Monday, May 31, 2010

Lizard - Bad Companions (Australia 1973)

Lizard - Bad Companions (Australia 1973, Harvest SHVL-610)

Formed: Australia

* Dave Connors (saxophone),
* Greg Hill (bass),
* Robert Souter (drums),
* Mich Tulk (guitar, vocals),
* John Wheeler (keyboards).

Tracklist :
01. Intro
02. Page Missing From My Book
03. Tarot Cards
04. Rosalyn
05. People People
06. Cecil
07. Rehabilitation Boogie

Related Artists: Jade Warrior, White Wine

Lizard is one of the forgotten progressive rock bands from Australia from early '70's . Releasing one album at Harvest in 1973 named Bad Companions, they didn't get much attention, and because of that soon they disbanded, even in the band were great and talented musicians . It's a very rare album, hard to get in original form - vinyl, I have a CD-R with the album from a friend of mine who were kind enough to make me a copy from the original vinyl, he didn't want to sell it. The album so far, from my knowledge didn't get a re issues, maybe in the future someone will think about this band and give a proper CD release. Some members from Lizard were earlier in another good band from late '60's White Wine and the sax player Dave Connors will play with one of the most famous british psychedelic - space prog from the '70's - Jade Warrior. The music is progressive rock with some blues and jazz moments, just a fiew but they are, given a certain atmosphere of the album. In some parts the album sounds a bit to experimental side with killer guitars and absolute stunning sax playing, some times they remind me in places of King Crimson or same jazz bands from mid '70's. The voice of Mich Tulk is very ok fiting very well in the album, aswell the rest of the musicians are very talented. The killer piece is Page Missing From My Book, mindblowing guitar leads and fabulous sax interplaying with the rest, the rest are ok. Now, I'm not saying that this is a masterpiece of this genre, but is filled with good pieces and excellent musicianship. One of the rare and forgotten progressive rock bands coming from the land of canguroo.3.5 for Bad companions, good towards great but not an essential album. Good art work, specially the back cover looking like a page from a newspapper.
~ by b_olariu (RYM).
Another one album band, Lizard was one of EMIs Harvest label Australian signings. Bad Companions is a very rare album full of 70s progressive jazz rock.A five piece band, three of Lizards members were earlier in White Wine. Prior to Lizard, sax player Dave Connors also appeared in Jade Warrior (UK) and later went to work with Graham Parker and the Rumour.There are moments on Bad Companions that remind me of Company Caine so it no surprise to learn that both Connors and guitarist/vocalist Mike Tulk also sessioned on Gulliver Smith's solo album.
~ from - (link deleted)

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Lizard - Bad Companions (Australia 1973).rar (68.61 MB)

Wednesday, May 26, 2010

Blue Öyster Cult - Blue Öyster Cult (us 1972)

Blue Öyster Cult - Blue Öyster Cult (us 1972)

Formed: 1967, Stony Brook, Long Island, NY, United States

*Eric Bloom (vocals, guitar),
*Donald "Buck Dharma" Roeser (lead guitar, vocals),
*Allen Lanier (rhythm guitar, keyboards, bass),
*Albert Bouchard (drums, guitar, vocals, 1967-81),
*Joe Bouchard (bass, vocals, 1970-86),
*Rick Downey (drums, 1973-85),
*Les Bronstein (vocals),
*John Wiesenthal (keyboards),
*Andy Winters (bass),
*Tommy Price (drums).

Also Known As: Soft White Underbelly, B.O.C.

Genres: Hard Rock, Rock

01. Transmaniacon MC 3:20
02. I'm on the Lamb but I Ain't No Sheep 3:09
03.Then Came the Last Days of May 3:29
04. Stairway to the Stars 3:42
05. Before the Kiss, a Redcap 4:57
06. Screams 3:09
07. She's as Beautiful as a Foot 2:56
08. Cities on Flame With Rock and Roll 4:04
09. Workshop of the Telescopes 3:50
10. Redeemed 4:01

Two years before Kiss roared out of Long Island with its self-titled debut, Blue Öyster Cult, the latest incarnation of a band assembled by guitarist Donald "Buck Dharma" Roeser and drummer Albert Bouchard in 1967, issued its dark, eponymously-titled heavy rock monolith. Managed and produced by the astronomically minded and conspiratorially haunted Sandy Pearlman, BOC rode the hot, hellbound rails of blistering hard rock as pioneered by Steppenwolf, fierce mutated biker blues, and a kind of dark psychedelia that could have only come out New York. The band's debut relied heavily on the lyrics of Pearlman and rock critic Richard Meltzer, as well as Pearlman's pioneering production that layered guitars in staggered sheets of sound over a muddy mix that kept Eric Bloom's delivery in the middle of the mix and made it tough to decipher. This was on purpose -- to draw the listener into the songs cryptically and ambiguously. From the opener, "Transmaniacon MC," the listener knew something very different was afoot. This is dark, amphetamine-fueled occult music that relied on not one, but three guitars -- Bloom and keyboardist Allen Lanier added their own parts to Roeser's incessant riffing: a barely audible upright piano keeping the changes rooted in early rock and the blues, and a rhythm attack by Bouchard and his brother Joe on bass that was barely contained inside the tune's time signature. From the next track on "I'm on the Lamb But I Ain't No Sheep," elliptical lyrics talked about "the red and the black," while darkening themselves with stunning riffs and crescendos that were as theatrical as they were musical, and insured the Cult notice among the other acts bursting out of the seams of post-'60's rock. Other standouts include the cosmic "Stairway to the Stars," the boogie rave-up "Before the Kiss, a Redcap," that sounded like a mutant Savoy Brown meeting Canned Heat at Altamont. But it is on "Cities on Flame With Rock & Roll," that the Cult's sinister plan for world domination is best displayed. From its knotty, overdriven riff to its rhythm guitar vamp, Vox organ shimmer, its crash cymbal ride and plodding bass and drum slog through the changes -- not to mention its title -- it is the ultimate in early metal anthems. Add to this the swirling quizzicality of "Workshop of the Telescopes" that lent the band some of its image cred. [The 2001 remastered edition by Legacy gives punters four bonus tracks in the form of demos recorded by the band's first incarnation as Soft White Underbelly. These are not merely throwaways: it is readily apparent that by 1969, BOC was well on their way to creating something new and menacingly different. The only questionable item is the last track: a cover version of Bobby Freeman's "Betty Lou's Got a New Pair of Shoes," that is utterly devoid of interest.]
~ by: Thom Jurek, All Music Guide.
They saw themselves as the American Black Sabbath, made it cool to have a hit single all about death, and can probably trace their commercial decline in the UK to a broken mirror. Yep, it’s been a convoluted path for Blue Oyster Cult, easily one of the most fascinating and intelligent metal bands ever. And one that may have started out as a psychedelically inspired heavy rock crew, but subsequently paid homage to pomp and AOR. In the process they’ve worked with mysterious guru/producer Sandy Pearlman and SF sage Michael Moorcock. Moreover, the lyrics from their most famous song, (Don’t Fear) The Reaper, were quoted in the Stephen King novel The Stand, while Metallica covered Astronomy, another BOC classic.
The band started out in Long Island during the late 1960s, originally called Soft White Underbelly (the name inspired by a Winston Churchill speech), before changing to the Stalk Forrest Group, and by 1970 finally becoming the Blue Oyster Cult. The name has several possible origins, the most exotic being that it came from Pearlman’s term for a secret, fictional collective of aliens who guide the Earth’s destiny.
The classic Blue Öyster Cult line-up – vocalist/guitarist Eric Bloom, guitarist Donald ‘Buck Dharma’ Roeser, keyboard player/guitarist Allen Lanier, bassist Joe Bouchard and drummer Albert Bouchard – recorded a string of big-selling albums between 1970 and ’81.
Just before BOC’s appearance at the Monsters Of Rock in 1981 the drumming Bouchard brother quit, leaving the rest of the band to scramble through a disjointed set at Donington with drum roadie Rick Downey filling in. Infamously, Bloom publicly jumped up and down on the commemorative plaque given to the band that day, and in many respects that metaphorically signaled a downturn in the band’s fortunes fromwhich they’ve never recovered.
During the past 25 years BOC have soldiered on in various guises, occasionally hinting at past glories but rarely threatening a return to those peaks of old. Yet such is the potency of their first decade or so together that they still remain a major influence on the metal scene; there’s little doubt that, at their best, Blue Öyster Cult were among the metal elite. Indeed such is their importance to generations of Americans that they were affectionately parodied in a Saturday Night Live sketch in 2000. And let’s not forget that BOC use the alchemical symbol for lead in their logo – now that’s heavy metal!
~ by: Malcolm Dome.

"Then Came The Last Days Of May"
Parched land no desert sand, sun was just a dot
And a little bit of water goes a long way, 'cause it's hot
Three good buddies were laughing and smoking in the back
Of a rented ford
They couldn't know they weren't going far

Each one with the money in his pocket
Could go out and buy himself a brand new car
But they all had the money they had
Money they hoped would take them very far

The sky was bright, a traffic light, now and then a truck
And they hadn't seen a cop around all day
They brought everything they needed
bags and scales to weigh the stuff
The driver said the border's just over the bluff

It wasn't until the car suddenly stopped
In the middle of a cold and barren place
And the other guy turned and spilled
Three boys blood, did they know a trap had been lain?

They're ok the last days of may, I'll be breathing dry air
I'm leaving soon, the others are already there
You wouldn't be interested in coming along, instead of staying here
They say the west is nice this time of year.

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Blue Oyster Cult - Blue Oyster Cult (us 1972).rar (50.39 MB)

Monday, May 24, 2010

Lazarus - Lazarus (us 1971)

Lazarus - Lazarus (us 1971, folk-rock ,BR 2044)

Artist : Lazarus
Title : Lazarus
Label : Bearsville Records
Record No. : BR-2044
Release : 1971
Produced by: Phil Ramone & Peter Yarrow.
Recorded at: A & R Studio, NYC.

* Bill Hughes Vocals, Guitar, Violin
* Carl Keesee Vocals, Bass
* Gary Dye Vocals, Piano, Organ

* Peter Yarrow Producer, Musical Director
* Phil Ramone Producer, Engineer

A1. Refugee (by Bill Hughes)
A2. Whatever Happened (by Bill Hughes)
A3. Looking Through (by Bill Hughes & Gary Dye)
A4. Listening House (by Bill Hughes)
A5. Circuit Rider (by Bill Hughes)
B1. Warmth Of Your Eyes (by Bill Hughes)
B2. Blessed (by Bill Hughes)
B3. Eastward (by Bill Hughes)
B4. Memory Of A Stranger (by Bill Hughes)
B5. Doncha Cry (by Bill Hughes & Gary Dye)
B6. Rivers (by Bill Hughes)

An excellent group effort that captures the folk-rock scene from the period, great songs, harmonies, melodies and arrangement from Peter Yarrow.
~ by: AcousticWalden (RYM).

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Lazarus - Lazarus (us 1971, BR 2044).rar (61.12 MB)

Sunday, May 23, 2010

Saft - Saft (Norway 1971)

Saft - Saft (Norway 1971, Prog Psych)

Formed: December 1969, Bergen, Hordaland, Norway
Disbanded: 1974 //

* Ove Thue (vocals),
* Trygve Thue (vocals, guitar),
* Tom Harry Halvorsen (keyboards, flute, 1969-72),
* Magne Lunde (bass, 1969-72),
* Rolf Skogstrand (drums, 1969-72),
* Rune Walle (guitar, 1972-74),
* Kaare Øyvind Moldestad (bass, 1972-74),
* Gunnar Bergstrøm (drums, 1972-74)

Related Artists:
Brødrene Thue, Flying Norwegians, Hole in the Wall, Ludvigsens hostesaft, Oriental Sunshine, Sigbjørn Bernhoft Osa, The Ozark Mountain Daredevils

01. Introduction (0:19)
02. Couple Of Freaks (7:15)
03. Eleanor Rigby (2:23)
04. Fjøsvise (2:17)
05. Don't Look Back (2:38)
06. All The Time (4:55)
07. Fly (4:07)
08. This Is Not Today (3:21)
09. Opus 1 (4:32)
10. Min (2:57)
11. So Long (3:09)

Saft was a band from the Norwegian city of Bergen, formed in 1969-70, and disbanded in the spring of 1974. They've had several re-unions since then. Saft were one of the first bands in Norway to sing in nynorsk. (“Fjøsvise” in 1971), and one of the first to mix hardingfiddle with rock (“Halling” with Sigbjørn Berntoft Osa in 1973). Saft also wrote musical history when they won “Europatoppen” with the song “People In Motion” in November 1971.
Their debutalbum ”Saft” was the first of three major albums the band recorded. The musical was unusually varied, ranging from progressive rock, Norwegian middle-age ballads, classical music and heavy metal. The best known song from the album is “All The Time”. Ove Thue had based the lyrics around a slogan originating from the USA during the Vietnam war: “Fighting for freedom is like fucking for virginity”. This was used as the chorus, which too proved too much for the BBC. The powerful radiochannel refused to play the album when it was send in as a Norwegian contribution to Europatoppen in 1971. Saft replied by printing “Censored by BBC” on the cover to the single – which showed a photograph of a naked Ove Thue. The record was eventually played, but the naughty words were bleeped out.
~ internet source.

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Saft - Saft (Norway 1971, Prog Psych).rar (83.03 MB)

Monday, May 17, 2010

The Creeps - Enjoy The Creeps (Sweden 1986)

The Creeps - Enjoy The Creeps (Sweden 1986)

Formed: Älmhult, Sweden

Related Artists:
The Backdoor Men, The Hats

* Robert Jelinek (Lead Vocals, Guitar, Harmonica),
* Hans Ingemansson (Organ [Farfisa], Vocals),
* Anders Johansson (Bass, Vocals),
* Patrick Olsson (Drums [Tamburine], Percussion [Marraccas])

Artwork : Jan Hesseldhal , Robert Jelinek
Photography: Jonnie Elovsson
Piano: Jonas Hellborg
Producer: Creeps, The , Lave Lindholm , Stry Terrarie

Related Artists: The Backdoor Men, The Hats

Genre: RockStyle: Garage Rock

A1. Down at the Nightclub
A2. Ain't No Square
A3. Come Back, Baby
A4. Rattlesnake Shake
A5. City of People
A6. Just What I Need
B1. The Creep
B2. Darling
B3. Hi, Hi, Pretty Girl
B4. Maintaining My Cool
B5. I'm a Rolling StoneB6. She's Gone

Ever since the release of the 1972 Nuggets: Original Artyfacts comp there have been bands like the Creeps, and most likely there always will be. The Swedish retro act aims squarely at mid-'60s garage rock, aping the bands that aped the Yardbirds, but thanks to inspired playing and inventive arrangements, they succeed in adding to the tradition rather than just running in place. Recorded with period-appropriate atmosphere (i.e. a thick, dirty echo), the Creeps bang out nine originals that channel the Animals and Them, delivered with power and precision. "Down at the Nightclub" leads off Enjoy the Creeps with a stiff swing and a booze-positive philosophy, then breaks down with a jazzy piano coda. Other highlights include the lascivious "Hi, Hi, Pretty Girl," the Farfisa-driven instrumental "Rattlesnake Shake," and the frantic drum rolls and fuzz solo on "Ain't No Square." A medley of Sonics covers ("Maintaining My Cool" and "I'm A Rolling Stone") is reverent and energetic, but won't change anyone's mind about the wild, rambunctious Northwest originals. In fact, the only thing missing on Enjoy the Creeps is a sense of true abandon, that apocalyptic spark that makes the most primitive, boneheaded garage bands like the Count Five or the Seeds so eternal. The Creeps are musicians, not punks, and while there's no lack of get-down vitality to their sound, they won't take the listener anywhere except the dancefloor. However, their pugnacious take of the obscure, middle-finger anthem "City of People" seethes with defiance ("Baby don't you mess with me/Cuz you know you could never bring me down/Hey Hey Hey!"), equaling the sneer of the original 1966 Illusions single, and nearly matching Fireworks' vicious 1995 rewrite as "City of Assholes." Garage rock revivalists will find lots to move to on Enjoy the Creeps, but the band didn't stay tied down to their nostalgic muse for long. The Creeps modified their sound in later years, taking on more modern elements with soul/funk textures that earned them a Swedish Grammy, and a big hit in their homeland with "Ooh, I Like It" in 1990.
~ Fred Beldin, All Music Guide.
When organist Hans Ingemansson relinquished songwriting and lead vocals to guitarist Robert Jelinek in the mid-'80s, picking up a new rhythm section in the bargain, Sweden's premier modern beat-psych combo offhandedly hanged names from the Backdoor Men to the Creeps and made a big splash in the small pond of garage punk devotees with the wickedly soulful and melodic 'EnjoyThe Creeps'. The album includes several covers and numerous copped riffs, all interpolated into a powerful attack blatantly imitative of the Lyres while concurrently possessed of more range and greater attention to mood mechanics.
Several years later, the follow-up jettisoned virtually all the dirt and raunch in favor of an early funk bias to match the heavy soul pump and attitude now permeating the music. Still a terrific songwriter and strong vocalist, Jelinek rallied his backdoor troops in a high energy romp through the underside of the pop and "black" charts circa mid-to-late-'60s, albeit with '80s urgency and production values. An interesting development, but 'Now Dig This!' isn't as good as the first LP, substituting style for rage, budget for exuberance.
'Blue Tomato', the quartet's first LP with an outside producer, only exacerbates the problem, offering up '80s dancefloor style to further modify the gutsy, gusty organ-pumped brew for mall-goers in designer tags. Quite possibly the best Stax-oriented club band operating today, the Creeps are still a great loss in terms of compromised potential.
~ Internet Source.

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The Creeps - Enjoy The Creeps (Swe 1987).rar (101.11 MB)

Sunday, May 16, 2010

Pearls Before Swine - Beautiful Lies You Could Live In (us 1971)

Pearls Before Swine - Beautiful Lies You Could Live In (us 1971)

Formed: 1965, Melbourne, FL, United States
Disbanded: 1971

* Tom Rapp (Guitar, Vocals),
* Elisabeth (Vocals),
* Bob Dorough (Piano),
* Grady Tate (Drums),
* Amos Garrett (Guitar),
* Morris Brown (Bass),
* Steve Grable (Piano, Keyboards, Programming),
* Gordon Hayes (Bass),
* Gerald Jemmott (Bass),
* Michael Krawitz (Piano),
* Herb Lovelle (Drums),
* Billy Mundi (Drums),
* Stuart Scharf (Guitar),
* Jon Tooker (Guitar),
* Robby Merkin (Piano, Organ),
* Gerry Jermott (Bass).
* Peter H. Edmiston (Producer),
* Mark Henry Harman (Engineer),
* Jim Rooney (Engineer),
* Joe Phillips (Liner Notes),
* Patrick Roques (Reissue Art Director, Reissue Design).

Genres: Psychedelic Folk, Folk Rock

A1. Snow Queen 4:00
A2. A Life 2:57
A3. Butterflies 2:46
A4. Simple Things 2:55
A5. Everybody's Got Pain 2:47
B1. Bird on a Wire 3:33
B2. Island Lady 4:01
B3. Come to Me 2:57
B4. Freedom 3:03
B5. She's Gone 2:11
B6. Epitaph 1:24

The psychedelic folk band Pearls Before Swine was the brainchild of singer, composer and cult icon Tom Rapp, born in Bottineau, ND in 1947; after writing his first song at age six, he later began performing at local talent shows, and as a teen bested a young Bob Dylan at one such event. Upon relocating to Melbourne, FL, Rapp formed Pearls Before Swine in 1965, recruiting high school friends Wayne Harley, Lane Lederer and Roger Crissinger to record a demo which he then sent to the ESP-Disk label; the company quickly signed the group, and they soon travelled to New York to record their superb 1967 debut One Nation Underground, which went on to sell some 250,000 copies. The explicitly anti-war Balaklava, widely regarded as Pearls Before Swine's finest work, followed in 1968; the group -- by this time essentially comprising Rapp and whoever else was in the studio at the moment -- moved to Reprise for 1969's These Things Too, mounting their first-ever tour in the wake of releasing The Use of Ashes a year later. Two more albums, City of Gold and Beautiful Lies You Could Live In, followed in 1971; moving to Blue Thumb, Rapp resurfaced as a solo artist with 1972's Stardancer, but upon the release of Sunforest a year later he then retired from music, subsequently becoming a civil rights attorney. Frequently cited as a key influence by the likes of Damon & Naomi, the Bevis Frond and the Japanese psych band Ghost, Rapp made an unexpected return to live performance in mid-1998 when he appeared at the Terrastock festival in Providence, RI, joining son Dave and his indie-pop band Shy Camp; he soon began work on 1999's A Journal of the Plague Year, his first new LP in over two decades. Constructive Melancholy, a retrospective of Pearls Before Swine's tenure on Reprise, also appeared that same year. This sparked renewed interest in the band, with Water music releasing a box set of the Reprise material in 2003 (Jewels Were the Stars) as well as a set of unreleased demo and live recordings entitled The Wizard of Is. ESP also remastered and combined their first two albums as The Complete ESP-Disk Recordings in 2005.
~ Jason Ankeny, All Music Guide.
Album Review:Released in 1971, Beautiful Lies You Could Live In was the final release of Tom Rapp (guitar/vocals) and Pearls Before Swine. This discounts the 1972 LP Familiar Songs, which was compiled from scraps by Reprise Records and put out as a solo Rapp effort despite protests from Rapp, who has all but disowned it. Unlike the previous pair of PBS Nashville outings, the band -- whose core had been condensed to only Rapp and wife Elisabeth (vocals) -- had returned to New York and a new set of backing musicians, notably former Mothers of Invention member Billy Mundi (drums), Stu Scharf (guitar), Bob Dorough (piano), Grady Tate (drums), and Amos Garrett (guitar), among others. Rapp's originals continue to reflect his distinctively personal and poignant folk-rock style, apparent on the starkly introverted and haunting "She's Gone" and the Baroque-tinged opener, "Snow Queen." This is contrasted by the laid-back rural "A Life," highlighting Rapp and Elisabeth's tight harmonies, as well as the midtempo narrative "Simple Things." However, it is the cover of Leonard Cohen's "Bird on a Wire" that may garner the most spins. The plaintive lyrics are swaddled in a homey waltz arrangement, capturing the spirit of the piece like few readings have done. The succinct "Epitaph" concludes the album, and is marked by a rare lead vocal from Elisabeth, who set A.E. Housman's "Epitaph on an Army of Mercenaries" to a beautifully mysterious melody that lingers long after the tune has stopped. It is likewise a fitting way to have ended Pearls Before Swine, as Rapp retired the moniker prior to recording Stardancer for Blue Thumb the following year. In 2003, Beautiful Lies You Could Live In was included as part of the four-volume Jewels Were the Stars compendium, anthologizing their final era and output.
~ Lindsay Planer, All Music Guide.
Tom Rapp’s sixth studio album ‘....beautiful lies you could live in’ marked the last time he would credit the by-now notional-only band Pearls Before Swine on the cover; the subsequent sporadic releases would be issued as solo recordings. And this record was pretty much a solo release as well, with his wife Elizabeth being the one near-constant in the group’s lineup.This is a decidedly American-sounding modern folk album, unlike the previous release ‘City of Gold’ which had a more European feel. The list of studio musicians is rather impressive: it includes guitarist Amos Garrett whose impressive credits include the guitar lead on Maria Muldaur’s massive 70s hit “Midnight at the Oasis”; former Mother of Invention Billy Mundi, who appeared on Todd Rundgren’s hit “Hello, It’s Me” of the same period; and pianist Bob Dorough who cashed in during the 70s himself with a series of compositions that ended up being recorded as episodes of the popular Saturday morning cartoon series Schoolhouse Rock. Despite the pop-folk street cred of his guests, Rapp fashioned the album as a remarkably understated electric folk offering that presented some of his more coherent poetry set to music. One of the few knocks on some of the earlier Pearls material was the abstract and occasionally banal tenor of Rapp’s lyrics; here he plays things a bit more conventional, though still manages to display his unique ability to record songs that are multilayered and lyrically complex while retaining their decidedly (and intentional) Dylanesque vibe.There were no hits resulting from this record, and no singles even that I’m aware of. Instead Rapp seemed content to craft his personal thoughts into beautiful, unassuming vignettes without strong regard for popular acceptance. This is easily one of my personal favorites, along with the aforementioned ‘City of Gold’.Despite his own considerable songwriting talent, Rapp never shied away from covering songs and poetry of artists he respected, and this album is no exception. His rendition of Leonard Cohen’s "Bird On A Wire" ranks only behind the original of the many versions of this song that I’ve heard over the years. And the brief but poignant acoustic rendering of A.E. Housman’s "Epitaph on an Army of Mercenaries" is a luxurious thing to behold, particularly since the vocals are delivered by the underused Elizabeth Rapp herself.Its unfortunate Reprise Records never managed to provide the kind of promotion that could have given Pearls Before Swine a better chance to establish themselves in the early 70s. Rapp didn’t help by avoiding touring for much of his career, and his irregular recording tempo probably didn’t help much either. But he did manage to get out six very good records before sliding permanently into obscurity, and this is one of the two or three best of those. Four stars are quite appropriate, especially if you are a fan of modern folk in the vein of Dylan, Van Morrison or even Randy Newman. Well recommended if that’s the sort of stuff you’re interested in.peace.
~ ClemofNazareth (Special Collaborator, Prog Folk Researcher from

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Pearls Before Swine - Beautiful Lies You Could Live In (us 1971).rar (74.42 MB)

Saturday, May 15, 2010

Anders Koppel - Aftenlandet & Regnbuefuglen (Den 1977)

Anders Koppel - Aftenlandet & Regnbuefuglen (Den 1977, DEMOS 38)

Born: July 17, 1947, Kobenhavn, Denmark

Member of: The Savage Rose, Bazaar.
Notes: Son of Herman D. Koppel, Brother of Thomas Koppel.

Also Known As: Anders Herman Koppel [birth name].

Genres: Folk, World, & Country, Jazz, Rock.
Style: Folk Rock, Fusion.

* Anders Koppel (Organ, Grand Piano, Electric Piano, Synthesizer, Autoharp, Accordion),
* Peter Bastian (Bassoon [Fagot], Clarinet, Ocarina, Autoharp, Mizmar [Surna]),
* Mehmet Ozan (Percussion, Acoustic Guitar, Electric Guitar, Goblet Drum [Darbuka], Timpani [Pauker], Congas),
* Jens Rugsted (Electric Bass, Fuzz Bass),
* HC Mogensen (Drums, Timpani [Pauker]).

Backing Vocals - Chorus:
* Irene Becker,
* Elisabeth Bjørn,
* Søren Danielsen,
* Sheena Hauch,
* Lotte Hilden,
* Bent Jacobsen,
* Gert Kim Jensen,
* HH Koltze,
* Ulla Koppel,
* Bastian
* HC.

* Producer - Hans-Henrik Koltze
* Engineer - Stig Kreutzfeldt
* Engineer [Assistant] - Lars Lund

Recorded at Sweet Silence Studios / February - March 1977
Soundtrack for the movie "Aftenlandet" by Peter Watkins

Side A:
01. Budbingeren
02. Byen
03. Folkene
04. Gaderne
05. Havnen
Side B:
06. Regnbuefuglen
07. Toget
08. Rejsen
09. Generalerne
10. Ansigtet

Shot through with alternating currents of melancholia and festivity that are almost piercingly poignant in their evocation of some lost Scandanavian hippy idyll, this supremely beautiful solo album from Savage Rose keyboard player Koppel scratches an obscure itch ordinarily only reached by Bo Hansson and Supersister.
~ by vdoandsound.
Flemming said...
I've had the LP since it came out. But no record player for 10 years. Fantastic to hear the music again. Originally the music was from a film. Some sort of a fantasy or a nightmarish dream about a fascist take-over. Aftenlandet means 'The Evening Land' and the concept comes from german social critique, and is used to metaphorically desribe the society when totalitarian and fascist tendencies become evident. So it's more like political leftish music than scandinavian hippie music. Anders Koppel also plays in the band Bazar (a band originating back in the late 1970'ies. Some of the compositions from Aftenlandet is also being played by Bazar and can be heard at a fantastic double live LP from around 1980.

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Anders Koppel - Aftenlandet & Regnbuefuglen (Den 1977).rar (71.12 MB)

Thursday, May 13, 2010

Eloiteron - Lost Paradise (Swi 1981)

Eloiteron - Lost Paradise (Swi 1981 private)

Formed: Switzerland

* Martin Frey (piano, organ, synthesizer, Mellotron, string ensemble),
* Dani Reimann (drums),
* Christian Frey (pianos, organ, synthesizer, Mellotron, string ensemble, vocals),
* Harry Schärer (bass, guitar, vocals, synthesizer),
* Stefan Frey (flute, trumpet, cornet, horn, soprano saxophone),
* Michi Winkler (guitars).

01. Time reflection (3:32)
02. Once (4:54)
03. Fantasia (5:01)
04. Where (3:32)
05. Yapituttiperslikkenberg (3:18)
06. Hommage à M... (3:07)
07. Octopus (3:58)
08. Tree of conflicts (6:45)
09. Old man's voice (7:02)

ELOITERON is in the class of Swiss bands that carried prog into the '80's. They are a keyboard lover's band, including lots of mellotron. The '70s prog influences are there, especially in the Steve Hackett inspired guitar work. The closest comparison is another Swiss band, Flame Dream. New territory is covered in more dissonant guitar sounds, and solo trumpet. There is also flute, strings and grand piano. "Lost Paradise" is the band's only release. Shorter songs, and slick production are indicative of the times. The focus is on the instrumentals, rather than vocals (by all accounts, this is a good thing). If you are a fan of the mellotron, or interested in late '70s / early '80s Swiss symphonic movement, this is a band you may want to seek out.
~ by Ht Riekels (bhikkhu).
Much better than average early 80s symphonic album. There were many of these type of private releases in Germany and Switzerland during this period and Eloiteron are one of the best. Trumpet adds a nice touch, and recalls the Austrian group Klockwerk Orange. Plenty of excellent organ, mellotron and flute as well. A bootleg exists.
~ by Tom (cdreissuewishlist).

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Eloiteron - Lost Paradise (Swi 1981).rar (56.7 MB)

Wednesday, May 12, 2010

Captain Marryat - Captain Marryat (uk 1974)

Captain Marryat - Captain Marryat (uk 1974)

Formed: Glasgow, United Kingdom

Related Artists: Silver

Genre: Eclectic Progressive Rock

* Tommy Hendry (vocals, acoustic guitar),
* Ian McEleny (lead guitar, acoustic guitar),
* Allan Bryce (Hammond organ, electric piano, vocals),
* Hugh Finnegan (bass, vocals)* Jimmy Rorrison (drums, vocals).

01. Blindness
02. It Happened to Me
03. A Friend
04. Songwriter's Lament
05. Changes
06. Dance of Thor

Captain Marryat is a Scottish band, and have been playing together for just a year.They used to play in pubs and clubs. I can say that it is a progressive rock band with psych flourishes – doom-laden organ plus acid guitar riffs and strong male vocals.
Named after the 19th Century mariner and novelist, this Glaswegian band made just one privately-pressed LP. Its back cover announces that ‘Captain Marryat is a Scottish band, and have been playing together for just under a year. They already have a sizeable following in the pubs n’ clubs circuit and this, their first LP, is a sample of the music that brought them success’.
They were originally intending to record a single, but the engineer at the Glasgow studio they’d booked told them that there was time enough to make a whole album. They therefore taped five tracks they’d already written (‘Blindness’, ‘It Happened To Me’, ‘A Friend’, ‘Songwriter’s Lament’ and ‘Changes’) and finished the LP with an improvised jam (‘Dance Of Thor’). The result came in a drab flipback sleeve, and according to one dealer is ‘a progressive rock rarity with psych flourishes – doom-laden organ plus acid guitar riffs and strong male vocals’. The 250 copies pressed were sold at gigs, and two that surfaced on eBay in late 2008 went for around £3000 each.
~ (RMJ).
Many people watching the ebay auctions where surprised seeing this album selling for the past few month 3 times for nearly 3000 Euro each. Before that, this album was completely unknown. Captain Marryat are from Glasgow, Scotland and recorded this demo album in 1974, released in a tiny pressing on the Thor label, hopefully to get an EMI or Chrysalis deal. They wanted to record only a single but came up with a complete album of self-composed tracks. Since it was not that easy for a Scottish band to get attention down in London, this album was the only pressing ever done and sold at band gigs only. 5 musicians, great organ, vocals, extra heavy fuzz-guitar, drums and bass, amazing underground songs, influenced by Deep Purple, Uriah Heep and Beggars Opera, a true lost classic. Where where lucky to find the band to made a deal so this beauty can conquer the world of rock music.
~ Internet Sources.
Many people watching the ebay auctions were surprised seeing this album selling for nearly 3500 Euro each. Before that, the album was completely unknown. Captain Marryat were from Glasgow, Scotland and recorded this demo album in 1974, released in a tiny pressing on the Thor label, hopefully to get an EMI of Chrysallis deal. They intended to record only a single but came up with a complete album of self-composed tracks. Since it was not that easy for a Scottish band to get attention down in London, this album was the only pressing ever done and sold at band gigs only. 5 musicians, great organ, vocals, extra heavy fuzz-guitar, drums and bass; amazing underground songs, influenced by Deep Purple, Uriah Heep and Beggars Opera, a true lost classic. We were lucky to find the band to make a deal so this beauty can conquer the world of rock music.
~ Internet Sources.

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Captain Marryat - Captain Marryat (uk 1974).rar (131.5 MB)

Wednesday, May 5, 2010

The Chud - Silhouettes Of Sound (Ger 1986, Neo-Psych Garage)

The Chud - Silhouettes of Sound (Ger 1986, LP LSD 02)

Berlin's finest Neo-Psych/Garage group!!!

Band Members Original 1st Album Line-Up (1985-87):
* Vic Count: voc, guitars, prod.
* Rick Zontar: hammond/farfisa
* Sandy Hobbs: bass guitar
* Nick Young: drums, vocals

01. Cosmic One
02. Hey Pretty Girl
03. Land Of Milk And Honey
04. Neanderthal Comet
05. Point Of No Return
06. Leather Room
07. Suck My Silver Ring
08. Strange Birds of Thunderground
09. Violet Fire
10. Don't Call Me Batman

The Chud - Leather Room

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The Chud - Silhouettes Of Sound (Ger 1986, Neo-Psych Garage).rar (73.23 MB)

The Chud - Mirage (Ger 1989, Neo-Psych Garage)

The Chud - Mirage (Ger 1989, LSD 110466)

Berlin's finest Neo-Psych/Garage group!!!

2nd Album Line-Up (1988-89):
* Vic Count: voc, guitars, prod.
* Rick Zontar: organ & piano
* Gary P. Alexander: bass guitar
* Eddie Fletcher: drums, perc

01. November Rain02. Gonzales!
03. Some Other Lifetime
04. Just In Time
05. Teenage Frustration
06. (Don't Seem To) Move
07. Walking Home Alone
08. Under The Green Sun
09. Garden Of Love

About The Chud The legendary Cannibalistic Humanoid Underground Dwellers, or -as they are better known - THE CHUD, existed from 1985 - 1992.
In 1985 they released their debut 45 rpm single "Don't call me Batman b/w Rumble At The Love-In", which became an indie chart success.
Legendary radio DJs John Peel (UK) and Rodney Bingenheimer (USA) both were fans, playing both sides of the 45 repeatedly, and Bingenheimer listed "Rumble at the Love-In" as one of his favourite tracks of 1985.
In 1986, 20 years ago now, they released their debut album "Silhouettes Of Sound".
After a few line-up changes, the band released "Mirage", their 2nd longplayer in 1989 on vinyl and CD."November Rain" was the single off of that album, and it appeared two months before the LP, on a 12" Maxi Single, with 3 otherwise unavailable songs on the B side.November Rain should not be confused with the Guns'n'Roses song of the same name, which it predated about half a year. In 1991 recordings for a third album began, but were never completed, when -after excessive touring and an unhealthy rock'n'roll lifestyle- the band 'faded out' in 1992.
In 2006, 20 years after their debut, they were back, for ONE NIGHT ONLY, in the original line-up: celebrating the anniversary with a single show at Berlin's new BASSY club on Dec. 9, 2006.

Both above line-ups have appeared at the Dec 9 2006, Berlin show!Further line-up changes included the following members: Robert Lehmann / Chrizza Larsen/Ginger Napoli/Tobi Natri and others
Influences ..The CHUD were heavily influenced by B-Movies (hence their name: The Cannibalistic Humanoid Underground Dwellers), the first album's cover-design cited many old Roger Corman films and the songs' titles and production were very descriptive (e.g. "Rumble At The Love-In ", "Leather Room" etc.).Equally influential was their shared interest in garage bands like The Seeds, 13th Floor Elevators, the CA Quintet and all things Pebbles & Nuggets, which was not a common thing in 1985 (at the height of post-new romantic electro schlock).Their literary influences were wide ranging: from pulp novels like "Dr. Morton" or "Zontar - The thing from Venus" to beatnik authors like W.S.Burroughs, Kerouac and Herbert Huncke. Their live sets featured oil projections and soap bubble machines, thus evoking late 60s California, while the lyrics were more Velvet-Underground-New York than Sunshine Westcoast Hippiedom.
~ by:

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The Chud - Mirage (Ger 1989, Neo-Psych Garage).rar (65.86 MB)

Monday, May 3, 2010

Burnin' Red Ivanhoe - W.W.W. (Den 1971)

Burnin Red Ivanhoe - W.W.W. (Den 1971, prog rock)

Formed: 1967, København, Denmark

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

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

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

Genres: Progressive Rock

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

01. 2nd Floor, Croydon 8:37
02. W.W.W. 6:07
03. Avez-Vous Kaskelainen? 4:47
04. Kaske-Vous Karsemose 3:49
05. All About All 4:08
06. Oblong Serenade 6:25
07. Cucumber-Porcupine 5:21

One of the biggest names of Scandinavian progressive groups that became well-known worldwide. Their music can be described as progressive jazz-rock under influences of beat, R&B, psychedelia... The compositions present often improvisational long passages with Karsten Vogel's (soprano sax, alto sax) musical visions.
They started in 1967 but the first album appeared two years later. It was double LP M144. By many considered their best. The comparison to The Who is especially clear in this early period. Most of the compositions have lyrics in native language but this changed with the following records where dominating language was English. The second, self-titled album presents the same style and similar record structure: after dynamic opening Across The Windowsill (on M144 it is famous Ivanhoe I Brøndbyerne) compositions of various style and atmosphere come: R&B Rotating Irons, dynamic blues-rock Gong-Gong, The Elephant Song, the ballad Near The Sea, etc. The last track is titled Secret Oyster Service - does it remind you of something? The third album WWW is probably their most progressive work. The music is more placid without crazy sax solos and R&B tracks; also over 8-minutes excellent 2nd Floor, Croydon has more progressive character. In the same year the band recorded LP with Danish folk singer Povl Dissing. Although the compositions are more folk oriented and all lyrics are in Danish there are some moments, especially over 10-minutes Tingel-Tangelmanden that could be interesting for progressive rock fans.
The group split in 1972 but before it happened they recorded one more album - it was "live in studio" Miley Smile/Stage Recall. Surprisingly, it contains only three old compositions: Ivanhoe I Brøndbyerne, Rotating Irons and Indre Landskab (however in different versions). The rest presents fresh material like rousing The Monster Song, funny cover version of the old standard Red River Rock or the longest and the most typical for the group, jazzy Bareback Rider. The album ends with R&B Goodbye, which is the musicians' farewell. All in all, Miley Smile/Stage Recall is another excellent position in group discography.
In fact, two years later one more album appeared signed as Burnin' Red Ivanhoe. Its story is pretty interesting. Vogel was a member of Secret Oyster at that time. He found (Ref. 2) that he collected some compositions that were not appropriate for experimental style of this group and decided to release the new album under old band name. Right On appeared in 1974 and is another "mandatory" item for BRI fans (unfortunately, this album is extremely difficult to find and very expensive). As for the members, there were former musicians of BRI: Vogel, Andersen, Fick, Secret Oyster: Knudsen and Day Of Phoenix: Karsten Lyng (vocal), so the band name on the album was used rather for formality. This record has rare moments when you hear the echoes of Burnin' Red Ivanhoe (mainly instrumental parts with sax solos) but more often of Day Of Phoenix' first album. The opening track reminds of Uriah Heep very much! In 1980 the group in old good line-up released Shorts, containing pop-rock compositions, quite enjoyable but it is a different story. Burning Red Ivanhoe was one of the most important and typical Danish rock representatives of that time. Fortunately, its rich discography is the evidence of wonderful musicians' output.
~ Internet Source.
Eerily prescient title aside, this third album from Burnin Red Ivanhoe (an outfit that preceded the formation of NWW list artists Secret Oyster) is operating at a real throat-lump-inducing peak of acidy jazz rock genius on this one. Karsten Vogel's plangently beautiful curlicues of alto sax salaciously wooze about in a manner that only Lol Coxhill's work with the Kevin Ayers And The Whole World band seems comparable to. Much like that album, WWW is suffused with an atmosphere that alternates passages of languorous beauty with runs of wild carnival-esque abandon, particularly on the album's latter half, whose atmosphere is so buttery warm and rich with "knowing" druggy vibes, you'd only wish that music could be absorbed through your pores.
~ Internet Source.
These guys sound evokes so many contemporary bands and styles, that at the risk of not doing justice to their true value I have at least to point out that the end result of all that mix is a very original album; Echoes of Donovan’s vocal psych inflexions on the intro verses of track 1 give way to Eric Burdon’s style soul leaning expression, and the groove of the band as something of a R&B vibe akin to The Animals while the flute reminds Chris Wood; early Traffic also comes to mind on “All about all” (only with better sax work); There’s also 6 minutes of atmospheric psychedelic sound sculpting with early Floyd echoes, in “W.W.W.” – surely not a premonition to the state of mind one has today while surfing the web – that subtly transmutes and gains strength as a free Hawkwind-ish (who didn’t exist at the time) sound scape supported by a powerful rocking rhythm section (without synths, saxes, organ and bottleneck slide are the main tone generators); Even more interestingly is when BRI uses those psychedelic tapestries mixed with Canterbury styled jazz, saxes in true Soft Machine tradition while the organ only differs in that it’s not fuzzed (e.g. “Kaske-vous Karse Mose”) or with horns arrangements (trombone and sax) with Zappa influences and suitable vocal harmonies, followed by a jazz-rock groove powered by a lively swinging bass and drums engine (“Oblong Serenade”); There’s some early East of Eden reminiscences on the last track, whose line of psych vocals with happy feel are repeated over and over to a fading end; it’s this tendency to over stretch banal chord progressions, sometimes without finding interesting solutions to keep them fresh, that IMHO is this album major flaw.
~ by comusduke (RYM).

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Burnin Red Ivanhoe - W.W.W. (Den 1971, prog rock).rar (73.63 MB)

Sunday, May 2, 2010

Mats Glenngård - Kosterläge (Sweden 1972)

Mats Glenngård - Kosterläge (Sweden 1972)

Born: April 18, 1952, Sweden

Currently: Nacka, Sweden

Member of:
Kebnekaise, Los Companiddros

Genres: Psych-folk

A1. Natthimlen 2:22
A2. Kosterläge 7:21
A3. Jörans Låt 0:22
A4. Djuret 5:27
A5. Berget Heter Bonden 2:00
B1. Allt på Denna Runda Jord 4:48
B2. Tongång till Täby 1:19
B3. Det Snöar På Mitt Huvud 10:59

Wonderful personal LP by Kebnekaise violinist. Relesed in 1972 through the much collectable GUMP label. From the pic sleeve I assume that it is based on the fairy tale of the violinist and the rats. Great floating psych folk,with some freaky prog touches.
~ by Mutantsounds.

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Mats Glenngard - Kosterlage (Swe 1972).rar (51.91 MB)

Saturday, May 1, 2010

Burnin Red Ivanhoe - Burnin Red Ivanhoe (Den 1970)

Burnin Red Ivanhoe - Burnin Red Ivanhoe (Den 1970, prog rock)

Formed: 1967, København, Denmark

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

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

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

Genres: Progressive Rock

A1. Across the Windowsill
A2. Canaltrip
A3. Rotating Irons
B1. Gong-Gong, the Elephant Song
B2. Near the Sea
B3. Secret Oyster Service

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

BRI’s second release certainly should be considered as one of the top albums from 1970 and one of the best ones in proto prog generally. They recorded this disc in London and thus have been of the first Danish bands who managed to publish something in Prog’s home country. Songs on here are showing basically a nice almost Canterburian kind of looseness combined with a distinct bluesrock orientation. At times the atmosphere brings Caravan to one’s mind though BRI are having here with Karsten Vogel and Kim Menzer two musicians playing brass and wind instruments (sax, flute, trombone and mouthorgan). First side of the original vinyl is offering with "Across The Windowsill" a quite breezy piece dominated by sax and organ with bluesy vocals that remind to Van Morrison. "Canaltrip" basically consists of an extended rather soft sax solo accompanied by percussion and acoustic guitar. "Rotating Irons" is more a sluggish bluesrock track dominated by electric guitar and backed up by organ and great mouthorgan play. To me it sounds a bit like a variation of “Season Of The Witch” by The Zombies but I might be wrong. Second side starts with the all instrumental jazz rock track "Gong Gong, The Elephant Song" with alternating solos by trombone, sax and mouthorgan. "Near The Sea" is a ballad with great flute play and the final "Secret Oyster Service", obviously a sort of tribute to their country fellowmen is an excellent jazz rock one with dual saxophone coming close to free-form jazz at times. This one is without any doubts the highlight on here. BRI’s second album is certainly their best and most coherent one offering an awesome blend of blues and jazz rock. Highly recommended to any fan of early 70’s Prog!
~ by hdfisch (RYM).
Scandinavia has produced its fair share of obscure rock acts through the years but none more so than during the heady times of the late sixties and early seventies. Denmark itself has given up a healthy dose of psyche acts though many, if not all, remain hidden and the focus only of an elite set of rabid collectors. The one act that do spring to mind with a relatively wide appeal, if still muted, are Savage Rose. Burnin' Red Ivanhoe merge psyche with a progressive mindset with more than a hint of folk in their music, sometimes straight sometimes really strange and self indulgent but tinged with a dark humour as they converse in both their native Danish tongue and in English. The electric eclectic baroque tinted "Across The Windowsill" starts the album on a mature purposeful note, some fine vocal and fantastic guitar courtesy of Ole Fick, my personal favorite is the jaunty saxophone (played by future Secret Oyster member Karsten Vogel) led "Canaltrip" with a neat rolling percussive beat. "Secret Oyster Service" is some half concocted avant garde jazz rock which rambles in and out and on aimlessly before finally getting some where on the five minute mark, but to be fair to the band they could pull off some good improvisation and experiment with many styles, "Showintroucion" and its twin "Showafsluthing" are simply weird while "Mitte" is a good laid back tune with that zany trait of much of the Burnin' Red Ivanhoe's music, and mainly in the vocal department. All in all an interesting and eye opening album and a telling piece of classic Danish folk psyche and much more.
~ by jonnydeluxe (RYM).

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...and also...
Burnin Red Ivanhoe - Burnin Red Ivanhoe (Den 1970, prog rock).rar (61.26 MB)