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Shadrack Chameleon CD

 Shadrack Chameleon Discography of CDs
3 stars (1 Customer Review)

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For an album created by a revolving group of friends from three separate bands, Shadrack Chameleon is quite a cohesive little surprise. Steve Fox is the only constant on each of the eight songs on the album, and, in a way, could be considered Shadrack Chameleon since his guitar, bass, songwriting, and vocal talents come to the forefront. Fox's thinnish vocals can be an acquired taste, but he is a strong, instinctive writer. A Jimmy Page influence (almost inevitable during the period) is discernible in the interesting, mystical chords and changes on the album. The band is certainly not a Zeppelin soundalike, though, because the changes that Fox and sometime-partner Randy Berka conceived are countered by a gentle acoustic feel and a languid rather than dynamic pulse. The band can employ a beautiful, stomping country-rock style, as on the opening cut "I Wonder Why," with its ensemble vocal hook (reminiscent of Emerson, Lake & Palmer's "Lucky Man") and organ, or it can be a heavier progressive rock outfit, as on "Long Road to Ole' Miss" and "Granite Feast." Mostly, though, Shadrack Chameleon might be termed progressive folk, and songs like "That's the Way It's Gotta Be" and "Don't Let It Get You Down" reveal strummed chording that comes out sounding almost claustrophobic and is a good match for each song's subject matter. The members of Shadrack didn't lack ambition, either; "Chameleon (I Love You)" is an epic ballad with seemingly two songs combined into one, while the album ends on the spare acoustic-to-electric drone of "Beyond Eternity." The album ultimately passes by in an almost lazy haze and is occasionally accomplished, but too often Shadrack Chameleon sounds, if not uninspired, uninterested or flat. ~ Stanton Swihart

This garage band from Humbolt, Iowa issued this original 1971 album on the IGL label, recorded on a 4-track Ampex in Dakota City. Only 800 copies were pressed, and 500 of those were destroyed before it was released. This is a re-release of an item previo
Shadrack Chameleon Music


Detailed Shadrack Chameleon Music Information



List Price $14.97 (You save $3.38)
Category Rock Albums, Oldies CDs, Rock/Pop, Hard Rock, 70's
Label Gear Fab
Orig Year 1970
All Time Sales Rank   109007  
CD Universe Part number 1209458
Catalog number 110
Discs 1
Release Date Aug 09, 1999
Studio/Live Studio
Mono/Stereo Stereo
Shadrack Chameleon Songs


Shadrack Chameleon Album Track Listing



1.I Wonder Why - (bonus track)
2.Chameleon (I Love You)
3.Granite Feast
4.Don't Let It Get You Down
5.It Was Me - (bonus track)
6.Long Road to Ole' Miss.
7.That's the Way It's Gotta Be
8.Beyond Eternity
Shadrack Chameleon Music


Shadrack Chameleon Other Versions



Shadrack Chameleon Music Review


Customer Shadrack Chameleon Reviews 




Average Rating: (3 out of 5 stars) 3 stars

3 stars Shadrack involves you...
They have so happiness that I feel contamined with this song. So contagious... So strong
Submitted by marco (Canela, RS, Brasil) Verified Buyer
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Christopher
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From the psychedelic tribal blues opener "Dark Road" through to the end of the album, Christopher shows just how strong the second-level psychedelia of the late '60s could be. There was no shortage of great musicians hailing from Texas during the era, and the ones who remained in the state were forming some of the most idiosyncratic bands of the swirling, inventive times: top-flight bands such as Thirteenth Floor Elevators, Lost & Found, the Golden Dawn, and Christopher. Christopher, though, cannot exactly be lumped together with those peers. They had to leave Texas for California to make their mark, and indeed, Christopher owes a good deal to the music of that state -- songs such as "Magic Cycles" and "In Your Time" are informed by the dreamier qualities of the San Francisco sound, especially the extended atmospherics of Jefferson Airplane and the Grateful Dead. There are also hints of fellow Los Angeles bands the Doors and Spirit throughout the album, and like the best ...
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KEEP ON TRUCKIN' contains all the tracks from the original LP of the same title as well as 2 previously unreleased songs recorded in 1970. Yet another rock band that emerged out of the copious student population of countercultural Wisconsin, Tongue spent ten years developing into one of the most road-savvy ensembles in the state. But Keep on Truckin' was recorded near the beginning of their career, thereby capturing the band during the early peak of their powers. That power doesn't always manifest itself on their sole album, but it remains an enjoyable effort. There are significant similarities between Tongue and fellow Wisconsin band Tayles. Tongue doesn't dip into the good-time roll of Tayles' music too often, but they do have a blues-based, organ-heavy sound that is primarily earnest while verging at times on the musically whimsical, as on songs like "Get Your Shit Together" and the fabulous "Jazz on the Rag," a falsetto beauty like nothing else on the album. On the quickie country interlude "Slap Her Down Again Paw," they even show a comical side. There are bits of country-rock and jugband music (the title track cover of Donovan), and Jerry Garcia personally complimented the band on their version of Tim Rose's "Morning Dew." It is, indeed, a stellar effort, perhaps the best performance on the album, occasionally recalling the Bob Mosley folk-rock ballads of late-'60s Moby Grape. With lovely ringing acoustic ...
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FLYING UP THROUGH THE SKY features the entire original LP, singles released prior to this album and demos for a never released, second Oxfords album. This compilation is a lovely surprise. The fourth installment in Gear Fab's Louisville music series is the absolute last word on the Oxfords. Starting off with all but one cut from the sole 1970 LP and filling out the story with the two pre-Jill DeMarco 45s, the band's one post-album single, and five previously unreleased cuts from its final incarnation, Flying Up Through the Sky constitutes the Oxfords' entire recorded legacy. The material from the original LP tends toward the lighter side of the '60s pop spectrum. The melodies are largely Technicolor bright and the sentiments have a paisley-eyed optimism that seems endemic to the late '60s alone. The harmonies of leader Jay Petach and DeMarco approach the sort of oxygenated buoyancy of the 5th Dimension or the Free Design, but with an earthier charm along the lines of Spanky & Our Gang. The music may strike some as a tad naïve, but it fits the insouciant mood of the period perfectly and 30 years after the fact still sounds fresh. At times ("Come on 'Round," the wah-wah laced "Young Girl's Lament") the band flashes more substantive hints, sounding something like the Jefferson Airplane's tough but yet deflowered younger sister, unsettled but still unspoiled. ...
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The psychedelic reissue label Gear Fab peel back another layer of the history of underground psychedelic rock with this obscure 1968 album. It has remained a long-forgotten collectors item ...
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If you have been listening to Dr. Demento for 25 years, you've no doubt tired of many of the items on this 36-song collection, many of which made his Top Ten or Funny Five for weeks (or years) running. But if you want a bunch of his top novelty tunes all in one place, here 'tis, going from pre-W.W. II sillies like Benny Bell's "Shaving Cream" to Spike Jones to Leonard Nimoy to Tiny Tim to They Might Be Giants. Some of the cuts of more recent vintage, like those by Weird Al Yankovic and Barnes & Barnes, come off as too deliberately weird/stupid in ...
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CD $14.89  Audio Samples
Measure For Measure
Icehouse Measure For Measure CD  (1986) Remastered

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'80s pop faves Icehouse reissue their album MEASURE FOR MEASURE. Based on the principles of balance, Measure for Measure is half-produced by David Lord, half by Rhett Davies. American and European editions benefit from a better track list, which opens with the Davies-produced "No Promises." A little too close to Bowie and Metheny's "This Is Not America," perhaps, but very nice all the same. "Cross the Border" resembles and continues the close relationship with Simple Minds, and features a strong Brian Eno back vocal motif. Another of the RD-produced pieces, "The Flame," although about the struggles in South Africa, opens with a watery, orient-like synth treatment before a strong beat, courtesy of Steve Jansen, and a Talk Talk-sounding synth take charge. Newer realms are visited by Spanish guitar on "Angel Street," but the Bowie references can't be shaken, with much of the later part relying on squally glam rock ("Regular Boys" and the career-reviving ...
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Their third album.
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