Improved Sound Limited - Improved Sound Limited (Ger 1971)

Improved Sound Limited - Improved Sound Limited (Ger 1971)

Formed: 1961, Nürnberg, Bayern, Germany

Members:
* Lothar "Johnny" Fickert (vocals, percussion),
* Axel Linstädt (vocals, guitar, keyboards),
* Uli Ruppert (bass),
* Rolf Gröschner (drums).

Also Known As: The Blizzards, Condor

Tracks :
01. Doctor Bob Dylan
02. Pink Hawthorn
03. Johanna
04. If You Want To
05. Oedipus
06. Fudd McGorges
07. Thingamannalime
08. An Old Army Poem
09. Where Will The Salmon Spawn
10. To My Son
11. Shining brightly in the sun
12. It is you (You Belong To Me)
13. Columbines, Violets And Daisies
14. I Am The Wolf
15. A Well-Respected Man
16. Drunken Mr. Hyde
17. A Soldier's Songbook
18. ...

When IMPROVED SOUND LIMITED recorded their eponymous double LP with the renowned label Liberty/United Artists in 1971 the young Nuremburgers (all born in 1947) already had a colourful musical past behind them...They started, in 1961, with skiffle music and after a modern jazz phase and under the influence of the rising rock scene they settled with rock and pop music. Before this they were called The Blizzards and during their school holidays in August 1965 were German pop singer Roy Black's backing band playing Elvis, Cliff Richard and Roy Orbison songs. When Black recorded "Du bist nicht allein" (You’re not alone) the boys decided he was and took a new direction. The timing, 1966, was perfect as Bayerischer Rundfunk (Bavarian Radio) held a competition called "Meet the Beat" with 80 bands. IMPROVED SOUND LIMITED won and were able to record a single of their winning song "It Is You" b/w "We Are Alone" for Polydor. New doors were opened for the band after winning the rock competition. At the time, society figures often hired rock bands for weddings, which is how IMPROVED SOUND LIMITED met Munich film producer Rob Houwer who put them in touch with director Michael Verhoeven. With a demo presentation the band won a competition to record the soundtrack to his film "Engelchen macht weiter hoppe-hoppe Reiter". The music was released as an LP in 1969 on Cornet. This was IMPROVED SOUND LIMITED’s breakthrough.In the following years they recorded for many other films and in 1969 they released another single on Polydor called "Sing Your Song" b/w "Marvin Is Dead". 10 years after they began their musical careers they released their double LP "Improved Sound Limited" which now appears on CD for the first time (mixing and mastering: Jörg Scheuermann). In a lucid review the Improved musicians were called "Rock Old-timers". This, at first glance disrespectful description of the young musicians turned out with further reading to be a sign of respect. The LP was a stylistic curriculum vitae of 23 year old Rock Old-timers, 10 years live experience in smoky cellars and bars between Bochum and Radolfzell pressed into grooves. A prominent feature of the record production, amazing musical skills aside, was the depth of experience that the band had gained through playing live and in the studio. IMPROVED SOUND LIMITED achieved a perfect blend of spontaneity and creativity together with modern recording techniques: "This album has been recorded with a high level of professional ability". Every note, every word stands on its own: Axel Linstädt wrote the music and his brother Bernd wrote the words. Even the production work, for which bands like the Rolling Stones or the Beatles engage international stars like Jimmy Miller, George Martin or Phil Spector, was done by the band themselves. This is why the sound of the double album, with all its various styles is unmistakable. Music and text are one unit, they compliment and interpret each other and mirror the musicians' consciousness. The individual lyrics deal with issues their authors were concerned with, yet never become pedantic routine but rather rock to listen and to dance to. Maybe it's this profanity with this Improved Music that spontaneously captivates. Only on the third hearing does one realise how much more there is to it.And that is: "five young people's critical reflections on their environment and circumstances through music" (Reiner Weiss, Nürnberger Nachrichten, 20th/21st May 1971). In the newspaper "Münchener Abendzeitung" the then 24 year old head of literature (and later editor-in-chief of "Stern" magazine) Michael Jürgs acknowledged IMPROVED SOUND LIMITED as being in the Anglo Saxon class, praised the unique style as a mark of quality and pondered that if ever there was going to be a rock opera like Tommy in Germany, IMPROVED SOUND LIMITED were the only ones capable of it.Franz Schöler, a famous German rock critic, described the double-LP as "the best German rock production since the Beatles Live LP by Tony Sheridan". In his book "Let it Rock" (München-Wien 1975) he included it in the very exclusive "Discography of Epoch-Making Rock Records 1954-1974".It’s incredible that the band and their double LP were not just positively received in the music press but also in the arts sections of highbrow newspapers. This was going against the grain of German Rock. Rather than play Progressive or Kraut Rock they filtered out their melodic idiosyncrasies and played high quality rock music, timeless and grandiose, a milestone in German rock and pop history. In 1973 IMPROVED SOUND LIMITED released an LP, "Catch a Singing Bird on the Road”, on CBS and 4 years later, as Condor but with the same line-up, another LP "Rathbone Hotel".
~ (from wikipedia).

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Improved Sound Limited - Improved Sound Limited (Ger 1971).rar (170.76 MB)
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Haymarket Square - Magic Lantern (us 1968)

Haymarket Square - Magic Lantern (us 1968)

Formed : Chicago, IL, United States

Related Artists: The Real Things
Genres: Psychedelic Rock

Members:
* Gloria Lambert (vocals)
* Marc Swenson (guitar, vocals)
* Robert Homa (bass, vocals)
* John Kowalski (drums, percussion)

Tracks:
Side One
01. Elevator (Lambert) - 7:06
02. The Train-Kept-A-Rollin' (Bradshaw/Howie/Sydney) - 7:20
03. Ahimsa (Homa/Kowalski/Swenson) - 8:14
Side Two
01. Amapola (Swenson) - 10:43
02. Phantasmagoria (Lambert) - 4:08
03. Funeral (Lambert) - 9:23

Drummer John Kowalski and bass player Bob Homa formed Haymarket Square in Chicago in the late '60s. Both had previously toiled in Chicago high school garage band the Real Things, the name a derivation and tribute to English beat band the Pretty Things. Not your typical amateurs, the Real Things actually played professional instruments and earned professional gigs until they disintegrated in 1967 due to the usual reasons of the season, leaving the two original members to assemble a new unit. Homa decided to place ads in the campus newspaper of the University of Illinois Chicago -- where both he and Kowalski had enrolled by this time -- as well as in two local Chicago dailies. Guitarist Marc Swenson, a 17-year-old lead player who idolized and emulated Dave Davies, was the first to answer and was quickly hired after a short, impressive audition. The three then set about searching for a singer, but were unsuccessful until receiving a call from Gloria Lambert, who had also seen their advertisement. At the time, she was biding her time in the folk band Jordan, Damian, and Samantha until something more exciting (i.e., electric) came along for which she could utilize her classically trained skills. An audition was set, and when the 20-year-old blonde with the powerful Grace Slick voice showed up, the three teenagers were somewhat awestruck and, of course, impressed, and snapped her up immediately. Like Swenson, Lambert also happened to be a strong burgeoning songwriter. The quartet took the name Haymarket Square in honor of the Chicago Labor riot that took place at the turn of the century.
Within a short time, the band had earned a strong local reputation and degree of popularity on the Chicago rock scene, playing premier rooms such as the Electric Playground and the Playboy Mansion in addition to the many teen clubs and hangouts, and sharing stages with important international groups like the Yardbirds and Cream, as well as local favorites H.P. Lovecraft, Saturday's Children, and the Shadows of Knight. Soon they were composing their own songs in imitation of their idols Jefferson Airplane, while also absorbing the city's blues and folk traditions, and adding a smattering of Lovecraftian occult touches. Haymarket Square's escalating stature led to an offer from the Chicago Museum of Contemporary Art in the summer of 1968 to act as backup musicians for a live work of art that was on display at the time, the Original Baron and Bailey Light Circus, produced by a pair of University of Illinois professors. It in turn led to Magic Lantern, released on independent Chaparral Records later in 1968. As the music featured on it was initially utilized as live accompaniment and created expressly with that purpose in mind, the album plays much like the records of the Airplane's middle, most psychedelic period, as much visceral experiences to fill San Francisco ballrooms as they are objects for home listening, or like early Grateful Dead recordings, intended as soundtracks for Acid Tests and experimental light shows. But as with the work of those bands, Magic Lantern transcends its intended purpose; in fact, it is one of the stronger -- not to mention one of the earliest -- slices of acid rock from the era, outstanding in every way, from Kowalski's expert drumming to Lambert's impressive, insistent singing to the intensely mood-filled, darkly textured original songs.
The band changed personnel shortly after the album's release. Homa chose to exit the band and was replaced by Ken Pitlik, while Robert Miller added a second guitar to the mix. This version of Haymarket Square continued through 1974, when they called it quits. By this point, Swenson and Lambert had married, while the others went their own separate ways.
In the intervening decades since its release, Magic Lantern was extensively bootlegged, especially in America and Europe. Finally, at the end of 2001, Gear Fab officially released the first authorized CD reissue of the album in all its original glory, exposing one of the most significant remaining archival finds from the '60s acid counterculture.
~ Stanton Swihart, All Music Guide.
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An Official CD reissue of this brilliant US '60s acid psych album. Trippy wah-wah fuzz guitar, Airplane like male / female vocals and superb, stoned, long jammin' tracks make this one of the best rare US psych albums. The music was recorded as a soundtrack to the Baron and Bailey Light Circus at the Museum of Contemporary Art in Chicago....and it shows!
Originally released on the small Chaparral Records label in 1968, the "Magic Lantern" album by the Haymarket Square has been a sought after collectors item for any fan of 60's psychedelic music for many years. The music on this album was initially used as accompaniment for the Baron and Bailey Light Circus at the Museum of Contemporary Art in Chicago but due to the intensity and psychedelic nature of the songs, it soon became legendary and its initial purpose has become obscured by time. The Haymarket Square was formed in the late sixties in Chicago by drummer John Kowalski and bassist Bob Homa formerly of The Real Things, a Chicago high school garage band. Together with guitarist Marc Swenson and vocalist Gloria Lambert, The Haymarket Square was born and quickly became popular on the Chicago music scene. The band's popularity lead them to be used as back up musicians on a live work of art exhibit at the Chicago Museum of Contemporary Art. The music featured some powerful psychedelic, blues based songs, with heavy percussion, searing lead fuzz guitars and the dynamic vocal work of Lambert. The songs were recorded and appear on this album.The songs of The Magic Lantern, are all originals except for a superb extended cover of the blues standard , The Train-Kept-A-Rolling, shortly after the release of this album the original Haymarket Square line-up broke up. This appears to be the only recording that the band has left and they did not release any singles. Although this album has been bootlegged on the European market a number of times, this digitally mastered version on Gear Fab Records is the only authorized version.
The LP is housed in a gatefold sleeve, which is complete with psychedelic swirls behind the liner notes, making it all very sixties, as it should be. In mint condition commands a price of $2000 in the collectors market.In the intervening decades since its release, Magic Lantern was extensively bootlegged, especially in America and Europe. Finally, at the end of 2001, Gear Fab officially released the first authorized CD reissue of the album in all its original glory, exposing one of the most significant remaining archival finds from the '60s acid counterculture.
~ by nikos1109.
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This Chicago band's album is notable for some catchy drumming and Lambert's powerful vocals. The music on the album was used to accompany the original Baron and Bailey Light Circus at the Museum of Contemporary Art in Chicago. Despite its reissue, original copies remain sought-after. One cut from the album, Amapola appears on Psychedelic Patchwork (LP).
~ Internet Source.

Download Links:
https://rapidshare.com/files/93353344/Haymarket_Square_-_Magic_Lantern__us_1968_.rar

Haymarket Square - Magic Lantern (us 1968).rar (76.98 MB)
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Cosmic Sounds Of Gandharva - Energy (us 1977)

Cosmic Sound of Gandharva - Energy (us 1977, sadhu records)

Rare California Private Press trippy dark Psychedelic Folk with strong moody echoey vocals, Tablas, Guitar and freaky Violin.

Formed: CA, United States
Also Known As: Gandharva, Cosmic Sounds of Gandharva

Tracks:
01. Space Train
02. Divine Mother Heavy Light
03. Brother Man
04. Gonna Be a New World
05. Money World
06. Penniless Minstrel in a Cosmic
07. Stab In The Dark
08. Divine Mother

Cosmic trance/meditation folk. "Energy" is not bad for the genre; a moody echoey soundscape and slightly eerie vibe rather than starry-eyed peace & love ramblings. Acoustic guitars, deep vocals, semi-improvised jammy songs with some crude sound experiments; imagine the Acid Symphony guys 10 years down the line. Brief spoken bit featuring a phony-sounding Indian guru.
~ [PL] http://www.lysergia.com/AcidArchives
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Great private press eastern mystical acidfolk jewel. way deeper/darker than the average ssw private press. twisted mantric lyrics, with amazing use of the acoustic guitar, plus bells, violin, etc. seriously unusual & psychedelic.
~ Internet Source.

Download Link:
https://rapidshare.com/files/2319091292/Cosmic Sounds Of Gandharva - Energy (us 1977).rar

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Emerald City - Waiting for the Dawn (Canada 1976)

Emerald City - Waiting for the Dawn (Can 1976, Hippopotamus HLP 97202)

Formed: Canada

Members:
* Matthew Enright (vocals, guitar),
* George Gardos (bass),
* Patrick Saraceno (drums).

Tracks:
(side 1)
01. Opening Lines (Matthew Enright) - 0:53
02. Rythmn Highway (Matthew Enright) - 3:16
03. Hold Of My Soul (Matthew Enright) - 2:10
04. Sass (Matthew Enright) - 2:20
05. Guiding (instrumental) (Matthew Enright) - 3:22
(side 2)
06. Lonely Lady (Matthew Enright) - 3:03
07. Walk On (Matthew Enright) - 3:22
08. Waiting for the Dawn (Matthew Enright) - 2:22
09. Expressions (Matthew Enright) - 3:42
10. Little Red (Matthew Enright) - 4:48

Mid-1970s Canadian hard rock bands aren't exactly a novel concept. So, on the surface there wouldn't appear to be much to distinguish Emerald City from a slew competitors. The fact that today the band (singer/guitarist Matthew Enright, bassist George Gardos and drummer Patrick Saraceno), is hopelessly obscure would seem to reinforce the contention these guys didn't have much to offer. Wrong, wrong, wrong !!!
Released by the small Canadian Hippopotamus Records, the trio's 1976's debut "Waiting for the Dawn" was recorded in Quebec with Joey Perno and Enright producing. With Enright credited with penning all ten selections, tracks such as the instrumental 'Guiding', 'Hold Of My Soul' and the pseudo-funky 'Rythmn Highway' (sic) offered up an intriguing blend of surprisingly commercial moves and Hendrix-styled guitar. At the risk of scaring some of you off, mid-'70s Frank Marino and Robin Trower come to mind, though it isn't an exact comparison. While Marino and Trower worshipped at the Hendrix alter, these guys kept a respective distance. Among the few complaints, the female backing chorus was occasionally disconcerting ('Hold of My Soul'). One if the biggest surprised I've discovered the last year and an album that regularly visits our turntable.
~ (Badcat Records).
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The guitar revolution of the late '60s & early '70s started by such greats as Hendrix & Clapton inspired many young musicians to play searing, psychedelic and powerful guitar. Matty Enright was just such a guitar player; an up-and-coming 18 year old guitar whiz with a 17 year old drummer, Pat Saraceno who had a style that was perfect for the songs Enright was writing. George Gardos was older (27) and was a musical celeb in Montreal and New York at that time. George had played with one of Montreal’s renowned show bands called Bartholemew Plus Three which later went on to become Energy. Energy’s drummer, Corky Laing, was drafted in 1969 by Felix Papalardi, who was Cream’s producer, to form Mountain. George had jammed with Jimi Hendrix when the original Experience were in Montreal on April 2, '68, to play the Paul Sauve Arena. Jimi had stopped by with his colorful entourage at Energy’s rehearsal studio on Cote des Neiges Street and George Gardos played the bass for the entire marathon jam session that took place. George had been traveling between gigs in Montreal and NYC for a couple of years before he joined up with Emerald City. The original vinyl records of "Waiting for the Dawn" were pressed sometime in '75 and '76. No formal release date, no record launch and absolutely no promotion was ever done. Most of the original vinyl LP’s were distributed at Emerald City's live gigs and that is why they can only be found in the underground record world and with the vinyl record collectors and dealers. Independent record labels also sold thousands of the original vinyl LPs to record distributors in Japan. Emerald City performed live in nine of the ten Provinces of Canada, as well as in a handful of towns in upstate New York. In '96, after much demand, Waiting for the Dawn was reissued on vinyl and distributed in Canada, the USA, the UK and Europe. The supporting vocalists on the original studio LP were two singers who were part of a female Canadian pop vocal trio called Toulouse (Lori Zimmerman and Mary-Lou Gauthier), who had a string of pop hits in the 70’s. Mary-Lou went on to become the most known singing voice on Canadian big retail store advertisements. She also started working as a singer in Celine Dion’s recording and stage band in the 80’s. She is now living in Las Vegas and is still an important singing voice in Celine’s Vegas show band. The keyboardist, Roger Gravel, was a well renowned Canadian Broadcasting Corporation house conductor/arranger. This labor of love was and still is the highlight of Matty's career and holds a very dear place in the hearts of George & Pat as well. Matty deserves at least 80% of the credit, he wrote, sang, played, produced, directed, and generally managed every aspect of Emerald City. These are memories and souvenirs which have no boundaries in time. Who would ever think that Emerald City, Waiting for the Dawn, would make it into any future, let alone a future millennium.
~ www.myspace.com/emeraldcity1975.

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V.A. - Soft Sounds For Gentle People Vol.5

V.A. - Soft Sounds for Gentle People 5

Artist: VA
Title: Soft Sounds For Gentle People 5
Label: PET RECORDS
Format: CD (Item 490220)
Catalog #: PET 008CD

"Far-out treasures from California and beyond 1966- 1969."

Far out harmonies and psyche pop from the mid-to-late 60s -- and another groovy batch of obscurites from the Cali scene and beyond in the Soft Sounds For Gentle People series from Pet Records! The series has only gotten deeper and groovier since the first one came out -- many singles from groups that were recording for the major labels at the time, but the majority of whom are fresh discoveries to us -- and if labels like Columbia, Warner Bros and Capital provided the opportunity for richer sounds and production, it's used to shoot the grooves even further out, without comprising the catchy grooves and sweetly soaring male and female harmonies. 21 tracks in all:

Tracks:
01. Stix & Stonz - Take a Bus
02. The Johnnys - Nothing Sacred
03. Mouse - Look at the Sun
04. The Rainy Daze - Blood of Oblivion
05. People - Ridin High
06. Wells and Fargo - Mother Goose Sonata
07. Things to Come - Hello
08. Roman Chariot - Five Sensations
09. The Delicate Balance - Autumn Wind
10. Bentley Road - Kill the Cobra
11. The Charter Members - All the Worlds Kings
12. The Carnival - The Four Seasons
13. The Phoenix Trolley - When Charleys Doing his Thing
14. Misty Morn - Summer Sunshine
15. Devils Brigade - Dreaming Is
16. The Sandals - House of Painted Glass
17. The Lollipop Fantasy - It's a Groovy World
18. The Flower Pot - Gentle People
19. The Capes of Good Hope - Lady Margaret
20. The 1st Century - Looking Down
21. The Fraternity of Man - Wispy Paisley Skies

You can buy it here:
http://www.forcedexposure.com/labels/pet.records.html

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V.A. - Soft Sounds For Gentle People Vol.5.rar (107.08 MB)
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Beefeaters - Meet You There (Denmark 1969)

Beefeaters - Meet You There (Den 1969, Danish Blues Psych)

Formed: February 1964, København, Denmark

Very Good record, garage with bluesy dark and psych moments, very good wild organ driven!

Members:
* Peter Thorup (vocals, guitar, flute, 1966-69),
* Flemming "Kieth" Volkersen (bass),
* Max Nhuthzhi (drums),
* Morten Kjærumgård (organ),
* Alexis Korner (guitar, vocals, 1968).

Recording information: Copenhagen, Denmark.
H.H. Koltze (Producer)

Tracks:
A1. I'll Meet You There 4:51
A2. You've Changed My Way of Living 4:12
A3. Night Train [Featuring Alexis Korner] 4:26
A4. Now I Know 4:56
B1. Serenade to a Cuckoo 09:58
B2. Stormy Monday [Featuring Alexis Korner] 09:54

A precursor to this band was formed in Copenhagen in early 1964, but their strong orientation towards blues-rock began only with the arrival of Peter Thorup in 1966. In 1967, The Beefeaters played as support band for Jimi Hendrix, John Mayall and Pink Floyd during their concerts in Denmark. Both albums were top-notch "real" blues-rock efforts to file along albums by John Mayall, early Fleetwood Mac and even Cuby & The Blizzards. The first album was, along with Steppeulvene, the most important Danish album of 1967. The Beefeaters weren't entirely blues purists either, they also displayed beat and soul influences. The sound (very well developed for 1967) was largely based on Thorup's talents as vocalist and guitarist, but Kjærumsgård's Farfisa organ (sometimes replaced by piano) obviously augmented the group’s sound. Burnin' Red Ivanhoe was one of many groups who later copied this distinctive organ sound.
~ Taken from Scented Gardens of the Mind.

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Beefeaters - Meet You There (Den 1969, Blues Psych).rar (97.81 MB)
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Hako Yamasaki

Hako Yamasaki - Tobimasu (Japan 1975)

Here's the translated song titles for 'Tobimasu'
Tracks:
01. Nostalgia
02. Wandering
03. Windmill
04. House Across The Bridge
05. Sayonara Bell
06. Bamboo-Copter
07. Invisible Shadow
08. Mood Change
09. Jump
10. Lullaby
11. Male And Female Roomns (bonus track)

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Download linkHako Yamasaki - Tobimasu (Japan 1975).rar (122.1 MB)
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Hako Yamasaki - Tsunawatari (Japan 1976)

Born: May 18, 1957, Hita, Kyushu, Japan
Genres: Folk Pop

Tracklist:
01. Mukaikaze (5:21)
02. Shiroi Hana (5:20)
03. Himawari (3:20)
04. Tenjo (5:34)
05. Help Me (4:20)
06. Hitori Uta (3:42)
07. Harmonica fuki no Otoko (3:37)
08. Tsunawatari (5:36)
09. Utaitaino (4:12)
10. Tanjo Iwai (7:04)
11. Yurusarezaru Koi (5:05)

Something along the lines of Morita Doji, but not quite like her. Don't get me wrong they are both great singers but they differ in voice characteristics a lot. For example Moritas voice is soft while Hakos voice is much more passionate and determined but they are both rooted in melancholic sound in their songs (atleast it sounds like that to me). Musically is also awesome. It has everything 70s music needs (those famous rock organs (if they are called like that :o), electric guitars etc.) but there are also songs that are just acoustic guitars and Hakos lovely desperate voice.
~ by flying-teapot.
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This is a very simple album, which can be taken as either a good or bad thing. The arrangements are straightforward, the singing is lovely, with a fair amount of soul, and traces of sadness here and there, and the guitar work is obviously meant purely for accompaniment, and not as the focal point of the songs. Everything is understated except for the emotionality of the songs, which can often verge on the melodramatic. For me, she seems to lack a certain sincerity to the way she sings, which makes the songs themselves somewhat contrived. As a folk-pop album, it is certainly not bad. But the lack of variation in the song structures, the sleepy feeling of the composition, and the often overwrought vocal delivery become a bit tedious a few songs in. She has a potentially powerful voice, and I wish that she had released more albums. This is still a very fresh and raw album, which is charming in its own way, but I think she could have used a bit more polish and experimentation.
~ by Phthora (RYM).
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Though this is worth having, the problems almost blow it out of the water for me. She gets a little too dramatic and draws a number of the tracks out for too long. Still - she can communicate a sadness which sounds real - probably the reason i find the drama unwarranted - so, dear reader, investigate without expecting some lost Japanese psychfolk gem.
~ by Moondoggieferg (RYM).

Discography:
http://www.st.rim.or.jp/~tokunou/discog.html#tsuna

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Hako Yamasaki - Tsunawatari (Japan 1976).rar (83.11 MB)

MIJ - Yodeling Astrologer (us 1969)

MIJ - Yodeling Astrologer (Aka Color By Numbers) (us 1969)

When MIJ, aka Jim Holmberg was found by ESP, yodeling by the fountain in Washington Square Park, on a hot, summer Sunday afternoon, he explained that an auto accident had fractured his skull and impaired his hearing. But it had also altered his perceptions and enabled him to do things that he did not understand, but which worked musically. The next day ESP sent him into the studio. With Onno Scholtze's help, Mij explored the possibilities of multiple reverb to provide a series of echoes for his yodeling. When the project was completed, both participants continued to reverberate. They may be reverberating still.

Personnel:*
Jim Holmberg (vocals and guitar)

Tracks:
01. Two Stars 3:54
02. Grok (Martian Love Call) 7:03
03. Romeo & Juliet 3:15
04. Little Boy 4:17
05. Lookin' Out Today 3:40
06. Door Keys 4:46
07. Planet of a Flower 4:18
08. Never Be Free 4:23
09. Look Into The (K)Night 8:04

All compositions by Jim Holmberg (Syndicore Music BMI).

Credits:
Recorded in 3 hrs., Jan. 12, 1969 at A-1 Sound, NYC.
Engineered by Onno Scholtze.
Original Jacket design by Baby Jerry.
Original Drawing by Ron Bunzl.
Production Manager: Tom Abbs.
Remastering by Douglas McGregor.
Original cover art from the collection of Gregor Kessler.
Design & Layout by Miles Bachman, Michael Sanzone and Fumi Tomita.
Press Quotes:"One of the more timeless titles in the ESP catalog."
~ Weirdo Records
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"...his music is heartfelt and quite shockingly memorable and no less relevant and fun today as it was almost 40 years ago" ~ Raul D'Gama Rose, All About Jazz
Reviews:Just when we thought all the weird dusty corners of strange and magical sounds had been uncovered from the vast archives of the ESP label, something new to us, shiny and unbelievably wonderful gets unearthed. MIJ is the strangely cryptic moniker of Jim Holberg, (or on second thought not so strange as we just realized, it's his name spelled backwards!) who was discovered in Washington Square Park on a hot summer day in 1969 yodeling and playing guitar by ESP label head Bernard Stoller. But this wasn't any country western or Swiss Alps yodeling, this was some freaked out high-keening spacey Martian kind of yodeling. The kind that cuts through time and space and penetrates your subconscious. Blown away by his street performance, Stoller invited Holberg into the studio the next day to record a full length album and in just three hours with an array of echo effects and a patient and agreeable engineer, the Yodeling Astrologer was born. Apparently Holberg had explained to Stoller that after being injured in an auto-accident that had fractured his skull and impaired his hearing, his perceptions became altered and he began to do things musically that he couldn't comprehend but they somehow worked, and indeed they do. With both voice and guitar reverbed to the nth degree, this is some Donovan meet Dreamies meets Curt Boetchner of The Millenium psych-folk magic. So awesome and beautiful, weird and dreamy, with well-written songs and just enough freaky yodeling that won't scare off the folks who might be put off by the concept of, well, freaky yodeling. We've been playing this nearly everyday, it's so good.
~ By Aquarius Records
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“Yodeling Astrologer” (aka: Color By The Number) could be considered an anomaly, a one-off or a miracle of circumstance in the history of psychedelic pop music. Mij, a.k.a. Jim Holmberg was discovered by ESP owners while playing in Washington Square Park in the summer of 1968. His style and persona mesmerized the label heads, and he explained to them a recent auto accident had fractured his skull but left him changed. He perceived sound, color and vision differently and he had funneled this new world of perception directly into his music.All this was enough to warrant getting Mij into the studio to lay down a record of his rambly, cosmic folk songs. The entire album was recorded in three hours, first-takes and impromptu production intact, then pressed up and introduced to the world shortly thereafter.To focus on the yodeling aspect of the Yodeling Astrologer would miss some of the depth of this album. Not just a hippie novelty act of the time, this is a truly thoughtful and somewhat frenzied document.Like Buffy St. Marie’s “Meditations”, Linda Perhacs’ “Parallelograms” or “Cold Fact” by Rodriguez, this is an album of sincere folk songs colored with subtle psychedelic touches. Uneasy reverberations and soft echoes glide over Holmberg’s breezy songs, creating a consistent sonic environment as spontaneous as it is intriguing. Available on vinyl for the first time since an incredibly limited original pressing in 1969 on ESP Disk'.
~ Internet Source.

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Autumn Breeze - Höstbris (Swe 1979)

Autumn Breeze - Höstbris (Swe 1979)

Formed: 1972, Arvika, Värmland, Sweden
Disbanded: 1979 //

Members:
* Birgitta Nilsson (vocals, percussion),
* Gert Nilsson (guitar),
* Leif Forsberg (vocals),
* Tomas Andersson (drums, percussion),
* Krister Hildén (bass),
* Kenneth Halvarsson (bass, clarinet, saxophone),
* Gert Magnusson (flute, saxophone, guitar, vocals),
* Lennart Olsson (drums, percussion),
* Jan-Anders Warnquist (keyboards),
* Peter Jansson (bass)

Releases information: LP
Records: BG (OR-L26)
Studio Album, released in 1979

Tracks:
Side-A (19:10)
01. Höstbris (5:50)
02. Ugglans Nattvisir (3:40)
03. Suite (4:10)
a) Arterios Kleros
b) Mirage
c) Seagull
04. Falsk Ouverture (2:40)
05. Finalen (2:50)

Side-B (20:00)
01. Um Mani Padme Hum (5:10)
02. Jordnära (5:20)
03. U P A (3:00)
04. Den Stora Visionen (3:50)
05. Våren (2:40)
Total Time: 39:10

Autumn Breeze biography:
When the term Progressive Rock is in the same phrase with the word Sweden, I always try to search more, because nobody captured the original spirit of Progressive Rock after the pioneers like the Swedish bands.Sadly finding music and even reliable information about AUTUMN BREEZE is a hard task compared with the most famous bands like Anglagard, Par Lindh Project or the Flower Kings but after a long search I was able to put my hands in "Höstbris" and wasn't disappointed at all.The band was formed in the late 70's in Sweden by Birgitta Nilsson as the main vocalist, Gert Nilisson in the guitar, Gert Magnusson in the flute, the multi instrumentalist Kenneth Halvarsson who plays bass, clarinet and saxophone, Lennart Olsson in the drums and the excellent Jan-Anders Warnqvist in the keyboards, group of musicians who combined the slow melancholic sound of Camel with the creativity of Genesis adding the excellent voice of Brigitta as the final oneiric touch.
The sound is pleasant and well elaborated but seems as something is missing and of course the lyrics in Swedish didn't helped them to get international recognition. An urban myth that I'm not been able to verify says that they all met when playing in a resort center.Their only album "Höstbris" was released in 1979 by Örecords without a great commercial success, after this point the history of the band is even harder to find, for our good luck, Tachika Records from Japan released "Hostbris" in CD format, so probably soon will be available in a more commercial label.For progheads interested in lush and pompous music probably will be a bit slow but for the ones who love melodic and soft Symphonic with brilliant flute interludes and atmospheric guitar, this is your band.
~ Iván Melgar Morey - Perú.

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Autumn Breeze - Hostbris (Swe 1979).rar (76.12 MB)
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Edward R. Morgan - The Ministrelsinger (1977 AAR 5050, LP)

Edward R. Morgan - The Minstrelsinger (1977 AAR 5050, LP)

Produced by: Heinz Ulm
October 1976

with:
* Edward R. Morgan
* Mark Paffrath
* Dan Lizdas
* James P. Yorgan
* Peter Klimek

Tracks:
01. Musica Supremus
02. The Minstrelsinger
03. Looking for a Lover
04. Monika
05. This Afternoon
06. Valley of Shadows
07. Midnight Train
08. Yesterday Night
09. Lullaby
10. In the Doorway
11. The Clouds Are Rolling Away

All words and music by Eward R. Morgan, all titles published by helm-music

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Edward R. Morgan - The Ministrelsinger (1977 aar lp).rar (54.33 MB)
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Hoover - Hoover (us 1969)

Hoover - Hoover (us 1969)

Artist: Hoover
Title: s/t Formats Issued: Vinyl LP
Country: US
Release Date: 1969
Label: Epic Records - BN 26537
Comment: yellow label
Genre: Psych

* Producer: Chuck Glaser
* Musician: Hoover
* String and Horn Arrangements: Bill Purcell
* Arrangements: Hoover and Chuck Glaser
* Engineering: Neil Wilburn

Tracks:
A1. I'll Say My Words 4:12
A2. Leave That for Memories 3:07
A3. Kommst Du noch mit dir (come with me) 2:52
A4. That's How a Woman's Pose to be 2:58
A5. Free To Run Free 3:39
B1. All That Keeps Ya going 2:23
B2. I'm Not That Kind of Man 3:12
B3. One Man's Family 2:02
B4. Games 3:01
B5. Theme From Tick, Tick, Tick (Set Yourself Free) 6:37

Willis Hoover was born in Jackson County, Missouri and raised in Lamoni, Iowa and Shenandoah, Iowa. After starting out as a coffee house folk singer as a teenager, Hoover moved to Nashville in the 1960s and became a songwriter. His songs were recorded by Tina Turner, Eddy Arnold and country music outlaws Tompall Glaser and Waylon Jennings. He won an ASCAP Award for music written for the motion picture, "...tick...tick...tick..."
After losing or forgetting his first name, Hoover became a recording artist for Monument Records, Epic Records, and Elektra Records in the late 1960s and early 1970s. His recordings for Elektra were released in 2003 by Kinky Friedman's Sphincter Records label.
After retiring from the music industry, Hoover became a writer. He had "Picks!" published in 1995 and "North Shore" in 2005.
~ by Wikipedia.



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Storyteller - Storyteller (uk 1970 folk-rock)

Storyteller - Storyteller (uk 1970 folk-rock)

Members:
* Caroline Attard (vocals),
* Terry Durham (vocals),
* Mike Rogers (vocals),
* Rodney Clark (bass/vocals)
* Roger Moon (guitar/vocals)

(RIP: Caroline Attard)

*Guests: Harry Beckett
*Producer: Andy Bown, Peter Frampton
*Technical: Jerry Boys

Tracks:
01. Floor Of The Park
02. Man In The Passage Song
03. Alice Brown
04. The Lake
05. Ginger Bread Man
06. Over The Hills
07. Story
08. First Week In January
09. Has Been
10. Morning Glow
11. Ballad Of Old Three-Laps
12. Song For Buster
13. Love's A Blind
14. Night Games (Bonus)
15. Bosworth Field (Bonus)
16. Laugh That Came Too Soon (Bonus)
17. Beautiful Affair (Bonus)
18. Wolf In The Water (Bonus)
19. Fall In All Directions (Bonus)

Comments:
Around 1969, Caroline Attard moved to a new band that was being formed, Storyteller: Their first album, Storyteller was produced by Andy Bown and Peter Frampton. This album has been reissued on CD, with 6 bonus tracks (they're really taken from their 2nd album, More pages).After the 1st album, Rod Clark leaves Storyteller, being substituted by Chris Belshaw:Their 2nd album, More pages, was produced by Andy Bown alone. It contains the contribution of Henry Spinetti on drums who was to join the band, and Harold Beckett on trumpet and flugelhorn.Now with Henry Spinetti, this is the new lineup in 1971:But the band finally parted ways in that same year 1971.Around that time, Caroline married to Andy Bown, and she became Carolyn Bown.
[CD reissue contains 6 bonus tracks, taken from their 2nd album, More pages. That´s why in the reissue we can find later members such as Chris Belshaw (bass/vocals), or Henry Spinetti (drums)]
~ by musiciansolympus.blogspot.com.
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This UK folk-based quintet released their debut album in 1970. The album was produced by two former members of the Herd, Peter Frampton and Andy Bown, the latter of whom maintained his association with the group as a songwriter and auxiliary member. Rogers was replaced by Chris Belshaw prior to the release of Empty Pages. A further acolyte from the Herd, drummer Henry Spinetti, contributed to this promising album, but Storyteller broke up soon after its completion. Attard, a former singer with pop duo the Other Two, later appeared, alongside Belshaw, on Bown's Sweet William collection.
~ Internet Source.

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