Butch Engle & The Styx - No Matter What You Say (us 1966-67, compilation)

Butch Engle & The Styx - No Matter What You Say (us 1966-67, flower psychedelia)

Tracklist:
01. Hey, I'm Lost [#] Durand, Elliott 2:34 Composed by: Durand, Elliott
02. Left Hand Girl [#] Elliott 2:28 Composed by: Elliott
03. No Matter What You Say [#] Elliott, Engle 2:47 Composed by: Elliott, Engle
04. Smile, Smile, Smile [#] Bettiga, Elliott 1:54 Composed by: Bettiga, Elliott
05. I'm a Fool [#] Elliott 2:37 Composed by: Elliott
06. I Call Her Name [#] Elliott 2:45 Composed by: Elliott
07. She Is Love [#] Eliott 2:16 Composed by: Eliott
08. If You Believe [#] Elliott 2:27 Composed by: Elliott
09. Smile, Smile, Smile [#] Bettiga, Elliott 1:54 Composed by: Bettiga, Elliott
10. Going Home Elliott 2:08 Composed by: Elliott
11. I Like Her Elliott 1:58 Composed by: Elliott
12. Hey, I'm Lost [First Version] Durand, Elliott 2:32 Composed by: Durand, Elliott
13. Puppetmaster Durand, Elliott 3:49 Composed by: Durand, Elliott
14. She Is Love [#/demo version] Elliott 1:50 Composed by: Elliott
15. Tell Me Please Engle, Zamora 2:07 Composed by: Engle, Zamora
16. You Know All I Want Zamora 1:57 Composed by: Zamora
17. Hey, I'm Lost [#/demo version] Durand], Elliott 5:05

Biography:
Butch Engle & the Styx were a very minor mid-'60s San Francisco Bay Area band that issued just three singles (the first, in 1964, under the name the Showmen). They played moody garage-folk-rock with a similarity to the Beau Brummels that was not coincidence: all of their material, except for the Showmen single, was written or co-written by Ron Elliott of the Beau Brummels. The Beau Brummels were a fine group, and Elliott was an excellent songwriter. But the compositions Butch Engle & the Styx were granted access to were weak by Elliott's own high standards and in fact were basically leftovers that were not deemed strong enough for the Beau Brummels to record. As Engle himself recalled in the liner notes to The Best of Butch Engle & the Styx: No Matter What You Say, "Ron, Sly Stewart, [and Autumn record executives] Tom Donahue and Bobby Mitchell would choose which songs would go on [a Beau Brummels] album, and then we could take what we wanted from whatever was left."
Butch Engle & the Styx released just two singles under that name and broke up in 1968. Both sides of those two singles, along with both sides of the Showmen single and almost a dozen previously unissued cuts, were issued by Sundazed on The Best of Butch Engle & the Styx: No Matter What You Say in 2000.
~ by Richie Unterberger (allmusic.com).
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Reviews:
This has a pretty funny title, considering that the group only put out three singles (one of them under a different name) and never had anything close to a hit. A better title might have been "The Entirety of Butch Engle & the Styx," since it's difficult to imagine that any more material could have been retrieved than appears on this CD. In addition to both sides of the three singles (the first done in 1964 when they were still called the Showmen), this also includes 11 previously unreleased tracks, including some alternatives and multiples. The unwary might initially dismiss this as a subpar, more garagey Beau Brummels, a comparison that becomes even more valid upon the discovery that Beau Brummels songwriter Ron Elliott wrote or co-wrote everything except the Showmen single. To be brutal, Elliott was wise to cast off most of these instead of recording them with the Beau Brummels. The songs just aren't nearly on the level of his usually excellent efforts for his own band, although they have some similar trademarks (particularly the minor-based melodies and moodiness). Butch Engle & the Styx were lesser musicians and singers than the Beau Brummels, too, although they were OK, adding some cheesy garage organ that you'd never find on Beau Brummels sessions. "Hey, I'm Lost," which was one of the singles (and appears along with two alternate versions of the same tune), was just about their best moment: a charging, slightly ominous and doubtful number with good vocal harmonies. This is certainly worth getting for major fans of the Beau Brummels, as none of these songs were actually recorded by that group. As a '60s garage record, though, No Matter What You Say is average, even unremarkable.
~ by Richie Unterberger (allmusic.com).
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Garage rock and some nice flower psychedelia (with the usual ingredients of farfisa organ and loads of fuzz guitar) from the very early hippiedays by this widely unknown Californian band. Most of the songs were written by Ron Elliott of the BEAU BRUMMELS, but the band doesn/t sound "folky".
~ by freaky_lady.
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Featuring the angst-ridden vocals of Butch Engle and scintillating original material from the pen of the Beau Brummels' Ron Elliott, Butch Engle & the Styx knocked 'em dead wherever they played on the SF Bay Area teen music circuit. Butch Engle & the Styx possessed the perfect sound for 1966-'67. "No Matter What You Say " rounds up all three singles and a garage-load of unreleased material from Golden State Recorders.
~ by dj fanis.

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Burnin' Red Ivanhoe - M144 (Den 1969)

Burnin Red Ivanhoe - M144 (Den 1969, prog rock-2CD)

Formed: 1967, København, Denmark

Members:
* Karsten Vogel (saxophone, cello, organ),
* Steen Claësson (vocals, guitar),
* Kim Menzer (flute, violin, trombone, harmonica),
* Ole Fick (guitars, vocals),
* Jess Stæhr (bass),
* Bo Thrige Andersen (drums)

Related Artists:
The Baronets, Dårskabens Hus, Day of Phoenix, Maniacs, Secret Oyster

Also Known As: M/S Mitte - The Burnin’ Red Ivanhoes

Genres: Progressive Rock

Discography:
01. M144 (2LP) - 1969 Sonet
02. Burnin' Red Ivanhoe - 1970 Sonet
03. W.W.W. - 1971 Sonet
04. Miley Smile/Stage Recall - 1972 Sonet
05. Right On - 1974 Sonet
06. Burnin' Live (MC) - 1974 Instant Sound
07. Shorts - 1980 Pick Up Pulp
08. Spotlight Burnin' Red Ivanhoe 1969-74 (CD) - 1990 Sonet Spotlight, compilation
09. Lack Of Light - 1998 Polygram
10. Povl Dissing with Burnin' Red Ivanhoe: 6 Elefantskovcikadeviser - 1971 Sonet

Tracks:
Disc 1:
01. Ivanhoe i Brøndbyerne 3:52
02. Ridder Rød 3:52
03. Saxophone Piece 1 2:14
04. Marsfesten 5:30
05. Antique Peppermint 6:46
06. Indre landskab 2:56
07. Jiizlou 2:39
08. Kaj 2:41
09. Tingel-tangelmanden 5:26
10. Læg dig kun ned 3:33
11. Saxophone Piece 2 1:51
12. Medardus 6:35
13. Purple Hearts 5:40
14. Larsen 3:32
15. Oyizl 6:34
Disc 2:
01. Ivanhoe in the Woods 5:14
02. Ida Verlaine 4:16
03. Sensitive Plant 3:18
04. Inside 2:45
05. Ksilioy 10:32
Bonus Tracks:
06. Opera 2:21
07. Omegnens poesi 2:34
08. Fødelandssoldatersang [Recorded live in Germany] 2:24
09. Why Don't You Trust [Recorded live in the studio] 3:39
10. Purple Hearts [Recorded live in the studio] 3:50
11. Kaj (1997) 3:52

When BRI released their debut in 1969 the band existed already for two years. Thus it’s not surprising that they’ve gathered already enough material to fill a double vinyl. Originally their music was rooted in bluesrock with a strong psyche folk influence as demonstrated in most of the shorter tracks. Dominated by organ and electric guitar with some flute or mouthorgan thrown in at times one could call their style here “The Doors meet Tull”. Some (at least for me) weaker songs offer a rather quiet and ballad-esque folk with a slightly odd touch reminding sometimes to a kind of glee club for drunkens (especially on the CD-bonus). But this is showing just one face of them since the longer tracks (basically on the second vinyl) are revealing a quite different, much more progressive character. Versatile and intricate jazz and brass rock full of verve using a broad instrumentation and with great solos of flute or sax. Highlight of the album is most probably "Oyizl" coming close to free jazz. Unfortunately some of the tracks had been shortened to fit on the double CD. I’d wish the more or less redundant bonus songs would have omitted instead.
As a summary M144 is a very remarkable debut and especially for the year of 1969 a noteworthy album containing many of their best jazz rock tracks but as well quite a few average and some rather weak ones. Thus it can be considered rather as a nice collection of songs than as a coherent work. I don’t see an urge to recommend it as an essential addition to a prog fan’s collection though certainly interesting for collectors of obscure Danish proto prog. Personally I prefer their fellows Secret Oyster and to those who are completely new to BRI I’d like to recommend their self-titled one which I’d like to call their best though offering less quantity for its money of course.
~ by hdfisch (RYM).
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One of the earliest (if not the earliest) progressive rock album of Scandinavia and certainly of Denmark (along with Culpepper’s Orchard), BRI’s debut album is also notable for being a double one (fighting with Norway’s Junipher Greene for that title) and is filled with very diverse influences. Resolutely rock in spirit, the album oscillates between the blues, soul, jazz (or more likely jazz-rock) and many more folkloric styles, without actually being folky.
Armed with their double-wind section attack (the group is actually an septet – two different bassist used - if I judge by the album credits), the group’s evident forays would of course head towards jazz, and therefore jazz-rock, but a strange mix of Chicago Transit Authority and Colosseum. To say that such an obscure rtecord received the best of production in lonely Copenhagen would be the over-statement of the year, but the album has not really azged badly either.
One of the strange things about this album is that although there are some twenty tracks, none of them obviously jump out as highlights (well maybe - just maybe - Purple Heart and its follow-up Larsens), and likewise none are weaker than just average. But it does appear that the second disc is slightly better than the first, but I am not sure where which stops and which starts for I review the CD version..
Just barely noticeable is Claesson’s violin in Kaj, Menzer’s flute in the following Tingel- tangelmanten (whatever…;-), but we do notice the mouth harp (over-mixed) in Laeg Dig. The blues are an indispensable part of their repertoire and therefore maybe creating a slight sense of disinterest for part of the album, but be careful not paying attention; you could be missing out something the second you start drifting. And you might just bne missiong the impressive Killjoy finale.
Karsten Vogel (a jazz scene hanger-on since 61) would then go on as the leader of Secret Oyster, which is aptly, named since this group still remains one of the best-kept secrets of Denmark, and safely tucked away in an oyster. Back to this debut album, although hardly essential, if you are into Colosseum, this (BRI’s early albums) could be a must for you. Having borrowed it for the last month from a friend for reviewing purposes, I still contemplate whether acquiring it or not. And believe me, this is tough choice for there are superb moments in it, especially given its age and its background. Written by Sean Trane.
~ by Lisa Sinder.

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Mother's Love - Take One (Hol 1967)

Mother's Love - Take One (Hol 1967)

Formed: 1966, Tiel, Gelderland, Netherlands
Disbanded: 1967 //

Also Known As: The Dream

Members:
* Floris Kolvenbach (guitar, keyboards, vocals),
* John van Buren (drums),
* Rini Wikkering (guitar),
* Jan van Doesburg (bass)

Tracks:
A1. I Gotta Move 1:24
A2. I Feel Good Warmth 2:51
A3. Raise the Sails 3:14
A4. Love Was on My Mind 2:52
A5. Mad Man's Worries 3:48
A6. Saint Without Glory 4:00
B1. Lady From the Ballroom 2:55
B2. Old Dave Baxter's Bar 3:38
B3. If You Ever Gonna Leave Me 2:07
B4. Many Greetings From Philadelphia 3:26
B5. Hungry Not Free 1:41
B6. You'll Never See Me Again 2:44

Biography:
In 1966 the psychedelic group. Mother’s Love is founded in Tiel, not far from Utrecht in the centre of the Netherlands. One year later two singles and an LP are released of which suprisingly, the album is also released in Italy. The LP is titled Take one and becomes an instant flop. Soon after that, the group name is changed into The Dream. Under this name the single The doting king is released in 1968. By then the band has already more success then they had with Mother’s Love. During their existence over 1.000 concerts are given, with film projection psychedelic background. They also play Paris (Golfe Drouot), London (Speakeasy) and a couple of Dutch double-concerts with Pink Floyd in Amsterdam and Maastricht. In 1970 the band is invited for some popfestivals like Bilzen, Kralingen and the first edition of Pinkpop. They also perform on tv, for over an hour in the program Dit is het begin, where they perform parts of the rock-opera The peacock and the rat. Most important group member is Floris Kolvenbach, composing all songs and writing all the lyrics. In 1969 and 1971 two more singles are relased at minor success but in 1973 it is all over and the band folds. Floris Kolvenbach attracts attention afterwards with the project Mirakel Music and the experimental formation Metal Voices.

Reviews:
he music The Dream makes is mainly sixties psychedelic music with some blues influences, as can be heard on Can you hear me howlin' or on Sleeping rose. Sometimes they remind me of The Kinks (We'll be back yesterday morning) or The Doors (Dino, Four phonecalls). The music is mainly vocal oriented, but there is also a big part for the guitarist. The most progressive track is The diamond and the fool. Unfortunately the CD doesn't give much information on when or where the tracks are recorded, so it is hard to tell how their music evolved. So don't expect some early progressive music from this band, but there are some fine moments on this compilation. Complete unreleased album from Holland's best kept psychedelic secret, from the late 60's. Having formed out of Mother's Love, this band went on to make this collection of tunes which would lay on the shelves for years, collecting dust. This is unheard dutch pyschedelia that will be a must for collectors.
~ by Dirk (citiesonflame).

Download Link:
Mother's Love - Take One (Hol 1967).rar

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Guelewar Band of Banjul - Sama Yaye Demna N'Darr (Gambia 1980)

Guelewar Band of Banjul - Sama Yaye Demna N'Darr (Gambia 1980 psych Afrobeat, Folk)

Members:
* Moussa N'Gom Lead - Vocal,
* Oussou Ndiaye - Drums,
* Koto Suno Icoto N'Gom - Percussion,
* Alive Badara Cham N'Gom - Percussion,
* Adu Salla - Percussion,
* Njok Malick Mike Njie - Bass,
* Moussa Njobdi Njie - Guitar,
* Bas Lo Fara Biram - Alto Saxophone,
* Laaye Sallah Ombor - Tenor Saxophone,
* Laaye N'Gom - Vocal, Keyboards.

Label : valerie 001
* M. Haïdar - Producer.

Tracks:
A1. Yaye Boul Ma Bayi 9:26
A2. Sama Yaye Demna N'Darr 7:45
A3. Sanu Maakaan 7:02
B1. Président Diawara 9:00
B2. Bamba Bô Jang 11:26
B3. Njarama 6:58

Gambian group who developed the "Afro-Manding" sound originated by Ifang Bondi & the Senegalese artists. Heavily Afro-Cuban in places but also drawing on the Griot traditions of the region. Keyboards & sax are prominent.
~ Internet Source.
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The national pop style of Senegal, emerging '70s. Senegalese music was heavily infl. first by Calypso and then by Latin, especially Cuban music; elements of soul and funk were introduced in the '60s, with imported Congolese music equally popular; in '70s a specifically Senegalese brew began to emerge, return to roots also being encouraged by Senghor's philosophy of Negritude. Drawing on the kora tradition and other local elements as well as Cuban influences, and making use of Western instruments, mbalax slowly defined itself: essentially percussion-based, featuring the tama (a small talking drum) as a lead instrument, it also uses congas, timbales, electric guitars and horns; characterized by complex rhythms, it is usually sung in Wolof, with distinct Islamic inflections. Of many mbalax bands in Senegal, the most popular was that of Youssou N'Dour. Other leading groups are Super Jamono (albums incl. Le Ventilateur, Geedy Dayaan), Orchestra Boabab (Coumba on MCA) and Guelewar (Sama Yaye Demna N'Darr), also Super Diamono, Ismail Lo, Thione Seck and Kine Lam.
~ Donald's Encyclopedia of Popular Music.

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V.A. - Dreamtime Downunder - Psych Rarities From The Land Of Oz (Australia & NZ)

V.A. - Dreamtime Downunder - Psych Rarities From The Land Of Oz (Australia & NZ, 2000 )

Tracks:
01. Lotus - Lotus 1 (I'll Be Gone) (3:38)
02. Lotus - Epoch (3:06)
03. Russell Morris - Part III (Intro Paper Walls) (6:50)
04. King Fox - Unforgotten Dreams (4:53)
05. MPD Ltd - I Won't Be Back (2:56)
06. Autumn - Lady Anne (3:08)
07. Motivation - Boy Meets Girl (2:30)
08. Motivation - Running & Hiding (2:37)
09. Town Criers - Laughing Man (3:03)
10. Leather Sandwich - Kilroy Was Here (2:26)
11. Zoot - Hey Pinky (3:44)

Great comp. of rare Australian and New Zealand psych from the '60's. Features late '60's and early '70's heavy psych, with progressive flourishes. Loads of trippy phasing and acid effect laden guitar mayhem. In many ways this is the Perfumed Garden from Downunder. Includes tracks by Lotus, Russell Morris, King Fox, MPD Ltd. Autumn, Motivation, Town Criers, Leather Sandwich, Zoot, Marty Rhone, Daisy Clover, Tymepiece, Tamburlaine, Feels Good, Brigade, House Of Nimrod, Airlord and Bakery.
~ by freakemporium.
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"Dreamtime Downunder" is a very rare album with a very limited pressing featuring some of the best heavy pysch music from the 60's & 70's from our antipodean cousins. It contains lots of trippy effects and heavy on the guitar. There isn't much information on this one and I apologize for missing track 12. But I have a video for that track which can be gotten and then converted. This is one for the serious collector. (Vinyl ANZAC 1)
~ RareMP3.

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V.A. - Dreamtime Downunder - Psych Rarities From The Land Of Oz (Australia & NZ, 2000 ).rar (35.05 MB)
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The McElroy Brothers - Can't You See Me Smilin' (us 1977)

The McElroy Brothers - Can't You See Me Smilin' (us 1977)

Tracks:
01. I'd Love To (2:37)
02. Why The Rainbow's Gold Is Never Found (3:39)
03. If You Lose (2:31)
04. Can't You See Me Smilin' (3:30)
05. Bangin' My Head (3:37)
06. Nobody Loves Me (5:31)
07. Glinda (3:37)
08. She's So Fine (3:01)
09. Not Tomorrow (1:28)
10. Ego Of The Grave (1:41)

The McElroy Brothers were identical twin brothers from VT, with a lineup of drums & a battery of keyboards (though acoustic guitar shows up on a track or two). The songs are so well played & arranged that you might not notice that there's no bass on the record - all bass lines are played with the foot pedals. After a lot of close listening, I'm convinced that they both sing, though their vocals are barely distinguishable from each other. The songs are incredibly catchy & could easily pass for 60s pop like Zombies, Bee Gees, etc., until the Moog comes in...apparently 1000 were pressed, and sold well, though it never seems to turn up around here. There was also a single released after the lp. Fantastic, overlooked album & one of my favorite private press finds!
~ Elefantplatte (RYM).

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The McElroy Brothers - Can You See Me Smilin (us 1977).rar (64.19 MB)
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Fargo - I See It Now (us 1969)

Fargo - I See It Now (us 1969, RCA LSP-4178 LP)

Formed: Salt Lake City, UT, United States

Members:
* Tony Decker,
* Dean Wilden.

Tracks:
01. 'Round About Way of Describing Our Situation 2:37
02. Lady Goodbye 1:52
03. Sound of It 2:40
04. Places Everyone 2:01
05. Castle in Wales 2:50
06. Talks We Used to Have 2:35
07. When the Dew Drops Change to Teardrops 2:11
08. Promises of Love 2:17
09. You Need Me 1:24
10. Cross With No Name 2:49
11. I See It Now 2:29
Bonous track:
12. Sunny Day Blue 2:31**

Fargo were a duo made up of Dean Wilden and Tony Decker from Salt Lake City, Utah.Their album is a pop psych delight. Strong and memorable melodies and hooks run throughout the entire set of self penned songs.
According to the liners on the album back cover, the duo were in their early twenties and probably God botherers. Not being the religious type in the slightest I've got a problem with songs about the 'Lord' or whatever he is. I just think twenty something rock and roll boys should be really tearing the place up (maybe it's my garage punk attitude showing through?)
The album was recorded at Al Casey's Music Room in Hollywood, California with help on guitar from Rick Cunha and on bass by Terry Paul.
~ by EXPO67.
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Salt Lake City-based psych-pop duo Fargo teamed Tony Decker and Dean Wilden. After debuting in 1968 with the Capitol single "Robins, Robins," the pair signed with RCA; when their 1969 LP I See It Now--arranged by Al Capps, best known for his work with the Nitty Gritty Dirt Band, among others--met with virtually no commercial recognition, Fargo dissolved.
~ by popheaven.
** "Sunny Day Blue" is the B side of their 1968 Capitol single.

...Sunshine pop perfection...

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Fargo - I See It Now (us 1969).rar (37.18 MB)
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Billy Nicholls - Would You Believe (uk 1968)

Billy Nicholls - Would You Believe (uk 1968)

Born: February 15, 1949, London, England, United Kingdom
Related Artists: Phil Manzanera, Small Faces
Notes Father of: Morgan
Genres: Psychedelic Pop, Baroque Pop

ALBUM:
1 WOULD YOU BELIEVE (Immediate IMCP 009) 1968 R3
45s:
1 Would You Believe/Daytime Girl (Immediate IM 063) 1968
2 Forever's No Time At All/This Song Is Green (Track 2094 109) 1973
NB: (2) with Pete Townshend.

Tracks:
01. Would You Believe? (Paul) - 2:41
02. Come Again (Nicholls) - 2:34
03. Life Is Short (Nicholls) - 3:07
04. Feeling Easy (Nicholls) - 3:12
05. Daytime Girl (Nicholls) - 2:14
06. Daytime Girl (Coda) (Nicholls) - 1:36
07. London Social Degree (Nicholls) - 2:20
08. Portobello Road (Nicholls) - 2:05
09. Question Mark (Nicholls) - 2:26
10. Being Happy (Nicholls) - 2:28
11. Girl From New York (Nicholls) - 3:16
12. It Brings Me Down (Nicholls) - 4:39
Bonus Tracks:
13. Would You Believe? [Mono Single Version] (Paul) - 2:38
14. Daytime Girl [Mono Single Version] (Nicholls) - 2:14

The Would You Believe album is now an ultra-rarity. His first 45 was produced by Ronnie Lane and Stevie Marriott of The Small Faces.His album was Andrew Loog Oldham's attempt to concoct the UK's answer to The Beach Boys' Pet Sounds, only a few copies appear to have leaked out. He was signed by Oldham straight from school.Nicholls went on to contribute to Townshend's early seventies solo album, which explains Townshend's involvement on his 1973 45 for Track.Compilation appearances have included: Portobello Road on Justavibration (LP) and Justafixation (CD); London Social Degree on Maximum '65 (LP); Would You Believe on Immediate Alternative (LP); Would You Believe and Daytime Girl on Immediate Alternative (CD); Daytime Girl on Immediate Single Collection, Vol. 5 (CD).
~ internet source.
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Billy Nicholls' stillborn 1968 album does indeed recall the Beach Boys' 1966-19 67 era, not just due to Nicholls' melodies and high, versatile vocals, but also the production of Andrew Oldham, an avowed fan of Phil Spector and Pet Sounds. Although very attractive, however, the songs and production do not have the depth and emotional resonance of Pet Sounds. This is not a knock; Nicholls was very young at the time, after all, and it's hard to match Brian Wilson, though Oldham pulled out a bunch of tricks with baroque keyboards, tasteful brass, and airy multi-part harmonies. As with the Oldham-produced cuts done by Del Shannon in the same era, the deftly elaborate L.A.-meets-London semi-Wall of Sound is more impressive than the pretty but often rather slight material. It's still a pleasurable listen, with the more acoustic and darker "Come Again" slightly foreshadowing the kind of sound Pete Townshend would employ on much of Who Came First, and "Girl from New York" (with Steve Marriott on lead guitar) going for a gutsier British rock vibe. The CD reissue (on the Immediate imprint, but actually put out by the British reissue label Sequel) includes mono single versions of "Would You Believe?" and "Daytime Girl" as bonus tracks.
~ Richie Unterberger, allmusic.com
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Billy Nicholls was originally hired by Andrew Loog Oldham as a staff writer for Oldham's Immediate Records. Oldham was so entranced by the Beach Boys' Pet Sounds album that he enlisted songwriter Billy Nicholls to record a British response, which became this largely forgotten album. The Small Faces' Steve Marriott can be heard very prominently on "Would you believe", despite Oldham's attempts to drown them out with heavy orchestration. Oldham wanted this to be the British "Pet Sounds" but financial difficulties with the label caused it to be shelved (it only achieved an initial promotional run of 100 copies, as Immediate IMCP009) before it ever hit the streets. Would You Believe has become one of the most collectable and legendary albums of its era.
~ internet source.

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Billy Nicholls - Would You Believe (uk 1968).rar (61.84 MB)
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Fifth Flight - Into Smoke Tree Village (us 1971)

Fifth Flight - Into Smoke Tree Village (us 1971 Century Lp)

ALBUM:
1. INTO SMOKE TREE VILLAGE (Century 39398) R2 1970
NB : Reissued on CD by RADIOACTIVE RECORDS (UK) RR 148CD

Tracks:
01. Can't You See 4:51
02. I'd Like to Make It With You 3:29
03. Devil With a Blue Dress 4:09
04. Celebrate 2:06
05. Midnight Hour 3:42
06. Summertime 4:18
07. It's All Over Now 2:13
08. Sugar Mountain 6:10
09. Try a Little Tenderness 4:59

"Century Records was a Californian custom record label which pressed tens of thousands of small-run records for schools, church groups and obscure local bands and Fifth Flight's Into Smoke Tree Village was one of those delightful garage/psych jewels that occasionally cropped up on the label. Into Smoke Tree Village, with its rustic mill wheel cover, was a garage psych album consisting mostly of covers, delivered with lashings of fuzz guitar and heavy, spooky organ. The stand-out track is surely the band's jaw-droppingly awesome version of Neil Young's 'Sugar Mountain' which over the years has gained a deserved reputation as a psych masterpiece."
~ Radio Active 2006.
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Fifth Flight was probably a popular high school hop band. They were a bit luckier than a lot of other groups doing covers of radio hits in the late '60s because they actually got to record a whole album. Their set opens with a middle of the road original called "Can't You See?" The rest of the record is made up of pedestrian versions of songs like "Midnight Hour" and "I'd Like to Make it with You." It's too bad they didn't have a prolific tunesmith onboard to give them something to work with because they were decent musicians. This will enlighten anyone wondering what a competent group of musicians working the top 40 circuit in 1969 was like.
~ (from lostinthegrooves.com).
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Obscure early seventies private album of cover songs, the highlight of which is a version of Neil Young's Sugar Mountain with massive fuzz guitar. Overall, the album is pretty inept and is not recommended. The stock Century "mill" cover makes another appearance on this album. I think this group was from California.
~ (Clark Faville) / Fuzz, Acid & Flowers

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Fifth Flight - Into Smoke Tree Village (us 1971 garage psych).rar (85.44 MB)
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The Dream - Dream Archives (1969-72)

The Dream - Dream Archives (1969-72)
(Hol 1994, Pseudonym Compilation CDP 1014 DD)

Formed: 1966, Tiel, Netherlands
Disbanded: 1973 //

Members:
* Floris Kolvenbach (guitar, keyboards, vocals),
* John van Buren (drums, keyboards),
* Rini Wikkering (guitar),
* Rob Heuff (bass),
* Edgar Swanenberg (bass),
* Karel Zwart (drums, percussion)

Related Artists: Mirakel Muziek, Metal Voices
Also Known As: Mother's Love

Tracks:
01. Rebellion
02. Can You Hear Me Howling
03. Mr V
04. The Netherlands
05. Four Phonecalls
06. We'll Be Back Yesterday Morning
07. Open The Gates
08. Dino
09. Met A Girl Today
10. The Diamond And The Fool
11. The Monarchy
12. Sleeping Rose
13. Still Alive

Complete unreleased album from Holland's best kept psychedelic secret, from the late 60's. Having formed out of Mother's Love, this band went on to make this collection of tunes which would lay on the shelves for years, collecting dust. This is unheard '60's Dutch pyschedelia that will be a must for collectors.
~ Freak Emporium.
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The music The Dream makes is mainly sixties psychedelic music with some blues influences, as can be heard on Can you hear me howlin' or on Sleeping rose. Sometimes they remind me of The Kinks (We'll be back yesterday morning) or The Doors (Dino, Four phonecalls). The music is mainly vocal oriented, but there is also a big part for the guitarist. The most progressive track is The diamond and the fool.
~ (Dutch Progressive Rock of the Seventies).
MANY THANKS TO EZHEVIKA!

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http://www.multiupload.com/QE3T0NC47C
The Dream - Dream Archives (1969-72) (Hol 1994 Pseudonym Compilation).rar (74.56 MB)
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The Contents Are - Through You (us 1967)

The Contents Are - Through You (us 1967) (Germany, Shadoks, Catalogue #090)

A CD edition of MEGA-RARE 1967 US ultimate garage/folk-rock/psych holy grail rarity, (only 100 copies pressed of the original) by Iowa band The Contents Are. A monster album and an Acid Archives favourite. This CD edition also includes 4 non-LP bonus tracks from their two 7" single releases.

Formed: Davenport, IA, United States

Members:
* Dave Neumann (guitar, vocals),
* Paul Staack (drums, vocals),
* Larry Smith (bass, vocals),
* Craig Hute (lead guitar, vocals)

Tracks:
01. Country Roads
02. The Dream Of My Predictions
03. Uni-Love
04. Peace At Last
05. In Trouble
06. No Chance To Choose
07. Tonight In Venice
08. Unconcerned
09. Don't Take My Freedom
10. Recurring Changes
11. No Need To Be Blamed
12. If You're Relaxing
13. Brother Abbot
14. I Don't Know
15. Direction Of Mind
16. Future Days17. New Mexico

'The Contents Are were one of many sixties bands from the Quad City's fertile garage music scene. With labels labels/studios like Fredlo and IGL, it was a very healthy regional area for bands with an unusually high per capita for record releases. Up until the recent discovery of an original copy a couple of years ago, it was only rumored to exist and remained an enigma with hardcore record collectors. In most cases, the Contents Are were only known by astute collectors for their two excellent 45 releases (non-LP). Well the mystery is over, and here's your chance to hear one of the rarest & greatest garage records ever recorded. Here's the story about the record: Four high school seniors from Iowa decide to release an album of all original tunes, and was exclusively sold at their live shows. Originally released on the Rok label (a subsidiary of the already obscure Fredlo label) in 1967 with only 100 copies pressed. These guys were not your typical garage band - talented players, professional grade vocalists and no cover songs!!! Their music is a nice blend of garage rock with hints of hipster folk and early psychedelic influences. As good if not better as other similar top shelf rarities liky Mystery Meat and the Bachs, but no major quantity find making original copies of the Contents Are ten times rarer. Get it or miss it! CD jewel case with 8-page booklet, plus 4 bonus non-LP tracks from singles.''Rumours of a limited demo LP pressing from this renowned Iowa garagey-folkrock band remained unconfirmed until a copy popped up at a 2005 Austin Record Show. Curiosity grew into excitement as the album turned out to feature 13 band originals in a terrific melodic Beatles '65-66 style with a sprinkling of Byrds on top. In other words, an ideal sound for a 'lost' 60s album, reminiscent of the Beauregard Ajax recordings from L.A. Drawing inspiration from the Beatles is usually an indication of both taste and cojones, and the Contents Are deliver a string of skillfully arranged 3-minute gems from the point where beat and folkrock turn into melodic psychedelia. There's also a hint of an early rural sound a la Buffalo Springfield. Coming out of the Midwest in '67, this is as advanced as H.P. Lovecraft, and thus of substantial historical value, in addition to the sheer listening pleasure. The band was still at high school when they cut this LP, which is remarkably advanced for the time and place. Only a few copies are known to exist.'
~ Acid Archives
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The Through You lp was little more than rumor til a copy mysteriously appeared at a 2005 Austin record show. Contents Are were a garage folk-rock band from Quad City, Iowa that released two good 45’s and this 1967 private press album. It’s remarkable that the band were still in high school when they cut this lp as both the lyrics and musicianship are quite advanced.
In true DIY fashion the band pressed 100 copies of Through You and gave the lp’s away to eager fans who came to Contents Are live events. It’s a solid record to say the least, with influences coming from early Buffalo Springfield, the Byrds and Rubber Soul era Beatles. Through You is full of good, 3 minute pop songs and it’s the kind of record that saw the beat/garage and folk-rock sounds merge. One song, Peace At Last, has complex lyrics and a wonderful mid period Beatles-like chorus. No Chance To Choose is another excellent, dark folk-rocker that strongly recalls John Lennon’s Rubber Soul compositions and hints at psychedelia. There are a few hard rocking tracks such as the opening, fuzzy Country Roads but most of this record is predominately folk-rock. Other good standouts are the folk-rock downers Dream Of My Predictions and Reccuring Changes, which feel like lost Gene Clark compositions in lyrical content and sound.
For many the highlight was In Trouble. This track is notable for beautiful back porch harmonies, jangly guitar and a distinct, rural Buffalo Springfield sound. It’s the kind of song that makes searching for private press records worth all the trouble and grief. Through You’s sound quality is a little muddy and probably will not be of interest to those who like clean, sparkling major label glitz. But to those wanting to explore buried local sounds, this is a great record that’s bound to grow on you.
~ Internet Source.

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The Contents Are - Through You (us 1967).rar (98.36 MB)
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8 Days In April (aka Kravetz) - The Hamburg Scene (Ger 1972)

8 Days in April (aka Kravetz) - 8 Days in April - The Hamburg Scene (Ger 1972, Prog Rock)

Born: 1947, Paris, Île-de-France, France

Currently: Hamburg, Hamburg, Germany

Member of:
Le Bain Didonc, Die City Preachers, Frumpy, Randy Pie, Eric Burdon's Fire Dept.,Udo Lindenberg & das Panikorchester, Das Waldemar Wunderbar Syndikat

Related Artists:
Michel Polnareff, Udo Lindenberg, Peter Maffay, Caro

Also Known As: Jean-Jacques Kravetz [birth name], 8 Days in April.

Genres: Progressive Rock

Musicians:
* Udo Lindenberg (vocals, drums, percussion),
* Jean-Jacques Kravetz (organ, piano, synthesizers, percussion),
* Steffi Stephan (bass),
* Thomas Kretzschmer (guitars),
* Inga Rumpf (vocals)
* Roger Hook (guitars, violin, viola).

Tracks:
A1. Dedication 9:30
A2. The Only Life 9:50
B1. Mindfuck (Spanish Version) 6:28
B2. Museum of My Feelings 10:38
B3. Maybe a Sailor 5:50

This is a pretty unknown and uncommon band, despite its close relation with FRUMPY, which is a prog rock dream ensemble. It fits quite well, on the other hand, the scene of (hard) rock – having, in this case, the German authentic spark with several general and minimal influences – a musical scene which is rarely recognized or valued outside the obscure margins of its period. 8 DAYS IN APRIL's music is perfect for the taste in interesting or laid-back rock, since the album is also a mix of artistic and energized play, plus it’s close to a collection meritous item, up in progressive rock's classic, hard or eclectic mentions.
The project was at first solo music practiced by Jean Jacques Kravetz, long-time keyboardist and rock in FRUMPY. Eventually though, 8 DAYS IN APRIL became a band of four core members and two special guests. Udo Lindenberg was second in importance next to Kravetz, writing and singing the vocals, plus composing much of the music. Steffi Stephan, playing bass, and Thomas Kretzschmer, playing guitars (with, sometimes, an astonishing freshness), joined the musicianship. The piece "I'd Like To Be A Child Again", though presumptively the most shining piece in the album, is mainly arranged by vocalist Inga Rumpf, also notorious in some of FRUMPY's experiences. Originally called "Kravetz" (given the promoter), the band finally adopted the name 8 DAYS IN APRIL, and their 1972 album was tag-titled The Hamburg Scene. Both names can be considered suggestive, since the ensemble recorded in Hamburg, and the album was, most likely, an 8 days rock work.
The Hamburg Scene smashes a lot of hard classic rock mints, but also has a prog rock definite taste. Close to being purely (and purifying) instrumental, much of the music's contrasts evolve from lyrical and euphonic passages to striking and overly produced climaxes. 8 DAYS IN APRIL clearly play a blending rock of artistic and popular forms, with smaller influences of fuzzy rhythms, jazzy branding or complex emotions and frets.The entire concept, project and music relief of 8 DAYS IN APRIL is definitely of a bit spontaneous kind, nevertheless its improvisation is worthwhile, since it's a good and recommend prog rock band, up the rarity shelve.
~ Internet Source.

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8 Days In April (aka Kravetz) - The Hamburg Scene (Ger 1972, Prog Rock).rar (79.5 MB)

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T.P. Smoke - T.P. Smoke (Den 1970)

T. P. Smoke - T. P. Smoke (Den 1970, progressive psychedelic rock)

Members:
* Tommy Petersen (organ, vocals),
* Kay Rose (bass),
* René Sejr (drums).

Tracklist:
01. The Bad Bad Junker
02. Take A Trip
03. You're Right Place
04. I'm Stone
05. The Girl I Met Today
06. Dreams
07. Hammerschmitts Garden
08. Smoke

Rare 7-track 1971 organ driven progressive rock with some blues leaning LP from Tommy "P" Petersen of Rocking Ghost, Scarlets & Matadorerne - this is the version manufactured in Germany for release in Denmark which has all red labels with white and black printing and company logo on top of centre hole.Vinyl is near perfect and has some light inaudible surface lines - soft laminated picture sleeve has slight general wear, some wear on corners and some laminate creases due to mild corner bends.
~ (http://www.soundstation.dk/data/products/107613.aspx)
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Their album was manufactured in Germany (and distributed there in addition to Denmark). Tommy Petersen was the leader of the group - he wrote the songs, provided the soul and blues flavoured vocals and played the lead instrument. Several tracks sound like a curious (and not very tasteful) cross between Atomic Rooster, Hansson & Karlsson and Tom Jones. It's generally considered not to rank among the best Danish albums!
~ (http://sgm.paullee.ru/sgm-dk.htm)

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T.P. Smoke - T.P. Smoke (Den 1970, progressive psychedelic rock).rar (90.03 MB)
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