Quintessence - In Blissful Company (uk 1969)

Quintessence - In Blissful Company (uk 1969)

Formed: 1969, Notting Hill, London, United Kingdom

Members :
* Raja Ram [Ron Rothfield] (vocals, flute, bells, chimes, percussion),
* Shiva Shankar Jones [Phil Jones] (lead vocals, keyboards, hand drums, percussion, 1969-72),
* Alan Mostert (acoustic & electric guitars, bass),
* Maha Dev [Dave Codling] (rhythm guitar, 1969-72),
* Sambhu Babaji (bass, acoustic guitar, Jew's harp),
* Jake Milton (drums, percussion),
* Mike (sitar),
* Surya (tamboura).

Related Artists:
Phil Jones & the Unknown Blues, Kala, Shiva's Quintessence

Genres: Psychedelic Rock, Raga Rock

Tracks:
01. Giants (4:37)
02. Manco Capac (5:17)
03. Body (3:34)
04. Gange Mai (4:00)
05. Chant (3:02)
06. Pearl and Bird (3:57)
07. Notting Hill Gate (4:38)
08. Midnight Mode (9:15)
Bonus Tracks:
09. Notting Hill Gate [Single Version](2:31)
10. Move into the Light (3:26)

This underground group was formed in response to an advert in 'Melody Maker' and after auditioning had been held in All Saints Hall, Notting Hill Gate. The guiding lights were Raja Ram (who'd been born Ron Rothfield in 1940 in Melbourne, Australia) and Sambhu Babaji.Their music was a fusion of jazz, rock and Eastern music which made great use of jazzy flute and rock guitars. At times they veered towards the pretentious but at their best they were able to achieve a high degree of spiritual union with their audience through the chanting of mantras.In Blissful Company was recorded a few weeks after their formation following their rapid success in getting the audience to their feet at consecutive Implosion underground events at the Roundhouse in 1969. The self-titled Quintessence followed the next year. Very much a period piece it hasn't aged well. The opening track, Jesus, Buddha, Moses, Gauranga has a haunting quality and several other cuts like High On Mt. Koilash, Shiva's Chant, Moho Mantra and the finale, Infinitum are based around mantras and achieve a spiritual feel. Of the remaining material Burning Bush contains some good fuzz guitar and Prisms exudes an aura of freshness and optimism. The remaining cuts are rather tedious, mostly instrumental freak-outs.Dive Deep is generally less spiritual (the exception being the final track Sri Ram Chant). It's comprised of pleasant, predominantly instrumental longer tracks (six in all), of which the title cut and Sri Ram Chant sound the best. Much of the material is too self-indulgent.They can also be heard playing Jesus, Buddha, Moses, Gauranga on Bumpers; Dive Deep on El Pea and Gungamai on Nice Enough To Eat.Shiva and Maha Dev left after the partly live Self album. Shiva went on to form the similar Kala.
~ by Tapestry of Delights.
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Progressive rock meets Eastern enlightenment. Formed in April 1969 by Raja Ram in Ladbroke Grove, Notting Hill, London. They played a hybrid of jazz, progressive rock and Indian Music. The original line-up included Shiva Jones (voice, keys, percussion), Raja Ram (flutes, percussion), Sambhu Baba (bass, guitar), Maha Dev (guitar), Allan Mostert ((guitar), and Jake Milton (drums, percussion). Quintessence were tagged a 'spiritual' band and were playing new age rock before the term was born. Although their evangelism in retrospect might seem to be a bit over the top, the music retains its beauty created by some highly individual souls.A short extract there from: ~ http://www.mooncowhq.ch/Quintessence/index.htm
Do not worry if the evangelism mentioned puts you off, there are plenty of exciting psych guitar parts on this. If you like sitars & flutes combined with blistering guitar then you will like this. Personally I really like (at the very least) their first three albums.
~ by ZaXXoN.
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Standing in the shadow of bands like Floyd or Procol and emerging in the late sixties hippie underground scene heavily inspired by Indian culture this wonderful band has been all too often overlooked and underestimated. But in some way they had been far ahead their times in what they were doing and might be considered highly influential for what would be known many years after as world or new age music (as Chris Welch, busy for MM in those days pointed out in his liner notes for the CD re-release). In fact those guys had been brought together by an announcement in Melody Maker magazine and lead vocals of Australian born Phil Jones (aka Shiva Shankar) as well as the delightful flute play of Ronald Rothfield (aka Raja Ram) should become characteristic for their sound. The line-up had been completed by Alan Mostert on lead guitar, Dave Codling (aka Maha Dev) on rhythm guitar, Sambhu Babaji playing bass and Jeremy “Jake” Milton on drums. Soon after their foundation the band signed to Island Records later better known for hosting bands like Jethro Tull for example. Picking up eastern influences in the music of the “Fav Four” inspired by Harrison’s India trips and reinforcing the general fashionable trend of late sixties psychedelic bands they created a kind of perfect “quintessence” of western pop/rock/jazz and Indian raga music. Though they’ve been mainly attracted by Hinduisms also spiritual influences by Buddhism and Christianity can be found in their songs. During their heyday they managed to fill places like the Royal Albert Hall with their splendid concerts and they also played at the prestigious Montreaux Jazz Festival.
The balance between east and west in their music used to be shifted more in favour of western influences making it quite approachable for people being not that much familiar with Indian classical spiritual music. This applies even stronger in the case of their remarkable debut from 1969 here in review. In fact there’s only one traditional chant on here with track no. 5 titled not so imaginatively as such. The opener "Giants" presents a nice blend of song-based Indian flavoured psychedelic pop and some more jam-oriented elements and one can easily imagine that this song might have inspired contemporary bands like Ozric Tentacles as well as some more commercially directed one like Cornershop, Kula Shaker and so on. In “Manco Capac” Raja Ram’s shiny flute play comes into action and this track offers in particular a great bluesy break by Alan Mostert. “Body” comes closer to hard rock territory in terms of the guitar sound but nicely balanced by Shiva’s vocals and Raja Ram’s flute as well as some occasional keyboards (which were usually only sparsely present in their music). One can imagine a mix of Cream and Tull here. Revealing stronger eastern touches "Gange Mai" is a more playful and highly rhythmic track getting into a type of repetitive, hypnotising mood especially due to the vocals and the flute. But there’s as well a lot of rock to be found here. “Chant” has droning sitar tunes and combines a “Hare Krishna” routine with an old English carol making up to a wonderful unification of eastern and western spiritual culture. In "Pearl and Bird" Shiva presents his strongest vocal performance on this record revealing an extraordinary range of his voice. "Notting Hill Gate" which had been released as well as a single quite reminds to what Jade Warrior did on their first two albums one or two years after with the difference of sitar added here. The original edition had been concluded by the ambitious track "Midnight Mode" starting with some chanting followed by an extended flute solo and some guitar jamming. It finally fades out with some continous heavy drone. That one together with “Chant” is certainly the least accessible track on here. The CD re-issue contains as bonus the single version of "Notting Hill Gate" and its B-side “Move Into The Light” sounding very commercially though and not really worth mentioning.
Though probably being not really an essential one in Prog “In Blissful Company” should be considered an excellent debut of an usually forgotten band that combined religious and spiritual influences with psychedelic and early progressive rock music in a highly appealing (at least for me) and approachable manner. Certainly this kind of music will not appeal to everybody – rock fans might find it to esoteric and for puristic followers of raga prog it will probably sound too poppy. Nevertheless I think this band (especially their first two albums) should not be dismissed by anyone who doesn’t mind some eastern flavour in his Prog.
~ (Dieter Fischer).

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Jade - Fly On Strange Wings (uk 1970)

Jade - Fly on Strangewings (uk 1970)

Formed: 1970, City of Westminster, Greater London, United Kingdom

Members:
* Marianne Segal (vocals, guitar, percussion),
* Dave Waite (guitar, bass, backing vocals),
* Rod Edwards (keyboards, bass, backing vocals)

Related Artists:
Edwards Hand, Dave Waite & Marianne Segal

Also Known As: Marian Segal With Silver Jade

Genres: Folk Rock

Tracks:
01. Amongst Anemones 3.53
02. Raven 2.35
03. Fly On Strangewings 4.27
04. Mayfly 3.33
05. Alan's Song 3.17
06. Bad Magic 3.18
07. Clippership 2.46
08. Five Of Us 4.06
09. Reflections On A Harbour Wall 2.32
10. Mrs Adams 3.27
11. Fly Me to the North 3.22
12. Away From The Family 4.48
13. Sepember Song Live 2 [Bonus] *
14. Big Yellow Taxi [Bonus] *
15. Carolina In My Mind [Bonus]
16. Chicago Radio Spots [Bonus]

- Fly on Strangewings was reissued on CD in 2007, with both sides of an unreleased 1971 single (on which John Wetton plays bass) added as bonus tracks.*

This little known UK Folk Rock classic released in the early '70s. Issued in England under the band name "Jade", it's a fantastic album featuring the Sandy Denny like vocals of Marian Segal. Orchestrated, melodic songs, powerful folk rock with electric guitar harpsichord, and soaring vocal harmonies, this has to be up in the top ten UK folk rock albums of the period.
‘There is enough that is strange and beautiful on this first album to indicate that Jade have talent… The lyrics avoid many of the usual cliches and, I should imagine, spring from deeply-felt personal experiences, but musically some of the songs are not as strong as they might be’
~ Melody Maker, 1/8/70
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Jade was one of the most popular UK folk/rock bands of the early 1970's. Folk duo Marianne Segal and Dave Waite toured the late' 60's folk clubs of the UK with the likes of Sandy Denny, The Strawberry Hill Boys (later the Strawbs) Bert Jansch, John Renbourn, The Dransfields, John Martyn, Ralph McTell and other such luminaries of the UK folk circuit. They signed to Dick James Music and under the guidance of producer Jon Miller became Jade, with the addition of keyboardist/bassist and arranger Rod Edwards. In 1970 they recorded their sole album and singles with a the help of a glittering array of talent including Pete Sears (Les Fleur De Lys, Sam Gopal's Dream, Jefferson Starship) John Wetton (King Crimson, Family) Terry Cox (Pentangle) Jimmy Litherland (Colosseum) Michael Rosen (Eclection, Fotheringay) Clem Cattini (Rumplestiltskin The Ivy League) Pete York (Spencer Davis Group, Hardin and York) and Mick Waller (Rod Stewart). "Fly On Strangewings" was released in 1970 under in both the UK and the USA - where it was issued under the name Mariannne Segal and Silver Jade. It received rave reviews and comparisons to Sandy Denny and Fairport Convention. A short tour of the USA and UK plus appearances on Disco 2 (A forerunner of The Old Grey Whistle Test) were part of Jade's short but productive life, before internal pressures split the band in the summer of 1971. Now over 30 years later Jade's sole album is regarded as one of the best albums of the '70's UK folk rock movement. Unknown by many collectors it ranks along with The Trees' "On The Shore" and Mellow Candle's "Swaddling Songs" as one of the great underground albums of the era. Poorly promoted and tragically underexposed original UK copies of the album now sell for hundreds of pounds. Tight electric guitar work harpsichord and violin are blended with breathtaking string arrangements and soaring male/female vocal harmonies. A beautiful production encapsulates the bands vision of a rustic folk/rock idyll wherein the American West Coast hippy dream is enshrined in a pop vision of Constable's Olde England.Highly sought after by collectors Lightning Tree Records are proud to announce the official reissue of Jade's "Fly On Strangewings".
"Fly On Strange Wings" was Melody Makers album of the month when released in 1970. 30 years later it appeared in the UK's Mojo Magazine as one of the top ten UK folk rock albums of the '70's along with Fairport Convention's "Leige and Leaf". Now at last it is widely available to be afforded the classic status it deserves.
~ Official Press Release.
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While Jade's only album is decent early-'70s British folk-rock, its similarity to the material that Sandy Denny sang lead on with Fairport Convention is so evident that it's rather unnerving. Marian Segal sounded more like Denny than any other British folk-rock singer of the time did, and the songs mixed rock music, more traditional British Isles folk melodic and lyrical elements, and stirring contemporary singer-songwriter rock in much the same way that Fairport did in their WHAT WE DID ON OUR HOLIDAYS and UNHALFBRICKING era. The difference is that Jade had a little more of a pop influence than Fairport, occasionally using orchestration, and less of a traditional folk one at that. Of course, whereas Fairport split up the lead vocals among several members, Marian Segal takes almost all of them here, though the good amount of vocal harmonies, again, can't fail but to recall early Fairport.
~ Internet Sources.

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Jade - Faces of Jade (us 1970)

Jade - Faces of Jade (us 1970)

Formed: Cincinnati, OH, United States

Members:
* Jim Aumann (keyboards, vocals),
* Randy Morse (guitar),
* Tim Nixon (drums, percussion),
* Nick Root (bass, vocals)

Tracks:
01. Prelude Willow's End 6:42
02. Blue Ways 3:23
03. Well 2:24
04. We (Got to Make It Through) 4:00
05. My Mary (More Than Ever) 2:41
06. My Honey 2:26
07. Rest of My Life 3:13
08. All Alone 2:09
09. Flying Away 2:23
10. Wait Till I Come Home 3:53

It`s late 60s Brit-psych/pop of the McCartney/Roy Wood variety transplanted to 1970s Cincinnati, serving up plenty of innovation, fun and a fair amount of label $$$ on hand. Opens with dreamy psych mini-epic that recalls the 2nd Fallen Angels album, the rest holds a middle ground between London`68 and the clever pop that Ohio would become famous for, leaving the listener to decide if this is a late 60s lytepsych LP or in fact an Anglo-retro 70s trip. Lots of piano, "Penny Lane" fanfares, high-pitched teen harmonies and unexpected studio tricks. " Cincinnatti`s Jade were another one of those elusive early 70`s psychedelic acts who left behind only one private pressing before vanishing into the mist. Virtually nothing is known about the band, but collectors have been swarming record fairs and pillaging eBay for years in the hopes of snagging this relic. So does the album live up to its hype? Mostly, yes...
Considering the modest budget of such a DIY undertaking in 1970, the mix is well done and the material is very well constructed. Blending the Beatles, Blossom Toes and a number of other pop/psych acts of the era, Jade create a formidable aural tapestry. With slight folk leanings, each track breezes along quite nicely throughout the duration of the album. The engineering trickery in places here are subtle reminders that Jade were foremost Beatles influenced. Perhaps the strangest track is "My Mary" which is absolutely mindblowing. This ingenius piece of music features backwards accompaniment along with warped vocals that sound deceptively reversed but are actually sung forward. The outcome is like a bent merry-go-round, wobbling in circular motion while the seasick vocals spill out over the arrangement. It`s truly a sound to behold. The rest of the album is mostly just as satisfying and any lovers of quirky psych will find alot to enjoy in "Faces of Jade".
~ Robots For Ronnie.

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Paul Hibbets - Childhood Dream (us 1974)

Paul Hibbets - Childhood Dream (us 1974)

Members:
* Paul Hibbets (vocals, guitar, percussion),
* Mike kizziah (keyboard, vocals),
* Brent Hubbard (lead guitar, vocals),
* Zane Nicholson (bass guitar, vocals),
* Mark Vinson (drums, percussion).

Tracks:
01. How to Love You 5:12
02. On The Way Back Home 2:54
03. Resurrection Perfection 4:44
04. A Better Day 3:49
05. Glory Lady 2:46
06. Love God’s Little Children 3:55
07. Manifestations 2:12
08. Echoes 3:49
09. Donna 5:00

Paul Hibbets hailed from Rome, Georgia and had a childhood dream to release an album by the time he was 25. The resulting Private pressing album, originally released in 1974, is a superb slice of dreamy Christian folk/psych rock with fuzz and keyboards and has been favourably compared to Azitis and Joe Peace.There is plenty of huge swirling organ reminiscent of Focus especially on “How to Love You” and “Resurrection Perfection”. That West coast country Allman Brothers / CSNY feel on “On The Way Back Home” and “A Better Day”. However there is a strong commercial folk rock feel throughout which would have provided some good AOR FM plays with “Glory Lady”, “Echoes” and especially the excellent Doobie Brothers influenced “Manifestations”. There are plenty of fuzz licks and breaks throughout and especially on the standout track “Love God’s Little Children”. The musicianship also has a high degree of consistency throughout and these factors all add up to make this album stand out as one of the very best Christian rock albums.
~ Internet Source.

It is presented here for the first time on CD.
As with all Erebus Records titles this was remastered at the legendary Abbey Road Studios.

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Bread Love And Dreams - Amaryllis (uk 1971)

Bread, Love and Dreams - Amaryllis (uk 1971, Folk)

Formed: 1969, Edinburgh, Scotland, United Kingdom
Disbanded: 1971 //

Genres: Progressive Folk

Members:
* David McNiven (vocals, guitar, flute, mouth-organ, keyboards),
* Angie Rew (vocals, guitar, flute, percussion),
with:
* Alan Trajan (piano, organ, keyboards),
* Phil Grieve (jaw harp),
* Dave Richmond (bass guitar),
* Danny Thompson (bass),
* Terry Cox (drums).

Producer: by Ray Horricks
Engineer: by Derek Varnals
Cover painting: by "knox"

Tracks:
01. Amaryllis, Pt. I: Out of Darkness and into Night
02. Amaryllis, Pt. II: Zoroaster's Prophecy
03. Amaryllis, Pt. III: Light
04. Time's the Thief
05. My Stair-Cupboard at 3 A.M.
06. Brother John
07. Circle of Night

On Bread, Love and Dreams' third and final LP, their approach hadn't changed much since their 1969 debut album, aside from expanding the production some and getting into more ambitious song structures. It still hovered between British folk and British folk-rock, and the genteel pleasantry had an acoustic guitar base, but was sometimes embellished by added instruments like organ, electric guitar, and percussion. The big adventure on this outing was "Amaryllis," a suite of songs that took up all of side one. It sounded much like their other work save for the length and the fairly inscrutable lyrics. It was delivered and constructed in a manner suggesting an epic and/or a journey, yet ultimately in such a vague and impressionistic manner as to be impenetrable as to its specific intention. Side two went back to separate, more standard-length songs, and this worked better, with "Brother John" the most haunting piece on the record. At times, as on "Circle of Night," there's a resemblance to some of the work of Bert Jansch and Pentangle, though the similarity isn't incredibly strong. Ultimately it was pleasant but unmemorable U.K. folk with a few pop and rock touches, the songs sometimes seeming to be trying to bite off more than they could chew in their wrestling with abstract and philosophical images and stories.
~ Richie Unterberger.
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Amaryllis is the third and final album by the Edinburgh-based duo of David McNiven and Angie Rew. It was recorded simultaneously with their classic album with the long title The Strange Tale of Captain Shannon and the Hunchback From Gigha. By the time they entered Decca's West Hampstead studio for five days in the summer of 1970, they had enough material to fill two albums, so Captain Shannon were concieved as a double LP. For the sessions, Danny Thompson and Terry Cox of Pentangle joined the duo.Decca baulked at the cost of issuing the albums together, however, so they were separated, with Captain Shannon appering first, in november 1970. Though it recieved warm reviews, when it didn't sell, the label barely bothered to release Amaryllis at all."When it came to deviding up the songs, we decided to put the more mystical songs on Amaryllis", says David McNiven. It also included the 22 minutes long epic title track on the entire a-side of the LP. "It was about the earth being destroyed, but something positive emerging from the calamity", David explains.When it finally was rereased in july 1971, the press was again enthusiastic, but Amaryllis was damned by lacklustre publicity and poor distribution, and when it didn't sell, Decca droped the duo.Amaryllis is now one of the mot sought after psych albums and essential for all fans of psychedelic singer-songwriting.
~ Internet Source.

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Man Made - Man Made (Canada 1971)

Man Made - Man Made (Can 1971, psych)

Formed: Montreal, QC, Canada

Members:
* Billy Ledster (vocals, electric piano),
* Jean Ranger (organ, synthesizer, backing vocals),
* Richard Terry (bass, backing vocals),
* Claude Roy (drums),
* Roger Walls (horns, flute),
* Michel Como (vocals),
* Denis Como (drums),
* Gille Beland (drums),
* Rejean Benjamin (drums),
* Bob Baines, Jerry Mercer (drums),
* Glen Higgins (guitar),
* Gerry Bribosia (guitar),
* Garry Beattie (guitar)

Related Artists: April Wine, Illustration

Media: LP
Label: GOOD NOISE
Release Number: GN5001

Tracks:
A1. Man Made 19:54
B1. Carnival 5:08
B2. Reflections 3:00
B3. Evolution 3:10
B4. Keep on Moving 2:15
B5. Country Company 2:30

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East - East (Japan 1972)

East [JPN] - East (Japan 1972 remastered Album)


This band of Japanese exiles released just one album, which first appeared in 1972 and makes its long-overdue CD debut here. A melodic and musicianly set featuring Japanese instruments such as the shakuhachi, koto and taisho-goto alongside the traditional trappings of Western rock and roll, it's a hugely enjoyable collection that will appeal to all fans of Easterntinged psychedelia.


Tracks:
(side 1)
01. Beautiful Morning (Ruese Seto) - 2:50
02. Me (Ruese Seto) - 3:46
03. Geese On the Road (Gen Morita) - 2:40
04. She (Ted Yoshikawa) - 2:25
05. Lumberer Moses (Ruese Seto) - 3:40
06. Deaf Eyed Julie (Ruese Seto) - 5:16
(side 2)
01. Black Hearted Woman (Ruese Seto) - 3:23
02. Call Back the Wind (Ruese Seto) - 4:35
03. Jar (Ruese Seto) - 3:04
04. Everywhere (Ruese Seto) - 4:22
05. Shin Sorllan (instrumental) (traditional) - 2:24
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Easily one of the coolest acts Capitol Records signed in the 1970s (and one of the least known), East was a five piece Japanese rock band.

Featuring the talents of :
* Fumio Adachi - drummer,
* Noboru Asahi - bass player,
* Gen Morita - multi-instrumentalist,
* Ruese Seto - singer/guitarist, and
* Ted Yoshikawa - multi-instrumental,
you've got to wonder how the group ended up signed by Capitol. Judging by their terrific 1972 self-titled debut you also have to wonder how Capitol missed the opportunity to turn these guys into international stars.
With Seto handling most of the writing chores (Morita and Yoshikawa each contributed one song), this wasn't a Japanese rock album, rather it was an American rock album with occasional Japanese influences. Those influences ranged from early-1960s folk ('Lumberer Moses') to late-1960s West Coast psych ('Beautiful Morning'). The distinction was more than simple semantics since these guys had clearly absorbed more than their share of US culture. I've played this one for dozens of friends; all of them amazed to discover the band's nationality. As lead vocalist Seto was quite impressive. Not only was his English flawless (the liner notes indicated he learned it traveling in India), but he had a voice that was dynamic and instantly likeable. The rest of the band were equally talented, effortlessly shifting gears between traditional Japanese instrumentation and straight ahead rock. Drummer Adachi and bassist Asahi were especially good.
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- 'Beautiful Morning' opened the album with a mesmerizing slice of folk-rock (emphasis on the rock component). Complete with lots of strummed acoustic 12 string guitars and an occasional touch of Japanese instrumentation for color, imagine the Kingston Trio had they ever decided to record a slice of psych-rock and you'll get a feel for this one. Easily one of the album highlights. rating: ***** stars
- 'Me' was an interesting attempt to merge West Coast psych moves with Japanese instrumentation. The result was a surprisingly trippy mid-tempo ballad that also served to showcase the band's nice harmony vocals. rating: **** stars
- Penned by Morita, 'Geese On the Road' found the band showcasing their ability to churn out a country-flavored number. Normally you probably wouldn't have paid much attention to a track like this one, but the fact they performed it with such authenticity (check out the country twang in Seto's voice), definitely captured your attention. rating: *** stars
- Yoshikawa's loan contribution, 'She' was a pretty, slightly discordant acoustic ballad that recalled something David Crosby might have penned for an CS&N outing. My only complaint with this one was that it was too brief. rating: *** stars
- I've always assumed 'Lumberer Moses' got a little jumbled in the Japanese-American translation. Another folk-rock number, this one was a little too Kingston Trio for my taste, though their harmony vocals were stellar and the mandolin was quite nice. rating: *** stars
- Opening up with a mix of discordant rock instrumentation and some traditional Japanese notes, 'Deaf Eyed Julie' quickly morphed into a nice lysergic-tinged ballad. rating: **** stars
- There wasn't a great deal to the lyric (not that I'd be turning in award winning Japanese lyrics), but 'Black Hearted Woman' offered up a nice blue-collar rock song that got much better when the guitars (including some fuzz) kicked in during the last section of the song. Drummer Adachi deserved notice for keeping the band in step and direction on this one. rating: *** stars
- Complete with flute, 'Call Back the Wind' started out as a big, hyper-sensitive ballad and then took a jazzy turn from which it never really recovered. rating: ** stars
- The first couple of times I heard 'Jar' it didn't do much for me - too old-timey cutesy for my tastes. It still isn't my favorite performance, but the...
- 'Everywhere' offered up a surprisingly impressive mixture of traditional instrumentation and song structure with English lyrics. At least to my ears the results were mesmerizing with a distinctive psych edge. rating: **** stars
- The lone performance in Japanese, 'Shin Sorllan' was supposedly a traditional Japanese tune, but sounded like a bunch of drunken Japanese businessmen taking a stab at a country song. Complete with furious acoustic guitars and what sounds like balalaikas, I smile every time I hear it. rating: ** stars
Unfortunately, releasing an album with minimal sales effectively ended their abbreviated American career. Shame.
~ Internet Sources.

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Roger Rodier - Upon Velveatur (Can 1972)

Roger Rodier - Upon Velveatur (Can 1972 acid folk)

Born: Montreal, QC, Canada Genres: Singer/Songwriter

Tracklist:
01. Listen To These Chords I Play (Celeste). 3:12
02. My Spirit's Calling. 5:05
03. Am I Supposed To Let It By Again (Above The Covers). 4:08
04. The Key. 4:02
05. While My Castle's Burning. 4:19
06. You Don't Know What It's Like. 4:12
07. Just Fine. 3:59
08. Let's See Some Happyness. 4:56
09. Easy Song (bonus track). 3:32
10. L' Herbe (bonus track). 2:41
11. Tu Viendras (bonus track). 3:07
12. Have You (bonus track). 3:14
13. Overseer (bonus track). 2:46

Roger Rodier put out an obscure album on Columbia in 1972, Upon Velveatur, that was very much in line with the folk-rock-oriented singer/songwriter trends of the era. It was at least as much indebted to British sounds from that genre as North American ones, however, with its gentle breathy vocals, subdued melancholy, and combination of predominantly acoustic guitars with subtle strings and some female backup vocals. Prior to the LP, Rodier had issued a couple of singles on the local Montreal label Pax, the first of them sung in French. Despite getting praised in Rolling Stone by Lester Bangs for its "timeless grace," Upon Velveatur got little exposure when it was issued in autumn 1972. Although he did start work on a second album for Columbia in early 1973, it wasn't finished, and Rodier left music a few years later without having released anything else.
~ Allmusic.com.
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Although Roger Rodier is Canadian, this rare early-'70s singer/songwriter album sounds almost as if it could have been made in Britain, such is its similarity to folk-rock recordings of the time by the likes of Al Stewart. In fact Rodier faintly resembles Stewart vocally, and has an inclination toward gentle, slightly sad songs mixing acoustic guitar, orchestration, and female backup vocals (a combination used by Nick Drake on Bryter Layter). But his voice, as a singer or composer, isn't nearly as distinctive as that of, say, Stewart or Drake. Upon Velveatur is a passable effort in this tributary, Rodier's mildly lisping singing evoking both delicate sensitivity and a certain sense of detached observation. He and his songs are a little troubled, but not distraught, with the exception of "While My Castle's Burning," whose angrily strummed guitars, dramatic strings, and vitriolic vocals project muted rage, albeit of a fairly inarticulate kind. Its mixture of placidity and brooding reflection might casually recall Drake, but Rodier wasn't working on as high a level. [The 2006 CD reissue on Sunbeam adds five bonus tracks, four taken from 1969 singles, the other from the 1972 non-LP B-side "Easy Song." Generally speaking, these are less ornate than the material on Upon Velveatur, though they have a similar light folk-rock base; "Have You?" sounds a little like George Harrison's folkiest early solo material, and the two songs from the first 45, "L'Herbe"/"Tu Viendras," are sung in French.]
~ Richie Unterberger, All Music Guide
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"Fragile folk-rock of the highest order. This is really an excellent album, one of the finest acid folk items, and certainly a record that deserves more attention"
~ http://www.lysergia.com/.
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"Super rare Canadian loner folk album from 1972 with beautiful sweeping orchestration and some tasty West Coast guitar breaks. With a feel that recalls Nick Drake, Axelrod-style arrangements and a fragile, haunted quality, this lost gem has to be heard to be believed"
~ Freak Emporium.
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"Stoned is the way of Velveatur's walk, and the odd lash of stinging guitar is sure to keep you on your toes. All who hear this album fall under its charm"
~ http://www.soulstrut.com/.
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Rodier was a Montreal-based, Anglophone singer-songwriter whose twee yet slightly sinister style pulls the listener down into a rabbit hole of unexpected pop arrangements, into one of the most bipolar albums every made. This fragmented format is definitely not for everyone, but both styles are so well realized that it’s well worth the risk. Starting off hushed and whispery, the 1972 LP soon turns tough and anxious with the choir-backed anthem of betrayal “Am I Supposed to Let It By Again?” before slipping back into seductive intimacy in adoration of (shades of Jeff Mangum) Jesus Christ, and the heavy guitars and anguished, giddy shrieks of “While My Castle’s Burning.” Five strong bonus tracks flesh out Rodier’s versatility, which includes bubblegummy sunshine pop and sweetly spooky pop tunes in French. A very striking rediscovery, really excellent stuff.
~ by kim, http://www.lostinthegrooves.com/.
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“We haven’t been this excited about a rediscovered psych-folk classic since Red Hash by Gary Higgins. Nobody knew what to expect from the cover photo of Rodier, (looking a lot like Geddy Lee) staring out at us from a hazy meadow with the strange enigmatic title: Upon Velveatur. It is a dreamy French-Canadian psych-folk pop suite that varies from hushed mystical songs lushly orchestrated with strings and theremin to more rock-oriented numbers featuring stinging electric guitar. Lazy comparisons to Nick Drake are inevitable, and if we must go there, Upon Velveatur is closest to Bryter Later in terms of feel and production value. But Rodier can also sound like John Lennon with Cream as the band, Fleetwood Mac on backing vocals,and produced by Roger Nichols and his Small Circle of Friends all on one song! We get the feeling that maybe some folks like Neil Halstead were onto the sounds of Rodier as we were listening to some Mojave 3 and could totally hear Rodier’s voice and stylings being transmitted by Mr. Halstead. Featuring bonus singles from an earlier psych folk project, Rodier-Gauthier, and liner notes from the man himself. Totally Recommended!”
~ Aquarius Records.

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Roger Rodier - Upon Velveatur (Can 1972 acid folk).rar (114.58 MB)
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Glory - A Meat Music Sampler (us 1969)

Glory [60s] - A Meat Music Sampler (us 1969)

Tracks:
01. Spin Me a Rag 6:48
02. Wish Ta Heck 3:33
03. Slow Rock'N'Roll 8:04
04. Mer-Cun Boy 2:40
05. Prayer 4:22
06. Studio Blues Jam 6:25

Excellent late '60s Texas psych/rock album by a certain Linden Hudson. A studio project with blues leanings it's a stoned ramble with a laid back feel and countercultural sex-and-drugs lyrics.
GLORY (Houston, TX)
"Glory: A Meat Music Sampler" 1969 (Texas Revolution cfs-2531) "Glory: A Meat Music Sampler" 199 (Texas Revolution, Europe) [bootleg]"Glory: A Meat Music Sampler" 2000 (Akarma 114, Italy)"Glory: A Meat Music Sampler" 2000 (CD Akarma, Italy)
This has caught some attention of late but should be considered an aquired taste only. The basic feel is of late-night spontaneous blues-based studio jams revolving around main guy Linden Hudson who sings, plays percussion and also coordinated the session, which was partly recorded at Andrus Studios of "Easter Everywhere" fame. A rootsy Southern all-night bar feel evolves with a certain appeal, but the tracks are really hit and miss affairs, for example the vocal riffs on "Wish ta heck" are so annoying I can barely listen to it. Despite trying hard Hudson isn't good enough a vocalist to make it memorable, though jazzy wee hours keyboard improvs add the right touch. There isn't much songwriting to talk of, more like excursions from basic mood riffs. Any attempts to sell this as a "guitar killer" should be considered dishonest hype. With a strong female vocalist such as Lisa Kindred this would have worked better, but still remained a marginal item. Not sure why this was reissued, really.
~ [PL acid archives].
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Excellent late '60s Texas psych/rock album by a certain Linden Hudson. A studio project with blues leanings it's a stoned ramble with a laid back feel and countercultural sex-and-drugs lyrics.This has caught some attention of late but should be considered an aquired taste only. The basic feel is of late-night spontaneous blues-based studio jams revolving around main guy Linden Hudson who sings, plays percussion and also coordinated the session, which was partly recorded at Andrus Studios of "Easter Everywhere" fame. A rootsy Southern all-night bar feel evolves with a certain appeal, but the tracks are really hit and miss affairs, for example the vocal riffs on "Wish ta heck" are so annoying I can barely listen to it. Despite trying hard Hudson isn't good enough a vocalist to make it memorable, though jazzy wee hours keyboard improvs add the right touch. There isn't much songwriting to talk of, more like excursions from basic mood riffs.
~ Internet Source.

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Glory - A Meat Music Sampler (us 1969).rar (60.93 MB)
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Saint Steven - Over The Hills / The Bastich (us 1969)

Saint Steven - Over the Hills / The Bastich (us 1969 Boston psychedelic acid rock)

Members:
* Steven Cataldo guitar, vocals
* John Turner Arrangement of the Band
* Russ Hamm Arrangement of the Band
* Stephen Pinney drums (on Bonustracks)
* Ian Bruce Douglas 12string guitar (on Bonustracks)
* Barbara Vanderloop backing singer (on Bonustracks)
* Kerry Frangione backing singer (on Bonustracks)

Tracklisting:
- Over the Hills
01. Over The Hills 0:43
02. Animal Hall 2:50
03. Gladacadova 2:11
04. Over The Hills 0:18
05. Poor Small 2:41
06. Ay-Aye Poe Day 3:22
07. Grey Skies 2:51
08. Over The Hills 1:28
- The Bastich
09. Bastich I 3:07
10. Voyage To Cleveland 2:51
11. Sun In The Flame 2:26
12. Bright Lights 2:02
13. Louisiana Home 2:51
14. Bastich II 1:06
- Bonus Tracks (Recorded in 1966: Previously Unreleased)
15. My Sunday Love (Bonustrack) 2:57
16. Where Has The Time Gone To (Bonustrack) 2:38

The brainchild of original Ultimate Spinach member Steven Cataldo, the album is a fine example of the "Boston" Sound of 1969 and was conceived and recorded against the backdrop of social and political unrest of america in the Late 1960's. This was one of those records that came out of nowhere, was played on FM radio a bit and then disappeared without a trace.It was ABC/Probe Records, the same label as Soft Machine's first album in 1969. No musicians were listed inside, just the producer, engineer and cover design folks. The lyrics were included and are quite poetic with the feeling of dread buried beneath some of the warmer imagery. With master tapes thought to have been lost, an exhaustive search by Eclectic Discs has resulted in the discovery of the master in an archive in England.Each side of the album was a suite, "Over the Hills" on side one and "The Bastich" on side two. The songs balances the innocent with the darker forces that we all must confront.The cover features "Saint Steven" hugging his guitar floating up in the clouds as the sun radiates around him with a drawing of a sea monster slithering down at the edge of the ocean.With the Vietnam war at Its height and the assassination of Robert Kennedy a recent memory, this legendary album juxtaposed fine rock music with audio excerpts from US television news and is a true one-off.Saint Steven uses his own mythical figures, "Gladacadova" and "Ay-Aye-Poe-Day", to add magic and mystery to his little tales.In the middle of "Poor Small", the song stops and we get an excerpt from one of the Presidential elections in which some old woman is reading the tally of states and hitting a gavel. The song continues and so does the tally in the background, it still reminds me of sad realities of life that we try to escape from with music. Although the original album was rather short (about 29 minutes), it still worked as one entire piece, amazing from the beginning to the end. I can't compare it to any other bands, because it doesn't really sound like anyone else, although I do hear a bit of Spirit in some of those hypnotic sustained guitar parts.
~ OldrockerBR

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Tim Hollier - Tim Hollier (uk 1970)

Tim Hollier - Tim Hollier (uk 1970)
(Fontana 6309 003 - 07/70)(UK)

Born: 1947, Brighton, East Sussex, United Kingdom
Currently: Seascale, Cumbria, United Kingdom
Also Known As: Timothy Gordon Hollier [birth name]

Members:
* Tim Hollier
* Rick Cuff
* Amory Kane
* Doug Lander
* Hector Sepulveda
* Ned Balen
* Ed Coleman

Recordings Credits:
- Produced by: Tim Hollier
- In This Room arranged by: Ed Coleman
- Cover illustration: Rick Cuff
- Artwork: Loriana Martin

Tracks:
Side One:
A1. Seagull's Song (H)
A2. Llanstephan Hill (C/K/H)
A3. And It's Happening To Her (H/T)
A4. Man Of Gentle Sunlight (H/F)
A5. Evolution (C/K)
Side Two:
B1. Maybe You Will Stay (K)
B2. Would I Sing (H/F)
B3. Love Song (H/F)
B4. It's Raining And It's Cold (H/F)
B5. In This Room (H/F)
B6. Evening Song (H/F)

Songs Credits:
H = Tim Hollier
C/K/H = Rick Cuff/Amory Kane/Tim Hollier
H/T = Tim Hollier/Jeremy Taunton
H/F = Tim Hollier/Rory Fellowes
C/K = Rick Cuff/Amory Kane
K = Amory Kane

Tim Hollier was one of the most unfairly neglected of folk-based artists to come out of late-'60s England, his brand of trippy, quietly elegant psychedelic folk-rock deserving an infinitely wider hearing than it got -- not that he ultimately did badly in music, but he deserved better earlier. Born in Brighton in 1947, Hollier was raised in West Cumberland, and at age 13 formed his first group, the Meteors, with a group of friends from school. He attended art college and played as part of a folk duo called the Sovereigns in the mid-'60s. He later moved to London to study graphic design, and got involved in the folk scene there, seeing some limited success as an opening act for such well-known figures as blues songstress Jo Ann Kelly and visiting American Paul Simon.
An introduction to Simon Napier-Bell -- a music figure best remembered today as the man who inherited the Yardbirds' management from Giorgio Gomelsky -- got Hollier to the next phase of his career, a proper recording contract. Napier-Bell got Hollier signed with United Artists Records' U.K. division, a much more adventurous outfit than its American parent company. Where the latter was still relying on soundtracks and recording Jay & the Americans, the U.K. United Artists outfit was downright experimental, cutting psychedelic sides by Del Shannon; it wouldn't be long before they'd sign up Brinsley Schwarz and the Flamin' Groovies. It was at UA that Hollier recorded his first album, Message to a Harlequin, in mid-1968; released in October of that year, it was a tremendous showcase for Hollier's excellent voice and challenging, psychedelic-flavored songs, elaborately produced and reminiscent in many ways of the first two albums by Duncan Browne.
The album -- although not especially successful in England -- even managed to get a U.S. release on the company's Imperial Records imprint. Hollier made slow progress in finding an audience over the ensuing year, playing on some of his UA labelmate Peter Sarstedt's records and getting some exposure on the BBC, and also collaborating on stage and record with American songwriter Amory Kane. He left UA in 1969 and signed with Fontana Records, which issued his self-titled, self-produced second album in the summer of 1970. It failed to sell, and a year later a similar fate befell his third album, Sky Sail, released on Philips. By 1973, he'd shifted gears somewhat in his career, and went into the production end, forming his own label, called Songwriters Workshop -- among those who signed up was Peter Sarstedt.
By the 1980s, Hollier had moved into music publishing, and later went into movie financing -- his company, Filmtrax, not only scored movies, but also helped produce such pictures as Withnailand I (which, ironically, dealt with the closing days of the 1960s, the period in which Hollier had the bad fortune to start his recording career). In the decades since, he has remained a major figure in the field of music copyrights amid the boom in new technologies and media.
~ Bruce Eder, All Music Guide

More info:
http://www.nightwings.org/files/Hollier-story.htm

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The Killers - Good Bye (Uruguay 1972)

The Killers - Good Bye (Uruguay 1972)

Formed: 1967, Montevideo, Uruguay
Disbanded: 1973 //

Members:
* Marcelo Berro (vocals, guitar),
* Romancho Berro (drums, vocals),
* Roberto Levy (guitar, keyboard, vocals, 1969-73),
* Julio Martínez (bass, vocals, 1969-73),
* Virginia Berro Villegas (vocals, 1969-73),
* Inés Berro Villegas (vocals, 1969-73),
* Eddie Güida (bass, 1967-68),
* Orlando Galo (guitar, 1967-68).

Tracks:
01. Good Bye
02. Forever
03. Born to Wonder
04. Wondering How
05. After Nothing
06. Sing a Long
07. Reflections
08. Love the One You're With
09. I'll Get Used to It
10. Looking for a Change
11. Superstar [1970 bonus]
12. White Room [1970 bonus]
13. Woodstock [1971 bonus]
14. Love the One You're With [1972 bonus]
15. Breach of Lease [1972 bonus]

ALBUM: 1972 - GOODBYE (De la Planta KL 8327)

High-class citizens of Montevideo, Los Killers hed two extremely valuable advantages for the limited local rock scene. First, they could afford expensive hi-tech gear. Second, they owned a vast record collection full of recent foreign editions -the ideal way to find hit covers for their shows. Their first single, released through Clave label, included a cover of the main theme from the rock opera Jesus Christ Superstar. Their second single was a cover of Bloodrock, something absolutely unusual at that time. Their only album (Goodbye) represents a turn of their politic of playing covers, since it only included two. The original songs, nevertheless, are very well composed, arranged and performed.Marcelo Cress is particularly good on guitar. The best songs are ''After nothing'' and ''Sing Along'', with extensive guitar solos. Like so many other bands of that time, the military coup of 1973 put their career to an end. They moved to Spain where they continued working for some years.Their charismatic drummer, Romancho Berro, returned to Uruguay by the middle of the 80s to become manager and promoter.
~ tinpan.fortunecity.com/waterloo/728/magicland/urug.htm
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Sweetly compressed work from one of the greatest groups in Uruguay in the early 70s -- the totally great Killers, a combo we'd rank right up there with We All Together for sheer simple brilliance! The Killers have a sound that leans heavy on fuzzy guitars, but they've also got a sweetness that really shines through too -- a warmth that's a bit like some of the soft rock touches that were showing up in South American bands at the time -- but, as with the best of that scene, still rough enough to be compelling, and not nearly as smooth as mainstream American rock from the time. The tunes here are all in English, with many originals, and are done in a really compelling way -- skipping along with a bottom-heavy groove on a number of tracks, and compressing the guitars next to the vocals with a very groovy flanged-out kind of sound! The album title is telling here too -- as the record was the group's "Good Bye" to Uruguay before going into exile to avoid a repressive government.
~ by: Jobasha.
Enjoy !!!

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