very good.
Members
Otis E. Hale, James Q. Smith, John Kenneth Lambert, DeWayne Bryant, Richard Lewis, Barbara Marie Busa
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
If there was ever a band you could hold up against today's sterile, predictable, banal rock music to teach young whippersnappers about the value of chaos, noise and reckless power, the Pink Fairies might be the best choice. Sure, you can also invoke the MC5, Stooges, Hawkwind, Funkadelic, Blue Cheer, and many, many more, But lately, as I'm often struck by just how trite and dead mainstream rock is, I think of these guys. Not a bunch of noise-mongers, the Fairies could play, but weren't chops oriented. They almost always managed to find the perfect balance of anarchy and sructure, unbridled power and amateurish enthusiasm. This concert document, rather similar to others that have been unearthed in recent years, carries with it both great sound, very live but certainly better than bootleg quality, illustrates all of that. The fact that you can ear equal amounts of Sex Pistols and Black Sabbath in the band's loose but heavy, driving playing is also worth noting, revealing that the poles of punk, metal and rock are not nearly as far apart as the rock critic elite would have us believe. Which means that this record, and the Pink Fairies themselves were that example of rock's very own inconvenient truth; sometimes the music is just the music, for it's own sake, outside of politics, fashion, scenes and anyone's personal, critical ax to grind. For that cohesion of beautiful anarchism, we must thank the Fairies for leading us to the water, forcing our heads underwater and forcing us to drink.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
The album, which consists of tracks recorded in the 70s, is in a compilation album format. In addition to the best songs of the group, the album also features a legendary interpretation by Johnny B. Goode.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
Pink Fairies' live album, recorded in 1975 but released in 1982. It's quite lively and just right in the band's musical style. This record is very good overall. Especially the Waiting For The Man and Uncle Harry's Last Freakout are amazing. The last song, Going Down, also finished the concert beautifully.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
In June 1973, Polydor Records released the third album by The Pink Fairies – “Kings Of Oblivion”. I have seen it described as an album that simply fulfils the contract but it is not in my view, a poor contractual obligation record – no, “Kings Of Oblivion” is a very fine record indeed.
But first we need to go back a few months to when guitarist Paul Rudolph left The Pink Fairies. Duncan Sanderson – bass and Russell Hunter – drums decided to continue with guitarist Mick Wayne who had connections to the band. He had been founder of Junior’s Eyes and worked with Hunter & Sanderson with Steve Peregrin Took (once of Tyrannosaurus Rex). In fact Took probably thought he would be part of any new Pink Fairies (remember he had been part of the Pink Fairies Motorcycle Club And All Star Rock And Roll Band with Twink in 1969) but his drug consumption meant that this was not to be. But The Pink Fairies was reborn with Wayne, Hunter & Sanderson and they released the second Pink Fairies single “Well, Well, Well/ Hold On”. It is included as part of the bonus tracks on “King Of Oblivion” and..its just about O.K. Enter Larry Wallis. Originally employed as a second Pink Fairies guitarist, he, too, had worked with Took, and had been in UFO (yes, Phil Mogg and chums have been around since 1969 – Mogg sacked Wallis for being drunk). However Sanderson & Hunter decided that Mick Wayne was leading the band in a direction they did not like, and after one gig as a four piece – The Pink Fairies were back to a three piece – but with Larry Wallis as their guitarist - not Mick Wayne.
And on “Kings Of Oblivion” all seven songs were written by Wallis – 4 on his own and three in collaboration with Sanderson or Sanderson & Hunter and on the closing track on what was Side1 – “Where’s The Fun Begin?” with one-time lead Deviant – Mick Farren. I think this was very much necessity being the mother of invention but Larry Wallis took up the challenge admirably. He also sings lead vocals – not bad but a bit shaky. Importantly, “Kings Of Oblivion” – named after a line in David Bowie’s “The Bewlay Brothers” – is very much a punk album. I know three of the tracks are in excess of six minutes, but the attitude is that of 1976 rather than 1973. It is no wonder that Stiff Records wanted The Pink Fairies – their “final” single was released as Buy 2 (if you remember Stiff’s catalogue numbers.)
The opening “City Kids” sets the tone. Written by Sanderson & Wallis, it is, as the excellent CD booklet says, “a storming opening track”. Then there is the nine minute plus “I Wish I was A Girl”. Now The Pink Fairies were still a jamming band but here Wallis’ guitar playing is excellent and it does not outstay its welcome. Lyrically, it is interesting as well – a pretty good take of sexual stereotyping. What was Side 1 finishes with the six-minute plus “When’s The Fun Begin?” and it is another cracker. So far so wonderful.
What was Side 2 is less so. The first track “Chromium Plating” is very good as is the instrumental “Raceway” – except it should not have been instrumental. The Pink Fairies were still gigging during the recording of “Kings Of Oblivion” and after one gig, they returned to find the album mixed & finished. Wallis was not able to add his vocals! The next track, however – “Chambermaid” rocks extremely well but in contrast to “Wish I Was A Girl” has thickheaded sex lyrics which I suspect I would have found hilarious at 14 but at 60, I find them somewhat embarrassing. There are worse and the early 1970’s were different times, but even so.
Fortunately the closing – the seven-minute “Street Urchin” is terrific.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
After an awesome psych-punk debut album _Never Never Land_, the Pink Fairies ditched the acid-addled style of tracks like "Heavenly Man", instead going for lengthier, riff mad jams.
While initially not as impressive as _Never Never Land_, after a few listens _.....Sweeties_ reveals itself as a great LP in it's own right. Stand out tracks are "I Went Up, I Went Down" (the mellowest song on the album), the country piss take "Pigs Of Uranus" and a husky cover of The Beatles' "I Saw Her Standing There".
Also of note is the 9 minute plus version of rock 'n' roll classic "Walk Don't Run". I'm sure when Johnny Smith, whoever he may be, first wrote this (much-covered already sorta thing) tune he never imagined it'd be covered in such a way! An even longer, alternate take of the song is included as a bonus track.
This band is pretty damn underrated- I can recommend this album to all fans of jam heavy sludge, stoner, psych, proto punk and space rock.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Hard Rock, Heavy Psych, Psychedelic Rock, Progressive Rock, Proto-Punk
Many of the best suggestions of sixties music received in a single album: hard rock, acoustic moments, blues, psychedelia and improvisation. Versatility and class. Source inspiration and spiritual guide of many English musicians who came you later.
Members
Twink (drums, vocals, 1969-71, 1975-76, 1987-88, 1995-97), Mick Farren (lead vocals, 1969), Steve Peregrine Took (guitar, 1969), Sally Meltzer [aka Silver Darling] (keyboards, 1969), Duncan Sanderson (bass, 1970-76, 1981-88, 2014-17), Russell Hunter (drums, 1970-76, 1987-88, 2014-17), Paul Rudolph (guitar, vocals, 1970-72, 1975-76, 1995-97, 2018-present), Mick Wayne (guitar, vocals, 1972-73), Larry Wallis (guitar, vocals, 1973-76, 1981-88), Martin Stone (guitar, 1976), George Butler (drums, 1981-86, 2014-17), Andy Colquhoun (guitar, vocals, 1987-88, 2014-17), Jaki Windmill (percussion, 2014-17), Alan Davey (bass, vocals, 2018-present), Lucas Fox (drums, vocals, 2018-present)
Very british sounding heavy psych with incredible guitar parts without the swank of most of more known bands from the era. Unchained was the only studio album this UK heavy psych group. It's a really solid mix of pretty heavy guitar driven material and lighter psychedelic rock.
Members
Peter Thorpe [Big Pete Thorpe] (lead vocals), Neil Tatum (lead guitar), Granville Frazer (rhythm guitar), James Haines (bass guitar), Bernard James (drums)
Psychedelic Rock, Pop Rock, Rock, Hard Rock, Blues Rock, Folk Pop
And these people were called Satanists? I imagined them as completely different. Even more surprising was the fact that “Blood on the Snow” is ranked as either proto-prog or hard rock. Proto-prog on the final album of the group Coven and does not smell. As for hard rock, only the last three songs of the album can be attributed to this style with some stretch. And even then to that soft and melodic form of hard, which borders on power pop-rock.
The album begins with the glam-rock “Don’t Call Me”, which could very well be in Slade's repertoire. In addition, the vocals in this song are reminiscent of Noddy Holder's singing, but only in a higher range. The next five show the pop side of Coven's music. It is pure pop (“This Song's for All You Children”), orchestrated pop with a country flavor and vocals similar to Stevie Nix (“Lady O”), a power pop rock ballad (“Blue Blue Ships”) in which the vocalist of the band Jinx Dawson from a pop diva to a rock diva, again a pop song (“I Need a Hundred of You”) and the last of the five “Hide Your Daughters” in which the male vocals of guitarist Christopher Nielsen clearly outperforms Jinx's singing. The last three songs of the album are performed in a heavier hard rock style. True, in a light commercial version of hard rock.
There is not a single brilliant or failed composition on the album. But most of them are above average in quality. Well, the highlight of Coven is, of course, the voice of vocalist Jinx Dawson, which is great for both pop songs and rock performances.
Nice pop rock album.
Members
Jinx Dawson (vocals), Mike "Oz" Osborne (bass), Jim Nyeholt (organ, piano), Jim Donlinger (guitar), Christopher Neilsen (guitar, vocals), Rick Durrett (organ), John Hobbs (keyboards)
Psychedelic Rock, Pop Rock, Rock, Hard Rock, Blues Rock, Folk Pop
Very good gard rock album from early 70's. There are no satanic lyrics on this album.
Members
Jinx Dawson (vocals), Mike "Oz" Osborne (bass), Jim Nyeholt (organ, piano), Jim Donlinger (guitar), Christopher Neilsen (guitar, vocals), Rick Durrett (organ), John Hobbs (keyboards)
01 - Nightingale 2:57
02 - Shooting Star 2:54
03 - Natural Love 4:00
04 - What Can I Get Out of You 3:45
05 - Dark Day in Chitown 3:51
06 - Jailhouse Rock 2:06
07 - Lonely Lover 3:32
08 - I Guess It's a Beautiful Day 3:19
09 - Washroom Wonder 3:50
10 - Nobody's Leaving Here Tonight 3:42
11 - One Tin Soldier (The Legend of Billy Jack) 3:18
Psychedelic Rock, Pop Rock, Rock, Hard Rock, Blues Rock, Folk Pop
The psych rock with bluesy guitars here is somber, a bass-driven theater of terror and jutting drums that, even with its almost kitsch guise, is still unlike anything that had been produced in the US until that 1968 (as far as I know), even among those bands that bet on the weight to shock - and let's face it, this is not the vibe here.
overcoming those details that can make those of little faith reject or make fun of the material, Ed Wood's film atmosphere here is engaging, even convincing. With correct attention, you quickly find yourself in medieval towns with fanatical villagers chasing witches, peasants making deals with the devil to save the harvest, among other classic scenarios that refer to the cheapest horror movie productions of the 50s and 60s.
I woke up today with For Unlawful Carnal Knowledge in my head! Great fun!
4.5 out of 5 because Satanic Mass at the end breaks the groove of the parade.
Members
Jinx Dawson (vocals), Mike "Oz" Osborne (bass), Jim Nyeholt (organ, piano), Jim Donlinger (guitar), Christopher Neilsen (guitar, vocals), Rick Durrett (organ), John Hobbs (keyboards)
The Cinevox label is proud to present the classics of the Italian symphonic program - the group Cherry Five! Do not wrinkle your nose, strain your memory and suspect company representatives of falsifying facts. Before us are indeed the grandees of rock music of the Apennine Peninsula. It's just that they are known to the entire enlightened world under the name Goblin. However, before turning into venerable soundtrack writers and masters of thought, the guys gave their debt to the progressive, having recorded an English-language disc, which absorbed a decent amount of finds from the piggy bank of European art. For the abundance of classical motives in the work of CF, one should thank the leading composer of the group - the young and ambitious Claudio Simonetti, the son of the famous pianist and conductor Enrico Simonetti. Solid mellotron layers, high-speed piano passages, the most graceful jazz blotches, marching callsigns of an electric organ - all this is his handiwork. Claudio's longtime collaborator, guitarist Massimo Morante, also deserves the warmest words. His play style was clearly influenced by Steve Howe (YES). This is especially felt in the epic piece "The Picture of Dorian Gray" (by the way, this is exactly what, only in Italian transcription, the name of the ensemble, organized by Simonetti, on the ruins of which Cherry Five later arose). In general, the inspiration of the legacy of the British legislators of the genre in CF can be traced to a greater extent than in their fellow countrymen-contemporaries. And if the opening "Country Grave-Yard" can be considered as an exemplary number for the prog-movement of the 1970s as a whole, then in the already mentioned "Portrait of Dorian Gray" Yes's intonation is seen in every sound corner (though nothing bad, personally, I I don’t see it). The excellent two-part combination "The Swan is Murderer", performed in ultra-fast mode with virtually no slowing down, is somewhat reminiscent of the Irish fighters Fruupp in half with the Dutch Kayak. Technique miracles are demonstrated here by drummer / percussionist Carlo Bordini. The 9.5-minute art-musical "Oliver" is kaleidoscopic in a good way: introspective waltzing notes, squalling rock outbursts, pleasant Canterbury relaxation, massive keyboard firing from all weapons - an excellent polyphonic action with confident vocal parts of the singer Tony Tartarini. The final opus, "My Little Cloud Land", is a spirited fusion cocktail with a dashing ride across the grounds of Gentle Giant and Jethro Tull.
Finally, a little advice: before listening, it is advisable to get rid of the information gleaned from the description, because the above clumsy phrases and clumsy comparisons are entirely subjective. The main thing to remember: this is a real masterpiece of Italo-prog. Tune in to high art and try to have fun.
Members
Tony Tartarini [aka Toni Gionta] (vocals), Claudio Simonetti (keyboards), Massimo Morante (guitar), Fabio Pignatelli (bass), Carlo Bordini (drums)
The second album by this American group is almost as delectable as the first. The qualities of the instrumentalists, the quality of the production are always present. Perhaps the compositions are less convincing, less surprising. There are filling trends.
Members
Geno Charles (drums), Larry LaFalce (lead guitar, vocals), Dino Paolillo (lead guitar, vocals), Frankie Previte (vocals, recorder, percussion), Ron Piccolo (organ, piano, vocals), Lenny Venditti (bass)
Hard Rock, Blues Rock, Progressive Rock, Heavy Psych
Tremendous Hard Rock Combo with Blues inspirations. Without wasting any track after track, the album passes forcefully without being boring because of the varied and well produced.
Best of all are the fine double guitar arrangements by Larry Lafalce and Dino Paolillo backed by a stormy and well grounded rhythm section from Gino Charles (drums) and Larry Venditti (bass) plus top-notch Hammond Organ in charge of the fifth. member Ron Picollo, all under a pseudo-jasmine atmosphere that at times touches the sky.
It is almost impossible to relate their sound with those of other established bands, but if that was the point, I could classify them as a mix of Deep Purple, Grand Funk and something from the first stage of Kansas because of their approach to the progressive chord, but that devastating rope and openly. Special mention should also be made of the superb arrangements of the vocal choirs in all the themes, as for example in the theme Cy, a fine and magnificently arranged theme.
I could not decide on a particular topic since all the recordings do not cease to impress me. Fantastic debut of this group that sadly was diluted with their next production.
This is one of those bands that I immediately refer to when talking about quality bands that have disappeared prematurely.
Members
Geno Charles (drums), Larry LaFalce (lead guitar, vocals), Dino Paolillo (lead guitar, vocals), Frankie Previte (vocals, recorder, percussion), Ron Piccolo (organ, piano, vocals), Lenny Venditti (bass)
Chelsea has nothing to do with the punk band of the same name from the late seventies. Nothing at all! Here a crude mix of rock, southern rock and folk is offered, recorded rather musty and in the middle frequencies it is like New York in rush hour. The recording quality roughly corresponds to the colors used for the cover. Washed out, dull and uninteresting. So no psy-pop pearl, no acid daddel, no masturbation fuzze. No nothing. So what was it that drove me to purchase this piece of vinyl?
Then it falls like dandruff out of my hair: Peter Criss, of course. The drummer from Kiss. Chelsea was his first band. And on closer inspection or listening, a small sensation emerges. John Cale actually plays the viola on "Long River" and "Good Company". John Cale was an icon even then; and I was a total Velvet Underground fan in the nineties. That'll be it. John Cale = good LP. How can you be mistaken? In any case, I heard this part for the second time today - and it will probably have been the last time.
Members
Peter Shepley (vocals), Mike Brand (guitar, vocals), Michael Benvenga (bass, vocals), Chris Aridas (guitar, vocals, ?-1971), Stan Penridge (guitar, vocals, 1971), Peter Criss (drums)
