Sun City Girls - Apna desh



"SUN CITY GIRLS are not really a 'Band' but more of a factory of ideas; musical, artistic, philosophical and beyond. They are the epitome of DIY, having recorded, toured, traveled, researched, and hustled for over two decades creating an archive of music, film, writing, Art, etc., with their own financial and associate resources. Because of their fearless approach, bizarre performances, and trickster reputation, there are many legends spread about them: some TRUE, some half-true, some false, yet many of their more 'extreme resumé entries' will probably remain, for the most part, unknown. Every mystery revealed about them seems to create even more mystery. There is a strange energy surrounding them and an honesty about their presentation which separates (and isolates) them from the entertainment industry. They are THEIR OWN entertainment industry, entertaining themselves. And, as one of their song titles suggests, Sun City Girls are 'Without Compare'."

— Tom Vague (Vague Magazine)



STONE GARDEN - The World is Coming To An End



The Misunderstood-Children of the Sun: Complete Recordings 1965-1966


AllMusic Review

The Misunderstood are the stuff of legend among fans of '60s garage rock and psychedelia, and they'd probably be even more celebrated if more people heard their work. The band played music their own way, and while they were far ahead of their time, the ferocity and imagination they revealed in their recordings would have been challenging in any era. The Misunderstood's savage interpretation of rhythm & blues was strong stuff in 1965, with vocalist Rick Brown wailing with uncommon ferocity and steel guitarist Glenn Ross Campbell filling the arrangements with otherworldly sweeps and cries through his pedal steel guitar. (Campbell's work with the Misunderstood arguably represents the most confident and visionary efforts to explore the pedal steel's possibilities outside country music.) By the time they developed acid consciousness, they cut some of the most powerful music of psychedelia's year zero -- "Children of the Sun," "I Unseen," and "Find the Hidden Door" rank with the 13th Floor Elevators' debut album among the first truly classic psych tracks. The band were savvy enough to believe there would be a more receptive audience for them in England rather than their native California. They were correct, and landed a record deal in the U.K. that resulted in three singles, yet fate pulled the plug before they could achieve their full potential. The recordings they laid down during their brief golden era -- their single sides for Fontana and several demo sessions -- have been issued in various forms over the years, and Children of the Sun: The Complete Recordings 1965-1966 is a beautifully assembled two-disc set (compiled by superfan and biographer Mike Stax) that is the most comprehensive Misunderstood collection to date. Even the most conventional material here is shot through with Campbell's fiery steel workouts and Brown's impassioned vocal wailing, and their blues workouts on chestnuts like "I'm Not Talking" and "I Just Want to Make Love to You" crackle with energy. When the group began writing their own material, they became even more mesmerizing, as bassist Steve Whiting and drummer Rick Moe matured into an inventive, hard-hitting rhythm section and Campbell grew increasingly foresighted on his instrument. Many have said the Misunderstood sounded more like a British freakbeat group than an American garage-psych outfit, but that shortchanges them a bit. The truth is, they didn't sound much like anyone else at all once they truly found their sound, and more than a half-century after this music was recorded, it still sounds fresh, vital, and ahead of the times. Along with the Screamers and Sonic Rendezvous Band, the Misunderstood rank with the greatest rock bands to never cut a proper album, and while Children of the Sun: The Complete Recordings 1965-1966 doesn't take the place of the LP they never got to make, it leaves the listener with no doubt they were a strikingly talented group that anyone who cares about rock & roll past or present needs to hear.


Eugene Chadbourne & Jim McHugh - Bad Scene


DAMIEN JURADO- The Monster Who Hated Pennsylvania



SPAZA-UPRIZE! (Music from the Original Motion Picture)



Le Collectif Le Temps Des Cerises - Nous Allons Vous Conter

Atarpop 73 & Le Collectif Le Temps Des Cerises : Attention l’armée

10 December 1974. 200 conscripts exit the casern of Draguignan in order to demonstrate in the streets of the city. They make part of those clandestine soldier committees multiplying themselves all over France with a view to unite the young activists of the extreme left with the anti-militarists. This dispute is a backwash of the student manifestations in spring 1973 against the Debré law reforming the military service.

The "Collectif du Temps des Cerises" founded by François Tusques, one of the pioneers of the French free jazz, decides to support the insubordinates. Denis Levaillant, 22 years old at the time, becomes the driving force of this discographical project. It’s with another big name in jazz, Jef Gilson in his studio Palm, the group records the compositions of Levaillant, appearing under the pseudonym Serge Igor, as well as cover versions of traditional Spanish music, among others the mythic "El paso del Ebro".

The young French jazz avantgarde scene of the early 70s participates in that session which brings together musicians like Jean-Jacques Avenel, Pierre Rigaud, Jean Méreu, Antoine Cuvelier, Gérard Tamestit, Guy Oulchen, Christian Ville, Robert Lucien, Carlos Andréou et Kirjuhel. The graphic designer collective Atarpop 73 creates the sleeve of the album which was released in an edition of 3000 copies and sold during the student manifestations.

This radical report of a rebellious youth raising from the still glowing ashes of May 1968 brings to our ears a jazz as spiritual as revolutionary. Attention, disc is burning !



Karen Dalton -1971 Montreux

Omg 14 minutes of live pro-shot karen dalton film from montreux !

Bis-Quits - Yo Yo Ma


AllMusic Review



The Bis-Quits counted among their ranks some of the best-known and most-respected Nashville rock musicians. They quickly became a major draw and released their self-titled debut through John Prine's Oh Boy imprint. With the two-headed talents of guitarists/vocalists/songwriters Tommy Womack and Will Kimbrough, along with bassist Mike Grimes, the musicianship is top-notch even as the garage aesthetic lends considerable charm to the outing. Songs like the power pop of "Tommy's on His Own" and the crisp, playful demeanor of "Anal All Day" are as joyously silly as the lyrics imply. However, the insightful, clever songwriting reveals depth on other songs like the smoldering, blues-rock of "Betty Was Black (Willie Was White)," which deals with an interracial relationship. They also do a gorgeous version of Richard Thompson's heartbreaking ballad "Walking on a Wire" (included as a live version). The emphasis is mostly on creating a gloriously fun racket, though, and a listener would be hard-pressed to find a song more engaging than the deft-blend of Handel and Chuck Berry on the inspired "Yo Yo Ma." 




Hank III returns to the country music roots in this episode alongside Marty Stuart, Connie Smith, Leroy Troy, and the fabulous Superlatives. A wonderful tribute to your legendary grandfather Hank Williams. Shelton Hank Williams, known as Hank Williams III and Hank 3 (born December 12, 1972), is an American musician, singer and multi-instrumentalist, known for his alternating musical style, between country, punk rock, and heavy metal. He is the principal member of the punk metal band Assjack, the drummer of hardcore punk band Arson Anthem, and former bassist of Phil Anselmo's band Superjoint Ritual. He has released eleven studio albums, including five for Curb Records. Williams is the grandson of Hank Williams, the son of Hank Williams Jr., the nephew of Jett Williams, and the half-brother of Holly Williams.

REDSKINS - The Power is Yours ...