Thursday, January 28, 2010

Three Mile Pilot

This is the second of two copies of this record I have owned. The first one became warped somehow so I gave it away upon discovering the second copy. I like to send positive energy out into the world whenever possible.

From the liner notes:

"If it wasn't for people like Jason Soares (Negative Records) who unfortunately lose money pressing records, there wouldn't be vinyl. Thanks Jason. Way too many other people to list them all."

Thanks indeed Jason. I'm glad this record made it out into the world, without you I imagine it might not exist in any form to have been reissued again and again.

Please note that there are only seven tracks on the original release as opposed to eight on the reissues (they include the bonus track "Circumcised").

Some records are so dense that they can be difficult to lift. This one is particularly heavy, etc.

If you would like to see complete documentation of the packaging and what I had to say about it, please head on over to Soundscreen Design.

Ladies and gentlemen, for your listening pleasure, Three Mile Pilot.

Chief Assassin to the Sinister (Negative)
1. Shang vs. Hangar
2. Aqua-magnetic
3. 97---MT
4. The Chief Assassin to the Sinister
5. X-Miner
6. Vux Intruder #3
7. Androsyn

Wednesday, January 27, 2010

Bert Jansch & John Renbourn

Excerpts of reviews from Bert Jansch's Lucky Thirteen (as featured in the liner notes to this album):

"Bert Jansch is, in all probability, the best contemporary writer of folk songs in the English language. In a word, he is great; but he is more than that.... He has an uncanny sensitivity for the important things... So wonderful that one is tempted to go on and on to capture, to describe the beauty that is there."
--Bob Jones, Broadside (Cambridge)

"From Scotland comes a new folk talent who is a superb guitarist and songwriter. Lucky Thirteen will win this tousle-haired folk artist a large following."

Those reviews are pretty accurate, I seriously doubt that you will be disappointed by this.

Ladies and gentlemen, for your listening pleasure, Bert Jansch & John Renbourn.

Stepping Stones (Vanguard)
1. East Wind
2. Piano Tune
3. Goodbye Pork Pie Hat
4. Soho
5. Tic-tocative
6. Orlando
7. My Lover
8. Stepping Stones
9. Red Favourite
10. It Don't Bother Me
11. No Exit
12. Along The Way
13. The Time Has Come
14. After The Dance

Tuesday, January 26, 2010

Nuno Canavarro

This is the sort of music that I would like to be played at my funeral.

I usually cut up records into tracks but that seems an inappropriate way to listen to this. Each side should be heard in its entirety, particularly the second side as it is a suite.

I feel like my life is a little better because of this record.

It is not for everyone, but those it is for are going to be stoked.

Ladies and gentlemen, for your listening pleasure, Nuno Canavarro.

Plux Quba (Moikai)

1. Side A
2. Side B

Monday, January 25, 2010

Eden Express

Kip and Kelly Uhlhorn are old friends of mine, so I recently took a trip to go visit with them in Memphis, TN. They didn't have to work hard to make me feel comfortable in their home as it is already cluttered with just the sort of things I like.

My first night in town they played a set live on the radio, and asked if I would be Mr. Tamourine Man for the evening. I agreed.

Have you ever seen ridiculously priced psychedelic records from the 70s? I expect this to be one in 30 years.

Kip had the following to say about this record:

"Alright so, we started recording the Eden Express LP at the end of 2007, I think that we worked on it for about six months (November 2007-March 2008). I am listening to it as I write this for probably the first time since then. It actually sounds really positive, which I like. Anyway, so John Whitson and I always joke around about types of records I should make and I thought it would be fun to make what he described as 'outdoor breakfast music'. Kelly and I had been listening to a lot of Pan Regaliz, Marconi Notaro (who is from some other obscure psych group, that collector boners go nuts for that I can't think of) and maybe say like, the first Caetano Veloso LP. We had also gotten into ingesting things and chilling while watching things like Endless Summer. Anyway, this was the first time that Kelly had sung lead on anything much less a whole record. I think she did really great. I also got to fufill some weird aspirations that I had to put sitars and hammonds on some jams. I think we were all hoping to have Kelly play the role of a chanteuse similar to maybe like Jane Birkin. The cover actually mimics this Gainbourg cover with the two of them. It was supposed to have this reissue kinda feel. We briefly considered releasing the record anonymously and pretending it was a reissue (I think Jan Jelinek does that). Whitson wanted Kelly to be on the cover eating a steak and wearing high heels I think?? I have no idea what that is about, except I do know that there was some concept. Kelly's lyrics mostly came from Paul Bowles or The Devil's Dictionary -- both seem appropriate I guess. I do wish that the percussion was a little more fleshed out as well as maybe the bass. I read people speculate about how this was recorded, and how it sounded so retro -- however, it was recorded direct through one reverb pedal. The entire thing!

Anyway, our friend John David was home for christmas break and we did this mainly with him. However, we did enlist some friends to play stuff on occasion. It was fun just to do something like this that was totally different than anything we had done previously."

Ladies and gentlemen, for your listening pleasure, Eden Express.

Que Amors Que (Holy Mountain)

1. Skin de Sol
2. On The Beach
3. Kaleidoscope
4. Lonliest Person
5. Corazon
6. Swelling Moon
7. Marble In Blood
8. Bushels Of Briar
9. Ocean Samba (Tristeza)

Thursday, January 21, 2010


This appears to be a South Korean bootleg of a pretty amazing private press record from the 70s. From the liner notes:

"This album is dedicated to those who came before... and those who come after. To my parents (Mom and Dad) ...and to my children (Aaron and Janelle).

'Everyman had the chance to have a dream but few men's dreams are ever seen.'
--Everyman, 1968

These words come from the first song I ever wrote. One of the dreams I have carried with me was to cut an album someday... just to say that I had done it. Now it is done. But it would not be really finished until I had thanked those who helped me make this dream come true. I am indebted to these friends who volunteered their time, energy, talent, and patience.

Drnwyn is:
David W. Hoag; acoustic guitar, mandolin, synthesizer, vocals
John Volio; acoustic vocals

Helping us were:
Randy Pregibon; lead guitar
Kevin McIlvainde; bass guitar
Larry Davis; drums
Greg Smith; keyboards
Nancy Fannin; vocals
Cheryl McIlvaine; vocals

Special Thanks to my wife Muriel who continues to play angel to my madness.

And finally, to Bob Dylan for his unintentional encouragement in the March, 1978 Playboy interview:

'You can be a priest and be in Rock 'n' Roll.'

Thanks Bob!

Love and Peace,
The Rev. David W. Hoag"


Ladies and gentlemen, for your listening pleasure, Drnwyn.

Gypsies In The Mist (Wohn)

1. Empty Bars
2. Summer Sun
3. Secrets Of The Past
4. Brothers
5. Move A Mountain
6. Gypsies In The Mist
7. Places, Faces, Pages
8. The Madmen And The Angel
9. Something To Hang On To

Wednesday, January 20, 2010

Luigi Russolo

The art of noise is not a new one, apparently:

"In the pounding atmosphere of great cities as well as in the formerly silent countryside, machines create today such a large number of varied noises that pure sound, with its littleness and its monotony, now fails to arouse any emotion."

"We must break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise sounds."

How do I find the signal amongst all that noise?

Thanks to Silvia and Jen.

Ladies and gentlemen, for your reading pleasure, Luigi Russolo.

The Art of Noise (Great Bear)

1. The Art of Noise

Tuesday, January 19, 2010

The Lounge Lizards

From the desk of Weasel Walter:

"Ok, I'm going to give you the Lounge Lizards story off the top of my head, because I'm on a break from scribbling musical notes on paper all day long . . . I don't guarantee every detail here, so if you find errors, don't give me any guff. To the best of my knowledge, the Lizards coalesced in the Lower East Side of Manhattan around 1979, springing from the ashes of a jam-band called Rotating Power Tools, which spun around a core membership of saxophonist John Lurie, moviemaker/actor Eric Mitchell, early Contortions guitarist James Nares and Seth Tillet. The latter three eventually departed/were replaced by DNA frontman Arto Lindsay, pianist Evan Lurie, bass guitarist Steve Piccolo and drummer Anton Fier. The group's debut album on UK prog label/management firm EG Editions - an imprint more generally associated with the likes of Fripp and Eno - hit the streets in 1981, with production by famed Miles Davis collaborator Teo Macero. Judging from the rawness of the early Lizards evident on the track 'Iguana' from their long out of print Live 79/81 cassette-only release on ROIR, Macero watered down the band's sound slightly, especially subduing Arto's signature 12-string Danelectro guitar skronk, but the results are pleasant enough. The weirdest (i.e. best) track is a disemboweled version of the Thelonius Monk chestnut 'Epistrophy'. Most of the compositions are led by John Lurie's catchy, propulsive reed blowing and supported by finger-tapped bass and Fier's in-the-pocket power drumming (a holdover from his membership in damage-unit The Electric Eels as well as frenetic geek-rockers The Feelies). The original group broke-up soon after the release date, but the Luries soon reformed the band many times with a dizzying array of New York musicians in the decades following. The Lounge Lizards initially got tagged with the nomer 'Fake Jazz' because they were weird rock guys playing instrumental tunes in natty black and white suits, but the bottom line is that this is one real enjoyable record."

Ladies and gentlemen, for your listening pleasure, The Lounge Lizards.

The Lounge Lizards (EG Editions)

1. Incident On South Street
2. Harlem Nocturne
3. Do The Wrong Thing
4. Au Contraire Arto
5. Well You Needn't
6. Ballad
7. Wangling
8. Conquest Of Rar
9. Demented
10. I Remember Coney Island
11. Fatty Walks
12. Epistrophy
13. You Haunt Me

Monday, January 18, 2010

Jim & Jesse McReynolds

From the liner notes (all grammatical and typographical errors his):

"This album represents one of the very first recording ventures of Jim and Jesse McReynolds. While time has dimmed the memory of the exact date of the recoring session, I am reasonably sure it was late 1951 or early 1952.

Jim and Jesse were working in the middletown Dayton Ohio area with Larry Roll who played lead on most of the songs recorded, calling themselves the Virginia Trio.

I was anxious to try out a brand new Ampex 300 Mono Tape Recorder, but most important to me was an opportunity to test my skill recording a style of music completely unfamiliar to me at the time.

The studio was a home made affair 20 x 40 x 10, ceiling and side walls covered with acoustic tile and painted cement floor. The input console was a 1948 Vintage Western Electric 23-C with four inputs and one output feeding the tape recorder.

Four microphones were used, two RCA 44Bx, one brush and one Western Electric to record the three vocals, two guitars, mandolin, and bass, four persons total.

This recording represents the true sound of the the 1950's no amplifiers, no over-dubs, no special treatment to enchance or change the sound as the recording engineer (just learning how) my cheif concern was to capture faithfully the unique crisp mandonlin style that Jesse had developed, which after 25 years is still his trade mark.

When this recording was made the state of the art was basically monoaural, even the development of tape recorders was still in its infancy. Until the advent of multi track machines recording engineers had to achieve proper balances and blend it all together on one track.

This record was produced originally for a gospel mail order catalog promotion which was not successful. A very small quantity of records were pressed probably not more than 200 very few of which ever found their way into the hands of the general public. In 1960 in order to facilitate moving the pressing plant and studio to new and larger quarters the remaining stock and metal work were scrapped, but the original tape was carefully preserved.

My very good personal friend Mr. Lou Ukelson who owns Skinner Music Center in Cincinnati, who is well onformed in regards to the trends in country and bluegrass music, had known for some time about the Jim and Jesse tape I had, he convinced me that it would be a good idea to re-issue the album.

Upon examination I found the 25 year old tape was in excellent shape except for a few bad splices which were replaced without trouble. New masters were cut in our cutting lab under my personal supervision on a Neumann Lathe using a Sx 74 cutter. To perserve the original sound, masters were made in monaural with no equalization or sound improvement added.

In the 31 years since starting in business in 1946 my company has recorded and produced thousands of albums in many styles and catagories, many of which were one shot affairs quickly forgotten, but this albums is different, because the lover of bluegrass music will consider this album a classic in its field.

There is something pure, simple and clean in hearing these old religious songs as sung by Jim and Jesse with Larry Roll. Those who appreciate bluegrass mwill recognize talents of a high degree, their basic style which they still use can be quickly identified. This album is a double treat for the bluegrass buff or the religious listener.

Carl Burkhardt
Rite Record Productions, Inc."

He believed in this record so much that he pressed it a second time after destroying almost the entire first pressing due to poor sales.

He was right.

Ladies and gentlemen, for your listening pleasure, Jim & Jesse McReynolds.

The Early Recordings Of Jim & Jesse McReynolds with Larry Roll (Gateway)

1. I'll Fly Away
2. God Put A Rainbow In The Cloud
3. You Go To Your Church, I'll Go To Mine
4. Just A Little Talk With Jesus
5. Sing Sing Sing
6. Let Me Travel Alone
7. Camping In Canaan's Land
8. On The Jericho Road
9. I Like The Old Time Way
10. I'll Be Listening

Thursday, January 14, 2010


I thought I'd close out 70s hard rock week here at Pukekos with two of my favorite records from the era.

It occurred to me that as awesome as these records are, they were probably even better live. I'm sure it doesn't hurt that the drummer went on to play with Richard Hell (although you might know him better as Marky Ramone), and the guitar player produced some Kiss records too.

You could have some transcendental experiences listening to these if you aren't careful.

Seriously, if you enjoyed this week I saved the best for last, etc.

Ladies and gentlemen, for your listening pleasure, Dust.

Dust (Kama Sutra)

1. Stone Woman
2. Chasin' Ladies
3. Goin' Easy
4. Love Me Hard
5. From A Dry Camel
6. Often Shadows Felt
7. Loose Goose

Hard Attack (Kama Sutra)

1. Pull Away/So Many Times
2. Walk In The Soft Rain
3. Thusly Spoken
4. Learning To Die
5. All In All
6. I Been Thinkin
7. Ivory
8. How Many Horses
9. Suicide
10. Entrance

Wednesday, January 13, 2010


If you are looking for a triple gatefold album with lots of mellotron, look no further.

I didn't even know that I was until I found this. I hope you feel similarly, etc.

How much does an actual mellotron go for these days?

Ladies and gentlemen, for your listening pleasure, Spring.

Spring (Akarma)

1. The Prisoner (Eight by Ten)
2. Grail
3. Boats
4. Shipwrecked Soldier
5. Golden Fleece
6. Inside Out
7. Song To Absent Friends (The Island)
8. Gazing
9. Fool's Gold
10. Hendre Mews
11. A Word Full Of Whispers

Tuesday, January 12, 2010

Shotgun Ltd.

From the desk of Joe Gutierrez, singer of the band:

"We all grew up in the Culver City, Mar Vista area of Los Angeles. The band was originally a 5 piece surf instrumental band called The Twilighters. I joined them about 1967 when they wanted a little more singing. I would eventually be the Mick Jagger Model Front Man. The band then was renamed The Ash and we got pretty popular on the West Side in my high school years, making pretty good money on the weekends, and becoming more of a progressive rock cover band. We even managed to play at The Galaxy on the Sunset Strip where The Doors had been regulars. We also did a month at Gazzari's up the street. Things got a little serious about 1969, when the drummer suggested we start composing our own music. We had been doing a semi residency at a local Teen Club and we actually stopped playing there about a year later for about 3 months to write songs. We came back and got a positive reaction to our own music and decided to pursue 'the dream' of a recording contract. My girlfriend's father got us hooked up to Rick Jarrad who produced Jefferson Airplane to record a single on ABC Probe that went no where. Our bass player decided to leave soon after, and suggested if we were serious, to also replace the drummer. We did. We auditioned a few bass players, and then our rhythm guitarist offered to play bass. We stuck with him. One night we met a guy named Jim Loppnow who was managing another band. He eventually became our manager, and he got us, about a year later, the open door to Prophesy Records, a label started by Mickey Shapiro, future lawyer for Fleetwood Mac. Shapiro decided stronger management was needed so we got hooked up with Alan Pariser who was handling Delaney & Bonnie and Dave Mason at the time. Loppnow was still in the fold, helping out at gigs and representing us dealing with the label and such. Delaney Bramlett listened to us Showcase one night and decided to have his keyboardist Jim 'Jaime' Gordon produce our album. We recorded it at The Sound Factory (where many famous recordings were made) in Hollywood. Dave Hassinger engineered. I think we did the album in about 3 months time in 1970, but things started going sour with the label not long after. With Pariser having trouble with his artists, it took until the next year to finally release the album. By then we were already writing better (we felt) songs. We had decided to fire Loppnow due to him taking liberties without consulting us, and looking back, that was probably a bad decision on our part. Prophesy decided not to record a second album, and with no real management left, we lasted another year and that was that.

I listen to the album now, and it's not bad for young guys. I think it's as good even better than some of the similar style stuff that came later. None of us were older than 20 when it came out. At the time James Taylor and Carol King were the most popular artists and Heavy Rock was not in style. Later on in the late 70s, it would come roaring back. Who knows? Maybe we should have hung in there, but that's life."

Ladies and gentlemen, for your listening pleasure, Shotgun Ltd.

Shotgun Ltd. (Prophecy)
1. Bad Road
2. Against The Wall
3. Number Two
4. Remedy For A Hazy Day
5. I Don't Mind
6. On Top Of You
7. River Of Hope
8. Trials
9. Feelin' Bad
10. Mixed Nuts

Monday, January 11, 2010


These dudes were NOT fucking around. How could they be, with hair and beards like that? What other sort of job do these dudes look like they were suited for besides musician? Lumberjack maybe?

You can't spell progressive rock without PROGRESS.

Ladies and gentlemen, for your listening pleasure, Strongbow.

Strongbow (Southwind)

1. One Armed Bandit
2. Sister Sea
3. The Only One Around
4. Move Over Gloom
5. How Can I Be Loving You
6. Wine Eyes
7. Hazy May

Thursday, January 7, 2010

Gene Ammons

Heavy Sax.

Ladies and gentlemen, for your listening pleasure, Gene Ammons.

Heavy Sax (Gold Medal)

1. Housewarmin'
2. Jivin' Around
3. Nothing But Soul
4. Jug-N-McGhee

Wednesday, January 6, 2010

DJ Shadow/Cut Chemist

Diggers of the world, unite.

Some of us have better taste than others. You can usually tell, etc.

Ladies and gentlemen, for your listening pleasure, DJ Shadow/Cut Chemist.


1. Side A
2. Side B

Tuesday, January 5, 2010

Lord Rhaburn Combo

It occurred that those of you in less temperate climes than myself could use a trip to the tropics for a moment.

When I was in Belize, I spent as much time as possible stoned riding a beach cruiser on the sand listening to Os Mutantes.

This week finds me in Venice, spending as much time as possible stoned riding a beach cruiser on the sand listening to Lord Rhaburn Combo.

This record was released to commemorate their tour of the United States. Belikin, the locally brewed beer, sponsored the trip.

I am glad they did. This record is currently putting me in a good mood, and I hope it does you too.

Ladies and gentlemen, for your listening pleasure, Lord Rhaburn Combo.

Musical Journey U.S.A. (Self)

1. Belize By The Sea
2. Love Letters In The Sand
3. Kiss Waltz
4. Belize We Born Deh Pt 1
5. Bad Card
6. Let'd Get Married
7. Bills To Pay
8. Belize We Born Deh Pt 2

Monday, January 4, 2010

The Great Society


I am currently on the run, writing from the road. I will be in Los Angeles for a spell, plying my trade as a snake-oil salesman.

Send well wishes and positive vibes via fax, pneumatic tube or carrier pigeon, etc.

The Great Society featured a young Grace Slick, her (then) husband Jerry Slick, and his brother Darby. I prefer their version of "White Rabbit".

This is indeed one of my favorite artifacts from the San Francisco scene.

Ladies and gentlemen, for your listening pleasure, The Great Society.

Collector's Item (Columbia)

1. Sally Go 'Round The Roses
2. Didn't Think So
3. Grimly Forming
4. Somebody To Love
5. Father Bruce
6. Outlaw Blues
7. Often As I May
8. Arbitration
9. White Rabbit
10. That's How It Is
11. Darkly Smiling
12. Nature Boy
13. You Can't Cry
14. Daydream Nightmare
15. Everybody Knows
16. Born To Be Burned
17. Father