Thursday, December 27, 2012

Square Root of Nine - Square Root of Nine (us 1969)

Square Root of Nine - Square Root of Nine (us 1969, Private Pressing/No Label)

Rare private MI moody folk psych.
Pac Three - PA 88206 yellow labels with black print - matrix PA 882062  GB
Features future Takoma solo artist Rick Ruskin on lead guitar.

01. Down-Cast Emerald Eyes
02. Early Morning Rain
03. A Kind Of Love
04. Pussywillows, Cat-Tails
05. House Of The Rising Sun
06. Get Together
07. Rider
08. Foolin Around (Summer Time)
09. Rolling Home
10. Maria

Rare Michigan private press folk LP out of Westland. Great dark moody basement folk boom sound heavily influenced by Gordon Lightfoot recorded at Pac Three, which was a garage style recording studio. Features a phenomenally eccentric cover of "House Of The Rising Sun" which alone makes the LP worth checking out. Pressed on no label in an edition of 500 copies, although, according to the band, numerous copies were ruined in a flood.

A copy sold at ebay (Dec 22, 2012) for US $315.00!

Download Links:
Square Root of Nine - Square Root of Nine (us 1969).rar


Monday, December 3, 2012

Ergo Sum - Mexico (Fra 1971)

Ergo Sum - Mexico (Fra 1971)

Formed: 1968,    Aix-en-Provence, Provence-Alpes-Côte d'Azur, France
Disbanded: 1972 // 

* Lionel Ledissez (vocals, percussion, sleigh bells),
* Jean Guerin (flute, electric piano, piano, Rhodes, Hammond organ, whistling),
* Michel Leonardi (electric guitar, acoustic guitar, vocals, 1968-71),
* Roland Meynet (violin, electric violin, acoustic guitar),
* Max Touat (bass, double bass, acoustic guitar, 1968-71),
* B.B. Brutus (drums, congas, maracas, percussion),
* Marc Perru (guitar, xylophone, 1971-72),
* Edouard Magnani (bass, 1971-72)

Related Artists: Cruciferius, Nemo, Cochran's

Also Known As: Lemon Pies

Genres: Progressive Rock

01. Night Road 3:07
02. Unparalleled Embrace 2:50
03. John's Nightmare 3:58
04. Faces 6:33
05. Second Rebirth 4:15
06. Mexico 3:36
07. I Know Your Mother 8:57
08. Albion Impressions 4:57
09. Lydie 1:00
10. All's So Comic (Bonus Track) 6:07
11. Tijuana (Bonus Track) 3:47
12. It's Me (Bonus Track) 2:07
13. Mexico (Instrumental) (Bonus Track) 0:54

Tracks 1-10 et 13 (enregistred on August-September 1970):
- Lionel Ledissez / vocals, percussion, sleigh bells
- Jean Guérin / flute, Wurlitzer, Steinway, Rhodes piano, Hammond organ, whistling (1)
- Michel Leonardi / electric & acoustic guitar, vocals (3)
- Roland Meynet / violin, acoustic guitar (4)
- Max Touat / bass, acoustic guitar (6 & 7), double-bass (4)
- B.B. Brutus / drums, congas, maracas, percussion
- Laurent Thibault as " El Tibo " / acoustic rhythm guitar
- Dominique Blanc-Francart / moog (5)
Tracks 11 et 12 (enregistred on january 1972):
Lionel Ledissez, Jean Guérin, B.B. Brutus, Roland Meynet & Marc Perru / guitar, xylophone
- Edouard Magnani / bass
- Unknown musician / percussion

This important group, first known as Lemon Pie, was formed by Ledissez and Guerin in 1968. Their innovative blend of rock, jazz and other ingredients characteristically failed to attract French record companies, until Laurent Thibault recognised them as being really impressive in early 1971. At that time he was just about to launch his own label Thйlиme (distributed by Barclay) and offered the band recording time in the legendary Chateau d'Herrouville studio (whose famous clients have ranged from Elton John to Jethro Tull and Pink Floyd). Mexico (because Ledissez had lived there), became Thйlиme's first release, setting high standards from the outset. Ergo Sum had a really refined and tasteful sound with Ledissez's broken voice (reminiscent of Roger Chapman from Family and Alvarro Fella of Jumbo), Meynet's violin (quite similar to Dave Arbus of East Of Eden) and Guerin's chilling electric piano as their main forces.
This was not 'progressive' in the sense of 'endless instrumentais', rather more like Traffic's song-based approximation (on their second album), characterised by impeccable musicianship and songwriting. Ergo Sum used English lyrics, which was most common before Ange strengthened bands' confidence in using French. The album Mexico is a classic and still a refreshing experience to hear today.
Regretably the group only just survived into 1972, with Marc Perru (ex-Cruciferius) and Edouard Magnani replacing Leonardi and Touat. This line-up recorded a last single ('Tijuana"). Their last live engagement was performed by a different configuration, including Francois Breant (also ex-Cruciferius), Jean-My Truong (pre-Zao) and Marc Bertaux. Breant and Perru then formed a new group named Nemo.
 ~ by: Scented Gardens of the Mind.
Download Link:
Ergo Sum - Mexico (Fra 1971).rar (86.54 MB)


Saturday, November 24, 2012

Dransfield - The Fiddler's Dream (uk 1976)

Dransfield - The Fiddler's Dream (uk 1976)

Formed: 1974,    United Kingdom
Disbanded: 1976 // 

* Barry Dransfield (vocals, electric fiddle, fiddle, [electric] dulcimer, cello, guitar, zither),
* Robin Dransfield (vocals, guitar),
* Brian Harrison (vocals, bass, organ, piano),
* Charlie Smith (drums, 1976),
* Bob Critchley (drums, 1976).

Related Artists:
The Crimple Mountain Boys, Decameron, Robin and Barry Dransfield, Longdancer, The Marmalade, Morris On.

Also Known As: The Dransfields

A1 Up to Now   
 i. Up to Now   4:15
 ii. The Blacksmith 1   2:45
A2 Losers and Winners   
 i. The Alchemist and the Pedlar   7:30
 ii. It's Dark in Here   4:07
 iii. The Handsome Meadow Boy   6:07
B1 The Fool   
 i. The Fool's Song   3:46
 ii. The Ballad of Dickie Lubber   4:37
B2 The Beginning of the Never Ending   
 i. The Blacksmith 2   2:27
 ii. What Will We Tell Them?   2:30
 iii. Violin   6:38

or else:
01. Up to Now   
02. The Blacksmith (Part 1)   
03. The Alchemist and the Pedlar   
04. It's Dark in Here   
05. The Handsome Meadow Boy   
06. The Fool's Song   
07. The Ballad of Dickie Lubber   
08. The Blacksmith (Part 2)   
09. What Will We Tell Them?   
10. Violin 

In 1976, renowned English folk artists Robin Dransfield and his younger brother, Barry Dransfield, recorded the album ‘The Fiddler's Dream’ under the name Dransfield. As well as Robin & Barry
Dransfield, the band included vocalist/bassist/keyboardist Brian Harrison and drummer Charlie Smith. The album is a classic folk-rock album. In 1977 the band split up.

Hearing this album for the first time, it's easy to see why Steeleye Span declined to tour with the Dransfields -- with all due respect to Maddy Prior and company, they'd have been shown-up and then some, based on the evidence here. From the crisp playing on acoustic and low-wattage electric guitars, and charismatic yet honest and unaffected lead and harmony singing to the diverse song selection -- all part of a defined song cycle -- the album was as perfect an example of electric British folk music as it was released in the '70s, and easily a rival for anything this side of Fairport Convention's best work. The voices and the playing strike a perfect balance between the old traditionalist school out of which the Dransfields came and the newer folk-rock school that they'd only begun to embrace a couple of years earlier, and the album itself also gives a nod to the burgeoning progressive folk-rock genre of the era (best embodied by acts such as Gryphon). The Fiddler's Dream is a folk concept album (though the Dransfields themselves would likely have called it a "song cycle" rather than anything that pretentious).
The material all deals with a fiddler's relationship to and effect on an English village -- and not coincidentally; Barry Dransfield was one of the great fiddle players in England during this period, and he has ample room on this album to show a little of what he's made of, though there's also lots of space for great singing by the two brothers and superb dual guitar work by Barry and older brother Robin. The songs all have a relationship to each other that enhances their impact, and they fit together perfectly in their juxtapositioning, with regard to tempo and mood changes as well as subjects. But the playing and singing, and the music, are all so beautiful, on "The Handsome Meadow Boy," "The Fool's Song," or "The Ballad of Dickie Lubber" -- or pretty much everything here -- that one needn't ever have been within 10,000 miles of an English village to appreciate them. Forget Steeleye Span -- based on this album, these guys could easily have rated a spot touring with Jethro Tull when the latter were playing to 30,000 people at a time. The album has aged exceptionally well, and any of the various reissues out there is worth picking up.
 ~ Bruce Eder.

Download Links:
Dransfield - The Fiddler_s Dream (uk 1976).rar (64.40 MB)

...and also...

Dransfield - The Fiddler's Dream (uk 1976).rar

Sunday, November 11, 2012

Clap - Have You Reached Yet? (us 1972)

Clap - Have You Reached Yet ?  (us 1972, rare garage psychedelia)

Formed: 1972,    Torrance, CA, United States

* Steve Morrison (lead vocals, harp),
* Jim Morrison (bass, guitar, vocals),
* Dave Aurit (lead guitar, saxophone, vocals),
* Keith Till (guitar, vocals),
* Scott Mercier (drums, percussion),
* Les Hurst (drums).

Genres: Psychedelic Rock

Tracks Listing:
01. Out Of The Shadows (3:39)
02. My Imagination (4:02)
03. Middle Of The Road (3:27)
04. Get It While You Can (3:26)
05. Have You Reached Yet? (3:55)
06. Sweet Smell Of Success (4:01)
07. Stop Torturing Me (2:53)
08. Bluff'em All (2:55)
09. Only Just An Act (3:09)
10. Mornin' Thought (3:08)

"Like most followers of rare seventies rock esoterica I first heard about HAVE YOU REACHED YET? via the pages of the now-legendary BOMP fanzine. It was the surf issue if I recall correctly, and editor Greg Shaw, in the course of a pretty positive review, mentioned Clap's ability to mix up what seemed like a healthy late-sixties punk rock attitude with the prevailing hard rock winds of the early-seventies from whence this album came. The album was a charm with the hefty Rolling Stones influences so common of the day being reshaped by a strong Shadows of Knight snarl all filtered through an early seventies heavy metal consciousness giving us...a sound and style that although part and parcel to the stoner seventies mentality had a totally unique and refreshing approach that sounded as if it could stand on its own not only in 1972 but 1966 or even 1987 for that matter. It was teenage rock & roll that continued to sound so long after the entire teen mystique of the sixties and seventies shriveled away, yet it was hard enough for even the most experienced pothead at the supermarket to roll joints to during his coffee break.
     So for you youngsters here's an example of what "do it yourself" rock used to mean when you pretty much had to create your own fun, energies, and lives even from scratch and for your oldsters, now's the time to drag out the boas, the mascara and the nylons and re-live the post-Vietnam era the right way. Of course if you get arrested don't come complain' to me, but then again wouldn't that only add to the overall glam/slam effect so common during those rather peculiar times?"
 ~ (Chris Stigliano).
A definite lost gem amongst the pebbles of the 70's garage rock scene, Clap blends a gritty Exile-era stones flair with the sneer that so many of their garage-punk contemporaries brought to the table. Originally released in '73, Sing Sing Records has dug up this classic proto-punk record and pressed it back to its native format. There are hints of NYC pre-punk moves here but since the band was based in Southern California, the sea and sunshine mellow things out with a heavy dose of smoke and an easy strum. It makes for a unique balance of calm rebellion that should have gotten the band much more attention than they received at the time. Plus, with that mix of pop and sneer the album should appeal to fans of current RSTB faves like King Tuff and The People's Temple. Highly recommended that you pick one up!
 ~ errny-progrockplazerna.

Download Link: - Have You Reached Yet (us 1972_ rare garage psychedelia).rar;

Sunday, September 30, 2012

Maxwells - Maxwell Street (Den 1969)

Maxwells - Maxwell Street [Bonus Tracks], [Remastered] (Den 1969)

Formed 1963,    Værløse, Denmark
Disbanded 1970 // 

* Lasse Lunderskov (electric & acoustic guitar, sitar),
* Even Pedersen (guitar, 1963-66),
* Lars Bisgaard (vocals, percussion),
* Kjell Helki Ipsen (trombone, basstrombone, 1966-70),
* Bent Hessellmann (flute, alto & soprano saxophones, 1966-70),
* Torben Enghoff (tenor saxophone, flute, 1966-70),
* Niels Harrit (piano, organ, flute, 1968-70),
* Jørgen Werner (bass),
* Børge Robert Mortensen (drums, 1966-70)

Producer: Joachim E. Berendt

Related Artists:
The Clan, Dr. Dopo Jam, Kashmir, Midnight Sun, Rainbow Band, Sensory System, Sidewalk
Also Known As: The Dragons

01. Esther (Lasse Lunderskov) - 4:55
02. Free To Be (Niels Harrit, Jørgen Werner) - 5:25
03. Make It Break It (Jørgen Werner/Mike Roy)/Beni Riamba (Bent Hesselmann) - 10:17
04. Maxwell Street (Bent Hesselmann/Lars Bisgaard) - 13:39
05. What's A Smock (Niels Harrit, Joerg M.Behn) - 5:58
06. What Did She Do? (single A-side,1967) (Torgen Enghoff/Lars Bisgaard) - 2:30
07. Flower Powder (single B-side,1967) (Lasse Lunderskov/Lars Bisgaard) - 2:48
08. Memories Of Lorca (single A-side,1968) (Niels Viggo Bentzon) - 3:42
09. Biafra (single B-side,1968) (Niels Viggo Bentzon) - 2:21

Following the release of BLAST FURNACE (LHC 10) and RAINBOW BAND (LHC 18) this is the third CD in the LONG HAIR-series with Danish Progressive music. Bent Hesselmann (Rainbow Band, Midnight Sun)
tells the history of the band:
Maxwells started in 1963 as "The Dragons". The group was formed by Lasse Lunderskov (guitar), Jørgen Werner (electric bass), Børge Mortensen (drums), Even Mark Pedersen (rhythm guitar) and Lars Bisgaard (vocal). They were all, apart from Even, attending the Danish Church School, where they were trained in choral singing and obliged to sing in the Marble Church choir, the church of the royal castle Amalienborg.
The band had a repertoire consisting of cover versions of hits by The Rolling Stones, The Beatles, etc. Their skilful singing earned them a reputation as a pop rock band and as such they played a lot of gigs. In 1965 they changed the group's name to Maxwells and the band turned their direction more and more towards a Motown style adding three horns in 1966: Kjeld Ipsen (trombone), Torben Enghoff (tenor saxophone/flute) and Bent Hesselmann (alto saxophone/flute).Bisgaard and Lunderskov appeared in "The Beggars Opera" at Gladsaxe Theatre and in "Superman" at the "Studenterscenen" late 1966. In 1967 Maxwells performed the first psychedelic show in Denmark: "WE", a collage of scenes and songs at the "Studenterscenen". Svend Εge Mortensen, elder brother of Bψrge the drummer, constructed a whole set of light devices from gramophone motors, old glass prisms and slide projectors for this performance. It was a sensation and from then on the band worked with psychedelic lighting.
The intelligentsia took an interest in the band and contemporary composer Per Nψrgaard used the band members in his opera "The Labyrinth" at The Royal Theatre of Copenhagen. He also composed an original song for the group called "ABCDarian" which was performed in May 1967 when Maxwells had their first TV appearance in a show recorded at the museum of contemporary art, "Louisiana". This was a real breakthrough and was followed by radio coverage and interviews in all the pop magazines. Late in the summer of 1967 their first record, a single including "Flower Powder" by Lasse Lunderskov and Bisgaard and "What Did She Do?" by Torben Enghoff (Sonet 7250), was recorded at the "Rosenberg Studios".
From then on the band started to add compositions by band members to their repertoire. In the following years, between concerts and theatre engagements, the band toured Denmark.
In October 1967 Maxwells supported Frank Zappa's "Mothers of Invention". For these concerts the band had composed a "collage style" set. The set the band put together for these concerts started with a recital of a Dada poem in a sort of acapella unisono singing, slowly developing into a wild climax 40 minutes later. The unique psychedelic lighting, which developed together with the music from a red triangle kept still during the recital to a crescendo of rotating lights turning the crowd into a frenzy! It was an instant success and the audience as well as the critics favoured Maxwells as the best band of the concert, which was a bit unfair to The Mothers, who had played the concert using Maxwells instruments as their equipment was sent to Lapland by mistake.
In December 1967 Niels Harrit (tenor saxophone/ flute/ Wurlitzer piano) joined the band. The band could now change its set-up during performances.
Niels usually played the Wurlitzer, but when playing soul standards like "Pots 'n' Pans", "I Feel Good" etc., he would play tenor sax, while Enghoff would switch to baritone sax, and Hesselmann would either play alto or soprano sax on top of the horn section with Ipsen's trombone on the base line.
In January 1968 Maxwells were hired by the "Montmartre" jazz club to play Monday nights, which they did for longer periods the following year. In August Lasse and Bent wrote and recorded the music for "le Chat Bottι" at "The Little Theatre", the first theatre for children in Denmark.
In September the entire orchestra played as musicians and actors in the first performance of the musical "Hair" at Gladsaxe Theatre adding to the original score with a strip theme by Hesselmann, original music to the song "The Bed" by Lunderskov and a collective "Trip Music".
In October the band started rehearsals with the Danish contemporary composer Niels Viggo Bentzon, followed by concerts and a recording session in November which produced the single "Memories of Lorca/Biafra", both by Bentzon (Additional musicians:Erik Moseholm (contrabass) and Ingolf Olsen (Spanish guitar). Philips PF 355350).
In January 1969 the German jazz critic, Joachim Ernst Behrendt, heard the band in a concert at the Danish Film Academy. He was so enthusiastic about the band, that he signed them to record a session for MPS Saba in Villingen, Germany. This session took place over 4 days in June, with Behrendt as producer. The LP Maxwell Street was released in September same year on MPS15242.
At the end of 1969 two things happened that would later trigger the beginning of the end of Maxwells:
All the band members were attending university. Lasse and Jørgen studying Law, Børge and Svend Εge Medicine, Lars Biology, Torben Literature and French, Kjeld Music at the Royal Conservatory and Niels Nuclear Physics at the Ørsted Institute, while Bent, 10 years older than the others, had finished his studies in English and History.
Everything had been going smoothly as they were able to adapt their studies to suit the band's activities but then Niels had to move to the Max Planck Institute for Radiology in Mόlheim and stay there for more than a year. Furthermore Kjeld was told to stop his professional work immediately or he would be expelled from the conservatory and miss his degree as a first class solo trombonist.
The band never recovered from the loss of these two versatile members and although they Reactions to the band ranged from raving, delirious enthusiasm to wrath and anger over psychedelic art, twice resulting in smashed furniture and the band getting beaten up. Being a forerunner always has its price - just think of Stravinsky, who had to escape through a window to flee the threatening mob at the first performance of "Le Sacre de Printemps" in Paris in 1911! But it was worth it!
Tried with different additional personnel it never really worked as well as it had done before!
In 1970 the rest of Maxwells played a final concert at the Music and Light Festival in Skovlunde, North-West of Copenhagen, joined by Dan Nedergaard (trumpet) and Frankie Jackman (congas).
In these 7 years Maxwells changed from being a very popular pop rock band with all the trappings to a band that experimented with all the new things that appeared in these years. The long cascades of dada poetry mixed with absurd snippets taken out from conversations in daily life were never recorded. Neither were the long collective improvisations of up to 45 minutes as played at the "Montmartre" Mondays.
Today, Jørgen Werner works as a chartered accountant/counsellor of law, Børge Mortensen is a parish clerk at the Royal Church of Holmen, his brother, Svend Εge, is the chief anaesthetist of the heart transplantation centre at Rigshospitalet, Lars Bisgaard is a school teacher, Niels Harit is a professor of Nuclear Physics at the Ørsted institute and still plays in big-bands and occasionally as a soloist on records. Torben Enghoff is a composer and leader of a quartet playing classical and contemporary repertoire. Kjeld Ipsen has been touring the world with various artists such as Gloria Gaynor and still works in big-bands.
Since 1970 Lasse Lunderskov has been working as an actor with growing success. He played a strong character as Onkel Leif in the Danish dogma film "The Celebration" and has appeared in many TV programmes. Lunderskov still plays guitar in his own band "Rootbeat" and works as a theatre and film composer and as a songwriter. Bent Hesselmann has toured Europe with Rainbow Band and Midnight Sun and Denmark with various groups and theatres as a band leader and occasionally as an actor. He mainly works as a theatre and film music composer. Together with Lunderskov he has written two books on the electric guitar and electric band equipment:
"Beat Guitar" and "The Book on Electric Instruments". Lunderskov and Hesselmann are also both board members of the "Danish Songwriters Guild".

Download Link: - Maxwell Street (Den 1969).rar


Wednesday, September 12, 2012

Hi-Revving Tongues - Tropic Of Capricorn (New Zealand 1967)

Hi-Revving Tongues - Tropic of Capricorn (New Zealand 1967)

Formed:   North Shore, Auckland, New Zealand

* Mike Balcombe (lead guitar),
* John Walmsley (bass),
* Chris Parfitt (vocals),
* Rob Noad (drums),
* Bruce Coleman (organ).

Related Artists: The Apparition, The Caboose, The Cossacks

01. Elevator
02. Love Is A Hurting Thing
03. You'll Find Me Anywhere
04. Mike's Tune
05. Baby I Need Your Lovin'
06. Spooky
07. Conquistador Esses
08. Forgive Me My Love
09. Tropic Of Capricorn
[Bonus tracks]
10. Each And Every Day
11. Nobody Knows It
12. To My Love
13. Kaleidoscope
14. Make Yourself At Home
15. Baby Come Back To Me
16. Little Red Rooster
17. Rain And Tears
18. Watermelon Man

Companies etc.:
– Manufactured By: Philips Records N.Z. Ltd.
– Distributed By: Philips Records N.Z. Ltd.
– Record Company: Zodiac Records Ltd.

– Design [Cover]: Roger Bradley
– Photography By: Steve Rumsey Photo Associates Ltd.

Recorded and released by Zodiac Records Ltd.
– Manufactured and Distributed by Philips Records N.Z. Ltd.

1. Tropic Of Capricorn (Zodiac BZLP 104) 1967
2. The Tongues (Zodiac ZLP 1041) 1969
 1. (The Psychedelic) Illusion/Hate To Go
   (Allied Int. JAR 560) 1967
 2. Not Some Of The Time/You'll Find Me Anywhere
   (Allied Int. JAR 565) 1968
 3. Come Back And Love Me/I've Been Lonely Too Long
   (Allied Int. JAR 571) 1968
 4. Tropic Of Capricorn/Baby I Need Your Loving
   (Philips BF 338 098) 1968
 5. Elevator/You'll Find Me Anywhere (Philips 338101) 1968
 6. Make Yourself At Home/To My Love
   (Philips BF 338 100) 1969
 7. Baby Come Back To Me/Little Red Rooster
   (Philips BF 338 102) 1969
 8. Rain And Tears/Watermelon Man (Zodiac Z45 1350) 1969
 9. Take Me To The Pilot/Highway (Zodiac Z45 1358) 1970
10. Aspen, Colorado/Goodbye Holly (Zodiac Z45 1359) 1970
[5. as Chris Parfitt & The Hi-Revving Tongues]

It is said that their debut 45 "The Psychedelic Illusion" was the first psychedelic record in New Zealand. Their album contains their magnum opus "Tropic Of Capricorn", their cover of "Elevator" with heavy phasing effects, and the quasi-psychedelic "You'll Find Me Anywhere" and "Conquistador Esses". What's left are some fillers, mostly in the pop vein, and two covers of "Kaleidoscope" and "Daytime, Nighttime" (here retitled as "Each & Every Day"). Their bonus tracks are totally forgettable. The band was from Auckland and also recorded under the name "Chris Parfitt & The Hi-Revving Tongues" or simply "The Tongues".
 ~ by Buffalo Billycan.
A group from the North Shore of Auckland, called Species Nine, provided most of the line-up for the Hi-Revving Tongues. Parfitt, Coleman and Walmsley all came from that group. Balcombe came from a group called the Sierras. Parfitt had first played with the Cossacks.
Their first single on Allied International was "Illusion"/"Hate To Go". It wasn't greatly successful, but became known as the first psychedelic sound disc made by a New Zealand group.
The band entered into the "National Battle of the Sounds" competition in 1967, where they placed second. The winners were the Fourmyula. They were more successful in the following year, this time winning.
There were two more singles on Allied International in 1967, "Not Some Of The Time"/"You'll Find Me Anywhere" and "Come Back And Love Me"/"I've Been Lonely Too Long". After these there was a change of record label, to Phillips, and a new single saw the group receiving national success.
The single was the classic "Tropic Of Capricorn"/"Baby I Need Your Loving". The amazing thing about this single is that it featured prominently on the local charts, but never made it anywhere near the national charts. Riding on the success of this single, they entered the recording studios to produce an album. The result was "Tropic Of Capricorn" released in 1967.
After this they went on the Johnny Farnham tour, along with Larry's Rebels.
Two more singles were released during 1968, "Make Yourself At Home"/"To My Love" and "Elevator"/"You'll Find Me Anywhere".
In 1969 they ventured to Australia and during that time a single, "Baby Come Back To Me"/"Little Red Rooster" was released, now on Zodiac. A second single "Rain and Tears"/"Watermelon Man", a cover of the Aphrodites Child song, whose lead singer was Demis Roussos was also released and on their return to Auckland, "Rain and Tears" was climbing the national charts, making it all the way to number one.
John Walmsley decided to leave the band at this point, heading back to Australia. He did not go to America, as reported in numerous publications and even the liner notes of the CD compilation "How Was The Air Up There" on which "Tropic Of Capricorn" appears, to join the American bubblegum group, the Lemon Pipers, who scored well with songs like "Green Tambourine", "Rice is Nice" and "Jelly Jungle". He stayed in Australia. It was in fact another New Zealander by the name of Steve Walmsley who was playing bass for the Lemon Pipers at the time.
John Walmsley was replaced by Graeme Thompson, and Rob Noad also left to be replaced by Richard Sinclair, also from the original Species Nine. Their last performance was at the festival "Redwood 70" in West Auckland, after which Chris Parfitt decided to go solo. He released two singles in 1970 on the Ventura label called "I Wish I Were A Child"/"Jenny Didn't Wait" and "Promised Land"/"Old Familiar Face". The remaining  members renamed themselves to The Tongues, but faded away into obscurity. Parfitt also later appeared in Medicine Show.
Their second and final album was just called "The Tongues" and released in late 1969. Their last two singles were taken from the album. They were "Take Me To The Pilot"/"Highway" and "Aspen Colorado"/"Goodbye Holly".
In 1972 members of the Tongues moved to Australia and reformed as the Caboose. This group included Mike Balcombe on guitar, Bruce Coleman on keyboards, Ken Deakin on vocals, Rob Noad on drums and Graeme Thompson on bass.
They released one single called "Ballad Of Frank A Lane"/"Casey's Hat".
In 2001 Ascension Records released a CD that contains the entire original "Tropic Of Capricorn" LP plus other Zodiac singles.

Download Link: Tongues - Tropic Of Capricorn (New Zealand 1967).rar


Saturday, June 2, 2012

Canterbury Fair - Canterbury Fair (us 1967-69)

Canterbury Fair - Canterbury Fair (us 1967-69)

Formed:    Fresno, CA, United States

* Cheryl Churchman vocals (1),
* James Holley - drms, vocals (1),
* Phillip Hollingsworth - bass, keyboards, vocals (1,2,3,4,5),
* John Hollingsworth - keyboards,vocals (2,3,4,5),
* Joe Lo Freso - keyboards (2,3),
* Sean Cosaro - drums (3,4),
* David Hollingsworth - drums, bass (5).

01. Talk Song   6:31
02. Song on a May Morning   2:53
03. Acid   3:50
04. Bad for Anyone   3:37
05. Russian Opera   2:59
06. Long Brown Hair   4:18
07. Winds of the Sky   5:18
08. A Spanish Serenade   5:49
09. Sally Rover   10:15
10. The Man (Live)   5:22

Recording information: 1967-1969.

1 CANTERBURY FAIR (Sundazed SC 11064) 1999

1 Song On A May Morning / Days I Love (Koala 8081) Aug. 1968

Biography & Reviews:
The Hollingsworth brothers first played together in 1965 with James Holley (who also did time with The Bushmen) in Fresno band The Coachmen. In 1966 the addition of Steve Bryant (guitar and vocals) precipitated a name change to Everyday Things, though Bryant soon left. In 1967 the brothers joined Kings Verses in time for their trip to Los Angeles to seek success and fortune - when this didn't work out Philip returned to Fresno and formed Canterbury Fair with Holleyagain plus vocalist Cheryl Churchman.
John had remained in L.A. for the rest of 1967, attending Cal State. On his return home in early '68 he presented a wealth of newly-penned keyboard material that determined a new direction and configuration for the band - a keyboard-bass-drums format, with the addition Joe Lo Freso (also from The Bushmen) on Hammond.
With continuing apathy from record labels, Holley departed at the end of 1968 but not before securing Corsaro as a replacement, who in turn found them a new manager. The group relocated to San Francisco for a while, eventually returning to Fresno without Corsaro, whose place was filled by brother #3, David. They carried on until 1980 with various string players augmenting the line-up.
The CD comprises 10 tracks from their most creative period (1967 to 1969) highlighting their predominantly instrumental neo-classical or baroque flavoured recitals. Song On A May Morning from their rare 45 is their most commercial offering - a catchy slice of West Coast pop-psych.
Not for garage purists - this should should appeal to those who like soft-psych or the baroque tendencies of The Left Bankeand Ars Nova.
Compilation appearances have also included: Song On A May Morning on Son Of The Gathering Of The Tribe (LP) and A Journey To Tyme, Vol. 2 (LP); and The Man (an unreleased track from the 45
sessions in 1968 that didn't make it onto the Sundazed collection) on Fuzz, Flaykes, And Shakes, Vol. 4 (LP & CD).
 ~ Max Waller.
Though Canterbury Fair was able to release little music during the late '60s, they did record a good deal of material -- much of it issued on CD about three decades later -- that was unusual for California psychedelia both in its incorporation of classical influences and its absence of a bass player. Formed in Fresno, the band, although initially including a female vocalist, evolved into a trio featuring keyboardist John Hollingsworth, his brother Philip Hollingsworth on bass, and drummer James Holley (later replaced by Sean Corsaro). Featuring original material by both brothers, they developed a sound combining the fashionable ominous heavy rock of late-'60s psychedelia with Baroque classical touches (particularly on keyboards), somewhat along the lines of some other classical-influenced psychedelic bands with keyboards in the lineup, such as the Mandrake Memorial and Ars Nova. Canterbury Fair was not able to attract record company support, however, although they managed to play a fair amount in San Francisco in the late '60s, and kept going until 1980. In 1999, Sundazed released a CD of largely previously unreleased Canterbury Fair material from 1967-1969, also including the A-side of their late-'60s single "Song on a May Morning."
 ~ by Richie Unterberger.
1967-1969 / US 60's softly psychedelic-pop rock. By skillfully employing a keyboard arsenal and monstrous fuzz-adelic bass, John and Philip Hollingsworth and a couple of pals created epic tapestries of mind-bending sound that were too large for their hometown of Fresno, California. Before long, Canterbury Fair was unfurling its wide-screen soundscapes before the wide-eyed patrons of San Francisco's legendary ballrooms. This collection includes the A-side of the ultra-rare single, "Song On A May Morning" as well as the group's astounding never-before-heard full-length album.
 ~ Internet sources.
The Canterbury Fair was a band from Fresno California that recorded between 1967 to 1969. The band, led by John and Philip Hollingsworth, skillfully employed keyboards and a fuzz bass to create a monstrous epic sound of swirling tapestries of mind-bending music that was way ahead of its time. Canterbury Fair created a sound the was reminiscent of the Doors but contained elements of the Left Banke and Love. The unique thing about this band is that no one played guitar in the band, the entire sound was based around the organ as the lead instrument together with drums bass and vocals. This collection of 10 songs includes the A-side of the ultra-rare single, "Song On A May Morning" originally released on the small local Koala label as well as the group's never-before-heard full-length album that was recorded but never released and one live track recorded during the band's hey day. The CD package contains in depth information on the band together with rare photographs and reproductions of concert posters. Another long lost legendary band finally resurrected for all to hear.
 ~ Keith Pettipas 1999 Sundazed collection featuring 10 tracks by this Fresno psychedelic band's ultra rare 'Song On A May Morning' single as well their unreleased album. Recorded between 1967 and 1969. Includes liner notes by Jud Cost.

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Monday, May 21, 2012

V.A. - Incredible Expanding Universe of Brain Shadows Vol. 1 & 2 (2003)

V.A. - Brain Shadows Vol. 1 & 2 (2003)

Originally released somewhere in the 80ties on 2 albums, the obscurity is high of this collection but the sound average [for a CD] but that’s something I don’t mind, great Psychedelic/Garage Rock collection from the 60ties.

Track list Vol. 1:
01 - Blue Amber - We got love flush. 4:22
02 - Zendik - Is there no peace. 3:07
03 - Seompi - Almost in the whole. 3:20
04 - The Keepers - She understands. 2:38
05 - The Creation (US) - No silver bird. 2:23
06 - The lords - Death bells at dawn. 2:47
07 - The Younger Brothers - Go away Wendy. 2:47
08 - Sherman Marshall - Purple haze. 2:38
09 - Eastern Time Zone - Green cathedral. 2:45
10 - Four O'clock Balloon - Two heads. 3:21
11 - The Solid State - Wait and see. 3:16
12 - The Solid State - The lynching. 3:25
13 - Sidewalk Skipper Band - Strawberry tuesday. 2:50
14 - The Off Set - Xanthia (Lisa). 3:12
15 - Bedpost Oracle - Somebody to love. 3:44
16 - Bedpost Oracle - Chest fever. 4:40
17 - The Flying Circus - I'm going. 2:37
18 - Bedpost Oracle - Love isn't dead. 2:50
19 - Smack - Suzie Q.. 2:05

Track list Vol. 2:
01 - Fenwyck - Away. 2:43
02 - Coachmen - No answer. 3:05
03 - Flower Power - Trivialities. 2:58
04 - Nervous System - Bones. 1:59
05 - Lyrics - Mr. man. 2:35
06 - Fax - I can only give you everything. 2:56
07 - Soul Society - Psychedelic cycle. 2:55
08 - The Portraits - It had to be you. 3:17
09 - Phlegethon - You're no good. 4:35
10 - Legends - Fever games. 4:07
11 - Commodore Condello's S.R.N. Band - Sonic boom. 1:55
12 - Five Pound Grin - Never hurt again. 2:43
13 - Prufrock - Too young. 3:13
14 - Guise - News. 2:26
15 - Herbie's People - Residential area. 2:27
16 - The Ravelles - Psychedelic movement. 2:35
17 - The Reasonable Facsimile - He was a friend of mine. 3:02
18 - Denny Ezba - Dimples. 2:26
19 - Kiriae Crucible - Salem witch trial. 2:55
20 - Commodore Condello's

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Saturday, May 19, 2012

The Vagrants - The Great Lost Album (us 1965-68, compilation)

The Vagrants - The Great Lost Vagrants Album (us 1965-68, comp.)

Formed: 1964,    Forest Hills, NY, United States
Disbanded: 1968 // 

* Leslie West (guitar),
* Larry West (bass, vocals),
* Peter Sabatino (vocals),
* Jerry Storch (keyboards),
* Roger Monsour (drums).

Related Artists: Mountain, West, Bruce & Laing
Genres: Garage Rock

01. Respect (1967)   2:13
02. I can't make a friend (1967)   2:13
03. Beside the sea (1967)   2:16
04. I don't need your loving (1967)   2:52
05. Young blues (1966)   2:13
06. And when it's over (1967)   2:14
07. A sunny summer rain (1967)   2:49
08. The final hour (1966)   2:23
09. My babe (1966)   2:56
10. I love you, i love you (1967)   2:38
11. Oh those eyes (1965)   2:33
12. You're too young (1965)   2:02
13. Your hasty heart (1966)   2:37
14. Satisfaction (1968)   12:42

Most famous for featuring Leslie West on guitar in his pre-Mountain days, the Vagrants were extremely popular in their home base of Long Island, NY in the mid-'60s, and recorded some decent singles without approaching a national breakout. Like fellow New Yorkers the Rascals, the Vagrants prominently featured a Hammond organ, and often played soul-influenced rock. The Vagrants were far more guitar-based than the Rascals, however, as well as projecting a more garagey, less mature outlook; their later material lands somewhere between the Rascals and Vanilla Fudge.
One of the few rock bands signed to the folkie Vanguard label, the Vagrants cut some fair singles between 1965 and 1968 that suffered from a lack of identity: a Zombie-ish number here, a punk stomper there, a soul-rock thing here. "I Can't Make a Friend," which shows up on some garage compilations, is the most well-known of their initial efforts, but the group took their closest swipe at stardom after Felix Pappalardi helped them sign to Atco.
A rock version of Otis Redding's "Respect" (which surfaced on the Nuggets compilation) was a hit in some Eastern regions, but couldn't compete with Aretha Franklin's rendition, also released in 1967. After a couple of other singles on Atco, the group broke up in late 1968, when West formed Mountain (which also included Pappalardi). Much of the Vagrants' material was reissued in the mid-'90s.
 ~ by Richie Unterberger (AMG).
Issued in 1987 and not available for too long, Arista's The Great Lost Vagrants Album is not an actual lost Vagrants album, but a ten-track compilation combining both sides of their three 1967-68 Atco singles, their 1966 Vanguard single "I Can't Make a Friend"/"Young Blues," and two 1966 outtakes. Seven of the ten songs are also on the Southern Sound Vagrants LP compilation I Can't Make a Friend, though that record's missing three songs (the outtake "My Babe," and the Atco B-sides "I Love, Love You (Yes I Do)" and "Beside the Sea") from the Arista anthology.
The Southern Sound comp might have the edge, as it has some tracks not on The Great Lost Vagrants Album, including both sides of the pre-Vanguard 45, one of which, "Oh Those Eyes," is a cool garage rocker with a tune derived from "Walk Don't Run"; the Vanguard B-side "Your Hasty Heart"; and a 13-minute unreleased version of "Satisfaction." And neither of those LPs have been too easy to come by over the years. Got it all? That said, The Great Lost Vagrants Album really isn't a very interesting album, despite its historical significance as the launching point for Leslie West. Other than "Respect" and "I Can't Make a Friend," it's pretty average period 1966-68 fare without much of an identity, mixing varying loads of garage rock, soul, pop, and psychedelia.
 ~ by Richie Unterberger (AMG).

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The Vagrants - The Great Lost Album (us 1965-68, comp.).rar (82.73 MB)

Saturday, April 21, 2012

Dengue Fever - Escape from Dragon House (us-Cambodia 2005)

Dengue Fever - Escape From Dragon House (us-Cambodia 2005)

01. We Were Gonna   3:20
02. Sni Bong   4:26
03. Tip My Canoe   4:43
04. Tap Water   4:04
05. Sleepwalking Through the Mekong   3:38
06. One Thousand Tears of a Tarantula   6:41
07. Escape From Dragon House   4:21
08. Made of Steam   5:54
09. Lake Dolores   4:15
10. Saran Wrap   2:47
11. Hummingbird   5:05

For their sophomore album, Dengue Fever switch away from their nearly all-covers repertoire to try something a little more bold -- writing originals while still developing their rock-music-into-Cambodian-pop-and-back-again approach. It's actually a good move in order to escape from lingering questions of "just" being a museum piece of a group. Happily the six-piece step up, introducing an interesting curveball as well with a newly professed interest in the upbeat, horn-driven Ethiopian pop/funk/rock of the '60s and '70s collected in the Ethiopiques series.
Though one could cynically wonder if the band is going to end up incorporating a new retro scene per album, Dengue Fever clearly are out to entertain by whatever means, and by putting a slew of things together, create something new and unexpected. Chhon Nimol's singing is again top-notch, even slipping in a bit of hip-hop flow on "Sui Bong," while her greater fluency in English also creates more of a truly unique sound for the band. The Holtzman brothers again provide the musical core, with Ethan's work on organ providing the kind of smoky funk appropriate to the proceedings. Zac's guitar adds good crunch, but it's the strength of the overall arrangements that truly matters the most, as songs slip from bass/drum breakdowns to horn-driven explosions of joy. Standout moments include the nervous, almost early Cure-style introduction to "Tap Water," the beautiful ballad "Sleepwalking Through the Mekong," and the acid-trip drama of "One Thousand Tears of a Tarantula," which deserves to be a neo-psychedelic classic. The one cover this time around, "Tip My Canoe," is of legendary Cambodian singer Ros Serey Sothea, with Zac duetting with Nimol, a feat they repeat in English, Nimol taking the lead, on the passionate "Made of Steam." It would be striking to see what Dengue Fever could do with engaging fusions of the current day -- there are pop, techno, and hip-hop numbers worldwide as joyfully inspired and specifically local as those older songs the group adores. No matter, though, so long as the band keeps creating such excellent work.
 ~ by Ned Raggett (AMG).
World music-- music that expresses the indigenous folk traditions of a specific culture-- has always been closely bound with notions of authenticity, since it develops outside of capitalism's imperatives, solely as a conduit for a culture's heritage. Listening to Dengue Fever's second album, Escape from Dragon House, without any sort of background information or context, it's easy to assume that it's an authentic example of modern Cambodian pop music that has reached American shores, undiluted. In fact, Dengue Fever's story is much more complicated and-- depending on your perspective-- either inauthentic or thrillingly mutli-culti. For my part, I don't believe the dilution of world music is anything to get upset about-- it provides exciting new opportunities for musical expansion and cultural exchange. We tend to think of traditional music as something static, when in fact, traditions evolve over time, picking up new influences according to the maneuvers of history. Now that telecommunications technology grids most of the world, the rate of evolution seems to be speeding up, and the old styles we think of as so permanent either persist outside of the new music, or they become a part of it. So it goes.
American rock and soul music and its instrumentation and stylistic tenets found purchase in trad Cambodian music in the wake of the Vietnam War. So Dengue Fever are revising an "authentic" style that was actually bastardized from the moment of its inception, folding modern American pop idioms into a Cambodian style that was heavily influenced by classic American surf rock and Nuggets-era garage-psych. Dengue Fever also blend the long rhythmic lines of Ethiopian pop and jazz into the melting pot (for more on Ethiopian music, check out the Ethiopique series, or just ask Joe Tangari). But here's the real kicker: Except for the singer, the entire band is American. Based in Los Angeles, Dengue Feature includes Ethan Holtzman on Farfisa (his phrasing is reminiscent of Ray Manzarek's), guitarist Zac Holtzman, saxophonist David Ralicke (who's played with Beck and Brazzaville), bassist Senon Williams of the Radar Brothers, and drummer Paul Smith. The group assembled around their love of Cambodian music; only then did they find singer Ch'hom Nimol in Long Beach. Nimol sings in her native Khmer, and while she was making her Stateside living singing at Cambodian weddings, she was a star in her native country, often performing before the King and Queen.
Dengue Fever's debut album was all covers of the cute, romantic Cambodian pop of the 1960s. Having gotten that out of their systems, they've followed it with an album of original material that shatters the language barrier with mildly psychedelic, blissed out pop. On "Tip My Canoe", Zac Holtzman takes a stab at singing in Khmer, laying those long, mellifluous syllables over a tweaky vamp, as Nimol uses her imposing pipes to trace accents so dynamic that they sound almost vocodered as she leaps around her impressive range. "Sui Bong" channels Dick Dale through its verses and explodes into crunchy garage rock choruses, with a-- wait for it-- Cambodian rap bridge. "One Thousand Tears of a Tarantula" pairs sun-baked spaghetti western guitars with Nimol's clipped, forceful singing, and acoustic ballad "Hummingbird" closes the album on a quiet note, with Nimol sliding between English and Khmer. If that fact that Dengue Fever's music has been used in films as diverse as Jim Jarmusch's Broken Flowers and the John Cusack vehicle Must Love Dogs isn't proof enough of its potent versatility, then the ease and unity with which the band conflates idioms should be.
~ Brian Howe, December 5, 2005.

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Dengue Fever - Escape from Dragon House (us-Cambodia 2005)

Thursday, April 19, 2012

Dengue Fever - Dengue Fever (us-Cambodia 2003)

Dengue Fever - Dengue Fever (us-Cambodia 2003)

Formed: 2001,    Los Angeles, CA, United States

* Ethan Holtzman (Farfisa organ),
* Zac Holtzman (guitar, vocals),
* Chhom Nimol (vocals),
* Senon Williams (bass),
* Paul Smith (drums),
* David Ralicke (saxophone).

Related Artists: Jump with Joey, Radar Bros., Dieselhed
Genres: Pop/Rock, Cambodian Pop, Psychedelic Pop

Track List:
01. Lost In Laos (4:04)
02. I'm Sixteen (4:23)
03. 22 Nights (5:46)
04. Hold My Hips (4:30)
05. Flowers (4:47)
06. Thanks-A-Lot (2:11)
07. New Year's Eve (4:16)
08. Ethanopium (4:36)
09. Glass Of Wine (4:17)
10. Shave Your Beard (3:03)
11. Pow Pow (3:02)
12. Connect Four (4:00)

Even when you consider the cultural cross-pollination that goes on in large metropolitan areas, L.A.'s Dengue Fever had perhaps the strangest genesis of any band in recent memory. It's odd enough for a group of white musicians to cover psychedelic rock oldies from Cambodia, but finding a bona fide Cambodian pop star to front the band -- and sing in Khmer, no less -- is the kind of providence that could only touch a select few places on Earth. Formed in L.A.'s hipster-friendly Silver Lake area in 2001, Dengue Fever traced their roots to organist Ethan Holtzman's 1997 trip to Cambodia with a friend. That friend contracted the tropical disease (transmitted via mosquito) that later gave the band its name, and it also introduced Holtzman to the sound of '60s-era Cambodian rock, which still dominated radios and jukeboxes around the country. The standard sound bore a strong resemblance to Nuggets-style garage rock and psychedelia, heavy on the organ and fuzztone guitar, and with the danceable beat of classic rock & roll. It also bore the unmistakable stamp of Bollywood film musicals, and often employed the heavily reverbed guitar lines of surf and spy-soundtrack music. Yet the eerie Khmer-language vocals and Eastern melodies easily distinguished it from its overseas counterpart.
When Holtzman returned to the States, he introduced his brother Zac -- a core member of alt-country eccentrics Dieselhed -- to the cheap cassettes he'd brought back. They started hunting for as much Cambodian rock as they could find, and eventually decided to form a band to spotlight their favorite material, much of which was included on a compilation from Parallel World, Cambodian Rocks.
In addition to Ethan Holtzman on Farfisa and Optigan, and Zac on vocals and guitar, the charter membership of Dengue Fever included bassist Senon Williams (also of slowcore outfit the Radar Brothers), drummer Paul Smith, and saxophonist David Ralicke (Beck, Ozomatli, Brazzaville). Ralicke shared Zac Holtzman's interest in Ethiopian jazz, further broadening the group's global mindset. Thus constituted, the band went combing the clubs in the Little Phnom Penh area of Long Beach, searching for a female singer who could replicate the style and language of the recordings they had.
After striking out a few times, the Holtzmans discovered Chhom Nimol, a one-time pop star in Cambodia who came from a highly successful musical family (analogous to the Jacksons).
According to the band, Nimol had performed several times for the Cambodian royal family before emigrating to Los Angeles. Initially not understanding the band's motives, she was suspicious at first, but after several rehearsals, everything clicked. Dengue Fever made their live debut in 2002, with the charismatic Nimol in full traditional Cambodian garb, and soon won a following among Hollywood hipsters, not to mention L.A. Weekly's Best New Band award that year. Purely a cover band at first, they started working on original material after putting out a four-song EP locally. The Holtzmans wrote English lyrics and music, then sent the lyrics to a Khmer translator in the state of Washington, after which Nimol would adjust the melody and words to her liking.
Dengue Fever counted among their fans actor Matt Dillon, who included their Khmer-language cover of Joni Mitchell's "Both Sides Now" on the soundtrack of his 2003 directorial debut, City of
Ghosts. However, disaster nearly struck when Nimol was arrested in San Diego in accordance with the stringent, post-9/11 INS policy: she'd arrived in the U.S. on a two-week visitor's visa and simply stayed on. She was thrown in jail for three weeks, and it took nearly a year for the band's lawyer to secure her a two-year visa (his fees were paid through benefit concerts).
In the meantime, Dengue Fever released their self-titled debut album on Web of Mimicry, a label run by Mr. Bungle guitarist Trey Spruance. Most of the repertoire consisted of Cambodian covers, many originally done by pre-Pol Pot star Ros Sereysothea, but there were several originals and an Ethiopian jazz tune as well. With Nimol's limited English improving, the bandmembers considered putting some English-language material on their follow-up, but intended to stick with Khmer for the most part, in keeping with the music that inspired them. In 2007, Dengue Fever not only released Escape from Dragon House, but also starred in the documentary Sleeping Through the Mekong, which saw them performing their music in Cambodia for the first time. Venus on Earth debuted on the M80 label the following year; it was eventually picked up by Real World for world-wide distribution. In 2009, they released a CD/DVD entitled Sleepwalking Through the Mekong, which included the documentary and a compilation album. The band signed to Concord in 2010 and issued their debut for the label, Cannibal Courtship, in April of 2011.
 ~ by Steve Huey (AMG).
Despite its rough edges, the debut album by Dengue Fever is an indicator of where pop music is headed, particularly in areas of multicultural urban sprawl. Though Cambodian emigre Chhom Nimol's sinuous vocals dominate each song, Zachary Holtzman (guitar, vocals) plays an equally essential role in defining the band's direction. Retro surf guitar, the throwback psychedelic tone of the Farfisa organ, rhythms on songs like "Pow Pow" that conjure visions of James Bond dancing the Swim in a Hong Kong nightclub, as well as the absence of any post-punk or disco residue, create a sense of time displacement; this music could just as easily have been heard decades ago, long before American demographics had absorbed Asian pop influences. As a result, Dengue Fever also projects a feeling of being heard in another place, through the Asian modalities of its singsong melodies, the reverb that drenches Nimol's tracks and, above all, the fact that every vocal part, including those of the American-bred musicians, is in Khymer. This album matters, though, because of its relevance to a growing audience in the U.S. At long last, years after America tossed the seeds of its pop culture out into the world, the results are blowing back, taking root, and raising fascinating possibilities for what's to come in this newer New World.
 ~ by Robert L. Doerschuk (AMG).

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Dengue Fever - Dengue Fever (us-Cambodia 2003)

Sunday, February 19, 2012

Roy Rutanen - Roy Rutanen (New Zealand 1972)

Roy Rutanen - Roy Rutanen (New Zealand 1972)
[Rare Pokora 5 stars]

- Album: Roy Rutanen
- Year: 1972
- Genre: Acid Folk Psych

Side 1:
01. Searchin 2:56
02. Plastic World 5:23
03. The Trip Song 9:24
04. AntiStink Song 0:36
05. The Old Man 5:03
Side 2:
06. The Country Song 4:17
07. Hitchin 6:03
08. Sinful Man 3:43
09. The Last Song 3:58

Thoroughly amazing psych-acid-folk from early 70s. Roy Rutanen hailed from New Zealand.
This album was recorded in Australia and released on MCA through Astor Records. Lots of acoustic and fuzz guitar and flute. As rare as dodo droppings, copies have sold from AU$610 to AU$1,500.

Special thanks to ZenBa for this rarity!
LP covers, or any information is welcome.

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Thursday, January 12, 2012

Anneke Konings - Feelings (Hol 1972)

Anneke Konings - Feelings (Hol 1972, Munich 6802 767 M8)
Born:   Oudewater, Utrecht, Netherlands
Member of: Caboose, Dandylion
Also Known As: Anneke de Koning [birth name], Andeane

- 1971  De heilige auto / Eenzaamheid - Munich 6802.029 (Single). 
- 1972 LP Feelings Munich - M 8 (LP).
- 1973 A lesson/Loneliness Munich - M 10 (Single).
- 1975 LP Tussen zon en maan Elf Provinciën - ELF 1570 (LP).
- 1972 Lovers bye bye/Monday morning blues - Munich MN 1001 (Single).
- 1972 It's not right/For you - Munich MN 1002 (Single).

* Anneke Konings - vocals, accoustic guitar.
* Hans Hollestelle - guitars
* Fred Jansen - guitars
* Henk Haverhoek - bass guitar and double bass.
* Jasper van 't Hof - piano, organ.
* Richard Pulin - piano, organ, production, liner notes.
* Eric Ineke - drums
- Other instruments: violins, viola, cello, french horn, oboe, flutes and alto recorder.

A1. Feelings   
A2. A Lesson   
A3. You Know Who I Am (Written By: Leonard Cohen)   
A4. Magic Garden (Violin: A. Schol, Benny Behr, Guus Valten, P.J. Kelfkens
    - Viola: C. Carcassola* - Cello: Peter Doberitz - Written By: Jimmy Webb).   
A5. Monday Morning Blues   
A6. Love (Recorder [Alto]: Jenny Kliphuis - Flute: Ary Jongman, Dick Vennik, Henny Kluvers
    - Oboe: Guus Hautvast).   
B1. I Am The Wind (French Horn: Leen Oosterman - Written By: Anneke Konings, Quentin J. Arnolds).
B2. For You   
B3. Skip Rope Song (Written-By – Jesse Winchester).   
B4. Loneliness   
B5. I Don't Care   
B6. Jack (Written By: Cor Numan). 

Singer Anneke de Koning from Oudewater.  In 1972, she took part in the Knokke Songfestival under the name Andeane.  After 1975, she was no longer releasing records, but did continue on with live work with the group Caboose.  In 1981, she emerged again with a new group called Dandylion.
One of the best Dutch folk albums. This band has it all, from dreamy acoustic ballads into tracks with a more electric touch. Female vocals in English. Comes on more and more wantlists because collectors of the genre finally discovered this unique album.One of the very early releases on the label (green first design label). 
Rare original 1972 Dutch Munich Records vinyl LP part electric - part acoustic from dutch female vocalist singer/songwriter Anneke de Koning - 'Feelings' is recorded with Richard Pulin And His Orchestra and has on some tracks a slight psychedelic leaning f.i. 'You Know Who I Am' originally written by Leonard Cohen.
 ~ Internet sources.

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Anneke Konings - feelings (Hol 1972).rar (65.79 MB)