Eros, tok sjansen på litt klipp og lim, noe jeg fant på nett

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Stoney  & the Jagged Edge started showing up at Detroit’s celebrated Grande  Ballroom from February 1967. For many, they are remembered as titans of  the early Detroit scene, influencing many local acts with their wild  stage routines and sonic assault. Dave “Stoney” Mazur was the  quintessential Detroit frontman, packing as much energy as Rob Tyner,  sex appeal as Scott Richardson, soul as Scott Morgan or madness as Iggy  Pop. Mazur’s cohorts, in particular adept guitarist Ira Pack,  contributed the visceral soundtrack that ensured the Jagged Edge would  not be quickly forgotten by all who experienced them.
 After they ditched their original manager, the band signed with Jeep  Holland’s A-Square Productions. The tastemaking Holland got them work  beyond the teen clubs, and began work on an album to showcase the  group’s original material, as thoughtful as it was powerful. The tense  atmosphere on ‘Can’t Find The Key’, ‘Rainbows’ or ‘Crystal Rain’ is  anything but predictable. An upward career path – blowing the Doors off  the stage at Cobo Hall, for instance – was cruelly cut short by the  sudden implosion of the original band in October 1968. A year later,  they re-formed for a spate of shows with new personnel, but the magic  was not the same.
 Jeep Holland never did release the Jagged Edge recordings he  produced, although he would play them enthusiastically for anyone who  would listen, stating in public the group was “one of the most fertile  and creative talents that Michigan has ever had”. Thus, Mazur and  company became the stuff of an ever-developing legend amongst their  hardcore coterie of fans and local rock aficionados. An additional  repute as reprobate delinquents contributed equally to the mystique, the  frisson of felony serving only to accentuate the attractiveness of  these exemplary rockers.
 The Chinese whispers of the Detroit rock grapevine had it that the  Jagged Edge tapes had burned in a fire. Indeed, in my previous  excavations of the A-Square vault, the location of these mythological  recordings was a major priority, and a source proved elusive until very  recently. Released as a special vinyl-only edition, “Chasing Rainbows”  is an opportunity to finally hear this major missing piece in the jigsaw  of vintage Detroit psychedelia. What it might lack in fidelity, it more  than makes up for in sheer chaotic power. This very special package  also includes a lengthy interview with Stoney Mazur and as such, is a  long overdue tribute to a Detroit rock’n’roll legend.
 By Alec Palao