Tuesday, October 22, 2019

Corpus - Creation A Child (1973) [Original Private Pressing]

Corpus - Creation A Child (1973)

Acorn Records LP-1001 (Discogs)
~ThePoodleBites rip in 96kHz / 24bit FLAC + full high-res scans~

After being bamboozled by a counterfeit and thus having to sort out The Acid Archives errors with the help of Josh R., I'm happy to present a pristine restoration of this Texan blues-psych cruiser from an immensely rare original pressing. I first heard Corpus 5 or 6 years ago via "Marriage," whose guitar line immediately hooked this album into my top wants. After years of waiting, I found a beautiful copy that plays clean and was a fantastic source for this project. 

Thanks to Josh for another amazing write-up below!

The mystical, celestial front cover of the sole Corpus LP perfectly describes the music within. 
When it comes to my favorite early 1970s bluesy psychedelic rock, it doesn't seem to get much better than Corpus's "Creation A Child," a self-released record out of (you guessed it) Corpus Christi, Texas. From the moment I heard this LP I was immediately captivated by the soulful, screaming lead guitar which jolts the album with pure electricity. I'd really not heard such commanding guitar on a private press album, which drew me in from the very first listen – this is no one-man guitar hero show LP, this is a full band work with the guitar accenting the songs, yet ends up stealing the show more than once.

Corpus jamming at a local venue, early 1970s. (L to R: Rick DeLeon, Frudy Lianes, William Grate, & James Castillo)
Blasting out of the gate we have "Cruising," and if there ever was a driving-fast-in-your-Camero in the 70s song, this is it. With (supposedly true) lyrics about picking up hitchhikers and getting stoned (and even sleeping with them!) the vibe of the album starts off in full party mode, with bluesy riffing and lead guitar.
Frudy & Beaver locking in TX grooves.

The multi tracked guitar on this album is stellar and professional, with William Grate's red Gibson SG with P90 pickups dominating the sound, and in the 8-track studio where they recorded it they achieved great results, quite surprising for a local release. Looking at photos, it seems Grate played through an Acoustic amplifier, while James Castillo played through a Sunn and Kustom amp with a Fender bass. Rhythm guitarist Richard DeLeon played a black Les Paul through a Traynor.

But it is "Joy" where the moody, dreamy tone sets in, with aching lead guitar that invokes a midnight vibe few albums can muster. It may come as a surprise to listeners of this album that the band consisted of teenagers - the swagger and confidence indicates a group much older and wiser. Mature lyrics about marriage are unusual for a group this young, and indeed they had a lyricist penning the words to the tunes. Going into "Marriage" we have a twin-lead guitar riff rocker with realistic view of the union of two partners yet also ponders the yearning for a woman with no strings attached.

The closing song of Side A, "Creation A Child" is a slow-burning psych delight with a loping, mellow guitar riff until about halfway through, when they kick things up a notch into a total scorching rocker.

Side B opens with a pair of boogie rockers - "Just A Man" features roadhouse dual overdubbed smoking guitar leads and continues the themes of man and woman as well as "We Can Make It, Luv." One can imagine "Just A Man" or "Cruising" made nice live show openers for their presumably hot live shows. "Not Mine" is a softer downer track that is a bit of a break from the boogie rockers [tpb: and sounds great with a few tokes of your favorite tea!].

William Grate playing lead while voicing along.
"Where Is She" is a more generic blues rocker, and feels like a bit of a filler track, but soon we are lifted by the masterful closer "Mythical Dream.” One of the highlights of the album to me, an absolutely dreamy loping soft psych cut with lyrics inspired by the Greek gods and goddesses. Slow, stoned and haunting, the slight vibrato warbles of the lead guitarist are entrancing and show Corpus were just as good at going for slower moody ballads as they were doing their quick boogie-best rockers.

Not much is known about what became of Corpus, as this was their only vinyl offering. There has been some confusion about the release date, and the years 1970-1972 have been stated. However, the Houston Records numbers where the album was pressed clearly point to 1973 (which I trust more than hazy memory.) They didn't last much longer, due to drugs and personal issues, as is the case with so many of these hometown bands that were lucky enough to cut a record back in the day. It's difficult for me to encapsulate why I enjoy Creation A Child so much, but I believe the vibe, stellar lead playing and recording quality and confidence make it close to, if not a Top 10 private press favorite for me, and is the type of album people will easily pay $100+ for a bootleg copy. Although they were planning a 2nd LP, it never materialized, but at least they left us with this incredible piece of wax wrapped in a spooky hand-drawn cover. [JR]


Josh R. is a well-respected private press enthusiast and
scene specialist on rare & obscure records from yesteryear.



















Unfortunately while my Corpus disc is very clean (as you are about to hear), the cover has some ring wear from bouncing around in a box for decades. My old pink-label bootleg LP had no such wear, so I've included scans of that copy as well for ultimate completists, although most will probably find this addition unnecessary and redundant.

Personnel:
William Grate - Lead Guitar, Background Vocals
James Castillo (Beaver) - Bass
Frudy Lianes - Drums
Richard DeLeon (De-De) - Rhythm Guitar, Lead Vocals
Gilbert Pena, Jr. - Lyrics

Track Listing:
1) "Cruising" -- 3:46
2) "Joy" -- 6:25
3) "Marriage" -- 3:36
4) "Creation A Child" -- 6:55
5) "Just A Man" -- 3:17
6) "We Can Make It, Luv" -- 2:30
7) "Not Mine" -- 3:30
8) "Where Is She" -- 3:36
9) "Mythical Dream" -- 4:58

Vinyl Condition: M-
Dynamic Range: DR 13

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)




Google Drive: https://drive.google.com/open?id=17_5Xg12B3lPv51QAhkV0A5rFqkvsX9Xt


Enjoy, and please feel free to leave a comment below!


Sunday, September 22, 2019

Makiah - God Of Aud / Big Rhyder (1971) [Original US Single]

Makiah - God Of Aud b/w Big Rhyder
Original 1971 45 RPM single
Lybra ‎– LR 7103 (Discogs)
~ThePoodleBites rip in 96kHz / 24bit FLAC + full hi-res scans~

I haven't been able to uncover any information yet about Makiah. Apparently they were a band from Los Angeles, California that recorded only this one private single around 1970-1971. Listening to the music, one hears vocal echoes of The Doors, who a couple years beforehand were regulars on the L.A. scene, but also UK influences in the Revolver-esque tape reverb that makes your head swim ("Big Rhyder"). Overall there's fantastic guitar playing, trippy flute, convincing vocals, and creative songwriting which contribute to a strange adrenaline-fueled psychedelic storm.

Thanks to C.F. for lending this ethereal 45 out for a proper restoration project!


Track Listing:
1) "God Of Aud" (J. Sharp) -- 5:01
2) "Big Rhyder" (J. Sharp / B. Cruz) -- 3:12

Dynamic Range: DR 12

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording, phase correction)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)


Google Drive: https://drive.google.com/drive/folders/1oJ_jB28XFzIZHSt3k5AD9t4f0QJRORUK?usp=sharing

Enjoy, and please feel free to leave a comment below! 

Monday, July 29, 2019

The Beat Of The Earth - The Electronic Hole (1970) [Original Private Pressing]

The Beat Of The Earth - The Electronic Hole (1970)
Radish ‎– A.S. 0002 – all tracks mono (Discogs)
Original Private Pressing / Sourced from Phil Pearlman
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC + full hi-res scans~

I am very proud to finally post this album on this blog as part of my ongoing audio research. As you all know and have come to expect, this blog is intended to liberate such rarities in pristine sound quality from the unknown depths of history or from rare record collections. While this record has been reissued as a bootleg, no previous digital versions approach the sound quality available here. Although a very low-fi recording (and far from an audiophile pressing), the restoration I've completed for this piece of beautiful rare gold far surpassed my expectations and should represent a definitive digital version of these recordings for many, many years to come. I've also done all the usual research so you can read the album's story below.

The Electronic Hole takes a step away from The Beats' earlier work, being composed with definite song structures versus the earlier drawn-out freeform jams. Sounding much like a west-coast version of The Velvet Underground & Nico, the album has melodic motifs which point towards Relatively Clean Rivers but is much more primitive and mysterious than its cousin, with loads of fuzz, swirling organ, Phil Pearlman vocals, and even some sitar, acoustic strumming, and ballad-like moments ("Love Will Find A Way, Part I"). It's basically a droney SoCal alternative trip unique to its style, intentionally recorded to be bewildering and exciting for even the most devoted '60s enthusiast.

Front cover: the original Beat Of The Earth band playing a local L.A. gig, ca. 1967.
Light show done by Phil Pearlman using a doily and projector acquired 
from his college days at UC Irvine, while working with The Grape Jelly Plot.

Los Angeles, CA-based coalition The Beat Of The Earth's self-titled debut, sometimes incorrectly referred to as This Record Is An Artistic Statement, had spread among psych music enthusiasts by the late 1980s. The mastermind & frontman Phil Pearlman was tracked down by collector Rich Haupt who purchased a number of copies the debut, but at the time, Pearlman strangely made no mention of any other records he had been involved in. That is until the early 1990s, when the beautiful rural psych trip Relatively Clean Rivers was discovered, and The Beat Of The Earth connection was thus uncovered -- only then did the immensely private Pearlman begin to discuss his involvement with the Rivers project.

In 1993-1994, when Our Standard Three Minute Tune was made, The Electronic Hole was still undiscovered. One could ask: how could it be that such a unique album was completely unknown to collectors for more than 25 years after its pressing? Well, coupled with its extreme rarity (less than 200 copies were ever created), The Electronic Hole wasn't ever really "released" at all. Initially recorded as a demo LP to attract new members to The Beat Of The Earth, 'The Electronic Hole' was intended to be a club in L.A. that Pearlman could use to house local musical acts. But Phil's idea was promptly shut down, and he decided to leave his demo record shelved & forgotten.

Back cover: two contemporaneous articles discussing the disapproval of Pearlman's club

That is, until circa 1999, when Pearlman unexpectedly sent his friend a postcard that read: "Just sent you a box... Peel Slowly And See." Inside that box was The Electronic Hole, and soon the rumor that Pearlman had relinquished a completely unknown gem from his archives had spread like wildfire. Collectors everywhere, screaming "what the hell is this!?" -- the rush and amazement during the first playing of this totally unknown alt-psych trip was spectacular, and as Pearlman began to leak out ambiguous details through his few channels of outside contact, the record immediately grew in value to unbelievable figures, and of course has remained true to that reputation since.

Pearlman has stated that he felt it was futile to wait until somebody asked him about Hole, because nobody outside of a few friends and contributing musicians knew it existed at all. But why didn't he leak out any copies in 1970? And then why did he keep all those copies locked up for over two decades? Some believe that the legal gymnastics over his cover of Frank Zappa's "Trouble Comin' Every Day" (here "Love Will Find A Way, Part II") may have been an influencing factor. Others have argued that Pearlman's entire story is bogus, and that Pearlman pressed the records in the late-1990s to capitalize on the selling power his music had begun to achieve. Most genuine scholars disregard this, as anyone who's held a copy of The Electronic Hole can tell you that it's certainly old. Regardless of these questions, it is certain that The Electronic Hole is an incredible record which will only grow in appreciation as it is continually discovered & rediscovered by generations of music lovers to come.

The Beats:
- Phil Pearlman
- Rick Mandelbaum
- Bill Younger
- Wendell Keesee III
- Toni Sartorio
- Joe Sidore



















The labels of the LP are indiscriminate about track titles, simply labeling one side as "The Golden Hill" and the other as "Love Will Find A Way." While the tracks are clearly banded, no other information is given. I have split the tracks per the obvious way and labelled them as below.

Track listing: 
1) "The Golden Hill, Part I" – 2:27
2) "The Golden Hill, Part II" – 3:15
3) "The Golden Hill, Part III" – 3:54
4) "The Golden Hill, Part IV" – 7:11
5) "Love Will Find A Way, Part I" – 2:59
6) "Love Will Find A Way, Part II" – 7:00
7) "Love WIll Find A Way, Part III" – 5:38

Vinyl condition: M-
Dynamic range: DR 11

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)





Google Drive: https://drive.google.com/drive/folders/12d_VhCkqbDar8DA6dNaEytkOcMZUM3Cu?usp=sharing
Enjoy & please leave a comment below! :)

Friday, July 26, 2019

Rick Saucedo - Heaven Was Blue (1978) [Original Private Pressing]

Rick Saucedo - Heaven Was Blue (1978)
Original Private Pressing: Reality Records RS-55-DGP
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC + full hi-res scans~

"... almost like a psych head's fantasy invention rather than an actual vinyl object." ~Patrick Lundborg

I previously ripped the Guerssen reissue of this fantastic private trip, but after getting an original pressing I discovered that side 1 is completely different mix, and side 2 is much more dynamic on the original issue. So once again, the original pressing wins out in terms of sound quality. However, I still recommend grabbing the Guerssen for the bonus tracks, especially "Oh My God," which was originally intended for inclusion until cut from the final release by an unknown engineer without Saucedo's approval. 

Thanks to @PsychTrailMix for helping fund this purchase!


Unlike my rip of the Guerssen reissue, I've corrected for my system's frequency response here, making this as close you can get to spooling up the original master reel yourself. Maybe better, even, considering the number of tape dropouts I had to fix. Also unlike the Guerssen, there has been no dynamic range compression applied, nor has the entire album been passed through a de-click filter, as was so obviously done on the B-side title track for the Guerssen version. Also, side 1 is the original mix, available nowhere else. Although there is no indication of such on the original LP, side 2 has been split into tracks in accordance with the Guerssen liner notes for convenience of the listener.

Track listing:
01) “Reality” — 4:08
02) “In My Mind” — 4:29
03) “Country Shakin’ — History Makin'” — 2:47
04) “Ka Mon We’re Gonna Rock All Night Long” — 3:52
05) “Heaven Was Blue” — 18:31
  • (i) “Heaven Was Blue” — 2:36
  • (ii) “Graveyard” — 2:33
  • (iii) “Set Us Free” — 3:37
  • (iv) “Empty Pillow” — 2:26
  • (v) “Angels March Into Hell” (instrumental) — 3:00
  • (vi) “Some Call It Magic” — 1:36
  • (vii) “Angles March Out Of Hell” (instrumental) — 0:45
  • (viii) “Heaven Was Blue (Reprise)” — 1:58
Vinyl Condition: M-
Dynamic Range: DR 15


Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)





Thursday, July 25, 2019

Love - Four Sail (1969) [Original Arthur Lee Mixes]

Love - Four Sail (1969)
2019 reissue / 1st issue of original Arthur Lee mixes
~ThePoodleBites Rip in 96 kHz / 24 bit FLAC~

I recently posted a "compiled version" of this oft-overlooked Love record featuring the Arthur Lee mixes (where available) plus rips from an original Monarch LP to fill in the gaps. Then, all of a sudden, without warning, this reissue appears, featuring all of the Arthur Lee mixes, mastered by Chris Bellman at Bernie Grundman Mastering! (Chris, are you reading my blog?) Well, unfortunately Chris' work required a little additional tweaking, due to some EQ notches that clearly weren't present on the tapes used for the Love Story masters. Details aside, I've freshly remastered this remastered set so that you can hear it in the most hi-fi sound possible. Some tracks make their debut appearance here in the original mix, and sound wayyy cooler then those reverbed-out, completely-ruined Elektra versions! The extra overdubs on "Talking In My Sleep" are gonna blow your mind...

Thanks @PsychTrailMix for discovering & procuring these sounds for this rip!

** Scans of this reissue not included, because the
original cover looks nicer ... go check it out! **

Track Listing:
01) "August" -- 5:07
02) "Your Friend And Mine – Neil's Song" -- 3:48
03) "I'm With You" -- 2:47
04) "Good Times" -- 3:32
05) "Singing Cowboy" -- 5:57
06) "Dream" -- 2:53
07) "Robert Montgomery" -- 3:42
08) "Nothing" -- 4:48
09) "Talking In My Sleep" -- 2:57
10) "Always See Your Face" -- 3:22

Lineup:
Arthur Lee - lead vocals, piano, harmonica, rhythm guitar, congas
Jay Donnellan - lead guitar
Frank Fayad - bass; backing vocals (tracks 6, 7)
George Suranovich - drums (tracks 1, 5-10), backing vocals (tracks 6, 7)
Drachen Theaker - drums (tracks 2-4)

Vinyl Condition: Mint
Dynamic Range: DR 12

Vinyl Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Audio Editor (manual declicking, EQ subtraction, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.5 (tagging, dynamic range analysis)


Google Drive: https://drive.google.com/open?id=1A3tBaUE65s3WLnAhfj40DG0oxr17KIFi

Sunday, June 9, 2019

Roky Erickson & The Resurrectionists - Don't Shake Me Lucifer (Live) [Original 1987 Flexi-Disc]

Roky Erickson And The Resurrectionists - Don't Shake Me Lucifer (Live)
Original 1987 Promotional Flexi-Disc
Bucketfull Of Brains ‎– BOB 13
~ThePoodleBites Rip in 96kHz/24bit FLAC + full hi-res scans~

Last month the world lost one of the greatest voices in rock music. Roky Erickson was not just the voice of psychedelic rock, he was the voice of an entirely new generation of sounds, calling with his proto-screams to the future of many punk/hardrock groups his image helped create, along with his own later "horror rock" stream of consciousness. While I do have a number of Elevators albums currently in-the-works in the forms of various mixes/pressings/etc, I just had to post this little flexi-disc single as a memorandum on this page to the man who has entered so many of our lives and given us music that influenced us at the core. This record is by nature lo-fi, loud, and twisted; it makes a statement that only one man could make.

Thanks to my friend M.S. for sharing this disc with me for ripping/scanning purposes!


Recorded: Live at The Island, Houston, Texas -- June 25/26th, 1982

Dynamic range: DR 10

Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Advanced Audio Editor (manual declicking, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.3 (tagging, dynamic range analysis)

Google Drive: https://drive.google.com/drive/folders/1D8NIgcSwNB8k4YNGEde9JPTG8PaT0QXQ?usp=sharing
Enjoy!

Tuesday, May 28, 2019

The Third Power - We, You, I / Snow (1968) [Original US Single] {FLAC 96/24}

3rd Power - We, You, I / Snow
Original US Single -- 1968 Baron AR 626
~ThePoodleBites rip in 96kHz / 24bit FLAC + full high-resolution scans~

The Third Power: Believe is probably my favorite Detroit psych record. Unfortunately it's getting harder to find a clean copy these days, but even more uncommon than the relatively rare Vanguard LP is this private single, released by the group a couple years beforehand. It's definitely a "loud cut" (read: distortion will be present) but the raw, garage/psych sound and relation to one of the best power trios ever to emerge from the US warrants its inclusion on this blog.

Thanks to C.F. for his assistance in finding a clean-playing copy of this 45!


Only two tracks here (obviously), but don't let the A-side turn you off. I actually prefer "Snow" of the two. That said, the band's vision would become much more refined on their full-length record to emerge in 1970.

Lundborg wrote a micro-blog-post about this 45 single which is here.

Track Listing:
1) "We, You, I" -- 3:25
2) "Snow" -- 2:49

Vinyl Condition: VG+ 
Dynamic Range: DR 12
Lineage:
– Audio-Technica AT150MLx Dual Moving-Magnet Cartridge
– Audio-Technica AT-LP1240-USB Direct Drive Professional Turntable (internal stock preamp/ADC removed)
– TCC TC-754 RIAA Phono Preamp (new regulated power supply, added LM7812 regulator)
– Focusrite Scarlett 6i6 MkII (96kHz / 24bit)
– Adobe Audition CC 2019 (recording)
– iZotope RX 7 Advanced Audio Editor (manual declicking, additional adjustments)
– Audacity 2.3.0 (fades between tracks, split tracks)
– Foobar2000 v1.4.3 (tagging, dynamic range analysis)

Google Drive: https://drive.google.com/open?id=1sMg_DxAVj_3bzkO-hUWWtnyI3hvIBUMi
Enjoy!