Hard Rock

https://www.youtube.com/watch?v=uLWrykyzfAM wrote:Fragile was an obscure band that played a heavy, twin guitar rock. They choose this name as a tribute to the band Yes, who had released an album by the same name. The music of Fragile is not unlike Cargo or Wishbone Ash. The band saw the light around 1972. They recorded an album in 1974 but it was not released until 1976. After the album was released their rehearsal location, including their equipment, was burnt down. This didn't make them stop performing, but eventually they did disband the band due to lack of income. In 2004 their album was released on cd.
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Remastered reissue on CD of the one and only album by Dutch 70's psych/rural band consisting mainly of Mollucans who play guitar like crazy, as we know. On one side long track they expose a tapestry of excellent guitar fuzzing. One of the most wanted albums from Holland, and an absolute ultra rarity, originally made as a private pressing for friends, relatives, etc.(Freak Emporium)

http://www.last.fm/music/Stone+Garden wrote:The band once thought to be an early version of Fraction kicks ass in their own hard rockin’ way. From Lewiston, Idaho this band rocked as hard as any other, and was led by guitar master Paul Speer. Songs like “Bastard” , “Oceans Inside Me”, “Woodstick”, “Assembly Line” and “The World Is Coming To An End” stand up to any hard rock band of the time. (written by Rockadelic Records)

http://www.willardswormholes.com/archives/13474 wrote:This is one of those obscure titles I grabbed online a few years ago when I was trolling the web downloading any and all hints of psychedelia I’d never heard of back when I was a teen. These guys attracted my attention because of one-time Steppenwolf guitarist, Larry Byrom (Nick St. Nicholas was also on board for the band’s 1968 debut, T.I.M.E.). There’s not much in the way of critique here, either, as this style of music – melodic, heavy blues/psych – is coming of age music for me, so it inexplicably comforts my aging soul… regardless of its merits, good or bad. Many would surely consider this stuff routine, and it’s hard to dispute that. But, I’ve never understood how that bubbling, swirling B3-type style found on “I’d Think You’d Cry” ever went out of style in the first place

http://www.allmusic.com/artist/day-blindness-mn0000232508/biography wrote:

Day Blindness came together in 1968 from a pair of competing bands at Jefferson High School in California's San Mateo county. One of the bands was a trio led by guitarist Gary Pihl -- from nearby Santa Clara High -- and included Felix Bria on keyboards and Dave Neuman on drums. This unit ran across one of its rivals, the Dimensions, at a county battle-of-the-bands competition at which both were short-listed. the Dimensions were made up of the Tabucci brothers, Mark and Charles, on saxophones; lead guitarist Ken Starr (younger brother of a Ventures member); Roy Garcia behind the drums; John Vernaza on rhythm guitar; and bass player Ramos Ramirez. So impressed were Pihl and Bria by Garcia's drumming abilities upon seeing the band play that they soon asked him to replace Neuman. The resulting trio officially became Day Blindness in the summer of 1968.

Day Blindness
Over the next year, Day Blindness played gigs at many of the most notable venues throughout the Bay Area, even landing an opening slot for Sly & the Family Stone, both locally and on tour. By 1969, Mark Tabucci, who had also become a behind-the-scenes supporter of the band during the Dimensions swap, began to construct a small studio at 10 Claude Lane, funded by local backers and sponsors, in anticipation of the recording of an album. Once Studio 10 was ready, Day Blindness, with new skinsman Dave Mitchell in Garcia's old spot, set about working on that debut record. During the sessions, both Bob Dylan and Janis Joplin stopped by to submit a variety tips, including song titles and artwork. Soon thereafter, Day Blindness was released, though to little fanfare.

The band started to come apart almost immediately after the album's release. Producer and engineer Tom Press used some of his proceeds from the album to buy a Harley-Davidson motorcycle and disappear into the '70s. Tabucci became an automobile repairman for the Jefferson Airplane. Drummer Mitchell went on to produce and engineer for other acts, including Emerson, Lake & Palmer. Pihl later turned up in platinum-selling rock band Boston, then went on to play with Sammy Hagar in the 1990s. Day Blindness, not a big seller upon its release, took on a life of its own in collector's circles, including the circulation of a pirated bootleg CD in the late '90s. Gear Fab brought it back legitimately with an official 2002 CD reissue.

https://www.facebook.com/wolftonefuzz/info/?tab=page_info wrote:This band is called WOLFTONE and this is a SOULBAND. It’s not a “slick 1000,- euros suit wearing suburban white boy, backed up by 5 singers and an horn-section” kinda soulband. No!!!!!. It’s a “dirty overall wearin guy, gettin up every morning at 5, to drive 2 hours to his job on a shitty construction-site at suburbia in the hipper parts of Holland” kinda SOULBAND.
I have heard people mention the words HARDROCK, FUZZ and PSYCH when discussing WOLFTONE’s music and even though all these terms makes sense when describing WOLFTONE’s music. I would like to emphasize the fact that we are talking about a SOULBAND. It’s the passion, integrity and pure songwriting-skills of this band that makes it a soulband. SOUL the way hardrockbands like BLUE CHEER were soul, soul like you and your friends going to a bar to get wasted, listen to loud music and complain about the state of the world SOUL.
WOLFTONE are masters of delivering great riffs, hooks and choruses, they know how to write songs!! Songs that make grown men scream their guts out and let their women dance blisters on their feet. They have the unique gift of combining hardrocking riffs with clever lyrics and great hooks .

http://www.last.fm/music/Fresh+Blueberry+Pancake wrote:Fresh Blueberry Pancake is a typical post-Cream power trio, from Pittsburgh, PA. Active from 1968 to 1972, the group did not release any album, but a set of demos was recorded in 1970 and pressed in 54 copies for promotional use. The sound quality is pretty good considering the group probably invested little money in studio time, which makes one think that Shadoks had access to the master tapes. The nine songs clock in at under 33 minutes and are of uneven interest. "Hassles", "Clown on a Rope" and "Stranded" stand out thanks to their heavy riffs ("Hassles" sounds derived from Cream's "Politician"), fuzz guitar, and passionate vocals from Tony Impavido, who also handles the bass guitar. Another highlight is the Savoy Brown-tinged "Down on the Farm." Some of the other tracks have a Southern or even Californian feel ("Where's the Sun," for instance) and occasionally hit a religious note ("I Call Him Lord"). The trio (completed by guitarist John Behrens and drummer Geoff Rydell) understood the dynamics of blues-rock. In short, Heavy is mildly entertaining and of interest mostly to collectors of '70s obscurities.