Terry Brooks & Strange “Rock The World” Live 1980 US Hard Rock,Heavy Psych

Terry Brooks & Strange “Rock The World” Live 1980 US Hard Rock,Heavy Psych 

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What a blistering “live” album Rock the World is and what an apt title. The lead guitar blazes away from one tune to the next. I guess this long play was recorded during a concert in 1980. I think I would have enjoyed that concert very much. 
I love a good recording of a good band in concert and this is a good recording of a good band in concert. Air guitar enthusiast should get off on this release….by…rod45 …~

0hmygoshohmygoshOHMYGOSH…. You don’t know my surprise ultimate delight, when an unexpected package containing this arrived here at KOTJ Central (just as I was wrappin’ up the log!) from The Man himself … I tell ya, my brothers & sisters in rock, it was a joyous occasion … my rock & roll hear started dancin’ doubletime & all but cartwheeled across my jam pad … i had all but given up on ever seeing this stuff I used (after hearing “teasers” from this gig ished on various hard-to-find records in the ‘80s, I’d urged Terry on more than 1 occasion over the past 14 years to get this out-OUT-OUT so that the world could dig these supremely awesome, with sounds & experience The Jammeister live) … it’s a brand-new-issue 2LP live set recorded in Florida in '8O when Terry was at or near his peak as an Almighty Riffmeister. Trace the timeline yourself from his records listed here, by Criteria (AWESOME ballsy, heavy guit sound, the best of all his records!) on a night when Our Hero was hittin’ on all cylinders. If you’ve heard the live cuts on the “No Exit” & “Blastin’ Thru” comps. & the “Mr. Strange” 12", then you KNOW what the hubbub is about, as all of that material is included here–PLUS another 5 cuts/30:00+ unished 'til now (incl. song never even ished as a studio cut). In all, 9 cuts/77:00 (figure out the Jam Quotient fer yourself!) Title cut= killer, intense, smokin’ 14:00 guit-led instro; awesome 17: 00 (!) “You Will Be Loved”; extended versions of “Mr. Strange”, “Bottom Line”, & “Child Of The City” … Not one of those live LPs consisting of carbon copies of the studio versions; Terry takes these tunes to another level, w/extended versions & mucho jammin’. If I were limited to one descriptive phrase (I know, I know–it’s kinda late fer that, at this point!) But, that’s cuz the excitement level on the my jamroom’s rockometer just got pushed outta the red zone & into the neighbor’s yard!! Then it would be: “Jammin’ his brains out” …he jams almost non-stop like A Man Possessed … fingers flyin’ up & down the frets, coverin’ more ground than a fat man’s shirttails… rippin’ out incredible licks … playing as if there were no tomorrow … as though he thought this would be his last-ever gig on Earth & he thought he could ignite the world with his passion before the power within him explode & propelled him into the galaxies … the antithesis of clueless guitar wankers w/ their “pigsqueal” licks who’re fulla “technique” but whose cookbook pages are blank when it comes to combining fire, power, & passion into the awesome majestic technique that is hardrock at its best. It’s beasts like this that separate the contenders from the pretenders in the hardrock sweepstakes. If I was allowed to buy 1–& only l–record this year, then this baby Just might be it….~

The 2-LP Rock The World set, released by Akarma Records in 1998, documents a 1980 concert in Orlando, Florida that was made up of songs from Terry’s 1980s and onward albums. Take the descriptions I gave about the live tracks on the Rock Force CD and know that that is precisely what this ENTIRE set is about. I have to believe audiences at these shows were left drained, catatonic, and wholly, blissfully satisfied. The album is available for digital download, but vinyl junkies should try to track down a copy because it comes housed in a beautiful gatefold, with thick-as-a-brick colored vinyl (one red and one lime green), and a poster…..~

This is the first release of this ultra rare live material from Terry Brooks and Strange. You get two high quality LPs, which are green and red, a 50 x 70 poster, and colored pictures of Brooks performing inside the gatefold sleeves. 
Brooks reminded me of Ian Hunter with his corkscrew hair and shades in place. He plays one mean guitar on “Rock The World,” which was recorded live in Orlando, Florida in 1980. You will get a real good taste of what he sounded like on the four sides offered here. The one drawback was his overuse of the echo on his voice. On just about every song, he used that effect and I cannot figure out why because he proves what a great rock voice he has towards the end of the recording on “Dream” and “New York Connection,” minus all of the big sounding effects. I guess you can attribute it to the overkill factor and his efforts to make an impression on his audience, which he succeeds in doing regardless. 
He appreciated Hendrix and emulates his hero on many occasions during the course of the concert. The inner sleeve of the LPs has a quote from the great one as well. If you have always appreciated guitar pyrotechnics and psychedelic blues tinged rock you will have a good time spinning these platters….~


Credits 
Bass – Donnie Cappetta 
Drums – Mark Bishop (4) 
Lead Guitar, Lead Vocals, Written By – Terry Brooks

Tracklist 
1 Mr. Strange 7:57 
2 Child Of The City 8:11 
3 You Will Be Love 17:35 
4 Rock The World 13:49 
5 Down And Dirty Blues 7:21 
6 Rock And Roll Woman 5:51 
7 Bottom Line 7:02 
8 Dream 4:53 
9 New York Connection 4:39 

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Bob Weir And RatDog “Evening Moods” 2000 US Classic Rock Blues Rock

Bob Weir And RatDog “Evening Moods” 2000 US Classic Rock Blues Rock

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Ratdog - a solo project of Grateful Dead rhythm guitarist Bob Weir - recorded this studio album in 2000. Weir and his cohorts (Jeff Chimenti on keyboards, Mark Karan on lead guitar, Rob Wasserman on bass, and Jay Lane on drums) are on solid footing here as they lay down a sturdy groove-rock base, and the album features a guest appearance by Grateful Dead drummer Mickey Hart…..~

The long-awaited release from former Grateful Dead icon Bob Weir’s jam band Ratdog shouldn’t disappoint hungry Deadheads. The bluesy/folky/country/jazz feel of the Dead’s live sets have been reborn in this incarnation as well, accented by guest Mickey Hart’s loose percussion on a couple of tracks (notably the cover of “Corinna”). Weir’s friend and frequent collaborator, bassist Rob Wasserman, anchors the tracks and allows for plenty of bluesy jamming, and the band opens up to make room for gritty keyboard solos and even a bright horn section. After five years of touring without a single album for rabid fans to take home with them in their VW vans and BMW convertibles, the inevitable question is “When does the tour start?”… by Zac Johnson…~

Former Grateful Dead guitarist Bob Weir eases into the 10 tracks on “Evening Moods,” a series of rambling-man tales told from hotel rooms, dusty detours and the inevitable crossroads. The relaxed atmosphere plays to Weir’s strengths – the interplay of a jazz band built on bluesy vocal inflections and chord progressions – without challenging him. The production is awfully slick, the tempos never break a sweat, and Fans will have to wait for the concerts when Ratdog can kick these promising but rather tepidly performed originals up a notch in urgency….~

This is an excellent album if you are a fan of Bob or the Dead. It’s up there with Blues for Allah in terms of recreating the live feel in a studio setting. Many of the songs flow into each other like a good Dead show. I had to bump my rating because I don’t know why this is so underrated here and in general. 

One thing I’ve always enjoyed about Ratdog is the addition of the saxophone. I think it goes really well with this type of music. It’s like if you took the show in 1990 where the Dead jammed with Branford Marsalis (generally a fan favorite) and extended it for a whole album or show. I’m also a fan of Jeff Chimenti who plays keyboards here as well as in Dead and Company. 

I think some of these songs rank up there with Bob’s best. Sometimes it seems like he’s gotten even better with age. Two Djinn especially is a favorite. Even So, Ashes and Glass and Lucky Enough stand out as well. If you are a fan or just interested you should check this out or give it another chance. I’d say it’s as good or better than most of the Dead’s studio albums. The sound is more organic and not overproduced. Also, check out Ratdog or Dead and Company live if you get the chance. Of course it’s a bummer that Jerry is gone but it’s still an awesome experience…PlaceInTheSun …..~

“Evening Moods” is the first solo recording in 17 years by former Grateful Dead guitarist and vocalist Bob Weir. The album features strong songwriting and lively improvisations in a band led by Weir and accomplished bassist Bob Wasserman. Weir spent the past five years cycling through supporting musicians to find Ratdog’s current lineup and it shows: the ensemble has its own voice – reminiscent, but not derivative, of a jazzier Grateful Dead….~

Credits 

Bass – Rob Wasserman 
Drums, Backing Vocals – Jay Lane 
Guitar, Lead Vocals – Bob Weir 
Keyboards, Backing Vocals – Jeff Chimenti 
Lead Guitar, Backing Vocals – Mark Karan 

Tracklist
1 Bury Me Standing 9:03 
2 Lucky Enough 5:10 
3 Odessa 6:13 
4 Ashes And Glass 5:55 
5 Welcome To The World 6:51 
6 Two Djinn 9:04 
7 Corrina 8:50 
8 October Queen 7:45 
9 The Deep End 5:17 
10 Even So 9:41 

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Friar Tuck ‎ “Friar Tuck And His Psychedelic Guitar” 1967 US Psych Pop Rock,Experimental

Friar Tuck ‎ “Friar Tuck And His Psychedelic Guitar” 1967 US Psych Pop Rock,Experimental

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An oft-overlooked piece of the LA pop-psych jigsaw, this 1967 oddity combines typically complex vocal arrangements by the legendary Curt Boettcher with virtuoso guitar interludes from LA session legend Mike Deasy, and features backing from the team responsible for the landmark Millennium and Sagittarius LPs. A truly deranged mixture of cover versions and originals, it’s presented here complete with four ultra-rare bonus tracks from non-album 45s, making it an essential purchase for fans of sunshine pop and psychedelia…~

It would be all too easy to simply write this off as a mere exploitation knock-off designed to catch naive hippies. It certainly is that, but it also has the hand (and voice) of Curt Boettcher all over it, and it features Mike Deasy, heavy L.A. session cat and sometime-member of Phil Spector’s Wrecking Crew on guitar, musical arrangements and producing. Consisting of about half covers and half originals, the album could hardly be considered truly psychedelic (mostly thanks to the Boettcher vocals) but it is quite interesting in its own way. Deasy’s arrangements are strange and wonderful with some hot guitar playing and liberal use of the echoplex. He gives “Louie Louie,” the quintessential simple rock & roll tune, a wildly elaborate arrangement, virtually re-creating the tune entirely. He gives Nat Adderly and Oscar Brown, Jr.’s “Work Song” an echoplex and guitar intro, inserts a bit of twang then goes into a classical sounding passage and back. Oddly enough, it also sounds reminiscent of the Count Five’s “Psychotic Reaction”! Deasy’s ultra-stoned sounding vocals on “Alley Oop” are hilarious. The originals can’t be called instrumentals due to Boettcher and company’s ever present wordless vocals, which get really bizarre on “Fendabenda Ha Ha Ha” and “Where Did Your Mind Go?.” [These tracks are a really odd combination of gonzo guitar soloing and the Living Voices on acid. The bonus tracks by the Flower Pot have actual lyrics and are less elaborately arranged than the Friar Tuck album, and have quite a different feel to them. “Black Moto” and “Wantin’ Ain’t Gettin” even have some sitar. Originally issued as 45 rpms, they’re a nice addition and it makes sense to gather Deasy’s originals all in one place. All in all, Friar Tuck & His Psychedelic Guitar is a thoroughly entertaining curiosity. [This album was reissued in 2007 with four bonus tracks from the Flower Pot.]… by Sean Westergaard….~

At first listen via Pandora this caught my ear as a goofy outing by some amateurs. However, after a few listens I noticed that the arrangements were pretty thick with musical quotes from many of the other groups of that time. The vocals are weird blends of choral harmonies matched with very casual lead vocals. My favorite is Alley Oop. The singer only sings a few lines in the song, and actually makes the song sound less contrived than the original. The Louie Louie arrangement is very very distant from the Kingsmen version. Also there’s alot of sound effect fun at the tail end of many of the songs. The lead guitar solos are not very interesting but I like this recording for the adventurous disregard of the original arrangements of the cover tunes. The musicians actually include some session players from the era. If you are saturated with the many similarities of the other “psychedelic” groups from that era, give this a listen to cleanse your palette…alternates between tongue-in-cheek and serious playing….by…TBo…~

What can I say about this wonderful record ? Once you go Friar tuck you’ll never go back , that is , if super psychedelic fuzz infused reverb dripping endless dreamy Ethereal Phil Spector like Pet sounds acid trips with Charles Manson at the psychedelic dance party is your thing ,the ultimate and essential cornerstone to any space age pop Psychedelia LSD exotica groove lounge collection ,Once I heard this LP I’ve spent years after trying to find something else that comes close to this , but with no avail , this is far too advanced , you could listen to this album a hundred times and still here new sounds and ideas within the layers upon layers of ethereal wordless vocal harmonies and raga reverb tremelo space echo guitar bliss , a precursor to My Bloody Valentine ? 

Mike Deasy, Famous session guitarist who is still available to play on YOUR album today !!! Master of the sixties’ West Coast Sound , He worked closely with Phil Spector and Brian Wilson , among thousands of others ,you’ll find he played sitar on countless albums( such as Jackie Gleason’s Now Sound for Today’s Lovers) rivaled only by Bill Plummer ,Deasy teamed up with Gary Paxton , Ben Benay , and Kurt Boettcher many times , the vocal arrangements on this album are hands down the best I’ve ever heard from Curt Boettcher , and Ben Benay ’s own album “ Goldenrod” is actually the backing tracks from this album and the “ Millenium” album , the story goes that Deasy took acid with Charles Manson and the family back when Manson was hanging around the Beach Boys , somehow Mike blew his mind and had to be recovered after days of hiding in the woods , henceforth he became Friar Tuck , and the back of this LP reflects these disturbing times in his life with Manson-esque poetry Deasy played in Tommy Roe’s backup band and helped write Sweet Pea , and once they went to play the song at Disneyland whilst Deasy was fully clad in Friar Tuck garb , Disney would not allow him to enter the park other than to play with the band , he really was Friar Tuck during that phase thats the revelation , 

Mike Deasy also worked with Ry Cooder on ’ Tanyet ’ by the Ceyleib People. There are two types of people in this world , the pre- Friar Tuck who don’t know about this gem , and the post Friar Tuck , who have never been the same musically since hearing it ,(and perhaps a small third group who thinks I’m goofy?)…~

Credits 
Bass – Jerry Scheff 
Drums – Jim Troxel 
Guitar – Ben Benay, Jim Helms, Mike Deasy 
Organ – Mike Henderson (3) 
Piano – Butch Parker 
Vibraphone – Toxie French* 
Vocals – Alicia Vigil, Bob Turner (2), Dottie Holmberg, Dyann King, Jim Bell (3), Michele O'Malley, Sandy Salisbury, Sharon Olsen 
Vocals, Arranged By [Vocals] – Curt Boettcher 


Tracklist 
Sweet Pea 3:11 
Louis Louis 4:56 
Work Song 4:48 
Alley-Oop 5:09 
All Monked Up 2:47 
Ode To Mother Tuck 1:50 
A Record Hi 2:32 
Fendabenda Ha Ha Ha 2:30 
A Bit Of Grey Lost 2:37 
Where Did Your Mind Go? 3:35

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Bobby Brown "‘Prayers Of A One Man Band’’ 1982 US Psych Pop

Bobby Brown  "‘Prayers Of A One Man Band’’ 1982 US Psych Pop

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Perhaps because they were recorded in the mid-1970s, the first two Bobby Brown albums (no I’m not talking about Whitney Houston’s former husband), are the ones that seem to get all of the attention and coverage. That’s unfortunate since 1982’s “Prayers of a One Man Band” may be the best and most enjoyable of Brown’s albums. Like the others, this was a one man project with Brown responsible for writing, performing and producing all 12 tracks. It was also released on his own Destiny label with most copies being sold at his impromptu performances. In addition to a priceless picture of Brown’s homegrown multi-instrumental contraption, his considerable charms including a multi-octave voice, a knack for penning catchy (if goofy) songs (check out 'The Boy a Sailor’ and 'Hawaii Net I’ll Miss You’, and a likeable counter-cultural outlook on life were all on display. Musically the set sounded a little fuller and more sophisticated than the two earlier releases (perhaps a reflection of the fact it was recorded across nine separate studios). The other difference I detected is Brown’s mix of personal insight and social and political commentary shifted towards a more activist stance including commentary on animal rights ('If the Angels Cry’), environmental ('Sweet Clean Air’), social and political issues. His voice certainly remained an amazing instrument, capable of replicating Beach Boys-styled harmonies and even turning in a wild Tony Joe White swamp rock segment (check out 'Jungle Cowboy’). Besides, how could you not get a charge out of somebody who was willing to dedicate an album to: “To the people that watched me ad-lib these songs into their shape on the street corners of the world, a lot of your energy went into helping me select and refine my music and message. To say something that tries to improve the condition of our world may come off as sounding preachy, but if the magic and your love can be found in my attempt, it comes off as right by me. Thanks for thousands of perfect moments.”…by…RDTEN1….~

“So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.” So says Hunter S. Thompson, memorably summing up the demise of the spirit of the ‘60s in Fear and Loathing in Las Vegas. What Thompson couldn’t have known in the early ‘70s, though, was the way that broken wave of hippie aesthetics would distribute its flotsam and jetsam to unexpected places and times. Enter Bobby Brown (not formerly of New Edition, not Mr. Whitney Houston), an erstwhile utopian California mystic whose complete discography, three records recorded in Hawaii in the ‘70s and ‘80s, is both a perfect snapshot of the dimming sunlight of the hippie era’s psychedelic folk influence on pop and a deeply personal expression; his albums were mostly self-released. Austin Leonard Jones, fellow folk oddity and spiritual seeker, launched his new imprint Del Rio Records and Tapes, partly with the goal of seeing Brown’s cracked pop masterpiece, Prayers of a One Man Band, back in print
“I discovered the album crate digging in Los Angeles,” says Jones. “I was intrigued by his handwritten instructions on where to find him in Laguna Beach, as well as his apparent friendships with Carl Wilson and Fleetwood Mac. He seemed to be straight out of a Thomas Pynchon novel, a new age yodeling cowboy drifter sailing into the heart of the sun. I also really loved his percussion.” 
Prayers of a One Man Band is the third and final of Brown’s self-released albums, and is the poppiest and most accessible of his works—if by accessible you mean “sounds like Harry Partch remaking Burt Bacharach’s soundtrack to Butch Cassidy and the Sundance Kid.” 
Brown’s first album, 1972’s The Enlightening Beam of Axonda, was an extension of his dissertation work at UCLA, and also coincided with a time when he was in personal contact with Philip K. Dick. As Jones relates, “Apparently the two used to meet and exchange ideas. Shortly after Axonda was released, Dick also began to have visions of an “information-rich beam of pink light” that eventually led to his spiritual awakening (or mental breakdown) and the publication of his classic novel VALIS in 1982. There are indeed many similarities to Axonda and VALIS, though I suspect a lot of Californians were experiencing beams of spiritual light at that particular point in time. Perhaps they know something we don’t….Shannon McCormick…..~

I predict this album will become a big lost-classic sensation when the right people discover it. This is the hybrid of Bobb Trimble and Pet Shop Boys that hipster 80s ironic pop revivalist fantasies are made of. It’s totally from another planet, but it’s also a pretty straight pop album for the most part. Listening to this guy’s two albums from the 70s was a total chore, slogging through really shitty music to hear a really cool singing voice and some eccentric charm, but this album is a pure joy from start to finish. I went back for second helpings immediately. Those 70s albums find Bobby Brown in a more introspective, folk-scene-inspired approach to singing, but this album finds him in a more extroverted, confident approach that often recalls the yodelling of early Country music. This set of a dozen three-minute outsider synth pop nuggets is the stuff legends are made of…..by….herkyjerky…~

Originally self-released by Bobby in 1982, 'Prayers Of A One Man Band’ sees light for the first time in 33 years. A multi-instrumentalist, inventor, mystical physicist and world traveler Bobby Brown has charmed everyone from Kenny Loggins to Philip K. Dick. 'Prayers Of A One Man Band’, now available publicly for the first time places him along side the likes of The Beach Boys, Harry Partch, and Lindsay Buckingham as a true California visionary!….~

Tracklist 
A1 The Boy A Sailor 3:11 
A2 Steamboat Mama 2:50 
A3 Sail On 3:02 
A4 Lady Tennessee 3:00 
A5 Jungle Cowboy 3:10 
A6 Hawaii Nei I’ll Miss You 3:40 
B1 The Peaceful Ko 'Olaus 2:56 
B2 My Dog The Outlaw 3:19 
B3 If The Angels Cry 3:12 
B4 Sweet Clean Air 3:52 
B5 I’m Bolieve 2:58 
B6 The Cry Of The Wild 2:44 

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Gary Kuper “Shoot for the Moon” 1971 US Folk Rock,Southern Rock

Gary Kuper “Shoot for the Moon” 1971 US Folk Rock,Southern Rock

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This mysterious singer songwriter’s only album “Shoot For The Moon” captures music lovers and collectors for the warmth in his music. Recorded at Bearsville Studio with support of superb studio musicians. Paper sleeve mini vinyl LP replica with OBI. ….~

Originally born in New York, the only work released by Gyree Cooper in the surroundings of Woodstock in 71 years. This work, recorded at Bearsville’s studio, is a member who produced Van Morrison’s 70th year work “His Band And Street Choir” …~

Woodstock ~ SSW from Bearsville. Original LP is SSW sale regular. Bearsville’s SSW popular board has been made into CD beforehand but this time this time it is the world’s first CD made. As this person himself seems to be active as an actor, is the relationship of rights around that part confusing? In any case, this tasty vocal that can be said hetuma and a rude melody (whole song his own pen!) Will feel free on CD It is pleasing to be able to enjoy it….~

Gary Kuper is known as a mysterious character because his musical career is not known at all. 
Although he released a single album in 1971 and left the music scene, Shoot For The Moon, which he released, has been loved by many enthusiasts. 
It was recorded in 1971 at Bearsville Studio in Woodstock, New York. It is also a popular album especially for Woodstock Legend fans. 
Although he is an amateur musician, he is a person with excellent composing ability enough to make music directly by himself. 
The level of the songs is also quite high, and it is also a person with a great sense of music that plays songs, acoustic guitar and piano…..~

Credits 
Acoustic Guitar, Guitar – John Platania 
Bass [Electric Bass] – Michael Winfield (2) 
Drums, Kazoo – Dahaud Elias Shaar* 
Organ – Alan Hand (tracks: A5, B2), Jeff Labes (tracks: A4) 
Piano – Alan Hand (tracks: A1, A2, A4), Gary Kuper (tracks: B2), Jeff Labes (tracks: A3, A5, B3, B4, B5) 
Vocals [Background Voices] – Linda November, Maeretha Stewart, Marilyn Jackson 
Vocals, Acoustic Guitar – Gary Kuper 

Tracklist 
A1 Better Get Up On The Mountain 3:51 
A2 Everybody’s Love Song 3:52 
A3 Home Remedies 4:31 
A4 So Many Changes 4:33 
A5 Out Of The Garden 4:03 
B1 Shoot For The Moon 4:00 
B2 Jacob 4:25 
B3 Bobby Say Yes 3:54 
B4 Johnson’s Pastures 4:28 
B5 Where’s Jimmy 3:03 

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