Billylee Janey new CD highly recommended by

Billylee Janey No Saints CDBillylee Janey never ceases to impress me. No Saints Ringin’ The Bells, his fifteenth release, is innovative, psychedelic, and, at times, reminiscent of his Truth & Janey days. The album is composed of fifteen original songs, a haunting cover of Russian folk song, “Dark Eyes,” and  a mini-version of Edvard Grieg’s “In the Hall of the Mountain King.”

There’s this funky little song called “Broken Arrow” that Janey fills with lots of great unexpected aural treats. This one brings a smile to my face every time. And before that smile can even  reset, “Lord of the Strings,” an amazing instrumental, kicks in, fusing surf rock and blues together for an amazing listen. It’s sheer back-to-back pleasure.

Janey breaks out his axe and throws down some great delta blues groove on “Delta Man.” It is a composite of legendary Mississippi bluesmen such as Son House, who continues  “singing the blues,” “singing the truth,” and “living the life of Hell.” This favorite features his son, Bryce Janey, on acoustic guitar. “Sweet Seventeen,” another track featuring Bryce Janey on acoustic, is a stand-out song as well. This is a beautifully sad, heartfelt song. It has such a lovely melody that I keep going back for repeated listens.

As the title implies, the saints aren’t ringing the bells, because maybe they’re all off playing guitar. That’s just a gut feeling. This one is highly recommended for those who like their blues plugged in.

By Phillip Smith (a contributing writer at BluesWax)

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Jerusalem interview on It’s Psychedelic Baby blog

Jerusalem bassist Paul Dean was interviewed recently for the It’s Psychedelic Baby blog site. Read on as Paul touches on the early years of the band, it’s origins, touring, the infamous artwork, post-Jerusalem group Pussy and more.


1. When and how was band Jerusalem formed?

In 1967 when Ray and I were 16 and still at school we went to see John Mayall and the Bluesbreakers and were absolutely blown away with a form of music we had never heard before. The next day we decided to form a band along with another friend Chris Skelcher. None of us had ever played an instrument before, Ray took drums, Chris guitar and I took bass and vocals.

2. Can you tell me about the early years when you just started your band?

None of us had any major influences, so we actually learnt how to play as we went along. I started writing as we decided we didn’t want to do any covers and liked the idea of creating something of our own that was a bit different. We practised at every opportunity and did part time and holiday jobs to pay for equipment. Our only focus was the band. Hardwork, but well worth it in the end.

3. Before Jerusalem, were you or other band members in any other bands? Any releases (45,tape..) from then?

No, none of us had ever touched an instrument before or had done anything musical. Even when Ray and I brought in Bill, Phil, Bob and Lynden at different times, none of them had actually been in another proper band. All performing virgins. The first recording we ever did was when Ian brought Roger Glover to Salisbury to do some recording on Rogers newly acquired Revox 2 track. Don’t know what happened to the tapes. Phil was the singer at this time.
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Sorcerer CD scores high with Doommantia

Sorcerer – Sorcerer CD. Here’s an early review from : “Sorcerer was a doom metal band that formed in Stockholm, Sweden, in 1984 by Johnny Hagel and Peter Furulid. The band started playing local shows with singer Anders Engberg before they were joined with a second guitarist. In 1989 they recorded their first demo which sold around 1500 copies. In 1992 they recorded their second and last demo before Hagel left the band. For some time the band used session bass players but when Anders left them in 1993 the band fell apart. Both demos were very well received by the metal press all over the world and in 1995 John Perez of Solitude Aeternus decided to do the right thing and release both demo tapes on CD through his label Brainticket Records. 15 years later John Perez has come to the rescue again by re-releasing the album with a bonus track not found on the original album and a 12 page booklet with lyrics and full liner notes from John Perez of Solitude Aeturnus. [Read more…]

Monday Massacre: Slauter Xstroyes

Slauter Xstroyes Free the BeastSLAUTER XSTROYES – FREE THE BEAST CD

This is not death metal.

No, I have decided to deviate from my norm this week and present a highly underrated US power metal band by the name of Slauter Xstroyes.  Fromed in 1979, this band is older than many of the famous greats we know today, but unfortunately, Slauter Xstroyes have remained in relative obscurity despite releasing two fine albums. Free the Beast is the last album they made, with it being half-completed in 1987, then abandoned and eventually released with some demos tagged on in 1998. [Read more…]

Oho – Okinawa reviewed at Prognaut

PrognautOHO – OKINAWA CD. Packed with mucho and fast moving music which is often crazed recitation and even screaming words that may or may not make one bit of sense to the listener. A 1970’s Baltimore MA prog band, this is a difficult listen at times, but you must give it more than one listen thru to really get the best from it. It’s rare, but there are even some really beautiful mellotron prog rock parts, although followed by the talking and the more zany concoction of jazz/rock/pop/classical in avant garde format. It’s a good bet that lovers of early to mid period Gong ( nod to Dave Allen ) will dig this. Some of it reminds me of the more comical early British rock recordings and pieces of Frank Zappa, Supersister, Samla Mammas Manna (in their zany outrageous mode ) and some direct Beatles acknowledgment. [Read more…]

Progression magazine gives OHO Okinawa reissue top marks!

Progression magazineProgressive Magazine gives OHO Okinawa reissue a 16/16, their highest rating!

Longtime readers certainly recall Baltimore’s OHO, subject of a feature way back in Issue No. 28.  This six-panel digipak, complete with 20-page booklet (featuring original artwork from the private 1974 release), is the first proper digital representation of this masterwork of pre-RIO/art-punk cabaret freakadelia.

Sonically, this production obviously is superior to the boots lurking about, but not as “woofy” as the ’96 Little Wing LP reissue.  My well-preserved original 1974 vinyl sounds surprisingly thick compared to this re-master, at least on a high-end system.

For all the well-deserved ink Okinawa garners for its compositional innovations, no one has mentioned the deadly chops of some of the players themselves.  Drummer Larry Bright was a 17-year-young wunderkind when he joined OHO, and has gone on to work with Miles Davis, Kenny Wright, and a who’s who of fusion.  He positively soars on every cut, and the Boris McFinnie horns superbly punctuate four tracks.  Fans of Residents, Fugs, early Mothers, Pere Ubu, Henry Cow, and other artists who cock a snook at life and can play, cannot afford to be without this.

-John Patrick