Allegedly a forgotten proto-metal band from England formed in 1973, but quite possibly one of the "fake" bands conjured up by Kissing Spell in the late 90's. Accordingly, the lineup and band photo may be fictional as well.
The band is "rumored" to have had a deal with Vertigo Records, but Vertigo refused them because they were "too heavy". Further more, as taken from the Supernaut booklet: "In '75, Ariola asked Supernaut to record covers of Eagles tracks to secure a deal, and they did it, but were so disgusted that they split up. These tracks are from the original demo (once known as "The Effigy Tapes ") have survived as the last testament to Supernaut"
Not to be confused with the Australian band of the same name from around 1975. It's quite difficult to believe they were denied as being "too heavy"by the label that spawned black Sabbath.
Icecross, a band from Iceland was founded by Axel Einarsson and Asager Oskarsson, is full o heavy doomy elements in an almost Judas Priest-like fashion The band was formed in 1972 and their only album was recorded in Denmark in 1973.and was issued in Iceland only. At that point Aesgeir and Oskar left the band in '73, Astarkveoja leaving only Shady Owens and Axel Einarsson as the only original members. The band the re-located to the U.S in 1974, and officially called it quits in 1975.
a far more in depth version of their story can be found HERE
Formed in England in summer of 1975 by Ian "Lemmy" Kilminster. Having been kicked out of Hawkwynd for doing the "wrong drugs", with his next project, Lemmy wanted to be "fast and vicious like the MC5" he stated. Saying, "if we moved in next door to you, your lawn would die." (I've always loved that description!).
He recruited Larry Wallis (ex'Pink Fairies) and Lucas Fox. They were originally called "Bastard", but the record company (at the time, UA, through Lemmy's connection to Hawkwynd) shelved that idea, the way they eventually shelved the entire project. After the first recordings Fox proved himself unreliable and Phil "Philthy Animal" Taylor took the position. It was also decided in 1976 to add a second guitar player, however Wallis ended up touring with a reformed Pink Fairies and left "Fast" Eddie Clarke as the sole guitarist.
The 1975 recordings were produced by Dave Edmonds, and the re-recordings done by Speedy Keen in 1977 for the newly interested Chiswick records after calling it quits and staging their final show. Two days in the studio followed. Once again finding the project shelved until 1979 with mixed receptions. Motorhead went on to be a part of the "New Wave Of British Heavy Metal" bands that paved the way for so many others.
It was 1970 & Rob Russen was in a failing marriage. His very jealous and insecure wife called him "Mean & Evil" for choosing music before marriage. At the same time, raidio stations were calling the music he played Heavy Metal, His band had a reputation for coming out hard and heavy, with a strong initial impact. And so, that year when his band Negative Spac ereleased their album, it was only fitting that they name it "Hard, Heavy, Mean & Evil." ''much of the material on that album was about personal turmoil at the time'' says Russen, 'Much of it was fantasy because it was about imaginary relief."
At only 500 copies made, thank the maker for re-issues!!!
Stone Axe, from Huston, Texas was made up of ex-members of Josephus. This 7" "Slave of Fear" b/w "Snakebite" (1971) is their sole proof of existence. Which is really too bad, because it fuckin' rips! I would've really liked o have heard more. Released on the illusive "Rampart Records" label.
The band was only active from '71 to '72, the lineup consisted of:
Ray Turner - (Bass ), Jerry Ontiberose - (Drums), "Wolf" Mike Long - (Guitars), Pete Bailey - (Vocals)
Budgie formed in 1967 in Cardiff, Wales, under the name "Hills Contemporary Grass. Their original lineup considered of Burke Shelly on vocals and bass, Tony Bourge on guitar and vocals, and Ray Phillips on drums. After performing several gigs in 1968 the band changed their name to Budgie the following year and recorded their first demo. The band originally formed under such names as Hills Contmporary Grass, and Six Ton Budgie. Burke Shelly has said that the bands name came from the fact that he ''loved the idea of playing noisy heavy rock, but calling ourselves something diametrically opposed to that."
Their debut album in strong blues-oriented hard rock lines was recorded at Rockford Studios with Black Sabbath producer Roger Bain and released in 1971, followed Squawk. In 1972, the third album, "Never Turn Your Back on a Friend" (1973) contained 'Breadfan"which was covered by Metallica in 1987, after covering another Budgie song "Crash Course in Brain Surgery" earlier in their career. Ray Phillips left the band before the fourth album "In For the Kill" was recorded and was replaced by Pete Boot.
In late 1974, the band were joined by drummer Steve Williams for the album "Bandoleer" for live shows promoting this album and the follow up ''If I Were Britannia Id' Waive the Rules", the band augmented by Welsh guitarist Myf Isaac for concert performances. Music from the 19798 LP Impeckable was featured in the 1979 film J-Men Forever (shown frequently on the USA network's Night Flight television series in the 80's) which is now a cult classic. Both Bourge and Isaac left mid
1978 and were replaced by ex-Trapeze guitarist Robret Kendrick and ex-Hawkwind guitarist Huw Lloyd Langdon. Langdon's was short lived as Kendrick convinced the band to fire him. In late 1978, having been dropped by A&M and with no new recording contract, this lineup floundered and after 12 months Kendrick was replacedby "Big" John Thomas in late '79. 1982 saw them signed to RCA for "Deliver Us From Evil", their final recording for a major label.
English group Andromeda formed in 1966. right after formation, the lineup changed, and led by John DuCann the new lineup recorded their eponymous album for RCA in 1969 with backing vocals by Eddie Dyche, Together with Ducann, and Andromeda members, Mick Hawsworth and Jack Collins, were the makeup of the Five Day a Week Straw People .Andromeda broke up After DuCann left to join Atomic Rooster.
This very rare only release by Pinnacle is a good mix of hard rock and space rock (a la Hawkwind). Actually it's a lot like Hawkwind but 10 times as intensive and without prolonged pretentious meditations. It's like high Tide or Sir Lord Baltimore morphing into proto speed metal after being catalyst by Deep Purple, Budgie, and drug induced schizophrenia. It's like your dreams of not overly pretentious keyboard heavy prog, out there, but still really grooving really hard space rock and psyched up proto metal being alloyed into one amazing amalgam. It has astonishingly classed up keyboards which don't dilute the guitar driven heaviness, in fact actually ad to their fuzzed up but melodic brilliance. I don't know if it's only me and my fucked up sense of musical tastes, or if all of the reviewers rendering Pinnacle as another of the rightfully run off castaways of the 70's are just plain fucked, but Asssassin is definitely one of the best hidden and unsung diamonds of 70's hard rock proto metal .
i can't recommend it more than I already have so go check it out for yourself.
The 1970's were responsible for birthing not only heavy metal but also a mountain of obscure heavy rock classics that all pretty much flew under the radar due to lack of money and/or representation to get these bands more well known. Boulder Damn from the U.S. is a prime example of how amazing a band can be, but yet remain virtually still unknown to a lot of people until now. Talk about HEAVY, this band was extremely heavy for the time of their debut release in 1971. The certainly gave Black Sabbath a run for their money in terms of heaviness. Their closing song "Dead Meat" would be considered heaviest/proto-doom riffs to be heard back then. "Dead Meat" was definitely a barnburner for the time. Even to this day that song still carries the same impact it did when originally released, much like the song "Black Sabbath." For people that know more obscure greats like 70's era Pentagram and Sir Lord Baltimore, this album fits right in with those. It's a little more in the psych/fuzz heavy rock game, but what's not to love there?
Wicked Lady exemplifies the "record collector" bands that gain new life through re-issues. In this case Wicked Lady's "The Axeman Cometh" & "Psychotic Overkill." Their appearance marked some belated recognition for the power trio, which Northampton singer/guitarist Martin Weaver formed with drummer "Mad" Dick Smith, and bassist Bob Jeffries.
However, Wicked Lady never came within a whisper of the stratospheric status attained by bands such as Cream, or The Jimi Hendrix Experience. The bands liberal use of feedback -- and large biker following -- kept the regulated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970, but Smith and Weaver regrouped with new bassist Del "German Head" Morely.
The new lineup duly set about documenting it's existence, as captured on "Psychotic Overkill" --who's feel is looser than "Axeman". The effect is a shotgun marriage of Black Sabbath-style riffmania, supported by a less risk-taking rhythm section. Weavers vocal style lacks charisma, but his fuzz/waa-waa guitar style carries the day. The highlights include a bluesy cover of Hendrix's "Voo Doo Chile", the "sex & drugs" snapshot of "Sin City", and the howling, 21 minute epic, "Ship of Ghosts."
But Wicked Lady's erratic ways proved too difficult for club owners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.) Wicked Lady imploded in 1972, but Weaver rebounded that same year by joining The Dark , a more psychedelic and progressive outfit their "Round the Edges" album became a Holy Grail for collectors- because only a handful of copies were made for band and their associates (Kissing Spell re-issued the album in 1991)
Waver next teamed with classically trained keyboardist Dave "Doc" Wadley, who'd worked with a per-Sabbath Toni Iommi in The Mind Doctors. Kissing Spell also re-issued the "On the Threshold of Reality", an album of laid-back instrumental "head" music. Weaver most recently surfaced on the re-formed Dark's Anonymous Days (1996), which featured material writtin in the 70's and 90's.
All in all, this British band was rocking a particular heavy strain of proto-metal that fell into some familiar late 60's and early 70's wave of the beginnings of Metal/Doom.
Valhalla (from Long Island, N.Y.) is like, heavy early prog, mixed with psychedelic rock, mixed with U.S. garage rock, mixed with flower power pop. Whew, that's a mouthful...
Pieces of it seem overtly mainstream while at other times it is definitely within the realms of the subculture. The band are all very competent, with a good rhythmic bass player and a great organist. Hifi geeks will definitely be a bit put off by the production, but it's really not as bad as others (a LOT of others). the organ uses a Hammond with a Leslie, the guitar player plays with fuzz as was popular at the time, is also pretty good.
It's definitely a little off balance as some of it is rock solid, while other times it sounds as if it were poorly rehearsed. I'm not a fan of the horns either. the kick off song "Hard Times" sets you up a bit misleadingly, as what follows is sub-par in comparison. They've been quoted a lot by critics as being akin to Deep Purple, I don't hear it. maybe some organ parts with guitar, but it's few and certainly not enough to draw a comparison between the two.
A more fitting comparison would be Doors, Procal Harem, and Love. Plus, at 40+ minutes, a real bargain for 1969. Like I said, it's got it's moments, and those that are, are pretty awesome.
Definitely needs time to grow on you, a very select, (albeit acquired) taste.
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