Sole album from US heavy rockers Zipper, dating from 1975. Featuring Fred Cole (ex Lollipop Shoppe, Weeds) on vocals. Garage rock to the max! With a whisper of stylings from Grand Funk, heavy guitar driven with great guitar runs and a pumpin' rhythm.
Formed in 1973, Zipper as un-compromising as anything Cole's done in his long career. The album was the frustrated response to the music industry as a whole. Unable to obtain a new contract, Cole relocated to Portland, Or. and it was there he began to take charge of his career. He opened a music store, and a short time later found himself with another band. Tired of his previous trials, Zipper's eponymous debut was self-released on Cole and his wife Toody's new label, Whizeagle. Sadly, this is their only album.
In a true D.I.Y. ethic, the album was released with a cover consisting of two stickers stuck together with gaff tape.
Cole went on to form Dead Moon in the eighties and they continue to play to this day.
Formed in 1968 in the Houston, TX area. Doug Tull (drums), Doug Walden (bass/vocals), and Richard Avitts (guitar/vocals) were the original members of the band, which started out as "United Gas." Tull and Avitts, at the same time playing in a series of R&B and soul-leaning groups, met in 1966 when Tull sat in on drums with one of Avitts' bands. Tull, however was not as serious about the music as Avitts, leading to an eventual split.
Tull developed a friendship around this time with Jefferson Airplane guitarist and Texas native Jorma Kaukonen, and, in 1967, invited Avitts to jam with them. Certain they had the makings of a band, the two went searching for a bass player who could sing, eventually finding Doug Walden. It wasn't long before Untied Gas developed a following in and around Houston, playing clubs like Tangerine Forest who's owner, Nick Lee, took interest in the band, eventually becoming their manager. Walden and Avitts began writing their own material and recorded a demo which Lee shopped around his contacts in Las Vegas and California.
United gas relocated to Las Vegas, and then California after an L.A. label, Metromedia offered them a two year deal. At the labels behest, the group changed their name to Christopher so as to avoid confusion with similar named California Pacific Gas and Electric. Walden and Avitts felt Christopher to be a religious band (their name is taken after Saint Christopher) and wanted to convey this through the music.
Doug Tull
Recording of their first album began in early 1969, but was hampered by Tull's drug use, and a failed suicide attempt. He was fired (later returning to Houston and joining Josefus, and ultimately, was found hanged in an Austin jail cell in 1991, victim of an apparent suicide, although there have always been suspicions he was a victim of police brutality) and the session were completed by John Simpson and Terrence Hand. The result was Christopher's debut album, released in a pressing of only 1000 copies. Walden and Avitts remained in Los Angeles playing as Christopher before Avitts moved back to Houston later that year.
XIT - or "Crossing of Indian Tribes" is a Native American rock band originally based in Albuquerque, New Mexico. Members include founder and Native American Music Award winner Tom Bee (writer of the lyrics on Plight of the Redman). Their initial recordings (two albums for the Motown label) like 1972's Plight of the Redman addresses themes of historic and contemporary Native American issues. Plight, was a concept album about the changes in Native American life after the arrival of Columbus.
Acompliation album was released in 1974 entitled Entrance, and in 1977 the band released Relocation.
The original group, known as "Original Xit" are A. Michael Martinez, (singer and lead guitar on Plight), Mac Suazo (narrator and bass on Plight), Lee Herrerra (drums on Plight), and R.C. Gariss (2nd lead guitar on Plight) has released Cd's into the 2000's, beginning with 1985's Drums Across the Atlantic.
Armageddon's lineup reads like a who's who of 70's heavy rock royalty. It features vocalist Keith Relf of the Yardbirds and Renaissance, Martin Pugh, lead guitarist for Rod Stewart's An Old Raincoat Will Never Let You Down, and Steamhammer, Bobby Caldwell, drummer for Captain Beyond and Johnny Winter, and Louis Cennamo, who was the bass player and bandmate of Relf's in Renaissance and Pugh in Steamhammer.
Armageddon was the last band to feature the Yardbirds' Keith Relf. He had founded Renaissance after the dissolution of the Yardbirds in 1968, and left Renaissance after two albums (actually half way through the second album) - to produce bands like Medicine Head (for whom he also played bass), Hunter Muskett, and Saturnalia.
Pugh Sennamo had broken up Steamhammer in 1973 - they then decided, with Relf (who'd assisted them in the production of the final Steamhammer album) , to leave England for L.A. They tried out a few drummers in California, and decided on Bobby Caldwell to complete the Armageddon lineup.
According to the booklet in the Repertoire Records CD re-issue of the album in 2001, Pter Frampton and Dee Anthony recommended the band to A&M records, and it was likely because he was their top selling act at the time that they signed the band.
Although the band's debut album was well received by critics and fans, the band did no tour to support it, consequently sales suffered, and Relf returned to England due to poor health shortly after the album was released. He died shortly after returning to England, when he was electrocuted while playing guitar, although he did record one more song: "All the Falling Angels" that is included on an album by Illusion called Enchanted Caress. (Illusion was the original name the members of Renaissance chose when they reunited, as the Annie Haslam incarnation of the band that existed at the time).
After Armageddon folded, bassist Cennamo reunited with his Renaissance bandmates (the aforementioned Illusion) and later worked with Jim McCarty in the bands Stairway, and Renaissance Illusion. Drummer Caldwell returned with Captain Beyond for an album and tour.
Pussy was formed immediately after the breakup of Jerusalem by it's founding members Paul Dean and Ray Sparrow, along with Bob Cooke, who was eventually replaced by Brian Goff. They made the decision not to continue under the name Jerusalem out of respect for what Jerusalem was all about at that time in musical history. After all, Jerusalem was a one off moment in time creation and could never be recreated. Although the musical direction of Pussy was very different to Jerusalem, which is surprising seeing as Paul was the main writer for both bands, (although his liking for riffs is still prominent in places) they continued to keep that raw, "No Rules" edge which set them apart from many bands of the period.
Producer Ian Gillan (Deep Purple, also producer of Jerusalem) was more proactive with Pussy and was actually responsible for many backing vocals on the songs (also played piano on "Feline Woman"/version 2, some percussion, and came up with the idea for "Place in the Sky"). Pussy were a good time band with no pretensions of being super-musicians or technical geniuses. If it seemed like fun it was worth a try, which explains a lot about their sound and direction. On stage, anything could happen, no rules! Of course! They gigged all over Germany and England as major a major support act, very much in the same way that Jerusalem had done.
After the disbanding of Jerusalem - (the rumors over the years said there was a second Jerusalem album - this is not true - it was actually the Pussy album) - Decca decided to continue the Jerusalem contract for pussy. The first and only Pussy release on Derham was a single "Feline Woman"
The recordings on the "Invasion" album are what was supposed to be the debut Pussy album and various other tracks from 1972-73. (Only 6 of which are posted below)
From Allmusic: "In the early 70's Kennelmus was Arizona's only psych/surf band. Their lone debut album is one of the true rarities of psychedellia and is presented in it's original form, sans any remixes or extra tracks. /the music, just as heralded as the album is rare, is a head on collision of The Chanteys, Quicksilver Messenger Service, Lee Hazlewood, Ennio Marconni, & the Electric Prunes all rolled up into one gigantic head rush. Listing individual tracks is useless as the album was concieved as one long continuous piece of music."
"A true visionary piece of psychedelic noodling. You be the judge, But definitely a band with a sound and style all their own."
Rising Storm (see review): "There's something compulsive about this whacked-out mess of an album by a band that's right up there with the Elevators, The Prunes, and Syd Barret. Or think Cold-Sun with the same peyote driven woozy urgency and the trademark autoharp sustituted with melodica, and you wont be a million miles out."
Exquisite surf guitar driven introduction to this album hooked me, the the apparent, (and rather obvious) blue print for DEVO and without a doubt, Butthole Surfers kept me glued. The vinyl re-issue of this album on Rockadelic Records is already over a hundred bucks... The Sundazed CD issue probably a bit more accessable and less taxing on the wallet. (Unless of course, like me, you're a vinyl junkie)
"Legendary", "Masterpiece", "Underrated", "Ballsy" and "Spectacular" are but a few of the descriptive terms I found in doing my research for this post. Rockasteria writes: "Underrated, partly outstanding ballsy 1970's rock album in the Texas style which means good production, strong vocals, and solid playing all around." It goes on to state, "the music is given additional appeal by realistic lyrics about relationships, fatherhood, planned and unplanned, that retain a male perspective without degenerating into macho cliches."
Another highly sought after specimen in it's original version, one of psych's "crown jewels" pressed on Acorn Records (1001) in 1971. It is truly great psych with a terrific hard blues tinge and some wonderful melodic passages. Think early Blue Oyster Cult or Wishbone Ash. Based out of Corpus Christi, TX, the band's musicianship is well above par with some killer guitar work.
The bands history is a bit elusive, Not even the bio on their facebook page delivers any real history at all. But, beyond the pirate pressings of the 1980's, there exists re-issues. So the rest of us can at least enjoy what would have been lost to the ages.
If I could contribute my own descriptive term, I suppose it would be "Essential."
Rockicks, previously known as "Rockit", was signed to RSO, the label best known for carrying The Bee Gee's. RSO was formed in 1976, who, in addition to their manager Warren Entner (who also managed an early version of Quiet Riot), was responsible, for the bands all to cheesy and frankly dumb name. (but, that's the music biz!). The band's "leader" was guitarist Brian Naughton,
Brian's previous musical life saw stints with Rock Candy (MGM), and The Grass Roots between 1970 and 72. After which he joined Peanut Butter Conspiracy and remained with them until he formed Rockit in 1973.
Rockicks deliver a variation of 70's biker rock not unlike Black Oak Arkansas, Creed, and The Boyzz. Just what RSO planned to do with Rickicks remains a mystery. It's not as if the band had any real chances. They toured around the U.S. with Quiet Riot, and were on the bill to perform with Blondie, but were pulled at the last minute. (replaced by an unknown by the name of Tom Petty and his band The Heartbreakers) As fate would have it, Blondie's gigs opened up doors for Petty, and in turn closed doors for Naughton and Co. Pretty good biker/stoner rock and recommended for purveyors of such.
The only album by an American band from Minnesota, formed in 1969, and existed until 1972. They managed to sign a contract to MGM in 1970 and released this sole self titled L.P. The band consisted of Brian Naughton (guitar), Andy Andrews (bass), Frank Daniels (piano/organ), and Joe Roffredo (drums).
Guitarist Brian Naughton ended up a member of Rockicks, who released an L.P. on RSO records in 1977.
This small tidbit is the only info I was able to dig up on this release. And the band is from my home town! If I learn more I'l update accordingly. Otherwise, anyone? Bueller?
The Glass Sun, from Westland Michigan, made several recordings from 1964 to 1972. Originally The Cyclones, the band consisted of Bruce Roll (guitar/vocals), Rick Roll (bass/vocals on "No One Knows About Me"), and Danny Sills (Drums).
In 1965, the band played weekly gigs at a local Army/Navy hall for Friday night teen dance, in addition to the Westland Civic Center. As with many other bands of the time, they played a number of local band wars from time to time resulting in victory in Wayne, Michigan in 1966.
They began recording original material in fall of 1964, when the group met Danny Dallas, who would assume the role of production for the next 8 years at his own studio.The band released two 7" 45's on Dallas' 'Sound Pattern' label. The Brothers Roll ended up serving military tours in Vietnam, yet still made recordings whenever time permitted. The last sessions made with Mike Cassengrande (guitar) and his brother Bob (keyboards) until Bruce could be discharged from the service.
The Glass Sun recently released a CD retrospective: Cyclonic Revue of most (if not all) of their recordings on the still existent Sound Pattern Records. https://www.facebook.com/GlassSunBand/
Mick Wayne's first band was 'The Outsiders' with Jimmy Page on guitar. After recording one single for Decca in 1965, The Outsiders broke up the following year at which point Wayne joined Hull musicians 'The Hullabaloos', replacing Rikki Knight briefly before they too, broke up. He made an attempt to form a new lineup in Hull with drummer John Cambridge, but soon returned to London (Cambridge later joined the Hull band 'The Rats', with Mick Ronson). Wayne next joined the 'Bunch of Fives' (including ex-Pretty Things drummer Viv Prince) during 1966 and his band evolved into 'The Tickle' with band members Mick Wayne (guitar), Mike Docker (Vocals), Dave Williams (keyboards), Richard Dowling (bass), and John Beckerman (drums). The Tickles only single - "Subway (Smokey Pokey World)" - has appeared on many psychedelic compilation albums, including Acid Drops, Spacedust & Flying Saucers: Psychedelic Confectionery.
After the breakup of Tickle, Mick Wayne formed Junior's Eyes in early 1968 originally with drummer John "Candy" Carr and then with John "Honk" Lodge (Ex-Grahm Bond Organization) (bass), and Steve Chapman (drums). They soon recorded a single with help from pianist Rick Wakeman and producer Toni Visconti. The trio added singer Grahm "Grom" Kelly and (briefly) organist John Redfern in 1968, and began work on an album. Battersea Power Station was released in June, 1969.
That same month Rick Wakeman and Mick Wayne were among the guest musicians who recorded David Bowie's breakthrough hit "Space Oddity". For the followup Space Oddity album recorded between June and September, Bowie and producer Visconti were backed up by a new lineup of Juniors Eyes comprised of Mick Wayne (guitar) John "Honk" Lodge (bass), John Cambridge (drums), and Tim Renwick (Guitar, flute, recorder)
The same band backed Bowie on a BBC Radio Dave Lee Travis Show session in October 1969, and (without Wayne) on single B-side "Conversation Piece" recorded in January 1970. Wayne had also helped record James Taylor's debut album between July and October, 1968, and Honk played on the album "Think Pink" by Pretty Things drummer Twink, in 1969.
These recording sessions for other projects disrupted progress for the band, and the new lineup recorded only one single. They played their final gig on February 3, 1970 supporting Bowie. It was at this gig that former "Rats" drummer Cambridge introduced Bowie to Ronson and within days, Cambridge, Ronson and Visconti (bass) were Bowie's new backup band.
