Thursday, November 10, 2011

Harbinger - Second Coming (us 1970)

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

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

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

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

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Harbinger - Second Coming (us 1970)


Sunday, October 30, 2011

Landberk - Lonely Land (Swe 1992b)

Landberk - Lonely Land (Sweden 1992, Progressive Rock)

Formed: Sweden

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

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

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

Unlike previous efforts to 'do an English version' (PFM, Kraftwerk), Lonely Land works very well indeed, with Dimle and Nordberg's lyrics translating well, assuming they are straight translations; some of the titles certainly are. Aside from the slightly brighter sound, the album is very similar to Riktigt Äkta, to be honest, although the English lyrics put a different slant on the material for the English-speaker. The other chief difference between the two versions is the excellent cover of T2's No More White Horses, complete with the Mellotron missing from the original. The bonus track on the Riktigt Äkta CD, Tillbaka (a cover, apparently, though I don't know of whom), hasn't been re-recorded, so you really need both of these.
 ~ internet source.
The first Landberk album for me has great significance for a 'cover song'. Track 5 "No More White Horses" is a cover of Peter Dunton's song which was recorded by T2 in 1970 (Original (Short) version by Please in 1968). Not that this is the only song of note on this album.
On the debut album "Lonely Land" these guys almost openly recreate the sound of the '70s, actively and effectively using such famous (and popular) keyboard instrument as Mellotron (The Keeper of the string samples). A lot of acoustic piano, and some songs feature even accordion.
Cold, Northern music with slow dramatic themes and quite complex arrangements slightly influenced by such bands as Van Der Graaf and PFM. Keyboards play a prominent role here, though often you can hear excellent sad guitar solos.
If you haven't heard the T2 "It'll All Work Out In Boomland" version and want to - Check out the post on this blog (if the link is down I will post it again for you) it has blistering Guitar work from the (then 17 year old) Keith Cross.
Please note this is the English version of "Riktigt Akta" which is their Swedish first album in 1992.
The music here is pretty simple (especially harmonically speaking), it creates a nice, melancholy mood using mellotron, flute, and guitar to good effect. Vocals for the most part are quite laid-back, fitting the slow, plodding mood of the disc. Guitar solos form the only real breaks from the broodingness of the music, and even those are somewhat cold: either chilly acoustic work (a la Robert Fripp's acoustic runs in "Cirkus" from Lizard) or a dirty, tortured tone from the electric guitar. Few specific influences come to mind, though there are definite similarities to early King Crimson, certain Anglagard passages (it's worth noting, though, that Riktigt Akta was released before any Anglagard albums), quieter Anekdoten pieces, and perhaps the more mellow compositions out of 1970s Italy. While I am told that later albums by this band begin to steer closer to pop-prog territory, this is a worthy release for fans of Scandinavian prog that don't mind a lack of harmonic activity.
 ~ by ZaXXoN.
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Landberk - Lonely Land (Swe 1992b).rar (114.82 MB)

Saturday, October 29, 2011

Landberk - Riktigt Äkta (Swe 1992a)

Landberk - Riktigt äkta (Swe 1992a)

Formed: Sweden

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

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

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

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

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

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Landberk - Riktigt Akta (Swe 1992a).rar (103.59 MB)

Monday, October 17, 2011

Storyteller - More Pages (uk 1971)

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

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

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

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

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

Around 1969, Caroline Attard moved to a new band that was being formed, Storyteller:
Their first album, Storyteller was produced by Andy Bown and Peter Frampton.
After the 1st album, Rod Clark leaves Storyteller, being substituted by Chris Belshaw:
Their 2nd album, More pages, was produced by Andy Bown alone. It contains the contribution of Henry Spinetti on drums who was to join the band, and Harold Beckett on trumpet and flugelhorn.
Now with Henry Spinetti, this is the new lineup in 1971:
But the band finally parted ways in that same year 1971.
Around that time, Caroline married to Andy Bown, and she became Carolyn Bown.
 ~ by

Special thanks to my RYM friend, ZenBa!

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Storyteller - More Pages (uk 1971, Transatlantic Records).rar (70.91 MB)

Monday, October 10, 2011

Tangerine - De L'Autre Côté De La Forêt (Fra 1975, folk)

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

Genre: Folk Rock

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

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

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

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

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

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

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

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

Friday, October 7, 2011

October Country - October Country (us 1968)

October Country - October Country (us 1968)
Formed: 1967,    Los Angeles, CA, United States
Disbanded: 1968 // 

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

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

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

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

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October Country - October Country (us 1968, CD).rar (96.71 MB)

Monday, September 26, 2011

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

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

Formed: 2001,   Gothenburg, Sweden

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

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

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

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

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Monday, September 19, 2011

Teina - Touched By The Sun (us 1969)

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

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

- Neil Schwartz (Engineer)

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

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

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Sunday, September 11, 2011

Montreal - A summer's Night (Can 1970)

Montreal - A Summer's Night (Can 1970)

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

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

- Genre: Psychedelic Rock

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

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

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Tuesday, September 6, 2011

The Wild Poppies - Heroine (New Zealand 1987)

The Wild Poppies - Heroine (New Zealand 1987)

Formed: New Zealand

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

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

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

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

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The Wild Poppies - Heroine (New Zealand 1987).rar (70.35 MB)

Sunday, August 28, 2011

Pipe Dream - Pipe Dream (uk 1978)

Pipe Dream - Pipe Dream  (uk 1978) 

Formed: 1977,   Ashford, Kent, United Kingdom
Disbanded: 1978 //

* Paul Skingley  (bass, lead vocals),
* Alan Cork (guitar),
* Vern Mills (guitar, 1977-78),
* John Buckingham (keyboards, harmony vocals),
* Keith Baker (drums).

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

Related Artists: Lusyd

Listen to Pipe Dream's unreleased rare bootleg recordings!

01. Mr Bright Eyes - 3:24 LYRICS by Paul Skingley
02. You Dont Know - 13:27 LYRICS by Paul Skingley
03. Fools Last Stand - 5:52 LYRICS by Paul Skingley
04. I Was a Winner - 11:07 LYRICS by Paul Skingley
Bonus Track:
05. Pipe Dream - 9:35 LYRICS by Paul Skingley (Recorded live at a practice)

Pipe Dream was formed in 1977 and mainly came from Ashford in Kent. John Buckingham and Alan Cork had previously played together in the band Orpheus. John played keyboards this time and a bit of bass so that Paul could just sing on a couple of numbers.
Pipe Dream were originally a five piece band with two guitarists, unfortunately excellent guitarist and great friend Vern Mills left the band just before recording this demo.
All the following songs were co-written by Pipe Dream but the lyrics were written by Paul Skingley. They were Recorded live apart from the vocals in one afternoon at John's place at 6 Boys Hall Road, Willesborough, Ashford, Kent sometime during the summer of 1978.
Rate Your have ranked Pipe Dream 12th for top bootlegs/unauthorized albums from 1978.
These recordings are probably 3rd generation but they are still generating a lot of interest.....
John last played keyboards in the band Lusyd with his son and sister. Three of these Pipe Dream songs have been recently covered by Lusyd plus the title song Pipe Dream that never made it onto the Pipe Dream demo.
John sends a special thanks to recording engineer Steve for providing the fantastic Wurlitzer electric piano and to Roland for the best hand's-on synth they have ever produced, the ultra cool System 100 - 101.


Thursday, July 14, 2011

MH - Black Animal (us 2011)

MH - Black Animal (us 2011)

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

tags: experimental folk Chicago

You can contact or order a copy here:

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

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

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

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MH - Black Animal (us 2011).rar (99.06 MB)

Saturday, July 9, 2011

Marc Jonson - Years (us 1972)

Marc Jonson - Years (us 1972)

Born:  NY, United States

Currently:    Nashville, TN, United States

Also Known As: Mark Johnson

Genres: Singer/Songwriter, Baroque Pop

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

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

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Thursday, June 30, 2011

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

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

Formed: 1972, United Kingdom

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

Related Artists: Mark-Almond, Nucleus, Blue Whale

Genres: Progressive Rock

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

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

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

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Tuesday, June 28, 2011

Farm - Farm (us 1971)

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

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

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

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

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

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

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Sunday, June 12, 2011

V.A. - Freakout U.S.A. (1967)

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

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

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

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

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Saturday, June 11, 2011

The Summer Sounds - Up Bown (us 1969)

The Summer Sounds - Up Down (us 1969)

Formed:  North Dartmouth, MA, United States

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

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

Download Links:
The Summer Sounds - Up Bown (us 1969).rar

...and also...

...and also...
The Summer Sounds - Up Bown (us 1969).rar (61.17 MB)

Saturday, June 4, 2011

Nino Ferrer - Nino And Radiah (Fra 1974)

Nino Ferrer - Nino and Radiah (Fra 1974)

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

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

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

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

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

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

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

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

Download Links:
Normal version :
Shorter version :

...and also...

...and also...
Nino Ferrer - Nino And Radiah Et Le Sud (Fra 1974).rar (98.86 MB)