The Cyrkle – Neon – `69 – Columbia

•March 26, 2010 • Leave a Comment

i havent forgotten about the 60`S pop ! here is some old cyrkle for yaz – they dropped their red rubber balls & experimented a bit. fun ride – enjoy

The band was formed by guitarists and lead singers Don Dannemann and Tom Dawes (bass guitar), who met while studying at Lafayette College in Easton, Pennsylvania. The other members were Earl Pickens on keyboards and Marty Fried on drums. They were originally a “frat rock” band called The Rhondells but were later discovered and managed by Brian Epstein, who was better known as manager of The Beatles. Epstein’s partner was New York attorney Nathan Weiss, who heard the band in Atlantic City, New Jersey, on Labor Day in 1965. He became their manager and renamed them. John Lennon provided the unique spelling of their new name, which is a reference to the circular roundabout located in downtown Easton. They were produced by John Simon.
In the summer of 1966, they opened on fourteen dates for the Beatles during their U.S. tour. On August 28, they headed the opening acts performing prior to The Beatles at Dodger Stadium. The other artists who appeared were Bobby Hebb, The Ronettes, and The Remains Before touring with The Beatles, The Cyrkle had a successful engagement at the Downtown Discotheque in New York City
The Cyrkle is best known for their 1966 song “Red Rubber Ball,” which went to #2 on the Billboard Hot 100 chart. It was co-written by Paul Simon of Simon and Garfunkel and Bruce Woodley of The Seekers. It was released on the Columbia record label. The band had one more Top 20 hit, “Turn-Down Day,” later in 1966. After the release of their debut album, Red Rubber Ball, they recorded a second album, Neon, in late 1966, and a movie soundtrack, The Minx, in 1967. They followed that with various singles and then disbanded in late 1967.
Both Dawes and Danneman became professional jingle writers after The Cyrkle disbanded. Dawes later wrote the famous “plop plop fizz fizz” jingle for Alka-Seltzer. Danneman wrote jingles for Continental Airlines and Swanson Foods. He penned the original 7Up Uncola song In 1977, Dawes produced Foghat [ wiki]

Tom Dawes – (born July 25, 1944, Albany, New York – died October 13, 2007, New York, New York) – lead vocals, lead guitar, bass
Don Dannemann – (born May 9, 1944, Brooklyn, New York) – lead vocals, rhythm guitar
Marty Fried – (born Martin Fried, 1944, Wayside, New Jersey) – drums, vocals – (now[when?] a bankruptcy lawyer in Southfield, Michigan)
Earle Pickens – keyboards (first album) – a general surgeon in Gainesville, Florida)
Michael Losekamp – keyboards, vocals (second album) – an engineer for AT&T and an active musician in Columbus and Dayton, Ohio)
Jon Alexander – (born April 29, 1950), Brooklyn, New York (keyboards)

There are some excellent cuts on this album as well as a few clunkers. During that time of the 60’s many a band tried some sort of novelty and the Cyrkle was no exception. Problem Child and Weight of Your Words come to mind.
However there was some beauty. Michael Losekamp singing The Visit (She Was Here) is a great track. Maybe it should have been a release. I Wish You Could Be Here, In my opinion just never received the air time it should have. It is a beautiful song and Don Dannemans voice made a good song better.
Terry’s Theme and Camaro give the album some good balance.
Don’t Cry No Fears, No Tears Coming Your Way, might have been a top twenty song had it been released.
All in all it is a good album and a die hard Cyrkle fan would want this for their collection.

The Cyrkle – Neon – `69 – Columbia
all trax from wax – akashaman – 2010
MP3 @ 320 kbps – includes high rez cover scan

1. Don’t Cry, No Fears, No Tears Comin’ Your Way
2. The Visit
3. Weight of Your Words
4. I Wish You Could Be Here
5. It Doesn’t Matter Anymore
6. Two Rooms
7. Our Love Affair’s in Question
8. I’m Happy Just to Dance With You
9. Problem Child
10. Please Don’t Ever Leave Me
11. I’m Not Sure What I Wanna Do



Emitt Rhodes – Dunhill Records – `70

•March 26, 2010 • Leave a Comment

i have no idea why i havent posted this LP yet , probably cause i know most of you have it , ha – this is one of my FAVORITE moments in record collecting when i found this one for the first time – it blew me away & for 50 cents , ha .-  pure pop here ,  ala MR C From the B`s !  pure greatness – OH & he recorded this at home as well , played all instruments !
*** even says “recorded at home” on the dead wax ! with fancy scrolls around the lettering. very cool ~ !


Why Emmit Rhodes is not a household name is beyond me. After his 60s Byrds/Beatles experiment Merry Go Round, he spent the early 70s making do it yourself, McCartney pop.
This may sound derivative, but Rhode’s writting and craftsmenship are so above parr, whether he has transended his influences is irrelevent. The music simply sounds THAT good.
Most of his songs are short, piano driven confections. His guitar leads have tbe spare bite of George Harrison, but without large studio productions behind them, making them more even more powerful. When he plays bass-and he plays everything on his albums- his slides and fills are unusual, often leaving space and sneaking in right behind or ahead of the beat. But the playing is so natural, Rhodes makes it seem like his timing choices are the only correct options.
His writting is melodic, which lends itself to the spareness of his music. Like McCarteny, he has an instinctive feel for melody–this music works on the heart, not the head. Like looking at Chinese art, you’ll appreciate the simplicity, and then find it is not so simple.
If you are not sold, consider this: when I was a kid my best friend and I used to trade records, 100s of them. This is the only album we would have physical tug of wars over. I won–don’t worry. I have since made him a copy. [ amazon ]

Emitt Rhodes – Dunhill Records – `70
all trax from wax – akashaman – 2010
MP3 @ 320 kbps – includes high rez cover scan

1. With My Face on the Floor
2. Somebody Made for Me
3. She’s Such a Beauty
4. Long Time No See
5. Lullabye
6. Fresh as a Daisy
7. Live Till You Die
8. Promises I’ve Made
9. You Take the Dark Out of the Night
10. You Should Be Ashamed
11. Ever Find Yourself Running
12. You Must Have


Psychedelic Psoul – The Freak Scene – `67 Columbia Records

•March 25, 2010 • 5 Comments

i thought i heard someone say bring the freak back !? – ha , well – this one is pretty far out kids. this is a reissue not an original – sounds great ! some heavy bass on this one – headphones if ya got em ! – enjoy [ 134 downloads & NO COMMENTS ! whats wrong with u peeps ?! ]

This is quintessential extreme example of early experimental psy. Very obscure, so information is sparse but I’d guess it came out quite early in 67. The bass playing is original and unusual and dominates the mix in an album dominated by lyrics and bass. The vocals and vocal production (thin, nasal and processed) is the albums main weakness. Despite its faults and lack of good songs, its still somehow works and remains a fascinating and unusual micro-selling psy gem. [ mykepsych ]

Having enjoyed some success with their 1966 studio project The Deep, the following year the song writing/performing team of Mark Barkan and Rusty Evans decided to take another stab at making some money off of the public’s growing interest in psychedelia and political activism. Signed by Columbia, the duo pulled together most of the studio pros who’d worked with them on the earlier project (reportedly including guitarist David Bromberg), resulting in the release “Psychedelic Psoul”.
A lot of critics have labeled this as nothing more than a sophomore The Deep release. There are clearly similarities between the two albums, but I’ll tell you that (contrary to popular opinion) I think The Freak Scene project is the stronger of the two. Material such as ‘The Subway Ride Thru Inner Space’, ‘Butterfly Dream’ and ‘My Rainbow Life’ offered up a great mixture of over-the-top psych lyrics, stoned vocals and wild studio production effects. The biggest difference with the earlier album was that tracks such as ‘… When In the Course of Human Events (Draft Beer, Not Students)’ and ‘Behind the Mind’ added a bit of social and political commentary to the acid-drenched mix. It may be an exploito offering, but it’s first rate exploito and is actually better than 75% of the non-exploito competition. [ RDTEN1 ]

at first listen i thought this one was a sham. it sounds slapped together in a drug-fueled weekend, using sound effects and flower power poetry/messages to make it stand up as psychedelic.
one day i was in such a mood that this was the only album i felt like listening to, and so i did over and over, and that is where it happened. i realized that i really enjoy this one, despite it’s usually half-assed songwriting and slapdash feel/recording.
one thing about the sparse instrumentation is that the excellent bass playing practically carries the whole band. guitars usually stay in the background, and everything else, sans vocals & feedback/sound effects, take a back seat to the always prominent bass playing.
i can’t give this more than 3 and a half because for every great tune [“a million grains of sand”, “behind the mind”, “butterfly dream”] there are one or two throwaway tunes [“subway ride thru inner space”, “mind bender”] though the whole thing whizzes by quickly, 12 songs in a half an hour, so i’m more intrigued by the record as a whole, rather than being disappointed by a track i don’t like. i love these kind of albums.
for those who like the pop in their sike, ideas, rather than some poorly recorded garage band content to just thrash away at “hey joe”, this one may be of interest to you. [ a owens ]

Psychedelic Psoul – The Freak Scene – `67 – Columbia Records
all trax from wax – akashaman – 2010
MP3 @ 320 kbps – includes high rez cover scan

1 A Million Grains of Sand
2 “When In Course Of Human Events” (Draft Beer, Not Students) / Interpolation: We Shall Overcome
3 Rose of Smiling Faces
4 Behind the Mind
5 The Subway Ride Thru Inner Space
6 Butterfly Dream
7 My Rainbow Life
8 The Center of My Soul
9 Watered Down Soul
10 Red Roses Will Weep
11 Mind Bender
12 Grok!


Max Webster – Universal Juveniles – Mercury – `82

•March 23, 2010 • 2 Comments

well , goin a bit out of order but here is the last ! max webster LP , with rush starring on one track , battle scar. more guitar oriented than previous , some mighty licks here-in , ha

Terry Watkinson [ KEYS ] has left at this point leaving Kim to pretty much run the show. Watkinson does play on the song “Battle Scar” but it wasn’t recorded at the same time as the rest of the album. Gotta love the album cover with Mitchell on the run wearing a bright yellow body suit with white boots on. Haha. “In The World Of Giants” opens with some speed of light guitar work from Kim before the rest of the band comes in. Not a bad uptempo tune. “Check” is one of my top three songs on here. It’s a short pedal to the metal rocker. Guitar riffs to open as Kim tells his story with passion.Classic WEBSTER. “April In Toledo” has grown on me somewhat. I like the chorus and those earlier words “She’s taking a break from my face.” “Juveniles Don’t Stop” is a straight forward rock tune. “Battle Scar” doesn’t sound like it belongs for a reason.We have two bands in the studio(RUSH & MAX WEBSTER) playing this song together, so it’s much more powerful.It opens with low end guitar and bass as heavy drums come in and then Kim starts to sing. Geddy comes in vocally 1 1/2 minutes ripping it up with those high pitched screaming vocals like he did in the seventies.Check him out 4 1/2 minute in as well. Great finale to this one. A friend of mine saw MAX WEBSTER at “Maple Leaf Gardens” on New Years eve play this song, and he watched in amazement as Geddy came out on stage playing his teardrop bass, and then he started to sing to the roar of the home town faithful. “Chalkers” features some nice bass throughout. The title of the album comes from a line in this song. “Drive And Desire” opens with some nice drum work as guitar comes in grinding then vocals.Good tune. “Blue River Liquor Shine” is my other top three track along with “Battle Scar” if your keeping track at home.Drum intro as vocals and strummed guitar follows.Something uplifting about this track.I think it’s Kim’s soaring vocals actually. “What Do You Do With The Urge” features in your face vocals with lots of piano. The best parts of “Cry Out Your Life” are the guitar solos before 3 minutes and 5 minutes in. I would suggest any of their four earlier albums to this one,but RUSH fans will want to hear “Battle Scar” for sure. [sinkasotentree ]

Max Webster – Universal Juveniles – Mercury – `82
all trax from wax – akashaman – 2010
MP3 @ 320kbps – includes high rez scans

Line-up / Musicians

Kim Mitchell – guitars and vocals
Garry McGracken – drums
Dave Myles – bass
Pye Dubois – lyrics

also playing:
Geddy Lee , Neil Peart , Alex Lifeson  and Terry Watkinson on “Battle Scar”
Dave Stone – synths
Doug Riley – piano

1 – In the World of Giants
2 – Check
3 – April In Toledo
4 – Juveniles Don’t Stop
5 – Battle Scar
6 – Chalkers
7 – Drive and Desire
8 – Blue River Liquor Shine
9 – What Do You Do With the Urge
10 – Cry Out Your Life


Max Webster – Hangover [DEBUT] – Mercury Records – `76

•March 23, 2010 • 1 Comment

OK : as promised , here is the max webster debut ~ next up , “universal juveniles” with battle scar on it ! then i might do kim mitchells solo with go for a soda on it ;
these guy are pretty bizarre , so hang on – fans of prog & quirky /zanny / smart music in general will digg this. all i know is kim mitchell can play his ass off , as can rest of band [ their own asses respectively ! ]
ha — enjoy

Line-up / Musicians

Paul Kersey – drums
Mike Tilka – bass
Kim Mitchell – guitars and vocals
Terry Watkinson – keyboards and vocals

Debut album from one of the most original groups coming from Canada, and certainly a bloody stunner that stayed in the subconscious of almost every teenager from Toronto, but of all Canada as well. This writer remembers being a fan as far back as possible, buying the debut album and playing it until the vinyl became almost transparent. These guys were all very exciting on stage with their energetic music, stage antics (leader Mitchell being a very athletic young man) and their imaginative and original songwriting. They even managed to get the girls started with their glitter outfits. Webster (these guys were looking for a name like Jethro Tull – this is the only real explanation about their name) was always the thing of two songwriters even though guitarist Mitchell was much more prolific than keyboardist Watkinson, but Mitchell’s tracks were always written with Pye Dubois’ lyrics (Rush fans will remember him) and the group found a home on Anthem Records, which is also well known to us progheads.
How could any teen getting drunk and ignore the opening Hangover track (to which the weird square heads refer to on the artwork). This track, starting out on a heavily distorted and feedback guitar is a stunning start and a fitting intro into the crazy world of Max Webster. To describe their sound is rather uneasy as they could range from early Queen, have 10 CC’s best inspirational moments, with quirky songwriting The Cars would not have denied. Not very progressive you might say, but please bear with me for Webster is always changing tempo, sometimes cramming so many idea into one track that others groups would make a whole album out one of their songs. Their constant rhythm changes were quite impressive, almost (certainly IMHO) progressive but the typical chord progressions of what made classic prog bands their trade is a bit absent in their albums. Hangover is then followed by another killer track Here Among The Cats, another live favorite and also a fave of mine (since back then all young dudes were the cats). Next is a rather different-sounding (because written by KB-man Watkinson) followed a typical slow Webster track – there will be a few in the following albums, but they were quite at ease with those too, even if their forte were full-blown rock party tracks. The first wax side is ended by another stunner (and maybe the definitive pop side of Webster) with the stunning Toronto Tontos, which came some seven years before The B-52’s Rock Lobster. A stunning témoignage that these guys were also ahead of their time, this track is truly a joyful moments of musical delirium.
The second side starts with one of the obsessions from the quartet, their lunatic bizarrerie, as if they were coming of our natural satellite planet, the Moon: for the next four albums, there will always be a track making reference to it, maybe explaining how lunatically strange these guys could be. This is another highlight of the album but hardly the only one, since most of the first side of the album are classics. Only Your Nose Knows and the lengthy (almost 8 min) Lily are also excellent and typical tracks while Summer’s Up has a bit of Zappa feeling in it.
Maybe this group is not a prog icon per se, but all progheads loving intelligent rock and pop should get a load of this superb band that never got the recognition it deserved until it was dying. [ sean trane ]

more reviews here –

Max Webster – Hangover
Studio Album, released in 1976
All Trax From WAX – akashaman – 2010
MP3 @ 320 kbps includes high rez scans ; front / back / lyrix / kim !

Songs / Tracks Listing :

1 – Hangover (4:36)
2 – Here among The Cats (3:07)
3 – Blowing the Blues Away (3:33)
4 – Summer turning Blue (3:05)
5 – Toronto Tontos (3:40)
6 – Coming Off The Moon (3:38)
7 – Only Your Nose Knows (4.16)
8 – Summer’s Up (2:45)
9 – Lily (7:42)


The Box Tops – Non Stop – Bell Records – `68

•March 23, 2010 • 4 Comments

well , as most of you know , we lost alex chilton recently so i thought it befitting to lay one of thier lp`s on yaz !
this one is pretty good ! prob the hardest one to find as well. hope u guys enjoy it !  [ sorry its a little scratchy folks ! ]

The Box Tops — or more precisely Alex Chilton and producer Dan Penn — were treading water on the third album to be churned out under the group’s name in less than a year. The usual blue-eyed soul dominates the program, without anything on the order of “Cry Like a Baby” or “The Letter,” although with “I Met Her in Church,” Penn and songwriting partner Spooner Oldham were probably trying for something on that level. Sometimes the moods are a bit on the bluesy side (“Choo Choo Train,” “Rock Me Baby”), at others on a gentler and poppier one (“Rollin’ in My Sleep”). For the first time Chilton had the opportunity to write an LP track, and with “I Can Dig It,” he brought out his most gravelly voice for an average midtempo soul belter. That’s nothing compared with “Yesterday Where’s My Mind,” in which he sounds like he’s trying to out-gravel the most sandpaper-voiced white singer of the era, Tim Rose; in fact, the track bears more than a passing similarity to “Morning Dew,” one of the songs Rose interpreted on his debut album. “Sandman,” a luscious ballad by the composer of “The Letter,” Wayne Carson Thompson, is the most interesting little-known cut. Overall, though, this, like all of the Box Tops’ albums, is a middling product with its share of filler. [The 2000 reissue on Sundazed adds five bonus tracks: two of them mono single versions (of “Choo Choo Train” and “I Met Her in Church”), the others from non-LP 45s. Those non-LP items include a Randy Newman cover (“Let Me Go”) on which Chilton sounds like Paul Jones of Manfred Mann, and another of Chilton’s earliest self-penned numbers, the soul-pop ballad “Since I Been Gone..”]  — [ amg ]

The Box Tops – Non Stop – Bell Records – `68 
all trax from wax – akashaman – 2010
MP3 @ 320 kbps – includes high rez cover scan

Choo Choo Train
I’m Movin’ On
She Shot A Hole In My Soul
People Gonna Talk
I Met Her In Church
Rock Me Baby
Rollin’ In My Sleep
I Can Dig It
Yesterday Where’s My Mind
If I Had Let You In


MAX WEBSTER – High Class In Borrowed Shoes – Anthem Records – `77

•March 21, 2010 • 11 Comments

well , i think its time to bring back the ROCK after these last few mellow lp`s ! those of u that know of max are already smiling ! well , keep on smiling , the debut is up next ! – if u really wanna have a good time , know that i have all of max`s lp`s + most of kim`s solos , 😛 [ yes that includes that KILLER song with geddy lee &  KIM`S “might as well go for a soda” ! ] begging helps .:) – guitar players note that kim can play his ass off ! very underated shredder ! have fun
enjoy this one !

MAX WEBSTER – High Class In Borrowed Shoes – Anthem – ANR-1-1007
Studio Album, released in 1977
all trax from WAX – akashaman – 2010 
MP3  @ 320kbps – includes high rez cover scans + 

Songs / Tracks Listing

1 – High Class In Borrowed Shoes (4:00)
2 – Diamonds Diamonds (3:18)
3 – Gravity (4:53)
4 – Words To Words (3:34)
5 – America’s Veins (4:08)
6 – Oh War! (4:25)
7 – On The Road (3:25)
8 – Rain Child (4:22)
9 – In Context Of The Moon (5:13)

Line-up / Musicians
Mike Tilka – bass
Kim Mitchell – guitars and vocals
Terry Watkinson – keyboards and vocals 
Garry McCracken – drums

Max are best described as classic rock meets frank Zappa
and this album shows Max at there wacky best
“the title track”, “gravity”,”in context with the moon”
“america’s veins”
and the brilliant “Oh war”are classic hard rock with more changes within the song then usual (thanks to the zappa influence)
Words to words and “On the road” are a couple of fine ballads and exemplify the talents of fifth member lyricist Pye Dubois 
We also get the first taste of the fine singing voice 
Of keyboardist Terry Watkins with the moody melodic “Rainchild”
Also this is Kim Mitchell at his best certainly one of the most underated guitarists he smokes ninety percent of the householdnames Kim’s voice is underated as well as he shows versatility between ballad “Diamonds, Diamonds” compared to 
hard rocker “Oh War” – [ andy – amazon ]

[ Review of album by Martin Popoff, taken from his book ” The Collectors Guide to Heavy Metal – Volume 1: The Seventies” ]
Max Webster – High Class In Borrowed Shoes – (Anthem ’77)

The one unifying factor coursing through Max Webster’s magnificent
premiere was a rural warmth that evoked images of. I dunno. carved
cherry wood. In comparison, High Class In Borrowed Shoes, although no
heavier, evokes a sheen of polished aluminum, with its bright,
uncompromising headphone-ready drum sound, its everlite, dewdropped
piano work, and its painstakingly perfect execution. But High Class
sails the same passionate seas of wanton adventure, offering arguably
four metal or hard rock works, most panoramic, scorching and insistent
being America’s Veins and the swooping and snatching title track, the
song improbably combining boogie and pomp until circumstance breeds good
fortune. Lyricist Pye Dubois, although not an official noise-making
member of the band (in the great tradition of The Dead’s Robert Hunter),
continues to be the Max Webster’s philosophical engine and perfect,
crucial soulmate to Kim Mitchell’s fluid guitar mathematics, Pye
offering memorable yet cryptically cast aspersions on society’s ills and
man’s monologue with respect to his allotted space. And as was the case
with the debut, all points of the compass lead to the heart no matter
what the action level, the album scrubbed clean then chiming by way of
elegant Terry Watkinson keyboard work, and absolutely top-of-the-line
pride in craftsmanship on the part of the whole circus. It seems almost
a mixed symbol that the band would so plainly embrace controversy with
the gender-bending weirdness of the cover art, given that all parties
involved, including producer Terry Brown, worked so hard to make Max’s
challenges so warmly inviting and simultaneously so state-of-the-art. It
basically stands as more evidence that the complexities of both Max’s
message and its medium were beyond marketing comprehension, and
unfortunately, as history would bear out, beyond the market.