Wednesday, June 30, 2010

Dear Mr. Time - Grandfather (uk 1970)

Dear Mr. Time - Grandfather (uk 1970)

Formed: United Kingdom

* Chris Baker (guitar, vocals),
* John Clements (drums, percussion),
* Barry Everitt (vocals, organ, piano, harpsichord),
* Dave Sewell (bass, vocals),
* Jim Sturgeon (saxophone, flute, guitar, vocals)

01. Birth - The Beginning 4:01
02. Out of Time 4:30
03. Make Your Peace 5:23
04. Your's Claudia 2:54
05. Prelude (To "Your Country Needs You?") 3:01
06. Your Country Needs You? 3:40
07. A Dawning Moonshine 3:50
08. Years and Fortunes 4:09
09. A Prayer For Her 2:57
10. Light Up a Light 3:26
11. On a Lonely Night 4:19
12. Grandfather 2:44

Dear Mr Time were an obscure British outfit who straddled the late-period psych/early prog divide with their sole album, a concept piece entitled Grandfather. It (loosely, of course, in true concept album style) tells the story of one man's life from his birth around the turn of the century to his own death, as recounted by his grandson. Birth - The Beginning makes for a pastoral enough start, but the pace picks up quickly enough as the story races towards the protagonist's experiences as a soldier in the trenches. The rest of the album veers between acoustic and electric, but quality's maintained throughout, avoiding the 'only two or three decent tracks' syndrome. On reflection, the concept actually owes a little to the Pretty Things' seminal SF Sorrow, but it's a very different album and, let's face it, a fairly universal subject.No-one's credited with Mellotron, so I'll assume keyboard player Barry Everitt was responsible for the excellent MkII strings on Prelude (To Your Country Needs You?) and the rather shorter part in closer Grandfather. Pity they didn't use it more, but there you go. Incidentally, the cellos in Prelude are real.All in all, this is really rather good, and undeservedly obscure, especially when you consider some of the third-rate stuff that's been available for years. The CD appears to've been pressed from a vinyl copy, but the surface noise isn't too bad, and rather a slightly crackly copy than none at all! A welcome addition to the field of UK psych/prog reissues, with a couple of good 'Tron tracks. Assuming you can find it, buy.
~ By
First-ever official reissue of Essex-based band Dear Mr. Time's highly-regarded and much sought-after psych/prog concept album Grandfather. Heavily influenced by the Moody Blues and early King Crimson, Grandfather was recorded in mid-1970 and issued by the tiny Square Records in February 1971, but was only pressed in a total quantity of 1000 copies. This definitive release is taken from the original master tapes, and adds five superb home demos recorded around the same time as the album by guitarist and chief songwriter Chris Baker. It tells the group's story for the first time, and includes many previously unpublished photographs." Includes a 16-page booklet.
~ By
This is an obscure progressive concept album which now interests some collectors. It is similar at times to The Moody Blues, and the project featured comment on the life of one man from the turn of the century until the time of his death.. The 45 Prayer For Her was a track from the album.
~ from Tapestry of Delights.
Reminiscent of the Moody Blues..... light, gentle english soft rock of a very easygoing kind. The rear cover depicts a bunch of long-haired stack-heeled polite groovers who drove trucks in the day and worked in the post-office, lolling about on a sunny day in Hyde Park or Kensington Palace Gardens, with a bigger bunch of Chelsea Pensioners looking on in amiable puzzlement at these rockin fellahs. Really quite charming in a simple way, like me. I own only a handful of rare Vinyl, this is a copy i got very cheap because its covered in scratches and virtually unplayable - this makes it sound even more of a strange time-capsule of that dim and distant infinitessimally small sunny day on the rear cover. I only played it once.
~ By Mykepsych (RYM).

Download Links:

Shorter version:

...and also...
Dear Mr. Time - Grandfather (uk 1970).rar (61.16 MB)

Monday, June 28, 2010

The Miners of Muzo - Make My Day (Holland 1988)

The Miners of Muzo - Make My Day (Holland 1988, MMLP 016)

Formed: October 1981, Tilburg, Noord-Brabant, Netherlands

* Léon "Lee" Lemmen (bass, guitar, vocals),
* Moniek van Dusseldorp (keyboards, 1981-82),
* Ruud Diederiks (drums, 1981-82),
* Hans Vroom (guitar, backing vocals),
* Daan Appels (organ, piano, vocals, 1982-94),
* Marc van Gennip (drums, 1982-84),
* Gert-Jan Smits (drums,1984-present),
* Marc Lemmen (bass, 1985-93),
* Ben (bass)

Related Artists: Funrazor, Masai, Pat Mears Band

* Engineer: Doctor 'P' Funk
* Producer: Theo Van Eenbergen
* Written By: Léon Lemmen (tracks: A1 to B3, B5) .
(B4. Suicidal Flowers - Written By: Crystal Chandlier).

Recorded: January 1988 at Tango Studio, Eindhoven Holland.

A1. 88 Doctors
A2. Cycle Mellow Man
A3. Coral
A4. Deathcom
A5. From S.F. To L.A.
B1. Sandman
B2. White Lightning
B3. Rock 'N Roll Bishop
B4. Suicidal Flowers
B5. Born To Be... (Make My Day)

The Miners of Muzo are a guitar band from Tilburg, the Netherlands. They have been around since the early eighties.
The band is named after a 1980 BBC documentary on poor Colombian farmers digging for emeralds in old abandoned Columbian state mines.
Their style developed from trashy, sixties inspired garage rock to a less limited kind of rockmusic, leaving room for other musical influences… as long as there’s the love of song and guitar… and rock’n roll…
From 1984-1993 the Miners recorded eight lp’s/cd’s. The albums were released on independant record labels in Holland (Eksakt, Columbus, Silenz), France (GMG, Spliff), Germany (Music Maniac), England (Ediesta) and Greece (?). They also contributed to several complilation albums in France, Holland and Germany. For a period of 6-7 years The Miners enjoyed some popularity in France. They also did well in Holland, Germany, Belgium and Switzerland. They played the USA (SXSW 1991)and Czecho Slovakia (Prague 1989) as well.
The Miners never split up. From 1993-2003 the Miners just didn’t do much, but now they are working again in their own Smithsonic Lemonhead Studios. Check out Recordings 2003-2006 on lastfm.
Read more…
~ Edited by Marclemmen.

Download Links:
The Miners of Muzo - Make My Day (Hol 1988, MMLP 016).rar

...and also...
The Miners of Muzo - Make My Day (Holland 1988, MMLP 016).rar (53.48 MB)

Sunday, June 27, 2010

V.A. - Psychedelic Portugal (Hard Psych and Prog From Underground Scene 1968-1974)

V.A. - Psychedelic Portugal, Hard Psych and Progressive Sounds from Portugal Underground Scene 1968-1974

01. Intro (0:54)
02. Ex-Libris: A Story [1973] (3:13)
03. Objetivo: Gin Blues [1969] (2:52)
04. Pop Five Music Inc.: Stand By [1971] (2:15)
05. Chinchillas: Barbarela [1970] (3:08)
06. Petrus Castrus: Batucada Vulgaris [1971] (2:57)
07. Piexus: Paraiso Amanha [1970] (2:51)
08. Evolucao: Noites De Sabath [1970] (2:54)
09. Fluido: O Homem Sentado [1969] (2:47)
10. Fausto: Instro [1974] (0:51)
11. Beatnicks: Money [1972] (3:31)
12. Mechanical Dream: Skate [1969] (3:05)
13. Heavy Band: Funky [1972] (2:54)
14. Quarteto 1111: 1111 [1972] (4:39)
15. Banda 4: Walking On The Beach [1968] (2:39)
16. Jose Cid: A Viagem [1972] (2:53)
17. Sergio Borges Com Conjunto Joao Paulo: Paul Da Terra [1971] (2:54)
18. Filarmonica Fraude: Devedor A Terra [1969] (2:03)
~ posted by Dr. Bell Otus.

What a killer release coming out from the so long overlooked Portuguese scene!!! wait to hear this and you'll see what's good!!!! Some good fuzz & organ from Pop Music Five Inc, dreamy UK styled psych-pop by Plexus and Evoluçao, stunning hard-psychedelia by Ex-Libris, a rare track by the mighty Quarteto 1111, sitar psychedelia by Jose Cid, and much more! Some English sung, some Portuguese, but all killers that really make this amazing collection an absolute must have for any psychedelia collector. If you dug the Spanish "Andergraun vibrations" compilations, be sure to pick this one as it's equally good and following a very similar direction!

Download links:

Shorter version :

...and also...
V.A. - Psychedelic Portugal - Hard Psych And Progressive Sounds From Portugal Underground Scene 1968-1974.rar (110.14 MB)

Tuesday, June 22, 2010

Sandy Bull - E Pluribus Unum (us 1968)

Sandy Bull - E Pluribus Unum (us 1968)

Born: 1941, New York, NY, United States
Died: April 11, 2001 // Franklin, TN, United States

Genres: Contemporary Folk

Credits:Guitar [Electric], Bass, Bass Drum, Bass Drum [Indian Bass Drum], Oud, Tambourine, Cymbal, Cowbell, Written-by: Sandy Bull.

Other: [Liner Notes] - Nat Hentoff.
Producer: Maynard Soloman.

A. No Deposit, No Return Blues 17:03
B. Electric Blend 21:44

Born in New York, Sandy Bull spent the early part of his childhood in Florida with his father before returning to New York to live with his mother, the jazz harpist Daphne Hellman. His mother's eclectic taste exposed him to a wide variety of music that eventually led to him learning the guitar and banjo, the latter from Eric Darling, who was in The Weavers. After a brief stint at college in Boston, Bull returned to New York and became involved with the Greenwich Village scene. But it was in Paris where he had his first experience of Middle-Eastern music and oud-like instruments. Having learnt to play the oud from Hamza El Din, Bull returned to the United States, signing with the folk-label Vanguard.
For his first album, Fantasias for Guitar & Banjo, Bull would take various pieces of American folk, country, blues, jazz and pop and mix them up with Eastern and western classical music. His follow-up album, Inventions, took things further and included a remarkable cover of Chuck Berry's "Memphis". On both recordings, Bull would either play alone or to the accompaniment of jazz drummer Billy Higgins, best known for his work with Ornette Coleman. His ability in blending so many different styles of music was matched only by those of artists such as Davy Graham and John Fahey and his albums would provide a foretaste of the world music that would follow. The third record for Vanguard, E Pluribus Unum, would be comprised of just two tracks, one on each side. Despite his drug problems, Bull managed to record a final album for Vanguard, Demolition Derby, and in 1975 he was offered a guest spot on Bob Dylan's Rolling Thunder tour.
No more albums appeared until the ROM release Jukebox School of Music in 1988, which introduced the piano to the list of instruments that Bull played. This album also marked the return of Billy Higgins on "Truth". Vehicle followed in 1991. After Vehicle, which featured Aiyb Dieng, he moved to the Nashville, TN and started his Timeless Recording Society, which released Steel Tears in 1996, earning him a nomination for Best Folk album at the Nashville Music Awards.
After suffering from lung cancer for a number of years, Bull died at his home, just outside Nashville, on April 11, 2001.
~ RYM.
Sandy Bull (January 1, 1941 – April 11, 2001) was an American folk musician who was active from the late 1950s until his death.
Born in New York City, he was the only child of Harry A. Bull, an editor in chief of Town & Country magazine, and Daphne van Beuren Bayne (1916-2002), a New Jersey banking heiress who became known as a jazz harpist under the name Daphne Hellman. His parents were divorced in 1941, shortly after his birth.
Sandy Bull was a composer and accomplished player of many stringed instruments, including guitar, pedal-steel, banjo and the middle-eastern oud. His music and recordings are characterized by his blending of non-western instrumentation and improvisational traditions with the 1960?s folk revival. His albums for Vanguard Records often combined extended modal improvisations on oud with an eclectic repertoire of instrumental cover material. Bull is well known for his arrangement of Carl Orff’s composition Carmina Burana for 5 string banjo on his first album, which was included on an album of R.E.M.’s favourite songs. Other such musical fusions include his adaptation of Luiz Bonfa’s “Manha de Carnaval,” and compositions derived from J.S. Bach themes.
Sandy Bull’s approach to performance, composition and recording is notable for his extensive use of overdubbing and multi-track tape recording before such techniques became commonplace in music production. However, unlike the sophisticated, glossy aesthetic commonly associated with these techniques, Bull simply used overdubbing as a way to accompany himself and play all the instruments on many of his recordings. As documented in the “Still Valentine’s Day 1969 concert recording, Sandy Bull’s use of tape accompaniment was part of his live, solo performances as well. Bull also played the oud on Sam Phillips 1991 album, Cruel Inventions. Bull primary played a fingerpicking style of guitar and banjo and his style has been compared to that of John Fahey and Robbie Basho of the early Takoma label in the 1960s.
By his mother’s second marriage to The New Yorker writer Geoffrey Hellman, Bull had one half-sister, the sitar player Daisy Paradis; and a half-brother, Digger St. John.
Sandy Bull struggled with a drug problem for many years which seriously affected his performing. After completing a rehabilitation program in 1974, he began performing again. Bull died of lung cancer on April 11, 2001 at his home near Nashville, Tennessee.
~ Internet Source.

Download Links:

...and also...
Sandy Bull - E Pluribus Unum (us 1968).rar (77.42 MB)

Monday, June 21, 2010

V.A. - La Musica Della Mafia - Le Canzoni Dell' Onorata Società (2005)

V.A. - La Musica della Mafia Vol.III Le Canzoni dell`onorata Societá (2005)

Track List:
01. Intro
02. Parlato I
03. E Fua Chiamatu
04. Innocente Carcerato
05. Cantu I L'Emigranti
06. Musulinu Galantomu
07. Amuri E Carceri
08. Pizzicarella Malinconica
09. Era Na Sira I Maggiu
10. Parlato II
11. Infama Vinditta
12. Penseri (Instrumental)
13. Pani E Rispettu A Li Travagghiaturi
14. Vendetta D'Onuri
15. Parlato III
16. Incatenatu
17. 'Nta Nu Giardinu Di Rosi E Sciuri
18. Tarantella Di Li Tarantelli
19. E Lu Processu
20. Mi Votu E Mi Rivotu
21. Ammazarru Lu Generali
22. Tarantella Alla Pizzicarola (Instrumental)

Download Links:

...and also...
V.A. - La Musica Della Mafia Vol. III - Le Canzoni Dell Onorata Societa (2005).rar (73.7 MB)

V.A. - La Musica Della Mafia Vol. II: Omertá, Onuri E Sangu (2003)

V.A. - La Musica Della Mafia Vol. II: Omertá, Onuri E Sangu (2003)

Track List:
01. Campani D'Asprumunti-Mimmo
02. Saggi Cumpagni-Pasquale E Nino
03. Nun C E Pirdunu-Diego
04. Parlato
05. U Mastru Di Lu Sonu-Natino
06. Li Carciri-Valentino
07. Parlato
08. Arretu I Sbarri-Paolo
09. Parlato
10. Muttetta Pi Nu Carogna-Nino
11. Tarantella Santissima [Instrumental]
12. Ninna Nanna Malandrineddu-Saveria
13. Tira La Pinna-Unknown
14. A Casanza-Vittorio
15. Zampugnaru Onoratu
16. Cantu Pi La Me Sorti-Nicola
17. Pi Fari U Giuvanottu I Malavita-Tony
18. La Me Galera-Diego
19. Si Gira E Si Rivolta-Daveria E Natino
20. Dialogo Malandrino
21. Tarantella Rosi E Sciuri [Instrumental]
22. Vullimu Paci

Read more:

Download Links:

...and also...
V.A. - La Musica Della Mafia - Omerta, Onuri E Sangu Vol.rar (136.73 MB)

Sunday, June 20, 2010

V.A. - La Musica Della Mafia Vol. I - Il Canto Di Malavita (2000)

V.A. - Il canto di malavita: La musica della mafia Vol.1 (2000)
Folk/ mafia songs MP3 320 Kbps 159Mb

Track List:
01. Parlato 0:30
02. El Domingo - 'Ndrangheta, camurra e mafia 4:14
03. F. Cimbalo - Sangu chiama sangu 3:11
04. Franco Caruso - U lupu d'Asprumunti 3:35
05. Parlato 0:28
06. Salvatore Macheda - I cunfirenti 4:10
07. Caserta Plutino - U ballu da famigghja Muntalbanu 2:09
08. Parlato 0:19
09. [unknown] - Non su' lupu 2:53
10. Franco Caruso - U commissariu 4:26
11. Parlato 0:12
12. El Domingo - Omertá 3:32
13. F. Cimbalo - Cu sgarra paga 3:18
14. El Domingo - Appartegnu all'onorata 3:45
15. Tobia Latella - Cantu all'Aspromonte 3:19
16. Fred Scotti - Tarantella guappa 2:24
17. El Domingo - Ergastulanu 4:04
18. El Domingo - I cacciaturi i Muntaltu 4:50
19. Parlato 0:47
20. Salvatore Macheda - A 'mbasciata 2:50
21. Parlato 0:15
22. Natino - Mafia leggi d'onuri 3:10
23. Diego Barbaro - Addiu 'ndrangheta 3:27
24. Fred Scotti - Canto di carcerato 6:07

The album's title (translation: ''Music of the Mafia: Songs of a Life of Crime'') and the words to its songs. First released in Europe in 2000, where it was praised and condemned, the disc compiles centuries-old songs about the gangsters of Italy's Calabria region. The somewhat mysterious recordings are undated, and one of the singers is said to have been killed in 1971 for romancing a don's love. In straightforward fashion, the tracks spell out the basics of Mob life: honoring the brotherhood, opting for jail instead of ratting on your friends, and hunting down stoolies who've disobeyed those rules (''First, traitor, I'll slash your face and watch you die,'' sings one Fred Scotti in ''Tarantella guappa''). The tracks aren't denunciations but blunt warnings: If you betray, you pay.In that regard, it's difficult to kick back and enjoy the music à la ''Buena Vista Social Club'' -- and not simply because the nearly two dozen songs grow repetitive rather quickly. The producers claim the disc doesn't romanticize the pre-''Godfather'' Mafia, even with lyrics like ''the sawn-off shotgun sings,'' but the music is so lilting and pleasant that the album starts to feel like a collection of ancient Italian courtship ballads. ''La Musica Della Mafia'' puts a disturbingly sensitive face on old-school mobsters; here, they're just a bunch of smooth criminals.
~ Internet Source.
Read more:

Download Links:

...and also...
V.A. - La Musica Della Mafia Vol. I - Il Canto Di Malavita (2000).rar (152.44

Tuesday, June 15, 2010

Sundome & The Night - Reverend Ripov’s Media Meltown (Ger 1994)

Sundome and the Night - Reverend Ripov's Media Meltdown (Ger 1994)

Formed: 1986, Coesfeld, Nordrhein-Westfalen, Germany

* Michael Wegmann (bass),
* Uwe Feldhaus (vocals),
* Ralf Venker (drums, 1988),
* Pete 9 (drums, percussion),
* Uli "UC" Kuhlmann (organ, piano, guitar, accordion),
* Christian "Chris" Peirick (guitar, mandolin, bouzouki, percussion, sound effects, vocals),
* Rainer Holscher (vocals, 1988),
* Dr. M (piano, bass, sitar, tablas, percussion, sound effects, 1993-94)

A1. The Railer
A2. River
A3. Snow
B1. Deep Inside
B2. Rain B3. Fall

Neo-psychedelic with grunge and garage elements. Guitar-dominated and good. Influenced by The Doors, Litter, REM and Green on Red. Doesn’t fit well with the style of the other releases on this label. Playing neo-psychedelic, the band formed in Coesfeld in 1986, is a bit beyond the scope of this label. So far they released a single ("I ran for you" / "So the good will last") in 1991, a mini album ("Details of possession") in 1988, an album ("Reverend Ripov’s media meltdown") in 1994 and in 1993 the CD "In lean hours".
~ Internet Source.
One of the best neopsych-folk albums during the last 20 years according to my oppinion. This is their third album (actually a mini LP) with six fine songs from this obscure German psych group. Their most known album was their second on Garden Of Delights label in 1993 but this is by far better than everything they did.Neo-psychedelic with grunge and garage elements. Guitar-dominated and good. Influenced by The Doors, Litter, REM and Green on Red. Doesn’t fit well with the style of the other releases on this label. Playing neo-psychedelic, the band formed in Coesfeld in 1986, is a bit beyond the scope of this label. So far they released a single ("I ran for you" / "So the good will last") in 1991, a mini album ("Details of possession") in 1988, an album ("Reverend Ripov’s media meltdown") in 1994 and in 1993 the CD "In lean hours".
~ From Garden Of Delights.

Download Links:

...and also...
Sundome & The Night - Reverend Ripov’s Media Meltown (Ger 1994).rar (65.49

Sunday, June 13, 2010

Tim Hollier - Message To A Harlequin (uk 1968)

Tim Hollier - Message to a Harlequin (uk 1968)

Born: 1947, Brighton, East Sussex, United Kingdom
Currently: Seascale, Cumbria, United Kingdom
Also Known As: Timothy Gordon Hollier [birth name]

*John Cameron and (not credited on the original Lp)
*Gerry Conway,
*Herbie Flowers,
*David & Jonathan

Songs credits:
All songs by: Tim Hollier and Rory Fellowes

Recordings credits:
*Produced by: Ray Singer
*Arranged and conducted by: John Cameron
*Engineer: John Mackswith

A1. Message to a Harlequin 4:04
A2. Bird of Paradise 2:34
A3. Hanne 1:57
A4. Jimmy 2:11
A5. Do You Remember When 2:06
A6. Streets of Gold 2:41
B1. And Where Were You That Morning, Mr. Carrol 3:31
B2. Full Fathoms Five 3:11
B3. And I 1:51
B4. In the Light of Sadness 3:43
B5. In Silence 3:09

Tim Hollier was one of the most unfairly neglected of folk-based artists to come out of late-'60s England, his brand of trippy, quietly elegant psychedelic folk-rock deserving an infinitely wider hearing than it got -- not that he ultimately did badly in music, but he deserved better earlier. Born in Brighton in 1947, Hollier was raised in West Cumberland, and at age 13 formed his first group, the Meteors, with a group of friends from school. He attended art college and played as part of a folk duo called the Sovereigns in the mid-'60s. He later moved to London to study graphic design, and got involved in the folk scene there, seeing some limited success as an opening act for such well-known figures as blues songstress Jo Ann Kelly and visiting American Paul Simon.
An introduction to Simon Napier-Bell -- a music figure best remembered today as the man who inherited the Yardbirds' management from Giorgio Gomelsky -- got Hollier to the next phase of his career, a proper recording contract. Napier-Bell got Hollier signed with United Artists Records' U.K. division, a much more adventurous outfit than its American parent company. Where the latter was still relying on soundtracks and recording Jay & the Americans, the U.K. United Artists outfit was downright experimental, cutting psychedelic sides by Del Shannon; it wouldn't be long before they'd sign up Brinsley Schwarz and the Flamin' Groovies. It was at UA that Hollier recorded his first album, Message to a Harlequin, in mid-1968; released in October of that year, it was a tremendous showcase for Hollier's excellent voice and challenging, psychedelic-flavored songs, elaborately produced and reminiscent in many ways of the first two albums by Duncan Browne.
The album -- although not especially successful in England -- even managed to get a U.S. release on the company's Imperial Records imprint. Hollier made slow progress in finding an audience over the ensuing year, playing on some of his UA labelmate Peter Sarstedt's records and getting some exposure on the BBC, and also collaborating on stage and record with American songwriter Amory Kane. He left UA in 1969 and signed with Fontana Records, which issued his self-titled, self-produced second album in the summer of 1970. It failed to sell, and a year later a similar fate befell his third album, Sky Sail, released on Philips. By 1973, he'd shifted gears somewhat in his career, and went into the production end, forming his own label, called Songwriters Workshop -- among those who signed up was Peter Sarstedt.
By the 1980s, Hollier had moved into music publishing, and later went into movie financing -- his company, Filmtrax, not only scored movies, but also helped produce such pictures as Withnailand I (which, ironically, dealt with the closing days of the 1960s, the period in which Hollier had the bad fortune to start his recording career). In the decades since, he has remained a major figure in the field of music copyrights amid the boom in new technologies and media.
~ Bruce Eder, All Music Guide


Download Links:

...and also...
Tim Hollier - Message To A Harlequin (uk 1968).rar (42.11 MB)

Wednesday, June 9, 2010

De Maskers - Sensations in Sound! (Hol 1966)

De Maskers - Sensations in Sound! (Hol 1966)

Formed: October 1965, Amsterdam, Noord-Holland, Netherlands

* Jan de Hont (guitar, vocals, 1965-68, 1985-86, 2000-present),
* Jaap de Groot (guitar, 1965-67, 2000-present),
* Ador Otting (organ, vocals, 1965-69, 1985-86),
* Hans de Hont (bass, 1965-69, 2000-present),
* Alewijn Dekker (drums, 1965-67),
* Frans Smit (drums, 1967-69),
* Adrie de Hont (guitar, 1968-69, 1985-86),
* Johan Donkerkaat [aka Johnny Kendall] (vocals, 1969),
* Frans Hendriks (drums, 1985),
* Erik Mooijman (guitar, vocals, 1985-86, 2000-present),
* Hennie Haagsma (drums, 1985-86),
* Ron Bijtelaar (rhythm guitar, 2004-08),
* Freddy Lusken,
* Peter Mulder.

Related Artists:
Breakaway, Chubby Checker & De Maskers, Dimitri, Ginger Ale, The Hunters, Johnny Kendall & The Heralds, The Marquees, ZZ & De Maskers.

A1. As Long as I Have You 2:47
A2. Master of War 3:32
A3. Living in the Past 2:43
A4. Angelique 3:31
A5. Play the Game Now 2:52
A6. Three's a Crowd 3:03
B1. Baby Blue 3:17
B2. Love Passed By 3:09
B3. Danny Boy 3:21
B4. Hodge Podge 2:53
B5. What Price Fame 3:00
B6. Kashbah 2:24
B7. Turn of the Tide 3:37

Profile: Dutch beat group, established 1965 in Amsterdam.
The Maskers from Amsterdam came together in 1962, formed by ex-members of the Apron Strings. Under guidance of Z.Z. (Bob Bouber, real name Boris Blom) they began a Screaming Lord Sutch-like act with masks, gruesome noises and a light-show, that brought more darkness than light. In that early period, Trix Boelen (to Trix & Paramounts) also sang, as did Z.Z. Bob Bouber had been an actor and founded the "Akademie voor Kleinkunst". With their show and their instrumental prowess, the group became succesfull all over Europe, which resulted in countless foreign tours. In 1965, Bob Bouber retired from the Maskers. He became the brain behind Het (see there) and touring abroad. His backing group in 1968 comprised: Axel van Duin (b, ex-Gin Fizz, to the Belgian Pebbles), Henk Engelgeer (o,p, ex-John Breughel Four & Gin Fizz), Wijnand Blok (g, ex-Paul van Vliet), and Willem Voorhaar (dr, ex-Gin Fizz, to Johnny Kendall). The Maskers kept on working till 1969, although now they focused more on rhythm & blues. Line-up: Jan de Hont (g, ex-Apron Strings, to Anno Nu, in 1968 replaced by his brother Adri de Hont, ex-Pocomania, to Johnny Kendall), Hans de Hont (b, ex-Apron Strings, to Johnny Kendall), Erik Boom (g, in 1963 replaced by Jaap de Groot, solo as D.J. King & Mike Rondell), Ador Otting (o,p,v,h,b, to Anno Nu) and drummers: respectively, Henny van Pinksteren (ex-Apron Strings, to Beat Buddies, 'til 1963), Pierre van der Linden (ex-Johnny & Cellarrockers and Mystics, to Don Mercedes, 1963 til 1964) and Alewijn Dekker (1964 til 1969). Also, Tony Leroy (g, to Met & Zonder) has played for a short while with the group.
~ by:

Other infos in Dutch language:
The Maskers also ZZ & The Maskers.

Download Links:

...and also...
De Maskers - Sensations In Sound (Hol 1966).rar (73.79 MB)


Tuesday, June 8, 2010

Dorothy Carter - Waillee Waillee (us 1978)

Dorothy Carter - Waillee, Waillee (us 1978, Celeste)

Born: 1935, New York, NY, United States
Died: June 07, 2003 // New Orleans, LA, United States

Member of: Mediæval Bæbes

Genres: Contemporary Folk, Free Folk

01. The Squirrel Is A Funny Thing...
02. Dulcimer Medley- Robin M'aime
03. Along The River
04. Summer Rhapsody
05. Waillee,Waillee
06. Celtic Medley
07. Autumn Song
08. Tree Of Life

I am not a piece of misanthropic record collecting scum. As much as I enjoy envisioning an alternative reality where my floorboards creek beneath the weight of 10,000 pieces of a moving man's worst nightmare, the truth is I am a man of modest means and limited square footage. Having said that, I treasure and worship my LP army and try to draft new members into the ranks as often as possible. Like many other music fanatics with questionable priorities who live in large cities, I belong to one of the most detested and deplorable sub-cultures known to modern man: Record store employees. Cursed with an insatiable hunger for jams of all varieties and a convoluted inferiority complex that develops during a most-likely sexless high school experience, these self appointed bastions of cultural import constitute the majority of my social network for better or worse. Relationships with fellow pushers follow a very familiar arc; beginning with the age-old dance of oneupmanship and eventually plateauing with a spirit of reluctant camaraderie and, for those not too far gone, friendship. If it wasn't for the adversarial nature between the members of this geek tribe, this blog and countless others wouldn't exist and I might have a girlfriend. Let this be a warning to fledgling collectors of the obsolete, original pressings of SBB records won't get you laid.
So, in keeping with the unwritten code of mutually assured destruction between record fiends, I am able to share with you a sweet slice of private press psych folk weirdness from 1978. On loan from the amazingly curated collection of Tropicalia In Furs Dorothy Carter's Waillee Waillee LP on Celeste Records is a startlingly beautiful and weird collection of traditional folk songs and blissed out drones . Carter draws heavily from American and Celtic traditions and utilizes an interesting array of stringed instruments including hammered dulcimer, cello, tamboura, piano, and flute to craft ethereal hymns to nature. The LP's lysergic qualities stem from the confluence of the hypnotic arrangements and Carter's perfectly hazy vocals rather than cheap studio trickery. The record is perfectly sequenced, balancing the haunting narrative pieces and the wood smoked Terry Riley by way of Appalachia instrumentals.
~ Posted by Jeff.

Download Links:

Sunday, June 6, 2010

Dorothy Carter - Troubador (us 1976)

Dorothy Carter - Troubadour (us 1976)

Born: 1935, New York, NY, United States
Died: June 07, 2003 // New Orleans, LA, United States

Member of: Mediæval Bæbes

Genres: Contemporary Folk, Free Folk

A1. Troubadour Song (French Medieval)
A2. Binnorie (Scottish Melody)
A3. Troubadour Songs on the Psaltery
A4. Make a Joyful Sound (100th Psalm)
A5. Lark in the Morning
A6. Balinderry (Old Irish Melodies)
A7. Tree of Life (Essene Hymn)
B1. Visiting Song
B2. The King of Glory (Israeli Melody)
B3. The Morning Star (Praetorious-16th Century English)
B4. Ukrainian Carol
B5. The Cuckoo (Appalachian Folk Song)
B6. Masquerade
B7. Shirt of Lace (Appalachian)

Ah, the mediaeval. I've tought myself not to get to dreamy and romantic about it, and to remember that it was the time of plague, torture, poor hygiene and infinite stupidity, and not of beautiful melancholic ladies sitting in tall towers, brave warriors and fairytales. But this music shatters all reasonable attempts and I find myself wondering in 14th century German forest, looking for a dungeon, where some evil wizzard holds Marrisa Nadler captive. Damn. Plus I instantly remember Edinburgh - music like this always plays in souvenier shops there. You walk by a tiny house all filled with helmets, swords and postcards with castles on them, and music like this srikes with it's simple and natural beauty. The salesman is, of course, a redhead with a beard, he laughs as he talks to two pretty japaneese girls, and you understand that torture and poor hygiene are things of the past, while beauty is eternal.
~ by lone_hunter (RYM).
Now as for this excellent record, Dorothy Carter was (she passed away in 2003) primarily a hammered dulcimer player (although she also sings and plays flute on this record). She was a founding member of the Mediaeval Baebes & also performed on records as diverse as Sun Electric's Via Nostra & the Serious Solid Swineheard is Better Than Homecooked Clapham Junction album. This record is a beautiful collection of folk melodies from diverse times and places performed on dulcimer, psalter &/or flute (by Carter) and accompanied by Sally Hilmer on tamboura & Connie Demby of Ch'in. Carter also sings on a couple numbers. The accompaniment adds a nice Eastern vibe that will strengthen the appeal to fans of acid folk.
Her album Lonesome Dove is available from the Mediaeval Baebes web site. There was also a 1978 album called Waillee, Waillee and a CD entitled Dorothy Carter, 2003. I haven't heard any of those but based on the strength of this thrift store find I plan on tracking down copies.
I ripped this from vinyl and cleaned up most of the clicks and pops--only a couple large ones remain--and I think it sounds pretty good. Its encoded at a high quality variable bit rate using LAME encoding.
~ by Max.
Dorothy Carter was a very talented folk musician, born in the late 30s(i think 1937 ) and sadly died in 2003.Playing hammered dulcimer and psaltery and some flutes she is creating excellent contemporary folk with much medieval elements .But in my opinion what is outstanding is her voice,that gives in all the otherwise traditional folk songs a very weird feeling that sometimes touches the weirdness found in Comus recordings!This is her first LP .IMHO highly recommented to fans of folk/acid folk music.
~ by mutantsounds.
Born in New York City in 1935, “Miss Dorothy” began studying classical piano at age 6; she studied at Bard College in New York, the London Royal Academy and Guildhall School of Music in France. She is survived by a son and daughter, Justin and Celeste Carter of New Orleans, and a grandson, Damien Carter. Along with her recording career with the Mediaeval Baebes, she recently released a CD, titled “Dorothy Carter, 2003” and has also produced two albums, “Troubadour” and “Waillee Waillee”.
Dorothy performed at concert halls, music festivals and coffee houses worldwide playing unusual stringed instruments such as dulcimer, zither, psaltery and Hurdy-Gurdy. She co-founded the Mediaeval Baebes eight years ago after meeting Katharine Blake in Germany on the Cabaret circuit.
~ Internet Source.

Download Links:

...and also...
Dorothy Carter - Troubador (us 1976).rar (70.95 MB)

Wednesday, June 2, 2010

Nick Castro & the Poison Tree - Further From Grace (us 2005)

Nick Castro & The Poison Tree - Further From Grace (us 2005)

Formed: CA, United States

* Nick Castro (voice, piano, organ, guitar, miywiz, whistles),
* Otto Hauser (drums, percussion, dumbek, trap-kit),
* Helena Espvall (flute, cello, percussion),
* Chris Smith (bass),
* Adam Hershberger (flugelhorn),
* Meg Baird (lap dulcimer),
* Josephine Foster (voice).

Related Artists:
Nick Castro & The Young Elders, Espers

01. Sun Song (4:09)
02. To This Earth (3:29)
03. Unborn Child (3:40)
04. Won't You Sing To Me (4:26)
05. Waltz for a Little Bird (4:18)
06. Guilford (5:13)
07. Music for Mijwiz (2:42)
08. Deep Deep Sea (8:09)
09. Walk Like a Whisper (4:29)

- Producer: Nick Castro
- Distributor: NAIL Distribution
- Recording type: Studio
- Recording mode: Stereo
- SPAR Code: n/a
- Audio Mixer: Brian McTear.
- Recording information: Miner Street Studios.

On his second album, Nick Castro works with a slightly ad hoc band, the Poison Tree, drawing on similarly Pennsylvania-based 21st century acoustic/psych performers such as folks from Espers. It's a fine pairing, resulting in an album very much in the vein of performers old and new such as the Incredible String Band in its quieter moods and Stone Breath at its most gothed out. As many musicians are now actively exploring this vein, though, it's all the more important to stand out from the field. Castro's singing voice is in ways his calling card. His songs are enjoyable if not surprising interpretations of the form, so it's the clear, crisp rasp in his singing -- a bit Nick Drake on songs like "Guilford" but not overly indebted -- that often lends a slight edge to the compositions, less a medieval minstrel, say, than a reflective veteran from some strange conflict. While musically acoustic guitar unsurprisingly forms the basis of the arrangements, it's Castro's work on whistles (and on "Music for Mijwiz" that particular wind instrument), Adam Hershberger's on flügelhorn, and Helena Espvall's on flute that actually proves the most distinct element, establishing a continuity song for song and making Further From Grace seem that much more of a unified piece. When set aside from the gentle variations in the songs -- the queasy, slightly tripped-out guitars on "Unborn Child," the self-descriptive instrumental "Waltz for a Little Bird" (with jaunty piano from Castro) -- the results can be quite enjoyable. The murky, haunting extended coda of treated voices and improvised flute on the opening "Sun Song" gets contrasted against the slightly commanding tone of Castro's voice, each standing out all the more. If Castro's not as dramatic as, say, Brendan Perry from Dead Can Dance, he doesn't need to be, finding the right balance between close, almost tactile recordings -- the instruments seem to be sitting right there next to you, such is the quality of the engineering -- and a mysterious, removed resolve.
~ Ned Raggett.
Beaming warmly from the underground enclaves of Los Angeles, CA like a lambent ray of soft sunlight, the music of Nick Castro is breathing fresh life and pristine wonderment into an old sound. Castro released a beguiling album called A Spy in the House of God in 2004 on his own imprint Records of Ghaud, and it caused quite a stir in the new acid folk circles. Imagine a melding of More-era Pink Floyd, Syd Barrett solo and a touch of Incredible String Band with modern fractured folk sound weavers like the Tower Recordings and maybe you are in the right sphere. For his follow up, Castro has assembled a cast of players calling themselves The Poison Tree, boasting amongst its ranks underground folk icons Josephine Foster and members of Espers. It is a heavenly match as evidenced on Further From Grace, a simply mystical sophomore effort illustrating with a feathery wallop that Castro is a major voice amongst the new insurgence of THC troubadours.
Further From Grace bewitches with an intoxicating mood sustained throughout. Instrumentation is lush and exotic, but in the hands of Nick Castro and The Poison Tree, otherwise disparate implements such as flugelhorn, lap dulcimer and mijwiz are deftly melded into a pan-cultural elixir comprised of American and British folk traditions, classical balladry and Middle Eastern. Masterful songwriting, ornamented by Castro's ardent vocals and dreamlike lyrics, are relieved by hypnotic and utterly stoned instrumental passages. Opening with "Sun Song", ripe with visions of Castro's native California as filtered through a heavy-lidded hashish haze, Further From Grace weaves along through song after striking song, melody after beautiful melody. Instrumental excursions like "Music for Mijiwiz" kick up acoustic mini-ragas along the way, until the whole journey cascades into the shimmering, hum-along outro of "Walk Like a Whisper".
Induced by flourishes of psychedelic 60's folk bards like Tom Rapp (Pearls Before Swine) and Bert Jansch, laced with flashes of Amon Düül-like acoustic communal atmosphere (circa Paradieswärts Düül), Further From Grace is a graceful tab of Nick Castro's own heady universe, an acid-folk masterpiece advancing today's sound into sparkling new frontiers.
~ Internet Source.

More on Nick HERE:

...And don't forget!!!!
Tyme-Machine suggests that you delete the audio files you downloaded in 24 hours and buy the album here: and here: or here: and here: or in every shop you like!!!

Download Links:

...and also...
Nick Castro & The Poison Tree - Further From Grace (us 2005).rar (55.18 MB)