Out of print

Dear friends and listeners....

This Indiana based band (who turned into legendary psych band ‘B.F. Trike’) released only 100 copies of this record on the Gigantic label in 1969, making it a true rarity; full of variety (although much of it sounds like acid rock era of Byrds or Buffalo Springfield), with the most psychedelic track being ‘Time And Changes’, with its great vocals and lots of fuzz guitar.

This Japanese CD re-release features four bonus tracks as ‘B.F Trike’; beautiful package in a quality mini-LP style jacket, limited to 1000 copies.....HERE ...zero THKS to Searnav

1. I Don't Believe (3:29)
2. Time And Changes (2:28)
3. Maybe Tomorrow (3:15)
4. Transit Blues (2:51)
5. Country Boy (2:17)
6. The Loner (2:31)
7. Mr. Man (3:36)
8. New Albany Police Carnival (2:51)
9. Father Come With Me (4:09)
10. Judy (2:47)
11. I'm A Man (bonus track) (3:43)
12. Red Shoes (bonus track) (2:27)
13. Come A Little Closer (bonus track) (3:20)
14. Shuh Rah (bonus track) (3:10)

Having fun...

Cari amici ed ascoltatori....facendo seguito al post dedicato a Metal Machine Music del beneamato Lou Reed, finalmente riesco a trovare il link di questo orrore a 33 giri......Il disco è unico nel catalogo di Elvis in quanto non contiene nessuna canzone: è unicamente composto da spezzoni parlati di Presley durante i concerti registrati nello spazio tra un brano e l'altro. Principalmente si tratta di Elvis che si diverte a scherzare con i membri della sua band e con il pubblico e a fare battute di vario genere.L'album fu una trovata commerciale del manager di Elvis, il Colonnello Tom Parker. Inizialmente Parker fece uscire il disco per la sua etichetta di proprietà, la Box Car Records, e venduto esclusivamente ai concerti di Presley. In seguito l'album venne acquistato e pubblicato dalla RCA Records come un vero e proprio album live, con la sola avvertenza per i compratori consistente in una didascalia sulla copertina che diceva "A Talking Album Only" ("Album solo parlato") Sul retro di copertina Elvis è accreditato come produttore esecutivo del disco.Having Fun with Elvis on Stage è stato indicato come il peggior album in assoluto di Elvis Presley. I critici rock Jimmy Guterman e Owen O'Donnell, scrivendo il loro libro The Worst Rock and Roll Records of All Time nel 1991, giudicarono il disco in assoluto il peggior disco rock di sempre.

A tutt'oggi, il disco non è mai stato ristampato in formato CD.........HERE....zero

Still JMD

Cari amici ed ascoltatori.....
agli sgoccioli degli anni '50 il titolare di un locale di Chicago suggerisce ad un giovane bassista di nome Jack McDuff, che allora suonava in un trio con Max Roach, di darsi all'organo: così il nostro si avvia sulla strada che lo ha portato ad essere riconosciuto come uno dei maggiori hammondisti di sempre. Questo è quanto narra la leggenda. Certo quanto corrisponda a verità non è dato di sapere, ma di sicuro il nostro era già sin dagli esordi un fervido estimatore del grande Jimmy Smith. Nel corso degli anni '60, McDuff ha inciso dischi memorabili di un jazz-funk raffinato ma allo stesso tempo fruibile, come "Down Home Style" e questo splendido "Moon Rappin" nel 1969 per la mitica Blue Note, lavori al contempo lontani mille miglia sia da certo snobismo core-jazz che dalle frivolezze dell'easy-listening, ma pur rivolti a catturare l'ascoltatore sin dal primo ascolto grazie all'originalità degli arrangiamenti ed al groove irresistibile.....HERE....zero

Brother JMD

Dear friends and listeners...

Jack McDuff was a talented bandleader and organist with the Hammond B-3. He started his career in the 50s working with piano and organ. In 60s created his band with Harold Vick and drummer Joe Dukes and then hired a young guitarist called George Benson (!!). He published a lot of albums with famous jazz labels like Blue Note or Prestige. During the 80s he played electronic keyboards and plublished his music for Sugarhill records, a famous record label owned by the soul singer Sylvia Robinson (well-known for the Sugarhill Gang and Rapper's delight, the 1st million-dollar rap hit). This "Getting Our Thing Together" recorded at Ter Mar Recording Studios (Chicago) in October 1968 is probably his best work for Cadet Rec.....so.... enjoy this out of print gem..... HERE....zero

Dear friends and listeners....

only a couple of days after we lost Willie Tee and Joe Zawinul came word of the death of Bobby Byrd. Byrd is remembered, of course, as the right-hand man to James Brown, both on stage and on records during JB's greatest years. Byrd was a key ingredient in one of the all-time funk bombs, James Brown's Get Up (I Feel Like Being A) Sex Machine. This "I need help" is a lost gem coming out from the early '70, produced by Mr. Dynamite is the only solo work of Bobby Byrd. I saw a used copy in sold for £ 135....incredibile.....enjoy HERE....zero

jamming

Cari amici ed ascoltatori....

ecco qua un dischetto, per la rolling stones, che salta fuori da una antica jam session del 1972 svoltasi sembra durante le registrazioni di " Let it Bleed" dei Rolling Stones; il disco quasi subito fuori catalogo vanta una riedizione su CD all'inizio degli anni '90....godetevi la chicca con un occhio alla line up....HERE

Nicky Hopkins - piano

Ry Cooder - guitar

Mick Jagger - vocals

Bill Wyman - bass

Charlie Watts - drums

Tracks:

01. The Boudoir Stomp 5:16

02. It Hurts Me Too 5:49

03. Edward's Thrump Up 7:40

04. Blow With Ry 11:12

05. Interlude a la el Hopo 2:03

06. Highland Fling 4:20

Private Press

Cari amici ed ascoltatori......
ecco qua una Private press tirata in solo 500 copie, proveniente dagli albori degli anni 80' dalla minuscola contea di Monmouth, New Jersy.....interessanti groove jazz funk....piccole gemme che possiamo riscoprire grazie al rip di Transpac e al pub. di pyrex.....thnkx guy take it up....HERE

Out of print

Cari amici ed ascoltatori.....

questa sera siamo in vena di flash back per cui essendomi accorto che questo dischetto è praticamente introvabile, LP raro del 1978 con una sola re edizione su CD, ed essendo , a mio avviso una "lost gem", mi sembrava il caso di dargli una bella riascoltata.....e poi che Line up....Paul Jackson; acoustic bass, electric bass, vocal / Alphonse Mouzon; drums / Ray Obiedo; electric guitar / Bennie Maupin; bass clarinet, tenor saxophone / Clavinet - Herbie Hancock; acoustic piano, clavinet, Arp synthesizer Odyssey / Webster Lewis; Hammond organ...insomma cibo per orecchie raffinate.....HERE ....zero

mamma li turki

Dear friends and listeners....

"Elektronik Türküler" (1976): Quite possibly the greatest album ever from Turkish psychedelic maestro Erkin Koray -- a mad blend of sounds that definitely lives up to its "elektronik" title! Most numbers feature a weird blend of electric guitar and baglama -- used in a style that's similar to Koray's earlier Arabesk recordings, but in ways that are often more tripped out and free-thinking -- almost in a groove that's similar to late 60s blends of Eastern influences and progressive rock in the US and Europe. There's a bit of vocals on the set, but the instrumentation dominates.......taste it HERE and enjoy....zero

PS: Out of print, at least outside of Turkey, thanks to the unknown original ripper!

The Brides of dr.Funkenstein

Dear friends and listeners...
The Brides of Funkenstein were a female group who accompanied his other bands on tours. They recorded for Atlantic from 1978 to 1980. While Chaka Khan's sister Taka Boom was once a member, the group's roster on the Atlantic sessions included Lynn Mabry and Dawn Silva. They also got assistance from the Dramatics' Ron Banks and Larry Demps. The single "Disco to Go" was number seven on the R&B charts in 1978; it was their lone hit, although the song "Never Buy Texas From a Cowboy" was probably their most interesting record.
Recorded at the Howard Theatre, Washington, DC 1st and 2nd November, 1978.
Download HERE ...and enjoy.....zero

Benny Golson / Pharoah Sanders

Dedicated to John Coltrane, with whom Golson jammed in Philadelphia as a teenager, this recording features a two-tenor lineup of Golson and Pharoah Sanders with a stellar rhythm section of pianist Cedar Walton, bassist Ron Carter, and drummer Jack DeJohnette. While Sanders might seem a strange stylistic choice due to his scorching, free-style performances with Coltrane, he is, in fact, the only one of this group who recorded regularly with Coltrane, and he performs here totally within the hard bop context of the recording. Golson carefully chooses the tunes, including the lovely "Greensleeves," as well as four by Golson and one by Sanders. Most relate to Trane in some way, although Golson wisely eschews any kind of retrospective. Thankfully, too, the saxophonists never engage in any cutting, so the results are uniformly delightful, if somewhat conservative.(allmusic)
This album was recorded 1983, released Jan 1, 2000 (!) and is out of print.
Download and enjoy....HERE......zero