Horror themed Pop-Punk from St. Louis, Missouri.
Horror Punk bands usuallu fail because they keep making the same fatal mistake - they try way too hard to be the Misfits. But the Horror Section take a different approach and glean inspiration from classic Lookout Records bands like The Queers, Screeching Weasel and Lillingtons, an for the most part, it works!
Time Life presents 'Flower Power: Music Of The Love Generation.' Our 10-CD, 175-track set is full of the artists and songs who defined the Baby Boomer generation - it's a box full of memories that will bring listeners back in time to an unforgettable era.This late–60s and early-'70s pop culture phenomena had many facets, from free love and psychedelia to
anti-war and hippies. This vivid youth movement was reflected in the music… the world listened and has never been the same again.
Time Life presents 'Flower Power: Music Of The Love Generation.' Our 10-CD, 175-track set is full of the artists and songs who defined the Baby Boomer generation - it's a box full of memories that will bring listeners back in time to an unforgettable era.This late–60s and early-'70s pop culture phenomena had many facets, from free love and psychedelia to
anti-war and hippies. This vivid youth movement was reflected in the music… the world listened and has never been the same again.
Little Boy Blues started as a mid-'60s garage rock band leaning toward Rolling Stones-ish blues rock, with a lesser degree of folk-rock. By the time their sole album came out in 1968, however, they were very much into period psychedelic heavy rock, with more of a soul color to some of the songs and the arrangements than the average such band. Comprised entirely of original material (from Little Boy Blue Ray Levin), In the Woodland of Weir is of fair but somewhat anonymous quality, stewing together psychedelic-influenced wordplay, blue-eyed soul, and fuzz guitar-and-organ-drenched harder rocking passages.
Heaven knows, the Scotsman born Donovan Leitch was ripe for ridicule, even when he was hitting the charts with regularity. He was the ultimate flower child, and his airier pronouncements made cynics want to tighten up those love beads around his neck. Listening to Troubadour, however, it's striking how versatile, melodic, and agreeable most of his material sounds decades after "Mellow Yellow" has faded into a jaundiced yellow. Clearly under the sway of Bob Dylan early on in his career, Donovan nevertheless was capable of directing his reverence into something as enchanting as "Catch the Wind." Amping up as the '60s progressed, he assembled a series of psychedelic-pop classics, including "Season of the Witch," the "Hey Jude"-like sing-along "Atlantis," and the uncharacteristically driving "Hurdy Gurdy Man" (the latter features three-quarters of what was to become Led Zeppelin providing stellar support). This two-disc anthology may be more Donovan than some desire, but the booklet, seven previously unreleased tracks, and expansive perspective it provides makes it a more-than-worthy overview for those who take their paisley folk-rock with a beatific smile.
The live attempts at recreating the seminal jam chemistry of Super Session were hit-and-miss affairs, and this one, previously unreleased, has its fair share of off-key and off-target tunes. The rhythm section is erratic, the repertoire–ranging from Simon & Garfunkel's "59th Street Bridge Song (Feelin' Groovy)" to an Elvis-flavored "That's All Right Mama"–is a bit odd, and co-leader Al Kooper is competent but rarely inspired. Guitarist Michael Bloomfield, however, is uniformly brilliant and his graceful blues virtuosity is by itself well worth the price of admission. Bloomfield and the group are joined on B.B. King's "It's My Own Fault" by a then-unknown Johnny Winter and things get really interesting.