Friday, July 24, 2009

East Of Eden - East Of Eden (uk 1971)

East of Eden - East of Eden (uk 1971, countryfolk rock)

Formed: 1967, Bristol, United Kingdom

* Dave Arbus (electric violin, flute, saxophone, trumpet),
* Ron Caines (alto sax), * Geoff Nicholson (guitar, vocals),
* Steve York (bass guitar),
* Dave Dufont (percussion),
* Jeff Allen (drums),
* Geoff Britton (drums),
* Joe O'Donnell (violin),
* Jim Roche (guitar),
* David Jack (bass).

Track Listings:
01. Wonderful Feeling (6:11)
02. Goodbye (5:48)
03. Crazy Daisy (6:54)
04. Here Comes The Day (4:33)
05. Take What You Need (5:03)
06. No Time (6:03)
07. To Mrs. V (5:18)
Total Time: 39:50

Line-up/Musicians on this album:
- Jeff Allen / drums, percussion
- Dave Arbus / violin, saxophone, flute
- David Jack / vocals, bass, guitar
- Jim Roche / guitar
The progressive rock band East of Eden's self-titeled album was released in 1971 on Harvest (SHVL 792). By the time this third album came out, little was left of the original spirit of East Of Eden and only violinist Dave Arbus of the original line-up. They had changed from one progressive label Deram to another Harvest, but also lost their experimental edge in the process. Still, the album has many charms and holds some interest for progheads. Cover design and photos by Hipgnosis.
Formed in 1967, this versatile Bristol, England-based outfit's best known line-up comprised Dave Arbus (violin, saxophone, flute, trumpet), Ron Caines (alto saxophone), Geoff Nicholson (lead guitar), Andy Sneddon (bass) and Geoff Britton (drums, percussion).
Their debut, Mercator Projected, offered an imaginative brew of progressive rock, jazz and neo-eastern predilections, but this robust, avant garde direction contrasted with the novelty tag placed on the band in the wake of their surprise hit single, "Jig A Jig". This lightweight, fiddle-based instrumental reached number 7 in the UK in April 1971, and in the process confused prospective audiences. East Of Eden was plagued by personnel problems and by 1972 had shed every original member. Joe O'Donnell (violin), Martin Fisher (bass) and Jeff Allen (drums, ex-Beatstalkers) then maintained the band's name in Europe before their demise later in the decade. Meanwhile, Arbus gained further acclaim for his contributions to the Who's Who's Next while Britton later joined Wings. Arbus, Caines and Nicholson reunited in 1999 to record Kalipse and have since pursued a more avant garde direction.

- Mercator Projected - 1969 (Deram)
- Snafu - 1970 (Deram)
- East Of Eden - 1971 (Harvest)
- New Leaf - 1971 (Harvest)
- Another Eden - 1975 (EMI)
- It's The Climate - 1976 (EMI)
- Silver Park - 1978 (EMI)
- Kalipse - 1999 (Castle)
- Armadillo - 2001 (HTD)

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Tuesday, July 21, 2009

Hölderlin - Hölderlins Traum (Germany 1972)

Hölderlin - Hölderlins Traum (Germany 1972, progressive folk)
[Also Known As: Hoelderlin].

Formed December 1970 , Wuppertal, Germany

* Nanny De Ruig (vocals),
* Christoph "Nops" Noppeney (violin, viola, piano, flute),
* Peter Käseberg (bass, acoustic guitar, vocals),
* Michael Bruchmann (drums, percussion),
* Jochen Grumbcow (cello, flute, acoustic guitar, piano, organ, Mellotron),
* Christian Grumbcow (guitars),
* Hans Bäär (bass, guitar)
* Peter Bursch (sitar, Track 03)
* Mike Hellbach (tablas, Track 03)
* Walter Westrupp (flute Track 05)

01. Waren wir (4:53)
02. "Peter" (2:52)
03. Strohhalm (2:20)
04. Requiem Für Einen Wicht (6:32)
05. Erwachen (4:20)
06. Wetterbericht (6:34)
07. Traum (7:20)
- Total Time: 34:51
Progressive rock ("prog") is an ambitious, eclectic, and often grandiose style of rock music which arose in the late 1960s principally in England, reaching the peak of its popularity in the early 1970s, but continuing as a musical form to this day. Progressive rock was largely a European movement, and drew most of its influences from classical music and jazz fusion, in contrast to American rock, which was influenced by rhythm & blues and country, although there are notable exceptions in the New World such as Kansas and Rush — considered by many to be the finest examples of the form. Over the years various sub-genres of progressive rock have emerged, such as symphonic rock, art rock and progressive metal. Progressive rock artists sought to move away from the limitations of radio formatted rock and pop, and "progress" rock to the point that it could achieve the sophistication of jazz or classical music. It is admired by its fans for its complexity, requiring a high level of musical virtuosity to perform. Critics have often derided the genre as pompous and self-indulgent. This is because, unlike such stylistically consistent genres as country or hip hop, progressive rock is difficult to define in a single conclusive way. Outspoken King Crimson leader Robert Fripp has voiced his disdain for the term. The major acts that defined the genre in the 1970s (Yes, Genesis, Emerson Lake and Palmer, Rush and King Crimson) do not sound alike. There is also debate on whether bands such as The Beatles, Phish, and Radiohead belong to the genre.
~ By:
"Holderlins Traum" is the debut album of the German progressive folk band Hoelderlin. This is a great album! The whole album has a dreamy and pastoral atmosphere and everything is kept pretty low key. Acoustic guitars and a few percussion instruments dominate the album, often adorned with some keyboards (mellotron and organ) and other instruments like flutes, recorders, violin and sitars. The vocal performances are great, very calm and add to the atmosphere of the album. It is all sung in German and even though I am a native English speaker, this greatly adds to the feel of the album and is something I miss in later Hoelderlin albums. The album begins with a hypnotic melody that really sets the mood for the entire album: slightly dark but dreamy. The music is obviously very folkish but also looks to classical music for influence in their song arranements. The more conventional folk songs ,,Peter'' and "Strohhalm" are good, but the band really shines with their longer pieces like "Requiem Fur Einen Wicht," "Wetterbericht" and "Traum". These really show their true capabilities. I would highly recommend this album to anyone looking for good progressive folk music that is a little different than what you would expect.
~ By Arsillus (RYM).
First album by this German band who started off with progressive folk rock leanings. This is possibly their best album richly textured and with a gorgeous female vocal and stands up with the best of seventies Kraut Rock for its invention and sheer class. A ravishing album, very folk, acoustic and dreamy with nice, abundant female vocals. This is their best and unique highly recommended effort they made. Celestial and floating kraut / folk music whose approach can be compared with Broselmaschine, Emtidi and others. An eastern flavour is added by the use of the sitar, also a subtle jazzy guitar touch, mainly improvised for long solo interludes. Specials guests as Walter Westrupp, Peter Bursch contribute to make this album an inspired progressive rock item with many acoustic ingredients added in a kind of fusion style. Holderlins Traum is very fine for every prog folk lovers.
~ By freaky_lady.

more infos:

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Filename: Hoelderlin - Hoelderlin's Traum (Ger 1972).rar Size: 80.17 MB

Sunday, July 19, 2009

Sarofeen & Smoke - Love In Woman's Heart (us 1971)

Sarofeen and Smoke - Love in a Woman's Heart (us 1971)

Formed: Auburn, NY, United States

Sarofeen's vocal style has been compared to Janis Joplin, Ellen McIllwaine, & the Shocking Blue's (recently deceased) Mariska Veres, and if you like those vocalists you should give her a chance. Even if you don't like that heavy, bluesy 60's female vocal style you should still give it a try. Sarofeen & John Martin (especially the latter) wrote some excellent material.

*Anne Sarofeen (vocals),
*Ed "Duke" Shanahan (guitar),
*Dave Arliss (bass),
*John "Zilch" Martin (keyboards, harmonica, guitar),
*Jim Watts (drums, percussion)

01. Down in the gutter
02. Why can't you stop loving him
03. It's coming on to morning
04. You're not part of my life
05. Confrontation
06. Sour milk sea
07. Fire in me
08. Looking like the devil
09. Love in a woman's heart
10. Leakin boat blues
11. So hard to find
12. De blooz

Anne Sarofeen also performed on broadway in A Hard Job Being God and later recorded this second album (sans Smoke) entitled Love In A Woman's Heart, which I find it as good as her first release. Smoke (& Sarofeen presumably) were originally from Auburn, NY, and at least one member of the band, guitarist Ed "Duke" Shanahan continues to perform in that area. He also recordedd with the band Siddhartha (for RCA) in the year before this release and has performed with blues and r&b legends like Muddy Waters, James Cotton, Bobby Comstock, & Bo Diddley. I'm not sure what Sarofeen is up to these days...
~ internet sources.

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Filename: Sarofeen & Smoke - Love In Woman's Heart (us 1971).rar Size: 107.62 MB

Whalefeathers - Declare (us 1970)

Whalefeathers - Declare (us 1970)

Formed: Cincinnati, OH, United States

Related Artists: Wheels
Also Known As: Walefeathers

1(A) DECLARE (Nasco 9003) 1970
2(B) WHALEFEATHERS (Nasco 9005) 1971

(1) has had a limited pirate repressing.
(2) also issued in the U.K. on Blue Horizon (2431 009) 1971 and in Germany (Vogue 17257) 197?.
(2) reissued on CD.

1 Shaking All Over / Nearing The End (Nasco 006) 1970
2(C) It's A Hard Road/Two Feet From My Grave (Nasco 026) 1972

*Stephe Bacon (percussion, drums, vocals), A B C
*Ed Blackmon (keyboards, vocals), A B
*Michael Jones (guitar, vocals), A B
*Roger Sauer (bass, vocals), A
*Leonard LeBlanc (bass, vocals), B C
*Mike Wheeler (guitar, bass) C
NB: Details for line-up "C" incomplete.

01. Declare-Prelude 3:55
02. Lost Dimension 9:12
03. Know Thyself 2:51
04. Imagine 3:02
05. Omaha 5:55
06. Please Me for a While 5:15
07. Invention Sequence 3:56
08. Love Can't Be Wrong 3:40

From Cincinnati, Ohio, this outfit used to gig frequently with Westfauster and played a heavy, very keyboard-dominated blend of music. Their albums have distinct psychedelic influences and although both have their moments are sometimes a bit messy. Both albums are sought-after by collectors. Lenny LeBlanc went on to become a successful Christian music artist, whilst Mike Wheeler who played with the band in their last two years, went on to work with Grammy winning Nashville songwriter Mike Reid. Wheeler also led an act called Wheels, who recorded on Boardwalk, with an album produced by Craig Fuller, and who toured with Little Feat in '78. He's also worked more recently with Paul Barrere. Know Thyself has also appeared on Sixties Archive Vol. 8 (CD).
~ by: (Vernon Joynson/Max Waller/Clark Faville)

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Thursday, July 16, 2009

One In A Million - Double Sight (uk 1967)

One in a Million - Double Sight (uk 1967 Very Rare Psychedelia)

The Complete Recordings (WHCD018)(First Released: 2008).

01. Double Sight
02. Fredereek Hernando
03. No Smokes
04. Man In Yellow
05. The Trial Of Elmer Fudd
06. Goin' Places
07. Something On Your Mind
08. We Don't Want Nobody Around
09. Lament In `A'
10. Hold On
11. Use Your Imagination

Featuring the precocious talents of 14-years-old guitarist Jimmy McCulloch, Scottish band One In A Million's genre-defining December 1967 single Fredereek Hernando/Double Sight is widely acknowledged as one of the rarest and best British psychedelic singles of the era. Naturally enough, that double-sided classic is included on this complete anthology of the group's recordings, which also includes both sides of their highly regarded mod pop debut single from January 1967 as well as no less than seven previously unreleased, unknown-to-exist, Who-influenced demo recordings from the same period. With a number of hitherto unpublished photographs, comprehensive liner notes and numerous quotes from lead singer and chief songwriter Alan Young, Double Sight is the final word on one of the most intriguing and obscure groups to emerge from the British psychedelic scene.
~ by: Shindig!
"One In A Million were a Scottish mod/blues band who turned psych sometime in 1967. They featured precocious guitarist Jimmy McCulloch (14 years old, looks nine in the photos) and released second single, the ambitious 'Fredereek Hernando', on MGM that December. Their famous rarity's B-side provides the title for Double Sight: The Complete Recordings (Wooden Hill), which gathers their January '67 single for CBS and a bunch of acetates, including the unreleased putative third 45, 'No Smokes'. Good punchy stuff with street-level edge. 'Double Sight' itself sounds like The Jam, 10 years earlier."
~ by: Mojo.
"Chocolate Soup For Diabetics was the greatest ever UK psych comp - splintering tunes, ultimate quality control, maximum danger - and only one band got both sides of their forgotten drugged genius 45 included on Volume One. One In A Million lived up to their name, in that they boasted the curious psych-out gimmick of a 14-year-old guitarist called Jimmy McCulloch, along with the extreme-fire attack of that 1967 MGM single, 'Double Sight'/'Fredereek Hernando'. If they could've kept it up, they'd have been bigger than The Who. They didn't. They imploded. "One real weird-out is a group called One In A Million", Julian Cope said of Chocolate Soup in 1983. "Both their featured songs are The Jam if they hadn't 'Souled-Out'. Gruff Weller voice, identical Foxton harmonies, how I wished they'd gone in this direction." There are plenty of other sparks among the other nine tracks - a crunchy mod strut in 'Goin' Places'; the Troggs-ish pounder 'Something On Your Mind', a snippet of Peel - but Little Jimmy and the lads must still be most proud of that one insurmountable 45."
~ by: Record Collector.
The complete recordings of this legendary Chocolate Soup band, whose December 1967 45 `Fredereek Hernando' b/w `Double Sight' sells for hundreds of pounds and is widely acknowledged as a classic UK psychedelic single. Includes seven previously unreleased Who-influenced demos from 1967 as well as both sides of their January 1967 mod pop gem `Use Your Imagination'. Lavishly illustrated and annotated booklet with unpublished photos, band quotes.
~ by: ChrisGoesRock.

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Tuesday, July 14, 2009

Feo - Eg Meini Ted (Denmark 1971, Spectator Records)

Feo - Eg Meini Ted (Denmark 1971, accoustic psych folk-rock hippyfolk)

Formed: 1970, Denmark.

Line up / Members:
*Flemming Nørgaard(bass),
*Rudi Albertsen (vocals),
*Sune Durhuus (guitar),
*Thorkild Blond Andersen (flute),
*Mikkel Bayer (violin).

LP's / Recordings:
-01. Eg Meini Ted, Spectator Records sl 1033, 1971.
-02. Filtskolyd, Lucifer 5/004, 1974.
-03. Bedste og andre madrester, cbs 98009, 1975.(Compilation).

Side A:
01. Eg Meini Ted
02. Bjergfyr
03. April
04. Maj
05. Juni
06. Rundgang
07. Drømmen
Side B:
08. Bedstemor
09. Os
10. Mosen
11. Sisdyrdans
12. Undren
13. Eg meini ted II

Feo was an acoustic band formed in an institution for blind people: all members are blind or visually impaired. They play a kind of progressive folk music, though never anything which comes close to traditional tunes. Clearly the flute of Andersen is the leading instrument, but all members play their parts well and the arranging skills of the band are considerable. Their material, all self-composed, is quite diverse, the singing excellent and overall this is an interesting record with an atmosphere of its own. For a Spectator release this is surprisingly focused, at times maybe vaguely similar to British folkies Forest, though of course without the all-pervading mystic feeling of that band. It's a fine example of how people with very limited means can achieve music that still stands after almost 30 years. A highlight is the experimentation on "Rundgang", where again much is accomplished with only minimum effort. A gentle, peaceful and even soothing record, this will appeal to all admirers of acoustic music.
~ by (Marcel Koopman).
Filtskolyd is supposed to be less interesting. The CBS album was a collection of tracks from both these albums.
~ (DEA)

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Sunday, July 12, 2009

The Spiders - Back (Mexico 1970 psychedelia)

The Spiders - Back (Mexico 1970 psychedelia)

Formed: 1961, Guadalajara, Jalisco, Mexico

Also Known As: Los Spiders

*Antonio Vierling Hernandez (vocals, guitar)
*Manuel Olivera (bass, percusions)
*Reynaldo Diaz Velez (guitar, harmonica, flute)
*Servando Ayala (keyboards, piano, hammond)
*Guillermo Olivera (drums, 1964-68, 1975-?)
*Enrique Chaurand (drums, percussion, 1968-75)

01. Thought (a song) (Olivera/Vierling)
02. Something I heard (last night) (Diaz Velez)
03. People deceive (Vierling/Ayala)
04. On the road (Vierling)
05. Now (Vierling)
06. It's you (Vierling/Ayala)
07. Back (Vierling)
08. You love me (Vierling)
09. I/m a man (Vierling)
10. Movin' up (Ayala/Vierling)
11. Love is the way (Olivera)
12. Thought (prayer) (Olivera/Vierling)

A Mexican psychedelic band whose album is full of dreamy organs, West Coast sounding guitar leads and fuzzed out backwards guitar work. It's crystal clear English vocals blend beautifully with the weaving keyboards and vibrato guitar style. The better tracks include Love Is The Way, which features some good woodwind and percussion playing; the slow-paced title cut with its church organ sound; People Deceive, with its great dreamy organ intro, Procol Harum-style organ sound and Now and Something I Heard (Last Night), which are both notable for catchy organ and melodic vocals. Recommended.
~ (FUZZ ACID & FLOWERS By Vernon Joynson)

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The Spiders - Nuevas Rutas En Sonido (Mexico 1973 psych)

The Spiders - Nuevas Rutas En Sonido (Mexico 1973 psychedelia)

01. You are the people (help yourself) (Olivera/Vierling)
02. Just one of those days (Vierling)
03. Are you sure (you got me)? (Vierling)
04. Won't be comin' home tonight (Vierling)
05. Without my lady (I'm feeling bad) (Vierling)
06. Your feel (Olivera/Vierling)
07. Past pages (Diaz Velez/Vierling)
08. I'm so glad (Vierling)
09. For you (Vierling)
10. Goodbye (see you soon) (Vierling)
11. I'm A Man
12. Movin' Up

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The Spiders - Nuevas Rutas En Sonido (Mex 1973 psych).rar

Thursday, July 9, 2009

Eyes Of Blue - Crossroads Of Time (uk 1968)

Eyes of Blue - Crossroads of Time (uk 1968)

Formed: Neith, United Kingdom

*Ritchie Francis (guitar),
*Gary Pickford Hopkins (vocals),
*Phil Ryan (keyboards),
*Windham Rees (drums),
*Ray Williams (bass),
*R. Bennett (bass),
*Jign Weathers (drums).

Related Artists:
Pete Brown & Piblokto!, Gentle Giant, Big Sleep, Man, Wild Turkey

01. Crossroads of Time 5:00
02. Never Care 3:18
03. I'll Be Your Friend 3:48
04. 7 + 7 Is 2:32
05. Prodigal Son 5:27
06. Largo 3:14
07. Love Is the Law 5:16
08. Yesterday 4:22
09. I Wonder Why 3:13
10. World of Emotion 2:48
11. Inspiration for a New Day 3:09

By rights, The Eyes of Blue should have an exalted place in the pantheon of art-rock and progressive rock bands. They were around before almost all of them, and doing film work and making music in a jazz-rock fusion idiom before the latter had been understood, and they were signed to two major labels in succession, Deram and Mercury. Instead, except for drummer John Weathers, who later joined Gentle Giant, The Eyes Of Blue are scarcely remembered at all. The Eyes of Blue started out as a jazz and rhythm-and-blues oriented outfit (Graham Bond wrote the notes for their first album), doing songs in that vein as well as less well suited material such as "Yesterday." The group was initially signed to Decca's progressive rock imprint Deram Records, and cut a series of excellent but neglected singles, and then moved to Mercury, where they concentrated on albums, enjoying greatest musical if not commercial success. They were taken seriously enough to collaborate with Quincy Jones on the score of the movie Toy Grabbers, and the group actually managed to appear in the movie Connecting Rooms. Their early strength lay in r&b-based material, including Bond's "Love Is The Law," "Crossroads of Time," and "7 and 7 Is," but even on their first album The Eyes of Blue showed some Eastern influences Their second album had some tracks off of the first film score as well as one Graham Bond song, but is more experimental, with extended instrumental passages and some classical music influences. In late 1968, The Eyes of Blue backed Buzzy Linhart on a self-titled album. The Eyes of Blue rated a supporting act spot at the Marquee Club in London in 1969, but the group's days were numbered, given the lack of their success as a recording outfit. Phil Ryan later played in Man, and John Weathers joined Pete Brown and Piblokto! on the Harvest label, before jumping to Gentle Giant.
~ By Bruce Eder, All Music Guide.
The Eyes debut album 'Crossroads Of Time' was eventually released early in 1969. It included two Graham Bond R&B songs (Bond also wrote the sleevenotes) 'Love Is The Law' and 'Crossroads Of Time' which was especially written for the band. It also included an interesting version of Love's '7 + 7 Is' while The Beatles' 'Yesterday' is given a treatment suggesting something of a jazz hymn. Ritchie Francis claimed the remaining songs of which 'Inspiration For A New Day' is noteworthy and 'Prodigal Son', which features some psychedelic guitar work from Ray 'Taff' Williams. 'Largo' is an arrangement of the Handel piece by Ritchie Francis and he claimed this was indicative of the way the group were going.
Following on from their earlier collaboration with Buzzy Linhart, the Eyes also worked with Quincy Jones when they contributed to the unreleased 'Toy Grabbers' film score. Later they also appeared in the film 'Connecting Rooms' as well as playing on the soundtrack, but the film wasn't given a general release in the UK.
~ By

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Filename: Eyes Of Blue - Crossroads Of Time (uk 1968).rar Size: 102.89 MB

Wednesday, July 8, 2009

Eyes of Blue - In Fields of Ardath (uk 1969)

Eyes of Blue - In Fields of Ardath (uk 1969)

(side 1)
01. Merry Go Round (From the Film Toy-Grabbers) (Ritchie Francis) 9:13
02. The Light We See (Gary Pickford-Hopkins) 2:19
03. Souvenirs (Tribute To Django) (instrumental) (Django Reinhard – S. Grapelly) 2:49
04. Ardath (John Weathers) 2:45
05. Spanish Blues (Graham Bond) 4:06
(side 2)
01. Door (The Child That Is Born On the Sabbath Day) (Rhil Ryan) 6:53
02. Little Bird (Ritchie Francis) 2:42
03. After the War (Gary Pickford-Hopkins) 3:40
04. Extra Hour (Phil Ryan) 2:40
05. Chances (Ritchie Francis) 3:06
Wyndham Rees was eased out of the Eyes Of Blue before the spring of 1969, having reputedly contributed little to the band. He was present during most of the Chappell Studios early recording sessions for the group's second album 'In Fields Of Ardath' but was gone by the time they gravitated to more modern eight-track facilities. It was released in November and is generally regarded as the more successful and 'progressive' of the two albums released under the Eyes Of Blue name. Quincy Jones supplied the sleevenotes this time, and commented; "All the ethnic qualities which I had recalled about the people of Wales were manifest in that tape. There was a native sensuality in their playing. Eyes Of Blue was musically curious." The record has also been described as having "Pop, R&B jazz, classical, psychedelic and Eastern influences." A fair sprinkling one must admit.
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Monday, July 6, 2009

Hunt & Turner - Magic Landscape (uk 1972 folk)

Hunt & Turner - Magic Landscape (uk 1972)

* Ian Hunt - acoustic & electric lead guitars, bangos, vocals.
* John Turner - guitar, Electric bass, string bass, vocals.
* John Merritt - bass.
* Rod Matthews - percussion.

01. Hold Me Now
02. Silver Lady
03. We Say We're Sorry
04. Magic Landscape
05. Mr. Bojangles
06. Living Without You
07. Man of Rings
08. Older Now and Younger Then
09. Morning for Eve
10. Rockfield Rag.

UK folk rock duo similar to Magna Carta crossed with John Martyn and Wizz Jones with acoustic instrumentation and strong songs. A live studio recording with plenty of atmosphere. Fans of UK '70's acoustic folk with a singer songwriter edge will love this.
~ posted by Lizardson.
Ian Hunt and John Turner first teamed-up in the late summer of 1970, the inevitable collaboration of two of the West Country’s most sought-after session musicians. String bassist and guitarist Turner had just left the infamous Pigsty Hill Light Orchestra and Hunt, a wizard guitarist and song-writer who was already a ‘big-name’ on the Bristol scene, was looking for a new vehicle for his talents. Both had been spawned by the legendary Bristol Troubadour Club, which Turner had run for several years, and within months the new duo was pickingup fans and followers around the UK and in Europe. Touring the folk-clubs and Universities of Britain with a heady mixture of rag-time, self-penned lovesongs and good-time, 70s acoustic ballads, Hunt and Turner became one of the most popular duos of their era … and this Village Thing album, Magic Landscape, originally released in 1972, went straight to Number six in the Melody Maker folk charts.
~ by:

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Saturday, July 4, 2009

Facedancers - The Facedancers (us 1972)

Facedancers - The Facedancers (us 1972) (Paramount pas-6039)

Formed: United States

*Barry Armour (bass, guitar),
*Dale Armour (flute, guitar, keyboards, vocals),
*Scats Bloom (harmonica, percussion, vocals),
*Michael Loy (percussion, drums),
*Kelley Moko (guitar, vocals)

*Engineer: Captain Eddy Corvin;
*Executive producer: Marty Thay for M.A. Productions Inc.
-Recorded: Blue Rock Studio,Soho,NYC.
-On cover date are 1972, but on label 1973.

Track listing:
A Side
01. Little Waterfall
02. Dreamer's Lullabye
03. Nightmare
04. Jewels
B Side
05. Let the Music Set You Free
06. Children
07. Beta
~ Posted by Lisa Sinder.

Early prog crossover album from 1972 with some psyche influences. Produced by Teo Macero of Miles Davis fame. Creatively designed songs that show thoughtful experimentalism. The lead singer claims he hits the highest note ever recorded by a man on a rock record. True or not - the girly-sounding vocals work well in this context. Interesting album that rewards a few close listens.
~ by freakemporium.
Early crossover album headed in a prog direction but before the ground rules for that genre had been established. Some uninteresting solos, but mostly creatively designed songs that show thoughtful experimentalism. The lead singer claims that he hits the highest note ever recorded by a man on a rock record, and it’s hard to dispute that claim. Indeed, the girly-sounding vocals work well in this context. A few songs are pretty creepy, with one called “Nightmare” being a stand-out. Interesting album that rewards a few close listens.
~ by AcidArchives.

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Friday, July 3, 2009

The Love Exchange - The Love Exchange (us 1968)

The Love Exchange - The Love Exchange (us 1968)
[+6 Bonus tracks by Sundazed]

Formed: Los Angeles, CA, United States

*Bonnie Blunt (vocals),
*Laura Hale (vocals),
*Walter Flannery (organ),
*Dan Altchuler (guitar),
*Fred Barnett (guitar),
*Jeff Barnett (drums),
*Mike Joyce (bass)

Related: Artists The Crusaders, Charity

01. Get Out of My Life Woman
02. Swallow the Sun
03. Flying High
04. Meadow Memory
05. Saturday Night Flight 505
06. Give Up on Love
07. Two-O-Tango
08. Ballad of a Sad Man
09. Nothing at All
10. Mrs. Ansel Griffith

Bonus tracks (previously unissued):
11. Boston
12. Live a Little
13. Step to the Rear
14. Get Out of My Life Woman
15. Meadow Memory
16. Swallow the Sun

The Love Exchange were a typical support-level Los Angeles band of the psychedelic era, right down to their name. Their chief claim to fame, such as it is, is their 1967 single "Swallow the Sun," a nice folk-rock-psychedelic tune that's emblematic of the time with its trippily optimistic lyrics, garage-like Mamas & the Papas female-male harmonies, and swirling organ. The record was anthologized on the Los Angeles portion of the Highs in the Mid Sixties series, and also on the folk-rock volume of the vinyl Nuggets series on Rhino in the 1980s. They also managed to put out an LP in 1968 that, in addition to featuring "Swallow the Sun," had an assortment of minor-league psych-folk-pop crossover efforts, few of them written by the band. "Swallow the Sun," incidentally, is a cover of song by the Peanut Butter Conspiracy, "Dark on You Now," with some different lyrics. The Love Exchange grew out of some teenage surf and garage bands in the Los Angeles suburb of Westchester. It was teenage singer Bonnie Blunt who was the group's strongest asset, giving them the competent vocals in the soaring, folky Mamas & the Papas/early Jefferson Airplane style. (As an interesting trivial note, the first woman singer in the Love Exchange was Laura Hale, daughter of actorAlan Hale, famous as the skipper on Gilligan's Island.) They weren't good writers, though, and on their sole album, much of the material was penned by producer Larry Goldberg. These were pretty shallow garage-psych-folk-rock efforts with their utopian rose-colored lyrics and organ-modal-guitar combinations, like a minor league Peanut Butter Conspiracy (who weren't such major talents themselves). The aura of psychsploitation was enhanced when Goldberg took some of the LP's backing tracks and added vocals by non-group members to create a Christian rock album credited to the Crusaders. Some of the album's songs were also used on a soundtrack album for a musical titled How Now, Dow Jones, credited there to the Floor Traders. And, finally, the songs did come out in their original form on an LP actually billed as a Love Exchange record, as it should have been all along. None of this helped the Love Exchange gain much credibility, although they played often in Los Angeles and at some festivals. In keeping with their general lack of consistent packaging, their name was changed to Charity in the late '60s for an album on Uni, although as it ended up organist Walter Flannery was the only member who performed on that LP. They were still performing as the Love Exchange live at that point, but broke up after appearing at the Newport '69 Pop Festival in Southern California.
~ By Richie Unterberger, All Music Guide.

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