Friday, December 31, 2010

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

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

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. - Its Midnight Xmess Part III (1987)

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

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

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


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

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

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

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).

Download Link:
V.A. - A Midnight Christmas Mess (1984)


Wednesday, December 29, 2010

Sam Gopal - Escalator (uk 1969)

Sam Gopal - Escalator (uk 1969)

Formed:  United Kingdom

* 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

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.
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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Sunday, December 26, 2010

Sweetwater - Melon (us 1971)

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 (

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),
* Ricky Fataar [courtesy Brother Records] (drums on all other tracks).

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

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.
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 (

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Saturday, December 25, 2010

Sweetwater - Just For You (us 1970)

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.

* 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).

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

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.
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.

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You can find their 1st album here:

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Sweetwater - Just For You (us 1970).rarSweetwater - Just For You (us 1970).rar (75.15 MB)

Thursday, December 23, 2010

Short Cross - Arising (us 1971)

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

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

* 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

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.
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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Monday, December 20, 2010

Aubrey Small - Aubrey Small (uk 1971)

Aubrey Small - Aubrey Small (uk 1971)

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

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

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.
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).
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.
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

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Wednesday, December 15, 2010

Lifesmyth - Music For The Third Ear (us 2003)

Lifesmyth - Music for the Third Ear (us 2003)

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

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.

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

* Derrick Acker (tambourine).
* Derrick Acker.

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
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.

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Thursday, December 9, 2010

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

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

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.

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Saturday, December 4, 2010

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

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

* 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)

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

- 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

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.
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:

more infos:
~ Alfaios.

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Tuesday, November 30, 2010

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

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

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

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

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Tuesday, November 23, 2010

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

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

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

* 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

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

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

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.
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).

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Wednesday, November 17, 2010

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

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

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

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.

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

- 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.

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.
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

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Thursday, November 11, 2010

V.A. - Pull Up The Paisley Covers: A Psychedelic Omnibus (2002)

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

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.

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Pull Up The Paisley Covers: A Psychedelic Omnibus

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Tuesday, November 9, 2010

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

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

Formed: Luton, Bedfordshire, United Kingdom

* 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
Format:CD, Album

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

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.
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

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Sunday, October 31, 2010

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

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

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)

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Wednesday, October 27, 2010

Michael Yonkers Band - Microminiature Love (us 1968)

Michael Yonkers Band - Microminiature Love (us 1968, 2003 cd, Sub Pop SPCD 508)

Formed: 1967, Minneapolis, MN, United States

* Michael Yonkers (guitars, vocals, electronics),
* Tom Wallfred (bass),
* Jim Yunker (drums).

Related Artists:
Jim Woehrle and Michael Yonkers, Michael & the Mumbles, Michael Yonkers and Plastic Crimewave Sound, Michael Yonkers with the Blind Shake

Genres: Garage Rock, Psychedelic Rock

01. Jasontown 2:40
02. Microminiature Love 3:00
03. Boy in the Sandbox 3:43
04. Smile Awhile 4:24
05. Returning 3:49
06. Puppeting 3:06
07. Killing the Enemy 3:38

Bonus Tracks:
08. The Clock Is Running 4:07
09. My House 3:11
10. Hush Hush 3:49
11. Sold America 3:34
12. The Thunder Speaks 3:34
13. Scat Jam 4:20

“The body was sawed off, and it was silvery, and there were a couple of large knobs on it, and –I swear this is true –some kind of antenna thing sticking out of it. Kind of spronging around, like a prop from a 1950s science-fiction movie. Then he plugged it in and we went for the first take. Hraww wrahhraw hhharah hhhrahhh! It was wah-wah-ing even before I knew what a wah-wah was! And I started laughing, it was such a shock!”~ Recording engineer Steve Longman on his first encounter with Michael Yonkers & his heavily-modified guitar.
This is one o’ those platters that is often relegated to the “Record Collector Rock” pile by snobby rockcrits (no money to be made pimping this kinda stuff, y’see) insuring that only a handful of those of us with an Appetite For Distortion will ever seek it out. You can remedy this situation by playing it for yer granny and gramps, 2.4 kids, Ma and Pa… it should be experienced by all and sundry.
A DIY electronics wizard, Yonkers cut his Telecaster in half, outfitting it with a variety of homemade effects and gadgets (the “antenna” that Longman saw was actually a theremin protruding from Yonkers’ guitar case– he’d made it out of a PIAA kit)– oscillators, a makeshift echoplex constructed from a cassette deck with an extra recording head– he also designed his own distortion boxes, one of which, the “Fuzz ‘N’ Bark,” earned raves from local musicians. “Microminature Love” was recorded at Minneapolis’ famed Dove Studios in an hour-long session (!) in 1969– most tracks being (natch) one take wonders (!). Initially, a deal was in place with Sire Records to release it, but for reasons unknown, this never came to be. The master tapes languished in Yonkers’ house for 35 years.
According to legend, Yonkers discovered his odd guitar tuning when he accidentally knocked over his axe at a gig– liking what he heard at first strum, he memorized the outta whack timbre and began using it regularly as it also conformed nicely to his vocal pitch. Its mournful drone blends in perfectly with the all-pervasive sense of doom hovering over this LP– Vietnam figures prominently in the lyrics, albeit in a cryptically poetic way, making this a work very much relevant to the political climate of today. Ditties like “Kill the Enemy” and “Boy in the Sandbox” positively reek of death– the latter particularly affecting with its irony-laden storyline– a boy who loved to play with his toy soldiers in his sandbox, growing to adulthood, sent to war and ultimately, “a tomb of sand.”
It is Yonkers’ fretwork that will keep you returning to MML, though– whirring and sloshing around in shapeless fragments one moment, slicing through the murk with punkish authority the next. I can think of no one doing anything quite this extreme at the time– not the Stooges, the ‘Five or even VU’s epic odysseys into Feedback Hell on the dozens of live boots I’ve heard. Yonkers was exploring a musical dimension that contained only himself– and fuck all the high-falutin’ types that would dismiss this magnificent goop as yet another poorly-executed stab at “downer rock”: Michael Yonkers was/is a one-of-a-kind innovator on par with Charles Mingus, Ornette Coleman and Sonny Sharrock. Too bad we had to wait over three decades to find that out.
~ TheePope (RYM).
A cult artist the likes of Captain Beefheart, the Fugs and the Godz, Minneapolis' Michael Yonkers has been toiling in obscurity since the late '60s. With a solid foundation of surf rock and garage, Yonkers pushes the limits of distortion with guitar and effects modifications, and a raw and blunt approach to underground rock & roll.Born in 1947, Yonkers began playing guitar in the early '60s. Raised on Link Wray and the Trashmen, he officially started his music career as the leader of Michael & the Mumbles who played proms and dances in the Twin Cities area. Constantly redefining and stretching the limits of their sound, the group eventually evolved into Michael Yonkers Band with Michael's brother Jim on drums and Tom Wallfred on bass.In 1967, Yonkers cut his Telecaster down to a plank and began the other modifications on his equipment that would solidify the band's unique approach. Soon, Minneapolis music impresario Peter Steinberg landed the band a contract with Sire Records -- not unusual for a time when major labels were combing the underground for bands like the Mothers of Invention.Microminiature Love was the group's first full-length and was intended to be released in 1968, but for reasons still unknown, the deal with Sire fell apart and the band broke up, their brilliant debut left languishing on a shelf.In 1971, Yonkers' back was broken in an on-the-job-accident at an electronics warehouse -- a twist of fate that led to years of exploratory surgery that only made matters worse, and an allergic reaction to X-ray dye that left the guitarist with a degenerative spinal cord condition. But Yonkers kept recording, and released three solo albums on his own label in 1974 -- Grimwood (recorded in 1969), Michael Lee Yonkers (recorded in 1972) and Goodby Sunball (recorded in 1973) -- as well as Borders of My Mind with Jim Woehrle. Thy Will Be Done followed in 1976 and then Yonkers was relatively unheard of for two decades.In 1997, Get Hip Records released a compilation of songs recorded at Richfield, Minnesota's Dove Studios called Free Flight: Unreleased Dove Recording Studio Cuts 1964-69 which contained two songs from Microminiature Love, "Puppeting" (which was mislabeled as "Microminiature Love") and the anti-Vietnam war song "Kill the Enemy." These stripped-down, seminal art rock tracks caught the attention of De Stijl's Clint Simonson, who spent over a year searching for Yonkers. Simonson released the virtually forgotten Minneapolis psychedelic-garage album Microminiature Love in 2002. The vinyl-only edition quickly became a record collector favorite, and in 2003 Sub Pop put out the CD of this strange, lost album complete with six bonus tracks recorded circa 1968.
~ (Charles Spano).
Recorded in Minneapolis in 1968, but not released until about 35 years later, Microminiature Love is both of its time and out of time. Certainly there's some late '60s power trio hard rock- psychedelia to the way Michael Yonkers Band grinds out his creepy, unrelentingly minor-keyed songs of gloom. The bashing of the drums is as shaky in tempo as his voice is in timbre, wailing in a tormented tone that's something of a somewhat less off-key, more powerful forefather of later auteurs like Jandek. There were few other rock songwriters of the era as plugged into such an incessantly downer mood, and when he sings "heaven's turning into hell, life is turning into death" on the title track, you believe it, or at least you believe it's happening to him. Perhaps the closest reference point might be the Stooges, but Microminiature Love is much rawer in some respects than the Stooges' first few albums, sounding as if it's the product of a basement rehearsal that was caught on tape unbeknownst to the band. (Indeed, it's hard to believe that this was intended for release on Sire Records, although the deal never came to pass.) Some-of-the-time anti-establishment ethos is present in the anti-war protest of "Kill the Enemy," though rarely has it been offered in such a bluntly horrific and ugly fashion as Yonkers did here. Though limited melodically, Yonkers also cooks up some impressive guitar pyrotechnics here and there, particularly on "Boy in the Sandbox," which climaxes with truly frightening bursts of machine gun guitar. All that said, this isn't a great record or a lost masterpiece. It's far too monotonous for that, with most of the material sitting on a minor E chord as if it's trying to bludgeon itself to death by repetition. The CD reissue adds six additional bonus demos from 1969 cut in Yonkers's parents' basement that are quite similar in feel to the recordings that made it onto the projected LP.
~ (Richie Unterberger).

Download Links:
Normal version :
Shorter version :

...and also...
Michael Yonkers Band - Microminiature Love (us 1968) [2003 cd with Bonus Tracks].rar (108.88 MB)

Tuesday, October 26, 2010

V.A. - Back to Peru: The Most Complete Compilation of Peruvian Underground '64-74 (2002)

V.A. - Back to Peru: The Most Complete Compilation of Peruvian Underground '64-74
(Released 2002, 2LP, VampiSoul VAMPI LP 001)

Outside of a handful of reissues from Inca rock outfits like We All Together, Traffic Sound, and Laghonia, the Peruvian music of the rock roll era has gone largely unrecognized and underappreciated in the English-speaking world. Back to Peru, a superbly eclectic and comprehensive overview of the scene during its 1964 to 1974 heyday, goes far in correcting the error, casting a net over the best hard rock, garage, soul, and unclassifiable weirdness the country has to offer. According to the engaging liner notes, this stuff is rare even in its native land, going far beyond the few Peruvian artists who have earned international notice into uncharted territory -- the sheer scope of the material is impressive enough, but its consistently high quality really pushes the disc over the top. Highlights include Hot Butter Sound's "Pa Pa Pa," los Holys' "Holy's Psicodelicos," and Black Sugar's "Funky Man."
~ #headphones.
35 track collection of Peruvian beat/psych/prog covering the period from 1964 to 1974. Includes St Thomas Smelter,Los Mutables, Jaguars, Smog, Los Datsuns (nothing to do with current NZ rockers), We All Together, Traffic Sound and many more. With the album tracks running (almost) chronologically, you get a good idea of the progression of Underground music in Peru during the decade featured; from the beat/r&b of Los Saicos to the funky psych of Los Mirlos. Pressed on heavy vinyl and housed in a beautiful gatefold sleeve.
This is the album rip.

Disc 1 side A:
A1. Los Saicos - Demolicion 2:55
A2. Los Atomos - La muere de mi Hermano 2:21
A3. Los Mads's - The Last Time 3:03
A4. Termits - Bailemos 2:31
A5. Los York's - Abrazame Baby 4:08
A6. Snacks - La pitita 1:49
A7. Los Silverton's - Te amo 2:48
A8. Golden Stars - Tema de los Golden Stars 2:48
A9. Texao - Stone 2:29
A10. Los Mutables - Pasos en la luna 2:44

Disc 1 side B:
B1. Los Holy's - Holy's Psicodelicos 2:23
B2. Los 007 - No te puedo encontrar 3:04
B3. Los Belkings - Negro es negro 3:14
B4. Pina y sus Estrellas - Los extraños 2:43
B5. Hot Butter's Sound - Pa-Pa-Pa 3:07
B6. Los Doltons - Horizontes perdidos 2:44
B7. Los Jaguars - Melodia Apache 2:33
B8. Los Shain's - Summertime 4:28
B9. Ringers - You Gotta Try 4:40

Disc 2 side A:
C1. The (St. Thomas) Pepper Smelter - You, I 3:12
C2. New Juggler Sound - Glue 3:21
C3. Smog - Wiched Man 3:28
C4. Los Comandos - Eleva tu mente 2:44
C5. Los Datsun's - Who'll Stop the Rain 2:23
C6. Illicit - Realize 3:48
C7. Laghonia - World Full of Nuts 3:34
C8. We All Together - Carry on Till Tomorrow 4:49

Disc 2 side B:
D1. El Polen - Mi cueva 4:23
D2. El Opio - Una bruja en el cuczo 3:11
D3. Telegraph Avenue - Tookie Tookie 3:47
D4. Black Sugar - Funky Man 2:03
D5. Zulu - Candela. 3:58
D6. Pax - Exorcismo 4:14
D7. Traffic Sound - Meshkalina 3:29
D8. Los Mirlos - Sonido amazunico 2:41

Download Links:
Disc 1:
V.A. - Back To Peru (disk 1).rar
V.A. - Back to Peru - Peruvian Underground 64-74 (2001 vinyl).rar (129.99 MB)

Disc 2:
V.A. - Back To Peru (disk 2).rar
V.A. - Back to Peru - Peruvian Underground 64-74 (2001 vinyl).rar (129.31 MB)