The Woods Band - Selftitled (1971)

The band, in theory, broke up. It reformed a week later. We were just wanting to leave it behind. We came back to Ireland, I got my old job back as a typist. Then we must have ended up back in London, later that year (1970) and met Ian McDonald from King Crimson and we were recording stuff with him. It was fun, it was a great experience. He was a very interesting man. We did the Strangely Strange thing - the tour and the Woods Band came out of that We were young and really wanting to play again and me and Terry had some musicians we wanted to involve. We got a place in the country - in Wiltshire, to live in and it was just so together. Julia, the manageress (of The Woods Band) got us a (record) deal and a place to rent and then there was myself, Terry, Ed Deane on guitar,Paddy Nash on drums and my brother Austin on various other instruments and that was the band that rehersed and the one that recorded with a few guest people.We went up to London to record it. There was nothing happening in Ireland - you couldn't even get a gig.. What was going on was just show bands going around dressed up in crazy uniforms playing all 50's music. There was no sort of sub-culture. Van Morrison was doing the best he could in the North but nothing for young people.The album got quite a good response - even in Ireland. We just started to play in Holland a lot because that was such a great place to go with an Irish identity, playing rock music. I don't know how that happened and then we went up to Scandanavia. They were all youth clubs where they drank beer, that's all, there were no spirits, and listened to music. It was just a great rebirth for us at the time. We played a few times in England but England wasn't up for that kind of electric folk. We were just very lucky we got so many other gigs.We had to make a bit of money in Holland just to keep the thing going. I don't think we got a contract to do another album. At the end of that I moved back into my mothers house in Dublin and that was when I started to write songs like there was no tomorrow.Looking back - I love that track 'Dreams', - the instrumentation on it. Ed Deane is just such a brilliant musician. It was just so way out and I loved it. I suppose I like 'January Snows' also. I'd like to try that again. The Woods Band was male-orientated at that stage. I was just tagging along, not really functioning. I remember I danced at a big gig in Holland, Irish dancing,just off the cuff. I'd maybe had a few beers too many and that went down well.'The Woods Band 'is of its time and its good - it's still standing up, it's not lame and it's just there in it's rawness. There's no stylised dressing, the platform boots and all that. It's just young people doing new things...a bit like the first Steeleye..

Another one for folk-rock fans. A much respected group. Originals of this album are now rare and sought-after. It combined their own songs with traditional ballads.

Terry Woods had originally been in Sweeney's Men, an Irish folk group and both Gay and Terry were in the original Steeleye Span line-up in January 1970, though they left in April of that year to join Dr. Strangely Strange before forming The Woods Band.

They later recorded albums in the mid-seventies as Gay and Terry Woods.

(Info by: CGR)

1. Noisey Johnny
2. Dreams
3. January's Snows
4. Lament and Jig: Valencia Lament/Apples in Winter
5. Over the Bar/Road to Athy
6. As I Roved Out
7. Promises
8. Everytime





















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Ted Nugent - Weekend Warriors (1978)

No info.

















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WLFC - The Jim Morrison Seance Tapes (2008)

PRESS RELEASE

July 7, 2008‘We’re Late For Class’ Jams With Jim Morrison

Via a medium, stoner college jam band We’re Late For Class performed a 14 minute improvisational space jam along with the disembodied voice of Jim Morrison, the late singer of The Doors.

“Why not!?,” said a We’re Late For Class spokesman. “It's cheaper than a living singer, what with classified ads, lodging and alcohol... and besides, you know how lead singers are to deal with.

”It’s entitled The Jim Morrison Seance Tapes and is their 30th. It’s available for free at the band’s blog, http://werelateforclass.blogspot.com

“So you don't think this is just something we slapped together with old recordings and ProTools... (you can hear) the engineer ask Jim for the ‘post-death stuff... the stuff without copyrights,’” the spokesman persisted. “In the end,” he said, ”it went smoother than our Screamin' Jay Hawkins seance.

”The free download also includes a 14 minute instrumental version for those that don’t buy the premise.

contact: werelateforclass@hotmail.com.

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Ford Theatre - Trilogy For The Masses (1968)

Trilogy For The Masses opens with the Theme For The Masses, the main theme that connects the whole of the album together. Played in a form of lament, the track is rich in both strings and organ very similar to a style that would be utilised by many of the proto-progressive rock bands such as Procol Harum and The Moody Blues. The subsequent track, 101 Harrison Street is a clear indication of the times. Featuring a lengthy and mesmerising guitar solo accompanied by a hypnotic continuous rhythm, this piece of music is a sure sign of the psychedelic drenched times the band were living in. This was the year of Woodstock and the height of flower power, and one can easily envisage this track being played endlessly with one solo being meted out after the other.

Excerpt (From the Theme) resurrects the opening theme to then lead into Back To Philadelphia, a track that would also be utilised for the bands second album, Time Changes. Slow paced and laid back, this track in contrast to 101 Harrison Street, lays more emphasis on the guitar work rather than having the organ dominate the sound of the music. Both Sides One and Two are linked by the short echo-filled The Race.

A name that comes to mind after hearing From A Back Door Window (The Search) would be legendary group Love. Ford Theatre manage to exude a certain amount of power and anger without letting it get in the way of their musical arrangements and without compromising their ability to incorporate ear-catching choruses in their music. This lengthy track also manages to combine the two distinct musical touches that the band had expressed so far on the album, that of a more guitar orientated rock feel as well as that of the R&B organ dominated sound. Well, From A Back Door Window (The Search), has both these elements with an extremely pleasant organ solo coupled with lengthy guitar work. Once again the emphasis seems to be on the ambient that the instruments manage to create with their obvious psychedelic allusions capable of

Theme For The Masses resurrects its head in bringing the album to a close with Postlude: Looking Back, the only composition credited entirely to Harry Palmer on the album. Musically this track is strikingly different to the remainder of the album as it is devoid of the elaborate arrangement present on the album giving this pleasant track an almost country rock feel to it. This is one album from my record collection that somehow finds itself regularly on the turntable. There is something innocent and unique about the sound of the album that is hard to find in many albums from this era. Musically I feel that it is a gem and should appeal to all those who like what is often termed as proto-progressive rock.

(Info by: CGR)

01. Theme For The Masses (2:52)
02. 101 Harrison Street (Who You Belong To) (9:22)
03. Excerpt (from the Theme) (1:09)
04. Back To Philadelphia* (4:11)
05. The Race (:26)
06. The Race (:04)
07. From A Back Door Window (The Search) (14:02)
08. Theme For The Masses (2:59)
09. Postlude: Looking Back (2:09)

















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Magi - Win or Lose (1976)

Drug-orientated high energy rock, featuring some excellent guitar work but lacking variety of material. The band recorded at Uncle Dirty's Sound Machine in Kalamazoo, Michigan, but the label was based in Milford, Indiana, which may well have been their home.

"This north Indiana outfit ruled the roost in the 'Michiana' region in the mid-'70s, attracting huge crowds whenever they played live. Often compared with Led Zeppelin, this 5-piece outfit rocked the area with a tight and raw sound that combined in-your-face hard rock with undisguised psychedelic tendencies and lashings of fuzz. It must be said the boys didn't do themselves any favours by issuing their only known album with a cover reminiscent of a Journey photo shoot, but regardless of their dubious hair and sense of dress, Magi certainly deserved more than the obscurity into which they ultimately lapsed. Win Or Lose, recorded at Uncle Dirty's Sound Machine studios in Michigan in 1976, and which boasts a series of solid songs propelled by a tight rhythm section and some more-than respectable vocals, is always reviewed enthusiastically."

(Info by: CGR)

1. Win Or Lose
2. Undecided Man
3. I Didn’T Ask You
4. Steves Jam
5. Fryin’ Away Time
6. Snow Bound
7. Runnin’ Low
8. Everytime I’M With You

















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John Nitzinger - Nitzinger (1971)

Their three albums are mostly in a bluesy hard rock style and are sought-after by collectors.Hard driving rock with a little Texas style blues thrown in for good measure. Nitzinger was John Nitzinger's band before he joined PM or Alice Cooper and before he worked for Bloodrock. He writes and plays straight-up hard rock without the typical radio hooks (which is why you may have never heard of him or his band). If you have to choose between this CD and "One Foot in History", choose the latter, but if you can still find both, buy 'em both - stick 'em in the car's CD changer and drive. Oh, yeah, make sure your radar detector is working, because the music will make you want to put pedal to metal.

I tell you people-this and all Nitzinger releases are rock steady solid from start to finish-this dude was a major talent that i felt was often overlooked-I am old fan from the vinyl dayz good music like this only improves with age-from Johns Bloodrock days till this release he steadily advanced the perfection of his art-if you wanna hear that southern style Texas epitamy of purest rock blues this is the avenue to travel-not one single bad or weak song from amongst these trax you will have to search elsewhere and other artist for that-this dude delivers and then only delivers more,one of my favorite albums from any era-i am more than delighted to see his work in digital format of cd-do yourself a favor-let the rent go to get this one.

(Info by:CGR)

01.L.A. Texas Boy
02.Ticklelick
03.No Sun
04.Louisiana Cock Fight
05.Boogie Queen
06.Witness to the Truth
07.Nature of Your Taste
08.My Last Goodbye
09.Enigma
10.Hero of the War
11.King's X (Bonus)
12.Pretty Boy Shuffle (Bonus)





















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Joseph - Stoned Age Man (1969)

This is an obscure classic that lovers of blues rock should not hesitate to have in their collection. Originally released on the Scepter label in 1970 and recorded in Memphis at the legendary American Sound Studios. ..Classic Stoner (heavy fuzz) blues rock!

"This is a rare album indeed and much sought after, originally released on the Scepter label (SPS 574) in 1970 and recorded in Memphis at the legendary American Sound Studios. The 'Joseph' was in fact Joseph Long or Joseph Longeria, discovered by the album's producer and A & R man Steve Tyrell playing in Houston in a battle of the blues competition. This is the only known foray into recording that Longeria made and he was a superb guitar player to boot. Stoned Age Man contains some of weirdest lyrics ever written. Check out 'I Ain't Fattenin' No More Frogs for Snakes' and the eastern 'Cold Biscuits and Fish Heads.' This is an obscure classic that lovers of blues rock should not hesitate to have in their collection... the voice you may ask... well think Roky Erickson, Jim Dandy and Beefheart....you can't really go wrong can you????"

(Info by:CGR)

1. Trick Bag
2. I Ain’T Fatten’ No More Frogs For Snakes
3. Cold Biscuits & Fish Heads
4. Stoned Age Man
5. I’M Gonna Build A Mountain
6. Mojo Gumbo
7. House Of The Rising Sun
8. Gotta Get Away
9. Come The Sun Tomorrow
















Size: 55.4 Mb
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