First Band From Outer Space

http://www.progarchives.com/artist.asp?id=2045#discography This site has many reviews and info. GO THERE NOW!

---From TFBFOS MySpace---

The band started out in 2001 when Fredrik (bass) and Johan (guitar) both ended up living in Gothenburg, Sweden. Being musicians, having played in the same band before and being friends for a long time, it was inevitable for them to start a band. But it wasn't until Carl (drums) joined in 2002, that things started to take form. Our sound was born. From there on we've been working on refining our sound. We've brought different musicians in to the band, changed locations, excanged equipment, learnt new skills, played and jammed a lot. Now when Petrus (organ) has been with us for some time, we're feeling a stability as a four piece band. He is both creative and skillful and he brings a new feeling to the music. Since we've started to produce our songs in our own studio, the possibilities for more complex arrangements have increased a lot. We are now able to work without paying someone by the hour and we can be more flexible in the writing/recording process.

-----------------Stolen from http://aural-innovations.com/issues/ff.html--------------

First Band From Outerspace

First Band From Outerspace - "Impressionable sounds of the Subsonic" review

First Band from Outer Space, Drahk von Trip, Skyron Orchestra - Café Barbio, Malmö, Sweden 6/16/06 live review

First Band From Outer Space - "We're Only In It For The Spacerock" review

First Band from Outer Space - "We’re Only In It For The Spacerock" review

First Band From Outerspace - "Aboard the Mothership of Cosmic Sound Creation" review

First Band From Outerspace - Demo 2003 review

http://www.myspace.com/firstbandfromouterspace

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Stolen from Transubstans records

http://www.myspace.com/firstbandfromouterspace

Discography
Impressionable Sounds of the Subsonic
We're Only In It For The Spacerock
The guitar is mightier than the gun

vibravoid - distortions

vibravoid - distortions

BEDEMON

www.bedemon.com

People erroneously refer to Bedemon as a side project of the godly Pentagram, but the truth is Bedemon was the brainchild of Randy Palmer and former Pentagram drummer, Geoff O'Keefe, and was a serious full-time entity of its own. A number of badly recorded demos were produced. When Bedemon found themselves without a proper singer, Randy invited Pentagram frontman Bobby Leibling to add his inimitable stylings to these basement recordings. Pretty easy to understand why Bedemon might be labeled a Pentagram side project-- the two bands share a similar sound and aesthetic. Both bands held acts like Black Sabbath, Blue Cheer and Mountain in the highest regard, but still managed to eke out something entirely their own. After Randy Palmer's untimely death in an auto accident in 2002, the bulk of Bedemon's recorded output was reissued in tribute by Black Widow records. Most of this is extremely lo-fi and muddy but the genius of Randy Palmer shines through the muck, and as you may know, anything Bobby Leibling touches is gold. The art was done by Wes Benscotter using some rough sketches found in Randy Palmer's belongings after his death. I really suggest picking this up for the extensive liner notes and photos, it is worth whatever you pay. This one's for you, Palm.

Stolen from http://cosmichearse.blogspot.com/2008/04/bedemon.html

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You can't get more "cult metal" than Pentagram (after all, the group didn't manage to issue a proper studio album during their early-'70s peak), but somehow, Bedemon manages to accomplish this feat. During the early '70s, Pentagram bandmembers Bobby Liebling (vocals) and Geof O'Keefe (drums) were asked by the group's brief second guitarist/horror movie buff, Randy Palmer, if they'd be interested in working on some material that Palmer had penned. The pair agreed, and recorded a few tracks with bassist Mike Matthews circa 1973 and 1974. The tracks were not recorded in a proper studio setting, but rather live at Pentagram's rehearsal space, with Liebling overdubbing vocals and Palmer overdubbing solos. After only three tracks were completed, "Child of Darkness," "Serpent Venom," and "Frozen Fear," Palmer officially joined up with Pentagram (helping co-write one of Pentagram's best songs, "Starlady") before exiting soon after, and O'Keefe following suite a couple of years later. In 1979, Bedemon got back together to record three more tracks, "Time Bomb," "Nighttime Killer," and "Axe to Grind," and again in 1986 (with Pentagram's Greg Mayne taking Matthews' spot in the lineup), when another Palmer composition was recorded, "Night of the Demon," as well as several older tunes. In the subsequent years, Palmer unwisely gave a copy of the Bedemon recordings to a Pentagram fan, who then began selling bootlegs of the material. With interest in Pentagram surging in the early 21st century (when quite a few doom metal bands listed the group as a major influence), Bedemon reunited out of the clear blue in April 2002, and recorded an hour's worth of new material. Sadly, Palmer died from injuries sustained from an auto accident on August 8 of that year. Plans to eventually release the material recorded shortly before Palmer's death soon arose, with singer Craig Junghandel signed on to lend a hand.

Stolen from orexisofdeathblog

http://orexisofdeath.blogspot.com/2007/08/bedemon-invocation-of-doom-1971-1978-us.html

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Download or buy on the internet.............

http://www.myspace.com/bedemon 

http://www.myspace.com/bedemon

WICKED LADY

The Wicked Lady story is one of amphetamines, motorcycles, violence, despair and a wah-wah pedal. Formed in 1968 by Hell's Angels members, Martin Weaver and "Mad" Dick Smith, Wicked Lady cut their crooked teeth playing their brand of heavy psych in smoke-filled biker clubhouses and greasy English pubs. Rumor has it that Martin Weaver was approached by an A&R guy from EMI about signing Wicked Lady, Weaver's response was to beat said A&R guy to a bloody pulp. The Wicked Lady wasn't fucking around. The band's gigs were equally violent, and it was not uncommon for sets to end with "Mad" Dick hurling his drum kit into the audience. But for all this spectacle and barbaric rage, was the music any good? Nope. It was spirited, lo-fi, caveman proto-doom-metal slop, but undeniably anguished and so very fucking real. In a way, Wicked Lady were the Saint Vitus of their time, a brutally real flesh and bone dirtbag band that might have been better if forces like addiction and jail time hadn't impeded their path. Wicked Lady's material is a downer. The lyrics are about war, mental illness, being a rebel, and THE wicked lady, who will apparently "take your soul away." Dark stuff that, like Sabbath, was a far cry from the hippy love insipidness that prevailed at the time. They seem barely able to play their instruments. You can tell that Weaver and company were drunk when they finally got around in 1972 to recording this collection of songs on a stolen 2-track machine. The results are primitive, depressing, and dark, and I think you will agree, absolutely amazing.

http://cosmichearse.blogspot.com/2008/04/wicked-lady.html

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Wicked Lady was a Wild late 60s Tuff Psych Rock trio with blasting fuzzed out wah-wah guitars and Blazing Riffz. The band's liberal use of feedback -- and large biker following -- kept them relegated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970.
Wicked Lady's erratic ways proved too difficult for club owners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.)

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Wicked Lady exemplifies the "record collector" bands that gain new life through reissues: in this case, Kissing Spell's albums The Axeman Cometh and Psychotic Overkill. Their appearance marked some belated recognition for the power trio, which Northampton singer-guitarist Martin Weaver formed in 1968 with drummer "Mad" Dick Smith and bassist Bob Jeffries. However, Wicked Lady never came within a whisper of the stratospheric status attained by Cream, or the Jimi Hendrix Experience. The band's liberal use of feedback -- and large biker following -- kept them relegated to clubs, even during the twilight hours of the psychedelic era. Awash in drink and drugs, Wicked Lady split up in 1970, but Smith and Weaver soon regrouped with new bassist, Del "German Head" Morley. The new lineup duly set about documenting its existence, as captured on Psychotic Overkill -- whose feel is looser than Axeman Cometh. The effect is a shotgun marriage of Black Sabbath-style rifferama, supported by a less risk-taking rhythm section. Weaver's vocal style lacks charisma, but his wah-wah and fuzz-driven guitar style carries the day. The highlights include a bluesy cover of Hendrix's "Voodoo Child," the sex 'n' drugs snapshot of "Sin City," and the howling, 21-minute epic, "Ship Of Ghosts." But Wicked Lady's erratic ways proved too difficult for clubowners, who eventually refused to let them play. (At one gig, the band reportedly played the same song over and over until an irritated management pulled the plug on them.) Wicked Lady imploded in 1972, but Weaver rebounded that same year by joining the Dark, a more psychedelic- and progressive-outfit. Their Round The Edges album became a Holy Grail for collectors -- because only a handful of copies were made for band members and their associates. (Kissing Spell reissued the album in 1991.) Weaver next teamed with classically-trained keyboardist Dave "Doc" Wadley -- who'd worked with a pre-Sabbath Tony Iommi -- in the Mind Doctors. Kissing Spell also reissued On The Threshold Of Reality, an album of laidback instrumental "head" music.Weaver most recently surfaced on the re-formed Dark's Anonymous Days (1996), which featured material written in the 1970s and 1990s. ~ Ralph Heibutzki, All Music Guide

http://greenfuz.blogspot.com/2007/02/wicked-lady-axeman-cometh-1968-72-heavy.html

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DOWLOADLINKS ON THE SITES NOT TESTED, GOOGLE IT OR BUY IT...

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Head on over to the Kissing Spell site and check out what they've got in stock THERE.