Tyme-Machine

Anneke Konings - Feelings (Hol 1972)

2012-01-12T01:57:00.000+02:00

Anneke Konings - Feelings (Hol 1972, Munich 6802 767 M8)

Born:   Oudewater, Utrecht, Netherlands
Member of: Caboose, Dandylion
Also Known As: Anneke de Koning [birth name], Andeane

Discography:
ANNEKE KONINGS
- 1971 De heilige auto / Eenzaamheid - Munich 6802.029 (Single).
- 1972 LP Feelings Munich - M 8 (LP).
- 1973 A lesson/Loneliness Munich - M 10 (Single).
- 1975 LP Tussen zon en maan Elf Provinciën - ELF 1570 (LP).
ANDEANE
- 1972 Lovers bye bye/Monday morning blues - Munich MN 1001 (Single).
- 1972 It's not right/For you - Munich MN 1002 (Single).

Musicians:
* Anneke Konings - vocals, accoustic guitar.
* Hans Hollestelle - guitars
* Fred Jansen - guitars
* Henk Haverhoek - bass guitar and double bass.
* Jasper van 't Hof - piano, organ.
* Richard Pulin - piano, organ, production, liner notes.
* Eric Ineke - drums
- Other instruments: violins, viola, cello, french horn, oboe, flutes and alto recorder.

Tracklist:
A1. Feelings
A2. A Lesson
A3. You Know Who I Am (Written By: Leonard Cohen)
A4. Magic Garden (Violin: A. Schol, Benny Behr, Guus Valten, P.J. Kelfkens
    - Viola: C. Carcassola* - Cello: Peter Doberitz - Written By: Jimmy Webb).
A5. Monday Morning Blues
A6. Love (Recorder [Alto]: Jenny Kliphuis - Flute: Ary Jongman, Dick Vennik, Henny Kluvers
    - Oboe: Guus Hautvast).
B1. I Am The Wind (French Horn: Leen Oosterman - Written By: Anneke Konings, Quentin J. Arnolds).
B2. For You
B3. Skip Rope Song (Written-By – Jesse Winchester).
B4. Loneliness
B5. I Don't Care
B6. Jack (Written By: Cor Numan).

Singer Anneke de Koning from Oudewater. In 1972, she took part in the Knokke Songfestival under the name Andeane. After 1975, she was no longer releasing records, but did continue on with live work with the group Caboose. In 1981, she emerged again with a new group called Dandylion.
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One of the best Dutch folk albums. This band has it all, from dreamy acoustic ballads into tracks with a more electric touch. Female vocals in English. Comes on more and more wantlists because collectors of the genre finally discovered this unique album.One of the very early releases on the label (green first design label).
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Rare original 1972 Dutch Munich Records vinyl LP part electric - part acoustic from dutch female vocalist singer/songwriter Anneke de Koning - 'Feelings' is recorded with Richard Pulin And His Orchestra and has on some tracks a slight psychedelic leaning f.i. 'You Know Who I Am' originally written by Leonard Cohen.
~ Internet sources.

Download Links:

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http://mir.cr/0XFIDMTN

...and also...

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Anneke Konings - feelings (Hol 1972).rar (65.79 MB)
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Harbinger - Second Coming (us 1970)

2011-11-10T23:48:00.000+02:00

Harbinger - Second Coming (us 1970, Private Press Lp - AE 100)

Members:
* Dave Bixby,
* Brian Macinness,
* Sandy Johnson,
* Don DeGraaf.

Tracks:
A1. Cosmic Energy   4:44
A2. Time to Clear Your Mind   3:30
A3. Control   2:42
A4. Circus World   7:19
A5. Harmony   3:27
B1. The More You Know   4:04
B2. Rainbow   5:08
B3. All of the Truth   3:34
B4. Open Doors   3:39
B5. Ode to Elias   5:21

I think Harbinger is all over a more interesting LP than "Ode To". I might even say, crucial. To me this hits like the American 70s equivalent of a fantastic piece of dire Russian literature from the 19th century. Dark, brooding, simultaneously obsessed and utterly confused by God.
Transcendental in its outcome, musically massive and stormy like its name promises. A true one of a kind ticket to.... a place very few christian records ever go. One of the hands down heaviest, hauntingly soul searching LPs I've ever heard! The raga-ish buzz he gets out of the 12 string on some of this is absolutely to die for in this context, and sets a pivotal edge between some kind of Dark Ages seeker vibe and a full blown evil post-flower power cult mentality brushing wings with the Dark Lord himself! Mind games, ego death, time travel, ancient apothecaries stirring boiling cauldrons... it's all here. I've played the hell out of this and it only continues to open up to me. Chords, time signatures, lyrics, get stuck and echo through my universe like the tolling bells of the apocalypse. Totally unreal.
~ Joaquim Peso.
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“Excellent acoustic lost folk psych with 12-string that sounds like a sitar at times, harmony vocals. A strange little beast full of murky strum darkness, cosmic imagery, and rich vocals.
Hard to know what this group was aiming for with an equal mix of cosmic and biblical references. Musically, this has more in common with Leopoldian despair than any Jesus Music counterparts. They even appropriate the melodies to Bowie’s “Space Oddity” and the Beatles’ “You Can’t See Me”! File under: Tripping For Jesus. …’the psychedelic sounds of the dirty circus grounds’.”
~ by [RM] Acid Archives.
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To those of us under the age of 30, Dave Bixby’s spiritual hippie-folk songwriting will likely elicit a collection of grimaces. To those who attended liberal arts colleges where ‘townies’ trolled about campus with their white-boy dreadlocks and secondhand garb, Harbinger’s Second Coming isn’t going to do much to gratify. Let’s face it: we’ve been dealing with this shit for years. There’s no possible way that some dude with an acoustic guitar and ‘spiritual’ (but not religious!) lyrics could break through our calloused anti-hippie disposition. But while Harbinger’s Second Coming (recently re-released on Guerssen) will be an easy record to overlook, it doesn’t have to be.
Taken earnestly, Second Coming really is quite beautiful. Although you might have to circumvent a few temporal biases in order to enjoy it, Dave Bixby’s songwriting is a powerful product indeed. He hopes, he mopes, but above all else, Dave Bixby feels god’s influence in his every movement. A similar spiritual affinity characterized Bixby’s previous work (the devastatingly lonesome Ode To Quetzalcoatl), but on Second Coming we discover that he’s finally pulled himself together.
As a result, the work is much more optimistic than its predecessor; instead of appealing to god through his isolation, Bixby expresses his spirituality more directly. He’s not writing explicitly for himself anymore — Second Coming finds a recovered Dave Bixby, and he wants to tell you about what he’s seen.
~ by Orange Julius.
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Well as you can likely see by my recent finds post both of my Dave Bixby albums showed up yesterday. Once I found out that the Spanish label Guerssen had reissued both of his albums I was first in line to get my hands on a copy, and sure enough they're hot out of the plant, beautiful 2009 pressings. Since yesterday I've listened to them both through twice and I must say that I still favor Ode To Quetzalcoatl because of just how personal it's lyrical content is. It's almost haunting in how revealing and troubled Bixby sounds on it, a man lost but trying desperately to find his way out. It's brilliant.And that brings me to Harbringer's Second Coming Lp, which is after all Dave Bixby's second effort. It's mostly made up of songs that were written around the same time as Ode To Quetzalcoatl and while some may think it should sound the exact same, well it doesn't.
The most striking change is the level of accompaniment Dave has on the songs. Instead of a strict solo effort like the 1st album now you have layers to contend with, and that's not always a good thing on Second Coming.
Right from the intro track "Cosmic Energy" one can tell that the timing of the guitars seems off, as well as out of tune. You'll also notice that the lyrics are seemingly nonsensical compared to any cut off of Ode To Quetzalcoatl. That aside I think when you forget about his first album and concentrate solely on this record you will see it's brilliance. It's just the constant comparison between the two that end up faulting this album.
One thing that I did find very interesting though was taken from the incredibly informative insert included with the album, it's that during this time Ode To Quetzalcoatl had done quite well for Dave and they were selling the album at all of the shows they played. In fact so successful that the seemingly guru like Don Degraff chose to use Bixby's talent for his own profit. Using the Second Coming recordings (which were already made) he slapped his picture on the front and titled it under a group, "Harbinger" which tied it directly to the cult known as "The Group". This was a group of people that came later to worship Don religiously, and it was something Dave apparently always felt really leary of. He has since been associated with The Group but was never a full fledged member. This is all likely why this album is even harder to find than his first, it was not only a private pressing but strictly a cult album, which was sold as services and concerts. When those responsible for the reissues were looking for source copies of the albums (no master tapes exist) they could only track down 2 copies of Second Coming. That just shows how rare it is.
Anyways, listen and decide for yourself.
~ (this quote was taken from "THE WORLD ON A STRING" by GBTG).

Download Links:

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Harbinger - Second Coming (us 1970).rar (103.54 MB)
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Landberk - Lonely Land (Swe 1992b)

2011-10-30T03:11:00.000+02:00

Landberk - Lonely Land (Sweden 1992, Progressive Rock)

Formed: Sweden

Members:
* Patric Helje (vocals, guitar),
* Reine Fiske (guitar),
* Stefan Dimle (bass),
* Simon Nordberg (keyboards),
* Jonas Lidholm (drums)

Related Artists: Morte Macabre
Genres: Progressive Rock, Art Rock

Tracklist:
01. Waltz Of The Dark Riddle
02. The Tree
03. Pray For Me Now
04. Song From Kallsedet
05. No More White Horses
06. You And I
07. Lonely Land

Unlike previous efforts to 'do an English version' (PFM, Kraftwerk), Lonely Land works very well indeed, with Dimle and Nordberg's lyrics translating well, assuming they are straight translations; some of the titles certainly are. Aside from the slightly brighter sound, the album is very similar to Riktigt Äkta, to be honest, although the English lyrics put a different slant on the material for the English-speaker. The other chief difference between the two versions is the excellent cover of T2's No More White Horses, complete with the Mellotron missing from the original. The bonus track on the Riktigt Äkta CD, Tillbaka (a cover, apparently, though I don't know of whom), hasn't been re-recorded, so you really need both of these.
~ internet source.
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The first Landberk album for me has great significance for a 'cover song'. Track 5 "No More White Horses" is a cover of Peter Dunton's song which was recorded by T2 in 1970 (Original (Short) version by Please in 1968). Not that this is the only song of note on this album.
On the debut album "Lonely Land" these guys almost openly recreate the sound of the '70s, actively and effectively using such famous (and popular) keyboard instrument as Mellotron (The Keeper of the string samples). A lot of acoustic piano, and some songs feature even accordion.
Cold, Northern music with slow dramatic themes and quite complex arrangements slightly influenced by such bands as Van Der Graaf and PFM. Keyboards play a prominent role here, though often you can hear excellent sad guitar solos.
If you haven't heard the T2 "It'll All Work Out In Boomland" version and want to - Check out the post on this blog (if the link is down I will post it again for you) it has blistering Guitar work from the (then 17 year old) Keith Cross.
Please note this is the English version of "Riktigt Akta" which is their Swedish first album in 1992.
The music here is pretty simple (especially harmonically speaking), it creates a nice, melancholy mood using mellotron, flute, and guitar to good effect. Vocals for the most part are quite laid-back, fitting the slow, plodding mood of the disc. Guitar solos form the only real breaks from the broodingness of the music, and even those are somewhat cold: either chilly acoustic work (a la Robert Fripp's acoustic runs in "Cirkus" from Lizard) or a dirty, tortured tone from the electric guitar. Few specific influences come to mind, though there are definite similarities to early King Crimson, certain Anglagard passages (it's worth noting, though, that Riktigt Akta was released before any Anglagard albums), quieter Anekdoten pieces, and perhaps the more mellow compositions out of 1970s Italy. While I am told that later albums by this band begin to steer closer to pop-prog territory, this is a worthy release for fans of Scandinavian prog that don't mind a lack of harmonic activity.
~ by ZaXXoN.

Download Links:

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...and also...

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Landberk - Lonely Land (Swe 1992b).rar (114.82 MB)
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Landberk - Riktigt Äkta (Swe 1992a)

2011-10-29T21:54:00.002+03:00

Landberk - Riktigt äkta (Swe 1992a)

Formed: Sweden

Members:
* Patric Helje (vocals, guitar),
* Reine Fiske (guitar),
* Stefan Dimle (bass),
* Simon Nordberg (keyboards),
* Jonas Lidholm (drums)
* Andreas Dahlbäck / drums, percussion
Guest:
* Simon Steensland / drums (track 7 only)

Discography:
Studio albums:
- Riktigt Äkta, 1992
- Lonely Land (English version of Riktigt Äkta), 1992
- One Man Tell's Another, 1994
- Indian Summer, 1996
Live recordings:
- Unaffected, 1995
Singles and promotional recordings:
- Jag Är Tiden, 1994
- Dream Dance, 1995

Related Artists: Morte Macabre
Genres: Progressive Rock, Art Rock
Studio Album, released in 1992

Tracklist:
01. I Nattens Timma (4:28)
02. Skogsrået (8:01)
03. Trädet (8:36)
04. Vår Häll (6:15)
05. Visa Från Kallsedet (6:28)
06. Undrar Om Ni Ser (8:36)
Bonus on Record Heaven CD and Lp:
07. Tillbaka (2:46)
Total Time: 45:10

Their first album was originally released in its Swedish-language version, Riktigt Äkta, which they re-recorded in English as Lonely Land. These appear to be two entirely different recordings; the Swedish version plays flatter and has a rawer sound than the English, and both albums have different bonus tracks, making them both essential for the aficionado. I Nattens Timma/Waltz Of The Dark Riddle is something of a 'Tron classic; Mellotron flute (underpinned with cello) and vocal, with the 'Tron (played by Simon Nordberg, incidentally) switching to strings halfway through each verse, coupled with a haunting melody that could only be Scandinavian. The rest of the album carries on in a similar vein, although there are a couple of slightly more upbeat numbers; Landberk were nothing if not melancholy, to the point where they made their aforementioned contemporaries sound like quintessential party bands. Well, nearly. There are too many highlights to name, but the 'Tron strings on Undrar Om Ni Ser
(redolent of Crimso's Epitaph) are really quite superb. One of the band's strengths was not overusing the 'Tron, although it would've been far too easy to have smothered the whole thing in it. Admirable restraint, and a great album.
~ internet source.
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My first impression of this Swedish band's debut album was: boring as hell. After quite a bit of repeated listening, though, I've come to a different conclusion. While the music here is pretty simple (especially harmonically speaking), it creates a nice, melancholy mood using mellotron, flute, and guitar to good effect. Vocals are in Swedish (there is an English version on Laser's Edge entitled Lonely Land) and are pretty well-done: for the most part quite laid-back, fitting the slow, plodding mood of the disc. Guitar solos form the only real breaks from the broodingness of the music, and even those are somewhat cold: either chilly acoustic work (a la Robert Fripp's acoustic runs in "Cirkus" from Lizard) or a dirty, tortured tone from the electric guitar. Few specific influences come to mind, though there are definite similarities to early King Crimson, certain Änglagård passages (it's worth noting, though, that Riktigt Äkta was released before any Änglagård albums), quieter Anekdoten pieces, and perhaps the more mellow compositions out of 1970s Italy. While I am told that later albums by this band begin to steer closer to pop-prog territory, this is a worthy release for fans of Scandinavian prog that don't mind a lack of harmonic activity.
~ Review by Brandon Wu.
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Nowadays, the Scandinavian scene sets the patterns between melancholy and tragedy within the realms of progressive rock. "Riktigt Äkta" is a rare composition, so human, so dark that evokes the deepest feelings you've been holding inside and will take you to the point where you can be exposed to the real essence of this symphonic masterpiece. Many Swedish bands are out there on the spotlight standing still to the inclemency of top prog bands, but its projection is greater than its anonymity. That'd be the particular case of ANEKDOTEN, which combined its talent with some of the skillful musicians of LANDBERK to produce in 1998 the ultimate instrumental progressive piece, "Symphonic Holocaust". The band commanded by Patrik HELJE on vocals, reached vertiginously its peak with debut album "Riktigt Äkta", making the rest of the LANDBERK experience worthwhile. Disbanded in 1996 right after "Indian Summer", the formula reinvented by the Swedish band will remain still no matter what musical changes or progressive tendencies.
Definitely, one of the best albums released in the early nineties. Get to know this proposing and enigmatic band, you'll be enchanted. No more to say.
~ Review by Cloud Zero.

Download Links:

http://www.mirrorcreator.com/files/YTPN0HBT/Landberk_-_Riktigt_Akta_(Swe_1992a).rar_links

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Landberk - Riktigt Akta (Swe 1992a).rar (103.59 MB)
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Storyteller - More Pages (uk 1971)

2011-10-17T23:31:00.003+03:00

Storyteller - More Pages (uk 1971, Transatlantic Records - TRA 232)

Genre: Folk, World, & Country, Rock
Style: Folk Rock, Prog Rock, Folk

Members:
* Mike Rogers - (Acoustic Guitar [Finger Style], Vocals),
* Roger Moon - (Acoustic Guitar [Rhythm], Vocals),
* Chris Belshaw - (Bass Guitar [Fender], Vocals),
* Harold Becket - (Trumpet, Flugelhorn),
* Caroline Attard - (Vocals),
* Terry Durham - (Vocals, Painting [Cover]),
* Henry Spinetti - (Percussion).

Tracklist:
A1. Night Games (Andrew Bown, Terry Durham)
A2. Remarkable (Roger Moon)
A3. Bosworth Field (Roger Moon, Terry Durham)
A4. Laugh That Came Too Soon (Roger Moon, Terry Durham)
A5. Singular Day (Terry Durham)
A6. Beautiful Affair (Roger Moon)
B1. Wolf In The Water (Andrew Bown, Terry Durham)
B2. Fall In All Directions (Roger Moon)
B3. Name Certainly Rings A Bell (Andrew Bown)
B4. Bull Jack (Andrew Bown, Roger Moon, Terry Durham)
B5. For You Today (Terry Durham)
B6. Really - Truly (Roger Moon)

Credits:
- Printed By: MacNeill Press Ltd.
- Made By: MacNeill Press Ltd.
- Recorded At: Sound Techniques
- Engineer: Jerry Boys
- Photography By, Cover [Back Cover Conception]: Michael Cole
- Producer: Andrew Bown.

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.
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.
~ by musiciansolympus.blogspot.com.

Special thanks to my RYM friend, ZenBa!

Download Links:

http://www.mirrorcreator.com/files/1CSRAZ0I/Storyteller___More_Pages__uk_1971__Transatlantic_Records_.rar_links

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Storyteller - More Pages (uk 1971, Transatlantic Records).rar (70.91 MB)
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Tangerine - De L'Autre Côté De La Forêt (Fra 1975, folk)

2011-10-10T01:50:00.000+03:00

Tangerine - De l'autre côté de la forêt... (Fra 1975, folk)

Country:France
Genre: Folk Rock

Line up:
* Valéry Betsh (vocal, classical guitar, 12-string guitar,
* Marc Donahue (vocal, classical guitar, flute, keyboards, saxophone, bongost),
* Gabriel Malka (acoustic guitar, vocal, 12-string guitar),
* Charlie Sabban (acoustic guitar, vocal).

Guest musicians:
* Roger Gremillot (Drums, Percussion),
* Alain Carnel (Electric Bass).

Credits:
- Artwork By – Jean-Louis Macchi
- Engineer – Jean-Claude Robert, Sidney Hermann
- Photography [Verso] – Christian Zagaria
- Producer – Jean-Claude Pognant

Notes:
Recorded at Studio De La Citadelle in Besançon except "Liberté" recorded at Studio Aquarium in Paris Published by Chappell (Catalogue ANGE-MUSIC) except "De L'autre Côté De La Forêt" published by
Kinney Music & "Eveil" Editions Gavroche
Distribued by WEA Filipacchi Music
World Distribution by Eurodisc
Printed in Paris at Imprimerie Saint-Rock

Albums:
1975 - SP "De l’autre côté de la forêt" (Eurodisc)
1975 - "De l’autre côté de la forêt" (Arcane)
1976 - SP "Sad and lonely" (Crypto)
1978 - "Mémoire" (Crypto)
1979 - SP "Yragael" (Crypto)
1980 - SP "L’épouvantail" (Gig)
1981 - SP "L’épouvantail" (CBS)

Tracklist:
A1. De L'autre Côté De La Forêt
       Composed By – Bunnel, V. Btesh* 2:56
A2. Death
      Composed By – M. Donahue* 2:45
A3. Médidations
       Composed By – V. Btesh* 7:22
A4. Liberté
       Composed By – C. Sabban*, V. Btesh* 3:50
B1. It's Ending
       Composed By – V. Btesh* 4:20
B2. Listen
       Composed By – C. Sabban*, V. Btesh* 2:32
B3. Time
       Composed By – Malka*, Donahue* 3:30
B4. Eveil
       Composed By – C. Sabban* 3:40
B5. Direction Sud
       Composed By – G. Malka*, V. Btesh*

Tangerine were a simple folk quartet based out of France, distinguished by the luminous lead presence of Valery Btesh and the ornate flute work of Marc Donahue. With the potential of four, count 'em four acoustic guitars at work and equally layered vocal harmonies, you know what you can expect, and this is where the band's undoubtedly excelled. Discounting a few instrumentals, half of the songs are sung in their native tongue, and the other half in English, with uncommonly minimal intrusion from accents.
De L'Autre Cote de la Foret is another of the great unsungs. Though the album gets off to a decent if unremarkable start, we soon hit Btesh's "Meditations," which I'll go on record saying is one of the most beautiful songs I've yet come across in my explorations over the years under the broad prog umbrella, and that's simply not an overstatement. Picture Genesis circa Trespass transplanted to the rural countryside with a French Sandy Denny singing a melody that hypnotizes all in its path. If I need to say more, then as was once said elsewhere, "you'll never know."
Though obviously less ambitious, "Direction Sud" is another tune from this band that has stuck with me through the years, an acoustic pop tune with stalwart harmonies and a beguiling chorus. Past these, there are additional songs ("Liberte," "It's Ending," "Listen") with other delicious melodies that solidify this album as a must-track-down for the latent or not-so-latent folkies of the prog community.
Granted, as can be discerned from the songs in English and the general style of the band, Tangerine drew at least some influence from the West Coast psych-folk scene that permeated the late 60s. In fact, this often seems more like an album that would have been made in 1968-69, rather than 1975. Even so, this album is a far cry from the posturing, make-love-for-Jerry narcissism that signals hippiedom at its worst. Say what you want about the lyrics, Tangerine never sounded less than sincere in their delivery, and many of the songs have that introspective touch that makes them genuine in their ability to reach and touch the listener.
~ review by Joe McGlinchey 2-6-04.

Download Links:

http://www.mirrorcreator.com/files/1GBQFRX1/Tangerine___De_L__Autre_Cote_De_La_Foret__Fra_1975__folk_.rar_links

Short links:

http://mir.cr/1GBQFRX1

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Tangerine - De LAutre Cote De La Foret (Fra 1975, folk).rar (34.32 MB)
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October Country - October Country (us 1968)

2011-10-07T23:43:00.002+03:00

October Country - October Country (us 1968)

Formed: 1967, Los Angeles, CA, United States
Disbanded: 1968 //

Members:
* Caryle (Carol) De Franca (female vocals),
* Joe De Franca (vocals),
* Marty Earle (guitar),
* Bruce Wayne (bass guitar),
* Bob Wian (keyboards),
* Eddie Beram (drums)

Related Artists: The West Coast Pop Art Experimental Band, The Smoke, Cotton, Lloyd & Christia

Tracks:
01. October Country - 2:37
02. Painted Sky - 3:10
03. Little Boy Smiling - 2:21
04. She's Been Away - 1:53
05. Good To Be Around - 2:28
06. I Was A Fire - 1:49
07. Cowboys And Indians - 2:13
08. I Just Don't Know - 2:23
09. End Of The Line - 2:17
10. My Girlfriend Is A Witch - 2:06
11. Caryle's Theme - 1:49
Bonus:
12. Baby What I Mean - 1:48
13. October Country (45 mono mix) - 2:22
14. I Just Don't Know (45 mono mix) - 2:09
15. I Wish I Was A Fire (45 mono mix) - 2:06
16. Cowboys And Indians (45 mono mix) - 2:36
17. My Girlfriend Is A Witch (45 mono mix) - 1:52

October Country was a short lived “band” fronted by West Coast Pop Art Experimental Band leader/virtuoso Michael Lloyd (For another great Lloyd album, see the January 9th, 2010 post of The Smoke).
Lloyd wrote, produced, sang lead and background vocals and played all kinds of instruments on the record. The record itself was engineered by Roy Halee, a legendary west coast engineer who worked on the Millennium’s “Begin” album as well as some historic Simon and Garfunkel cuts. If you’ve heard “Come to the Sunshine”, (the Van Dyke Parks‘ produced track), by the Harpers Bizarre, then this record will ring some familiar bells as you’re playing it. Most of the album resonates on the same frequency as those west coast pop “divas” work; cheery twee-pop that bounces and jingles with light subject matter intended to make it’s listener smileUltimately I have found though, that the lack of a direction that too much “sky-high-airy” music brings catches up with discerning listeners, resulting in every track feeling and sounding very VERY similar.
If the production were on the same par as say, Gary Usher produced Sagittarius, then this album would have been a classic; unfortunately it lacked a dedicated producer at the controls to reign it all in. Inventive lyrics and fun arrangements, however, do abound on the album in similar Gary Usher or even Curt Boettcher style, even if the production doesn’t elevate them to the plateau that those 2 producers often reached in their 60?s productions.(Imagine a Goldenbriars-themed Boettcher simply continuing on in that vein of style and sense and it isn’t a stretch to think he could’ve done this album. Luckily, though… he moved onto bigger and better things.)
Needless to say, this album rubbed me the wrong way at first; (I’m personally not too much of a fan of the Harpers Bizarre and similar sounding groups), but after I realized that Lloyd sang/wrote/produced the WHOLE album… my opinion changed somewhat. If you treat this album as an essential “solo” album for Lloyd with some semi-competent background musicians and an occasional horn arrangement…then it is a pretty impressive feat indeed.
He is a competent, (if not overly underachieving) vocalist, good guitar player and arranger. He understood at a young age exactly how a record should sound, and calling him a prodigy for that fact isn’t a misnomer. The only studio personality that I can think of that is similar in feel and design to Lloyd would have to be the aforementioned Curt Boettcher of the Millennium.Unfortunately for Lloyd, though, he never got a true opportunity to work with someone as gifted as he in terms of songwriting (Boettcher always surrounded himself with the likes of Lee Mallory, Sandy Salisbury etc)… so he hasn’t and probably never will get the credit he deserves in that respect.
~ William Bourque.
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October Country was a six-piece, Los Angeles-based harmony pop group. They are probably best-remembered for their association with producer/composer/songwriter Michael Lloyd. Lloyd was already an accomplished songwriter by age 13, signing a publishing deal with L.A. producer Kim Fowley, who later introduced him to entertainment mogul Mike Curb.
Fowley hoped that Curb would use some of Lloyd's songs in the "teensploitation" films he was producing at the time. Instead, Curb gave Lloyd the opportunity to produce a handful of groups for his Tower imprint and its Sidewalk subsidiary, including one of Lloyd's own groups, the Laughing Wind. Lloyd was 15 when his first single produced by Fowley was issued in 1966 (a few years later this same group -- which featured Stan Ayeroff on guitar and Steve Baim on drums -- released several "songbook" albums, including the Cream Songbook, although they were credited to "the Rubber Band" at the time). Meanwhile, Lloyd's profile in the L.A. music community was in ascendance and brought him new opportunities.
He was soon offered the chance to produce a We Five-ish folk-rock group, led by a pair of singing siblings: Caryle De Franca (real name Carol De Franca) and her brother Joe. The group had already performed on the Sunset Strip scene, where they backed groups like the Rivingtonsand the Coasters. They assembled at Columbia Records and, under Lloyd's supervision, recorded the Lloyd-penned "October Country." (After they left the studio, however, Lloyd overdubbed himself playing on many of the instruments, replacing their poorer performances). The group adopted the name October Country thereafter, and signed with Epic Records, which released that first single in late 1967. By the spring of 1968, the group's second single, "My Girlfriend Is a Witch," was released, followed a few months later by a third single, "Cowboys and Indians." A self-titled LP was released that same year, but the group's records failed to catch on outside of the L.A. area. Curb was nonetheless impressed with what he heard and gave Lloyd free reign of his Hollywood Boulevard Studios for the next six months, where he and two other musicians composed, performed, and recorded an entire album of similar Laurel Canyon-esque psych-folk for his Sidewalk Productions, this time releasing the material under the name the Smoke, a band featuring Lloyd and the other members of the studio group previously known as the Rubber Band. Meanwhile, in 1969, Curb and Lloyd produced bubblegum rock for a cartoon program called Cattanooga Cats, which featured a pop-punk version of "My Girlfriend Is a Witch," reputedly with Rupert Holmes (of "Escape (The Pina Colada Song)" fame) on lead vocals.
~ internet source.
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October Country's self-titled album -- long out-of-print -- is today revered and highly prized by collectors who have managed to find a copy. It certainly deserves to be reissued on CD. Other soft rock and sunshine pop/soft rock obscurities -- including those by the Millennium, Sagittarius, and Eternity's Children, to name just a few -- are just now becoming available again on CD, so why not October Country? This 1968 album is one of the better examples of songwriter/producer/musician Michael Lloyd's overall influence and impact on the West Coast-based genre. Lloyd -- who was certainly influenced by important albums like the Beatles' Sgt. Pepper's Lonely Hearts Club Band, the Beach Boys' Pet Sounds, and various psych-pop sounds of the Brit-pop invasion, even harmony vocal groups like the Bee Gees -- always seemed to find interesting ways to incorporate various sophisticated instrumentation (organ, horns, harpsichord, and string arrangements) into his productions. During this particular group's first recording sessions, Lloyd began transforming this We Five-ish folk-rock group into a formidable group (he also played the various instruments himself -- because the group wasn't that proficient on their own). There are numerous highlights here, including the title track (later recorded by the Smoke, the U.S. band who was another Lloyd "Sidewalk" production), "Cowboys and Indians," and "My Girlfriend Is a Witch."
~ Bryan Thomas, Rovi

Download Links:

http://www.mirrorcreator.com/files/0WUT8T4W/October_Country___October_Country__us_1968__CD_.rar_links

Short links:

http://mir.cr/0WUT8T4W

...and also...

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...and also...

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October Country - October Country (us 1968, CD).rar (96.71 MB)
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The Movements - Grains Of Oats (Swe 2006) [Alternate Cover], [Bonus Tracks]

2011-09-26T21:39:00.004+03:00

The Movements - Grains of Oats (Swe 2006) [Alternate Cover], [Bonus Tracks]

Formed: 2001,   Gothenburg, Sweden

Members:
* David Henriksson (vocals),
* Gustaf Gimstedt (organ, piano, vocals),
* Christian "Krita" Johansson (guitar, vocals),
* Daniel "Dolly" Pettersson (bass),
* Thomas Widholm (drums)

Also Known As: The Lost Movements
Genres: Psychedelic Rock, Space Rock, Garage Rock, Garage Rock Revival

Tracks:
01. It Starts With a Whisper   3:42
02. Cry for You   2:49
03. Looking for a Change   2:51
04. Being   4:42
05. Five Steps Ahead   3:16
06. Instead of Catching a Disease   3:33
07. Image in the Mirror   2:03
08. Conceptual Love   4:24
09. Circle Ain't Round   2:55
10. Ain't Gonna Let You Mess Me Up   5:02
11. Space Autopsy   6:19
BONUS:
12. Ragdoll
13. I Don't Wanna Be Like You

Reviews:
“Yes, Yes and thrice Yes!! This bunch are a Swedish group and if you liked Sweden’s The Strollers then you will want this disc without doubt. The Movements have a strong affinity to the ‘Paint It Black’ school of minor key modal scale lead lines, but played on farfisa organ rather than guitar. Add some strong fuzztone guitar, well mixed back, leaving the keyboard to carry the melody and add a confident vocal, cleanly recorded and you have a perfect modern ’60s album. It is also not unduly reminsent of Sean Bonniwell’s Music Machine at times, and that’s no small compliment! This is a blinding set from start to finish. The Swedes and the Spanish (see Winnerys review further on) seem to be the global hubs for inventively modern 60s rooted music. From the opener ‘It Starts With A Whisper’, you know you will be on this ride until the end. The end comes 11 songs later with ‘Space Autopsy’ which is a great whirlwind of a number coloured by bleeps and various noises which conjure up a late 60s episode of the popular British science programme Tomorrow’s World take on what the future will sound like. I recommend this one very strongly and you can find out how to get it via their website, don’t hesitate!”
~ Paul Martin (Shindig magazine)

Dwnload Links:

http://www.mirrorcreator.com/files/LX7SDWVE/The_Movements___Grains_Of_Oats__Swe_2006___Alternate_Cover____Bonus_Tracks_.rar_links

Short links:

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...and also...

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...and also...

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The Movements - Grains Of Oats (Swe 2006) [Alternate Cover], [Bonus Tracks].rar (102.98 MB)
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Teina - Touched By The Sun (us 1969)

2011-09-19T21:05:00.000+03:00

Teina - Touched by the Sun (us 1969, Perception Lp - PLP 015)

Credits:
* John Trivers (Bass)
* Thom Kennett (Drums)
* Dan Bloch (Lead, Guitar)
* J.C. (11) (Rhythm Guitar)
* Bill Chelf (Piano)

- Neil Schwartz (Engineer)

Tracklist:
A1. The Facts Of Life 2:50
A2. Words Of Honor 3:25
A3. Savage Child 2:40
A4. 8 Million 3:11
A5. Pity The Child 4:05
B1. This Moment In My Life 2:53
B2. Look Into The Faces 3:05
B3. Do You Know Me Now 2:57
B4. Hear Me Well My People 2:50
B5. Too Soon 2:55

Teina Richardson was one of Jimmy Curtiss’ discoveries when he launched his Perception label in 1969, her music was described as “Psychedelic Soul”, but it’s safe to label it folk, a nice "change of pace" lp.
Here’s a snippet about her and the record from GGP:
Around the turn of the decade, Curtiss fell heavy for the Native American trip. Where his motivation came from is unclear. “His real name might be Curtiz or Cortez or something like that, because the rare photos of the man, that I've seen, point to a Latin-American or Spanish origin.” That dubious sleuthing aside, there just may’ve been some new world blood a’mingling with the old, cuz Jimmy turned out to be one helluva scout. His first discovery was Teina, a dark-skinned fox of indefinite ethnic descent and the treacley voice of a sure thing. Teina’s sole offering, Touched by the Sun, showcased the young beauty, decked out in beaded garb and cradling what appears to be a stuffed (maybe it’s just sleeping) eagle against a Santa Fe sunset backdrop. The music was smooth, vaguely psychedelic soul dealing with themes of abandonment, unfairness towards her people, etc.. As impressive as it was, the Teina LP was merely a warmup for the indigenous dirty bomb that Curtiss was about to drop on the handful of record-buying young people that actually followed Perception’s sporadic release schedule. When the sun rose on the morning of June 12, 1970 and record store clerks threw open their doors, the shelves were lined with shiny new copies of Custer Died For Your Sins by a real-life American native with the pretty-unhip name of Floyd Westerman.
~ http://www.greatgodpan.com/2007/09/little_big_men.htm

Download Links:

Normal version :

http://www.mirrorcreator.com/files/GBP8WKFH/Teina_-_Touched_By_The_Sun__us_1969__Perception_.rar_links

Shorter version :

http://mir.cr/GBP8WKFH

...and also...

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...and also...

http://www.multiupload.com/M1JAH8LAOI
Teina - Touched By The Sun (us 1969, Perception).rar (54.8 MB)
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Montreal - A summer's Night (Can 1970)

2011-09-11T17:12:00.002+03:00

Montreal - A Summer's Night (Can 1970)

Montreal:
* Jean Cousineau,
* Gilles Losier,
* Fran Losier.
Personel:
* Richie Havens (koto, sitar);
* Jeremy Steig (flute);
* Gilles Losier (piano);
* Buzzy Linhart (vibraphone);
* Skeeter Camera (percussion).

Tracks:
01. What About the Wind? 2:28
02. Summer's Night 3:37
03. Circles and Lines 2:45
04. Sometimes in Stillness 3:00
05. Third Floor Walk-Up 5:30
06. Every Passing Moment 2:59
07. Summertime 4:11
08. Round and Round 3:05
09. Infinity 7:58

- Genre: Psychedelic Rock

- Audio Remixers: Al Manger; Bernard Fox.
- Liner Note Author: Richie Havens.
- Photographer: Mark Roth.

This project led by canadian musicians Fran & Gilles Losier, Jean Cousineau was recorded in New York with the help of the four top US musicians Jeremy Steig, Buzz Linhart, Skeeter Camera and Richie Havens. The result is a beautiful folk album with occasional jazz and psych influences. Check the songs for one of the freshest version of "Summertime" and the dark "Infinity".
~ by dj fanis.
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The very aptly titled A Summer's Night is a lost slice of turn-of-the-'70s Quebec psychedelia.
After the October Crisis (October 1970), French Canadian music will take a resolutely national turn, leading to the rise of French-singing groups like Harmonium and Beau Dommage in 1973-1974 (prog rock group Morse Code will even switch from English to French around that time). However, A Summer's Night was recorded a little prior to the terrorist events that will precipitate the Quebec sovereignty movement. As a result, the music is lighthearted and the lyrics sung in English -- the title track is the only song with French lyrics, and these are sung with a fake English accent! The lush voice of singer Fran Losier was Montreal's main asset. Comfortable in folk ("Circles and Line"), acid folk ("Infinity"), and jazz settings ("Summertime," "Third Floor Walkup"), she comes off as a surprisingly strong performer with good singing technique to boot (a rarity when dealing with...psychedelic-era rarities).
Guitarist Jean Cousineau and pianist/bassist Gilles Losier round up the core of the band, which has a very pleasant kind of camaraderie going on ("A Summer's Night," "Sometimes in Stillness"). Recorded in 1970, the album was produced by Richie Havens, who also contributes sitar on the eight-minute acid-laced closer "Infinity." Definitely strong enough for the mainstream, this debut and sole album by Montreal should have been a hit. History decided otherwise. A very nice album, particularly for "What About the Wind?," "A Summer's Night," and "Infinity."
~ François Couture
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The very aptly titled A Summer's Night is a lost slice of turn-of-the-seventies Quebec psychedelia. After the October Crisis (October 1970), French Canadian music will take a resolutely national turn, leading to the rise of French-singing groups like Harmonium and Beau Dommage in 1973-1974 (prog rock group Morse Code will even switch from English to French around that time). However, A Summer's Night was recorded a little prior to the terrorist events that will precipitate the Quebec sovereignty movement. As a result, the music is lighthearted and the lyrics sung in English -- the title track is the only song with French lyrics, and these are sung with a fake English accent! The lush voice of singer Fran Losier was Montreal's main asset.
Comfortable in folk ("Circles and Line"), acid folk ("Infinity") and jazz settings ("Summertime," "Third Floor Walkup"), she comes off as a surprisingly strong performer with good singing technique to boot (a rarity when dealing with…psychedelic-era rarities). Guitarist Jean Cousineau and pianist/bassist Gilles Losier round up the core of the band, which has a very pleasant kind of camaraderie going on ("A Summer's Night," "Sometimes in Stillness"). Recorded in 1970, the album was produced by Richie Havens, who also contributes sitar on the eight-minute acid-laced closer "Infinity." Definitely strong enough for the mainstream, this debut and sole album by Montreal should have been a hit. History decided otherwise. A very nice album, particularly for "What About the Wind?," "A Summer's Night" and "Infinity."
~ by error404.

Download Links:

Normal version :

http://www.mirrorcreator.com/files/0ZYGGBYR/Montreal_-_A_Summer_s_Night__Can_1970_.rar_links

Shorter version:

http://mir.cr/0ZYGGBYR

...and also...

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...and also...

http://www.multiupload.com/99EYC0N7XZ
Montreal - A Summers Night (Can 1970).rar (74.64 MB)
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The Wild Poppies - Heroine (New Zealand 1987)

2011-09-06T02:12:00.006+03:00

The Wild Poppies - Heroine (New Zealand 1987)

Formed: New Zealand

Members:
* Nick Taylor (guitar, vocals),
* Alan Carter (vocals, bass, percussion),
* Andrew Young (vocals, guitar, piano),
* IDH (Drums).

Tracks:
A1. What Is Mine
A2. Colourdrift
A3. I Don't Need You
A4. Walkabout
A5. Canon Over a Grey Sea
B1. Here nor There
B2. Fearless Man
B3. This Person
B4. Talking to Myself Again
B5. Introduction

Label: Poppie Records – PR 01, Private Release (2) – PR 01
Engineer: A. Poppie, Malcolm Welsford
Notes: Recorded at Underground Music Studios

A Band I know practically nothing at all about other than the fact they were from New zealand and released this Jangly little gem of an lp sometime in 1987. Sounds similar to The Bats, Clean, Verlaines, Feelies, Sneaky feelings and The Chills but with their own slightly experimental tendencies in areas, Very good stuff deffinitely worth checking out if you're a fan of those mentioned bands.
~ By Gozz.
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The Wild Poppies were from New Zealand and released music sometime in the eighties. Although they were not on Flying Nun you can definitely hear that they shared a lot of influences with their artists. Sounds similar to The Bats, Clean, Verlaines, Feelies, Sneaky feelings and The Chills but with their own slightly experimental tendencies in areas.
~ By popheaven.
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Drunk on Poppy Milk
The Wild Poppies merge convoluted jangle pop with classic guitar psychedelia obtaining very musical arrangement. I wonder how many able bands appeared out of nowhere, shot with a single excellent album and then dissolved in eternity once again. Quite often such albums as Heroine are much better than commercially successful ones selling out in millions only as a result of immeasurable hype.
~ By Babe_N_Co (RYM).
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I really don't know much about this band so I guess I will start off with what I do know. The Wild Poppies were from New Zealand and released music sometime in the eighties. Although they were not on Flying Nun you can definitely hear that they shared a lot of influences with their artists. Other than that pretty much nothing is known about this band which is kind of cool in a mysterious way. Judging from the cover artwork and album title I wouldn't be surprised if substance abuse had something to do with them disappearing off the face of the earth. There has to be some reason they are completely unheard of because this record is solid front to back.
Most of the songs on "Heroine" have that signature New Zealand jangle on them and really strong pop song writing. For me its one of those records where every time you listen to it you walk away with a new favorite song. As far as I know none of the Wild Poppies catalogue ever made it to CD format and I think you would probably have a hard time finding a physical copy of any of their records on vinyl so I am going to post all of "Heroine".
Be warned, can cause physical dependence.
~ by matt.

Download Links:

Normal version :

http://www.mirrorcreator.com/files/IGV7EXJD/The_Wild_Poppies_-_Heroine__New_Zealand_1987__1.rar_links

Shorter version :

http://mir.cr/IGV7EXJD

...and also...

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...and also...

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The Wild Poppies - Heroine (New Zealand 1987).rar (70.35 MB)
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Pipe Dream - Pipe Dream (uk 1978)

2011-08-28T21:14:00.002+03:00

Pipe Dream - Pipe Dream (uk 1978)

Formed: 1977, Ashford, Kent, United Kingdom

Disbanded: 1978 //

Members:

* Paul Skingley (bass, lead vocals),

* Alan Cork (guitar),

* Vern Mills (guitar, 1977-78),

* John Buckingham (keyboards, harmony vocals),

* Keith Baker (drums).

Biography:
Originally a five piece band with two guitarists, Mills left the band prior to their demos, which were recorded in Buckingham's bungalow in Willesborough, Ashford, Kent during summer '78.
Pipe Dream's music was a collaborative effort, with lyrics by Skingley.

Related Artists: Lusyd

Listen to Pipe Dream's unreleased rare bootleg recordings!

Tracks:
01. Mr Bright Eyes - 3:24 LYRICS by Paul Skingley
02. You Dont Know - 13:27 LYRICS by Paul Skingley
03. Fools Last Stand - 5:52 LYRICS by Paul Skingley
04. I Was a Winner - 11:07 LYRICS by Paul Skingley

Bonus Track:

05. Pipe Dream - 9:35 LYRICS by Paul Skingley (Recorded live at a practice)

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Pipe Dream was formed in 1977 and mainly came from Ashford in Kent. John Buckingham and Alan Cork had previously played together in the band Orpheus. John played keyboards this time and a bit of bass so that Paul could just sing on a couple of numbers.

Pipe Dream were originally a five piece band with two guitarists, unfortunately excellent guitarist and great friend Vern Mills left the band just before recording this demo.

All the following songs were co-written by Pipe Dream but the lyrics were written by Paul Skingley. They were Recorded live apart from the vocals in one afternoon at John's place at 6 Boys Hall Road, Willesborough, Ashford, Kent sometime during the summer of 1978.

Rate Your music.com have ranked Pipe Dream 12th for top bootlegs/unauthorized albums from 1978.

These recordings are probably 3rd generation but they are still generating a lot of interest.....

John last played keyboards in the band Lusyd with his son and sister. Three of these Pipe Dream songs have been recently covered by Lusyd plus the title song Pipe Dream that never made it onto the Pipe Dream demo.

John sends a special thanks to recording engineer Steve for providing the fantastic Wurlitzer electric piano and to Roland for the best hand's-on synth they have ever produced, the ultra cool System 100 - 101.

For more...
http://www.lusyd.co.uk/Bands/Pipe-Dream/Pipe-Dream.htm

Download Links:
http://www.embedupload.com/?d=6HMUKAGVCM

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MH - Black Animal (us 2011)

2011-07-14T19:04:00.001+03:00

MH - Black Animal (us 2011)

Credits:
- Released 01 February 2011
- Written, performed, recorded by MH
- 'Magazines' written by NP & MH
- Chicago IL 2010
- Mastered by JSC
- Brooklyn NY 2011

tags: experimental folk Chicago

You can contact or order a copy here:
http://www.purehighonthesea.com/

Self Description:
About dark, layered folk music recorded on the floor of the forest!

Tracks:
01. Gift 04:17
02. The Meeting Of The Waters 01:44
03. Volume And Ocean 03:33
04. Aces 03:56
05. In The Blackness Of The Fire 05:42
06. The Shore 04:17
07. Blanket 04:10
08. France 02:25
09. Magazines 03:39
10. Rifle 05:53
11. Leave Me The Leaves 02:20

Very interesting, fresh, sweet and ablazing sound from a new psych-folk artist! I 'm happy to see that the old tree of folk music flourishes again continuously...
~ alfaios.
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Simple, psychedelic-ish folk from Chicago. No, it's not lo-fi - the production quality here is top notch, which is nice, because it makes you appreciate all the little elements in this man's music. The main instruments here are obviously an acoustic guitar and the voice, but there is some interesting experimentation with electric guitar and even the studio equipment - like "Aces" which sounds like something between early Animal Collective and Christian Fennesz.
The tracks range from typical singer-songwriter stuff (with a slight, SLIGHT delay) to relaxing guitar passages set to field recording (or maybe recorded in the middle of the forest)?
Recommended. You can download the album for free or e-mail the guy for a physical copy.
~ by Panzerfaust.
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This is the first in a (hopefully!) long series of reader inspired reviews. This review is actually on a completely original piece of work which I would highly suggest checking out.
This is a short 12 song EP which consists of a mix of folk and semi-experimental sounding tracks. Hayes does a great job of working his way around the guitar and creating deep, rich melodies that perfectly match his voice, creating a distinct Xavier Rudd-esque feel.
The experimental portions of the EP sound like a collaboration between Baths and Animal Collective, a mix of avant garde folk and bedroom pop. Either way, it is a very interesting listen and worth a look. The production quality is surprisingly good and none of the instruments seem to fight for the lime light.
~ by Gabriel Unger.

Download Links:
http://purehighonthesea.bandcamp.com/

...and also...

http://www.multiupload.com/CUAP6PIQWR
MH - Black Animal (us 2011).rar (99.06 MB)
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Marc Jonson - Years (us 1972)

2011-07-09T17:14:00.001+03:00

Marc Jonson - Years (us 1972)

Born: NY, United States

Currently: Nashville, TN, United States

Also Known As: Mark Johnson

Genres: Singer/Songwriter, Baroque Pop

Tracks:
A1. Rainy Dues 3:53
A2. Mary 5:52
A3. Mother Jane
A4. Fly 2:08
B1. Long Son 5:15
B2. Autopsy 1:38
B3. Return to the Relief 5:51
B4. Munich 2:37
B5. The Tredmill 2:42

This record is fascinating in so many ways that it would take too much space for my lowbrow writing abilities. Anyway, what really baffles me is how snobs and connoisseurs spend their life salibating at incredibly rare,hopelessly dull, "conazo" records while major label artists like David Stoughton, Bob Brown or Jonson himself are still undervalued by everyone (just google his name to check).
How odd!
It's good to know there are still records out there that thrill me the way they used to in my youth.
How great!
~ by CarlosCastro (RYM).
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I own the CD reissue signed by Mark Johnson, aka Marc Jonson, of this enchanting record originally released on Vanguard Records in 1972 and now available on Radioghost as a special product.
This is a truly magic listening experience that reflects the very peculiar recording process if we are to believe Marc/Mark Jonson/Johnson himself: "I used left over harpsichords from classical sessions the night before. I hired string players and a string arranger. I even met a street player named Steven Gardner who played the recorder and set him to task on a long instrumental part of one of the songs. It was very ahead of its time in many ways"
Amazing, isn't it?
By the way, Mark Johnson later recorded three powerpop CDs that are must-haves, even for earlier fans of the folk-psych-pop music to be found on 'Years'.
~ by popphil (RYM).

Download Links:

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Marc Jonson - Years (us 1972).rar (46.1 MB)
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Riff Raff - Outside Looking In (uk 1999) (originally recorded in 1972)

2011-06-30T01:31:00.002+03:00

Riff Raff - Outside Looking in (uk 1999)
(originally recorded in 1972)

Formed: 1972, United Kingdom

Members:
* Tommy Eyre (keyboards, Hammond organ, acoustic guitar),
* Alan Marshall (vocals),
* Roger Sutton (bass guitar, acoustic guitar, vocals),
* Rod Coombes (drums, percussion, acoustic guitar),
* Joe Czarnecki aka Joe Peters (2nd drums),
* Martin Ball (guitar),
* Richie Dalton (saxophones),
* Pete Kirtley (guitar 8 to 11),
* Kenny Slade (drums 8 to 11),
* Aurero De Souza (drums 8 to 11).

Related Artists: Mark-Almond, Nucleus, Blue Whale

Genres: Progressive Rock

Albums:
- Riff Raff (RCA SF 8351) 1973 (reissued on CD by Disconforme, DISC 1952 CD, 1999)
- Original Man (RCA LPLI 5023) 1974 (reissued on CD by Disconforme, DISC 1953 CD, 1999)
- Outside Looking In (never released before 1999; CD by Disconforme, DISC 1951 CD, 1999)
45:
- Copper Kettle/You Must Be Joking (RCA RCA 2396) 1973

Tracklist:
01. Outside Looking In – 9:17
02. The Blind Man – 8:18
03. Bach B. Minor Prelude – 2:58
04. Feeling Paranoic – 0:43
05. Buthelezi – 3:42
06. So You Want to Be Free – 10:56
07. Changes – 3:25
Bonus Tracks:
08. Child of the Summer – 6:02
09. For Every Dog – 4:08
10. Morning – 5:59
11. The Garden – 6:59

Riff Raff was a UK progressive rock band formed by keyboardist Tommy Eyre in 1972.The band was a continuation on the back of drummers (and Harrow School of Art friends) Rod Coombes (Juicy Lucy Strawbs and Stealers Wheel) and Joe Czarnecki's (Plainsmen) aka Joe Peter's project originally called 'Crikey' started in 1969 and completed in 1970 when Rod had to accept growing tour commitments with Juicy Lucy.These sessions comprise half of the Riff Raff album 'Outside Looking In' in which Rod wrote half the songs.Rod says that "the concept of the band was based around two drummers and afro-jazz (Rod and Joe were great fans of Ginger Baker and Miles Davis) and fusion(this album was one of the first true fusion albums to be recorded).I had worked with Roger with singer Paul Williams (Juicy Lucy)and Tommy previously and clearly we all enjoyed doing what we do best-playing freely".
Riff Raff later went on to release two albums to lukewarm response; however, their use of jazz and hard-edged rock garnered them a large underground following. Riff Raff also released the single "Copper Kettle". Although not typical of Riff Raff's repertoire, the band were unlucky not to get some chart coverage from the single.[citation needed]
NOTE: This band is not to be confused with a US rock band of the same name (Doug Lubahn: vocals, bass. Ned Liben: guitar. Werner Fritzsching: guitar. Mark Kaufman: drums) who released an album entitled Vinyl Futures (Atco SD-32-108) in 1981 (notable for having a Hipgnosis sleeve design). Also note, not to be confused with the Island recording artists "Riff Raff" 1978, Chris DeMarco, Ray Hennighan, Jimmy Lowell, Ned Liben, David Lanik.
~ From Wikipedia, the free encyclopedia.
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Riff Raff came together almost as a natural consequence of the member’s different paths crossing each others at times.
While the Eyre and Sutton pair where working with Mark-Almond progressive duet, they had the time to record an album with Alan Marshall (future Zzebra) and drummer Rod Coombes (future Strawbs), but Mark-Almond became successful in America, so their project (then-named Strabismus) got put on hold. There are also bonus tracks from a recording session of the future incarnation of Riff Raff, with Kirtley, De Souza (and second drummer Kenny Slade).
All tracks (including, bizarrely, the bonus tracks) are written by bassist Sutton and drummer Coombes self-produced, this album is much rockier than the next two Riff Raff albums, and the opening title track is certainly a lengthy energetic number, rather contrasting with its (also length) follow-up Blind Man with its choral middle-section (recorded in the Guilford cathedral).
The Bach piece is much in the line of Blind Man. The side ends with an ultra-short Paranoia (musically-linked to the previous track). Since this album never came out under the vinyl format, it is relatively hard to tell which track would’ve been on which side since Buthelezi is also linked to Paranoiac (and therefore to the Bach piece), but it quickly develops into a drum solo. So far, this unreleased album has reserved us a few surprises, being much more classically-influenced than the next two Riff Raff albums. A bluesier (almost 11-min) To Be Free is certainly still enjoyable.
As for the bonus tracks supposed to be making the link from this unreleased album to the next one, not much is specified as to when the sessions took place, who was still in the group (three drummers for the whole album and two for the bonus tracks). “Child of the summer” is a very nice jazz-laced with soul vocals really announcing the eponymous album and is a small gem, Morning being a bit soul-folk-like, but allowing for instrumental interplay (a good flute-guitar duet), while the 7-min The Garden is a reflective piece offering peaceful ballad-like ambiances.
This “debut” album is rather different-sounding to the classic Riff Raff and is more for the hardcore fans, but still offers a few interesting moments. The bonus tracks are of a bit more interest as they really represent the Riff Raff genesis.
~ (Review from progarchives.com).

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Riff Raff - Outside Looking In (uk 1999) (originally recorded in 1972).rar (116.64 MB)
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Farm - Farm (us 1971)

2011-06-28T00:00:00.003+03:00

Farm - Farm (us 1971, Crusade Enterprises LPS-465)

Formed: 1969,    Mt. Vernon, IL, United States
Disbanded: 1973 //

Members:
* Del Herbert (lead guitar),
* Gary Gordon (vocals, guitar, bottleneck guitar),
* Jim Elwyn (vocals, bass),
* Steve Evanchik (percussion, harmonica),
* Roger Greenwalt (keyboards),
* Mike Young (drums).

ALBUMS:
1 FARM (Crusade Enterprises LPS-465) 1971 R2
NB: (1) reissued as a 10" LP (Akarma AK2012) 2000.

Tracks:
01. Jungle Song (instrumental)- 7:45
02. Let That Boy Boogie - 7:13
03. Sunshine In My Window - 3:47
04. Cottonfield Woman - 3:57
05. Statesboro Blues - 3:24

Farm was a late '60s band from Southern Illinois, whose bluesy, country rock style was very similar of that of The Allman Brothers, and Canned Heat. In fact, Farm did an excellent version of the The Allman Brothers' "Statesboro Blues", which is featured on their first and only album, and opened for some big name acts of the day such as Canned Heat. Farm so impressed Canned Heat's manager at the time, he offered to represent them, but the band turned him down.
Sadly, Farm disbanded about a year after their debut album was released.
~ by RYM.
----------------------------------------------------------------------------------
Recorded at Golden Voice Recording Studios in South Pekin, Illinois and released on a small record label from Flora, Illinois, this Farm released a very obscure and rare album of heavy garage psych with fuzz guitars, congas, mouth harp, organ, bottleneck and timbales. The album contains five tracks including Jungle Song, Let That Boy Boogie and Sunshine In My Window.
They thank a certain George Leeman as their friend and spiritual guide.
~ (Stephane Rebeschini) / Fuzz, Acid & Flowers
----------------------------------------------------------------------------------
The line up consisted of bassist Jim Elwyn, percussionist Steve Evanchik, singer/guitarist Gary Gordon, keyboard player Roger Greenwalt, guitarist Del Herbert and drummer Mike Young. I also know that their 1971 debut "Farm" was recorded at Golden Voice Studios in South Perkin, Illinois and was limited to a 500 copy pressing. Featuring largely original material, the set's fairly varied. The opening instrumental 'Jungle Song' and 'Sunshine In My Window' are both strong guitar-propelled numbers that sound heavily influenced by both The Allman Brothers and Santana. Elsewhere, 'Cottonfield Woman' was a nice slice of blues-rock, while as you'd probably expect from the title 'Let the Boy Boogie' and a cover of 'Statesboro Blues' were okay slices of boogie.
(Quoting from the liner notes - "Many thanks to George Leeman, our friend and spiritual guide"
- anyone know who Leeman is?)
~ Internet source.

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Farm - Farm (us 1971).rar (39.48 MB)
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V.A. - Freakout U.S.A. (1967)

2011-06-12T14:05:00.001+03:00

V.A. - Freakout U.S.A. (1967, Tower T-5901, Mono)

Tracks:
Side 1
A1. Freakout U.S.A. - The Aftermath (M. Curb)
A2. Psychotic Reaction - The Hands of Time (Ellner, Chaney, Atkison, Byrne, Michalski)
A3.Yellow Pill - Mom's Boys (Beckner, Hector, Martin, McClain, Wibier)
A4. Poisons in My Body - International Theatre Foundation (M. Cohen)
A5. I'm Losing It - The Glass Family (Parrett, Lamont)

Side 2
B1. Up and Down - Mom's Boys (Beckner, Hector, Martin, McClain, Wibier)
B2. Season of the Witch - The Mugwumps (Donovan)
B3. Number 1 Lover - Everybody's Children (J. Capps, M. Jay)
B4. Don't Try to Crawl Back - Jesters (Pittman, Fredrickson Jr.)
B5. I Like the Way You Freakout - The Hands of Time (H. Hatcher)

This is one of the better cash-in artifacts of the mid-60s teenquake. Released on the same label that produced soundtracks to American International Pictures biker flicks like The Wild Angels (on which The Hands of Time also appear), and featuring a title track written by an eventual California lieutenant governor. The Aftermath's segues from Standells' styled garage-punk to Jan & Dean sunshine harmonies and back are particularly winning. The Zappa-esque jazz freakout "Poisons in My Body" could be a serious bummer if your trip's not going well, but the fuzz guitar "I'm Losing It" will reel you back in.
~ Internet source.

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V.A. - Freakout U.S.A. (1967, Tower T-5901, Mono).rar (33.08 MB)
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The Summer Sounds - Up Bown (us 1969)

2011-06-11T19:09:00.002+03:00

The Summer Sounds - Up Down (us 1969)

Formed: North Dartmouth, MA, United States

Tracks:
01. Small World - 2.49
02. Hard To Please - 3.55
03. Lonely Beach - 3.23
04. Gimme Some Lovin΄ - 2.58
05. One Last Kiss - 2.22
06. The Leaves Are Turning Brown - 4.20
07. Summer Girl - 4.22
08. I Love You - 3.42
09. First Date - 2.21
10. You Told Me - 2.42

Reviews:
"Mega rare album from the Dartmouth, Massachusetts fivepiece outfit which was released originally on the Laurel label (Laurel 331098) in 1969. Up-Down is an album of largely self-penned material (only 2 covers, one of which is a strong version of The Spencer Davis Group's hit, 'Gimme Some Lovin') with The Leaves Are Turning Brown, complete with cheesy psych organ and wonderful earnest vocals, is the stand out track. Up-Down is a beat-garage concept album detailing the highs and lows of a summer vacation romance, with, as you would expect, loads of moody teenage angst and lashings of self pity. The songs are all catchy, and there's a couple of good ballads. Mega rare album from the Dartmouth, Massachusetts five-piece outfit which was released originally on the Laurel label in 1969. Largely self-penned material (only 2 covers, one of which is a strong version of The Spencer Davis Group's hit, Gimme Some Lovin') with The Leaves Are Turning Brown, complete with cheesy psych organ and wonderfully-earnest vocals, is the stand out track. Up-Down is a beat-garage concept album detailing the highs and lows of a summer vocation romance, with, as you would expect, loads of moody teenage angst and lashings of self pity.First time that this album, with it's ultra-cool cover, has been reissued on CD.
~ by CGR.
----------------------------------------------------------------------------------
First off, let me underscore this is a copy of the mid-1990s 400 copy reissue. It's expensive, but then an original copy will set you back $600 - $800.
These guys stands as another mid-1960s outfit that's been largely forgotten over the years.
There certainly isn't a great deal of bibliographical data available on them. A five piece (no surnames on the liner notes), they were apparently from Dartmouth, Massachusetts and got a recording contract as a result of having won a local talent contest.
Released in 1969 by the Laurel label, "Up-Down" must have already sounded hopelessly dated on its release. Surrounded by a sea of acts pushing blues jams, psych meltdowns, and hard rock, these guys proudly stuck with a very retro sound. Showcased lots of original, Farfisa-propelled ballads, to my untrained ears these hopelessly earnest performances sounded like something from the 1965-1966 timeframe rather than 1969. Who knows, maybe they were going for a retro sound.
Exemplified by tracks like 'Small World', 'Lonely Beach' and their cover of The Zombies 'I Love You' this was broken-hearted mid-1960s garage rock at its best. Even the isolated up-tempo numbers such as their cover of The Spencer Davis Group's 'Gimme Some Lovin'', 'First Date', and the closer 'You Told Me' sounded like they'd been recorded with a broken heart, or at least under the effects of a codeine blanket. Adding to the mystique, the album was apparently intended as a concept piece, most of the nine songs dealing with the subject of found-then-lost summer love - want to hear a heartbroken guy then check out the near suicidal 'Summer Girl'. All told you wouldn't think this would be something to get all that excited about here. The funny thing is this is a wonderful album. The low tech, overly earnest feel was simply KILLER - I dare anyone to hear 'Hard To Please' or the organ-propelled 'The Leaves Are Turning Brown' (with a keyboard riff that will drill its way into your head and not let go) and not be won over. Worth the asking price of an original? I'll leave that decision up to each of you.
~ by RDTEN1 (RYM).

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The Summer Sounds - Up Bown (us 1969).rar (61.17 MB)
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Nino Ferrer - Nino And Radiah (Fra 1974)

2011-06-04T03:20:00.002+03:00

Nino Ferrer - Nino and Radiah (Fra 1974)

Born: August 15, 1934, Genova, Liguria , Italy
Died: August 13, 1998 // Montcuq, Midi-Pyrénées, France

Related Artists: Les Gottamou
Also Known As: Nino Agostino Arturo Maria Ferrari [birth name]

Genres:
Pop/Rock, Psychedelic Pop, French Pop, Chanson, Jazz-Rock

Members:
* Nino Ferrer - guitar & vocals
* Radiah Frye - vocals & sympathy
with:
* the American band ICE:
* Arthur Young & Ronnie James - trumpet
* Franck Abel - keyboards
* Larry Jones - electric guitar
* Lafayette Hudson - bass
* Danny Donath - drums
* Kino Speller - percussion

Tracks:
01. South (N. Ferrer) - 5:00**
02. Moses (N. Ferrer, D. Moses, R. Frye) - 4:45
03. Mint Julep (N. Ferrer, D. Moses, R. Frye) - 4:00
04. Hot Toddy (N. Ferrer, D. Moses, R. Frye) - 8:35
05. Vomitation (N. Ferrer, D. Moses, R. Frye) - 2:36
06. The Garden (N. Ferrer, D. Moses, R. Frye) - 4:20
07. Looking For You (N. Ferrer) - 5:47
08. New York (N. Ferrer) - 5:02
09. Le Sud (N. Ferrer) [Bonus Track] - 4:33***

**Track 01. members:
- Nino Ferrer - vocals
- Michel Bernholc - conducting & piano
- Claude Engel & Gérard Kawcsynski - guitars
- Christian Padovan - bass
- André Sitbon - drums
- Marc Chantereau - percussion

***Track 09.
- From: 537 732 - 2, Barclay CD: Nino and Radiah et le Sud (1997)

A good album in English by an Italian-French artist. "South" was recorded in London Trident Studio with French and British musicians, all of the other song in Rueil (near Paris) with the group Gee and others. "Le Sud" is the French adaption of "South", and it has become a big hit in France, frequently heard on radios even now. Most of the album has a blues and progressive feeling, and a relaxed tone.
The (now) politically incorrect cover has been replaced on certain reissues by a view of a house in a garden ...
~ by chrismass61 (RYM).
----------------------------------------------------------------------------------
Taking into account Nino Ferrer's personal view of his discography, the album Nino and Radiah should be perceived as his third album (although chronologically this was in fact number seven). It followed the prog rock approach of 1971's Métronomie and the rock & roll leanings of the Mickey Finn collaboration Nino Ferrer & Leggs from 1973. The album is partly named after Afro-American singer Radiah Frye, and her pinup presence flanking Ferrer substantially upgraded the original album cover. Accompanied by the Lafayette Afro Rock Band (aka Ice), Ferrer set out on yet another shape-shifting exercise. Building on the groovy vibe of Métronomie, the album ultimately steers toward majestically orchestrated, laid-back funk. Entirely different from his earlier take on Southern soul, the result requires several listenings before it gently entangles your subconscious and reveals its addictive qualities. Reminiscent of the New Orleans-inspired funk of Little Feat and California singer/songwriters from the same era, it's perfect company for driving the French countryside or West Coast highways. It was recorded in November 1973 and sung in English with one exception. Ferrer's longtime accomplice Bernard Estardy rearranged the track "South," adding some widescreen organ touches. The resulting "Le Sud" had huge commercial appeal, much to the chagrin of Ferrer: he felt the artistic compromise of aiming at chart success had rendered everything else on the album pointless in a similar way to what had happened previously to Métronomie and its leadoff track, "La Maison Près de la Fontaine." However, the royalties did enable him to buy a 15th century fortress in the Quercy region, where he would retreat between albums and divide his time between his family and painting. "Le Sud"/"South" refers to a Louisiana-style mansion situated in Italy: a pleasant and idyllic place where the moody Ferrer seeks refuge from his dark side. Both versions serve as bookends to the album, which works best as a whole. Still, standout tracks are the funky "Mint Julep" (a relative of the Mojito cocktail) with its fuzzy guitar and the lengthy but mesmerizing "Hot Toddy." "The Garden" with its lazy organ and the bongo-laden "New York" sound fairly close to what the French band Air would build an entire career on. Remaining a relatively undiscovered gem, Nino and Radiah is in fact up there with classics like Melody Nelson and Polnareff's.
~ AMG.

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V.A. - When The May Rain Comes (2009)

2011-05-31T09:57:00.002+03:00

V.A. - When The May Rain Comes (2009)
[Mixtape #3, By dfbm at 5/27/2009]

Genre: Psych Folk, Freak Folk, LoFi, Acoustic, Psychedelic.

Tracklisting:
01. Current 93 - When The May Rain Comes [from: Thunder Perfect Mind]
02. No One Conquered, Wyoming - Golden Spools [from: Vega]
03. French Quarter - Golden Heart [from: French Quarter]
04. Greg Ashley - Mona Rider [from: Medicine Fuck Dream]
05. Sand - Burning House [from: Vulture I]
06. Parameter - Virgin Childe [from: Galactic Ramble]
07. Satwa - Allegro Piradissimo [from: Satwa]
08. Virgin Insanity - Time Of Sorrows Gone Soon [from: Illusions of the Maintenance Man]
09. David Pajo - Where Eagles Dare [from: Scream With Me]
10. Chauchat - Odessa [from: Cardboard Projectors]
11. Gowns - Experts [from: Gowns]
12. No One Conquered, Wyoming - The Panda [from: Vega]
13. Sand - May Rain [from: Golem]

The last days of may. This month always sucks personally. Bad season for broken hearts or too much work or any other bad things - because it would be nicer too feel the bloom. But everything will pass, and there is music helping a bit.
So here for your listening pleasure a mix with mostly acoustic/psych/folk stuff. Old an new mixed together. Tell me what you think!
~ By dfbm (dying for bad music).

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Chris Smither - Honeysuckle Dog (us 1973)

2011-05-29T14:44:00.001+03:00

Chris Smither - Honeysuckle Dog (us 1973) [unreleased until 2004]

Born: November 11, 1944, Miami, Fl, United States.

Genres: Folk, Blues, Contemporary Folk, Acoustic Blues

Personnel:
* Chris Smither (vocals, acoustic guitar),
* John Bailey (acoustic guitar, electric guitar, autoharp),
* Dave Holland (acoustic bass, double bass),
* Jackie Lomax (electric bass, bass guitar),
* Richard Anthony Davis (electric bass),
* Richard Davis (bass guitar),
* Ralph McDonald (tambourine),
* Maeretha Stewart (background vocals),
* Lowell George (electric guitar),
* Robin Kenyatta (flute);
* Eric Kaz (harmonica, piano, electric piano),
* Perry Robinson (clarinet),
* Pat Rebillot (piano, organ),
* Dr. John (piano),
* Bill Payne (piano),
* Mike Mainieri (vibraphone),
* Chris Parker ,
* Ray Lucas (drums),
* Dede Puma (background vocals),
* Patti Austin (background vocals),
* Hilda Harris (background vocals).

Tracks:
01. Sunshine Lady (MacNeil)
02. Tribute to Mississippi John Hurt (Hurt)
03. Honeysuckle Dog (Smither)
04. Rattlesnake Preacher (Eric Von Schmidt)
05. Rosalie (Smither)
06. Guilty (Randy Newman)
07. It Ain't Easy (Ron Davies)
08. Lonely Time (Smither)
09. Homunculus (Smither)
10. Braden River (Smither)
11. Steel Guitar (Danny O'Keefe)
12. Jailhouse Blues (Traditional)

Recording information:
- Bearsville Sound, Woodstock, NY (12/1997).
Production:
- Produced by Michael Cuscuna
- Engineered by Mark Harmon, Nick Jameson, Harry Maslin
[Recorded with producer Michael Cuscuna in two sessions — Woodstock, December 1972, and New York]

City, Spring 1973 — this was to be Smither’s third album for Poppy. Soon after it was finished, the label folded, parent company United Artists took over the masters, and the album was shelved.
The Cambridge-via-New-Orleans guitarist, singer and songwriter subsequently recorded ten of its twelve songs on later albums, but this is the first time Honeysuckle Dog has been released intact. It suggests that with a few breaks labelwise and a less self-destructive personal life, Smither could even then have been a contender, at least on a John Hammond/Ry Cooder level.
Only “Sunshine Lady”, the opening track, written by fellow Cambridge folkie Paul MacNeil, sounds dated. Cuscuna’s liner notes describe it as “commercial,” but in truth it’s a vapid period-piece invoking the worst soporifics of the post-’60s-rock, singer-songwriter weenie backlash. After that, it’s clear sailing for Smither, whether he’s playing a solo acoustic track such as “Tribute To Mississippi John Hurt” or working with a band on “Rosalie”.
On the former, his complex, elegiac fingerpicking style interpolates his own deft instrumental theme with four of the pacific Delta bluesman’s calling-card songs. The latter, with a full band that includes Little Feat’s Lowell George on electric guitar, confirms that even though Smither didn’t have much of a blues voice, he did invest it with tremendous blues feeling of his own. He sounds like nobody but himself, true to his influences without aping them, as did most of his misguided white blues peers. This track and its solo acoustic successor, a knowing interpretation of Randy Newman’s “Guilty” that was recorded before either the composer’s or Bonnie Raitt’s versions, provide the album’s emotional core.
The rest of the set balances originals such as the title song (featuring Dr. John) and the deeply estranged “Homunculus” with Smither readings of Bessie Smith’s “Jailhouse Blues”, Danny O’Keefe’s “Steel Guitar” and the like. Honeysuckle Dog fills a gaping hole in the Smither discography, and most of it can stand with anything he’s done in the three-plus decades since.
~ By John Morthland.
----------------------------------------------------------------------------------
Rock is teeming with Great Lost Albums. Mostly they gather dust in a vault somewhere, the odd song resurfacing on future projects. Smither's buried gem was recorded in 1973 in New York with impressive guests including Dr John and Little Feat's Lowell George. The non-appearance of his third album for Poppy - after the label went under and its backers kept the tapes - led to a downward spiral that put paid to most of the 1970s.
Unearthed by Heavenly Records 32 years on, it sounds remarkably fresh. There's a definite early 70s feel to the production on band songs such as Sunshine Lady - part Tim Hardin but a bigger part Poppy, since the same sheen was added to Smither's labelmate Townes Van Zandt. But the spare, exquisitely played, bittersweet solo voice-and-guitar songs - Smither's own plus excellent covers of Randy Newman (Guilty) and Bessie Smith (Jailhouse Blues) - are timeless.
~ by Sylvie Simmons (The Guardian, Friday 14 October 2005).
----------------------------------------------------------------------------------
Whether you call this previously unreleased collection Chris Smither's lost album or just an artifact of the early-'70s singer-songwriter scare, the pleasures it offers are evident, if not always essential. Some of the songs would be rerecorded in tighter versions for 1984's It Ain't Easy (although Lowell George's slide work on "Rosalie" and "It Ain't Easy" is brilliant) while others are reprised and improved versions of songs from Smither's first two records (I'm a Stranger Too and Don't It Drag On); the wistful original "Braden River" has never been heard before or since. The jazz-folk settings on half the cuts echo early Tim Hardin or Tim Buckley, but Smither's signature, delicately ornamented guitar work is in full-bloom--no other singer-songwriter at the time could begin to transform Bessie Smith's "Jailhouse Blues" the way he does. Die-hard fans will likely find this set a modest revelation.
~ by Roy Kasten (Amazon.com)

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Family Times Band - Family Times Band (us 1976)

2011-05-15T15:12:00.001+03:00

Family Times Band - Family Times Band (us 1976)

Formed: Newport News, VA, United States.

Members:
* Don Leitzke (song writer, arranger, guitar, vocals),
* Jen Leitzke (keyboards, vocals),
* Amy Leitzke (bass guitar, vocals),
* Tom Leitzke (percussion, vocals).

Genres:
70s Folk Rock, Acid Folk, Singer-Songwriter Psychedelia

Album releases:
- "Family Times Band" 1976 (Casey Records) [500p]
- "Family Times Band" 2009 (CD Erebus, UK)

Information:
All Erebus Records titles are remastered at the legendary Abbey Road Studios and contain
4-page booklets with band info.

Tracklist:
01. Sitting by the ocean - 5:06
02. She's done - 3:15
03. My love - 3:46
04. You've got to carry on - 3:25
05. The morning's just begun - 2:19
06. Cause you know - 2:21
07. That was all just a game - 2:47
08. Everybody get happy - 2:19
09. All I need - 2:36
10. What should we do - 2:42

Local band of two brothers and two sisters doing amateur CSN/America '70s folkrock with a humble
vibe. Some people seem to rate this highly but I found it disappointing, with a insipid, spineless feel. "She's Gone" and "Sitting By The Ocean" are usually rated as the best tracks, but even those didn't strike me as terribly interesting. My personal reservations aside, this is a rare album that has sold for good $$$ and should have been in the Acid Archives 2nd Edition book, but was omitted due to a printing error. It's housed in the same generic cover as the Asylum LP.
~ from Acid Archives [PL].
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Family Times Band consisted of two brothers and two sisters who hailed from Newport News, Virginia and originally released this their sole album in 1976 as a private press.
This album runs the gamut from killer hypnotic acid folk psych "Sitting By The Ocean" to West Coast psychy folk rock "She's Gone", 3rd Velvets/Hackamore Brick sounds "All I Need", to fuzzed out rockers "Cause You Know". Overall it comes across as being very much a mixture of the Seventh Dawn "Sunrise" LP and the Art Of Lovin'. And despite the 1976 release date, this album is much more in keeping with 1969-70 sensibilities. Lead vocalist Don Leitzke sounds very much like Mandrake Memorial's Michael Kac.
~ from cd notes.
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...Released in 1976 as a privately pressed edition of 500 on the Casey Records label, this lp runs the gamut from killer hypnotic acid folk psych ("Sitting By The Ocean") to West Coast psychy folk rock ("She's Gone"), 3rd Velvets/Hackamore Brick sounds ("All I Need"), to fuzzed out rockers ("Cause You Know"). With a band consisting of 2 brothers and 2 sisters, the lp comes across as being very much a mixture of the Seventh Dawn "Sunrise" lp and albums by bands such as Art Of Lovin', Growing Concern, etc. Despite the 1976 release date, the lp is much more in keeping with 1969-70 sensibilities. Instrumental lineup is drums, bass, electric and acoustic guitar, keyboards (piano, organ), male and female vocals. Lead vocals are chielfy male, with female harmonies...
~ internet source.

Buy this cd:
- http://www.cdmarket.eu/family-times-band-family-times-band/en/cdaudio/2437274
- http://www.ebay.com/
- http://www.amazon.de/exec/obidos/ASIN/B003C09AH4/rateyourmu08f-21/ref=nosim/

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Family Times Band - Family Times Band (us 1976).rar (62.07 MB)
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Ferris Wheel - Supernatural Girl (uk 1974)

2011-04-17T15:47:00.003+03:00

Ferris Wheel - Supernatural Girl (uk 1974 private pressing audio archives - aacd 047)

Category: Progressive Folk / Underground
Year: 1974
Country: England

Tracklist:
01. Flowers
02. Sad Eyed Lady
03. Piscean Ride
04. Flowers Two
05. Angel
06. When I Look At You
07. Princess
08. Such A Sad Sad Day
09. Yes I Know
10. Andrea
11. The Mermaid
12. I'm Remembering You
13. Supernatural girl
14. Ferris Wheel

The rarest UK stoner-folk album from the early 70's. Dark, broody electric-folk with downer edge. Only recently discovered-just one know existing copy of original privet-pressing survived. A true lost period artefact and the ultimate folk rarity. Fully re-remastered, band details and original artwork included. Makes Leonard Cohen's albums sound joyous by comparison.
~ Audio Archives-UK.
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One in a million. Like the impression left from swallowing whole a great book, or a decaying love affair, the music of dear Ferris Wheel has the ability to reduce the atmosphere around you to only the shimmering hazy essence of true nature. Time doesn't exist, emotion is a pure substance tangible to the touch or other sense, ego is debateable - and may fly away in the wind; you're left with the frailest sense of being human in that perhaps one is nothing but sentient nerve. I do believe Ed, Stan and Rich are tapped just that closely to the main wire... the more I have listened to this LP the less I can deny some kind of complete musical and personal honesty on their part. For me, this is truly shaking. It's a long record, and I'm glad for it. It works. Songs are played with an effervescently melancholic leisure - working mistakes and earthy blunders left intact, not out of a loner's despair, but rather some kind of effortless cosmic resignation. There's no need to rush, obviously. These guys could be the oldest souls in the world. And they'd know it wouldn't make a difference whether 5 people or 400 heard their moment of absolute medieval-heartbreak jangle quintessence. Batter for the baking are the production values - marvelously warm, lo-fi, and glowing in a midnight pluck and ramble so rarely found in the private press, or anywhere. Surely a counterpart to American signposts like Virgil Caine or Virgin Insanity, albeit of a completely continental drift - and less claustrophobic than either of those LPs - tempered instead with a slightly screwy grin and wistfully Baroque sense of humor as languid and bittersweet as floating out to sea in an unnamed vessel on the Mediterranean knowing that you may have so much in store but the faces and places and loves that have come before are impossibly lost to the mist. Soulfully exhausted, perhaps entirely weary but still present. Still feeling! As long as the moon shines on the decks! Yes!
~ Joaquim_Peso (RYM).
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Woods, eat your heart out: Ferris Wheel was DIY-ing their outsider electric folk almost 40 freakin’ years ago. Not to be confused with funky mid-’60s UK pop band The Ferris Wheel, Ferris Wheel’s ’74 private press LP Supernatural Girl (reissued on CD by Audio Archives in 2004) is a soft, subtle album of understated pleasure. Not a staggering revelation; not the kind of total obscurity that splashes out of nowhere like a water balloon and makes you slap your own forehead like, “My god! Where has this been all my life?!” It’s just an endearingly flawed, not-too-adventurous but quietly beautiful, eerily distant, and impressively patient and melodic little album. The lyrics are kinda hippie-dippy, but hey, it’s early-’70s psych-folk; ya gotta just take it with a grain of salt. It also sounds like it was recorded in a pillow fort, but that’s a distinct part of its charm; a testament to what folks used to pull off in meager circumstances before we digitized our existence. If you were to say that Supernatural Girl was a case of private press translating more to “vanity press,” I would say… Maybe. But when it’s cloudy outside and you want something sullen, stony and easy on the ears, you’d be thankful this long lost lo-fi gem was born and preserved.
~ Howard Wyman (crawdaddy.com) [published on July 23, 2010].

Download Links:

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Ferris Wheel - Supernatural Girl (uk 1974 private pressing audio archives - aacd 047).rar (42.36 MB)
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Link of missing song:
Ferris Wheel - Supernatural Girl - 10 - Andrea

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V.A. - Yells from the crypt (2005)

2011-04-10T23:51:00.004+03:00

V.A. - Yells from the Crypt (2005)

Label: GraveWax Records
Catalog#: GW 79004

Format: CD, Album
Country: US
Released: on November 15, 2005

Genre: Folk, World, & Country, Rock
Style: Surf, Garage Rock, Country, Bluegrass, Punk, Psychobilly, Rockabilly, Folk

Tracks:
01. The Creepniks - Shadow Over Elkhart
02. Those Poor Bastards - Among the Pines
03. The Route 66 Killers - Murder on Beaver Street
04. The Cryptomaniacs - Vampire Bar Fight
05. Alex Machine - Blood on the Grill
06. The Coffin Daggers - Psychonaut
07. Rainer Hass - Packin' Heat at the Speakeasy
08. Colonel Sander's Grave - CSG Theme
09. Sons of Perdition - Anhelo
10. Muleskinner Jones - Death Row Hoedown
11. Gein and The Graverobbers - The Hungry Grave
12. Blitzkriegbliss - Beast
13. The Phantom Creeps - Dead and Gone
14. Lona and The Love Objects - Give Me!
15. Los Muertos Vivientes - El DiabloEl Mas Chingon
16. Joecephus and the George Jonestown Massacre - Going Back to Memphis
17. Cooterfinger - Hope You Get What You Deserve
18. Dexentonados - Juan Simon
19. Lonesome Wyatt - The Hellbound Train
20. Reverend Elvis and The Undead Syncopators - People Hate Blues
21. The Visitant - Helv

Gravewax Records is a Lone Star State's company offering rockabilly, surf, spaghetti western, twang country sounds for the masses, the living dead & the masses of the living dead.

You can buy it here:
http://gravewaxrecords.com/index.php

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V.A. - Yells From The Crypt.rar (79.91 MB)
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Aidan Nolan - Tales From The Sun (us 1974)

2011-04-02T21:44:00.001+03:00

Aidan Nolan - Tales From the Sun (us 1974)

Born: Sydney, NSW, Australia

Currently: Manhattan, NY, United States

Member of: Nolan McKinley

Also Known As: Fred Nolan

Tracks:
A1. Spaceman (3:59)
A2. One Out On A Limb (2:24)
A3. Till I Get Me Some Money (4:14)
A4. Thursday (2:48)
A5. Wastin' My Time (2:57)
A6. Melanie Moonbeam (3:32)
B1. Can't Go On Like This (3:10)
B2. Rock You (2:44)
B3. Laughing (1:44)
B4. Sweet Soft Summer Sound (3:02)
B5. Q (2:59)
B6. Down Again (2:45)

Biography:
Aiden Nolan's first band was a folk duet with school friend John Mortimer called Garage Plus. Inspired by American delta blues bands he sang in the soul band Respect with co-singer Danny Kramer, Brian Thompson (keyboards) George Meek (drums), Ian Davidson (guitar) and Tony Derkinderen (bass).
After Respect he joined Daisy Roots with co-singer James Willebrandt, Alan Sandow (drums), John Miller (guitar), Chris Harder (bass) and Craig Mannell (keyboards).
After Daisy Roots split and while working various non-musical jobs to pay the bills, he again teamed up with Jamie McKinley to form Nolan McKinley and they released "Love Train" through Festival Records in 1971.
He then joined Scarecrow with Kim Tucker (bass), Greg Wilson (guitar) Rob Elliott (drums) and Michael Erikson (keyboards).
He persuaded Rob Elliott to drum for the next band he put together, Trust Me; with John Magee on lead guitar, Gerry Murphy as the female vocalist, Mark Becker on bass and Denis Ferraro on keyboards, they played a number of original songs but sadly never recorded.
Finally, there was Beyond Madness, performing covers of Madness, Split Enz and Ian Dury songs with Mark Lacey (guitar), Greg Opie (bass), Dave Linwood (keyboards), Rob Norsworthy (trumpet), Mark Hudson (sax) and Billy Warnock on drums.
Aiden then took up teaching full time and disappeared from the scene until a chance discovery by Stephen Lightbody of Two Faced Records of his 1974 recordings of Tales From the Sun. Stephen embarked on a mission to track Aiden down which he finally accomplished in 2005 leading to the re-release of Aiden's records.
Aiden is now back from the wilderness writing and recording and promises more records in the future, both re-releases of forgotten recordings and new material.
~ By RYM.

Read more and buy the CD here:
http://www.aidannolan.com/index.html

Download Links:

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Aidan Nolan - Tales From The Sun (us 1974).rar (51.44 MB)
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Joe Peace - Finding Peace Of Mind (us 1972)

2011-03-29T02:07:00.001+03:00

Joe Peace - Finding Peace of Mind (us 1972)

Members:
* Mike Huffman (bass, guitar),
* Tom Lanham (drums),
* Joe Peace (vocals, guitar).

Tracks:
01. Reflections I See   4:08
02. It's Been So Long   5:34
03. Finding Peace of Mind   2:41
04. Welcome Aboard   4:05
05. Sad Surprise   3:13
06. Hello My Lady Friend   2:49
07. High Time We Made Love   4:23
08. Stop Turn Around   5:57
09. Love Me Like a Stranger   4:06
10. Goodbye   2:30

Cincinnati, Ohio was home to this singer-songwriter, who wrote, produced and arranged all 10 tracks on the above album.The album was recorded in Ohio in 1972, after being a long time on road.
Joe Peace was inspirated by Johnny Rivers and his experiences he made on road, when writing his 10 emotional songs for this album, that contains heavy fuzz guitars and powerful voice. Sounds a bit like Darius. Already a very rare album it is worth checking out if you find a copy.
~ by dj fanis.
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Light good-natured hippie folkrock LP comparable in sound to Brazda Brothers though less consistent. Obvious Neil Young influence typical for the bag, while crude guitar leads add some needed tension. Opens strongly but the last third of the LP is weak with strained vocals and a flower-embellished VW bus mood that becomes one-note. Warm and friendly in a 1960s vibe, but apart from 2-3 excellent tracks mostly for completists.
~ by preacher.
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"'Modern' singer/songwriter album that was recorded in Ohio in 1972, after being a long time on road. Joe Peace was inspirated by Johnny Rivers and his experiences he made on road, when writing his 10 emotional songs for this album, that contains heavy fuzz guitars and powerful voice. This album is underrated in the collectors scene -- but an all time classic.
~ by Forced Exposure.

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Joe Peace - Finding Peace Of Mind (us 1972).rar (71.68 MB)
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Madison Dyke - Zeitmaschine (Ger 1977)

2011-03-27T23:08:00.002+03:00

Madison Dyke - Zeitmaschine (Ger 1977)
(German symphonic progressive, remaster edition with 2 bonus tracks)

Formed: Hannover, Niedersachsen, Germany

Members:
* Hans-Jürgen Demmer (drums),
* Jürgen Baumann (acoustic & electric guitars, piano, Mellotron, synthesizers, backing vocals),
* Andreas Nedde (acoustic & electric guitars, backing vocals),
* Burkhard Rittler (vocals, flute, Mellotron, percussion),
* Robert Krause (bass),
* Burkhard Engel (drums, percussion)

Related Artists: Firehorse, Iron Intention

Tracklisting:
01. First step (10:05)
02. Cooking time of an egg (4:09)
03. Next conceptions (6:18)
04. Zeitmaschine (16:40)
Bonus Tracks:
05. Walkin’   (5:25)
06. Dice-Box   (5:12)

Originating from Hannover, it's not so surprising (as a late arrival on the scene) that Madison Dyke's complex progressive with hard-rock tendencies, was often similar to Jane and Harlis.
Their LP had lengthy tracks with extended instrumentals, with a touch more lyrical fantasy akin to Genesis, and was rather out of character at the time it was released.
No history is known. It had been suggested that Jürgen Baumann could be the Baumann of Baumann/Koek, but this is not so. He later resurfaced in the band Firehorse.
~ By Crack In The Cosmic Egg.
----------------------------------------------------------------------------------
The German symphonic scene was so prolific in the 70s that even today we do not know its full breadth, as labels such as Garden of Delights continue to unearth time capsules such as this 1977 one-off by Madison Dyke.
This one was definitely worth rescuing, as all four original tracks offer an interesting synthesis of what was going on at the time in Germany and in UK.
The closest comparison would be Jane circa Earth Air Fire and Water/between Heaven and Hell, with liberal smatterings of Eloy and Genesis, but the preponderance of flute also coerces a nod in the Camel/Jethro Tull direction.
Madison Dyke does sound rawer than any of the above groups except for Jane, but this is an endearing quality and gives them more oomph than you would expect from this style.
The opening cut "First Step", builds slowly and atmospherically with plenty of mellotrons and other keys before the flute enters and the "song" begins. The music is tuneful and ranges from raucous riffs to gentle passages, often with little transition yet sounding quite natural.
"Cooking Time of an Egg" is a delightful mellow piece with plenty of acoustics, delicate flutes, winsome vocals, and a subtle melody. It reminds me of Hackett's "The Virgin and the Gypsy" which it nonetheless pre-dates.
"Next Conceptions" starts off even folkier but quickly becomes a Jane-like affair particularly in the style of lead guitars and the manner in which they are framed by mellotron. Even the vocals recall Jane, yet Madison Dyke somehow seem more genuinely symphonic and less bluesy.The title cut clocks in at over 16 minutes and contains some more interesting dynamics, such as the highly melodic opening lead guitar lines, a rollicking bass, and expertly inserted and syncopatic vocals which are semi-spoken at times. The later part features some nostalgic moog runs. Even if the track is a bit too lengthy for its import, it's still a winner.
The bonus tracks are a mixed bag with "Walkin" being in a straight rock style and not particularly interesting, and "Dice-box" could have fit in well on the original album, and features clever yet accessible changes of rhythm and a certain hard rock sensibility juxtaposed to their trademark flutes.
Madison Dyke produced an excellent album for its time, on par with what many of its longer lived contemporaries were doing. Recommended for fans of German symphonic prog.
~ (review by Kenethlevine from progarchives.com).

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Madison Dyke - Zeitmaschine (Ger 1977 progressive).rar (142.02 MB)
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Ray Harlowe and Gyp Fox - First Rays (us 1978)

2011-03-25T22:07:00.002+02:00

Ray Harlowe and Gyp Fox - First Rays (us 1978)

A record from Minnesota based songwriter Ray Harlowe and his backing group Gyp Fox.
Their sound is heavily influenced by the blues, country-rock, and the Grateful Dead.

Members:
* Ray Harlowe - Vocals, Guitar, Piano
* Wayne B. Case - Vocals, Drums
* J.D. Hall - Guitar
* Dan Hall - Piano, Organ, Guitar
* David Mott - Guitar
* Chuck Musselman - Bass
* Alice and Andy - Background Vocals

Tracks:
(side 1)
01. Go Ahead and Dance   (Ray Harlowe) – 4:21
02. Be Away   (Ray Harlowe) – 3:04
03. Earthy Delights   (Ray Harlowe) – 3:34
04. Danny’s Blues   (Ray Harlowe) – 4:47
(side 2)
01. Cryin’ Shame   (Ray Harlowe) – 4:34
02. Run   (Ray Harlowe) – 2:35
03. Some Sweet Day   (Ray Harlowe) – 4:35
04. My Luck Star   (Ray Harlowe) – 2:35
05. Gettin’ Keyed   (Ray Harlowe) – 6:17

Nice minneapolis private press that sounds earlier then the “78 release date. quite solid laidback psych jamming with a distinct DEAD vibe, nice organs, great guitar, and sweet obscure palm tree cover art. Still pretty underrated, but gaining interest (and rarity) quickly.
~ Time-Lag Records.
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Enjoyable local stoned hippie barrock Dead groover with peak in druggy epic "Getting Keyed". True psych vibes from "the bar at the end of the world" to quote one of the album's original advocates. Excellent musical value in relation to the low going rate. The weather always keep changing...
~ [PL].
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One of those albums that’s known almost exlusively in collector’s circles. Despite the 1978 recording date, this is wasted late 60s/early 70s-style guitar rock in a West Coast bag. The guitar playing is pretty good and the songs have hooks buried here and there. An album that makes you feel like you’ve wandered into a swamp by mistake, but the water is warm and comfortable.
~ [AM].
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A little bit of groovy swamp music for y'all now. "First Rays" by "Ray Harlowe & Gyp Fox" is a mega rarity folks. This is an American Private Pressing released on the Waterwheel Label. It has featured on an unnamed blog's wishlist for as long as I have been blogging. Up until recently I had five out of the nine tracks. Now I got them all. I also posted "Cecilio & Kapono" album "Night Music" first, a while ago that was also on their wishlist. Just coz I dropped my affiliation with them for various reasons, it doesn't mean that I won't give them what they ultimately want. But I will post them before they find them right. And they will still continue to write nasty things about me on their blog. For the rest of you who all know the problems I have had with this blogger, make sure to REALLY enjoy this. Grab this real cool album here. It will grow on you like slowly sinking in quicksand. Enjoy this trip folks.
~ by ??mp3.
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The first time I heard this Winona, Minnesota-based outfit I mistook them for the mid-1970s Dead. ‘Course I’d had a couple of beers that evening, but the lazy, stoned communal vibe, the Garcia-styled twangy guitar, the Pulitzer Prize winning lyrics (just kidding), all had me wondering which Dead album I was hearing. So let that be a warning to any of you expecting to hear a much hyped psych treasure …   Written and produced by namesake singer/guitarist Harlowe, 1978’s “First Ray” was apparently a vanity project released on the band’s own Minneapolis-based Waterwheel imprint. Judging by these nine tracks, Harlowe and company weren’t the most accomplished band you’ve ever heard. As lead singer Harlowe had a decent, if limited and occasionally out of tune voice (check out his performance on ‘Cryin’ Shame’), while the band (including three guitarists) were competent, if seldom awe inspiring. In spite of the obvious Dead-influence, the album was actually quite diverse with ‘Earthy Delights’ and ‘Cryin’ Shame’ featuring modestly discordant jazzy feels (maybe it was just too many drugs), ’My Lucky Star’ found the group taking a stab at country-rock, ‘Some Sweet Day’ was an attempt at being commercial (I’m using a broad definition here), and ‘Danny’s Blues’ offered up an entertaining set of stoned bar band blues before degenerating into a weird Allmans-styled jam segment where each member appeared to be playing a different tune. Technically labeling this an aural disaster wouldn’t be that far off. Ironically, while that description wouldn’t exactly be a ringing endorsement, the band’s earnest, if highly stoned approach tended to grow on you. After a couple of spins you became acclimated to the set’s low-keyed, amateurish charm. Imagine your teenager playing in a local band (hopefully not as chemically impaired) and you’ll get a feeling as to what to expect. Standout track in terms of material, stoned effects and performance was the rocking closer ‘Getting Keyed’.   Bet they were fun to see in a small club…
Hopefully someone else out there can explain the connection … I originally thought ‘Gyp Fox’ referred to the name of Harlowe’s backing band. Turns out it referred to a guitarist by the same name who played on an album entitled “Ghostdance” (Root River Records catalog number 999) with James Dean Hall and Chuck Musselman. Anyone got the story?
~ by RDTEN1 (RYM).

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Ray Harlowe & Gyp Fox - First Rays (us 1978).rar (66.46 MB)
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Greg Sage - Straight Ahead (us 1985)

2011-03-19T21:37:00.005+02:00

Greg Sage - Straight Ahead (us 1985)

Born: Portland, OR, United States
Currently: Phoenix, AZ, United States

Member of: Wipers
Related Artists: Beauregarde
Label: Enigma Records (3)
Catalog#: 7 72007-1
Format: Vinyl, LP
Release Date: 1985
Country: US
Genre: Pop/Rock
Style: Alternative Pop/RockAlternative/Indie Rock

Tracks:
A1. Straight Ahead 4:12
A2. Soul's Tongue 2:45
A3. Blue Cowboy 3:10
A4. Your Empathy 2:58
A5. The Illusion Fades 2:37
A6. Seems So Clear 1:35
A7. On The Run 2:12
B1. Astro Cloud 4:08
B2. Lost In Space 3:25
B3. Let It Go 3:08
B4. World Without Fear 5:05
B5. Keep On Keepin' On 4:22

Notes:
Recorded And Produced by Greg Sage.

Greg Sage was the principal songwriter, guitarist, and vocalist for the influential Portland, Oregon-based punk rock band Wipers.
Greg Sage's first recording was on the pro-wrestler Beauregarde's full length album in 1971 (reissued by Jackpot Records in 2004) when he was age seventeen.
Sage's dark lyrics were rife with references to confusion and severe alienation. His songs took unexpected turns and were typified by fractured melodic passages punctuated by massive, clean, intricate guitar parts. Sage operates his own label, Zeno Records (based in Phoenix, Arizona) and has also recorded several albums as a solo musician. He also builds his own music equipment and built his own studio.
Despite being right-handed, Greg Sage plays guitar left-handed. His instruments of choice are Gibson SGs.
~ by wikipedia.
----------------------------------------------------------------------------------
Reviews:
Greg Sage's first stopgap solo album was considerably more controlled than his work in the Wipers. The blackened thrust that made his band famous was replaced with thin, fiddly guitar work, not a rare occurrence in a situation like this, but the cold, raw-boned quality that fans were so fond of had also remained intact. Straight Ahead's worst flaw actually turned out to be what it had to say. Sage's diaphragm drawl stumbled around well-built compositions and articulated truly dreadful lyrics, the album's nadir being "World Without Fear," which was plagued with sullen platitudes and an embarrassingly cliche-wrought Hands Across America humanism.
~ by Dean Carlson.
----------------------------------------------------------------------------------
_"We've come too far to end up lost
You can't look back, you just look straight ahead "_
The lead man of the Wipers released this solo album soon after the recording of the Wipers legendary 'Over the Edge' album and whatever Greg Sage was on at the time, he definately turned up with another winner here. The album is alot more sparse than any of the Wipers stuff ever was, but the vocal delivery and attitude is still there to the hilt. On this album Sage is still singing for the dispossessed and lonely. He has the rare ability to cut through all the crap that most songwriters blind you with leaving exposed a raw nerve of truth or realisation that perhaps you've had before but couldn't properly articulate. Like the great songwriters Sage can also make you feel how he's feeling and that lonlieness and hopelessness works really well on this record.
Side one is where the images and feelings gather focus but on side two, Sage lets it all rip so that the 5 songs on that side drift through the speakers somewhat akin to floating through an astro cloud. He's dealing with largely esoteric constructs on side two, beyond images of psychedelic reality, Sage is trying to tap into spiritual/mystical concepts, realities rarely touched upon by songwriters during the eighties. There's a heap of classic tunes offered up on this album. Side one's '_Straight Ahead_', '_Soul's Tongue_' and '_Blue Cowboy_' could fit into that description, but side two is where this disc reaches legendary status. '_Astro Cloud_' is a sad song about the emptiness of the human spirit in our times, '_Lost in Space_' deals with states of consciousness beyond everyday constructs of reality, '_Let it Go_' attempts to document the dismantling of a relationship gone wrong, '_World Without Fear_' is a heartfelt ode to everything that makes this world a bad place to live and '_Keep On Keepin' On_' deals with the survival of depression and the individuals rise above being dragged down by extremely strong emotional forces. Sage is a survivor and musical warrior of the highest order. This disc is highly recommended and shouldn't be too hard to track down.
~ by james_jones (RYM).

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Greg Sage - Straight Ahead (us 1985).rar (56.66 MB)
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Machingbyrd - The Road To Forbidden Ecstacy (us 1980)

2011-03-16T23:54:00.006+02:00

Machingbyrd - The Road to Forbidden Ecstacy (us 1980)

Tracks:
A1. The Road to Forbidden Ecstacy
A2. Illusion
A3. By Your Leave
A4. Hand-to-Mouth
A5. A Thrill in Disguise
B1. Cricket Song
B2. Stronger Than Steel
B3. His Wildest Dreams
B4. Simple Symphony
B5. Mary B. Reel

Reviews:
This has taken me forever to sort out and the file info has driven me insane thanks to this dying computer. The album is entitled 'The Road to Forbidden Ecstacy' (the files may still be named 'ecstasy', if they are please re-title), released in 1980 by a man named Michael Engberg under the pseudonym of Machingbyrd -pronounced 'mach' (as in the speed Mach 3), 'ing', 'bird'.I managed to pick this up about one and a half years ago off an internet store for a fraction of other prices I'd seen (ebay). It was still sealed, but because of the fact it had been sealed for 27 years the record came a bit bowl warped (hence the much lower price). Hopefully you won't notice that in this replication, to my ears the quality is very good. Overall it's a very pleasing acid folk album, one of the many that have been lost in time.
~ by disconcerted.
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Very rare US acid/folk gem with deep vocals,dreamy keys,tenor sax passages, electric guitar backings, fuzz flashes, folk/rock moves, stoned feel, hippie vibe…
~ By: Philmarie (RYM).
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This record caught my attention on the Acid Archives when it was described as, "folk and folkrock with psych moves, acoustic and electric guitars, some synth embellishments." Thought it sounded interesting and so the hunt to find a cheap(ish) copy of the original few that were pressed begun.
Now owning an unplayed copy of the album - well, was unplayed until I got my hands on it! - it had to be heard. I was maybe figuring it would be something like the Dreamies project of Bill Holt, but it's a lot less synth orientated. It's almost as much a jazzy folk album as much as it is psych folk.
If you get a copy I'd highly recommend playing it through some decent headphones if only for 'By your leave's kicking bass drum. I can't seem to hear it through normal speakers, but when the headphones are on it sends my ears insane, the air displacement is fantastic. 'By your leave' is one of the best tracks on the album in my opinion, with that bass drum, the French vocals and the nice synth soundscape, it works beautifully.
'His wildest dreams' (track 8) is really the only track that shows off the synthesiser and he really knew how to incorporate it well into his music. The short solo is excellent and really helps make it one of the stand out tracks.
The last track, 'Mary B Reel', the only instrumental piece on the album, is a great piece of folk guitar that wouldn't sound out of place on something like Sir Richard Bishop's recent 'Polytheistic Fragments' album. Timeless.
The only downside of the album is that sometimes the vocals are a bit of a let down, but they're not terrible and something that can definitely be appreciated in accompaniment with the music. I also have to admit that my rating partly reflects the fact that this is a rare piece and that I'm proud to be an owner of a copy, but on the music alone I definitely wouldn't rate this below 3.5. Fairest would probably be 4/5.
These days he is making music under his own name, Michael Engberg.
~ By: Disconcerted (RYM).

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Midnight Circus - Midnight Circus (Ger 1972)

2011-03-07T21:21:00.002+02:00

Midnight Circus - Midnight Circus (Ger 1972, CMP 602-2 remastered)

Members:
* Christian Bollmann (vocals,guitar),
* Torsten Schmidt (vocals,guitar).
with:
* Thomas Engel (drums),
* Veit Madaus (keyboards),
* Dave Crocket (bass),
* Rainer Marz (guitar).

Credits:
Arranged By - Christian Bollmann , Thorsten Schmidt
Written-By - Midnight Circus

Notes:
Tracks 1 to 7 published by bellver Musikverlag
Track 8 published by Popo Music
Track 9 published by Bacillus Music
(P) 1972 Bacillus
Made under license from Bellaphon
(C) 2003 citystudio media production
printed in germany by pallas group

Tracks:
01. The Light 5:53
02. I Had A Dream 3:29
03. November Church 8:53
04. Mr. Clown 2:57
05. Indian Impression 2:18
06. Disappointed Love 3:54
07. Meditation 5:23
08. Coloured Gay (Bonus) 3:01
09. Get It (Bonus) 3:06

Midnight Circus were essentially the folk-rock-with-progressive-tendencies duo of Christian Bollmann and Torsten Schmitt, who made just the one self-titled album in 1972. Between them, they shared the vocal and acoustic guitar work, with Bollmann adding recorder and trumpet (notably the solo on longest and best track November Church) and various guest musicians filling out the sound. Midnight Circus is good with several of the songs operating in ‘meandering and slightly stoned’ mode, although some interesting instrumentation helps to lift it out of the also-ran category.
Amongst the album’s guests was Veit Madaus on keys, who played instantly-recognisable Mellotron strings on I Had A Dream, with less obvious brass on November Church, with more of what sounds like both on one of the bonus tracks, “Get It”, with a particularly abrasive and upfront brass part.
~ (Review from planetmellotron.com).
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A very obscure and difficult to locate album produced in Germany in the early-70's. This is a dreamy progressive folk album that appears to be a duo augmented by sessions musicians (in the manner of Witthuser + Westrupp but with vocals sung in English). The album does venture out into a tougher rock sound at times while at others it will float on a bed of mellotron sound which hazily recalls the sound of early King Crimson or The Moody Blues. A very interestibng and rare album which is well worth a listen. This reissue contains two bonus tracks.
~ by vinyl kiosk.

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V.A. - The Psychedelic Voyage (26 tracks of rare 1960s psychedelia) (Bon Voyage)

2011-03-02T23:58:00.003+02:00

V.A. - The Psychedelic Voyage (Bon Voyage)
(Nazerman 1998) (26 tracks of 1960s Rare Psych)

Various - The Psychedelic Voyage (Bon Voyage)
Label: Not On Label,
Catalog#: CAMCD 01, CAM 1
Format: CD, Compilation
Released: 1998
Genre: Rock
Style: Psychedelic Rock

Tracklist:
00. The Voice (London): The Train To Disaster (4/1966)
01. Tac Poum Systeme (France): Asmodai (1971)
02. The Ones (Berlin): Lady Greengrass (1967)
03. Kiss Inc.: Hey Mr. Holy Man
04. The Gee Bros: Let Me Find The Sun (1968)
05. Keith Meehan (UK): Darkness Of My Life (8/1969)
06. The Flower Travelling Band (Tokyo): Satori Part 1
07. The Flower Travelling Band: Satori Part 2
08. The Lewis & Clarke Expedition (L.A.): Blue Revelation (1967)
09. Piccadilly Line (UK): Yellow Rainbow (7/1968)
10. The Petards (Schrecksbach, Germany): Rainbows And Butterflies (1968)
11. The Petards: Tartarex (1969)
12. Almond Lettuce (UK): Magic Circle (4/1969)
13. Fickle Pickle (UK): Sam & Sadie (1970)
14. Kaplan (UK): I Like (1968)
15. The Admirals (Stockport, UK): In The Promised Land (1965)
16. The Shirelli: I'll Stay By Your Side
17. Jacqueline Taieb (France): 7:00 A.M. (1967)
18. Vanilla Fudge (N.Y.C.): Some Velvet Morning
19. The Sleepy (UK): Love's Immortal Fire (7/1968)
20. The Beloved Ones (UK): Land Of Shadow
21. The Rugbys (Louisville, US): Stay With Me (6/1969)
22. The Pirates: Shades Of Blue
23. The Shames: Greenburg, Clickstein, Charles, Davies, Smith & Jones
24. The Smoke (UK): Dreams Of Dreams (1970)
25. The Smoke: My Birth (1970)
26. The Poppy Family (Vancouver): Shadows On My Wall (1970)

Notes:
The subtitle appears only on the CD itself.
Catalog-no. on the CD: CAMCD 01
Catalog-no. on the spine: CAM 1

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Poor Richard - Place Of The Sun (us 1978, private press)

2011-02-28T01:06:00.001+02:00

Poor Richard - Place of The Sun LP (us 1978, private press)

Tracklist:
01. Time 3:02
02. The Gulls 3:46
03. The Ax Of Good-By 3:50
04. One, Two, Three, Four 1:59
05. As I Walk 2:53
06. Funky Honky 3:15
07. Series 12:00
08. Finish 1:05

Rare Michigan private press psychedelic folk LP out of Kalamazoo. This is not the usual bland SSW folk you get when something is described as psychedelic folk. Instrumentation includes mellotron, moog (played by Charlie Wicks, aka CEO of ProCo Sound, the creators of the RAT distortion), cello, fife, drums, guitar, and bass. Recorded at Uncle Dirty's Sound Machine Studios and released under Kazoo Records. Boogie Records, which was a local record store at the time, also helped with the release of this LP. The track "As I Walk" has recently been included on Numero Group's "Wayfaring Strangers: Lonesome Heroes" compilation.
~ Posted by M.
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For a limited issue, private pressing 1978's "Place of the Sun" has picked up some big league attention including appearing in Hans Pokora's 4001 Record Collectors Dreams and Patrick Lundborg's Acid Archives (where Aaron Milenski provided the only substantial review I've ever come across, though I don't love the album nearly as much as he does). I stumbled across this LP a couple of years ago and have to admit it didn't exactly knock my socks off - a little to folkish for my tastes, though Poor Richard (aka Richard Smyrnios) clearly had quite a bit of talent. As a result it sat around in a big 'undecided' stack of albums that I was hesitant to get rid of.   And then I noticed that a Poor Richard track ('As I Walk') was included on a 2009 compilation entitled "Wayfaring Strangers: Lonesome Heroes" (The Numero Group catalog number NUM028CD). That was enough for me to pull the album out and give it another spin. While I didn't experience a complete conversion, I will admit that I missed some of the album's charms the first time around.
Namesake Smyrnios is an interesting story, though not exactly the all American success story. He was born and raised in Kalamazoo, Michigan. Dropping out of high school he enlisted in the Air Force and eventually found himself stationed in Vietnam at Khe Sahn during the peak of fighting for the Marine outpost. Suffering pneumonia, he was evacuated and sent home to recuperate. Discharged from the service he availed himself to his veterans benefits, enrolling in college where he started writing music and playing music for fun and spare cash. Graduating he turned 'professional' playing local clubs and restaurants. With help from his sister Angi, friends, and backing from a local record store (Boogie Records), in 1978 Smyrnios recorded his debut "Place Of the Sun". Produced by Bryce 'Uncle Dirty' Robertson (great name there guy), the album was released on the small, local Kazoo label. Credited to Poor Richard (I'm guessing it was a reflection of his financial status at the time), the line up included Smyrnios' sister Angi on backing vocals, Robertson on lead guitar and mellotron, and Charley Wicks on Moog.
Musically the majority of the album had a distinctive folky sound to it which occasionally recalled something you might have heard at a Catholic folk mass (The Gulls'' and 'Finish). The results weren't bad, but that certainly limited its overall appeal to psych and rock fans. On the other hand the nine tracks were quirky enough to capture the attention of anyone into real people releases, and the atypical 'Funky Honky' showed that Smyrnios and company could handle a conventional rock song. By the way, the liner notes didn't provide any writing credits, but I'm guessing all nine compositions were Smyrnios originals.
- 'Time' opened the album with a surprisingly engaging slice of jazzy-pop. Smyrnios didn't have the world's greatest voice and while a wonderful concept, the utopian spoken word segment gave the song an extremely dated feel. Still, the track had a bouncy melody and some great acoustic guitar. Shame it faded out just at the track really started to roll.   rating: *** stars
- Opening up with breaking waves sound effects and a couple of painful moans, the acoustic ballad 'The Gulls' was one of those sensitive singer/songwriter tracks that send some folks into fits of ecstasy. Unfortunately, to my ears it came off as dull and plodding. I will admit that Richard's voice sounded much stronger on this one and with his sister, the pair turned in some nice harmony work.  rating: ** stars
- So, had Donovan had been born and raised in Michigan I'm guessing he might have sounded something like 'The Ax Of Good-By'. Musically this one was a major curiosity. Opening up as an acoustic ballad, about halfway through the track the arrangement opened up into a full band arrangement that was quite good, complete with America-styled harmonies. Ironically, once again, just as the song was starting to gain some momentum it was faded out.   rating: *** stars
- As mentioned above, 'One Two Three Four' sounded like something you might have heard at a Saturday afternoon Catholic folk mass. With its fragile vocal arrangement and some nice acoustic guitar, the song was actually quite pretty.   rating: *** stars
- 'As I Walk' was the track included on the "Wayfaring Strangers" compilation. Nice that Smyrnios got some attention out of the project, but you have to wonder why they selected this pedestrian acoustic folk number. The song wasn't bad (though sister Angi sounded kind of shrill on this one), rather lacked anything to distinguish it from the thousands of folk acts plowing away out there.     rating: ** stars
- 'Funky Honky' was an atypical rocker, sporting a full, electric band arrangement. While the title wouldn't be considered particularly politically correct in this day and age, powered by some nice lead guitar, the track actually rocked out with considerable conviction. Once again it was a shame the song faded out so early.     rating: **** stars
- Clocking in at over thirteen minutes, 'Series' started out sounding like a kids sing-along, before morphing into a more conventional slice of singer/songwriter folk. Backed by some nice acoustic guitar, Nola Douglas' cello, and Robertson's mellotron, this segment wasn't particularly original, but served as a nice intro to Smyrnios' 'big statement' ('still the killing goes on'). After meandering for a couple of minutes the song ended with a weird Western feel that included a bunch of whooping and hollering and the album's best electric guitar solo. Truly strange, but parts of this one again recalled something out of a Catholic folk mass.    rating: ** stars
- 'Finish' was nothing more than a brief reprise of 'The Gulls'.    rating: ** stars
The album attracted minimal attention, though Smyrnios was reportedly offered a major label deal which he passed on. He's apparently recorded some material with the group Sonora, but I've never seen or heard any of it.
~ by RDTEN1 (RYM).

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Bridge - Bridge (Can 1971)

2011-02-23T21:31:00.001+02:00

Bridge [CAN] - Bridge (1971)

Members:
* Francis Webster (Guitar),
* John Webster (bass),
* Tony Lecallion (drums).

Tracks:
01. I had It But I Lost It (Sing-a-long) 2:33
02. It’s My Life (Slow Groove Rock) 3:07
03. Ain’t My Day (Country) 3:18
04. Simple Blues Form (Happy Blues) 3:18
05. Running Away (Country) 2:28
06. Brand New Day (Jazz Shuffle) 4:48
07. You’re My Girl (Ego Trip) 9:45
08. Born To The Country (Country) 4:12
09. Barnyard (Blues Shuffle Inst.) 3:56

Bridge answer the question, for anyone who wishes to know, what happened to the Canadian band David after their lone record on Sound Canada in the late 60s.
Guitarist Francis Webster, bassist John Webster, and drummer Tony Lecallion from David make up Bridge who recorded this ultra obscure and rare record at the same Sound Canada studios in 1971.
Next to each song is a brief description of the musical genre of each ranging from "Ego Trip" to "Country" to "jazz shuffle." What this album is differs drastically from what you'd expect from David.
The best way to describe Bridge's album would be "Sweetheart Of The Rodeo" on tons of acid!
There is no fuzz guitar, but a clean westcoast shimmering tone on all tracks, bizarre vocal effects on the tripped out "It's My Life" and plenty of weirdness present for the whole album.
The tracks that are labeled "Country" all have a strange bent to them despite being early back-to-the-roots country rock influenced by Graham Parsons and "real" country artists like Hank Williams. The long "Ego Trip" version of Little Richard's "You're My Girl" is great fun and the only good version I've heard of one of his songs. There is something here very enjoyable for anyone looking for a bizarre twisted record of fun music, especially "Brand New Day" with echoes of Spirit and a bit of Freeborne. Very rare and a good one.
~ Ben Blake Mitchner (Acid Archives).

It's pretty nice rare album released on Vintage Records and re-released by Erebus Records on cd.

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Furekåben - Furekåben, 2nd lp (Den 1971 rare psych folk)

2011-02-15T02:10:00.001+02:00

Furekåben - Furekåben, 2nd lp (Den 1971 rare psych folk)

Formed: 1968, Denmark
Disbanded: 1972

Members:
* Hans Vinding (guitar, vocals),
* Thorbjørn Thomsen (guitar, vocals),
* Mikkel Bayer (cello),
* Søren Barfoed (flute, 1968-69),
* Vivi Jo Heede (vocals),
* Jens Thorning Hansen (guitar, 1969-72),
* Anthony Barnett (flute, percussion, 1969-72),
* Emmerik Warburg (flute, 1969-72),
* Steen Claesson (violin, guitar, 1971-72)

Related Artists: Hyldemor, Burnin Red Ivanhoe.

Also Known As: Furekaaben
Genres: Psychedelic Folk

Tracks:
A1. Den gule filthatmand   8:55
A2. Kom lad os dulme vores nerver lidt   13:45
B1. Lædersexdress   19:55

From hippie collective formed around guitarist and singer Hans Vinding. Furekaaben came from Denmark, famous for also releasing the legendary Moses LP! Drifting HEAD music. Exotic trippy dreamy textures with tabla, zither, Indian flutes, acoustic guitar, cello, etc. A real acid-psychedelic jewel out of the Scandinavian psych scene. The real deal for fans of Wooden Wand & The Vanishing Voice, No Neck Blues Band, Surburned Hand, the Black Velvet Fuckere collective and Tower Recordings.
~ By evermoreblues.
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As the great mail order catalog writer Paul Major once wrote, listening to Furekaaben is like "peeking through the bushes at an ancient mystic religious ceremony." That encapsulates the sound of both of these Christiana albums better than I could hope to achieve. I suppose the original Berlin commune group Amon Duul (sans II) is a guidepost, but Furekaaben are far more exotic, and rather than pound mercilessly on whatever percussive instruments are lying around, they choose a far more melodic route - though not in any kind of traditional sense. I also can hear the New York utopian group Children of One as a possible comparison. The first album managed a release on the Danish cult label Spectator. The second is an extremely rare private pressing, that I somehow managed to own for a number of years. If the psych scene existed in the year 723, this is probably how it would've sounded. Ancient roots stuff here folks.
~ By Ashratom (RYM).
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A genuine rarity, only released in 1971 as a follow-up to their “Prinsessevaerelset” album but way rarer since it was released in an edition of 100 copies. Music wise, it takes the basic ingredients of their first recording towards the next level of ecstatic orgasms. This self-intitled disc that came housed in a plain hardcover brown sleeve is a masterpiece of experimental acid folk jams. The music is completely stoned, propelled out of collective improvisation, almost throbbing along as some secret ceremonial procession. Again the music is essentially free form acid folk and its psychic maze reverberates off equal amounts of folk, free jazz, ethnic smash’n’grabs and a doze of avant-garde elements incorporating cello, oriental flutes, sanza, zither, gong, cymbal, bells, tabla, guitars, and lots of percussion instruments.
This is a music you have to undergo while sipping orange juice and wearing velvet underwear, at night with a head full of acid, with your nuts on fire and dancing to the beat of these thundering low-fidelity outbursts. Panoramic and kaleidoscopic at the same time, ending somewhere else while joined with pale riders galloping towards its blasted end-zone. Deliriously addictive. A must. Price: 400 Euro
~ Internet source.

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Gabriel Bondage - Angel Dust (us 1975)

2011-02-12T16:07:00.003+02:00

Gabriel Bondage - Angel Dust (us 1975, Prog Rock Folksy)

Formed: Chicago, IL, United States
Members:
* Rex Bundy (Guild f412 Guitar, Lead Vocals,Gong, Drums, Piano, Effects),
* Tony Antinarelli (Drums),
* Bill Wisimiewski (Lead & Backing vocals, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Flute, Clarinet),
* Lacrence "Larry" J. Biernacki - (Acoustic and Electic Guitars,Mandolin,Vocals),
* Tony Stram (Fender Stereo Bass, Vocals, Keyboards, Programming)
* Conrad Green (Moog,Mellotron,Electic Guitar),
* Ken Sajdak (Acoustic and Electic Piano,Harpscord,Hammond Organ),
* Ron Schwartz (Piano, Synthesizer, Hammond Organ, Programming),
* Zaido Cruz (Background Vocals).

Genres: Progressive Rock

Tracks:
01. Babylon 6:07
02. First Stone In A Pyramid 2:26
03. You And The Wind 3:51
04. Take My Eyes 3:12
05. Ladies And Gentlemen 4:24
06. Bondage 8:17
07. Island 4:04
08. Sing Me A Song 3:28

This is Dharma Records D-804. Gabriel Bondage formed in 1973 is a Chicago area band, comes out of Morton Grove Illinois. They are considered progressive rock but real hard to put a sound to their music. They sometimes have a sort of heavy metal sound,then a folk rock sound, flutes, acoustic guitar, they have a spacey organ and keyboard mix vocals echoing. It is a very interesting album and does leave you wanting to hear more. I am pretty sure the band only put out two albums this one called Angel Dust in 1975 and one after this.
~ by MENEGON, Luiz Carlos.
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I've known about this band and album since I snagged a copy of this in a collector's bin about 20 years ago. I also had their blue vinyl second LP "Another Trip To Earth" at one time but I can't recall what that one sounded like. I'm really surprised that this album isn't better known; there is a dearth of information about this album and group on the net (aside from a decent review of both albums at planetmellotron.com). Pretty good laid back symphonic prog. Can be very spacey at times, especially the opening track "Babylon". Nice flute, horn, piano, acoustic guitars, soft harmonized choral vocals. "Ladies and Gentlemen" is a great laid back acoustic guitar track with nice vocal washes. The 8 minute "Bondage" has some Canterbury moments bordering on RIO, but that's not the main sense of the album. Overall, this is a really GREAT slice of sadly overlooked mid 70's US prog.
~ by tallen14218 (RYM).
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The Optic Nerve - Lotta Nerve (us 1994)

2011-02-03T21:10:00.002+02:00

The Optic Nerve - Lotta Nerve (us 1994, Get Hip GH 1015CD)

Members:
* Bobby Belfiore (guitar, bass, vocals)
* Tony Matura (guitar, vocals)
* Orin Portnoy (bass)
* Tom Ward (bass)
* Frank Manlin (drums, 12-string guitar)
* Greg Clark (drums)
* Ken Anderson (drums)

Tracks:
01. Ain't That a Man   2:38
02. Mayfair (Tony Matura) 2:51
03. Happy Ever After   2:38
04. Take Me   2:24
05. Leaving Yesterday Behind (Robert Belfiore, Elan Portnoy)   2:56 06. Samy Way Too   2:35 (Tony Matura)
07. Kiss Her Goodbye   3:08
08. What's She Tryin' to Do   1:57
09. What's Been Missin'   2:36
10. Like to Get to Know Her   2:47
11. She's a Drag   2:32
12. I See the Turth (Robert Belfiore, Elan Portnoy)   4:26
13. The Girl With the Beautiful Eyes (Tony Matura)   3:00

All songs written by Robert Belfiore, except as noted:
* Bobby Belfiore (guitar, bass, vocals)
* Tony Matura (guitar, vocals)
* Orin Portnoy (bass; 1-4, 10)
* Tom Ward (bass; 12-13)
* Frank Manlin (drums, 12-string guitar; 1-4,10)
* Greg Clark (drums; 8-9, 11)
* Ken Anderson (drums; 5-6,12-13)

Produced by Dave Amels (1-11)
Produced by Al Houghton, Dave Amels (12-13)

Biography:
Although born from the '80s New York garage scene, the Optic Nerve had nothing whatsoever in common with the movement other than their single-minded idealism to act as if the '80s and the synthesized music that surrounded them was not happening. Rather than using the blaring fuzztones and screaming the "put down" anthems of the garage rock revival, they took the jangling motifs of the Byrds, the Beatles, and a hint of the mid-'60s protest singers to create a sound that, if spawned in 1965, would have brought them success. In the mid-'80s however, '60s-styled folk-rock was not a huge seller -- even with fans of the neo-garage scene.
Acts like the Fuzztones, the Cynics, and the Lyres may have achieved cult underground status, releasing a number of records between them and touring across Europe, but the Optic Nerve only released two singles during their brief existence and rarely played outside of Brooklyn. Bobby Belfiore (main songwriter and singer) formed the nucleus of the band in 1985.
Over their two-year tenure, a number of musicians went in and out of their ranks -- including members of garage bands the Fuzztones and Gravedigger V. However, lead guitarist and harmony vocalist Tony Matura was a mainstay, and the combination of his and Belfiore's sweet harmonies and folk-rock jangling gave the Optic Nerve their distinct quality.
In 1993 and 1994, both Screaming Apple and Get Hip released an album, each consisting of Optic Nerve demos recorded throughout the mid- to late '80s. Every song deserved to be released at the time of recording, but in an era when garage revival and paisley pop were so popular, the Optic Nerve's country-tinged folk-rock was out of sync with both movements and caused little attention. Thankfully,
these albums have gained some belated exposure. In 1999, they re-formed for a performance at Cavestomp in New York.
~ Jon "Mojo" Mills, Rovi
Read more: http://www.answers.com/topic/optic-nerve-comic#ixzz1CqAEdtB3
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Formed around singer songwriter Robert Belfiore and lead guitarist Tony Matura, this New York group (not to be confused with the more recent Aussie group of the same name) explored the folk-rock side of the mid-80s garage revival, taking in the sounds of the Byrds and their jangle-rock L.A. contemporaries. This collection includes both of their singles on Cryptovision (1986's "Ain't That a Man" b/w "Mayfair" "Happy Every After" and 1987's "Leaving Yesterday Behind" b/w "Kiss Her Goodbye"), along with eight more demos that deserve to have found their way out at the time. The group's home page features additional tunes and lists a 2006 release on Cryptovision that doesn't seem to be available anywhere.
~ by Soapy.
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The jangle of the Byrds early records lived on through New York City's the Optic Nerve in the mid-'80s. Get Hip Recordings has compiled their existing 45s with several unreleased tracks to make up Lotta Nerve, A blistering 13 songs that evoke a number of trippy psychedelic folk-rock bands that emerged from London and California during the late '60s. Listening to the crisp Rickenbacker 12-string guitars and frail harmonies it is difficult to believe this music isn't actually from 20 years earlier, but the Optic Nerve's sense of authenticity belies the fact that their chronological contemporaries were mid-'80s icons like Madonna and Culture Club.
Lotta Nerve is a refreshing follow-up to the debut of the Rolling Stones' brash swagger and a logical precursor to the Stone Roses' swirling guitar rock.
~ Zac Johnson.

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Tamburlaine - Rebirth (New Zealand 1973)

2011-02-02T01:25:00.002+02:00

Tamburlaine - Rebirth (New Zealand 1973, Tartar SLC-118)
(Mega Rare New Zealand Folk-Psychedelic 1973)

Personnel:
* DENNIS LEONG gtr, vcls A
* SIMON MORRIS bs, vcls A B
* STEVE ROBINSON gtr, vcls A B
* ROB WINCH gtr, vcls B

ALBUMS:
- 1 SAY NO MORE (Tartar SLC-105) 1972 R3
- 2 REBIRTH (Tartar SLC-118) 1973 R2

45s:
- 1 The Raven And The Nightingale/Lady Wakes Up (PS) (Tartar TR 001) 1972
- 2 The Reaper/Up Against The Wall (PS) (Tartar TR 004) 1972
- 3 Sunny Side/Lady Wakes Up (PS) (Tartar TR 006) 1973

An electric / acoustic folk band from Wellington whose albums are now very rare.
~ (CF) http://alextsu.narod.ru/borderlinebooks/nz/t1.html.

Tracks:
01. New World
02. Maybe It's True
03. All In The Way
04. Love Song In G Minor
05. Sleeper Awake
06. Some Other Day
07. Sunny Side
08. Rebirth

The 1973 album by this New Zealand group was very much a folk-rocky relic of the late hippie era.
The briskly strummed guitars, ebullient vocal harmonies, and relentlessly sunny lyrical glow of some cuts are like those of guys who’ve taken Traffic‘s “You Can All Join In” as their manifesto. Because it’s all done without a pinch of irony, it’ll drive those with a limited taste for feel-good rock up the wall and out the door. If you do enjoy gung ho folk-rock with a can-do rural flavor, though, it’s well executed, but derivative. There are echoes of not only Traffic at their most pastoral, but also Crosby, Stills & Nash‘s harmonizing on songs like “Wooden Ships,” as well as (less expectedly) some of the cartwheeling constructions of Yes — a band that did have some folk-rock influences, though those haven’t been widely acknowledged. Medieval melodic influences also pop up, as do, perhaps, the very lightest shades of the folkiest moments
of the late-’60s Beatles.
~ AMG.

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Tamburlaine - Say No More (New Zealand 1972)

2011-02-01T02:58:00.001+02:00

Tamburlaine - Say No More (New Zealand 1972)
(Tartar SLC-105 LP)
(Mega Rare New Zealand Folk-Psychedelic 1972)

Personnel:
* DENNIS LEONG gtr, vcls A
* SIMON MORRIS bs, vcls A B
* STEVE ROBINSON gtr, vcls A B
* ROB WINCH gtr, vcls B

ALBUMS:
- 1 SAY NO MORE (Tartar SLC-105) 1972 R3
- 2 REBIRTH (Tartar SLC-118) 1973 R2
45s:
- 1 The Raven And The Nightingale/Lady Wakes Up (PS) (Tartar TR 001) 1972
- 2 The Reaper/Up Against The Wall (PS) (Tartar TR 004) 1972
- 3 Sunny Side/Lady Wakes Up (PS) (Tartar TR 006) 1973

An electric / acoustic folk band from Wellington whose albums are now very rare.
~ (CF) http://alextsu.narod.ru/borderlinebooks/nz/t1.html.

Tracks:
01. Pass A Piece Of Paper
02. Lady Wakes Up
03. The Raven And The Nightmare
04. Do For The Others
05. Saffaron Lady
06. Some Other Day
07. Rainy City Memorirs
08. Kangaroo Song
09. The Flame Of Thoriman

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The Gitanes - Cloudy Draw (Fra 2005)

2011-01-30T22:24:00.003+02:00

The Gitanes - Cloudy Draw (Fra 2005)

Members:
* Mark Enbatta (vocals, guitars),
* Lucas Trouble (vocals, keyboards, bass guitar),
* Eric Lenoir (drums).

Related Artists:

The Vietnam Veterans, Vietnam Chain, The Temple Gates, The Thyrd Twin.

- Label:Nova Express
- Catalog#:10097
- Country: France
- Released: 2005
- Genre: Rock
- Style: Psychedelic Rock

Tracklist:
01. Bang Bang
02. The Wheels
03. Try
04. Welcome To Oblivion
05. Still Untold Story
06. Ghost Riders In The Sky
07. Inside Looking Out
08. Heaven Above
09. The Tides Inside
10. The Iraqi Caravan
11. Salty Love
12. The Wedding Bells
13. Lusitanian Scalpers
14. The Wounded One
15. Bang Bang (single version)
16. Three Reasons

Notes:
- Recorded at the Kaiser Studio
- Inspiration once provided by Sandoz

The Gitanes - Cloudy Draw - Ghost Riders in the Sky

"Ghost Riders in the Sky" is subtitled "a cowboy legend", but the truth is that the legend is much older than the culture of the American West. When it began, no one can say -- its origins are lost in the beginning of time itself.
Certainly it has existed since at least the fifth century BC, when the Greek goddess Hecate rode at its head. Probably there has been a phantom band of riders since mankind first learned to ride. For as long, indeed, as there has been the hunt. more of this from : http://www.unexplained-mysteries.com/ the scenes from the video were taken from the film, sukiyaki western django, by Tarantino.
~ internet sources.

The Gitanes - Cloudy Draw - Inside Looking Out

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The Coffin Daggers - The Coffin Daggers (us 2005)

2011-01-29T18:29:00.003+02:00

The Coffin Daggers - The Coffin Daggers (us 2005)
[Urko Records, CD-R URKO 002, surf EP]

Formed: 1998, Jamaica, NY, United States

Members:
* Viktor Dominicis (guitars, echoplex, theremin),
* Dan Terchek (electric piano, electric organ, rhythm guitar),
* Greg Clarke (drums),
* Peter Klarnet (bass)

Year of Release: 2005
Label: Urko Records
Genre: Instrumental, Surf

Discography:
-The Coffin Daggers - st LP
-The Coffin Daggers - st EP
-Something Wicked This Way Comes - Single
-Out of Limits - EP

Tracklist:
01. Coffin Dagger
02. Parasite
03. Shark Attack
04. Cat's Eyes
05. Monsters From The ID
06. Caravan

Biography:
The Coffin Daggers deliver an all out attack on the senses drawing from diverse influences, ranging from Dick Dale, Henry Mancini, Link Wray, and the Cramps. Viktor Venom, one of the founders of Nausea, founded the group early in 1999. Vik's punk influences (he has also worked with Reagan Youth and Chaos UK) give the band's music a unique melodic sensibility. Guitar Player observed that he "moves proceedings beyond mere era emulation by unleashing a rude and vicious riff that would have made Link Wray smile" A staple of the New York live music scene, the group has released a full-length album and two singles to critical acclaim.
Their performances have floored both European and American audiences from start to finish, prompting Chart magazine to declare "no one comes close to The Coffin Daggers when it comes to all-out intensity...they will stomp a mudhole into your fragile minds."
The Coffin Daggers are currently putting the finishing touches on their next LP release "Monsters from the ID" which will be released in 2011.
~ http://www.sonicbids.com/2/epk/default.aspx?epk_id=163297
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The Coffin Daggers are a phenomenal four piece surf instrumental act with a big, big sound and a really dark feel, with plenty of creepy reverb-laden guitar and organ.
Their sound is crisp, clear and perfect.
These in your face horror hits may be just what your Halloween '08 party mix is missing.
~ by almost certainly Edward.
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Taking advantage of my revivalistic mood, here's another wonderful guitar based band from New York. They are led by Viktor Venom, former guitarist of the hardcore punk bands Reagan Youth and Chaos UK.
The first track, "Coffin Dagger", is really electrifying, although it has an obvious strong influence of Dick Dale. The last track is a great cover version of Duke Ellington's "Caravan".
Enjoy!
~ by Deaf, Dumb, Blind.

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Dennis Linde - Dennis Linde (us 1973)

2011-01-26T00:41:00.001+02:00

Dennis Linde - Dennis Linde (us 1973)
Born: March 18, 1943, Abilene, TX, United States

Died: December 22, 2006 // Nashville, TN, United States

Member of: Bob Kuban & the In-Men, Jubal

Tracks:
A1. Hello, I Am Your Heart 2:58
A2. Ridin' High 3:33
A3. I Had a Dream 3:14
A4. The Longer You're Gone 3:25
A5. East St. Louis Nights 3:59
B1. DR-31 2:57
B2. Don't Leave Me Here All Alone 2:36
B3. Some Songs 2:26
B4. All I Want to Do Is Be our Man 2:36
B5. Burning Love 3:00
B6. Just a Song 3:40

Songwriter Dennis Linde remained a fixture of the country charts for decades, penning blockbusters for everyone from Elvis Presley to the Dixie Chicks. Born March 18, 1943, in Abilene, TX, Linde spent much of his adolescence in St. Louis, first picking up the guitar at the age of 15. During the late '60s, he played in the St. Louis band the Starlighters, driving a dry-cleaning delivery truck by day. When speeding tickets cost him his license and his day job, Linde turned to songwriting, relocating to Nashville in 1969 to join the Combine Music staff (which also included Kris Kristofferson, Mickey Newbury, and Wanda Jackson). Linde scored his first major hit a year later when Roy Drusky cut his "Long Long Texas Road." He also signed a solo deal with Mercury's Intrepid imprint, issuing his debut effort, Linde Manor.
In 1972, Elvis scored his final number one hit with "Burning Love," launching Linde to the forefront of Nashville songwriters. The attention earned him a deal with Elektra, which released his self-titled sophomore record in 1973. Trapped in the Suburbs appeared on the label's Asylum subsidiary the following year, and in 1978 Linde signed to Monument to release his fourth and final solo disc, Under the Eye. He continued his commercial success during the mid-'80s, writing hits for Kenny Rogers ("Goodbye, Marie"), Gary Morris ("The Love She Found in Me"), Don Williams ("Walkin' a Broken Heart"), and Eddy Raven ("I'm Gonna Get You").

However, Linde's finest work emerged during the following decade, when he unleashed his mordant wit on songs for Mark Chesnutt ("Bubba Shot the Jukebox"), Joe Diffie ("John Deere Green"), and Shenandoah ("Janie Baker's Love Slave") -- in 1993, he was named the Nashville Songwriter Association's Songwriter of the Year, and in 1994 earned BMI's Songwriter the Year honors.
Linde made national headlines in 2000 when the Dixie Chicks scored with his bleakly witty "Goodbye Earl," the controversial tale of an abusive husband killed by his long-suffering wife. He returned to the upper reaches of the country charts in 2005 with Alan Jackson's "The Talkin' Song Repair Blues."
~ Jason Ankeny, All Music Guide.
~ Posted by Lizardson

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Jeff Kelly - Coffee In Nepal (us 1987)

2011-01-22T19:44:00.002+02:00

Jeff Kelly - Coffee in Nepal (us 1987)

* Born in Seattle, WA;
* wife: Susanne.

* Formed the Green Pajamas with Joe Ross, 1984;
* released Book Of Hours, 1987;
* released Summer of Lust with the band before it broke up, 1990;
* released solo albums Coffee In Nepal, 1990, and Ash Wednesday Rain, 1995;
* resurrected Green Pajamas with Indian Winter, 1997;
* released the Green Pajamas’s All Clues Lead To Megan’s Bed, 1999;
* released solo album Melancholy Sun and the Green Pajamas’s Narcotic Kisses, 2000.

Tracks:
A1. In the Blue Light   3:36
A2. He's Married   4:15
A3. Sleepy People   3:43
A4. Maria   5:22
A5. Oh How I Love You   6:43
B1. Panda   5:11
B2. Don't Ever Go   2:16
B3. A Quiet World   3:18
B4. Coffee in Nepal   1:53
B5. I Heard a Fly Buzz When I Died   1:42
B6. Pony and Me   5:51
B7. Hearts and Flowers   3:27

Biography:
Kelly's principal gig throughout most of his career has been as guitarist and frequent singer/songwriter for the Green Pajamas, an unexceptional '60s retro-style Seattle indie band. His solo outings, however, reveal a sensitive singer/songwriter -- in the best sense of that often pejorative term -- who recalls melancholic '60s icons such as Ray Davies and Tim Buckley without aping them. His grainy, straining voice is the very definition of a "yearning" vocalist, and well-suited to the ethereal and clouded romances he often details in his lyrics. Far more acoustic-oriented and simply produced than the Green Pajamas releases, his late-'80s cassette-only albums were among the most overlooked items in the Seattle scene, and indeed in indie rock as a whole.
In the '90s, Kelly continued to make solo releases that generally retained the strengths of his early work while embellishing the arrangements with more instruments and production sheen, with mixed results. While the first of his '90s solo albums (1992's Private Electrical Storm was again a cassette-only affair; in 1995 he issued his first widely available domestic solo CD, Ash Wednesday. This had a fuller band sound and more sophisticated production finish than his more basic cassette releases. 1997's The Rosary and the House of Jade, though a full album based loosely around the concept of an affair with a British spy and as well-produced as any of his prior solo efforts, was originally unreleased, as Kelly limited its production to 50 cassette copies given away to friends. The Rosary and the House of Jade, however, did get released as one CD in the four-CD Australian box set Melancholy Sun, which also included three prior albums (Coffee in Nepal, Portugal, and Private Electrical Storm) that had originally been issued only on cassette. While not exactly a high-profile release, this did at least put much of Kelly's solo catalog on CD, and increased the availability of product by one of the most underexposed American indie rock talents of the '80s and '90s. There is yet another Kelly cassette-only solo album, Twenty Five, which has escaped wide distribution. It was only given to his wife Susanne (who has contributed vocals to some Kelly solo tracks) as a birthday present, and to a few other friends. Kelly has no plans to put it out in its original form, although some of the songs later appeared on releases by the Green Pajamas. Along with the highly prolific period the Pajamas entered into in the late '90s, Kelly also released Indiscretion, which melded Catholic guilt with songs inspired by painters like Balthus and James Tissot and writers such as Matthew Lewis and C.S. Lewis.
~ Richie Unterberger, Rovi
Read more: http://www.answers.com/topic/jeff-kelly#ixzz1BmOji9sF
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Review:
Not many people heard Kelly in the late '80s, even within the alternative rock community, for two reasons: his albums were only available on cassette, and his moody folk-rock was totally out of sync with the rest of the Seattle indie scene.
That's unfortunate, as this solo debut revealed him as a tuneful, but not sappy, troubadour singing sad, quirky, but appealing songs. Influenced by late-'60s psychedelia and British folk-rock, with a vocal timbre reminiscent of British rockers such as Ray Davies and the Zombies' Colin Blunstone, the arrangements put acoustic guitars to the fore, with tasty touches of light percussion, sitar, and Casio. Originally issued on cassette only in 1987 by Green Monkey, it also appeared on LP on DiDi Music in 1992, and then as one of four CDs in the 1999 box set Melancholy Sun. That package also included a couple of other albums originally released only on cassette and an otherwise unavailable 1997 album, The Rosary and the House of Jade.
~ Richie Unterberger, Rovi
Read more:
http://www.answers.com/topic/coffee-in-nepal#ixzz1BmJxVzu7
http://www.answers.com/topic/jeff-kelly

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V.A. - Off The Wall Volumes 1 & 2 (2009)

2011-01-16T20:33:00.007+02:00

V.A. - Off The Wall Volumes 1 & 2 (2009)
(Off The Wall And Skeletons In The Closet)

Product Details:
Title: Off The Wall Volumes 1 & 2
Catalogue Number: PAPR2CD2092
Label: Past & Present
Details: 2CD
Original Release Date: (April 14, 2009)

Originally issued by the U.K. imprint Past & Present in the late `80s, these compilations of shockingly primitive, unrepentantly shambolic late-`60s garage rock and psychedelia helped to spark the English freakbeat revival of the early `90s. Though the teen combos on display here are sometimes musically inept, their wild enthusiasm and sneering adolescent cool more than make up for any technical shortcomings.

Track Listing:
DISC 1: "Off the Wall"
01. I'm A Nothing - The Magic Plants
02. I'm Down Today - The Drones
03. That's Tuff - The Shademen
04. Someday Baby - The Untamed
05. Hey Mama - Peter & the Wolves
06. Only Everything - Peter & the Wolves
07. Mister Genie Man - Society's Children
08. Other Way Around, The - Heathens
09. Alright - Legends
10. Unchain My Heart - The Undertakers
11. I'll Be Gone - The Opposite Six
12. Count Back - Purple Underground
13. Don't Miss The Turn - The Trees
14. Kick Me - Ray Columbus and the Art Collection
15. Put The Clock Back On The Wall - The E-Types
16. All Night Long - The Bad Seeds
17. Last Time Around - The Del-Vetts
18. She Needs Me - The Grains of Sand

DISC 2: "Skeletons in the Closet"
01. Someday Fool, A - M.G. & The Escorts
02. I'm Gonna Go Now - Wrong Numbers
03. Mod Threads - The Glass Menagerie
04. It's Trash - The Cave Men
05. You Lied To Me Before - The Treez
06. Don't Play With Me - The 3rd Evolution
07. I'm Blue - The Kinetics
08. Bad Woman - The Fallen Angels
09. Powered By Love - Powered By Love
10. Seventeen Tears To The End - Liverpool Set
11. Lovin' Cup - The Triumphs
12. Great Train Robbery, The - Little Boy Blues
13. I'm Ready - Little Boy Blues
14. Hey, Hey - Sound Barrier
15. On The Road Again - Deverons
16. Searching - The Omens
17. Pretty Little Thing - Deepest Blue
18. I'm Gonna Dance - Decades

Once upon a time I walked into Landspeed Records, and the garage rock mania filling the room turned out to be the Primary Colours album from Eddy Current Suppression Ring. It was good to once again be reminded of the considerable mileage gained over the years from a combination of three chords and snarling attitude. And given the sheer volume of garage rock compilations that have appeared in the wake of that momentous pre-Ramones Nuggets set released in 1972, the success rate has been pretty good. Off The Wall first appeared on LP in the early 1980s when the garage rock reissue market was still in its nascent phase, and contains bucket loads of impolite hormone saturated rock ‘n’ roll that sprouted all over the place around 1966. It is in fact heartening to consider that raw-beat rock music has maintained its place in the pantheon of the greats because of sheer perseverance, if nothing else. This welcome Off the Wall reissue compiles a bunch of bands that were destined to never receive much attention from the mainstream music industry for the simple reason that the guitars are way too distorted, the production is sometimes a product of the stone age, and that niggling suffering at the hands of the opposite sex is ever present. With this in mind, The Purple Underground with its unrestrained 1967 rave-up Count Back will tell you pretty much everything you need to know.
~ by: http://www.bmamag.com/articles/cd-reviews/20100414-various-wall-volumes-1-and-2-past-and-pre/
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‘Every track is a winner in the classic '66-67 punk mold… recycles killers from the Chicago scene along with several here-only rarities from all over’ lysergia. At long last, here is the eagerly-awaited CD debut of two of the most legendary US garage compilations of all time. Originally issued in the early 1980s and featuring 36 of the greatest and rarest American punk sides of the 1960s – from California, Texas, NYC and Kentucky to Ohio, Florida, Milwaukee and much more – it’s plain essential for all fans of heavy rock and roll, and is presented here as a 2-disc set, complete with a full booklet offering biographical information on all the artists, as well as many rare pictures.
~ http://www.theraremusicshop.com/

BUY IT HERE:
http://www.cduniverse.com/productinfo.asp?pid=7904411
http://www.amazon.com/Off-Wall-Skeletons/dp/B001UGIRKI

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V.A. - Mindblowing Encounters Of The Purple Kind! (1998)

2011-01-10T02:27:00.002+02:00

V.A. - Mindblowing Encounters of the Purple Kind! (1998, Dig-Up LP)

Title: Mindblowing Encounters Of The Purple Kind

Subtitle: 16 Obscure American Sixties Garagepunkers with a Psychedelic Flavour

Format: LP

Label: Dig-Up

Serial Number: DIG-UP 2

Year of Release: 1998

Tracks:
Side 1:
01. Eddie Cunningham & The Lone Rangers - Girl Don't Change Your Mind
02. Danny Provisor - It Really Tears Me Up
03. The Jades 404 - When Shadow Falls
04. The Troyes - Love Comes, Love Dies
05. Tyde - Lost (1/1969)
06. The Gurus - Everybody's Got To Be Alone Sometime (3/1967)
07. Gil Bateman - Daddy Walked In Darkness (10/1965)
08. Strawberry Sac - In Relation (1968)
Side 2:
01. The Sceptres - But I Can Dream (11/1966)
02. Soul Inc. - 60 Miles High (7/1967)
03. Graf Zepplin - You're In My Mind (6/1968)
04. The Us Too Group - I'll Leave You Crying
05. The Laymen - Society Rules
06. Graven Image - Take A Bite Of Life (11/1967)
07. The Rubber Maze - Mrs. Griffith (1968)
08. The Esquires - Settle Down (1967)

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Living Life - Mysterious Dream (Italy 1981)

2011-01-06T23:24:00.012+02:00

Living Life - Mysterious Dream (Italy 1981, Shirak SLL 3308)

Formed: 1975, Torino, Piemonte, Italy

Discography:
LP's:
- A: Let: from experience to experience Shirak (LL 001) 1975 [gatefold laminated cover]
- B: Mysterious dream Shirak (SLL 3308) 1981 [gatefold cover]
CD's:
- A: Let: from experience to experience Mellow (MMP 259) 1995 [reissue of 1975 album]
- B: Mysterious dream Mellow (MMP 265) 1995 [reissue of 1981 album]

Members:
1975:
* Marcello Quartarone (guitar, vocals)
* Walter Negri (sax, flute)
* Piercarlo Bettini (keyboards)
* Roberto Savarro (bass, vocals)
* Roberto “Johnny” Betti (drums, keyboards, vocals)
* Sandro Gianotti (percussion).
1981:
* Roberto “Johnny” Betti (drums, keyboards, vocals)
* Daniele Pintaldi (guitar)
* Flavio Capello (flute)
* Aldo Valente (synth, piano)
* Roberto Savarro (bass, vocals)
* Gianni Cinti (oboe)
with:
* Gianni Bianco (synth)
* Piercarlo Bettini (Swami Zekuta) (keyboards)

Related Artists: Barabba, Circus 2000, Danilo e i Draghi, Genius, I Kobra, I Ragazzi del Sole

Tracks:
01. Welcome People
02. Mysterious Dream
03. Oldeurope
04. Living with the Music
05. Sliding Through The Clouds Of Cusco

Review:
Drummer Johnny Betti left Circus 2000 in 1972, having played on their debut album, following some contrasts with the rest of the band. He had a jazz background, having even spent some years playing with foreign jazz musicians touring Europe, so he briefly returned to his jazz roots before leaving in Afghanistan for a year.
He reappeared in 1975 with his new band Living Life, also based in Turin and recording for his own newly created Shirak label. The former Circus 2000 guitarist "Spooky" Quartarone was also involved in the Living Life original line-up.
Their debut album, Let: from experience to experience, the first LP release by Shirak, is a fragmented blend of jazz, rock and ethnic music, mostly instrumental with just an English-sung vocal track.
No musician names are present on the sleeve, though seven of them are pictured, and all the tracks are penned by an N.Tibet (that appears to be Betti under a fake name).
The second one, Mysterious dream, came after a six years break; the group had a new line-up with Betti and bassist Savarro as the only remaining founder members, and some help from original keyboardist Piercarlo Bettini (now known as Swami Zekuta, he had been with I Ragazzi del Sole in the 60's), replaced by Aldo Valente during the recording session.
The five-track LP was totally composed by Johnny Betti and in a more original style than their debut, again with jazz-rock influences but more keyboards-based (no less than four keyboard player are involved) and with good vocal parts like in the 11 minute long title-track, Mysterious dream.
The group disbanded again due to the lack of attention, like many other acts on the small Shirak label(some good folk bands like La Lionetta).
~ by www.italianprog.com/a_livinglife.htm.

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V.A. - Its Midnight Xmess Part III (1987)

2010-12-31T22:00:00.011+02:00

V.A. - Its Midnight Xmess Part III (1987)
[Midnight Records, MIR LP 137]

Tracks:
01. Reindeer n' Whiskey - The Iguanas
02. Celebrate! - Whooping Cranes
03. "Yuh, Xmess" - Gorhounds
04. My Sears Catalogue - Sharky's Machine
05. Xmas Will Never - The Love Pushers
06. Merry Christmas, Baby - The Senders
07. Mrs. Claus Has Menopause - The Sterilles
08. Staring in the Eye of God - The Woofing Cookies
09. Are You Ready for Christmas - Luther n' B.B.B.'s
10. One Winter's Night - The Brood
11. December Mourning - Crocodile Shop
12. Christmas Comes to Those Who Wait - Dimentia 13
13. The Last Noel - John Frankovic

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V.A. - Oh! No! Not Another... Midnight Christmas Mess Again!! (1986)

2010-12-31T21:13:00.005+02:00

V.A. - Oh! No! Not Another Midnight Christmas Mess Again (1986)
[Midnight Records, MIR LP 135]

Tracks:
01. Hazy Shades of Winter - The Slickee Boys
02. Christmas I'll Be Home - The Vipers
03. Star - The Cheepskates
04. Santa is Comin' Down Again - The Psycho Daisies
05. Santa Ain't Santa - Woofing Cookies
06. Jesus Christ - The Love Pushers
07. O Tannenbaum Now - Das Furlines
08. Blue Christmas - The Ravens
09. Wreck These Halls - Howard & Jag's X-mas Vacation
10. Sleighbell Bop - The Holidays
11. Coal in My Stocking - The Backbones
12. Christmas Eve at KNL (Kansas Neurological Institute) - The Iguanas
13. Snow is Falling - Dementia 13

In the late fall of 1984 Midnight International, an NYC based record label which catered to the growing Garage/Psych movement released its first Christmas compilation LP featuring thirteen different acts on fifteen cuts. The compilation proved to be so successful two more volumes were later released. "Oh No, Not Another Midnight Christmas Mess Again" was the second one featuring the outstanding Cheepksates, the Vipers, the Slickee Boys and more.
~ by Angelo.

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V.A. - A Midnight Christmas Mess (1984)

2010-12-31T19:25:00.007+02:00

V.A. - A Midnight Christmas Mess (1984)
[Midnight Records, MIR LP 106]

Tracks:
01. Christmastime Here (Could Never Be Like That) - Wednesday Week
02. On Comet - The Point
03. Christmastime With You - The Cheepskates
04. Here's What I Want on a Christmas Day - Justin Love
05. Christmas Dance - Johnny Rabb
06. Gotta Get Lucky for Xmas - Johnny Rabb
07. Xmas Time (It Sure Doesn't Feel Like It) - The Dogmatics
08. Last Minute Rush - The Cheepskates
09. Merry Christmas - Plan 9
10. Christmas Tyme (Baby) - Yard Trauma
11. Forget It - Nadroj & The Wolrats
12. Schizophrenic X'mas - The Suburban Nightmares
13. Gloria (in Excelsis Deo) - The Tryfles
14. It's Christmas (A Time for Giving) - Screamin' Jay Hawkins
15. Silent Night (J.D.'s Salute to Phil Spector) - Droogs

Review:
Other than a few too-pop or rockabilly clunkers on side one, we are left with an excellent '60s-punk type compilation of various contemporary groups. There's killer stuff from YARD TRAUMA,NADROJ & THE WOLRATS (doing the SONICS' "She's Waiting" with new lyrics), CHEEPSKATES, among others. There's even Midnight owner, JD, doing his tribute, à la Phil Specter's Xmas LP, to the season.
~ Tim Yohannan (from Maximum Rocknroll #19, November 1984).

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Sam Gopal - Escalator (uk 1969)

2010-12-29T10:28:00.004+02:00

Sam Gopal - Escalator (uk 1969)

Formed: United Kingdom

Members:
* Sam Gopal (tablas, percussion),
* Roger D'Elia (lead guitar, acoustic guitar, rhythm guitar),
* Phil Duke (bass),
* Ian "Lemmy" Willis (vocals, lead guitar, rhythm guitar).

Producer: Trevor Walters.

Also Known As: The Sam Gopal Dream

Genres: Psychedelic Rock

Tracks:
01. Cold Embrace
02. The Dark Lord
03. The Sky Is Burning
04. You're Alone Now
05. Grass
06. It's Only Love
07. Horse
08. Escalator
09. Angry Faces
10. Midsummer Nights Dream
11. Season Of The Witch
12. Yesterlove
13. Back Door Man

Sam Gopal Dream was the soft and trippy raga ensemble fronted by tabla player Sam Gopal. Around the same time they used to play at the UFO in London, Ian Willis (aka Lemmy) was a roadie for Jimi Hendrix, after leaving his Mod band The Rocking Vicars.
The band Sam Gopal plays acid rock for stoners favoring the dark side. Sam Gopal fronts the band and still plays tabla, but Lemmy's voice is the loudest thing in the mix, and his fuzzed-out guitar is all over the disc. He also wrote most of the songs. This record originally came out in 1969 on Stable Records, an obscure label formed by Simon Stable. This label only put out two releases: the Sam Gopal record and The Deviants Disposable.
~ by Verybadboy.
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Late-period British psychedelia with snaky psychedelic-blues guitar lines, anguished vocals, a bit of an Eastern-folk bent to the melodies and a sheen of stoned mysticism to the lyrics.
You have to be a very good group to pull this off well, and Sam Gopal were not very good; they were adequate, at best. Not terrible, but they definitely sound like a bill-filler, likely to be found as the opening band for much more interesting musicians in the U.K. in the late 1960s. The songs sound too similar to each other, but it is more low-key than you'd expect given Lemmy's later resume. Fave cut is "Midsummer Night's Dream," which puts the "You Really Got Me" riff to good use in a late '60s psych context (it sounds better than it reads). The CD reissue, taken from "original LP mixes," adds both sides of a non-LP single as bonus tracks.
~ Review by Richie Unterberger [amg].

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Sweetwater - Melon (us 1971)

2010-12-26T04:08:00.010+02:00

Sweetwater - Melon (us 1971)

Warner Reprise still had faith in the band and gave them another chance so they released "Melon", an album described by some people as a blend between Jethro Tull, Santana and Jefferson Airplane, but the time had passed and they were not so advanced in 1971 as in 1968 and without Nansi they were unable to regain their lost audience, so they disbanded after a short tour.
~ Iván Melgar Morey - Perú (progarchives.com).

Personnel on this album:
* Nancy Nevins (lead female vocals, acoustic guitar),
* Fred Herrera (bass, vocals),
* Alex Del Zoppo (piano, keyboards, harmonica, vocals),
* Albert B. Moore (flute, vocals),
* August Burns (cello),
* Elpidio Cobian (conga, percussion),
* Alan Malarowitz (drums on tracks: 04 & 10),
with:
* Ricky Fataar [courtesy Brother Records] (drums on all other tracks).

Tracklisting:
01. Get It When You Can (Alex Del Zoppo) - 3:42
02. Don't Forget (Nancy Nevins) - 3:00
03. It Ain't Easy (Albert Moore) - 3:20
04. I'm Happy Today (Alex Del Zoppo) - 4:17
05. Rejoice... The Smile Of Man (Fred Herrera) - 4:53
06. Take It From The Splice, Boys (Fred Herrera) - 6:48
07. Naturally (Alex Del Zoppo) - 3:35
08. Don't Give A Hoot (Albert Moore) - 2:22
09. Faith (August Burns) - 0:38
10. Join The Band (Alex Del Zoppo) - 5:30

Review:
That old cliché "you can't tell a book by its cover" may have been true for the Guess Who's Road Food LP, a repulsive album jacket and inner sleeve housing a gem like "Star Baby," but the lesser-known Sweetwater beat the Guess Who to the punch by three years with a watermelon on the front of the Melon LP, and its remains on the back. The music inside is unsettling, but not without merit; Fred Herrera's "Rejoice...The Smile of Man" plays like a less annoying "White Bird" two years after It's a Beautiful Day unleashed that FM staple. Herrera goes off key, but that adds to the charm. Nansi Nevins does not come up with a "White Rabbit" with "Don't Forget," but still manages to sound like Grace Slick on her songwriting contribution. It's the Jefferson Airplane's "Lather" by way of H.P Lovecraft. "Take It From the Splice, Boys" is Jethro Tull meets Santana while predicting the dawn of the Electric Light Orchestra, that mix not flowing well into the countryish "Naturally," which could be Nick Gravenites' version of Big Brother & the Holding Company. Flute, cello, conga, and acoustic guitar should all combine to make for a delicious musical feast, but there are only glimpses of possibilities on Melon, an album that is disjointed, and in desperate need of a song that can raise it to the next level. Wiley Brooks' production is clear and precise, and the feel of the band isn't bad at all; it's just that when they step up to the plate, they hit a few foul balls, and on some tunes, like "Don't Give a Hoot," they simply strike out. "Join the Band" is a real strange one; The Monkees did this much better with "Listen to the Band," the punk vocals mixed with an off-key gospel chorus is certainly interesting, and somewhat amusing, to the point where it could be slipped into a radio show and listeners might say "what the heck was that"? As a novelty, it is wonderful, but after repeated listenings its charm would wear off and you may find yourself looking to hear Mike Nesmith's song again. Alex Del Zoppo's "Get It When You Can" is not as direct as Janis Joplin's "Get It While You Can," which came the year before, its preachy vibe not as much fun as Joplin's tour-de-force lecture. He fares better copping Lou Reed's "Cool It Down" from the Velvet Underground's Loaded LP on "I'm Happy Today." The band puts everything but the kitchen sink into this album, and the telling turntable spindle on the plate with seeds and melon crusts imagery by photographer Annette Del Zoppo kind of sums it up. Just when a song like "It Ain't Easy" makes you want to hit "reject," an intriguing musical passage makes the curiosity factor kick in. An odd presentation for sure, and deserving of some kind of recognition --exactly how much is the question.
~ Joe Viglione, Rovi.
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In 1995 they were invited for Woodstock II and reunited without Albert Moore, Alan Malarowitz and August Burns who had already died neither Elpidio Cobian who despite their efforts was impossible to find.

One more album (Live at Last 2002) has been released since then and a movie about the band filmed for the 30th anniversary of Woodstock.

I'm sure that if it wasn't for Nansi Nevins accident, SWEETWATER would have kept evolving and probably be considered one of the early icons of USA Prog, but despite that destiny didn't allowed them to reach this status they deserve a place in Prog Archives.
~ Iván Melgar Morey - Perú (progarchives.com).

More info:
http://www.sweetwaterfan.com/

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Sweetwater - Just For You (us 1970)

2010-12-25T14:51:00.009+02:00

Sweetwater - Just for You (us 1970)

Formed 1968, Los Angeles, CA, United States

Sweetwater was a rock band originally from Los Angeles. They were the act scheduled to play first at the Woodstock Festival in 1969, although due to problems within the band, solo folksinger Richie Havens became the first performer. Sweetwater performed next, becoming the first band to play the festival.

Members:
* Albert Moore (flute),
* Alan Malarowitz (drums),
* August Burns (cello),
* Elpidio Cobian [aka Pete] (conga),
* Nancy Nevins (lead vocals),
* Alex Del Zoppo (keyboards),
* Fred Herrera (bass),
* Joe Bruley (guitar),
* Mike Williams (drums),
* Henry Arias (percussion).

Tracks:
A1. Just for You 8:35
A2. Day Song 2:12
A3. Windlace 4:35
B1. Compared to What 5:49
B2. Song for Romeo 2:35
B3. Without Me 4:13
B4. Look Out 3:19

Biography:
An unusual rock group in both the size of their lineup (which numbered eight), the instrumentation employed, and the eclectic scope of their material, Sweetwater didn't quite get the first-class songs or breaks necessary to make them widely known. Lead singer Nansi Nevins was backed not just by conventional guitar, bass, drums, and keyboards, but also flute (Albert Moore), conga (Elpidio Cobian), and cello (August Burns). Their self-titled debut album was the kind of release that could have only been the product of the late '60s, with the music flying off in all directions, and a major label willing to put it out. Sweetwater blended Californian psychedelia with jazzy keyboards and a classical bent, especially in the flute and cello, but did not cohere into a readily identifiable aesthetic, or write exceptional songs, although they were okay. Perhaps Reprise was willing to give such a hard to market and classify band a shot, figuring that in the midst of psychedelic rock scaling the charts that would have seemed unimaginably weird just a couple of years before, who knew what would sell now? Sweetwater was formed from a group of friends that jammed at coffeehouses in Los Angeles in the mid '60s. Harvey Gerst, who had written a Byrds song with Roger McGuinn ("It Won't Be Wrong"), was an unofficial member of sorts, sometimes acting as road manager and playing guitar. For their debut album they were produced by Dave Hassinger, who had worked, as recording engineer and producer, with the Rolling Stones, Electric Prunes, and the Grateful Dead. In the late '60s they opened for a lot of big-time acts, and played a bunch of festivals without breaking into the headliner ranks. In fact, they were the very first band to take the stage at Woodstock.
In December 1969, twenty year old Nansi Nevins was in a serious car accident in which she suffered severe brain trauma and damaged her vocal cords, putting her in a coma for weeks and necessitating physical therapy for years. Although she had recorded a couple of tracks on their second Reprise album, she was unable to rejoin the band, which had to stop touring and lost any career momentum it had developed. Producer Richard Perry tried working with them, but that didn't pan out well, although the second album was completed with other members of the band taking lead vocals. A more folk-oriented production, Melon, was their third and last album in 1971; they broke up in the summer of that year. The surviving trio of Nevins, keyboardist Alex Del Zoppo and bassist Fred Herrera reunited Sweetwater in 1997, and two years later -- to coincide with the 30th anniversary of Woodstock -- cable network VH1 produced and broadcast a film about the group, with Felicity co-star Amy Jo Johnson cast as Nansi Nevins; the picture sparked a considerable resurgence of interest in the group, and that same year Rhino released Cycles, a limited-edition retrospective of their work for Reprise.
~ Richie Unterberger, Rovi.
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Review:
The recording of Sweetwater's second album was hindered by Nanci Nevins' injuries in a serious car accident, which for a time rendered her incapable of performing with the band, although she does sing on much of Just for You. A more serious problem was an overall lack of strength or focus to the material, which covers a lot of bases of 1969-1970 album oriented rock without staking a markedly identifiable patch of its own. The eight-minute title track is indicative of the band's strengths and weaknesses, as the song mixes Latin-influenced percussive grooves, gospel, jazzy flute and violin, and a dreamy Nevins-sung opening passage without really arriving anywhere in particular. At times the music's loose flow is a little similar to the Californian hippie rock of It's a Beautiful Day, especially when Sweetwater uses violin. But it's not as good as even that erratic standard, and the sole non-original manages to make Gene McDaniels' classic soul protest song "Compared to What" over into a blandly strained soul-rocker. A couple of briefer, gentle Nevins-led interludes ("Song for Romeo" and "Day Song") that go into more sparsely arranged, poetic singer/songwriter territory outshine the more ambitious, jam-prone surroundings.
~ Richie Unterberger, Rovi.

Read more:
http://www.answers.com/topic/just-for-you-rock-album-1#ixzz197XxWoGh

You can find their 1st album here:
http://tyme-machine.blogspot.com/2009/02/sweetwater-sweetwater-us-1968.html

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Short Cross - Arising (us 1971)

2010-12-23T23:26:00.006+02:00

Short Cross - Arising (us 1971, & Bonus tracks)

Formed: 1970, Sandston, VA, United States
Disbanded: 1972 //

Members:
* Gray McCalley (drums, percussion, vocals),
* Butch Owens (organ, piano, Moog, Hammond, vocals),
* Velpo Robertson (vocals, lead guitar, piano),
* Steve Hicks (bass),
* Dudley "Byrd" Sharp (bass, backing vocals)

Related Artists: The Reactors, The Outlaws

Also Known As: The Hustlers

Tracks:
01. Nothin' but a Woman 5:24
02. Wastin Time 3:46
03. Suicide Blues 7:01
04. Just Don't Care 4:27
05. On My Own 4:56
06. Till We Reach the Sun 4:53
07. Ellen 5:50
08. Hobo Love Song 4:46
Bonus Tracks:
09. On My Own (stereo mix of A-side of 45*) 2:50
10. Marching off to War (stereo mix of B-side of 45*) 2:57
11. That's Her Train (unreleased stereo mix) 2:54
12. Bomb (unfinished demo - mono) 4:04
13. Before It Rains (unfinished demo - mono) 3:28

"We haven't been able to dig up much about Short Cross, though we know they were based in Sandston, Virginia (a suburb of Richmond). Originally known as The Hustlers, by the late-'60s drummer Gray McCalley, keyboard player Butch Owens, singer/guitarist Velpo Robertson and bassist Bird Sharp had metamorphosed into Short Cross. The band made their debut with a little known single on the small Colpar label - "On My Own" b/w "Marching Off To War" (Colpar catalog 54-1005). The following year they got an opportunity to record an album. Recorded in Richmond's ''Alpha Audio'' Studios and released by the small local Grizzly Records label, 1971's "Arising" teamed the group with producers Dave Herren and Rhett Riddle. Judging by the liner notes, Robertson was the band's mainstay. In addition to serving as lead singer and lead guitarist, he was responsible for penning all eight tracks (drummer McCalley co-wrote one track). So what about the music? Well, over the years we've seen this one listed on several high priced psych/progressive sales lists. If you're looking for those genres, don't bother reading the rest of this. The majority of "Uprising" offers up a surprisingly accomplished set of mainstream guitar-rock. Overlooking the occasionally irritating horn arrangements ("Nothing But a Woman"), material such as the organ-propelled "Till We Reach the Sun" (sporting a nice Santana-styled Latin vibe), the bluesy "Suicide Blues" and "On My Own" was tuneful and rocked, fitting in well with conventional early-'70s rock. Sporting a modest Allman Brothers feel and a great rhythm pattern, "Wastin Time" was our personal favorite. While you won't find anything particularly original or earth shattering here, Richardson had a good voice and was a first-rate guitarist (check out his solo on "Just Don't Care"). Some of you may not take this as a compliment (it's meant to be), but we play this LP far more often than anything from Grand Funk Railroad ... The fact it was released on a small label with limited distribution capabilities spelled instant obscurity for the album (and apparently the band itself)."
~ by BadCat Records.
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From Sandston, Virginia, this band evolved out of the Hustlers, whose members included, at various stages, ex-Reactors Steve Hicks and ex-Outlaws Butch Owens alongside core members Velpo Robertson, Gray McCalley and Ben Luck. The latter left to join the Barracudas, of A Plane View LP fame.Their rare album can best be described as heavy psychedelic blues, at its purest on Suicide Blues. There's plenty of good guitar work throughout, Wastin' Time, Just Don't Care, Till We Reach The Sun and Hobo Love Song all have their share, whilst Ellen is a slow bluesy ballad. The album lacks sufficient originality to make it special but if this musical genre is where you're at you shouldn't be disappointed.
~ by (Max Waller / Roger Maglio).

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Aubrey Small - Aubrey Small (uk 1971)

2010-12-20T01:39:00.005+02:00

Aubrey Small - Aubrey Small (uk 1971)

Members:
* Peter Pinckney (lead guitar, vocals),
* Allan Christmas (guitars),
* Rod Taylor (keyboards, vocals),
* David Yearley (bass),
* Graham Hunt (drums, guitars, vocals).

Tracks:
01. The Loser (bonus - single) - 3:20
02. Country Road - 4:20
03. Gardenia - 2:46
04. Trying To Find My Way - 2:11
05. For My Lady - 3:23
06. It's Morning - 3:57
07. Why? - 2:21
08. Love On - 4:16
09. Born To Be - 3:22
10. If I Were You - 3:16
11. Oh! What A Day It's Been - 3:00
12. Smoker Will Blow - 3:06
13. Wonderful - 1:34

Background:
Aubrey Small was another extremely talented group in the long list of British progressive rock artists that appeared on the scene with much hope and promise and quickly disappeared without a trace. From England's south coast, gigs with Kevin Ayers, Free, Stackridge, ELO, Hawkwind and a UK wide tour with Supertramp failed to ignite much interest in Aubrey Small although copies of their only LP are a serious collector's item, but unlike many such albums this one is worth a listen or three.
The Songs:
What makes this record so enjoyable for this reviewer is Aubrey Small had a strong melodic sense. With one foot in progressive rock and a big toe in pop, this style of music always puts me in a good mood not to mention the obvious comparisons to late period Beatles and the wow-o-meter hits eleven. Throw in some Barclay James Harvest and Moody Blues influences and you have a quintessentially English record that is truly a delight to the ears. Favorite tracks include the haunting 'It's Morning', the 'All You Need Is Love' influenced 'Love On' complete with Pepper-esque strings and 'Smoker Will Blow' which takes on the Moody Blues at their own game and pulls it off admirably with delicate orchestration and cosmic vibrations. These highlights aside as a whole Aubrey Small's record is remarkably good throughout and a satisfying listen.
In Summary:
Recently reissued on CD from the Elegy label, it seems the group, or at least one member now relocated in France has claimed it's far from legitimate and has started legal action. Good luck with that. Aubrey Small has also been doing some reunion gigs at their old haunts by the sea in the last few months as well as recording some new material which is available on 'iSound'. While I can't say the recent stuff holds up very well in comparison to the debut, it's nice to see new life from a band that deserved so much better.
~ By glorydazemusic.
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Good, solid early 70's crossover pop-psych record. A fair amount of memorable hooks and instrumentation, recalling, at times, Joey Molland penned Badfinger songs, only with bits of trippy production surrounding them. I doubt anyone will jump up and down with joy over this, but true pop lovers will find much enjoyment scattered throughout these tracks.
~ By latenight (RYM).
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This little known UK progressive album from 1971 features a selection of well crafted melodic rock music with orchestration, multi-layered three part harmonies and strong guitar work. Mellow and heavier material combined to great effects. The bonus track "The Loser" was originally a single track.
~ By Lizardson.
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Aubrey Small came from the south coast of England, and made this album of commercial pop/rock in 1971. ‘The Loser’ is a good example of this style, although they do a nice take on laid-back guitar-based rock with ‘Country Road’, and a gentle ballad with just a touch of early Strawbs in ‘Gardenia’. ‘Trying To Find My Way’ is another jaunty pop/rock piece, while ‘For My Lady’ is a lovely ballad which ends up a being one of my favourites on the album. ‘It’s Morning’ is one of their more progressive efforts which works very well, while ‘Why’ goes in entirely the opposite direction with a country-tinged ballad. ‘Love On’ makes use of a brass band style horn section, although it is not anywhere near as bad as that sounds, but ‘Born To Be’ is a little too twee for its own good. ‘If I Were You’ has some great fuzz-guitar work, and ‘Smoker Will Blow’ is their most progressive effort, with liberal use of strings and a feel of trying to do something different. On the whole this is an extremely good example of Beatles-esque pop and rock, and the CD re-issue is well worth the investment if you like your rock on the melodious side.
~ By peterjolly.co.uk.

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Aubrey Small - Aubrey Small (uk 1971).rar (94.75 MB)
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Lifesmyth - Music For The Third Ear (us 2003)

2010-12-15T20:40:00.005+02:00

Lifesmyth - Music for the Third Ear (us 2003)

- Label: Camera Obscura CAMCD058
- Release Date: 2003-07-22
- Release Country: Australia

Description:
Debut official release follows a slew of underground cassette/cdr releases for young Syracuse, NY native Scott Smith who makes vintage acid cum progressive folk. His compositions have the musicality of the twilight period of UK psych pop when they were giving way to early prog. His vocals hold a similarity to early Robert Wyatt whose songs brim with w/cosmic themes. Fans of the Tower Recordings/PG Six school will be ecstatic.

Members:
* Scott Smith - (vocals, guitar, mandolin, sitar, keyboards, bass, drums),
* Derrick Acker - (vocals, tambourine),
* Denise Arram, Rashad Arram - (sitar),
* Rebecca Zlyatt (cello).

Personnel:
* Derrick Acker (tambourine).
Engineer:
* Derrick Acker.

Tracks:
01. Approaching
02. Being Alive
03. Ride, The
04. We Have Come from the Earth
05. Alone We Go
06. It's All the Same Forever You Know
07. What I Came With
08. Polish Question, The
09. Beyond a Star
10. Watcher of the Skies
11. Sailing on the Way Home
12. Last Chance

It is fitting that the first of Scott Smith's home-brewed progressive psych-folk to be officially released is "Music for the Third Ear" because it comprehensively showcases Smith's playing and writing skills, both solo and with collaborators. His compositions have the timeless fluidity and musicality of the twilight period of UK psychedelic pop, around about the time when fairground trip-scapes were giving way to the expansive fields of early progressive rock. His vocals, whether straight or multi-tracked into divine choruses, have something of the quality of the early Robert Wyatt. "Third Ear" bursts with invention and surprising twists, from the short introductory instrumental redolent of Soft Machine, to lilting folk-rock like the "Being Alive" (recalling the legendary folkies Fresh Maggots with its acidic burst of electric lead guitar), and the intricate and dynamic "Alone We Go", on which Scott is assisted by friends to expand the instrumental palette - the duel between electric guitar and sitar at the conclusion of this track is worth the price of admission alone. Cosmic themes are micro-dotted throughout as the titles suggest - "We Have Come From the Earth", "Beyond a Star", and the stunning "Watcher of the Skies". This is definitely a CD for lovers of new folk by artists such as Greg Weeks, P.G. Six, Tower Recordings, Pothole Skinny and Six Organs of Admittance. (It's could even be said that these 2000 recordings were somewhat ahead of the game.)
~ By cameraobscura.com.au.
----------------------------------------------------------------------------------
Scott Smith, the one-man operation behind the moniker Lifesmyth, already had four home-brewed albums under his belt when Music for the Third Ear became his first official release. Concocted and privately released on CD-R in 2000, this album showcases Smith as a storyteller. Between "Approaching" and "Last Chance," the first and last tracks, he sketches the journey of a lifetime -- from birth to death -- and ties it with a cosmic/extraterrestrial theme that gives the album its psychedelic feel. The drums, alternately programmed or stiff, trap the music inside too cold a cage; it deserved to be warmer, looser at the ground level. Keyboards, guitar (electric and acoustic), sitar, and mandolin form the main instrumentation, along with Smith's low, dreamy vocals. The odd dynamic shifts recall some of the artists revolving around the American underground avant psych-folk scene (Tower Recordings, Sunburned Hand of the Man), although Lifesmyth's songs are always more defined and somehow straightforward. It is their grouping into what can only be called a concept album that produces such a strange, destabilizing atmosphere. The D.I.Y. production means that most listeners will find half of the tracks endearing and the other half annoying, but no two persons will separate them the same way or for the same reasons. Composition-wise, Music for the Third Ear is an intriguing proposal. If Smith can find a few good, likeminded musicians to straighten up the performance, he'll become an addictive fellow.
~ By François Couture.

Download Links :
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Lifesmyth - Music For The Third Ear (us 2003).rar (58.3 MB)
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Andy Fernbach - If You Miss Your Connexion (us 1969)

2010-12-09T23:23:00.013+02:00

Andy Fernbach - If You Miss Your Connexion (us 1969)

* Ken Pustelnik - Drums (also of The Groundhogs)
* Andy Fernbach - Guitar, Main Performer, Vocals
* Peter Cruickshank - Bass (also of The Groundhogs)
* Chris Elvin - Harmonica
* J.D. Fanger - Guitar
* Dave Fernbach - Keyboards

Tracks:
01. Hard-Headed Woman (3:51)
02. Have Your Bags Soon Ready (4:09)
03. Someday (4:56)
04. Woman Goes From Man To Man (3:36)
05. By And By (2:59)
06. If You Miss Your Connexion (3:47)
07. That's All Right (4:51)
08. Hanging Around (For Something To Happen) (3:05)
09. Varying Speeds (2:57)
10. Moving On (2:57)

Fernbach's style is akin to acoustic Mississippi delta blues mixed with traditional Anglo-folk.
Both acoustic guitar and piano are featured throughout the LP with outstanding arrangements,
where the piano and/or guitar are used very effectively to provide bass accompaniment.
~ by Truncheon (RYM).
----------------------------------------------------------------------------------

Stand-out tracks are the title track and 'Hangin' Around'.
This album "If You Miss Your Connexion" from 1969 by acoustic folk/blues singer "Andy Fernbach"
is not just a rare find, it is ultra rare. The vinyl for this out of print album fetches $500
sometimes. And for those collectors who know their stuff, it is probably worth it. So enjoy this
sweet rarity folks. And this one goes out to sosgotcha, who has this on his wishlist and left
comments on electricflower blog recently. Enjoy this charming album folks for the FIRST time in
a long time. The only other blogger to have posted this deleted their blog.
~ internet source.

Download Links:

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Andy Fernbach - If You Miss Your Connexion (us 1969).rar (34.83 MB)

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Roky Erickson And The Aliens - I Think Of Demons (us 1987, Edsel ED 222)

2010-12-04T13:04:00.016+02:00

Roky Erickson and the Aliens - I Think of Demons (us 1987, Edsel ED 222)
[first released as "Roky Erickson and the Aliens (5 Symbols)" 1980, CBS 84463]

Born: July 15, 1947 , Dallas, TX, United States

Currently: Austin, TX, United States

Member of: The Spades, 13th Floor Elevators, Roky Erickson and the Aliens, Roky Erickson and The Resurrectionists, Roky Erickson & The Explosives, Roky Erickson & 27 Devils Joking

Also Known As: Roger Kynard Erickson [birth name]

Roky Erickson And The Aliens formed: 1978, San Francisco, CA, United States

Members:
* Roky Erickson - Vocals, Guitar,
* Bill Miller - Electric Autoharp,
* Steven Morgan Burgess - Bass,
* Fuzzy Furioso - Drums,
* Jeff Sutton - Drums,
* John Maxwell - Bass,
* Duane Aslaksen _ Guitar, Backing Vocals * Andre Lewis - Synthesizer, Keyboards [Electronic] (tracks: A2, A3, A5, B2, B4, B5)

Tracklisting:
A1. Two-Headed Dog (Red Temple Prayer) 3:20
A2. I Think Of Demons 2:47
A3. I Walked With A Zombie 4:13 (Backing Vocals - Brian Marnell)
A4. Don't Shake Me Lucifer 4:00
A5. Night Of The Vampire 2:53 (Organ [Hammond] - Link Davis)
A6. Bloody Hammer 4:22 (Bass - Stu Cook Drums - Jeff Sutton)
B1. White Faces 5:26 Drums - Scott Matthews
B2. Cold Night For Alligators 2:34
B3. Creature With The Atom Brain 3:11
B4. Mine Mine Mind 2:49 (Backing Vocals - Brian Marnell)
B5. Stand For The Fire Demon 4:19
B6. The Wind and More 3:58

Credits:
- Engineer - Bill Steele , Scott Church
- Engineer, Remix - Karl Derfler
- Executive Producer - Craig Luckin
- Leader [Musical Director] - Duane Aslaksen
- Other [Equipment Manager] - Ray Francois
- Producer - Stu Cook
- Artwork By: Captain Colourz
- All songs Written By: Roky Erickson

Notes:
Track A6 is only featured on the bootleg version of this LP.
The original/legit one doesn't have it.

Roky was raised in Austin, Texas. His father was Danish, and his mother was of German descent. His mother was an operetta singer. In 1958, she recorded (privately) a Christmas single together with her son...
----------------------------------------------------------------------------------
Truly amazing Album from a man with a story that put all others to shame. If you don't know his story you should check it out. Its worth the read...
~ by Josh Lazie.
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Biography:
Like Syd Barrett, a common point of reference, Roky Erickson rose to cult-hero status as much for his music as for his tragic personal life; in light of his legendary bouts with madness and mythic drug abuse, the influence exerted by his garage-bred psychedelia was often lost in the shuffle. Born Roger Kynard Erickson on July 15, 1947, in Dallas, TX, he began playing the piano at age five; by age 12, he had also taken up the guitar. The child of an architect and would-be opera singer, Erickson dropped out of high school to become a professional musician. In 1965, he penned his most famous composition, "You're Gonna Miss Me," which he first recorded with a group called the Spades. The song and his high, swooping tenor brought him to the attention of another area band, the psychedelia-influenced 13th Floor Elevators, whose lyricist and jug player Tommy Hall invited Erickson to join; the Elevators soon cut their own version of "You're Gonna Miss Me," and took the single to number 56 on the pop charts in 1966. The record's success earned the 13th Floor Elevators a deal with International Artists, but as their fame grew, so did their notoriety with local law enforcement officials, who took exception to the group's heavy experimentation with (and public support of) marijuana and LSD. The Elevators became the subject of considerable police harassment, and after Erickson was arrested for the possession of one lone joint in 1969, he pleaded insanity to avoid a prison term. A three-and-a-half year stint in the state's Hospital for the Criminally Insane followed; Erickson was diagnosed as a schizophrenic, and subjected to extensive electroshock therapy, Thorazine, and other psychoactive treatments. Though released from the hospital in 1973, Erickson was never the same person; he returned to performing with a new band, the Aliens, but his songs -- a series of horror film-influenced records including "Red Temple Prayer (Two-Headed Dog)," "Don't Shake Me Lucifer," and "I Walked With a Zombie" -- found little success. He did retain a devoted cult following, however, but his popularity was fully exploited by managers who took advantage of his instability to draw the singer into a series of unfair publishing contracts that resulted in a steady stream of unauthorized releases from which Erickson earned not a cent. In 1982 he signed a legal affidavit declaring that a Martian had taken residence in his body, and gradually disappeared from music as the decade wore on. By the 1990s, Erickson was struggling to survive on a $200 monthly Social Security stipend; after an arrest on mail theft charges (later dropped), he was re-institutionalized. In 1990, however, artists like R.E.M., ZZ Top, John Wesley Harding, and the Jesus and Mary Chain recorded his songs for the album Where the Pyramid Meets the Eye: A Tribute to Roky Erickson, which brought his work to a wider audience than ever before. In 1993, Erickson performed publicly for the first time in many years at the Austin Music Awards; a few months later, he returned to the studio with guitarists Charlie Sexton and the Butthole Surfers' Paul Leary to record a number of new songs. In 1995, Leary's bandmate King Coffey released Erickson's All That May Do My Rhyme on his Trance Syndicate label; four years later, Trance issued Never Say Goodbye, a collection of rare private recordings or unreleased Erickson compositions. (Coffey claims Erickson told him he was the first person to ever give him a royalty check for his music.) In 2001, Sumner Erickson, Roky's brother and a successful classical musician, obtained custody of Roky, who had fallen into poor health. Under Sumner's watch, Roky began receiving proper medical and dental care for the first time in years, as well as more effective treatment for his psychological problems. Sumner also set up a charitable trust to help finance his brother's care, and with the help of sympathetic lawyers attempted to sort out the legal red tape that prevented Roky from being paid for his music. A fit and relatively lucid Roky Erickson began making occasional public appearances in Austin, Texas, and in March 2005 Roky spoke as part of a panel discussion on the 13th Floor Elevators at the South by Southwest Music Conference. Roky also made a brief musical appearance with a reunited lineup of the Explosives, and a documentary on Erickson, You're Gonna Miss Me, premiered at the affiliated South by Southwest Film Festival. This burst of activity coincided with the release of I Have Always Been Here Before: The Roky Erickson Anthology, a two-disc career overview compilation. Halloween, a set of live recordings from 79-81 with the Explosives was released in early 2008.
~ by: http://www.allmusic.com/

more infos:
http://en.wikipedia.org/wiki/Roky_Erickson

...TONIGHT, THE 4th OF DECEMBER, THE GREAT ROCKY ERICSON

IS HERE IN ATHENS FOR ONE AND ONLY LIVE PERFORMANCE!

THE DOORS ARE OPENING AT 21:00 O'CLOCK...

...SO I HAVE TO BE THERE...

~ Alfaios.

ENJOY...

Download links:

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Roky Erickson And The Aliens - I Think Of Demons (us 1987).rar (92.12 MB)

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Carmen Maki - Poems in the Midnight (Til the Candle Goes Out) (Japan 1969)

2010-11-30T20:38:00.006+02:00

Carmen Maki - Poems in the Midnight (Til the Candle Goes Out) (Japan 1969)

Born: May 18, 1951, Kamakura, Kanagawa, Japan

Member of: 5X, Carmen Maki & Oz

Related Artists:
Carmen Maki & Blues Creation, Carmen Maki and Salamandre, Shuji Terayama & Carmen Maki

Also Known As: Karumen Maki

Real Name: Maki Annet Lovelace

Profile:
Japanese rock musician and vocalist. Born May 18, 1951. Her father was American and her mother Japanese.

Tracks:
01. Toki ni wa haha no nai ko no yo ni
02. Ie naki ko
03. Futari no koto
04. Senso wa shiranai
05. Maki no komoriuta
06. Yagi ni hikarete
07. Daisenjigakedaranayosa
08. Sayonara dake ka jinsei naraba
09. Roba to ojisan
10. Kamome
11. Toki ni wa haha no nai ko no yo ni

Download Links:
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Carmen Maki - Poems in the Midnight (Til the Candle Goes Out) (Japan 1969b).rar (47.68 MB)
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Gash - A Young Man's Gash (Ger 1972)

2010-11-23T23:45:00.006+02:00

Gash - A Young Man's Gash (Ger 1972 Brain records)

Formed: 1972, Bremen, Bremen, Germany
Disbanded: 1972 //

Members:
* Jochen "Lu Lafayette" Peters (organ, piano, harpsichord, keyboards, Lead Vocals),
* Frank Feldhusen (guitar, vocals),
* Manfred Thiers (bass, vocals),
* Reinhard Schiemann (drums, percussion, vocals),
* Atze Barth (guitar, vocals).

Related Artists:
Liquid Sound, Tomorrow Too, To Be, Randy Pie, Zotty & Pit, Schiemann Group, Cops 'n Robbers

Credits:
- Engineer: Conny Plank.
- Engineer [Assistant]: Hans Lampe, Wolfgang Klaus .
- Producer: Bernd E. Schulz, Dicky Tarrach .

Notes:
- Recorded April, May, June 1972 at Windrose-Dumont-Time and Tonstudio Maschen.
- Label: Brain
- Catalog#: BRAIN 1014

Tracks:
01. Angel and Mother 6:22
02. Twenty One Days 6:51
03. In the Sea 7:23 (Congas - Dicky Tarrach)
04. A Young Man’s Gash
a. Part 1 7:41
b. Part 2 4:46 (Voice - Bernd E. Schulz).
c. Part 3 8:21 (Congas - Dicky Tarrach).

The only album from German band Gash, this starts out with three standard rockers, sounding a little like Nektar maybe, but the highlight is the title track, a 20 minute long suite of great space rock - the addition of some guest musicians and some help from a symphony orchestra really help this along. Definitely worth a listen.
~ internet source.
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This album is an unexpected surprise! I can think of few albums that start so horribly and end so incredibly! “Angel and Mother” is SO appalling on every level (soppy music, terrible lyrics, cheese-grater-to-the-eardrum vocals) it nearly made me want to throw the disc out of the window when I first heard it! But I stuck with it through the balance of the A-side (“Twentyone Days” is nearly as bad, but “In The Sea” is slightly better, sounding like one of Jane’s cast-offs) to make it to the “A Young Man’s Gash” suite.People, let me tell you this is one of the most amazing, fascinating and one-of-a-kind half-albums I have ever heard! It almost sounds like a completely different band! A blend of haunting rock & roll, orchestration and dark textures (the crazed screaming in Part 2 makes this a must to play around Halloween time!) that sound like nothing else I’ve heard before or since. Wow!Worth hearing for the mind-blowing title suite, but you might want to give the first three tracks a pass.
~ By Progbear (RYM).

Download Links:
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Gash - A Young Mans Gash (Ger 1972 Brain records).rar (91.62 MB)
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The Elastic Band - Expansions On Life (uk 1969, psych blues)

2010-11-17T23:40:00.024+02:00

The Elastic Band - Expansions on Life (uk 1969, psych blues)

Members:
* Ted Yeadon (Gus Eadon) - Organ, Piano, Flute, Harmonica, Congas, Lead Vocals.
* Andy Scott - Guitar,
* Mike Scott - Bass Guitar, Tenor Saxophone,
* Sean Jenkins - Drums, Cloves.

Credits:
Artist: Elastic Band (Feat.Andy Scott guitarist Sweet band).
Title: Expansions On Life.
Genre: Psych Blues.
Related Artists: Andy Scott, Stuart Smith, The Sweet.

Artwork By: John Pickstock [Front Cover Design].
Producer: Tony Hiller.
Engineer: Martin Smith, Peter Saltersall.

Label: Pseudonym, Pseudonym.
Catalog#: CDP - 1001 - D, CDP - 1001 - DD.
Format: CD, Album, Stereo, Mono, Reissue.

Tracklist:
01. Mother Goose 4:57
02. Last Person In The Bar 5:59
03. Crabtree Farm 4:11
04. Has Anybody Seen Her 4:50
05. Dear John 4:59
06. Room Full Of Room 4:23
07. That's Nice 3:55
08. Life Still Goes On 5:02
09. Sad Jazz 4:36
10. Sunrise Work Till Sunset 6:07
CD Bonus Tracks:
11. Think Of You Baby [Mono Version] 2:44
12. It's Been A Long Time Baby [Mono Version] 2:11
13. Do Unto Others [Mono Version] 2:21
14. 8½ Hours From Paradise [Mono Version] 3:53

Notes:
- From the original Decca tapes.
- Feat. Andy Scott member of Sweet.
- (note the typo in Featering as given on the release instead of Featuring).

Tracks 1 - 10: 1969 Decca Record Company Ltd, London.
Tracks 11 - 14: 1968 Decca Record Company Ltd, London.
© 1992 Pseudonym Records Holland.

Reviews:
From North Wales, Elastic Band were one of the exponents of the UK psychedelic rock scene from the late 60’s and featured Andy Scott who would go on to become guitarist with the famous Sweet. Other members were August Eadon (Gus) who went by the name Ted Yeadon when he was a member of Elastic Band, Sean Jenkins (drums) and Mike Scott (bass - Andy's brother). The band broke up in 1969 when Yeadon accepted an offer to join Love Affair.
They released an album (LP record) entitled Expansions On Life [1969/1970] on the Decca Nova label.
Gus Eadon joined the band Zzebra in 1974.
~ From Wikipedia.

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The starting point for Sweet guitarist Andy Scott, The Elastic Band emerged from the ashes of mid-60s Welsh soul revue the Silverstone Set to make a couple of highly-regarded 1968 mod pop/blue-eyed soul singles for Decca. But a year on the underground gig circuit supporting the likes of Hendrix and Pink Floyd impacted significantly on the bands musical direction. When they returned to the studio in the summer of 1969, it was to cut Expansions On Life, a dazzling 50-minute collection of late psychedelic/early progressive rock moves which suggested that the new-look Elastic Band could be genuine contenders. Inexplicably, though, Decca delayed its release until March 1970, by which time the band had fallen apart, lead singer Ted Yeadon having left in December 1969 to replace Steve Ellis in the Love Affair. As a result, Decca barely promoted the album, which duly sank without trace. * File under: 60's Psych * Established for the last couple of decades as a heavy duty rarity amongst collectors of vintage British psychedelia and progressive rock. First-ever official UK reissue Includes bumper 20-page booklet, extensive liner notes, restored artwork and master-tape sound as well as some priceless photographs * Features all four tracks from the bands equally collectable 45s, including the regularly compiled psychedelic pop nugget 8 Hours Of Paradise
~ 991.typepad.com/991sleevenotes.

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The Elastic Band - Expansions On Life (uk 1969, psych blues).rar (84.21 MB)
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V.A. - Pull Up The Paisley Covers: A Psychedelic Omnibus (2002)

2010-11-11T00:38:00.050+02:00

V.A. - Pull Up the Paisley Covers: A Psychedelic Omnibus
(Aether Records 2002, AECD-0010)

Tracks:
01. Sunseri - Peace Frog / Blue Monday (Doors) 3:54
02. Abunai! - Citadel (Rolling Stones) 3:18
03. Zane Armstrong - The Otherside (Apple) 4:52
04. Peter Scion - Butterfly (Fox) 4:15
05. Mushroom - You're Only Pretty as You Feel (Jefferson Airplane) 6:27
06. Wylde Olde Souls - High Flying Bird (Ed Wheeler) 3:49
07. Damien Youth - Killburn Towers (Bee Gees) 3:06
08. Bevis Frond - Grounded (The Syn) 4:14
09. Murder in the Cathedral - The Good's Gone (The Who) 4:17
10. The Sand Pebbles - Living in a Child's Dream (Masters of Apprentices) 6:14
11. UHF - She's a Lover (Pretty Things) 4:09
12. Taurus - The Garden (Ed Askew) 5:40
13. Diana Senechal - Parallelograms (Linda Perhacs) 4:23
14. PG Six - My Name Is Death (Incredible String Band) 2:25
15. Rockfour - Song From the Sea (Churchills) 4:10
16. Kaminumada Yohji - After the Dream (insp. by Comus) 2:16.

From Aural Innovations #23
(April 2003):
An interesting collection of quality 60's psychedelic covers by modern bands, with source material focusing on either the famous (Doors, Who, Stones, Airplane, Pretty Things, Bee Gees) or the hopelessly obscure/collector-hyped (Apple, the Fox, the Syn, Ed Askew, Churchills, Linda Perhacs), but always those with strong songwriting, and very much on the pop side of psychedelia. Even without the Blue Cheer / MC5 / Deviants heavy side of the genre represented here, the variety of sounds included is still impressive, from the Silverlake (as in, Beck's neighborhood) trip-hop/folk of Sunseri covering "Peace Frog/Blue Monday" to Kaminamada Yohji's solo electric guitar improvisation, "After The Dream", based on "To Keep From Crying" by malevolant-pagan-acid-folk band Comus. Nonetheless, probably a good half of the album fits within the "folk"-psych category, while most of the rest concentrate on psychedelically-effected catchy (to the point of twee) pop songs. In that former category, even Mushroom (an older recording with preeminent sixties music scholar Alec Palao still on bass) take on Jefferson Airplane's "You're Only As Pretty As You Feel", is an uncharacteristically folky (enjoyably so) performance, with Caroleen Beatty's co-vocals (as diametric as you can get from Gary Floyd's bear-sized bellow on their more recent sixties covers album) and silky violin melodies from Matt Royston.

Wylde Olde Souls add flute & tablas to a raily rocking version of Ed Wheeler's (as by Carolyn Hester) "High-Flying Bird" (also covered by the Airplane), followed up with another pleasent jangly tune with Damien Youth's cover of the Bee Gee's "Kilburn Towers" (nice, but in no danger of out-psyching any of the Index's takes on the Gibbs' songs). Also in that style are Diana Senechal - a notable cellist/multi-instrumentalist who adds acoustic guitar, xylophone (or some other sort of tuned percussion), occasional delay/phase effects (plus bits of dissonce - sirens & other concrete sounds), all under immaculately-layered harmonies and Pat (PG Six) Gruber, who appropriately tackles the Incredible String Band's "My Name Is Death". In addition to Sunseri, The Sand Pebbles' Masters' Apprentices' (a fellow Australian band who are one of the few "middling", rather than famous or obscure, bands among those covered here) cover adds smooth electronic sounds (and the real drums play a convincing loop-ish beat), as do UHF, on their reasonably straight version of the Pretty Things' properly anglo-pop "She's A Lover" with its' subtly-swelling electronics (and occasional silly effects). The Sand Pebbles get extra points for stretching out and jamming a bit (clocking in with the second-longest track on the album at six and a quarter, a dozen seconds behind Mushroom).

Zane Armstrong and Peter Scion (both covering songs more obscure than my knowledge delves down to) both operate the one-man studio project pop vein, placing sonic effects nicely in their fairly sparse recordings, with strummed guitars, subtle vocal effects and synth/keyboard bits. Israeli quartet (like the Sand Pebbles, covering countrymen - the Churchills) Rockfour are equally upbeat and poppy start out incredibly jangly before first breaking down a bit, then rocking out in a piano-and-whistle enhanced near rave-up. Taurus provide a murky and mildly-dissonant contrast to the (sometimes slightly-overly) precisely-crafted nuggets on the rest of the album, with slowly-meandering organ bed, intermittently-spiky guitar and loose drumming, on ESP-disk artist Ed Askew's "The Garden". In the slightly heavier department, Abunai! present a giddily fuzzed version of the Stones' "Citadel" (a fine psych-pop melody that shows Mick Jagger had greater talent for dames'n'devil lyrics than "psychedelic" ones). And, of course, the Bevis Frond always deliver the goods, with Nick Saloman's anthemic fuzz guitar making for a soaring version of the Syn's "Grounded". Hailing from Normandy France, Murder in the Cathedral's intertwining lead guitars and fuzzed organ & bass add layers of menace to "The Good's Gone" (although it's still more jangly than heavy), one of Pete Townshend's choice pieces of burnt-out-romance angst (while also sounding suspiciously like the early Pink Floyd outtake "Lucy Leave" - either a nice intentional touch or a fortunate accident).

All very talented bands, with an affinity for the material, doing excellently-executed versions. But despite Abunai!, The Bevis Frond, and Murder in the Cathedral, I still found myself craving for more of the heavier and jamming sides of psychedelia. The liner notes mention a second volume in the works, so perhaps it will include a few songs along the lines of "7 And 7 Is", "Interstellar Overdrive", "Welcome To The Void", "We Did It Again", "Stoned Guitar", "Third Stone From The Sun", "St. Cecilia", ... you get the idea ...
~ Reviewed by Doug Pearson.

You can Buy it here:

Pull Up The Paisley Covers: A Psychedelic Omnibus

Download Links:
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V.A. - Pull Up The Paisley Covers - A Psychedelic Omnibus (2002).rar (105.93 MB)
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Red Chair Fadeaway - Curiouser And Curiouser (uk 1991 psychedelic folk)

2010-11-09T00:17:00.009+02:00

Red Chair Fadeaway - Curiouser and Curiouser (uk 1991 psychedelic folk)

Formed: Luton, Bedfordshire, United Kingdom

Members:
* Shirley Souter (vocals, guitar, keyboards, drums),
* Tim Vass (guitar, sitar, bass, drums, percussion, keyboards),
* Richard Mason (vocals, guitar, bass, keyboards, dulcimer, mandolin, autoharp, stylophone),
* Struan Roberson (drums, percussion).

Related Artists: The Cinematics, Dandelion Wine, The Forever People, Razorcuts
Label:English Garden
Catalog#:ENG1013CD
Format:CD, Album

Tracklist:
01. My Brother's Room
02. Sleeping In Your Garden
03. Circus In The Sky
04. Willo
05. All Your Old Tricks
06. Saffron's Dream
07. The Watermill Of No Place
08. No Time
09. Rocking Boat
10. Epitaph For A Hare
11. Conjuror Trendle
12. Doasyouwouldbedoneby
13. Let It Happen
14. Myra
15. Dragonfly
16. Grasshopper
17. Mr Jones
18. Chimney Pots
19. Faraway Lights
20. Out Of The Grey
21. Never Remember

Notes:
Great and rare English psychedelic folk rock album with the singles & rare flexi tracks as bonus cuts. Great instrumentation Harpsichord, Organ, Flute-Organ, Tamboura and Morrocan Hand Drums.
Combines the original C&C album from 1991 (Tangerine MM 10) with two 1989 12" EPs (Cosmic English Music CTA103 and CTA105). All were very limited editions. The final track is from a 1991 flexidisc free with issue 6 of Waterbomb magazine.
~ Internet Sources.
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Red Chair Fadeway were named after a track off of the first Bee Gees lp and was Tim Vass’ first project that did not involve Gregory Webster (unlike Razorcuts, The Cinematics and The Forever People). They released two albums: Curioser and Curioser (1991) and Mesmerised (1993). Also released were three singles and a flexi. Vass also recorded with Dandelion Wine.
Apart from Vass, the band was mostly Shirley Souter who sang on some of the songs and wrote most of them. Richard Mason plays on the records as well.
~ by last.fm.

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V.A. - Psychedelic Jumble Vol. 1 - What's The Rush Time Machine Man? (2007)

2010-10-31T15:35:00.006+02:00

V.A. - Psychedelic Jumble Volume One: What's the Rush, Time Machine Man?
(2007 Rev-Ola Records, crrev217 cd)

VARIOUS Psychedelic Jumble Volume 1: What's The Rush Time Machine Man? (2007 UK CD album, featuring 20 slices of impossibly rare British pop-psych, all previously unreleased at the time! A fantastic collection of beautifully restored gems, rescued from acetates, tapes and wax discs, including material from Tintern Abbey [the proposed follow up to their £1000-rated 'Beeside' single], Opal Butterfly [featuring a pre-Hawkwind Lemmy & Simon King], Penny Peeps [featuring a pre-Jethro Tull Martin Barre], Honeybus, Rupert's People and many more, dazzlingly packaged in the tried & tested Rev-Ola Fashion!).
Rev-Ola Records
Year of Release: 2007

Tracks:
01. The Majority - You Can Run
02. Tintern Abbey - Do What You Must
03. Paradox - What's The Rush, Dillbury?
04. The Honeybus - Delighted To See You
05. The Penny Peeps - Meet Me At The Fair
06. The Majority - Our Love Will Be So Strong
07. Tintern Abbey - How Do You Feel Today?
08. Five's Company - Friends And Mirrors
09. Paradox - Mary Colinto
10. The Penny Peeps - Into My Life She Came
11. The Majority - Time Machine Man
12. Opal Butterfly - Mary Anne With The Shakey Hand
13. Tintern Abbey - Naked Song
14. Paradox - Like The Day Goes
15. The Penny Peeps - Helen Doesn't Care
16. unknown - You And Me Baby
17. The Majority - Don't Know What You're Doing
18. Tintern Abbey - It's Just That The People Can't See
19. Paradox - Somebody Save Me
20. Rupert's People - Flying High

This review is from: Psychedelic Jumble Vol.1: What's the Rush Time Machine Man? (Audio CD):
What a top compilation of magic gems on this 1 CD. I ordered this album knowing that it will be a great listen and as soon as it arrived through the letterbox of my front door, I played it. It was what I was looking for in a British psychedelic pop compilation as the songs are rare and probably only feature on this disk. The artists deserve to be listened to. Some songs will always remind you of songs by well known artists (The Who, The Beatles, The Kinks for example), but it ISN'T them.
The sleeve is a bonus with an introduction by Stefen Granados (I assume he compiled the tracks) and a write up on the bands featured. The Majority, Tintern Abbey, Paradox, The Penny Peeps, Honeybus, Opal Butterfly, Five's Company, The Obscured Rays and Rupert's People are all here.
According to Stefen; 'Be warned that Psychedelic Jumble is not always a hi-fi listening experience, given that all but one of these were rescued from well worn crumbling tapes, but through the tireless efforts of sound wizard supreme Nick Robbins, all have been restored to a more than acceptable level of fidelity.' In other words, they are great songs with some slight crackle and hiss amongst the sound (some sound better than others)...I think that is the beauty of it.
If you're a collector of music, especially Psychedelic music, get this album.
~ By Mr. Brass (Manchester, England)

buy it here:
- http://www.amazon.co.uk/Psychedelic-Jumble-Vol-1-Whats-Machine/dp/B000T6JJNY
- http://www.amazon.com/Whats-Rush-Time-Machine-Man/dp/B000T6JJNY
- http://www.cherryred.co.uk/revola/artists/variousartists.php

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