JD & The Evil’s Dynamite Band: Everglades, Part 1 and Flames of Darkness
From: Explodes Across the Nation [Soul Fire, 2001]

Few pleasures in life are as rewarding as discovering a great label and slowly exploring its catalogue, finding that every release under its imprint is worth owning. Such has been my experience with the now-defunct Soul Fire label, whose torch was passed in 2004 to Leon Michels (of blogger faves El Michels Affair) and his Truth and Soul organization. One of the gems he took under his wing was a bizarre little record from an outfit calling themselves JD & The Evil’s Dynamite Band. Like most of the label’s output, Explodes Across the Nation was recorded in 2001, but its fidelity suggests something more akin to an old dusty reel committed to tape 30 years earlier.

Part of what makes this record so appealing is its undeniable air of mystery. Various Internet searches turn up next to nothing, and the production credits on the LP reveal even less. Who is JD, and what’s with his band’s name? The music itself plays into this aura, and could best be described as Miles Davis‘ band from the Agharta/Pangaea era (1975) on so many psychotropic substances that they’re about to collapse onstage. The eleven instrumentals contained within are laced with backwards tape loops, torture-chamber percussion, and the occasional menacing voice chanting, “DIE.” Hell, there’s even something about the tropical cover that makes me uneasy, as if there’s an evil presence lurking in the shadows behind that chapel.

“Everglades, Part 1″ was the track that first introduced me to the band, as it was one of the selections featured on the Soul Fire: The Majestic Collection comp issued by Truth and Soul. It’s a journey through the Florida swamp at night, the air so thick it could be cut with a knife and the dense vegetation barely illuminated by threads of moonlight. “Flames of Darkness” hides its wicked secrets behind a facade of funky organ comping, bubbly Latin percussion, and a surf guitar that is perfectly content to play exactly one note on every downbeat.

Explodes Across the Nation is highly recommended for those who prefer their funk with a darker edge; indeed, few records sound remotely like it. Not to come across as a vinyl snob, but it really is the preferred format of choice with this music, and can be ordered directly from the Truth and Soul website.

Bobby Previte: Airstrip One and Memory Hole
From: The Coalition of the Willing [Ropeadope 2006)

I regret that it was only until recently that I familiarized myself with New York composer and percussionist Bobby Previte, who has got to be one of the most exciting musicians working today. First a brief introduction: Previte grew up in upstate New York, where his first drum kit was fashioned out of metal garbage cans, aluminum pie plates, and wire coat hangers. His formal studies took place at the University of Buffalo, where he studied with John Cage and Morton Feldman before he permanently settled in NYC and became a fixture of the growing “downtown” experimental jazz scene of the 1980s. For the past 25 years he has cut his teeth on records from the likes of John Zorn and Tom Waits.

Among the half-dozen of Previte’s current projects is a collective called the Coalition of the Willing, a sort of warped bar band devoted to his eclectic instrumental compositions. For their self-titled release on Ropeadope Records last year, Previte recruited guitarist Charlie Hunter (who eschews his usual 8-stringed bass/guitar hybrid for a Telecaster), keyboardist Jamie Saft, and Seattle’s Skerik on saxophones. One could be forgiven to expect a whirlwind of electric improvisation with a group like this, yet instead the focus is on Previte’s uniquely skewed compositions; the album contains elements of ’70s fusion, classic hard rock, reggae, new wave, Hawaiian surf, psychedelia, spy music, avant-garde jazz, and pretty much every other genre of music under the sun. What looks like a contrived, stylistic disaster on paper actually translates quite well to the record, mostly due to the caliber of the musicians here and Previte’s remarkable skills as a composer.

“Airstrip One” opens with a rolling drum pattern that features the assistance of Stanton Moore on second kit, and alternates between a long siren-like wailing from the guitar and a series of exploratory bass solos, both from the versatile Hunter. Then midway through, Hunter rips off a blues lick to kick off a groove that sounds like an outtake from Miles‘ A Tribute to Jack Johnson (1970). “Memory Hole” is more subtle, a tone-poem of colors that advances cautiously, buoyed by Saft’s shimmering electric piano and a soft pulse from Previte – that strange harmonica-like sound is Steve Bernstein’s “slide trumpet.” Unexpectedly, Previte shifts to a 6/8 swing, the bass begins to walk, and Hunter takes the opportunity to display his blues chops again before returning to the opening theme.

Although the record doesn’t necessarily push the envelope in terms of jazz composition or arranging, it’s still an exciting hybrid of rock and jazz that comes highly recommended for those looking for something a little different. The live band is supposed to be a monster on stage, which I imagine would be a much better interaction with the music if Previte gets the group together to tour again.

Bobby Hutcherson: Montara and Little Angel
From: Montara [Blue Note 1975]

Madlib: Montara
From: Shades of Blue [Blue Note 2003]

There was a post from Codec recently on the excellent Feed Me Good Tunes about certain albums “tracking you down” and subsequently taking possession of your daily existence. As I was reading it I immediately identified with his plight, since something similar has been happening to me recently. For him it was Cannibal Ox’s The Cold Vein (a fine rescue); for me, Bobby Hutcherson’s Montara started crashing on the couch in my living room a few weeks ago and hasn’t left yet. As one of Blue Note’s top sellers in the ’70s, this record is hardly a rarity, but in terms of must-haves, it’s really a no-brainer. Sadly, it has taken me years to realize this.

Montara and I met innocently enough on a day when I happened to have an extra $10 to spend at my local Newbury Comics store. There it was, staring out at me from the “Wicked Cheap” section, one of my notorious “back burner” picks: those records that you always have the intention of acquiring, but something else always seems to take precedence over it. I was dumbfounded when I arrived home and played it, feeling a sort of bittersweet regret, as if I so much time had been lost without it embracing my eardrums all these years.

I’ve always thought that if Hutcherson had chosen a more popular instrument with which to channel his talent, his impact on jazz would have been enormous. As it stands, the vibraphone has carried the curse of not being taken as seriously as, say, the tenor sax or piano. His closest contemporary would be Gary Burton, a giant in his own right, yet Hutcherson was more actively involved in the post-bop “new thing” of the mid-’60s, cutting his teeth on classic Blue Note sessions with Eric Dolphy, Andrew Hill, and Jackie McLean. He briefly swam in the waters of commercial fusion before taking a short detour into Latin jazz with Montara in 1975. This sort of thing had been done before, of course, but Hutcherson approached these rich, Cuban grooves and sophisticated charts as if he had been playing them for decades. It also didn’t hurt that he enlisted players like Willie Bobo, Blue Mitchell, and the underrated Ernie Watts for the session.

The title track has me longing for late summer afternoons, a gorgeous, breezy ballad that is unhurried and casual, with a particularly lyrical statement from Hutcherson on marimba. Eddie Cano’s gentle washes of electric piano blend in flawlessly with the persistent conga pattern, and the fades that bracket the track give a sense of it being locked in an infinite continuum, like it’s been playing forever. (Madlib’s reworking of this track from Blue Note’s Shades of Blue is an interesting comparison, as he suppresses the song’s Latin elements for a rough breakbeat and a vocal hook.) The simple but intelligently-crafted theme of Eddie Martinez’s “Little Angel” is established by the horns before the leader rips into perhaps his best solo on the album, executing rapid-fire 32nd notes with precision.

I really can’t recommend Montara highly enough, though I’m sure many readers here are already intimately familiar with this album. So in the spirit of Codec’s post I ask: are there any “back burner” records – the ones that you had always meant to get your hands on – that took way too long to discover you?

Oh damn! It’s been a long time since I last posted here. Let me just start off by saying that Junior and the writing staff have done a wonderful job keeping this place, not only alive, but thriving since my last post (almost a year ago? yikes). Anyways, the truth of the matter is that real world moves have taken a major toll on my free time; finishing up grad school, moving across the country, finding a job, adopting a dog and cat, and beginning an amazing relationship have been the major factors. Fortunately I have had time to listen to a ton of amazing music.

So I’m back in a limited capacity. Basically I’ll try to post when I can, but at the very least I want to try to do a large post maybe quarterly that highlights the tracks that have been killing me over the past few months, this being my first. Heavy on the psych, with some folk, jazz, and soul thrown in.

Enjoy.

Note: Because of the files size, downloads have been moved to rapidshare in 2 zipped packages.

Brian’s Picks January 2007 Pt. 1
Brian’s Picks January 2007 Pt. 2

Lee Moses: California Dreamin’
From: Time and Place [Castle, 197?]
Major nostalgia here having lived in California my whole life and now finding myself in the midst of a very cold Philadelphia winter. One of the most powerful covers of “California Dreamin’” you’ll find.

Arthur Verocai: Na Boca do Sol
From: Arthur Verocai [1972]
One of the true Brazilian holy grails full of beautiful soul laced funk and jazz. I have a hard time picking a favorite from his self-titled album, but “Na Boca do Sol” has been in heavy rotation the past few months.

Jack Wilkins: Red Clay
From: Windows [Mainstream, 1973]
This is the type of stuff that will get people into records. Classic sample for “Sucka Nigga.” Pretty good guitar playing too.

J.K. & Co.: Break of Dawn + Fly
From: Suddenly One Summer [White Whale, 1968]
I first heard this at the end of the first Trap Door mix compiled by the folks at The Groove Merchant. I think I listened to it about five times in a row. Beautiful acid folk psych from Canada. Headphones recommended.

Jacques Dutronc: Hippie Hippie Hourrah
From: Il Est Cinq Heures Paris S’Eveille [Vogue, 1968]
Jacques Dutronc had a very successful career in the shadows of his more prolific counterpart, Serge Gainsbourg. While Gainsbourg constantly reinvented himself for fifty years, Dutronc only had about a ten year run, but what a ten years it was. This is one of my favs, from his second album I believe.

Jimmy Smith: Root Down
From: Root Down, Jimmy Smith Live! [Verve, 1972]
Another classic sample from Jimmy Smith’s 1972 concert. A surprising listen if you’ve ever heard his other straight-ahead jazz output.

Listening: Stoned Is
From: Listening [Vanguard, 1968]
I first heard this on Diplo & Tripledouble’s AEIOU 2 mix and was instantly sold. Not sure if it’s contributed to the record’s rising price, but even at it’s current going rate of $100 it’s still worth the price of admission. Unique blend of psych, blues, and jazz here, with “Stoned Is” being my personal highlight.

Marcus: Million Grains of Sand
From: Marcus [Kinetic, 1970]
This guy kind of reminds me of a sleepier creepier Donovan. I’ve heard his only release in 1970 isn’t very good besides this track, but I’ll take it.

McDonald & Giles: Birdman
From: McDonald & Giles [Cotillion, 1971]
Mike Giles and Ian McDonald from King Crimson fame. The last track on their 1970 release is a 21-minute opus divided into 6 different sub-tracks, but intended to be listened as a whole. I hate to rip out just an excerpt, but the final movement always sends me off in a good mood. I strongly encourage you to seek out the entire track if you dig this.

Food: Leaves
From: Forever is a Dream [Capitol, 1969]
Kind of a weird name for a band; luckily their music is stellar. This is probably my favorite type of psych: soft, dreamy, haunted, yet beautiful all at the same time. Goes for some cheddar despite being a major label release.

Mu: Calling From a Star
From: The Last Album [Appalloosa, 1981]
From Acid Archives – Although not released until the 1980s, the 1974 Maui recordings may be even better than the debut LP. This is music as pure as you’re ever going to hear, a seemingly effortless flow of tremendous melodic psych and folkrock most bands can only dream of attaining. This and the “Mu” LP are cornerstones in any decent psych collection. Hawaiian vegetarian UFO hallucinations! It should be mentioned that while this is seen mostly as a Merrell vehicle, many of Mu’s best tracks were written or co-written by ex-Beefheart Jeff Cotton.

Marcus Belgrave: Glue Fingers (part 2)
From: Gemini [Tribe, 1974]
Great spiritual jazz session by this trumpet player from Chester, PA. In the true tradition of the legendary Tribe label.

Caetano Veloso: The Empty Boat
From: Caetano Veloso [Phillips, 1969]
One of the most prolific Brazilian singer/songwriters. This happens to be one of the few songs he ever sang in English before his 2004 release A Foreign Sound.

Nancy Priddy: Ebony Glass
From: You’ve Come This Way Before [Dot, 1968]
Turns out this is Christina Applegate’s mom – no joke. Surprisingly, her 1968 album is a really good mix of dark psychedelic folk with funky tendencies. I especially like the child singing the chorus on this one. Kinda spooky.

Nick Drake: Northern Sky
From: Bryter Lyter [Island, 1970]
If you’ve seen the Royal Tenanbaums you might recognize “Fly” which originally came from the album Bryter Lyter. Northern Sky is another favorite from that session. I read somewhere that Bryter Lyter was the one album he wouldn’t change a thing to; he thought it was perfect. If you’re into beautiful folk, Nick Drake’s got it on lock.

Thorinshield: Prelude to a Postlude
From: Thorinshield [Phillips, 1968]
I don’t know much about this group other than that they were a California-based rock group that made this song that I like. Sorry, that was kind of shitty.

Gandalf: Me About You
From: Gandalf [Capitol, 1968]
Like Food, this is another psych monster released on Capitol that most fans of the era go nuts over. Beautiful orchestration, chilling vocals, poppy and trippy at the same time.

Wolfgang Dauner: Kamasutram
From: Rischkas Soul [Brian, 1972]
An accomplished composer and pianist, German musician Dauner is known for fusing jazz, rock, and electronic music. I think Kamasutram is a prime example of his far-reaching work, and the hypnotic and claustrophobic Kraut sound. The tense builds are what really makes this track work for me.

Sylvia: Gimme a Little Action and Sunday
From Pillow Talk [Vibration 1973]

The Moments: Sunday
From Not on the Outside, But Inside In! [Stang 1968]

’70s Soul has always been about summertime and sunshine for me, so during these dreary days of January I’ll occasionally have to remind myself that June is only… six… months… away by digging out some of the more ignored Soul records in my collection. Recently I’ve taken a certain fascination with Sylvia Robinson’s Pillow Talk, and the more I listen, the more I become attuned to how utterly strange this record is. Allow me to explain.

Regardless of one’s feelings about Robinson as a cold, heartless businesswoman (see: The Sugarhill Gang, a discussion for another time), she nevertheless had a long and successful career in the music industry, beginning in the late ’50s as the latter half of Mickey & Sylvia, most remembered for their single “Love is Strange.” During the ’60s she worked behind the scenes, nurturing New Jersey trio The Moments to stardom while raising her family. She began releasing solo records under her first name in the ’70s, moving into bedroom disco and even hip hop during the ’80s.

Yet while many of her contemporaries patiently waited by the assembly line for producers to churn out chart-toppers for them, Robinson actively played a hand in shaping her own career, writing or co-writing most of her material and supervising the daily operations of running her record label with her husband, Joe. She was also a hell of a guitar player to boot.

Still, listening to Pillow Talk, one gets the impression that something just isn’t right, but it’s difficult to place a finger on what it. It’s a pleasant listen, to be sure, gorgeously sensual and full of slithering, late-night grooves. Perhaps it’s Sylvia’s presence and delivery, at times sounding as if she’s curled up on the couch in the control room, intimidated and cradling the microphone; others, her whispery coos and moans have all the sincerity of a minimum-wage phone-sex operator. But there is a certain intimacy in her voice that connects with the listener despite the fact that it’s quizzically buried in the mix most of the time. “Gimme a Little Action” is one such example, a sleeper track that would have benefitted tremendously from a boost of Sylvia’s presence, yet she seems content to cuddle into her surroundings, treating her voice as equally as the other instruments of pleasure. And oddly enough, it works.

“Sunday” was written for Sylvia’s brother’s fiancee, who tragically died in a car accident the night before they were to be married. It sounds unlike any of the other selections here, a haunting ballad with just Sylvia, her acoustic guitar, and a lone cello. The atmosphere calls to mind something out of a Country-Western musical from the ’60s, with Sylvia’s cries echoing throughout the moonlit desert canyon long after her companions have fallen asleep by the campfire. (Attentive listeners will recognize this track as the basis for Ghostface’s “The Letter” skit from The Pretty Tony Album.) Compared to the relatively standard instrumentation and arrangements of the original Moments’ version, the two are like night and day.

Pillow Talk is definitely worth checking out, if only for two reasons: 1) there are few records of the era that sound remotely similar to it (keep in mind that this stuff was pretty risque for the time), and 2) a seven-minute version of “Not on the Outside” where Sylvia seductively introduces her “little band,” then instructs her guitar player on how to play his solo as if he were forcibly pleasuring her. It’s bizarre, to say the least.

RZA: Opening Theme (Raise Your Sword), RZA #7, and RZA’s Theme
From: Ghost Dog (Japanese Version) [JVC Japan, 2000]

Hungover and suspiciously aware of those first signs of the flu, a cold and overcast day like today has me searching for a record to soothe the repetitive pounding in my head. A gritty soundtrack to urban decay? A collection of of haunting, claustrophobic beats? An unofficial sequel (sonically speaking) to GZA’s Liquid Swords? Enter RZA’s original score to Jim Jarmusch’s Ghost Dog: The Way of the Samurai.

For those late to this magnificient film as I was, I can’t recommend it highly enough. Forest Whitaker gives a stunning performance as the deceptively gentle and introspective Ghost Dog, a modern-day samurai who makes a living by carrying out hits for the Italian mafia. I’ve always been a fan of Jarmusch’s bizarre and distinctive visual narratives, but for me, Ghost Dog is the pinnacle of his filmography, in no small measure due to RZA’s participation in the project. Wisely, Jarmusch specifically instructed the Wu abbott to compose a score that shared the sound and feel of Rae’s Cuban Linx and the aforementioned Liquid Swords instead of the somewhat sterile Bobby Digital material he was into at the time. So RZA (presumably) dusted off his Ensoniq ASR-10 and crafted what I believe is some of the finest music of his career.

The selections here are the stuff Wu diehards go apeshit over, and for good reason. One of RZA’s singular contributions to hip hop was his masterful embracement of the limitations of sampling technology: by deliberately extending the length of a sample, he was forced to lower its quality, resulting in the raw, gritty sound he is best known for today. Ghost Dog adheres to that ethos beautifully, and the tracks are painstakingly unquantized to boot; perhaps its only flaw is that the 16 cues here are too brief. The opening theme (“Raise Your Sword”) sets the tone effectively: ominous and menacing, RZA places clunky electric piano chords and apocalyptic strings atop a beat based around a percussive metal scraping. “RZA #7″ is probably my favorite cue, if only because it’s so reminiscent of Black Planet-era Bomb Squad. The nightmarish “RZA’s Theme” sounds like something GZA and Masta Killa would absolutely destroy.

Of course, there was a catch: fans of the film’s soundtrack understandably purchased what was available at the time (the domestic Sony edition) only to be disappointed to find non-film tracks from Wu satellite members like North Star and La the Darkman (yet questionably missing Killah Priest’s “From Then til Now,” a key moment in the film) and little of RZA’s actual score. A Japanese version of the film’s music is available, but fetches outrageous prices on Amazon and eBay, especially considering the length of the disc; phenomenal as the music is, I can’t advocate dropping $50 on a CD containing less than 35 minutes of music. (I was fortunate enough to discover a vinyl edition on Razor Sharp Records a year ago.) Suffice it to say if you come across this soundtrack at an affordable price, by all means snatch it up immediately – but take careful note of the track listing.

The RZA has two upcoming soundtracks to be released in the next month or so: The Protector, a collaboration with video game composer Howard Drossin, and music for the upcoming series Afro Samurai on Spike TV. Let’s hope one of them bears similarity to the brilliance of Ghost Dog.

Soul Saints Orchestra: Santa’s Got A Bag Of Soul
Milly & Silly: Getting Down For Xmas
Audio Two: Christmas Rhymin’

I was going to post up a major soul related festive gift of great tunes for you but it appears that Soul Shower has beat me to it. I would highly recommend popping over and checking out his bumper bonanza here.

With this being the case I can only offer you up what we shall call the funkier side of Christmas music – might go down well after a few too many eggnogs, who knows?

Santa’s Got Bag Of Soul has to be one of the funkiest Christmas songs ever with the Soul Saints Orchestra wisely using the Christmas theme in the loosest sense to put together a straight fire of a tune.

Getting Down For Xmas is a suitably cheesy Xmas mix of funky wah wah that goes great with the novelty tie/Old Spice gift set you get from a disconnected relative.

When browsing my Xmas rap selections it dawned on me why people tend to use Run DMC’s Christmas in Hollis as, to be frank, pretty much all other Xmas hip hop tunes are bonafide terds. Still Audio Two’s Christmas Rhymin’ ain’t too bad, probably due to the wise choice of keeping the Christmas themed music to a minimum.

That’s all for now folks, have a great Christmas day and see you on the other side……….

Mahmoud Fadl: Jibal al Nuba and Al Adil Welzein
From: The Drummers of the Nile Go South [Pirahna 2001]

DJ /rupture: Jibal al Nuba / Gemini Dub
From: Minesweeper Suite [Tigerbeat6 2002]

Although it shouldn’t come as a surprise, I’m always amazed at how much outstanding music exists under the gargantuan umbrella of the “world” category, still waiting to be discovered by the Western masses. I’ve found that out of the many flavors I’ve had the pleasure of sampling, whether it’s African juju or Spanish flamenco, what really gets my heart racing is some percussion-heavy Middle Eastern folk music.

Mahmoud Fadl originally started out as limbo dancer for Nubian and Arabic weddings before rising to prominence as a master percussionist in the Nile Valley region of Africa. Following his tenure in various orchestras in Cairo and Assuan, Fadl relocated to Berlin and began recording a series of albums for Pirahna Records. He continues to work with Drummers of the Nile and his tribal-house DJ/drummer collaborative United Nubians, and in recent years has played with The Klezmatics and gypsy saxophonist Ferus Mustafov.

“Jibal al Nuba” and “Al Adil Welzein” are both taken from Fadl’s heavily-sampled The Drummers of the Nile Go South, a record filled with little firestorms of percussion interludes, hypnotic Arabic chants, and some of the most intricate polyrhythms I’ve ever heard. “Jibal al Nuba” features a playful vocal melody atop a head-nodding rhythm, supplemented by loose hand claps from the singers. “Al Adil Welzein” is a traditional wedding song sung to the groom as he enters the bride’s home; it combines call-and-response vocalizations and an infectious stuttering rhythm.

DJ /rupture utilized “Jibal al Nuba” for a brilliant mashup to open his jaw-dropping Minesweeper Suite a few years ago, layering it into J Boogie’s “Gemini Dub.” The rich, colorful chords of the latter complement the voices beautifully, and show how universally versatile Fadl’s interpretations of traditional Middle Eastern rhythms can be.

P A Dahan & Mat Camison: Rhythmiques 8
From the album: Rhythmiques [Telemusic, 1973]
P A Dahan & S Pezin: Slim Bertha
From the album: Neo-Rhyhmiques [Telemusic, 1976]
Tony Rubio: Dead Slow
From the album: Rhythmes [Telemusic, 1973]

Right, I got a few little library nuggets for you, three tunes culled from the Telemusic stable, two of which were written by key members of tacky euro disco stars ‘Voyage!’ ‘Pierre-Alain Dahan’ and ‘Mat Camison’. The third song is by the mysterious ‘Tony Rubio’, a bass guitarist it would seem. My suspicion on the Rubio front is that this is yet another library pseudonym as I aint seen his name credited anywhere else, an judging by the scat vocals featured on one tune I got a hunch it may be ‘Guy Pederson’ a regular library session bass player (sampled by the likes of Kid Koala I’ll have you know ), if anyone knows any better please let me know.

Now on to the music and we start with, ‘Rhythmiques no 8′ from the lp (wait for it) ‘Rhythmiques’ , imaginative title I know but don’t let that put you off as fortunately the track holds more depth to it, well its moody sounding anyway.

In contrast to the last track this one’s name has a bit more to it ‘Slim Bertha’ don’t know why but I think that’s a class name for song, who is Bertha? Why was she slim?? Who knows, I think the name has something to do with the guy who plays drums on the album ‘Slim Pezin’ class name eh? No relation to the Mathers I hope. Oh and this ones moody sounding too, with bonus sax and church bell!

Last up the ‘Tony Rubio’ tune ‘Dead Slow’ to finish up this moody mood moosic session. If you liked the last two tunes you’re going to like this one too, from the elusive Rhythmes lp, have a listen.

okey doke got a few little gems to see you folk through the weekend, aint got long until the weekend starts over here in the UK, so I’ll be brief.

First off is a killer piece of french jerk from the master jaques dutronc entitled le responsable offa one of the many 45s he cut, a lot of which are well worth checking out, perfect stuff to start the weekend off.

Next up is the track ’speakin my mind’ by the one hit wonder taiconderoga, this is off the only single they released which aint easy to come by, it also got released on a beacon records sampler around the same time but surprise surprise this is also bloody hard to pick up now too. Thankfully master record digger Mr gareth goddard aka cherrystones stuck it on a compilation amongst many other great musical obscurities called ‘cherrystone rocks’ go get yourself a copy you wont be dissapointed, trust me.

Third on my list is a band I know little about, all I got is this 45 by them ’she was naked’ where flowery pop-psych meets some intense fuzzy prog! mad stuff. The band are called supersister I know they have released a few lp’s but alas I aint heard em, anyone out there know more?

Lastly some captain beefheart from one of his earlier lp’s ’safe as milk’ the tune is ‘yellow brick road’ first heard the song on an old buddah sampler lp an its been a fave of mine for a while now hope you dig it