Screamer - City or Bust/ I've Got Hairs

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Arista

Year of Release: 1975

Glam rock probably produced more one-single wonders than even psychedelia managed, leaving  behind a plethora of mysterious names performing a beery rock and roll racket. Many were studio based bands produced by wannabe Mickie Most and Mike Leander figures desperate for some teenage readies - some, on the other hand, were genuine releases by hopelessly obscure circuit bands.

And here's one. All I've managed to ascertain from Internet rumour is that the band were based in East London and throughout a large chunk of the seventies had a residency at the Three Rabbits pub in Manor Park (don't go looking for it, it closed over a decade ago and is now a Boots Pharmacy - though given that the pub was apparently haunted, it would be interesting to know if anything spectral had also made itself apparent amongst the stacks of Ibuprofen). 

Screamer were essentially a crowd-pleasing covers band who occasionally wrote material of their own on the side, and this was one such attempt. It managed to achieve some light daytime radio airplay before disappearing from view, perhaps indicative of changing commercial tastes at that time. It's a shame, because "City or Bust" is very sprightly and entertaining, filled with bar-room boogie piano, deep bass backing vocals, and a sense of ceaseless frivolity. It's tricksy and incredibly catchy, and gives a strong impression of how some of the dafter, quirkier elements of glam eventually got absorbed into New Wave. 

The peculiarly titled "I've Got Hairs" on the flip is rather more adult rock, and does indeed seem to focus on the rather Alan Partridge-esque topic of adult experience and wisdom being represented via the presence of pubic hairs. This insight is interspersed with jazzy and adventurous guitar work. The mid-seventies were an odd place sometimes. 

The only member of Screamer I've managed to identify is bass player Steve Stroud, who apparently eventually married Cheryl Baker of Bucks Fizz - but I wouldn't swear even to that. They are also apparently not the same band as the "Screemer" whose "Interplanetary Twist" single I posted on here some time ago (and the two bands certainly don't sound alike).  

As ever, if any of you can fill in the blanks, you'll have a friend in me. Sorry for the pops and clicks on the record.

Label: Arista

Year of Release: 1975

Glam rock probably produced more one-single wonders than even psychedelia managed, leaving  behind a plethora of mysterious names performing a beery rock and roll racket. Many were studio based bands produced by wannabe Mickie Most and Mike Leander figures desperate for some teenage readies - some, on the other hand, were genuine releases by hopelessly obscure circuit bands.

And here's one. All I've managed to ascertain from Internet rumour is that the band were based in East London and throughout a large chunk of the seventies had a residency at the Three Rabbits pub in Manor Park (don't go looking for it, it closed over a decade ago and is now a Boots Pharmacy - though given that the pub was apparently haunted, it would be interesting to know if anything spectral had also made itself apparent amongst the stacks of Ibuprofen). 

Screamer were essentially a crowd-pleasing covers band who occasionally wrote material of their own on the side, and this was one such attempt. It managed to achieve some light daytime radio airplay before disappearing from view, perhaps indicative of changing commercial tastes at that time. It's a shame, because "City or Bust" is very sprightly and entertaining, filled with bar-room boogie piano, deep bass backing vocals, and a sense of ceaseless frivolity. It's tricksy and incredibly catchy, and gives a strong impression of how some of the dafter, quirkier elements of glam eventually got absorbed into New Wave. 

The peculiarly titled "I've Got Hairs" on the flip is rather more adult rock, and does indeed seem to focus on the rather Alan Partridge-esque topic of adult experience and wisdom being represented via the presence of pubic hairs. This insight is interspersed with jazzy and adventurous guitar work. The mid-seventies were an odd place sometimes. 

The only member of Screamer I've managed to identify is bass player Steve Stroud, who apparently eventually married Cheryl Baker of Bucks Fizz - but I wouldn't swear even to that. They are also apparently not the same band as the "Screemer" whose "Interplanetary Twist" single I posted on here some time ago (and the two bands certainly don't sound alike).  

As ever, if any of you can fill in the blanks, you'll have a friend in me. Sorry for the pops and clicks on the record.

Reupload - The Motions - Take The Fast Train/ Hamburg City

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Decca
Year of Release: 1968

The mod movement is regarded by most listeners and pop pickers as being an inherently British phenomenon, and whilst overseas mod acts most certainly did exist, it's curious to see how they presented themselves. The Motions, for example, posed beneath Big Ben for the sleeve of one of their earlier singles "Everything (That's Mine)", complementing the clanging Who-ness of the disc with distinctly familiar Anglo orientated imagery. That they hailed from The Hague in The Netherlands and were at that point produced by Americans Scott Walker and John Walker apparently presented no issues to them.

Despite (or perhaps because of) their rather un-Dutch image, The Motions were a force to be reckoned with in their native land, issuing dozens of singles and containing plenty of national musical legends in their line-up. Singer Rudy Bennett had a successful solo career after The Motions called it a day in 1971, drummer Sieb Warner became sticksman for Golden Earring, and perhaps most notably Robbie Van Leeuwen became one of the founding members of the ridiculously under-rated (in Britain, at least) Shocking Blue.

"Take The Fast Train" perhaps isn't their best single, but its raw, bluesy riff cuts through the sweet vocal harmonies in such a contradictory fashion that it's a compelling listen. The influence on Shocking Blue in particular can clearly be heard here - this is basically late sixties hard rock with a slightly sugary edge. Flip side "Hamburg City" is a lot less jagged (and therefore less interesting) being an almost Manfred Mann styled tribute to the German city.

The Motions are pretty much the Godfathers of the Nederbeat movement, and can even be found on the "Nuggets II" box set issued by Rhino. That they didn't do much business outside of their home country is unfortunate, but in the case of Britain they barely tried (notching up only a few gigs to their name there, despite Scott Walker's encouragement). Some members would, however, get their shot at international fame in other bands, and the Motions must therefore be considered one of the better schools of Rock in Holland, as well as releasing some furiously good singles.

(This blog entry was originally uploaded in November 2011)

Label: Decca
Year of Release: 1968

The mod movement is regarded by most listeners and pop pickers as being an inherently British phenomenon, and whilst overseas mod acts most certainly did exist, it's curious to see how they presented themselves. The Motions, for example, posed beneath Big Ben for the sleeve of one of their earlier singles "Everything (That's Mine)", complementing the clanging Who-ness of the disc with distinctly familiar Anglo orientated imagery. That they hailed from The Hague in The Netherlands and were at that point produced by Americans Scott Walker and John Walker apparently presented no issues to them.

Despite (or perhaps because of) their rather un-Dutch image, The Motions were a force to be reckoned with in their native land, issuing dozens of singles and containing plenty of national musical legends in their line-up. Singer Rudy Bennett had a successful solo career after The Motions called it a day in 1971, drummer Sieb Warner became sticksman for Golden Earring, and perhaps most notably Robbie Van Leeuwen became one of the founding members of the ridiculously under-rated (in Britain, at least) Shocking Blue.

"Take The Fast Train" perhaps isn't their best single, but its raw, bluesy riff cuts through the sweet vocal harmonies in such a contradictory fashion that it's a compelling listen. The influence on Shocking Blue in particular can clearly be heard here - this is basically late sixties hard rock with a slightly sugary edge. Flip side "Hamburg City" is a lot less jagged (and therefore less interesting) being an almost Manfred Mann styled tribute to the German city.

The Motions are pretty much the Godfathers of the Nederbeat movement, and can even be found on the "Nuggets II" box set issued by Rhino. That they didn't do much business outside of their home country is unfortunate, but in the case of Britain they barely tried (notching up only a few gigs to their name there, despite Scott Walker's encouragement). Some members would, however, get their shot at international fame in other bands, and the Motions must therefore be considered one of the better schools of Rock in Holland, as well as releasing some furiously good singles.

(This blog entry was originally uploaded in November 2011)

Dogfeet - Sad Story/ On The Road

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Reflection

Year of Release: 1970

Consisting of lead singer Alan Pearse, guitarist Trevor Povey, bass player Dave Nichols and drummer Derek Perry, Dogfeet were one of the very many blues rock bands the UK music scene boasted in the early seventies. Indeed, it's difficult to thumb through a seventies copy of NME and Melody Maker and not see gig adverts for a veritable plethora of obscure pub blues boys howling into their pints of mild.

Unlike the Zeppelin copyists who cluttered up the scene, Dogfeet were rather more moody and subtle, though, as this, their solitary single, demonstrates. "Sad Story" is a contemplative and gentle six minute stroll through one woman's adultery, backed up with a clean, sorrowful and straightforward production. There's no hollering, distortion or sweat here, and if the feel recalls anything at all, it's possibly Pink Floyd's more straightforward moments on "More". It's so laid-back and natural that as a listener, you feel you're intruding on a private jam between four men having a private low. This is "blues" as a smoky bar-room (or possibly marijuana fogged bedroom) experience, not a big, bold Finsbury Park Rainbow outing.

The B-side "On The Road" picks up the tempo a little, but is available elsewhere so I've included only a short excerpt.

After one eponymous and very unsuccessful album the band disappeared, but they've found their records in high demand in collector's circles ever since. I've no idea what became of the individual members afterwards.

Label: Reflection

Year of Release: 1970

Consisting of lead singer Alan Pearse, guitarist Trevor Povey, bass player Dave Nichols and drummer Derek Perry, Dogfeet were one of the very many blues rock bands the UK music scene boasted in the early seventies. Indeed, it's difficult to thumb through a seventies copy of NME and Melody Maker and not see gig adverts for a veritable plethora of obscure pub blues boys howling into their pints of mild.

Unlike the Zeppelin copyists who cluttered up the scene, Dogfeet were rather more moody and subtle, though, as this, their solitary single, demonstrates. "Sad Story" is a contemplative and gentle six minute stroll through one woman's adultery, backed up with a clean, sorrowful and straightforward production. There's no hollering, distortion or sweat here, and if the feel recalls anything at all, it's possibly Pink Floyd's more straightforward moments on "More". It's so laid-back and natural that as a listener, you feel you're intruding on a private jam between four men having a private low. This is "blues" as a smoky bar-room (or possibly marijuana fogged bedroom) experience, not a big, bold Finsbury Park Rainbow outing.

The B-side "On The Road" picks up the tempo a little, but is available elsewhere so I've included only a short excerpt.

After one eponymous and very unsuccessful album the band disappeared, but they've found their records in high demand in collector's circles ever since. I've no idea what became of the individual members afterwards.

The Chasers - The Ways Of A Man/ Summergirl

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Philips

Year of Release: 1967

Romford's The Chasers grafted their way around the British gig circuit in the sixties. Consisting of Roger Pincott on vocals, Len Tuckey on guitar, Jack Chambers on bass and Lenny Butcher on drums, they were formed in 1960, beginning by performing straight-ahead beat pop before hardening their sound to an R&B approach in 1963. This gave them many more opportunities to break out of the local Romford area and perform in clubs nationally, achieving notable support slots with other R&B acts of the day such as the Downliners Sect.

While apparently being a strong live proposition, they failed to break through with any of their three releases across three different record labels during that period. "Hey Little Girl", issued by Decca in 1965, and "Inspiration", issued by Parlophone in 1966, were largely ignored by the public and poorly promoted by both institutions.

Top songwriter (and recording star in his own right) Chris Andrews was friends with the band, and produced all their work. By 1967 Pincott had jumped ship and the band replaced him with Bobby Rio, and there might have been a sense that if they couldn't strike it lucky with a third single, the goose could be cooked. It would certainly explain why Andrews chose that moment to step in and give them an original and powerful composition of his own to work with.

"The Ways Of A Man" is much poppier than the previous singles and lacks a brittle R&B edge, instead sounding very identifiably like a melancholy Andrews track. The delicate nature of the song makes for a compelling listen, but the style doesn't quite suit the band who sound noticeably hemmed in, and as a pop ballad it's crying out for Sandie Shaw's mournful tones to raise it to another level. Unsurprisingly, it followed their other far stronger singles into the dumper, and remains one of Andrews' less frequently heard and undeservedly unappreciated tunes as a result.

Rio also abandoned The Chasers after the failure of this single, and the group limped on as a trio for a few months before giving up when Tuckey joined The Riot Squad.

Excuse the pops and clicks on both sides of this single - it's not a perfect copy, I'm afraid.

Label: Philips

Year of Release: 1967

Romford's The Chasers grafted their way around the British gig circuit in the sixties. Consisting of Roger Pincott on vocals, Len Tuckey on guitar, Jack Chambers on bass and Lenny Butcher on drums, they were formed in 1960, beginning by performing straight-ahead beat pop before hardening their sound to an R&B approach in 1963. This gave them many more opportunities to break out of the local Romford area and perform in clubs nationally, achieving notable support slots with other R&B acts of the day such as the Downliners Sect.

While apparently being a strong live proposition, they failed to break through with any of their three releases across three different record labels during that period. "Hey Little Girl", issued by Decca in 1965, and "Inspiration", issued by Parlophone in 1966, were largely ignored by the public and poorly promoted by both institutions.

Top songwriter (and recording star in his own right) Chris Andrews was friends with the band, and produced all their work. By 1967 Pincott had jumped ship and the band replaced him with Bobby Rio, and there might have been a sense that if they couldn't strike it lucky with a third single, the goose could be cooked. It would certainly explain why Andrews chose that moment to step in and give them an original and powerful composition of his own to work with.

"The Ways Of A Man" is much poppier than the previous singles and lacks a brittle R&B edge, instead sounding very identifiably like a melancholy Andrews track. The delicate nature of the song makes for a compelling listen, but the style doesn't quite suit the band who sound noticeably hemmed in, and as a pop ballad it's crying out for Sandie Shaw's mournful tones to raise it to another level. Unsurprisingly, it followed their other far stronger singles into the dumper, and remains one of Andrews' less frequently heard and undeservedly unappreciated tunes as a result.

Rio also abandoned The Chasers after the failure of this single, and the group limped on as a trio for a few months before giving up when Tuckey joined The Riot Squad.

Excuse the pops and clicks on both sides of this single - it's not a perfect copy, I'm afraid.

The London Boys - Eyes of Kazan/ All My Life

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: BASF
Year of Release: 1971

There are, to the best of my knowledge, two bands with the "London Boys" moniker. One seemed to be a project of the jobbing songwriter (and Flowerpot Men member) John Carter. The other was an eighties Eurodisco act with flashy dance moves who somehow ended up doing backing vocals to charged political pop on Microdisney records (apparently angrily suggesting to Cathal Coughlan that he was sick in the head before they sang backing vocals to lines such as "There's nothing wrong with the young would-be rich/ that a headful of lead would not cure"). It shouldn't be too tricky to work out which one this is.

"Eyes of Kazan" is an odd release for two reasons. Firstly, it's a slice of psychedelic pop which was issued in 1971, long after most record buyers had shown any signs of caring about this kind of thing. It was also released in Germany only, failing to reach the shops in any other European markets (including the UK). I can only speculate as to why this was - it's possible that it was an old John Carter composition which had been gathering dust which BASF were persuaded to issue, but the (slightly cack-handed) stereo mix suggests to me that it's more likely to be a seventies recording.

It's actually pretty good as well. There's a copped Beach Boys bass riff (from "You're So Good To Me") and a thumping, stoned McCartneyesque feel to the whole thing, and while it lacks the necessary hooks to truly sound like a hit, it's neatly persuasive and proof positive that when digging the record racks for psychedelic pop, one needn't stop at 1969. There are other gems to be found beyond that end-date.

Label: BASF
Year of Release: 1971

There are, to the best of my knowledge, two bands with the "London Boys" moniker. One seemed to be a project of the jobbing songwriter (and Flowerpot Men member) John Carter. The other was an eighties Eurodisco act with flashy dance moves who somehow ended up doing backing vocals to charged political pop on Microdisney records (apparently angrily suggesting to Cathal Coughlan that he was sick in the head before they sang backing vocals to lines such as "There's nothing wrong with the young would-be rich/ that a headful of lead would not cure"). It shouldn't be too tricky to work out which one this is.

"Eyes of Kazan" is an odd release for two reasons. Firstly, it's a slice of psychedelic pop which was issued in 1971, long after most record buyers had shown any signs of caring about this kind of thing. It was also released in Germany only, failing to reach the shops in any other European markets (including the UK). I can only speculate as to why this was - it's possible that it was an old John Carter composition which had been gathering dust which BASF were persuaded to issue, but the (slightly cack-handed) stereo mix suggests to me that it's more likely to be a seventies recording.

It's actually pretty good as well. There's a copped Beach Boys bass riff (from "You're So Good To Me") and a thumping, stoned McCartneyesque feel to the whole thing, and while it lacks the necessary hooks to truly sound like a hit, it's neatly persuasive and proof positive that when digging the record racks for psychedelic pop, one needn't stop at 1969. There are other gems to be found beyond that end-date.

Ignatius Jones - Like A Ghost/ Seductive Ways

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Ensign
Year of Release: 1982

Australian actor, contortionist, journalist and singer Ignatius Jones is an odd sort. He's most famed in his home country for being the lead vocalist in "shocking" new wave band Jimmy and the Boys, whose act apparently included S&M and mock rape. Footage of their shows sounds ripe for inclusion in one of those "It Was Alright In The 70s" clip shows, by the sounds of it, except none seems to be available. However, YouTube allows us to watch them covering The Kinks in a peculiar fashion and see TV footage of their Tim Finn penned top ten hit "They Won't Let My Girlfriend Talk To Me", and with that we should presumably be content.

Once Jimmy and the Boys split, Ignatius set about trying to establish a solo career for himself. The results were not as successful. "Like A Ghost" was the first release, and is actually rather good, awash with an eerie, empty synth-pop simplicity as a complete antidote to the absurd theatrics of his previous band. Apparently a minor hit in the gay clubs on the American West Coast, it was obviously deemed notable enough to be granted a UK single release, unlike anything Jones did before or since… but for all the record label enthusiasm, it wasn't a sizeable seller on either side of the planet.

After the follow-up single "Whispering Your Name" failed to gain any traction, Jones formed the briefly lived Arms and Legs before then joining the swing-jazz band Pardon Me Boys.

He arguably found bigger success outside the fields of acting, music or journalism when he became an Events Director and was given the role of Creative Director for the 2000 Sydney Olympic opening and closing ceremonies. It's a far cry from being a member of the most shocking New Wave band in Australia, viewers.

Label: Ensign
Year of Release: 1982

Australian actor, contortionist, journalist and singer Ignatius Jones is an odd sort. He's most famed in his home country for being the lead vocalist in "shocking" new wave band Jimmy and the Boys, whose act apparently included S&M and mock rape. Footage of their shows sounds ripe for inclusion in one of those "It Was Alright In The 70s" clip shows, by the sounds of it, except none seems to be available. However, YouTube allows us to watch them covering The Kinks in a peculiar fashion and see TV footage of their Tim Finn penned top ten hit "They Won't Let My Girlfriend Talk To Me", and with that we should presumably be content.

Once Jimmy and the Boys split, Ignatius set about trying to establish a solo career for himself. The results were not as successful. "Like A Ghost" was the first release, and is actually rather good, awash with an eerie, empty synth-pop simplicity as a complete antidote to the absurd theatrics of his previous band. Apparently a minor hit in the gay clubs on the American West Coast, it was obviously deemed notable enough to be granted a UK single release, unlike anything Jones did before or since… but for all the record label enthusiasm, it wasn't a sizeable seller on either side of the planet.

After the follow-up single "Whispering Your Name" failed to gain any traction, Jones formed the briefly lived Arms and Legs before then joining the swing-jazz band Pardon Me Boys.

He arguably found bigger success outside the fields of acting, music or journalism when he became an Events Director and was given the role of Creative Director for the 2000 Sydney Olympic opening and closing ceremonies. It's a far cry from being a member of the most shocking New Wave band in Australia, viewers.

Hackensack - Moving On/ River Boat

- Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About , Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .

Label: Island

Year of Release: 1972

In the late sixties and early seventies, music began to be appraised by certain selective punters not just by how melodic or innovative it was, but how loud and heavy, especially in the live environment. Bands began to obtain huge amplifiers and stacks affordably, and thus acts such as Blue Cheer described themselves as being capable of turning the air to cheese with their sheer racket. Presumably nobody asked for a refund when the venue around them didn't transform miraculously into rich Brie.

Hackensack were renowned for being one of Britain's heaviest blues rock bands in the early seventies, and became quite a draw on the live circuit, chalking up 270 gigs - but naturally, their high voltage and volume attacks failed to cross over into record shop sales. 1974's Polydor released album "Up The Hard Way" was cultishly successful, but not enough to convince anyone that they had a reasonable commercial proposition on their hands, though it has since become a highly collectible item. Thus Hackensack were kicked back on to the small venue circuit before giving it all up, an unissued live album apparently languishing in the Pye vaults.

This is their solitary single, and consists of two quite different halves. The A-side "Moving On" chugs along and swings merrily, and actually has an almost glam rock chorus which sounds like it might have been borrowed from Iron Virgin or one of the many flop tinseltowners of the day. It's perfectly good, but it's the B-side that really shows what Hackensack were capable of. "River Boat" is an absolute dumb-ass assault, riddled with a primal, almost garage rock riff which needles away throughout. Vocals scream, cymbals crash, and the whole thing is a fine example of how the 60s punk tradition naturally morphed into Serious Rock in the early seventies. So downright distorted and compressed is the track that I had to have three goes of ripping it from vinyl before getting the right volume control - it sends all the needles flying into the red even at low recording volumes. I still can't decide if I over or under did it.

Lead singer Nicky Moore went on to be a key player in the New Wave of British Heavy Metal with Samson, guitarist Ray Majors went on to join British Lions before eventually hooking up with Mott The Hoople, and drummer Simon Fox joined Be Bop Deluxe. The whereabouts of bassist Stu Mills is less clear.

Label: Island

Year of Release: 1972

In the late sixties and early seventies, music began to be appraised by certain selective punters not just by how melodic or innovative it was, but how loud and heavy, especially in the live environment. Bands began to obtain huge amplifiers and stacks affordably, and thus acts such as Blue Cheer described themselves as being capable of turning the air to cheese with their sheer racket. Presumably nobody asked for a refund when the venue around them didn't transform miraculously into rich Brie.

Hackensack were renowned for being one of Britain's heaviest blues rock bands in the early seventies, and became quite a draw on the live circuit, chalking up 270 gigs - but naturally, their high voltage and volume attacks failed to cross over into record shop sales. 1974's Polydor released album "Up The Hard Way" was cultishly successful, but not enough to convince anyone that they had a reasonable commercial proposition on their hands, though it has since become a highly collectible item. Thus Hackensack were kicked back on to the small venue circuit before giving it all up, an unissued live album apparently languishing in the Pye vaults.

This is their solitary single, and consists of two quite different halves. The A-side "Moving On" chugs along and swings merrily, and actually has an almost glam rock chorus which sounds like it might have been borrowed from Iron Virgin or one of the many flop tinseltowners of the day. It's perfectly good, but it's the B-side that really shows what Hackensack were capable of. "River Boat" is an absolute dumb-ass assault, riddled with a primal, almost garage rock riff which needles away throughout. Vocals scream, cymbals crash, and the whole thing is a fine example of how the 60s punk tradition naturally morphed into Serious Rock in the early seventies. So downright distorted and compressed is the track that I had to have three goes of ripping it from vinyl before getting the right volume control - it sends all the needles flying into the red even at low recording volumes. I still can't decide if I over or under did it.

Lead singer Nicky Moore went on to be a key player in the New Wave of British Heavy Metal with Samson, guitarist Ray Majors went on to join British Lions before eventually hooking up with Mott The Hoople, and drummer Simon Fox joined Be Bop Deluxe. The whereabouts of bassist Stu Mills is less clear.