Monday, December 31, 2012


Hi folks,
it's the last few hours of 2012 as i type this, another year gone in the blink of an eye.
Here's to all of you who stop by this place, here's to more of the same in 2013.
Up first tonight, many thanks to Anders for hooking me up with a copy of this rare item.
The compilation LP "Bonehead Crunchers Vol. 1" was released early in 2012 on the obscure Belter Records label.
It was a vinyl only release, limited to just 300 numbered copies.
So what do you get for your bucks if you can find a copy?
14 tracks by 14 obscure US bands recorded between 1969 & 1977, released, for the most part, only on rare 7 inchers in very limited quantities.
Musically this is Heavy Psych, Heavy Rock & Proto-Metal, the more unrefined and pounding the better.
Or in the parlance of the Belter Records press release, you can file them all under the catch-all phrase, "Bonehead".
Here's how they put it:
"Welcome to Volume 1 of the primitive but essential world of Bonehead.
14 Fuzz-drenched '70s bone crunchers from the USA at the cusp of Garage, Hard Rock and Proto-Metal.
Loud, unrepentant  and reeking of attitude; these artifacts of cool were uncovered from 45's pressed in minute quantities between 1969 and 1977.
These cuts forge a direct link between Pebbles/Nuggets Garage to the blow out of '76 Punk, circumventing Progressive Rock and Singer/Songwriter putridness.
These slices of pure high energy will blow the top of your head off, ingrain themselves into the remnants of your brain by way of a high octane lobotomy leaving you a blubbering mess insanely smirking at today's musical endeavours."
Hyperbole aside, this is a damned fine comp of sounds from the early years at the Heavy end of the musical spectrum.
Whilst not all the acts are quite as obscure as the press release would have it, (HEAVY CRUISER, LEFT END & TIN HOUSE all released at least one LP each on major labels), the music is every bit as relentless as you'd hope.
The choice of songs is spot on however, it's wall to wall big, dumb, fun, all as fuzzy & Heavy as those vintage tube amps could support.
In fact the compilers have gazumped me on quite a few items i was going to post here, and cherry picked the best sides to boot.
Still i'm not one to bear grudges, especially when the perpetrators have such awesome musical taste.
So, jump in this rickety old sonic time machine called "Bonehead Crunchers", and enjoy the ride.
Incidentally, Volume 2 dropped a couple of months ago, under the title "Bonehead Crushers".
Same label, same limited quantity. If anyone has a rip of it, i'd be much obliged.
Let it all hang out, maaaan.

Various : BONEHEAD CRUNCHERS Vol. 1 (1969-1977) USA

Next, Pauline Gillan, the younger sister of DEEP PURPLE & GILLAN frontman Ian Gillan, formed the GILLAN/DEAN project with former JERUSALEM and PUSSY singer/bassist Paul Dean in 1983.Signing to Thunderbolt Records, the duo recorded the "Rocks On!" album in a variety of studios including Ian Gillan's own Kingsway Studios, Bath and London, with additional sessions taking place in Mallorca.
Recording musicians included KARRIER guitarist Ian 'Wes' Hall, bassist Tony White, keyboard player Paul Hale, drummers Clive Deamer and Kim Brodie plus GILLAN musicians John "Gus" Gustafson and Colin Towns.
A live band intended to support the album with gigging featured Dean, Gillan, bassist Robbie Vincent and ex-AVENUE drummer Keeth Naylor.
An odd album, "Rocks On!" whilst well played and sung, seems to suffer from a bit of an identity crisis, with many of the more straight forward Hard Rock songs buried beneath an '80's production sheen more suited to New Wave.
The variety of musicians employed also doesn't help the fledgling act, as they struggle to nail down their sound.
There are also an over abundance of cover versions, which sometimes work well, ("Sunshine Of Your Love", has a clever arrangement featuring some very very nifty slide guitar), and other times fall flat, ("Light My Fire" is a gloomy synth-heavy dirge).
There's also a cheeky romp through Purple's "Black Night", which whilst fun, hardly helped Pauline's chances of stepping out from beneath her older brother's long shadow.
The reviewers of the time seemed similarly mystified by the LP, and this combined with Thunderbolt Records poor distribution and promotion to scupper the fledgling act who folded soon after the record's release.
So whilst an interesting listen, this is probably only for Deep Purple & Gillan completists who absolutely have to hear everything connected to those bands, however tenuous the associations.
Paul Dean gave up being a jobbing musician after GILLAN/DEAN, but kept himself involved in music in a production capacity.
In addition to his production duties, he went on to become a professional golfer for a time, and then a golf coach.
The albums he recorded in the early '70's with Jerusalem & Pussy, (both produced by Ian Gillan), have recently been remastered and re-released by Rockadrome Records.
Now living in Asia, Dean is not a part of the newly reconvened version of Jerusalem who recorded 2009's "Escalator" album.
After the Gillan/Dean project bit the dust, Pauline Gillan subsequently created PAULINE GILLAN'S NORTHERN DANCER, with ex-AVENUE guitarist Dave Bell, ex AXIS guitarist Dave Little, ex-GLACIER bassist Chris Wing and former AVENUE drummer Keeth Naylor.
The band debuted with the "One More Time" EP on the Stoke based indie label Bullet Record before the years end.
This group eventually became the PAULINE GILLAN BAND, signing to the Powerstation label for the release of a full blown album, "Hearts Of Fire", in 1985.
After long months spent touring the record in the UK & Europe where they built up a reputation as a fine live act, the band finally took time off to write the follow up album.
The new material was much darker than the debut and far harder hitting.
The record company, who had been pushing for a softer pop-rock sound, (and less clothing for Pauline), were anything but pleased.
Following a set of even heavier, far darker demos recorded at Fairview Studios with producer John Spence, Powerstation finally dropped the band.
By 1990 Pauline Gillan decided that she'd had enough and exited the group.
The remaining band members persevered as a unit, working with MEAT LOAF vocalist Lorraine Crosby as their new vocalist.
Crosby then departed to join her boyfriend's band EMERSON and was replaced by Jackie Fox.
This line-up recorded an album, but were forced to scrap it because Fox was unwilling to commit to long term touring, and was thus shown the door.
The vocal tracks were then re-recorded by new member Gail Hunter, but the LP still didn't see release as the group eventually fell apart.
Dave Little returned to his native North East but did not pursue music again for many years.
He finally returned to the scene recently with LIES OF SMILES, an excellent new project also featuring his former Pauline Gillan Band band-mate, Keeth Naylor on drums.

GILLAN/DEAN - Rocks On! (1984) UK

CIRITH UNGOL began with Greg Lindstrom, Robert Garven, Jerry Fogle and Pat Galligan, (who later played guitar for ANGRY SAMOANS), playing in their first band TITANIC whilst still in high school.With a desire to play heavier music, the band parted with Galligan and relaunched themselves in 1972 with Neal Beattie on vocals, as Cirith Ungol.
The name came from a place in J.R.R. Tolkein's fantasy novel "Lord Of The Rings", a book the band would return to for lyrical inspiration.
Robert Garven recalls, "In retrospect I wish we had picked something easier to remember because a lot of our trouble has been over our name.
People couldn't pronounce it or remember it, we've been called "Sarah's Uncle" and "Serious Uncool".
It was not until 1980 that they released their first album "Frost And Fire", the band by now featuring the distinctive Tim Baker on vocals.
Musically, their first album was a cross between 1970's Hard Rock and Heavy Metal, with songs written by bassist Greg Lindstrom and drummer Robert Garven.
From 2nd album "King Of The Dead", they played a more Progressive style of Doom infused Heavy Metal with songs primarily written by vocalist Tim Baker.
Album number three, "One Foot In Hell" was issued in 1986, and saw the band play shows in support of the record with bands as diverse as ARMORED SAINT and RATT.
Following their fourth album, the patchy "Paradise Lost", Cirith Ungol split up, due in part to frustrations with their new label Enigma Records and members personal and inter-personal problems.
Founding guitarist Jerry Fogle sadly died from liver failure on August 20, 1998.
Despite their obscurity for most of their time together as a band, Cirith Ungol's reputation has grown immensely in the time since.
The now enjoy a greater degree of respect and influence than they ever did whilst they were active, thanks in part to the internet.
In 2001 a new Cirith Ungol album, the 2-CD "Servants Of Chaos", was released.
The album which contained old previously unreleased demos and songs, was issued by Metal Blade Records.
The album was supported by both Lindstrom and Garven, but not by Tim Baker.
In 2005 a tribute album, "One Foot In Fire" was released by Solemnity Music featuring a host of international bands performing Cirith Ungol cover versions.
Some of the songs were originally recorded for other projects, sometimes years earlier, whilst others were created specifically for the album.
The booklet for the CD contained linernotes written by Cirith Ungol co-founder Robert Garven.
Garven was very impressed by the finished tribute album, saying, "I was blown away by the covers that just came out on the Cirith Ungol tribute album.
I think some of their versions of our songs are better than our originals!"
Greg Lindstrom now plays with a new band called FALCON, who have released two albums to date.
Baker and Garven no longer play music.

VARIOUS ARTISTS - One Foot In Fire : A Tribute To Cirith Ungol (2005) Various

ASHHOLLOW were an unusual quintet formed in Oklahoma in the early 1970's, who mixed Hard Rock grit and Psychedelic melody with a rural Southern Rock feel.Their lone release appears to have been a six song self-titled (bootleg?) CD issued retrospectively by Limited Records in a limited edition of 1000 copies.
According to the scant info in the booklet, the tracks were recorded in 1973 and originally only pressed as an acetate.
At times their music brings to mind early EPITAPH or Muscle Shoals period LYNYRD SKYNYRD with a little WISHBONE ASH mixed in for good measure.
Fellow Okies ASHBURY also come to mind during the quieter passages in their songs, especially in the second track, "Cat's Eye".
The tight and complex jazz-flecked drumming combines beautifully with the taut basswork and subtly psychedelic guitar melodies throughout to give the band's a distinctive sound, that becomes more compulsive with each successive play.
Don't expect wigged out guitar-heavy abandon, this is carefully constructed and artfully melodic stuff, but it does rock, albeit in a slightly woozy late night fashion.
The band appear to have fizzled out by the mid to late '70's, a real pity as they plainly had serious musical chops and songwriting suss aplenty.
Who knows how far they could have gone with the right breaks, a sympathetic producer and a supportive record label.
Gary Bruce returned to playing drums with a new band called ZAZOO in the late '70's.
Zazoo had a song, "Glorify It On The Screen", included on the Various Artists compilation LP, "Oklahoma City Live Vol. 1", released by Backstage Music/Producers Workshop in 1980, but appear not to have released any further music.
Bruce also played on some solo recordings by Bill Kirtley, his former Ashhollow bandmate, in the early '80's.
If you're open-minded in your love of obscure old-school vintage rock music, give Ashhollow a listen.
They're a treat for the ears.
Intriguingly, whilst researching this blurb i found another band called Ashhollow, also from Oklahoma.
Only this 3 piece were formed in 2004 and play grungy Garage Rock, but they have at least one thing in common with their predecessor, a member with the surname Kirtley.
I wonder if this Kirtley is following in the footsteps of his father or uncle, right down to the band name?

ASHHOLLOW - Ashhollow (1973) USA

HAMMER WITCH was a US Heavy Metal band founded in New Orleans, Louisiana, in 1985, by Bassist Wayne Abney, Guitarist & Vocalist Frankie Dee, Guitarist George David and Drummer Terry Sims.With enough songs for a complete set of their own music, the band toured the New Orleans area club circuit and occasionally opened for national acts too.
After recording their first demo, (the six song "Demo '86"), the realization set in that the band needed to explore new territories and expand its horizons because their material was proving to be too Heavy for local audiences.
Frankie Dee's former band mate from TRASHED, Bo Topousis had since moved to Ft. Worth, Texas and formed the band IRUN consisting of displaced Louisiana musicians seeking a more liberal metal environment.
Upon seeing the scene, Bo urged his friends in Hammer Witch to "come to the promised land", which they did in late 1986.
When George unexpectedly left Hammer Witch, Bo stepped in as guitarist and brought Irun’s drummer Sal Torneo in to replace Terry.
Topousis left the group in February of ’88 thus beginning the 3 piece format of the band, consisting of Wayne Abney, Frankie Dee, and Sal Torneo.
The band then booked time at Inside Tracks Studios in Denton, Texas with producer Randy Williams, and laid down the tracks which would become their debut on vinyl.
In 1987 the band released the six song Mini LP, "Return To Salem", which perfectly showed off the band's PRIEST, WARLORD & METAL CHURCH influenced sound.
Only 1000 copies of the Mini LP were pressed (on DTA Records), and it was only ever on plain black vinyl, beware the picture disc bootleg!
Buoyed by positive reviews of the record and some airplay too, the band kept up a punishing live schedule over the next few years, until personal differences resulted in the exit of Frankie Dee in late 1989.
Wayne took over vocals and Darrin Kobetich was brought on board as guitar player.
In 1991, they released the cassette only "Legacy Of Pain" album, which saw Hammer Witch go in a totally different direction from the first release.
This heavier more aggressive Groove/Thrash Metal style divided opinion amongst fans, and the badly distributed cassette sold poorly.
Scott Shelby, lead guitar player from GAMMACIDE joined the line up in 1993 and helped fill out the live sound during the last year of the band’s existence.
During this year the band released a final demo, "Carve Your Own Doom", which consisted solely of the title track song.
1994 saw Hammer Witch split.
Darrin and Sal immediately went on to form A MILLION POUNDS with Darrin's brother Adam on vox, guitar and banjo and bassist Chance Lehman.
After 10 years and two recordings this band also called it quits.
Sal then played with THE STINK for some time before joining MAX CADY.
He also plays live with TEXAS METAL ALLIANCE.
Wayne and Scott formed the short-lived NULL & VOID before Wayne put together another band, MOTHER THUMB.
Hammer Witch have recently re-released their "Legacy Of Pain" album on digitally remastered CD for the first time.
You can get a copy through CD Baby.

HAMMER WITCH - Return To Salem Mini LP (1987) USA

This, the lone release by GENEVA is an odd one, it's sought after by many different types of record collector, but doesn't really fit any of the genres you see it associated with.Perhaps because of this, it changes hands for relatively small amounts of money, and copies always seem to be in circulation.
I've seen unscrupulous record dealers list this one as NWOBHM, New Wave, Mod, Punk and Powerpop and at points during the record's playing time you can hear why.
The best comparison i can give that would chime with NWOBHM fans is that they remind me a little of LIGHTNING RAIDERS here and there, so if you have a soft spot for their releases you might enjoy Geneva.
So, to use a phrase of Nightsblood's, this is "borderline NWOBHM" at best, not for the purists, but a decent record nonetheless if you are musically open minded.
I think Geneva (who i could find absolutely no information about), missed a trick by putting "Two Minutes Thirty", on the A-Side as i far prefer the song on the flipside.
With a beefier production, and without the vocalist's Paul Weller impersonations, this track would have fitted the NWOBHM sonic blueprint quite well.
That B-Side, "Geneva Street", would later appear on the retrospective 1999 Various Artists bootleg compilation LP "Powerpearls Volume 4".

GENEVA - Two Minutes Thirty 7" (1980) UK

VOLTZ were an obscure American Heavy Metal quintet from the state of New Mexico.There's very little information to be found about them on the web, but here's what little i did discover about Voltz;
They released just two records, both in 1982, both on the Golddust Records label.
A full length album, "Shock Treatment", and a 7" single, "Rock Stomping Rock'n'Rollers", shared here courtesy of the very generous Nightsblood.
Both discs are as hard to find as the gold dust that their label took it's name from, and as a consequence mucho expensive on the odd occasion when copies do surface for sale.
The music sits somewhere between a couple of different styles; mixing brash US early '80's Hard Rock with a more European NWoBHM influence.
The singer is something of an aquired taste, but i came to quite enjoy his slightly fey delivery after a few spins.
Musically the players are very good with some particularly impressive guitarwork on both tracks, especially the harmony guitar part leading into the solo on the A-Side.
Because of the low-budget nature of the recordings and production there's a certain ramshackle charm & naivety present in the overall sound that's very evocative of the times.
I've never seen a pic of the band, but i'm almost certain from hearing the 45 that they owned at least one pair of stripey skintight strides, and headbands may very well have been worn.
So whilst not the most original band of their era, this is definitely worthy of a place on your I-Pod, and if you luck upon an original copy at a reasonable price, your record collection.
From the contents of the single I'd most certainly like to hear their full length LP.
Hint hint.
Much thanks to Nightsblood for this one.
Note : This band is not related to the UK band also called Voltz who released the opinion-splitting "Knight's Fall" LP  in 1982.

VOLTZ - Rock Stomping Rock'n'Rollers 7" (1982) USA

And that's it for 2012.Many thanks as always to all of you who took the time to comment, share your opinions, contribute music to the blog and your remembrances of bands of yesteryear in this year now almost gone.
I'd like to take the opportunity to wish you all a happy, healthy and prosperous 2013, and welcome you all back here for more vintage voltage in the new year.
Here's to your very good health.


Anonymous Harry said...

Happy new year, BFK.

Tuesday, January 01, 2013 6:54:00 AM  
Anonymous nightsblood said...

Happy New Year 'Kit! Nice to see one last entry posted before we roll the calendar forward :-)

Glad you liked the Voltz single. A couple of copies have been on ebay in recent months and sold for reasonable prices. The LP remains quite elusive and expensive. And having seen a few pics of the band, your stripey-trouser prediction is dead-on... but then again, how could you have missed on that one? :-)

'Return to Salem' is one of the Grand Old Gems of US Metal Vinyl in my opinion. Great release much like a heavier METAL CHURCH. And as bad as the later 'Return to Pain' release was, one has to remember that the local metal climate had completely shifted between those releases- their colleagues PANTERA had redirected the American metal market into 90s Groove Metal Crapdom (sorry, I prefer my Cowboys to be from Montana). In the early 90s, classic material like 'Return to Salem' had the sales potential of a used walrus protector here in the States, so the band's change of direction is understandable. Easy to criticize them in hindsight for not 'being tr00' or what not, but a band struggling to make ends meet isn't really considering what a handful of hardcore fanatics may think of them 20 years down the road.

Cirith Ungol are an old favorite and their 4 albums are all held in high regard here at Nightsblood Manor (well, Nightsblood Bungalow would be more accurate, but let's move on). Always loved their apocalyptic-but-rocking sound. That said, I've never been a fan of tribute albums, even going back to the 'Kiss My Ass' days. They've always struck me as nothing more than a means for cheap labels to make a quick buck, and like reality TV programming I wish the fad would just go away.

Ash Hollow and the Bonehead comp sound interesting, I know nothing about either....

I might be able to scare up a couple of goodies for you in 2013; keep an eye on your PM account over at Corro from time to time. I don't post there anymore- too many 20-something-year-old kids who think that they're So Heavy that they're entitled to free uploads of everything their little fanboy hearts desire- but I do lurk there. If I can wrangle the items I'm eyeballing, I'll be in touch

Wednesday, January 02, 2013 9:50:00 AM  
Anonymous Anonymous said...

Hi Kit - Happy New Year. Take care, Blofeld

Wednesday, January 02, 2013 2:45:00 PM  
Anonymous Anonymous said...

And a Happy New Year to both of you too guys!
Nightsblood, i'm sorry to hear you're no longer posting over at the Corroseum, whilst i understand your reasons i do wish you'd reconsider.
We've lost way too many great contributors over the last year or two, like Helm, your good self and apparently DaN too, the very folks who i seemed to hit it off best with.
Good folks who seemed to broadly see things along similar lines to myself, but had a depth of knowledge and were passionate and eloquent in their communications which often made me see things in a different way.
Top tip : most of the ass-hats you mentioned steer well clear of the "Life Outside Metal" portion of the forum.
Just to clarify, i wasn't having a go at Hammer Witch for their change in style, merely flagging it up so that potential purchasers aren't under any illusions that "Return To Pain" is "Return To Salem" Part 2.
I remember only too well how grim things were in the '90's for Metal, and i don't blame them for riding Pantera's coat-tails in pursuit of some success.
I just don't want to have to hear it, '90's Pantera are the worst possible of role-models to my mind.
Weirdly, i love Down, Phil Anselmo's "proper" band.
He really wails on those records, you'd never guess he had it in him from those Pantera records.
To an extent i agree with you about tribute albums, an awful lot of them are shoddy in the extreme, but once in a while you find a few gems in there.
A band who totally make someone else's song their own, or a radically reworked version of an old favourite that makes complete sense just put a broad smile on my face.
Many thanks as alway, for your generosity in sharing those gems from your collection from time to time, it's a privilege and a pleasure to hear these and share them with a (slightly) wider audience, and it's very much appreciated.

Wednesday, January 02, 2013 3:06:00 PM  
Anonymous nightsblood said...

Hey 'Kit-
Thanks for the kind words. You're right that Corro has lost some of its best/most interesting contributors, while the whiny-entittled group has grown :-( I may rejoin the conversation there at some point, but not for now; I was thoroughly disgusted with the way folks over there treated Glockose and some of the others last fall. Guys like him provided tons of stuff to that site, but as soon as they couldn't provide the next obscurity on the crowd's wish list, they treated him like he was some money-hungry asshole. I've known Glock- for years and been a guest in his home several times, and I do not put up with jackasses blasting good people.

No worries on Hammer Witch, your description was quite fair, and yes, no one should accidentally listen to 'Pain' expecting more 'Salem'; that's a huge disappointment waiting to happen.

Agreed on Pantera; that brand of Neanderthal Metal is anathema to me as well. But yes, DOWN is enjoyable when I'm in the mood for it.

Gotta run. If i get a chance to check out Ash Hollow and/or the comp I'll report back. Cheers!

Thursday, January 03, 2013 7:23:00 PM  
Anonymous Anonymous said...

"And a Happy New Year to both of you too guys!" ...?

Saturday, January 05, 2013 8:16:00 AM  
Anonymous porosimetal said...

For starters my best wishes for the new year and many thanks for another pack of goodies that includes great music with accompanied scans and lots of precious infos!!
GILLAN/DEAN is a very good hard rock album with similarities to the GILLAN BAND works (before 1980) that includes some nice classic covers and in general very good music delivered by known musos of the British scene(ColinTowns keyboard works stands out)!!
ASHHOLLOW is a killer obscurity with all the good elements of the 70s hard rock in their sound!! The description in the infos fits their sound perfectly!! Amazing hard rock in my opinion too!! “Proverb” is from my faves here, “Appalachian Woman” and “Cat's Eye” too with a style not dissimilar to that of the early GRAND FUNK!! Pure bliss!!
To my ears GENEVA is excellent, although not pure metal (as you underline) ,with many PUNK and post punk influences, a fact that doesn’t spoil the brew in their case for me!! I love the A-side track “Two Minutes Thirty” and PAUL’s vocals remind me in a way a little the street style attitude and delivery of singers like Gary Holton (H.M.KIDS), Sav Pearce (MARSEIILLE), Steve Burton(STARFIGHTERS) and dare I say the legendary Alex Harvey!!
As for VOLTZ I agree with NIGHTSBLOOD comments, but this style of music really is something that excites me and the rare obscure aura of buried in the dust of the past recordings really add to my rating !! Hell I love the Ted Nugent style riff of
“Rock Stomping Rock 'n' Rollers”!!! The b-side reminds me of obscurities like GODDO, SANTERS, MOXY, STARZ!! Cool Hard rockin’ tune!!And yes,I would love to get a grip and hear their full album too!!
He,he nice the comments about the B.B.metal guy, although I don’t know the story behind that love!!!!
To sum all up ,I really enjoyed these particular items and I would like to see more of such stuff in the future!! As for the servers only CROCKO delivers the download link after a little while, since most of the others don’t !! And this is a bit of a problem!!! I’M not an uploading expert but it seems that Russian servers as Narod, i-folder do the job nicely and for long!!
Anyway closing here with best wishes from Greece for the new 2013 year!!

Saturday, January 05, 2013 9:56:00 AM  
Anonymous simonthecat said...

Great to see you back in action - some very interesting looking stuff up on this post! Thanks for sticking in there!

Saturday, January 05, 2013 12:37:00 PM  
Anonymous nightsblood said...

The Bonehead comp has some interesting stuff on it on first listen. Will have to give it some more time. Those into this style should check out the Armageddon single on the Vampire State label; it would fit perfectly on this collection.

Ashollow wiffed first time up to the plate; too laid back for me. It'll get another chance sometime. 'Cats Eye' wasn't bad, but 'Common Time' is the type of 'silly' 70s rock tune that is a big turn-off to me. Seems I remember Truth & Janey doing a similar number...? Doesn't help that I'm a little down on this style at the moment after the rather staid offerings from retro rockers Witchcraft and Graveyard last year.

Wednesday, January 09, 2013 8:34:00 PM  
Anonymous Anonymous said...

Thanks to all of you for the good wishes and enthusiasm, i appreciate you all taking the time to share your thoughts and hope you enjoyed the music.
Porosimetal, thanks as always for your enthusiastic and in depth assessments of the releases, i enjoy reading those my friend.
I'm afraid the lack of download options this time 'round is entirely down to me and my inveterate tardiness.
I'd uploaded all the music a good 3 or 4 weeks before i got round to putting the links on the blog, and in the intervening time many of the links had run out of time with some of the hosts.
If the links don't get hit over a specified time the hosts delete 'em.
A lesson learned there, i won't make the same mistake again.
Nightsblood, the Armageddon 7" you mentioned might well be on the second volume of the Bonehead series "Bonehead Crushers".
I've yet to hear that one, so you never know.
Sorry you didn't instantly dig the Ashhollow album straight off the bat.
To me it's one of my favourite vintage discoveries of recent times, although "Common Time" does test the patience a little to be fair.
I just really enjoy the sheer musicianship and the players command over a wide variety of styles.
That and the warmth of the recordings with the air of communality, it's a time capsule from a simpler time.
P'raps repeated listens will work their magic on you, you never know.
I'm currently putting together some stuff for a new post due in 1-2 weeks time, i think you'll all be suitably impressed.
'til then, o'er & oot,

Thursday, January 10, 2013 10:56:00 AM  
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