Although it wasn't released until 1980, "Our First Record" presents, as the title suggests, the first ever recordings by the original Oregon line-up. Recorded in 1970, this album offers a fascinating view how the unique Oregon sound came to be. Sensationally the group, at that stage nameless and hardly a band at all in the proper sense of the word, has its trademark natural global chamber jazz style firmly in place. This is just as great as any other vintage Oregon album (or any Oregon album, for that matter, for they are all winners). "Music of another present era", as the musicians themselves described their musical style. This is an electrifying album, even though it's fully acoustic. (Amazon.com)
Southern California's Beauregard Ajax recorded Deaf Priscilla in late 1967 and early 1968, with legendary Del-Fi Records founder, Bob Keane producing, but the record was shelved when the group disbanded. Decades later a vinyl pressing was issued, and in 2006 Shadoks Music released it on CD for the first time, with four bonus tracks. As was the case for countless aspiring American rock collectives, the British Invasion from a few years earlier heavily influenced the five-piece (the singer even picked up an accent along the way), but as this was psychedelic age, the songs are augmented with slightly fuzzed-out blues licks. The actual tunes possess pleasing melodies, resulting in an overall light psych sound. Lyrically, the tone is usually pretty heavy, though, with such darker subject matters as loneliness, depression, failed relationships, and boredom. The group shows a whimsical side on "Kaleidoscope," and the bubblegummy "Happy Brontosaurus," but they are at their best when embracing the melancholic aspects of day-to-day life on such numbers as "Loneliness Is a Sometime Thing," "Goodbye Again," and "Blue Violins." One of the best and more bizarre tracks, "Deaf Priscilla," is the mysterious tale of a horrific domestic dispute, which the protagonist can partly ignore due to loss of one of her senses. (All Music Guide)
Why would I give this flashback from the 60's such a high rating? Because I was the drummer! I found the album released by Shadoks while searching my old band's name on the internet. I was surprised to hear that tapes of our group somehow circulated in Europe for a number of years before Shadoks got hold of them. No one in the band is getting any royalties, but it was nice to see the work we did with producer Bob Keane (Ritchie Valens, Bobby Fuller Four,etc.)finding an audience after 38 years! (C. Leo Hartshorn)
This lost gem from 1972 is quite an oddity. The unlikely pairing of guitarist Ernie Calabria and soul singer Barbara Massey came together to record this album of outlandish, genre-defying hybrids. Both artists were seasoned session players, Calabria performing alongside the likes of Harry Belafonte (on the same recording that saw Bob Dylan's studio debut, 1961's Midnight Special), Nina Simone and Anita Carter (of The Carter Family) while Massey's credits as a backing vocalist include Jimi Hendrix, Quincy Jones, Herbie Hancock and Cat Stevens among others. The fruits of their collaboration are best described as a cross-pollination of folk, R&B and psychedelic acid soul. Consequently, this music met with baffled ears upon its initial release and quickly disappeared into obscurity. Listening from our current position in history it all seems relatively coherent, and you just assume this is the sort of thing that went on in the '70s. adding extra gravitas to the recording are jazz heroes Keith Jarrett and Joe Beck - Jarrett in particular leaves his indelible mark on the album, with his breathtaking technique rampaging across album close 'Satisfied'. A very welcome re-discovery this, certainly one for fans of the Finders Keepers reissues. (boomkat.com)
Love the French or hate 'em, it's virtually impossible to deny the appeal of vintage French pop -- ya-ya this and go-go that, the best stuff's a mind-bending fusion of sunshine pop, psychedelic soul, and sleazy cabaret, a Eurotrash celebration of sex and drugs presumably fueled by same. Wizzz: Psychorama Francais 1966-1971 is a fantastic retrospective that captures the sheer excess of its era, musical and otherwise -- the songs stagger across the tightrope separating Now Sound grooves and blaxploitation funk, complete with fuzz-soaked guitars, deep bass, squawking horns, and thick, swirling organs. Charlotte Leslie's opening "Les Filles C'Est Fait" (roughly translated, "Girls Are Made to Make Love") perfectly sets the musical and lyrical tenor for what follows, with a soulful swagger strangely reminiscent of Dobie Gray's Northern Soul classic "The In Crowd"; other highlights include Philippe Nicaud's "Cuisses Nues, Bottes De Cuir," Christie Laume's "Rouge Rouge," Stephane Varegues' "Le Pape du Pop," and Danyel Gerard's "Sexologie." Tracklist:
1. Les filles c'est fait... -- Charlotte Leslie 2. Rouge rouge -- Christie Laume 3. À dégager -- Les Fleurs De Pavot 4. Sexologie -- Danyel Gerard 5. Je m'ennuie -- Richard De Bordeaux 6. Champs Élysées -- Christiene Pilzer 7. Exitissimo -- William Sheller 8. Le papyvore -- Les Papyvores 9. Le pape du pop -- Stéphane Varègues 10. Psychose -- Messieurs Richard De Bordeaux & Daniel Beretta 11. Avec les oreilles -- Monique Thubert 12. Bernadette -- L'oeil 13. La drogue -- Messieurs Richard De Bordeaux & Daniel Beretta 14. Cuisses nues, bottes de cuir -- Philippe Nicaud
V.A. - The Golden Road - The Electric Coffee House Vol. 2 (2008)
A little while back, the Psychic Circle label took a journey back to the time when American folk music discovered electric rock and pop. The result was The Electric Coffee House compilation. That turned out to be one of the label's most successful albums, so consequently they've been having another delve into that hallowed region of chiming guitars, righteous harmony and garage joy. Once again, Psychic Circle is delighted to present an intriguing selection of obscurities: some primitive, some sophisticated, some psychedelic, some full of pop sensibility, but all of it with an essential, omnipresent undercurrent of folk tradition, albeit filtered through amplifiers and pick-ups, but there nonetheless. You'll hear from Ian Whitcomb's kid brother, Chuck Berry's favorite backing band, the man who wrote "Mr. Bojangles," a future member of Poco, a band featuring the young Bruce Cockburn, and a whole lot more besides. Come travel The Golden Road, let your mind wander free and let your freak flag fly. Compiled by legendary psych musician and Psychic Circle label-head, Nick Saloman (The Bevis Frond).
Track Listing
1. Let's Take a Walk in the Woods - Welch 2. You Gotta Stop - Ray 3. Hey Girl - Rice 4. Smiling - Steirling 5. Right on Time - Cotton 6. It's Been a Long Time - Shuput 7. The Way She Smiles - Romano 8. Look at Me - Allison 9. Clouds - Vosburg 10. Land of Make Believe - Flannery 11. Bird Without Wings - Cockburn 12. In & Out - Dalton 13. Lost Sea Shanty - Walker 14. I'll Be There - Keske 15. Make Me Over Again - Gorky 16. Where Are You - Roof 17. Fair One - Orvis 18. What's It All About - Cisco 19. Let's Get Together - Powers 20. Parade of Uncertainty - Pacheco
V.A. - I Gotta Be Me - 20 Garage Missiles From The USA - Who Needs Tomorrow Vol. 2 (2008)
Organ drenched, fuzzy garage genius from the 60s US scene -- one of the best comps yet from Psychic Circle!!! I Got To Be Me is full of buzzing, r&b fueled garage rock from all over the mid-to-late 60s US -- most tunes really dripping with the trippy organ washes, and searing in the electric guitar department -- but it's no mere proto-punk batch of fiery singles. The musicianship and vocals are of top shelf talent, despite the singles being by-and-large obscure -- cut for bigger labels like Atco, United Artists, Roulette, Phillips and Capitol as well as a number of lesser knowns companies and imprints. Includes in killer take on the Howlin' Wolf standard "Smokestack Lightning" by Group Axis, "I Gotta Be Me" by Kevin Coughlin, "Good Good Lovin" by Les Hou-Lops, "HE's Not Your Friend" by Dee Jay & The Runaways, "Big Mama" by Gobby Simms & The Simers, "Turn Around" by Blue Wood, "Inside Out" by The In Crowd, "Fool That I Am" by Bobby Saint Clair, "Haunted By Your Love" by The Outsiders, "Doubt" by Hex and more. 20 tracks in all. (Dusty Groove)
Track Listing
1. Smokestack Lightning - Howlin' Wolf 2. I Gotta Be Me - Hirth 3. Good Good Lovin' - Brown 4. He's Not Your Friend - Lee 5. It's Only a Dream - Eden 6. Big Mama - Simms 7. Like My Girl - Ford 8. Without You - Carbone 9. Turn Around - Geiger 10. I'm a Man - McDaniel, Elias 11. Southbound Freeway - Somberg 12. Get It On/Wilde Childe Freakout - Morrow 13. Inside Out - Rambo 14. Should We or Shouldn't We - Chalfant 15. Hey You, Hey Me - Cartey 16. You Do Me Wrong - Hachey 17. Fool That I Am - Kalina 18. Haunted by Your Love - King 19. Salt 'N' Pepper - Colonna 20. Doubt - Hex
Heavy thunder and lumbering psyche jams from the Psychic Circle label -- Volume 2 in the Blow Your Cool series -- heavy atmosphere and psychedelia from the UK & European scenes of the late 60s & early 70s! The tunes on Cosmarama are on the heavier side without getting weighed down in hard rock cliches, and bring about the thicker atmosphere in cathartic fashion -- with a few trippier, organ and lyrics led tunes to balance it out the fuzziness and thumping tendencies. Titles include "Cosmarama" by Distant Jim, "In Your Room" by Carriage Company, "All I Need" by Kingdom, "In Your Life" by The Tower, "Daybreak" by Back Street Band, "Old Songs New Songs" by Big Wheel, "I'll Try" by Electric Food, "Free" by The Petards, "Hod Rod Queen" by Castle Farm, 'Give Me Back" by Richard St Clair & Forum and more. 20 tracks in all. (Dusty Groove)
Track Listing
1. Cosmarama - Austin 2. In Your Room - Kent 3. All I Need - Edwards 4. In Your Life - DeGroot 5. Daybreak - Bellis 6. Old Songs New Songs - Chapman 7. Shotgun Express - Englebert 8. Widow Woman - Jones 9. Devil Woman - Weeda 10. Get off My Life Woman - Covay 11. Feline Woman - Pussy Wagon 12. Man in Back - Vion 13. I'll Try - Hesslein 14. Kings of Galaxy - Borgers 15. Free - King 16. Hot Rod Queen - Benike 17. Half Past Dead - Bekky 18. Love Song - Scott 19. Earth - Chips 20. Give Me Back - St. Clair
1. Chris Comsey - Tramps & Magicians (1978) 2. Heavy Kremls & The White House Devils: Die Reise im Treibsand (Germany, 1987) 3. Princess Flower & The Moon Rays - Dreaming The Magic Of Your Maya (1968) 4. Yellow Autumn - Children Of The Mist (1977) --- The complete album with eight tracks
If you can share any of these albums, please upload them to the comment section. Any contributions to this blog are welcome!
In the late 1960's, two of the era's major influences, rock music and a revival of Christianity by our nation’s youth, were both attracting new converts by the millions....it was inevitable that these two huge followings; would converge with a deafening roar off fuzz guitars and feedback that would be the music of this new breed of psychedelically-inspired "spreaders of the word". This album presents songs by some of the bands that were pioneers of this great new Christian psychedlic music. Several of these bands are well known to collectors of rare vinyl, while some of the others are more obscure. All the songs on this album were specifically chosen for their guitar content...some of it mellow and subtle, and some of it...mind frying heavy fuzz. All of it...Great!
Welcome to the first edition of Holy Fuzz! (hiddenvision.com)
Tracklist:
1. The Exkursions - It's Been Sent Down 2. Selha - Romans 3. The Bridge - Jesus 4. The Search Party - The News Is You 5. Pre-Agape - In The Light 6. Stonewood Cross - Majic Man 7. All Saved Freak Band - All Across The Nation 8. The Search Party - You And I 9. The Exkursions - Dry Ground 10. The Concrete Rubber Band - Christian 11. Pressed Down, Shaken Together And Running Over - Pressed Down, Shaken Together And Running Over. 12. Agape - Rejoice
One and only album by German underground band Vinegar originally released in 1971. Musically in style of early Pink Floyd, progressive but very psychedelic, long instrumental tracks but also with female vocalist reminding of Nico. One of the lost treasures from Germany and very sought after!
Recorded on January 9th, 1971 in Studio Rottenburg, Vinegar’s self-titled album was released on LP in a limited edition of 1,000 copies! I’ve read opinions from folks describing Vinegar’s sound as rather Floydian. While this is true, it should be noted that the group sounds much more like a cross between Amon Duul II and Pink Floyd. With that being said, one can easily hear the Floyd influence in the spacey organ, drum fills, slide guitar, and occasional celestial vocals. Likewise, the Amon Düül II influence can be heard in the violin, vocals, and the guitar riffs. Overall, the two styles are combined rather nicely into a sort of progressive-garage-space rock sound. Highlights from the album include ‘Der Kaiser Auf Der Erbse’, ‘Fleisch’, And ‘Sawmill’. ‘Der Kaiser Auf Der Erbse’ begins with a violin solo which reminds me of Edgar Hoffman from Embryo. From there the track switches gears and turns into a rock track with intentionally unintelligible vocals which could be described as Faust-like. Containing a Floydian organ and drum beat, ‘Fleisch’ slowly introduces distorted guitar and bass into the mix before a celestial vocal kicks in and the track begins to take shape in the classically themed “A Saucerful of Secrets” sort of way. Finally, ‘Sawmill’ showcases the bands mixture of Duul and Floyd influence. ‘Sawmill’ starts out as a psychedelic garage rocker with female vocals (reminiscent of Renate Knaup) before taking a spacey turn and sounding like Sysyphus off of Ummagumma. From here the track revives its garage sound before fading out into part 2 which is dominated by an Amon Duul approach. Overall, the album is a satisfying first effort which, sadly, was never followed up due to their break up in late 1971. (krautrockgroup.com)
Track List:
1. Missi Solis 2. Sawmill - Teil 1 3. Sawmill - Teil II 4. Der Kaiser Auf Der Erbse 5. Fleisch
Formed by ex-Tangerine Dream member Klaus Schulze, Manuel Göttsching and Hartmut Enke, Ash Ra Tempel was one of the pioneers of the progressive space-rock genre. Their debut-album seems to bee many people's favourite by the band, and I don`t blame them, as you won't get a more perfect space-atmosphere than the one you'll find here. The two tracks on the album is both VERY spacey pieces, but still very different from each other. "Amboss" opens quiet and relaxed, but soon bursts into a frenetic jam, highlighted with Gцttsching`s excellent spacy guitar playing and Schulze's energetic drumming. It`s quite facinating how such an energetic and noisy piece still can be so atmospheric and relaxing. "Traummaschine" lives up to its title, and gives a clue about what Schulze later would do on his own albums. A very quiet and mysterious piece, with floating electronics and shimmering guitar. The whole album gives you a feeling of flying through space in a pyramid and visiting planets with ancient temples. Yes, this really is SPACE music. However, if you're looking for something more controlled and electronic kind of spacey atmospheres, start with one of the first Ashra albums from the late 70's instead. (VintageProg.com
Cottonwoodhill is one of the trippiest records ever made, capturing the intensity of the peak LSD experience far more successfully than any Timothy Leary recording, and even today, when many such documents from that era can sound silly and dated, Brainticket's fascinating debut still holds hallucinogenic potency. The record has only two proper songs, "Black Sand" and "Places of Light," with a side and a half of the album taken up by the three-part "Brainticket." "Black Sand" opens the disc with a driving funk beat and powerful organ and guitar interplay, adding in vocals distorted beyond coherency. "Places of Light" begins in a slightly lighter vein as a flute leads the proceedings, a looser jazzier piece that throws in some of Dawn Muir's odd spoken word vocals. Before one realizes what has happened, the piece has faded out and there is suddenly a crashing sound, car horns, and engines starting up. "Brainticket" is a bizarre roller coaster ride through weird sound effects and electronics, an endless organ riff, and Muir's acid-rush ramblings from hushed whisper to urgent screams, as any coherency she had earlier becomes lost to mind-expanding visions. Rather than the laid-back mellow groove of some psychedelic music from this era, Cottonwoodhill has a hyper energy in the frenetic organ riff and Muir's voice, like an acid trip out of control, while at times the various sound effects take over completely. AMG
Track List
1. Black Sand 2. Places of Light 3. Brainticket, Pt. 1 4. Brainticket, Pt. 1: Conclusion 5. Brainticket, Pt. 2
V.A. - African Scream Contest - Raw & Psychedelic Afro Sounds From Benin & Togo 70s (2008)
After releases by Zimbabwean 70s bands the Green Arrows and Hallelujah Chicken Run Band, the Analog Africa label now delves into the amazing history of music from 1970s Benin and Togo. This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched liner notes tell fascinating stories to accompany the mind-blowing music. The essence of Analog Africa is clear; searching in dusty warehouses for forgotten music to keep the sound alive. Label owner & vinyl collector Samy Ben Redjeb arrived in Cotonou, Benin, "without any special expectations, just hoping to lay my hands on few good records--what I found in the process cannot really be described in words".
Like most modern music in French-speaking West African countries, the music of Benin and Togo was influenced by a few main musical currents: Cuban, Congolese and local traditional music, as well as Chanson Francaise. Additionally, the geographical location of Benin and Togo--sandwiched between Ghana and Nigeria--exposed Beninese and Togolese musicians to Highlife music.
The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birth place of Vodun (or, as it is known in the West, Voodoo), and some of the rhythms used during traditional rituals - Sakpata, Sato, Agbadja, Tchenkoumé and many others - were fused to Soul and Latin music as early as the mid-1960s and later to Funk. In the late '60s and early '70s rock and soul music started creeping into the region. In particular, the music of James Brown and Johnny Halladay became immensely popular with university students. It was then that the music scene in Benin really started to take off. That fusion is the essence of this compilation. The CD includes a well researched 44-page booklet & rare photographs. (amazon.com)
1. Lokonon André & Les Volcans - Mi Kple Dogbekpo 2. Picoby Band D'Abomey - Mi Ma Kpe Dji 3. Gabo Brown & Orchestre Poly-Rythmo - It's a Vanity 4. El Rego et Ses Commandos - Se Na Min 5. Napo De Mi Amor et Ses Black Devil's - Leki Santchi 6. Orchestre Poly-Rythmo - Gbeti Madjro 7. Roger Damawuzan - Wait For Me 8. Ouinsou Corneille & Black Santiagos - Vinon So Minsou 9. Orchestre Super Jheevs des Paillotes - Ye Nan Lon An 10. Tidjani Kone & Orchestre Poly-Rythmo - Djanfa Magni 11. Discafric Band - Houiou Djin Nan Zon Aklumon 12. Le Super Borgou De Parakou - Congolaise Benin Ye 13. Vincent Ahehehinnou - Ou C'est Lui Ou C'est Moi 14. Les Volcans De la Capital - Oya Ka Jojo
Edip Akbayram & Dostlar - Nedir Ne Degildir (1976)
A later gem from the Turkish scene of the 70s -- one that's got a bit more funky touches than earlier Anatolian rock! There's still a fair bit of Eastern styles running through the mix, but most of the rhythms are really straightforward and use heavy basslines that really set the groove nicely -- a bit psychedelic, but almost more funk-inspired at times -- jamming in a way that's progressive, but never too noodly. The blend is a great one, and makes this record one of the best for those searching out the funkier side of the Turkish scene -- and this version has 4 bonus tracks added to the original record! Titles include "Yaralarim", "Arabam Kaldi Yolda", "Adam Olmak Dile Kolay", "Birak Beni", "Dar Agaci", "Mehmet Emmi", "Haberin Varmi", "Affetmem Seni", "Sen Actin Yarayi", and "Zalim Zalim". (dustygroove.com)
1. Yaralarim 2. Arabam Kaldi Yolda 3. Adam Olmak Dile Kolay 4. Dar Agaci 5. Kolum Nerden Aldin Zinciri 6. Ayrilik 7. Birak Beni 8. Haberin Varmi 9. Mehmet Emmi 10. Kaslarin Karasina 11. Affetmem Seni 12. Sen Actin Yarayi 13. Kahpe Felek 14. Zalim Zalim
V.A. - ACE 30th Birthday Celebration - Garage, Beat And Punk Rock (2005)
The Garage / Beat / Punk Rock record kicks off with the weirdest soundtrack to a car ad for a long while. Have Love Will Travel, the Richard Berry classic as mangled by the Sonics, must have helped shift a pile of Land Rovers. Stable-mates the Wailers are next up and out of their trees, a pretty good way to start any garage band selection. OK the Revels is a bit earlier, but a little weirdsville never hurt anyone. These Spiders are not from Mars, but from Japan, where they were doyens of the GS scene in the 60s, as indeed were our own spookily named Zombies, both here and even more so Stateside. The Wheels were from Belfast and you better believe it. We have three short sharp bursts of Punk Rock next and note that the version of Melody Lee by the Damned has never been out before. Finally we return to the garage, though this time for the 80s revival, kicking off with Billy Childish second group Thee Milkshakes and four tracks later their girlfriends the Delmonas. For four years in the early 80s these garage bands were the only people left standing up for real music by real men (& women) against a plethora of haircuts and trousers worn by men playing ironing boards. The Bugs - now they were a band that mysteriously came and went time for a fresh outing. (acerecords.co.uk)
Raw guitars, gritty vocals, and a massive batch of tunes from the garage rock and mod years! The package is more a pre-punk set than anything else -- and mostly features a raw batch of tunes pulled from the 60s catalog of Ace Records, plus some key bits from later years that echo the same groove with a nice retro-styled sound. And honestly, although the collection's a budget-priced one, designed to celebrate Ace's birthday, it's also one of the best of its kind we've heard -- and is filled with great numbers that are a new discovery to our ears! Titles include "Have Love Will Travel" by The Sonics, "Out Of Our Tree" by The Wailers, "Foolish Woman" by Oxford Circus, "Sleepy Hollow" by The Last Word, "Outta Reach" by She, "Hey Boy" by The Spiders, "Lie Beg Borrow & Steal" by Mouse & The Traps, "Brand New Gun" by Tall Boys, "Miniskirt Blues" by The Vibes, "It's About Time" by The Bugs, and "Reaching My Head" by The Prisoners. (dustygroove.com)
THE SONICS - Have Love Will Travel THE WAILERS - Out Of Our Tree THE OXFORD CIRCLE - Foolish Woman THE LAST WORD - Sleepy Hollow SHE - Outta Reach MOUSE AND THE TRAPS - Lie, Beg, Borrow And Steal THE REVELS - Intoxica THE SPIDERS - Hey Boy THE ZOMBIES - Just Out Of Reach THE WHEELS - Bad Little Woman THE RADIATORS (FROM SPACE) - Electric Shares RIFF RAFF - Cosmonaut THE DAMNED - Melody Lee THEE MILKSHAKES - Out Of Control THE VIBES - Miniskirt Blues TALL BOYS - Brand New Gun NAZ NOMAD AND THE NIGHTMARES - I Can Only Give You Everything THE DELMONAS - C C Rider THE PRISONERS - Reaching My Head THE BUGS - It's About Time
The Boots - Smash! Boom! Bang! Beat In Germany - A 60's Anthology (2003)
This is part of Bear Family's Beat In Germany 1960 series.
1. Gloria 2. Dimples 3. But You'll Never Do It Babe 4. Walkin' In The Sand (Remember) 5. In The Midnight Hour 6. Watch Your Step 7. Another Tear Falls 8. Gaby 9. Jump, Back Baby 10. Mama Keep Your Big Mouth Shut 11. She's About A Mover 12. It Ain't Necessarely So 13. What You Gonna Do About It 14. Got Love If You Want It 15. Boogie Children 16. Enchanted Sea 17. Comin' Home 18. When I Loved Her 19. No Part Of It 20. It's A Man's Man's World 21. I Don't Want To Go On Without You 22. Alexander 23. Aber ich blieb kühl 24. One More Time 25. I Wish You Would 26. Spoonful (Crazy Enough For Me) 27. Wreck My Life 28. Gaby (demo-Karaoke version)
V.A. - Realistic Patterns - Orchestrated Psychedelia From The USA (2008)
Orchestrated Psychedelia might seem to be something of a misnomer -- given the freak and fuzz usually associated with the psyche genre -- but the name is well-put here, since most of the tracks feature bigger musical backings! And although "orchestral" might be one way of describing the music, the sound isn't the sleepy sort you might associate with classical or dramatic soundtracks -- as most of the arrangements use the added instruments in ways that range from jazzy to driving to exotic, often with some wonderfully trippy touches. The set's one of our favorite so far from the Psychic Circle -- and once again, compiler Nick Saloman has come up with a whole new genre unto itself, by really shedding new light on a host of overlooked tunes. (dustygroove.com)
Tracklist:
1. All Those Who Enter Here - Burned 2. Realistic Patterns - The Subterranean Monastery 3. Brother Lou's Love Colony 4. I Call Her Lady - Bubble 5. Her Sadness Primer - Compass 6. Popcorn Double Feature - Tim Wilde 7. I Had the Notion - The Sound Solution 8. Yesterday Girl - Mystic Astrologic Crystal Band 9. Snowqueen - The Byzantine Empire 10. Dying Daffodil Incident - A Handful 11. Jersey Thursday - Douglas Fir 12. Dominique Is Gone - Gregg Shively 13. Don'tcha Feel Like Cryin' - Nobody's Children 14. Hurry Up Sundown - The Balloon Farm 15. Lydia Purple - Dunn & McCashen 16. Small Town Commotion 17. Glory Train - Drake 18. Pedestals - The 31st Of February 19. Theme from Valley of the Dolls - Natty Bumpo 20. Mr. Tripp Wouldn't Listen - Little Boy Blues
Peter-Michael Hamel (piano, organ, electronics) was born in Munich in 1947. From 1965-1970 he studied composition under Fritz Buchtger and Gunther Bialas in his home city. During this period he played free jazz, South American folk music and experimental electronics. In 1970 he founded Between with the Argentinean Roberto Detree and the American Robert Eliscu. In 1972 he guested on Agitation Free's first album, adding his peculiar hammond organ style. His interest in Eastern music and meditation resulted in several travels to Asia. His first four albums are also very influenced by such elements. Hamel (1972) was a double album, setting standards for all the albums to come: long, meditative and floating tracks in a minimalist tradition. Some tracks were performed live without overdubs. It had fantastic, colourful, sleeve artwork. Both this and Voice Of Silence were released on the legendary swirl Vertigo label. Hamel performed vocals in a special Indian vocal technique (named khyal) on Voice Of Silence and Buddhist Meditation East-West (1975) (Cosmic Dreams At Play)
The Moon was a short-lived late-'60s psych-pop "supergroup," notable for featuring ex-Beach Boy David Marks on lead guitar. 20-year old Marks had, by then, enjoyed quite a career. At 14, circa 1962, he joined the Beach Boys as a rhythm guitarist (the Wilsons were his neighbors in Hawthorne, CA) when Al Jardine left their lineup to attend dentist school. Marks appeared on the first four Beach Boys albums and several hit singles, including "Surfin' U.S.A." and "Surfer Girl." When Jardine returned, Marks, just 16, became the leader of Dave & the Marksmen, who had localized hits with "Cruisin'," "I Wanna Cry," and "I Could Make You Mine." Marks then formed the Band Without a Name, who recorded two singles for Tower and Sidewalk and were the house band at two Sunset Strip clubs, circa 1965-1966. After leaving this group, Marks formed the Moon with organ/pianist/vocalist Matthew Moore, who penned most of the band's songs. Moore's previous group, Matthew Moore Plus Four, had recorded for GNP Crescendo, and also solo material for White Whale and Capitol. The other Moon members were bassist David Jackson (ex-Hearts & Flowers, who had two LPs on Capitol in the late '60s) and drummer Larry Brown (ex-Davie Allen & the Arrows and a veteran of countless film soundtracks and those Sidewalk/Tower releases that were produced by Mike Curb). The members of the Moon literally moved into Continental Recorders in Hollywood, where they recorded two albums — 1968's Without Earth and 1969's The Moon — for Imperial. Today, Marks admits these were produced under the influence of LSD, and sound "like a cross between the Bee Gees, the Beatles, and Jimi Hendrix." The group's membership also included bassist Andy Bennett and session drummer Jim Keltner occasionally filling in. After the Moon dissolved, Marks began working as a studio musician with Denny Brooks, Delaney & Bonnie, and others. Marks, Moore, and Jackson later worked together — alongside members of Colours and the East Side Kids — on Buzz Clifford's See Your Way Clear album. Marks also joined Mike Love's Beach Boys, but was forced to leave due to his own battle with Hepatitis C. He founded the non-profit Artists Against Hepatitis foundation and became the national spokesman for the Hep C Hope Foundation. More recently, he still finds time to tour with Beach Party!, made up of former members of the Boys' touring band. Moore, meanwhile, joined Joe Cocker's 1970 Mad Dogs and Englishmen Tour, which was captured on vinyl and film for posterity's sake (Cocker performed Moore's "Space Captain"). Moore then went on to have a successful career as a session vocalist and keyboardist, recorded solo albums, and even had his own label, New Decade. David Jackson went on to become the bassist with Dillard & Clark. Larry Brown played with Gunhill Road, Tony Allwine, and was the official voice for Mickey Mouse.
1. Mothers And Fathers 2. Pleasure 3. I Should Be Dreaming 4. Brother Lous Love Colony 5. Got To Be On My Way 6. Someday Girl 7. Papers 8. Faces 9. Never Mind 10. Give Me More 11. Shes On My Mind 12. Walking Around 13. Pirate 14. Lebanon 15. Transporting Machine 16. Mary Jane 17. Softly 18. Not To Know 19. The Good Side 20. Life Is A Season 21. John Automaton 22. Come Out Tonight 23. Mr Duffy 24. Pirate Song (Mono 45 Mix) (Bonus Track) 25. Not To Know (Mono 45 Mix) (Bonus Track) 26. Face In The Crowd (Matthew Moore Plus 4) (Bonus Track) 27. White Silk Glove (Matthew Moore Plus 4) (Bonus Track) 28. Come On Home (Matthew Moore Plus 4) (Bonus Track)
Rock Shop - Mr. Lee's Swingin' Affair Presents (1968)
Listen to 'Soap Suds And Cream':
Personnel: ALAN CLARK vcls, ld gtr, bs,organ A JOHN DALBECK gtr A PAT EDWARDS bs A PETE STEVENS drms A
ALBUM: 1(A) MR. LEE'S "SWING 'N AFFAIR" PRESENTS THE ROCK SHOP (Lee-Mo) 1968 R3
NB: (1) pirated on vinyl and CD. Reissued legitimately on vinyl and CD (Bacchus Archives BA 1115) 1997.
45: 1 Is That Your Halo?/State Of Your Mind (Rowena 853) May 1967
From Monterey, California. A very rare album of fuzz guitar-led blues and pop rock. It has a very funny cover depicting the group as the next Beatles and hairdresser-cum-rock promoter "Mr. Lee" as God!
According to Tony Sanchez in the liner notes to Fuzz, Flaykes, And Shakes, Vol. 4 (LP & CD), the above 45, both sides of which appear on the comp, is by a different band to the one who recorded the LP - can anyone confirm this? Is That Your Halo is an intensely menacing punker that rumbles into Yardbirds' rave-up territory at the bridge where incendiary leads battle with rasping harmonica; State Of Your Mind is an almost equally powerful acid-punker - truly a double-whammy of a 45.
1. Soap Suds And Cream 2. Stop 3. Leaving Just Isn't Fair 4. Yes, I Love You 5. Bad Case Of Booze (Pete's Theme) 6. Goodbye Sunshine 7. Why Not Three Or Four 8. Lay It On The Line 9. Mediocre Blues 10. It's Hurting Me 11. Looky, Looky, Look 12. I Can't Go On
The only album ever from The Ashes -- a group who both pre-dated and post-dated Peanut Butter Conspiracy -- morphing into that famous act after an initial 60s run, then changing back to Ashes form with this group featuring female singer Pat Taylor! Taylor's got a style that's folksy, but a bit fierce too -- a quality that almost gives the group a Jefferson Airplane sound on vocals, but a bit lighter overall and not nearly as trippy. Tunes are relatively straightforward, occasionally a bit rootsy -- late 60s California underground work at its best, although more Northern Cali than southern. Titles include "My Life Has Changed", "Sands Of Love", "Sleeping Serenade", "Gone To Sorrow", "Simple Complexities", "Look Around Rock", and "Her Invention". (dustygroove)
Personnel: AL BRACKETT bs A JOHN MERRILL gtr A PAT TAYLOR vcls A JIM VORGHT drms A
ALBUM: 1(A) THE ASHES (Vault 125) 1966 R1
45s: 1 Is There Anything I Can Do?/Every Little Prayer (Vault 924) 1966 2 Dark On You Now/Roses Gone (Vault 936) 1967 3 Homeward Bound/Sleeping Serenade (Vault 973) 1971
The above line-up is that featured on the album. This Los Angeles band's original drummer was, of course, Spencer Dryden, before he joined Jefferson Airplane. The remaining members, aside from Taylor, later teamed up with Bill Wolff, Lance Feat and Sandi Robinson to become The Peanut Butter Conspiracy.
The Ashes also have four tracks (both sides of their first two singles) on the 1967 Vault compilation, West Coast Love-In (LP). Every Little Prayer, Is There Anything I Can Do?, Dark On You Now and Roses Gone are all characterised by the distinctive melodies that typified so many mid-sixties English bands like The Fortunes. They feature Sandi Robinson rather than Pat Taylor on vocals. Their album is well worth a spin. A very hippyish sixties album with nice lead vocals. (Fuzz, Acid & Flowers)
The Ashes were a folk-rock group formed in 1965 that included John Merrill (guitar/ vocals), Alan Brackett (bass/ vocals), Barbara Robison (vocals), Spencer Dryden (drums) and Jim Cherniss (guitar/ vocals). Before they were known as the Ashes, the group called themselves the Young Swingers and released two long lost 45s under that name: "Love Her Every Day" b/w "Or Else You'll Cry" (Courtney 746) and "Let's Take Our Love" b/w "The Winds Up High" (Portafino 901) . From the summer of 1965 up until May of 1966, the Ashes served as the house band at a club in Santa Monica called the Waleback. They released their first single under their new moniker in 1966: "Is There Anything I Can Do?" b/w "Every Little Prayer" (Vault 924). The a-side was written by Jackie DeShannon and featured a fine lead vocal from Barbara Robison. This 45, along with its follow-up "Dark on You Now" b/w "Roses Gone" (Vault 936), also appeared on the 1967 compilation WEST COAST LOVE-IN (Vault 7980). Around the time of the first Ashes single, Spencer Dryden left to replace Skip Spence in Jefferson Airplane. Jim Cherniss also exited the group at this time.
With the addition of two new members, the band was transformed into the Peanut Butter Conspiracy, who of course recorded two albums for Columbia in 1967. John Merrill resurrected Ashes in late 1968, around the same time that Alan Brackett was working on the tracks that would ultimately constitute the PBC's FOR CHILDREN OF ALL AGES album. The new Ashes recorded their debut LP for Vault Records that year; it stands today as a staple of the collector's market, routinely fetching $50 or more on eBay. The album also featured singer Pat Taylor standing in for Barbara Robison (who could not appear on the record due to contractual obligations). The LP's release was delayed until 1970, while two songs from the record-- "Homeward Bound" b/w "Sleeping Serenade" (Vault 975)-- were issued as a 45 in 1971.
Another private pressing from a band that recorded a single record only to disappear without trace immediately after. Peter Stark's Mushroom Country, with its unusual phallic mushroom artwork and 'cosmic folk' groove, has become an extremely collectable album of late. Recorded at The Mike studio in Ann Arbor, Michigan, the album appeared on the Montage label in 1976, although for some reason no catalogue number was assigned. The album features 8 original works by Stark and his brother Ben, and a particularly fine cover of Donovan's 'Hey Gyp'. Musically, the album takes us on a tour of genres, from the instrumental 'Raga For Bayleaf', the folky 'You Make Me Feel' and the blues of 'Searching'. There is a real charm about Mushroom Country, with its varied instrumental accompaniment to Stark's vocals and fluid guitar and a 'we're having a great time doing this' vibe that pervades throughout. Hippie folk? Well, possibly, but none the worse for that. (Forcedexposure.com)
Personnel: WENDALL BIGELOW drms A HAL DAVIS gtr A DAVE MASON gtr A RICK ED ROB perc A PETER RUTH hrmnca A WILLARD SPENCR banjo A BEN STARK gtr, vcls A PETER STARK gtr, vcls A
ALBUM: 1(A) MUSHROOM COUNTRY (Montage ) 1976
From Ann Arbor, Michigan, this album contains acid folk music, with a cover of Donovan's Hey Gyp, some ragas (Ragas For Bayleaf) and fluid guitars. Housed in a nice sleeve, the album is now extremely rare and sought after.
Of all the strange records this French vanguard pop chanteuse ever recorded, this 1971 collaboration between the teams of Brigitte Fontaine and her songwriting partner Areski and the Art Ensemble of Chicago -- who were beginning to think about returning to the United States after a two-year stay -- is the strangest and easily most satisfying. While Fontaine's records could be beguiling with their innovation, they occasionally faltered by erring on the side of gimmickry and cuteness. Here, the Art Ensemble provide the perfect mysterious and ethereal backdrop for her vocal explorations. Featuring the entire Art Ensemble of that time period and including fellow Chicago AACM member Leo Smith on second trumpet, Fontaine and Areski stretched the very notion of what pop had been and could be. With strangely charted arrangements and mixing (percussion was in the foreground and horns were muted in the background, squeezed until they sounded like snake-charming flutes), the ten tracks here defy any and all conventions and result in the most provocative popular recording of 1971 -- and that's saying something. For their part, the Art Ensemble hadn't played music this straight since before leaving Chicago, with long, drooping ballad lines contrasted with sharp Eastern figures and North African rhythmic figures built in. The finest example of how well this works, and how seductively weird it all is, is on the two-part "Tanka." Here, Malachi Favors' bass and Areski's percussion meet everything from bouzoukis to clarinets to muted trumpets to sopranino saxophones, courtesy of Joseph Jarman, Roscoe Mitchell, Smith, and Lester Bowie, who play in tandem, using striated harmonies and modal intervals in order to stretch the notion of time and space under Fontaine's vocals. The effect is eerie, chilling, and hauntingly beguiling, and sets the tone for an entire album that runs all over the stylistic map while not adhering to anything but its own strange muse. This is remarkable stuff from a very adventurous time when virtually anything was possible.
Thom Jurek, All Music Guide
1. Comme à la Radio 2. Tanka II 3. Le Brouillard 4. J'ai 26 ans 5. L'Été L'Été 6. Encore 7. Leo 8. Les Petits Chevaux 9. Tanka I 10. Lettre à Monsieur le Chef de Gare de la Tour Carol
V.A.-Insane Times:25 British Psychedelic Artyfacts From The EMI Vaults (2007)
Listen to 'July - Dandylion Seeds':
The compilation kicks off with the staggering and brilliant groove of Song For Insane Times by Kevin Ayers. With a vocal delivery not unlike Nick Drake, and a shimmering groovy backing of strings, skittering beats and blissed out piano, Ayers nails a very unique brand of Britsike and delivers the fantastic line "we all sung the chorus of I Am The Walrus". As comp openers go, this is one of the best you'll ever hear.
Hot on the heels of Ayers is the mental wrongs of July and Dandelion Seeds (single version). The song is pretty tough and has a vomiting guitar sound that wouldn't be out of place on an Os Mutantes LP. Wretching and heaving atop a fierce overdriven freakbeat, Dandelion Seeds is as out there as you'd expect. Of course, being influenced by huge doses of acid, it's not long before the single implodes and disappears into a subdued electronic track with cavernous reverbs and echoes before unleashing a ferocious guitar solo that manages to narrowly avoid falling to pieces.
Amongst the madness are some well comped tracks like Real Life Permanent Dream by Tomorrow (worth hearing again mind you), Syd Barrett's No Good Trying and The Penny Peeps Model Village. However, most of these tracks have featured on obscure box sets and the like, so this comp is well worth taking a punt on if you don't fancy shelling out £50 or so.
Some of the tracks border on self indulgent... but it's a psych comp... you really should know what you're getting yourself in for. One such track by the preposterously named Mandrake Paddle Steamer features serious axe work with a spliced coda built around some session men playing the Incredible String Band's Maybe Someday'. Strange Walking Man may be hard work on the ear, but it's a good laugh and worth hearing.
A great hidden gem can be found in the fantastic Last Cloud Home by The Orange Bicycle. You might know the band from their Hyacinth Threads 45 which topped the French charts in 1967. Interestingly enough, the man behind this driving psych number - Wil Malone - went on to produce and arrange for bands like Massive Attack and The Verve. It would seem that his best work came and went in the tail end of the flower power era.
Dadaists, Bonzo Dog Doo-Dah Band show up with the brilliant and hilarious Equestrian Statue. It's part baroque pop masterpiece and piss-take. It's vintage Bonzos. The sleeve notes of this album compare them to the lunacy of Frank Zappa's Mothers of Invention, and rightly so. Eccentric Englishness abounds where Zappa's sneer lived. To try and convey what this song entails in print is foolhardy at best... rest assured, you need to hear it to believe it.
An easier to swallow track is the fantastic Sun Sing by The Rainbow Ffolly. The track is perfect summer pop with "a lysergic sense of fun" (c/o Record Collector) with double tracked harmonies and phased leads. Reminiscent of The Beatles' better work and The Pretty Things' SF Sorrow LP, this track ain't no dancer, but one that no home should really be without. It sounds for all the world like it should have been a hit. The same can be said for the incredible sounds of The Koobas. The Koobas are one of the most underrated bands of the sixties and listening to Barricades, possibly the strongest track from their eponymous LP, it's difficult to grasp why they didn't sell millions of records.
Featured for the first time on CD is the cracking and biting Mr Commuter by Mike Proctor. In what can only be described as a Ray Davies-esque attack on the middle classes, Mr Commuter sees Proctor sneering "Mr Commuter you're like a computer... you never step out of line..." It's a little twee, but jesus, there's a fuzz guitar to die for in this.
As ever, with comps like this, you hear a record that, as soon as it starts, you demand that you own it on seven inch immediately... only to find out its one of the rarest records in the world and you'd have to sell your arse for life in the vain hope of owning it. The track I'm talking about is the staggering pop masterpiece that is World Of You by The Aerovons. I know nothing of this band and nothing of this record apart from what I'm hearing. What I'm hearing is tripped out mellotrons gliding through grand orchestrations, minor key vocals and drums that could bring down a mountain. It's perfect and worth buying Insane Times for alone. In a similar fashion, World Spinning Sadly by The Parking Lot is another piece of beautiful and haunting psych. (electricroulette.com/2007/09/review---insane.html)
01. Kevin Ayers - Song For Insane Times 02. July - Dandylion Seeds 03. Tomorrow - Real Life Permanent Dream 04. Ipsissimus - Hold On 05. Mandrake Paddle Steamer - Strange Walking Man 06. The Gods - Towards The Skies 07. The Penny Peeps - Model Village 08. Paul Jones - The Dog Presides 09. The Idle Race - Hurry Up John 10. The Orange Bicycle - Last Cloud Home 11. Jon - Is It Love 12. The Brain - Nightmares In Red 13. Bonzo Dog Doo Dah Band - Equestrian Statue 14. Rainbow FFolly - Sun Sing 15. Simon Dupree & The Big Sound - Castle In The Sky 16. Tales Of Justine - Monday Morning 17. Mike Proctor - Mr Commuter 18. The Hollies - All The World Is Love 19. The Aerovons - World Of You 20. The Lemon Tree - William Chalker's Time Machine 21. The Parking Lot - World Spinning Sadly 22. Herbal Mixture - Please Leave My Mind 23. The Koobas - Barricades 24. The Yardbirds - Think About It 25. Syd Barrett - No Good Trying
Serge Gainsbourg- Les Annees Psychedeliques (1966 - 1971)
All the freaky, funky Serge Gainsbourg you could ever want -- served up in a single set! The package pulls together some of the grooviest tracks by Serge from a host of late 60s and early 70s albums -- including some of his super-rare French soundtrack work -- from movies that include Le Pacha, Anna, Ce Sacre Grand-Pere, Cannabis, and Manon 70! The double-length set is overflowing with great grooves -- tracks done with that subtly funky style that Serge cooked up with arrangers Michel Colombier and Jean-Claude Vannier, all topped with that breathy, nearly-spoken style that made Gainsbourg so great back in the day. A few of the most break-heavy cuts are even presented with special bonus beats -- and titles include "Requiem Pour Un Con", "Je N'Avais Qu'Un Seul Mot A Lui Dire", "New Delire", "Pas Mal Pal Mal Du Tout", "Chanson Du Forcat", "Danger", "Premiere Blessure", "L'Alouette", "No No Yes Yes", "Breakdown Suite", "Psychastenie", "Boomerang", "Photographes Et Religieuses", "Generique Pop 2", and "En Melody". (dustygroove.com)
1. Requiem Pour Un Con 2. Requiem Pour Un Con Bonus Beats 3. Je Navais Qu Un Seul Mot a Lui Dire 4. Sous Le Soleil Exactement 5. Chanson Du Forcat 6. Pas Mal Pas Mal Du Tout 7. New Delire 8. Bonnie and Clyde 9. Premiere Blessure 10. Danger 11. Danger Bonus Beats 12. Generique Pop 2 13. Photographes Et Religieuses 14. Boomerang 15. Psychastenie 16. Cadavres En Serie 17. La Horse 18. La Horse Bonus Beats 19. L Alouette 20. Breakdown Suite 21. No No Yes Yes 22. En Melody
Prae-Kraut is a term that was coined to describe the mid-60's music of Germany and other European countries like Austria and parts of Switzerland with natives talking in teutonic tongue, seperating from the upcoming Kraut Rock stamp that dominated by the turn of the century. Cultural roots rather than national borders define the subject of interest and even foreign bands, who spent most or all of their career here, get incorpora-ted now and then. UK-bands like The Shamrocks, The Governors or The Rackets were literally unknown back home, but integral parts of the German scene. And the US-Monks still say: "We are a German band!" to this very day. The pandaemonium part of the monicker wasn't chosen without thought as well. A new generation tried to shake off the evil demons of the past and wanted to build a new society by doing everything exactly the other way around, while the new establishment usually was the bosses in disguise, who feared the spirit of freedom like the devil hates holy water. Demons, ghosts and zombies everywhere...
While the old still couldn't get over the trauma of having lost World War 2, many of the young despised their parents for not having prevented fascism and the resulting atrocities. This may explain why many of the songs are about quite unlikely and ambitious things like philosophy, medicine, warfare or homosexuality, written in a foreign language, while most of the english speaking garage bands still sang about lost love and juvenile lust.
Of course the Germans couldn't express what was on their mind in proper English, but their failures were glo-rious and the immaculate intentions of the early days still sound better than anything that followed. And that's what the Prae-Kraut Pandaemonium is all about. An archaeo-logical project and a tribute to the decade, when living in Germany still was exciting and adventurous. It isn't dedi-cated to the few well known names like The Lords, The Rattles or The Rainbows, but to the many total unknowns, who scratched together their last coins to get their record released on a tiny label, when the majors wouldn't touch them with a barge pole. (prae-kraut.de)
Note: Mercy is a US-band. 101 Strings are a US-studio group. Meta & The Bowling Boys are a German band, but the song was recorded in the 80's.
Side 1
1 Novak's Kapelle: Doing That Rhythm Thing 2 The Prophets: You Missed By A Mile 3 The Improved Sound LTD.: Leave This Lesbian World 4 The Dragons: Heart Transplantation 5 The Inner Space: Agilok And Blubbo 6 Mercy: Fireball 7 Malepartus II: Ich Glaub' Die Hole Mich Ab 8 Kaplan Flury: Jimi Hendrix
Side 2
1. The Petards: Tartarex 2. The Blackbirds: Space 3. Rene & The Ten Less Five: Ever 4. The Shaggys: Only An Hour 5. Ric & The Skyliners: Convicted 6. Dakotas: Don't Know The Reason 7. Dave Gordon & His Rebel Guys: Call Me 8. 101 Strings: Karma Sitar 9. Meta & The Bowling Boys: Und Ich
Side 1 1. The Plague - The Face Of Time 2. Perpetual Motion Workshop - Won't Come Down 3. The Quiet Jungle - Everything 4. Last Knight - Shadow Of Fear 5. The Human Expression - Optical Sound 6. Thee Sixpence - In The Building 7. Children Of The Night - World Of Tears 8. Twentieth Century Zoo - You Don't Remember
Long ago released psych comp and one of the genre's classic ones. As the cover states: Guranteed Free of Flower Power! Blow Your Mind!
Side 2 1. Scorpio Tube - Yellow Listen 2. The Inexpensive Handmade Look - What Good Is Up 3. The Starlites - I Can't See You 4. Perpetual Motion Workshop - Infiltrate Your Mind 5. The Story Tellers - Cry With Me 6. The Caretakers Of Deception - Cuttin' Grass 7. The Boy Blues - Coming Down To You 8. The Strange Fate - Hold Me Baby
V.A. - Shapes And Sounds : Orange And Red Beams (From The BBC Archives 1967-1969 (2006)
`Shapes And Sounds' offers seventeen performances taped in BBC studios between 1967 and 1969 for radio shows such as `Top Gear' and Saturday Club', as well as some of the weekly Radio 1 programmes. This release, on both LP and CD, features six bands, all of whom will be familiar to collectors of psychedelia and pop of the period, some of which are lauded as being amongst the most rated groups of their time. For many pride of place will go to Kaleidoscope, as `Shapes And Sounds' features two tracks that are missing from the BBC's Transcription Service archive. Thanks to the recent discovery of a transcription disc, Top Sounds are privileged to offer a choice version of the band's most contagious single `Jenny Artichoke', as well as a stupendous rendition of the `Faintly Blowing' cut `Music'. Also thought lost and making their debut on record and CD are three splendid tracks by Tomorrow featuring Keith West, sourced from two editions of `Top Gear' in October 1967 and February 1968. Included are excellent renditions of `Blow Up',`Colonel Brown' and `Real Life Permanent Dream'. `Shapes And Sounds' also offers the four remaining Timebox session tracks from the Beeb archives, which include an admirable slice of blue eyed soul in their cover of the Young Rascals' `A Girl Like You', which the band never recorded outside of the BBC. The Montanas' selections feature a superior rendering of `A Step In The Right Direction' , as well as some cracking Moby Grape covers and a Kenny Lynch / Mort Schuman penned `You're Never Gonna Get My Lovin'. Of all these numbers from their repertoire, only `A Step In The Right Direction' ever appeared on a single. Gentle Influence impress with their BBC only cover of Curtis Mayfield's `You've Been Cheatin', as well as a very good version of their last single `Always Be A Part Of My Living'. The Spectrum offer a fuzz guitar spiked performance of `Headin' For A heatwave' which is more virile and much more atmospheric than the 45 version, and they enthusiastically rip through a Beeb only take of the Artwoods favourite `I Take What I Want'. The sound quality is absolutely superb throughout, with nearly every track sourced from original BBC Transcription records and though few of the tracks on the collection needed much enhancement at all, all have been professionally restored and mastered. The presentation is immaculate and the CD has a twenty four page booklet packed with illustrations, band histories and listings of all their known BBC sessions. All the selections on this release were specially recorded for the BBC during the late 1960s and in many cases are better than the familiar released versions, and appear here on CD and vinyl for the first time. All copies are hand numbered and `Shapes And Sounds' is a legitimate limited edition release, licensed from the BBC with the blessing / co-operation of no less than nineteen band members.
1. Jenny Artichoke - Kaleidoscope 2. You've Been Cheatin' - Gentle Influence 3. Hey Grandma - Montanas 4. Beggin' - Timebox 5. Headin' For A Heatwave - Spectrum 6. Colonel Brown - Tomorrow & Keith West 7. Stay There - Timebox 8. Step In The Right Direction - Montanas 9. Blow Up - Tomorrow & Keith West 10. Girl Like You - Timebox 11. You're Never Going To Get My Lovin' - Montanas 12. Real Life Permanent Dream - Tomorrow & Keith West 13. Music - Kaleidoscope 14. Omaha - Montanas 15. I Take What I Want - Spectrum 16. Yellow Van - Timebox 17. Always Be A Part Of My Living - Gentle Influence
V.A. - A History Of Garage & Frat Bands In Memphis Vol. 1 (1960 - 1975)
Upon first spinning this compilation, listeners will be struck by the audio quality. Certainly, the raw, grainy tone of garage rock is to be embraced, but the quality of the actual production here is definitely not up to industry standards. It's clear that these selections come straight from vinyl sources, and not master recordings. But you have to put that aside for a variety of factors. For one, the overwhelming majority of these tunes are not available elsewhere on cd. Secondly, it is highly possible that the master tapes for these records have either been destroyed or lost over the last 30+ years. Keep in mind too that these hail from small local labels of the era. With all of that said, once the music is actually moving the molecules around in your room, you will easily overlook the sonic shortcomings of the recordings presented here. Each track is a gem, and as a whole, the compilation presents fifteen unique, yet consistent-sounding songs spanning 15 years. A track by track analysis isn't necessary, although I will say that The Yo-Yo's take on Billy Joe Royal's "Leaning On You" is nothing short of a masterpiece. That track alone makes this a worthwhile purchase (and admittedly, was my personal motivation for seeking it out). My only real complaint is that, clocking in at 33 minutes, the second volume could have easily been placed on the same disc. (amazon.com/History-Garage-Bands-Memphis-1960-1975/dp/B00005QG2J)
Ever heard of the Yo-Yo's? How about Shadden and the King Lears? Unless you were a rock & roll fan in Memphis in the 1960s, or you're a collector of obscure records, the answer is probably no. For every band that made it big during that era, there were countless others whose tour itinerary extended no further than the local rollerrinks and VFW halls. Success was relative; of course, most budding musicians harbored secret (or not so secret) hopes that picking up a guitar would be a ticket to stardom, but if the extent of their success meant making a good record or two, meeting girls, and being popular around town, that worked as well. As a rule, garage bands were less concerned with breaking new musical ground than with playing in the styles that made them want to form a band in the first place. The Memphis scene was strongly influenced by the soulful sounds of Stax Records; compared to other regions, there were fewer psychedelic bands and cranked up Marshall amps (as the local studio engineers didn't have much experience in recording such equipment). A History Of Garage & Frat Bands In Memphis 1960-1975 serves up fifteen bursts of youthful enthusiasm, and it's a great survey of the local talent. The Yo-Yo's "Leaning On You" is a catchy slice of blue-eyed soul; The Changin' Tymes' "Blue Music Box" sports a killer fuzzbox sound; "Uptight, Tonight," courtesy of Flash & The Casuals, is what energetic frat rock was all about; and The Castels' "Save A Chance" reminds that American singers were adopting thick, faux-Brit accents long before Joey Ramone and Bob Pollard. There's an accompanying book (sold separately) entitled Playing For A Piece Of The Door, which provides exhaustive documentation on the bands featured on the disc, as well as many, many others (making one wish that Shangri-La had been a bit more generous with the CD, which clocks in at just under 34 minutes). With a non-hierarchal eye, it gives histories of the acts who broke nationally (The Box Tops, Big Star, Sam The Sham & The Pharaohs) alongside those who released a sole 45 and dispersed when it was time to go to college. As it's a straightforward, alphabetized look at the groups, with discographies, photos, and personnel listings, it'll be of primary interest to hardcore collectors of the original records and those were present at the time, but the CD should appeal to anyone who wants to hear more of the music that the Nuggets compilations specialize in. (James Lindbloom)
1. Uptight, Tonight - Flash And The Casuals 2. Rising Mercury Twist - LeSabres Listen 3. Ain't Goin' No Where - Danny Burk And The Invaders 4. Can't Find A Way - Joe Frank And The Knights 5. I Tell No Lies - The Escapades Listen 6. Seven Little Numbers - The Rapids 7. Leaning On You - The Yo-Yo's 8. Ain't Got You - The Jades Listen 9. Possibility - The Coachmen Listen 10. The Mysterians - Jimmy Tarbutton And The Memphis Sound 11. Land Of Soul - The Rapscallions 12. All I Want Is You - Shadden And The King Lears 13. Blue Music Box - The Changin' Tymes 14. Save A Chance - The Castels Listen 15. These Windows - The Village Sound
V.A.- A History of Garage & Frat Bands in Memphis Vol. 2 (1960 - 1975)
1. Don't Send Me No Flowers - The Breakers 2. Geraldine - Ole Miss Downbeats 3. Shady Lady - The Shades 4. Your Love - The Percussions 5. Please, Please Little Girl - The Merits 6. Little Girls Were Made To Love - The Scepters 7. I Need Your Lovin' - The Chasers 8. Move It, Groove It - The Ponees 9. Stormy Weather - Tommy Burk & The Counts 10. Back For More - Lawson & Four More 11. Going Out Of My Mind - Ricky & The Rainbows 12. Condition Red - The Goodees 13. I Wanna Be - Memphis Nomads 14. Sally's Got A Good Thing - Village Sound 15. Warm City Baby - Honey Jug 16. Blue Green - Los Angeles Smog Division
A batch of lost psych prog tunes from the early 70s -- with spiraling guitars, chugging rhythms and otherworldly jams from the UK scene -- and great little compilation on Nick Saloman's Psychic Circle label! The tunes were cut in the years between the psych heyday and the complicated prog sounds of the later 70s -- many with the catchy, freewheeling groove of the former and the metallic crunch and lumbering qualities of the latter -- all in all, a really great batch of spacey rockers that you have likely never heard before! 20 tracks in all: "Why Not Tonight" by Treetops, "Greenfields" by Mousetrap, "That Don't Help Me None" by Deadwood, "So Come On" by Jericho, "Tadpole" by Incredible Hog, "Spirit Of Joy" by Kingdom Come, "Sarabande" by Beggars Opera, "Bring It On Home" by Strange Fox, "So You Wanna Know" by Sunchariot, "Nervous Shakin'" by Kansas Hook and more! (dustygroove)
1. Treetops / Why Not Tonight 3:19 2. Mousetrap / Greenfields 2:47 3. Deadwood / That Don't Help Me None 4:05 4. Fuzzy Duck / Just Look Around You 3:58 5. Jericho / So Come On 3:57 6. Incredible Hog / Tadpole 3:32 7. Mouse / It's Happening To Me And You 2:52 8. Helter Skelter / I Need You 2:30 9. Beggars Opera / Sarabande 4:28 10. Kingdom Come / Spirit Of Joy 3:26 11. Little Big Horn / Just A Game 4:19 12. Strange Fox / Bring It On Home 3:20 13. Onyx / Air 4:00 14. Spontaneous Combustion / Spaceship 3:20 15. UFO / Evil 3:36 16. Sheephouse / Ladder 3:22 17. Pussy / Ska Child 3:06 18. Axe / People Come, People Go 3:05 19. Sunchariot / Do You Wanna Know 4:09 20. Kansas Hook / Nervous Shakin' 3:12
This album was originally recorded in Italy and England during 1972 by an almost unknown artist who is now a mystery. The album was only ever released in Italy and was almost entirely unknown in the UK and elsewhere around the world. Like many albums after a limited release it receded to a forgotten back page of musical history. It was in the late 1990s that Akarma Records in Italy reissued the album on CD with the original sleeve on the evocative cover.
When we read of an album being labeled 'psychedelic folk' it is often a dubious use of the term and a listener may be at a loss to find the elusive element of psychedelia. However there can be no such doubt with regard to this album which is a defining masterpiece of the style.
From the cover it is clear that this album seeks to fuse the whimsical text and graphics with a deep sense of the rural and with the tarot styled cards elements of folk low magic are also implied. The back cover shows some kind of pagan princess or holy woman in a trance like state and inside we see a young woman asleep. With such an evocative cover the scene is set for something special and for once here is an album that lives up to it's fusion of the surreal, rural and magical.
The whole album seems to be about sharing some kind of surreal psychedelic dream with Alice from the Alice Through The Looking Glass book. This book had like the nonsense wordplay of Lear been a defining influence on British psychedelic culture, linking the new mental expansion with a quaint gentle surreal element. Throughout the album minute long miniature songs explore these dreams and visions carrying on the 'Dreaming With Alice' theme and eventually submerging it in echo, fuzzed wah wah guitar and backwards tapes. From the first version of this onwards we immediately experience something strange, a little one verse song with just acoustic guitar and heavily processed, echoed vocals that seem distant, removed and emotionally disconnected. The first lyrics we hear start as it then continues.
"Did you pass the glass mountain? Where Salome opened her dress. Did you see the dolphins feathered fountain? Oh the King made a bloody mess"
Disconnected and remote it may be but it is also warm and enveloping, a hazy opiate lullaby. It is then quickly on to 'The Witch' weaving guitar with pulsing eastern percussion and sitar topped by flute and the vocals which carry on the heavy processing. This is a darker song which seeks the Witch to cure his loneliness by coming through the window, the sound is heavily psychedelic and gives way to a beautiful ballad which is followed by the innocent childlike 'Roses for Columbus', a song s delicate it almost seems an effort to sing it and considers the discovery of America. Next is 'A Norman Solider' which seems beamed from the twelve century and provides a picture of a fog filled landscape, the solider half seen through grey light. By now the 'Dreaming With Alice' interludes are becoming ever stranger as some kind of inexplicable narrative develops with Cleopatra eating Christmas cake and asking to be called Pyramid Prostitute, however the words are almost beyond meaning becoming a soft tapestry over the soothing music which has you similarly drifting mentally. 'Lute and Flute' is baroque medieval folk that is quite exquisite and similar to Amazing Blondel.
'Down Narrow Streets' roots us back in some kind of memory from the singer's past, it is very moving yet cannot be placed. The guitars weave around each other in layers, the vocals shimmer and glide across the music, as though trying to remember the distant, hazy recesses of childhood. From here we enter the psychedelic epic of 'Mandolin Man' which clearly is meant to be the singer and even has this in the title. This starts as a driving primitive folk rhythm with a fantastic riff, if this had been earlier I'm certain it would have inspired a Jimmy Page adaptation.
'Oh Mystery man, where are you going? I can see, your eyes are snowing'
The guitar probes and pushes with a circular riff and blues slide soloing over the top, a heavy deep drum beat comes it and it evolves to take in seething wah wah guitar with banks of hugely processes vocals like a heavenly choir, the soloing becomes more frenetic and it achieves a deep heavy folk sound that few have ever achieved.
The final version of 'Dreaming With Alice' is so heavily processed, so 'gone' that the lyrics are all but indecipherable and we end as we began, in thrall to Alice and her entrancing dream.
'And I'm With Alice In Wonderland Skipping through the rain Flowered marbles in our hands as we roll on down the lane as we laugh on down the lane' (repeat last line to fade)
Reference points for the album are hard as it is truly unique. Donovan was often as surreal but never as distant, Nick Drake explored acoustic music in a similar way but to far different more personal effect, artists like Steve Tilston were never as extreme. Perhaps it is closest to the modern generation, to such as In Gowan Ring' who merge the psychedelic with a focused distant quality, or Fit and Limo with their genuine sitar folk sound, or Stone Breath with their mystical evocations that beguile and scare in equal parts, or Drekka with their low-fi rumbling darkness. However none are truly close and that is because the artist here is not giving us his personal feelings but connects on a deep more sub-conscious level, with our innate feelings, with the part of ourselves we cannot reach. Whether by drugs, religion or music that was the purpose of psychedelia, to connect with that we cannot grasp in ourselves except through the shortest glimpses of forgotten child hood. In this it provides a defining album that not only in sound, but in it's quest attempts to connect the broken synapses of memory. Inevitably by the end the processing of the music is so extreme that the fragile connection is lost, we cannot find these places in ourselves except in the fragmented transitory illusions of sleep when we once again dream with Alice. (theunbrokencircle.co.uk)
One of the most interesting one-shots of the early '70s, this duo featured Irish multi-instrumentalist Jackie McAuley, who was responsible for some of those great organ lines on Them's early records, and Judy Dyble, who sang on Fairport Convention's first album before being replaced by Sandy Denny in 1968. Their sole LP, Morning Way, is nice if slightly precious British folk-rock with an Olde English, fairy-tale air, and will appeal to fans of the early work of both Donovan and Fairport. ~ Richie Unterberger, All Music Guide
Like many bands before them Trader Horne released an album preceded by a couple of singles, the band promptly broke up and the album sank. Years later it is discovered by collectors and found to be high quality and of interest. The musicians in this band had a pedigree that should not have condemmed the album unfairly. The female singer Judy Dyble had been the original one for Fairport Convention on their first album and Jackie McAuley had been a key member of primal Irish R&B band Them. However here they had both evolved into crafted folk with a production that should have crossed them over to the popular music charts. The songs are folk-pop with psychedelic production touches and like Amazing Blondel are enfused with baroque elements of early music. Harpsicord, xylophone, auto-harp and organ all help this album sound different from many. There is a childlike air to many of the tracks, a fey innocence that is appealing. Some of the tracks have pseudo mystical themes such as the instrumental 'Three Rings for Eleven Kings' however this is never taken too seriously. Each track links to the next with a little short musical segue that provides continuity and reminds of the marvellous uncompleted 'Teenage Opera' by Mark Wirtz. Stand out tracks include 'Morning Way' with it's descending chord sequences and dual vocals and the deeply psychedelic 'The Mutant' with it's treated slightly unsettling vocals. All of the singles are added back to this enjoyable reissued CD which has a sleeve that looks like a Monty Python animation out take. (Mark Coyle)
1. Jenny May 2. Children Of Care 3. Three Rings For Eleven Kings 4. Growing Man 5. Down And Out Blues 6. Mixed Up Kind 7. Better Than Today 8. In My Loneliness 9. Sheena 10. Mutant 11. Morning Way 12. Velvet To Atone 13. Luke That Never Was 14. Here Comes The Rain 15. Goodby Mercy Kelly
Dennis Lambert and Craig Nuttycombe had been on the fringes of LA's music scene for some time, including stints with bands such as the East Side Kids and the West Coast Pop Art Experimental Band, when they decided to proceed as a duo. This 1970 release was recorded live at the home they shared in Sausalito, California, and co-produced by David Anderle (The Doors, Love), Chad Stuart (Chad and Jeremy) and Glyn Johns (the Beatles, the Rolling Stones). A mellow collection of self-penned ballads that showcases their superb vocal harmonies and subtle guitar interplay, it has attracted a major cult following over the years. Though they gigged widely in California, Lambert's heroin addiction made it hard for them to break nationally and they parted after recording one further album in 1973.
1. Morning 2. Time 3. Bird Song 4. My Own Beat 5. Something On My Mind 6. Mouse 7. Ode To Drugan 8. Putting Myself Together Again 9. Mr. Bojangles 10. Country Song 11. Heaven Knows (Where I've Been) 12. Clover
V.A. - Folk Is Not A Four Letter Word Vol.2 (2006)
Folk Is Not A Four Letter Word 2" is the fifth release from Delay 68 Records and the follow up to the critically acclaimed best seller first volume, and its sequel 'Prog Is Not A Four Letter Word'. Featuring a few old faces and a host of undiscovered talent from home and abroad, this brilliant compilation picks up where volume one left off and promises to be even better! Once again compiled by, and featuring original artwork and sleevenotes from Andy Votel (Twisted Nerve/BMusic), this compilation is brought you by the Finders Keepers Records team, responsible for bringing you Welsh Rare Beat, and Jean Claude Vannier's 'L'Enfant Aassassin Des Mouches'. (cduniverse.com)
1. Carol Batton - Intro 2. Midsommar - Balladen Om Belfast 3. Y Triban - A Night In The City 4. These Trails - Of Broken Links 5. Chuck & Mary Perrin - Flying 6. Jan & Lorraine - Number 33 7. Elly & Rikkert - Heksenkring 8. Susan Christie - Paint A Lady 9. Paul Parrish - Dialogue Of Wind And Lover 10. Emmanuelle Parrenin - Apres Londee 11. Naomi - How Do? 12. Parchment - Son Of God 13. Alexis Korner & CCS - Sunrise 14. Woody Simmons - Grey Today 15. Vainica Doble - Dime Felix 16. 11.59 - The Waters Of Babylon 17. Midwinter - Maids And Gentlemen 18. Pentangle - I Saw An Angel 19. Sibylle Baier - Softly 20. Turid - Song 21. Turid - På Tredje Dagen Uppståndna
Effervescent songbird Jane Weaver has joined forces with Finders Keepers to produce a B-Music certified canon of femme-folk, laden with finger picked meandering melodies, ethereal harmonies and wistful psychedelic leanings. This bespoke globe-trotting decade spanning collection traces a line between the acid soaked protest rumblings of yesteryear and the forward looking/backward facing revivalists of today, as luminaries such as Wendy & Bonnie, Bonnie Dobson, Heather Jones and Susan Christie rub shoulders with the current cream of female songsmithery including Emma Tricca, Magphai, and Cate Le Bon.
TRACKLIST
1. Speck Mountain - Hey-Moon 2. Wendy & Bonnie - Paisley Window Pane 3. Magpahi - Horses 4. Emma Tricca - Martin and Me 5. Selda - Gesi Baglari 6. Lispector - Peachtree Street 7. Bonnie Dobson - Milk & Honey 8. Turid - LŒt Mig Se Dig 9. Heather Jones - Coli Laith 10. Lights - Branches Low mp3 11. Susan Christie - Rainy Day 12. Jane Weaver - All These Rivers 13. Brigitte Fontaine - Le Goudron 14. Heaven and Earth - Refuge 15. Cate Le Bon - Disappear
The National Gallery - Performing Musical Interpretations Of The Paintings Of Paul Klee (1968)
Literally an 'art-rock' concept album from Cleveland, inspired by the works of artist Paul Klee (1879-1940) and complete with a glossy leaflet with lyrics and pictures of some of his paintings.
A fusion of harmonious folk, pop and avant garde with some psychy touches, culminating in its most memorable track Long Hair Soulful with stoned vocals and acid-etched guitar. This had been released on 45 in 1967 in an abridged form and credited to Bhagavad Gita, backed by an instrumental version of the same (Philips 40485, with PS). The instrumental take can be heard on Beyond The Calico Wall CD (not on the LP version).
The musicians themselves don't get a name-check, just a picture - three guys and a gal.
Composers Roger Karshner and Charles Mangione were involved with several other Cleveland area acts and Karshner was manager of one of the city's more successful sixties bands, The Outsiders.
It's worth noting that several tracks on this album were also recorded, in jazzier versions, by the Gap Mangione Trio on the album Diana In The Autumn Wind(GRC 9001) 1968, with Charles Mangione, Steve Gadd and Tony Levin. Mangione kept on recording throughout the seventies, with at least three albums on A&M between 1976 and 1979. (Max Waller)
V.A. - Fairytales Can Come True - UK Popsike From The Late '60s (2007)
Late 60s UK psychedelia -- full of glowing harmonies, chiming strings, propulsively rhythmic and groovy experimentalist touches -- compiled and overseen by contemporary psych wunderkind Nick Saloman, aka Bevis Frond! What really makes this first volume of period pop psych from Salomon's Psychic Circle imprint is the craft involved in each and every tune. The guitars swirl and the vocal harmonies soar in a big way -- and many of the tunes are built from deconstructed pop, rock, folk and r&b and recast for the psych generation in a really wonderful way. Most of the artists and tunes are completely fresh to our ears -- and here's hoping the Psychic Circle label will spin out equally wonderful comps for years to come! 20 tracks in all:
1. Summer Of Last Year - The Pyramid 2. Bring A Little Lovin' - Los Bravos 3. You Kissed Him - Fred Lloyd 4. See The People - Lomax Alliance 5. Cousin Jane - Barry Benson 6. Boy Needs A Girl, A - Dreams 7. Mary Ann She - Grisbydyke 8. Fairy Tales Can Come True - San Francisco Earthquake 9. Trees - Gallagher/Lyle 10. Umbrella Man - Searchers 11. Penelope Breedlove - Dave Christie 12. Nine To Five - Promise 13. Keeping My Head Above Water - Peppermint Circus 14. Look Away - Virgil Brothers 15. Upside Down Inside Out - Snappers 16. Pumpkin Mini - Katch 22 17. Just Another Wedding Day - Brian Connell & The Roundsound 18. Saturday Town - The Darlings 19. Daytime - Hedgehoppers Anonymous 20. Help Me To Help Myself - Roulettes
With the assistance of Glen Rehse, of Plasticland, acting as producer, Brad, Louanne and drummer Witold Janczak, have created a slice of 80's psychedelic rock that in future years will certainly be seen as one of the main representations of the genre. This is the first Dimentia 13 album to include musicians other than Brad and Louanne and it is a great pleasure to find guest appearances made by Glen Rehse (on keyboards) and John Fallon of The Steppes (who plays some superb raga rock guitar on "St. John Society's Children"). John Fallon's contribution came about by pure chance. Brad:-"John happened to be in the US when we were recording the new album. He was staying in Chicago and got in contact with Glenn who told him about myself and the new recordings. He came down to the studio one day, while we were laying down some basic tracks, and kindly added some superb guitar work on a song I just happened to pick because it had a long instrumental passage in it. He did a wonderful job on "St. John Society's Children". It wasn't originally intended to be the close-out of the album until John came in a did his bit. I decided then that it sounded so good that nothing could possibly follow it!" In addition to the guitar maelstrom of "St. John Society's Children" 'Disturb the Air' contains some sizzling psyched out passages of music that go hand-in-hand with some rather more laid back melodies. "Martyred Under Mary" rocks gently in the cradle of a beautiful, swooping bass line whereas "Do What You Will" and "Yesterday Will Never Tell" punch through to your subconscious with their sharp and dynamic acid-rock guitar lines. Amongst those guitar moments, mentioned previously, we find the very Barrettesque "It's Awfully Nice of You", the purely acoustic "Madrigal" and the ethereal floating astral navigations of "Disturb the Air" - the title track of the new LP that is given a fabulous keyboard embellishment by Mr. Rehse (who presumably also had some involvement with "Arousing Polaris", a song named after the pre-Plasticland group). Whether you like your psych bluesy, melodic, explosive or just plain weird that you will find something to satisfy your cravings here. (from Freakbeat Magazine #6, UK, by Richard Allen)
Bradley S. Warner: Vocals, Guitars, Percussion Louanne M. Varholick: Bass, Vocals Drums by Witold Janczak except "Madrigal" Lead Guitar on "St. John" by John Fallon (The Steppes)
Tracklist:
Martyred Under Mary Do What You Will Get Me Out Of Sing Sing Yesterday WIll Never Tell It's Awfully Nice Of You I Don't Want You Disturb The Air Samantha Flies Arousing Polaris Madrigal St. John Society's Children
It's that time of year again & my mate Psilocybe Semilanceata has just popped up for a cup of tea Mmmmmmm... nice one Mr. P!
Well, what have we here? "Fun With Mushrooms" indeed... (And we're not talking Chesswoods). Before we float off in a haze of purple electric pagodas, let me just say on behalf of both of us, that we're proud to be able to gibber on the back of this plastic pantechnicon of pulsating pyrotechnical performances. Now all you have to do is turn the lights down low, light up the joss sticks, make your body comfortable and powered by a psychedelic cup of tea immerse your mind in this fungus fantasia.
What we have here is some of the very best of current psychedelic music, music that goes beyond any fashion conscious trend, music that exists outside of any MTV Corporate Hype, and just like the mushrooms that inspired it, has a tendancy to sprout up all over the globe as a celebration of life... shouting out "Freedom", "Justice" &"Liberty" (Liber-tea?)... there for all those who want to explore... the ultimate taster of musical fungi sprouting through the crap & mundane. So eat, drink & be merry, and remember - as a famous freak once said "To be a mushroom is to rise above the shit"...
Cheers
Lophophora & Mr.P
Track Listing
Boris & His Bolshie Balalaika - Toadstool Soup (Slight Send) (M. Atha) Saddar Bazaar - Night Descent (R.M. Hyder / S. Ryder / T. Royal / D. Spencer) Praise Space Electric - Electric Sensation (Praise Space Electric) 14th Wray - Yuppie Deadhead Party (14th Wray) Harrold Juana - Uncle Sam (Harrold Juana) Dead Flowers - Chocolate Staircase (Swayambhunath / Manseed / McIver / Moorby) Tangle Edge - Half-Moon Flower (Nygard / Horrigmoe / Johansen / Bergvik) Watch Children - Did You Feed The Fish? (M. Saxton) Dean Carter & The High Commission - Government Surplus Jam (D. Carter / M. Huxley / A. Green) Omnia Opera - The Awakened (Omnia Opera) The Inn - Who's My Name? (M. Cooper) Wobble Jaggle Jiggle - Thoughts Of The Sky (C. Davey / R. Chambers) Mooseheart Faith Stellar Groove Band - Thought Dial (Homer / Robinson) Boris & His Bolshie Balalaika - Toadstool Soup (Slight Return) (M. Atha) Terence McKenna
Bonus CD Tracks, from LP version of A Psychedelic Psauna
Cosmic Kangaroos - Ritual People (Cosmic Kangaroos) Reefus Moons - Mr. & Mrs. Creature (R. Saxty) Marshmallow Overcoat - 13 Ghosts (Panico / Gassen) Dr. Brown - Freakbeat (Ellis / Shah / Cook / Anderton) Jasmine Love Bomb - That River (K. Thompson / E. Kaspers)
Daevid Allen & Euterpe (Obscura No.1 Studio Rehearsal Tapes (1977)
Quite wonderful, especially with the continued non appearance of Daevid's 'Good Morning' on CD again. For anyone who's favourite Daevid musical era is the late Deya period this is an indespensible release. The cover says that it's a rehearsal for 1977 Gong reunion gig at Hippodrome in Paris and was recorded at Bananamoon Observatory studio in Deya, Majorca. It sounds as if the majority of this tape was previously released as the GAS tape 'Deya Daze', although the sound quality is much, much better and therefore must have come from a master tape. Some of the tracks are longer, notably 'Magick Brother' where only the first couple of minutes were used on the 'Deya Daze' tape. These CDs are in matt black card covers with silver and white printing drawn and designed by Daevid. This is the first of a planned 20CD series! Each release will a limited pressing of 1000 copies only - no more will be pressed.
1. Mystic Sister 03.03 (G. Smyth) 2. Magick Brother 07.22 (D. Allen) 3. Sittin in a Teashop 04.29 (D. Allen) 4. Have You See My Friend 04.09 (D.Allen) 5. I Am The Rapist 02.25 (G. Smyth) 6. Brothasista Invocation 02.30 (G. Smyth) 7. A Wee Bit More 06.00 (Milan/Biblioni/Allen) 8. Prostitute Poem 04.19 (G. Smyth) 9. Five and Twenty Schoolgirls 03.58 (D. Allen) 10. Time of the Bananamoon 04.38 (D. Allen) 11. Deya Goddess 08.26 (D. Allen)
Will-o-the Wisp's expected comeback, "Second Sight", continues from where their debut album started. We can hear the band playing in a more energetic way, using twisted guitars and flutes. The flowing male / female vocals maintain the fairytale aura. The CD version (in a unique small psychedelic poster format) also includes a great postcard type insert.
You can find their album Ceremony Of Innocence (2002) here:
V.A. - Beatschuppen - Essential Club Music From The 60s (2005)
A very groovy comp about mod and beat 60's favorites played at the Atomic Cafe in Germany, compiled by Markus Weissenhorn aka Weyssi:
“Now the first »Beatschuppen« is finally finished, an explosive mixture of beat and garage, latin and soul, freakbeat and rock. D.R. Hooker sets it off with an irresistible groove – it is incredible that »Forge Your Own Chains« has remained more or less unknown until now. The same can be said about »Peanut Duck« (formerly assigned to Marsha Gee - nowadays it’s doubted that she is the singer). The song has been a classic on the mod-scene for years, but was only available on bootlegs as far as we know. Georgie Fame was somewhat more suc-cessful and has recorded several Atomic Café alltime favourites. »No Thanks« is the one I like playing the most. Some other regulars in our charts are »Have Love Will Travel« by the Sonics, »I Haven’t Got The Nerve« by The Left Banke and Ray Barretto’s »The Soul Drum-mers«. Three completely different songs that still have one thing in common: they’ll never ever leave a dancefloor cold. The guys from Young-Holt should be aware that you can’t buy the feeling for rhythm – still they sing »Ain’t There Something Money Can’t Buy«. Don’t you wish you had seen their live performance at the »Bohemian Cavern«? And imagine you had been at the »Plush Bunny« when The Village Callers played »I Don’t Need No Doctor«! The number of your local podiatrist might well have come in handy... I am particularly proud of the fact that Barry Tashian, singer of my favourite band The Re-mains, personally gave us his approval for »Why Do I Cry«. Here a wild version recorded live at 9 o’clock in the morning in the Capitol studios - after a long night. A magic moment for pop music, but also the beginning of the end for the band. Capitol shamefully didn’t give them the contract they were hoping for. If you are getting into the the »Beatschuppen« for the first time, try Timebox, or the fantastic Remo Four. »Beggin’« is pop as well as soul and the strings are already anticipating the se-venties. »Heart Beat« is sophisticated beat music with top musicians from Liverpool who re-leased their one and only LP »Smile??º« (1967) in Germany on the »Star Club« label from the famous club of the same name in Hamburg. Our regular guests will be delighted when they hear T.C. Atlantic and Terry Reid. Lovers of Latin soul will enjoy Bobby Valentin or the Orchestra Harlow. Lenny Kravitz fans will be surprised when they discover the original version of »Fields Of Joy« by the New York Rock Ensemble. What have the German hit song duo Cindy & Bert and Ozzy Osbourne in com-mon? This neat married couple came up with an action-packed version of Black Sabbath’s hardrock blueprint »Paranoid«. And the Canadian The Guess Who(?) gave us the garage bomb »It’s My Pride« - three years before they became famous around the globe with their rock anthem »American Woman«. Finally, to the only song – apart from »Forge Your Own Chains« and »Fields Of Joy« – that wasn’t recorded in the sixties: after the Chesterfield Kings, the Fuzztones, the Milkshakes and the Prisoners had iniciated a worldwide garagepunk revival in the early eighties, the Miracle Workers recorded „Inside Out“ (1985) on Voxx - the best album of them all. Nobody could have guessed that a song from their less successful follow-up record would still be filling dancefloors even today: »When A Woman Calls My Name«, issued by the now defunct Ber-lin label LSD. Singer Gerry Mohr personally gave us his approval for this great underground hit, widely unheard of – until now! Oh, by the way – do you want to know what »Beatschuppen« actually means? In the sixties, it was German slang for a place where wild parties with contemporary dance music took place – we believe that this kinda music will rock our Saturday nights forever. But don’t take our word for it: get some beers, invite 20 friends, play this record loud and see what happens... ...Weyssi wishes your hangover away”
1. D.R. Hooker - Forge Your Own Chains (1972) 2. Timebox - Beggin (1968) 3. Georgie Fame - No Thanks (1967) 4. The Village Callers - I Dont Need No Doctor (1968) 5. David Bowie - In The Heat Of The Morning (1967) 6. The Left Banke - I Havent Got The Nerve (1966) 7. The Tower - Slow Motion Mind (1968) 8. Cindy und Bert - Der Hund Von Baskerville (Paranoid) (1970) 9. Terry Reid - Superlungs My Supergirl (1969) 10. The Remo Four - Heart Beat (1967) 11. T.C. Atlantic - My Babe (1966) 12. The Remains - Why Do I Cry (live version) (1966) 13. Orchestra Harlow - Freak Off (1967) 14. Unknown Artist - Peanut Duck (1965) 15. Bobby Valentin - Use It Before You Lose It (1971) 16. Ray Barretto - The Soul Drummers (1967) 17. Young Holt Trio - Aint There Something Money Cant Buy (1967) 18. The New York Rock Ensemble - Fields Of Joy (1970) 19. The Guess Who - Its My Pride (1966) 20. The Sonics - Have Love Will Travel (1965) 21. Miracle Workers - When A Woman Calls My Name (1987)
V.A. - Fading Yellow Vol. 9 - The Other Side Of Life (2007)
25 UK singles tracks, available on a compilation for the very first time. This volume 9 includes trax from UK 45s with such artists as Pop Workshop, The Marianne, John Pantry, Tapestry, Brendan Phillips etc!!
Tracklisting:
1.POP WORKSHOP - Fairyland 2.THE MARIANNE - As for Marionettes 3.SUSIE KLEE - Punch and Judy Girl 4.BRENDAN PHILLIPS - Is it worth a try? 5.PUSSYFOOT - Hasty words 6.HOGARTH - Suzies getting married 7.TONY RITCHIE - Rain on my window 8.JUMBO - Promises 9.JOHN PANTRY - Wash myself away 10.PAUL VIGRASS - Stop! 11.DAVE CHRISTIE - Penelope Breedlove 12.CHRISTIAN - Other side of life 13.CHRISTIAN - She 14.TAPESTRY - Like the sun 15.ANDY FORRAY - Sarah Jane 16.RODNEY BEWES - Dear Mother Love Albert 17.GARY HAMILTON - Let the music play 18.MIKE LESLIE - Office Girl 19..MICKY JONES & TOMMY BROWN - If i could be sure 20.JON - Polly Sunday 21.TIMON - And now she says she is young 22.WISHFUL THINKING - Clear White Light 23.BRENDAN PHILLIPS - When sheZs kissing me 24.BILL FAY - Unrel Acetate 25.PAUL LAYTON - Sing Sadman Sing
IF YOURE LOOKING FOR THE SOUNDTRACK TO THE SUMMER, LOOK NO FURTHER!
At last, here is a new FADING YELLOW cd comp., including magic trax from the late 60s/early 70s. If you dig the sound of Fairport Convention, early Bee Gees, Moody Blues, the pop/psych side of The Beatles, then this comp is for you. Volume 8 including trax from obscure UK LP's with such artists as Michael Blount, Danny Kirwan, P.C. Kent, Evensong, Gothic Horizon etc. 21 UK album tracks/acts, available on a compilation for the very first time.
Tracklisting: 1.HARVEY ANDREWS - England my England 2.JAN & LORRAINE - Bird of Passage 3.RAW - What to do 4.MICHAEL BLOUNT - Acorn street 5.DANNY KIRWAN - Lovely days 6.FUCHSIA - Me and my kite 7.P.C. KENT - After dark 8.VIGRASS & OSBORNE - Ballerina 9.GOTHIC HORIZON - Thoughts 10.MARC BRIERLEY - Today i feel like leaving you 11.STORYTELLER - Alice Brown 12.ANDY ROBERTS - Ive seen the movie 13.NADIA CATTOUSE - All around my grandmothers floor 14.JAN & LORRAINE - Snow roses 15.EVENSONG - The smallest man in the world 16.TREVOR BILLMUSS - Sunday afternoon in Belgrave Square 17.JOHN PANTRY - Long White Trail 18.MICHAEL BLOUNT - Ceaicles Micellaneous 19.ALAN JAMES EASTWOOD - Hymns for today 20.WIZZ JONES - One grain of sand
This is an exceptional album and a remastered and expanded version is truly an exciting event! The original version of 'On The Shore' was released a year after Fairport's Liege and Lief, which was recently voted the most infuential folk album of all time. I've listened to both albums many times over the years but I think I return more often to Trees than Fairport. Sure, there's no Richard Thompson, and Celia Humphries' voice is not as expressive as Sandy Denny's and the writing skills of both those alumni from Fairport Convention went on to produce some breathtaking music.
However, I do believe that if Trees had stayed together for a few more albums they would now have a much higher profile and history would have accorded them a much greater respect.
The songs here are a mix of trad.-arranged and originals by the group, as on Liege and Lief. The instrumental sections are every bit as strong as, for example, Thompson and Swarbrick on 'Matty Groves' (just listen to the interplay here on 'Streets of Derry') and generally the music is heavier than Fairport's: I always crank up the volume as 'Polly On The Shore' comes to a close and one day I am sure my hi-fi will go up in smoke! It can of course be argued that without Fairport, Trees might not have existed, but they certainly deserve more recognition than they currently receive.
The extra disc in this set is exciting because so little material, apart from the original 'On The Shore' and their first album, 'The Garden of Jane Delawney', has been released. There is an Italian bootleg made by the final incarnation of Trees before they broke up in 1973 and that's about it.
But whatever the quality of the extra material, this package is worth every penny for the original album alone (assuming the remastering has been done effectively). Buy it! Tell them I said you could! -Amazon-
Line up ----------- Bias Boshell / guitar, vocals Unwin Brown / drums, vocals Barry Clark / guitar David Costa / guitar Tony Cox / bass Celia Humphris / keyboards, vocals Michael Jeffries / harp
Track list ------------- Disc: 1 1. Soldiers Three 2. Murdoch 3. Streets Of Derry 4. Sally Free And Easy 5. Fool 6. Adam's Toon 7. Geordie 8. While The Iron Is Hot 9. Little Sadie 10. Polly On The Shore Tracks 1-10,Original Album,Remaster.
Disc: 2 1. Soldiers Three 2. Murdoch 3. Streets Of Derry 4. Fool 5. Geordie 6. Little Sadie 7. Polly On The Shore 8. Forest Fire (BBC Session) 9. Little Black Cloud (Demo) Tracks 1-7 ,Remixed versions
ARTHUR 'In Search Of' LP (Switzerland, RD, Catalogue #RD 13)
Mega-rare early recordings (45 rpm single, unreleased tracks and 1-sided Two:Dot label demo LP release) circa 1968-69 of acid folk/psychedelic music by Arthur (later signed to Tumbleweed Records and at that point recording as Arthur Gee.)
'Long awaited release of this psychedelic/acid folk masterpiece from the North. Arthur started his career in Toronto, Canada as folkie in the mid '60s. In 1969 he went to Colorado and recorded a 1-sided demo LP that surfaced some years ago in collector's circles. It was on Two:Dot, the same label that Hendrickson Roadhouse was on. Only a handful of demo copies were released and sent out to major labels to get a record deal. This happened only later after he signed with Tumbleweed Records and released two albums as Arthur Gee. This first ever official release includes his complete demo LP, unreleased sessions and his mega rare 45 rpm both from before the LP and recorded in Canada. The music can be described as a mixture of Perry Leopold, William C. Beeley and early Pink Floyd (his 45 rpm) which is pure magic. Pressed on heavy audiophile vinyl, ultra heavy old style cardboard sleeve and an insert with a bio witten by Arthur.'
'Dark, damaged acoustic strum folk in Perry Leopold style but a bit stronger vocally. Missed notes, stream of consciousness lyricism, and obsessions with mystic and biblical imagery. Saddened reports on the lost state of the planet. A great loner mini-LP, although you really can feel too much.' ~Acid Archives/RM
'The last track is a killer deep guilt-trip on level with Perry Leopold.' ~Acid Archives/PL
Exact CD reissue of this excellent mod psych album that was originally only released in Japan, with original full colour artwork.. Similar to the psychedelic Small Faces with hints of Cream this is classic UK '60s psych. Includes the superb "Francis" as well as the bands excellent singles. (FE)
http://www.gary-walker.net
1. Magazine Woman 2. Sun Shines 3. Doctor Doctor 4. I Can’T Stand To Lose You 5. Market Tavern 6. Spooky 7. Take A Look 8. View 9. If You Don’T Come Back 10. Thoughts Of An Old Man 11. Francis 12. I Promise To Love You 13. Whatever Happened To Happy
"Colombian youngsters Ana y Jaime were only 15 and 17 years old when recording most of the songs on this CD, in the very late sixties. You won't believe that when you hear the music. There's something for any '60s lover here -- the psychedelic fuzz dancer 'Es largo el camino,' the protest folk of 'Dire a mi gente' or 'Ricardo Semillas,' orchestrated '60s pop on 'Este viento,' some cool organ-drenched '60s pop, more dirty fuzz on 'Nina Nana' and 'Jerusalem' -- all in all a surprising and refreshing '60s nugget from South America which we're sure you will enjoy."
El Disco El Cultura Records has changed my life with this gem-encrusted reissue of Colombian brother-sister duo, Ana y Jaime (González), although I'm still struggling to accept the fact that the precocious siblings were only 15 and 17 years old when they started recording the album. The record is full of sophisticated messages and intricate arrangements. It quenches a wide range of thirsts, from pop-inspired folk-rock, like "Hombre Formal," to satisfying harmonies meshing with a circus of reeling organ sounds. Throughout, fuzzy, echoed vocals hover over traditional Latin American rhythms. And haven't you always wondered what a cumbia-inspired song would sound like on a Rhodes?
Sung all in Spanish, Ana y Jaime are equally triumphant in the lyrical department, whether it's an ardent folk song pleading a political protest or a psychedelic rock song that offers the wisdom of an old man; and Ana really gets me with her gentle crooning of "gente, gente" when she and her brother interpret Manuel Larroche's "Café y Petróleo," a song about Columbia and Venezuela's similar economical situations in the 1960s. Plus, I am only further baffled by the speed at which they sing in unison on "Nina Nana." And after listening to Es Largo el Camino several times, I must qualify Ana y Jaime's title: the road may be long, but it doesn't seem so tough while this record's around.
Carrie Pierce, Other Music, NYC
1. Cafe y Petroleo (3:05) 2. Dire a Mi Gente (2:10) 3. Es Largo El Camino (2:15) 4. A Desalambrar (3:01) 5. A Veces Quisiera Ser Ciego (2:53) 6. Nina Nana (3:21) 7. Jerusalem (3:02) 8. Este Viento (3:24) 9. Hombre Formal (3:20) 10. Dispersos (2:24) 11. A Las Seis (Cuantos Momentos) (3:43) 12. Dale Tu Mano Al Indio (2:34) 13. Ricardo Semillas (3:28)
The first album by trippy Turkish trio 3 Hur El -- a great blend of Eastern sounds and western styles -- all coming together with a slightly progressive feel! The instrumentation often includes some heavy basslines underneath lighter lines on acoustic strings -- a blend of folksy and modern that's topped by passionate vocals and often underscored by some great heavy percussion -- all in a style that's a bit otherworldly, but oddly quite compelling! The set's definitely the kind that makes you say "I don't know what's going on here -- but I sure like it anyway" -- and titles include "Haram", "Ve Olum", "Ask Davasi", "Diday Dom", "Kara Yazi", "Olum Al Beni", "Pembelikler", and "Anadolu Dansi".
1-Aºk Davasi 2-Ve Ölüm 3-Haram 4-Gurbet Turkusu 5-Anadolu Dansi 6-Lazaglu 7-Madalyonun Ters Yuzu 8-Diday Dom 9-Kara Yazi 10-Gule Ninni 11-Ölüm Al Beni 12-Pembelikler
1. Magicians "Painting on Wood" (05:53) 2. O'Hara's Playboys "The Ballad of the Soon Departed" (02:30) 3. St. John & The Crew "I'm a Man" (03:14) 4. Murray Head "She Was Perfection" (02:47) 5. Tales Of Justine "Monday Morning" (03:22) 6. I Corvi "Sospesa Ad un Filo" (02:34) 7. Made In Sheffield "Amelia Jane" (02:32) 8. Mecki Mark Men "Free" (04:09) 9. Afex "She's Got the Time" (02:28) 10. Jackie Lomax "Genuine Imitation Life" (03:32) 11. Brincos "Passport" (02:52) 12. Excelsior Spring "It" (01:52) 13. Daddy Lindberg "Wade in the Shade" (01:57) 14. Pesky Gee "Where Is My Mind?" (03:00) 15. Cherry Smash "Sing Songs of Love" (03:03) 16. Softly, Mick & The Summer Suns "Am I the Red One?" (02:29) 17. Callan & John "House of Delight" (03:16) 18. Brut "My Kind of Feeling" (02:46) 19. Washington DCs "Seek & Find" (02:09) 20. Sugarbeats "Alice Designs" (02:31) 21. League "Hey Conductor" (02:34) 22. Shocking Blue "Send Me a Postcard" (02:34) 23. New Generation "Digger" (04:06) 24. Fox "Secondhand Love" (03:07) 25. Bulldog Breed "Paper Man" (03:19)
1. Brass Tacks - "Maxwell Ferguson" (2:47) 2. Neo Maya - "I Won't Hurt You" (2:32) 3. Russell Morris - "The Real Thing (Parts 1 & 2)" (6:19) 4. Rokes - "When the Wind Arises" (3:19) 5. Eire Apparent - "Here I Go Again" (2:12) 6. Wimple Witch - "I Really Love You" (3:41) 7. Keith Shields - "So Hard Living Without You" (3:22) 8. 14 - "Drizzle" (2:08) 9. Lucas Tyson - "Daylight Child" (3:30) 10. Hopscotch - "Look at the Lights Go Up" (2:18) 11. The Truth - "Sueno" (3:05) 12. The Bunch - "We're Not What We Appear to Be" (2:21) 13. Griffin - "I Am the Noise in Your Head" (3:56) 14. Five Steps Beyond - "Not So Young Today" (2:49) 15. Tangerine Peel - "Trapped" (2:23) 16. Los Canarios - "What Can I Do for You?" (2:36) 17. Strange Fox - "Time and Tide" (4:20) 18. The Mint - "Luv" (2:23) 19. Orange Machine - "Dr. Crippen's Waiting Room" (3:02) 20. Ferris Wheel - "I Can't Break the Habit" (2:14) 21. Beatstalkers - "Sugar Chocolate Machine" (2:17) 22. Mindbenders - "My New Day and Age" (3:03) 23. Les Baroques - "Love Is the Sun" (2:12) 24. Terry Reid - "Fires Alive" (2:53) 25. Magnet - "Mr. Guy Fawkes" (3:57)
1. Do You Dream? -- Circus 2. How Do You Feel? -- Harsh Reality 3. And Their Daddy Is A Millionaire -- The Iveys 4. Teacher Of Electricity -- Old-Gold 5. The Rich Man -- The Human Instinct 6. Shapes In My Mind -- Keith Relf 7. I Can See Through You -- Episode Six 8. Second Fiddle -- Gnomes Of Zurich 9. Foggy Tuesday -- Saker 10. Lights -- Kim Fowley 11. Radio City -- The Loot 12. Spare A Shilling -- The Bunch 13. Anyone There -- The Montanas 14. Friday I'm Free -- Groep 1850 15. Meditation -- Chris McClure 16. Follow Me -- Fruit Machine 17. How Much Longer Must I Wait, Wait -- Giorgio'S 18. Ballad Of Harvey Kaye -- East Of Eden 19. Un Ragazzo Di Strada -- I Curui 20. Salisbury Plain -- Elmer Gantry's Velvet Opera 21. City Life -- The Gibsons 22. I Got No Name -- The Orange Peels 23. The World Goes On Around You -- Mirage 24. I Don't Know Why -- The Cedars 25. Appleknockers Flophouse -- Cuby & The Blizzards 26. Theodore -- The Silver Eagle 27. P.M. -- Nite People 28. Look At Me -- The Nocturnes 29. Smokeless Zone -- Danny mcCulloch
Plastic Penny was originally formed from the ashes of The Universals in 1967. Vocalist Brian Keith, bassist Tony Murray and keyboardist Paul Raymond, along with guitarist Mick Grabham and drummer Nigel Olsson took their debut single, a cover of The Box Tops' Everything I Am to the U.K. Top Ten in the winter of '67. As their follow up single Nobody Knows failed to chart at all, Keith quit in the spring of '68 with Raymond and Olsson sharing the vocal spot. The group released Two Sides Of A Penny in '68 which was followed by a handful of singles that included Your Way To Tell Me To Go and a rocked up version of Hound Dog later in the year. After their 1969 album, Currency, the group went their seperate ways. Paul Raymond would join Chicken Shack and Savoy Brown before pounding out the keys with UFO, Tony Murray would join The Troggs, Mick Grabham formed Cochise with future Foreigner bassist Rick Wills (Grabham would later join Procol Harum). Nigel Olsson joined The Spencer Davis Group before settling in for a short spell with Uriah Heep and then Elton John. (taken from rant58.tripod.com/id417.htm)
Tracklist:
1. Everything I Am 2. Wake Me Up 3. Never My Love 4. Genevieve 5. No Pleasure Without Pain My Love 6. So Much Older Now 7. Mrs. Grundy 8. Take Me Back 9. I Want You 10. It's A Good Thing 11. Strawberry Fields Forever 12. Nobody Knows It 13. Happy Just To Be With You
Personnel: RICK ALLEN A DAVID FARRELL A DOUG PHILLIPS A GARY ROWLES gtr, vcls A DAVID WEYER A ALBUM: 1 CAMARADERIE (ABC ABCS-729) 1971 From California, a short-lived outfit formed by the guitarist Gary Rowles after Love broke up. The music reflects the sleeve: bearded men running in the fields or meditating by the sea. It may sound quite naive and dated now. Rowles would later back Flo and Eddie and in 1973 join Richard Torrance and Eureka, an interesting Californian rock group (lovers of West Coast guitars may check their two albums on Shelter). (Stephane Rebeschini)
Regarded as the best album by this Phillipino band from the early '70s. Hard rock with psychedelic touches and particularly fine guitar work. Chosen as one of the ten best rare psych albums by Hans Pokora in his "2001 Collectors Dreams" book. CD edition includes 6 live bonus tracks. (FE)
01 - Justice (Where Are You) 02 - Stranger in a Strange Land 03 - Mystery Roach 04 - Requiem For A Head 05 - Lady In White Satin 06 - Love Of A Woman 07 - Kagatan - Live 08 - Balong Malalim - Live 09 - Beep Beep - Live 10 - Palengke - Live 11 - Langit - Live 12 - Sarap Ng Buhay - Live
Groovy folk funk from mid 70s Korea -- mad, pulpy tunes from Kim Jung Mi -- possibly her best work ever! This wonderful self-titled set is a pretty deep left turn from her other material that we've been lucky enough to get our hands on -- this one really goes deeper into the trippier elements that pepper her work -- with deep, thumping bass lines, groovy organ washes and some strings! Groovy, groovy work and more than lives up to the World Psychedelia tag! 11 tracks in all. (Apologies for our lack of song titles -- all notes are Korean!) (dustygroove)
Hi! Just wanted to say hello to you and to tell you that at my blog I posted Volume 4 My Tribute To Blogs and it was your turn now. Thanx for great music you post. Tribute to Garden Of Delights you can see @
Gordon Wasson - Mushroom Ceremony Of The Mazatec Indians Of Mexico (1957)
Folkways Records FR 8975, this is a US pressing of the impossible to find "Mushroom Ceremony Of the Mazatec Indians Of Mexico". This recording, made by Gordon Wasson in 1956, attempts to chronicle a religious ceremony involving the ingestation of psychedelic mushrooms by Indians who are attempting to communicate with the Divine Spirit. Lots of wild, hallucinatory chanting and the like, which might even appeal to fans of phonetic sound poems or dadaist utterings. Another unusual historical document that only Folkways would have released. The originals came out in 1957 with a blue cover and this press has the tan cover from 1966. "HERE IS A SHAMANIC PERFORMANCE COMPLETE. DR WASSON, A PIONEER IN THE STUDY OF THE ROLE OF MUSHROOMS IN RELIGIOUS RITUAL, GIVES US A TRANSCRIPTION OF AN AUTHENTIC "CONSULTATION" OF THE SACRED MUSHROOM, IN SOUND. THE OCCASION WAS THE ILLNESS OF A YOUTH. THE MUSHROOM, THROUGH THE MOUTH OF MARIA SABINA, A FEMALE SHAMAN, DECREED THAT THE BOY MUST DIE. HE HEARD THE BAD NEWS AND DIED DAYS LATER. DR. WASSON TAPED THE ENTIRE VELADA. DR. WASSON IS ABLE TO PROVE THAT THE WORDS AND UNDOUBTEDLY THE CHANT ARE PRE-CORTES, GOING BACK FOR MANY CENTURIES. NOTHING LIKE THIS RECORD HAS BEEN DONE FOR THE NEW WORLD; IT IS RIVALED IN THE OLD WORLD ONLY BY THE VEDIC CHANTS OF INDIA". Recorded by V. P. & R. G. Wasson in Huautla de Jiménez, in the Mazatec Mountains in the northern corner of the State of Oaxaca, July 21, 1956
1. Chjon Nka 2. Chjon Nka Catsin 3. Santo...nana 4. Papa Papai 5. Na Ai - Ni Tso 6. Santo...Ji nai...na 7. Jan Jesu Cristo 8. Ji Nai 9. San Pedro 10. Soso Soso 11. Name of Plants 12. Pedro Martinez 13. Don't Be Concerned, Old One 14. Birds 15. Humming, etc. 16. Soft Singing 17. Finale
Incredible! This is a stunning set of African-inspired jazzy percussion tracks -- similar to some of the work done by Art Blakey on his Orgy In Rhythm albums, but with a lot better horn work, and with an overall conception that's much more unified! AK Salim did some sleepier work for Savoy in the 50s -- but by the time of this 1965 recording, he was emerging as a progressive composer with a strong talent for bringing together disparate moods and styles. This rare recording was one of his best works ever, and it's one of the most unusual sides cut by Prestige in the 60s. It features Johnny Coles, Pat Patrick, and Yusef Lateef out front on horns -- plus backing by a host of Latin and African percussionists. Tracks are very long -- and the reed work of Lateef and Patrick makes the set especially worthwhile for jazz listeners. (dustygroove.com)
Recently discovered Christian hippie 1970s folkrock LP with a nice, loose vibe. Sound is typical for the style, rooted in a melodic CSNY sensibility, recalling Stills' melancholic moves in particular. I also catch an Eastcoasty "Big Pink" vibe here and there. Opening track is deceptively soft and poppy, after which the LP gradually increases its depth, ending up with some truly great numbers that rate alongside the best of the genre. Overall this is less SF jammy than Wilson McKinley or Last Call Of Shiloh, yet it clearly has a more personal, earthy vibe than things such as Harvest Flight or Chenaniah. Vocals are not remarkable but fit the overall reflective mood well, while the band plays loose (sometimes very loose) and laidback, with a bass unusually high in the mix for added groove. Comparisons made to Kansas City Jammers are useful, if you imagine this LP as the dark mirror image of the upbeat KCJ. There was also a 45 from the band. [PL] (lysergia_2.tripod.com/AcidArchives/lamaArchiveE.htm)
Vinyl rip from the 1972 original LP. It's also been reissued on CD.
1 Water To Wine 2 I Needed To Be In Love 3 I Wonder If She Noticed Me 4 Remember Our Love 5 I've Been There For A Long Time 6 Fugue From Lowertown 7 Race Of The Sun 8 She Won't Be With Me Tomorrow 9 Little Girl 10 I Lost My Love 11 Earth Free
More lost Scandinavian sounds from Silence, this one being a folksier variant on the Träd Gräs tribal hoe-down formula. Lots of hand drums and long hair. Hippie as hell, but decidedly non-stinky. Fantastic! (rateyourmusic)
Björn J:son Lindh Flöjt Brulet Green Oboe Dallas Smith Klarinett Guy Öhrström Akutisk gitarr Jan Bandel Gong Kenneth Arnström Saxofon Marcus Brandelius Ezra, sarod Stig Arne Karlsson Sitar Theo Greyerz Tablas
Tracklist
1. Kerala 2. Over the hill 3. Jamil 4. Scotland the Brave 5. Ferry to Panjim 6. Worlds on fire 7. Farmer Jack 8. Colombo 9. Bushat
Probably from New York, an obscure hippie group influenced by Eastern music and spirituality. Their album was recorded with various instruments: sitar, tablas, congas, flute, electric guitar and gongs. For fans of the Sufi Choir or Om Shanti.(Stephane Rebeschini)
First album from Ghanian rock collective, fusing the 'criss cross rhythms that explode with happiness' (the translation of the band's name) of their native highlife music with acid guitar, prog sensibilities and jazz improvisation.
'Osibisa' was formed in London, England in 1969. The nucleus of the band was from Ghana, others, like the unbelievable guitarist Wendell Richardson, came from Antigua; the bass player who was simply known as Spartacus (I'm Spartacus!) was from Grenada; the keyboard player from Trinidad; and the saxophonist was from Nigeria. However, what they all had in common was great musical rhythm, enthusiasm, and ability. Their music was borrowed from Jazz, Rhythm & Blues, African based drum music, Rock, Pop, and Latin Groove, to create quite an original sound. In Ghanaian 'Osibisa' means 'criss-cross rhythms that explode with happiness'. Now, how one word can say all that I do not know, but that is exactly how the music sounds, and they are the very words that introduce the first song on this, Osibisa's first, album aptly titled "Dawn". Like a breath of fresh air, Osibisa's music first came to prominence with the release of their first single "Music for Gong Gong'', included here on their first album, which was released at the tail end of 1970. It is a piece of music that will get even the most conservative of souls out boogieing on the dance floor. So it was great expectations when their first album was released in the early days of 1971 and the boys did not disappoint, arriving as it did when Prog-Rock was in its heyday. Each of these percussive driven songs blew away all the pretensions of those serious minded twiddlers in the likes of Yes, King Crimson, etc. Osibisa's unbridled enthusiasm was so infectious, you could not help but be dragged along by the sheer exuberance of it all. Although Osibisa's main strength was in their live concerts, they could also drum up a storm (quite literally) in the studio. Nobody at the time could have realized how influential their music was going to be in years ahead. Osibisa today is still known as the Godfather of 'World Music', and the effect of their big hit single "Sunshine Day" (1975) was to change the disco scene for ever. But this, their first album, was to set the template of the Osibisa sound for eternity. The band is still going today, albeit with only two of the seven original members left, which actually is not bad by today's standards considering that the band is now in their 35th year. Many of the songs on this collection are still in the band's live repertoire today. Like all good albums, the songs on this set play like a live concert. Opener "Dawn", which begins with the immortal translation of Osibisa, builds on a rhythm of percussion until giving way to let the individual soloist bring the song to a rousing conclusion - some seven and a half minutes later. You then get five other songs of criss-cross rhythms before being brought to a riotous climax by "Think About The People". When a band starts off its career with such a strong album, it is often difficult to keep up the standards set by its debut (especially with an ever changing line-up - Wendell Richardson, the band?s simply stunning lead guitarist, was at one stage lured away by British rockers "Free"). So it is perhaps true to say that Osibisa's studio output has been a little patchy since then, although their live concerts have never been short of marvelous, always led by Teddy Osei out front on drums, sax, fluttering flute, and vocals. This, their first album, is nothing short of a diamond. (Kim Fletcher)
Tracklist:
1. Dawn 2. Music for Gong Gong 3. Oyiko Bia 4. Akwaaba 5. Oranges 6. Phallus C. 7. Think About the People
Debut album by the Trees, easily in the top three UK folk rock bands of the 70's, if not all time. Dating from 1970 the album blends trippy, twin lead guitar, West Coast acid rock with lilting English folk. The delicate female vocals of Celia Humphries and a haunting production weave a dark magical Celtic spell over misty musical moorlands. Captivating, beautiful and timeless.
Tracklist:
1. Nothing Special 2. Great Silkie 3. Garden of Jane Delawney 4. Lady Margaret 5. Glasgerion 6. She Moves Through the Fair 7. Road 8. Epitaph 9. Snail's Lament
Beautiful lost recordings from California folksinger Ruthann Friedman -- probably best known as the author of The Association's hit "Windy", but a heck of a great artist on her own! The tracks here are all pulled from Ruthann's private tapes, and document not only her fantastic (yet under-discovered) talent -- but also the fading glimmer of personally crafted folk music as the California scene of the 60s folded into the mainstream of the 70s. Many numbers often have a bit of a jazzy flourish -- if not in the guitar, then in the vocal inflections -- a style that's reminiscent of Joni Mitchell at her early best, but much more personal and intimate here. Titles include Friedman's own take on "Windy", plus "Sky Is Moving South", "Looking Glass", "Silver Bird", "Between The Lines", "Typical Sunday", "Hurried Life", and "That's All Right". -Dustygrooves-
Tracklist
1. Hurried Life 2. That's All Right 3. To Treat a Friend 4. Sky Is Moving South 5. Looking Glass 6. Silver Bird 7. Between the Lines 8. I'm Askin' 9. Windy 10. Typical Sunday 11. Southern Comfortable 12. Alone at Last 13. Boy Took a Ticket 14. Method Madness 15. Little Girl Lost & Found
London's hip DJs - in particular those involved with the Big Chill, who admittedly do have a background in fine alternative music with the Cooking Vinyl label - have suddenly discovered folk music and folk rock and this compilation features the work of several seminal artists such as Duncan Browne, the Dransfields, Donovan, Pentangle, Shelagh McDonald, Decameron, Gryphon, Caravan (OK, not folk in the slightest but still good), Davey Graham, Shirley Collins, Fotheringay, Dave Swarbrick and Prelude (with their timeless cover of Neil Young's "After The Goldrush") A good place to start investigating the genre everyone is talking about. (FE)
1. Journey -- Duncan Browne 2. It's Dark In Here -- Dransfield 3. War Drags On -- Donovan 4. Rod's Song -- Shelagh McDonald 5. Sally Free And Easy -- Pentangle 6. Rock And Roll Woman -- Decameron 7. Sunset Eyes -- Davy Graham 8. Both Sides Now -- The Johnstons 9. Here Comes The Rain -- Trader Horne 10. All Tomorrow's Parties -- Oyster Band & June Tabor 11. In The Land Of Grey And Pink -- Caravan 12. Ploughboy's Dream -- Gryphon 13. Goat Island -- John Renbourn 14. Columbine -- Lal Waterson & Oliver Knight 15. Sky Is A Blue Bowl -- Spiro 16. Just As The Tide Was A Flowing -- Shirley Collins & The Albion Country Band 17. It Suits Me Well -- Dave Swarbrick 18. Sea -- Fotheringay 19. All The Good Times -- Mr Fox 20. After The Goldrush – Prelude
Just in time for Xmas! Rare early '70s Brain release in official fold out CD digi-pak form, featuring bands playing Christmas related material. Don't let this put you off. This is a collection of mind blowing acid rock and progressive mayhem. Features Irus, Dies Irae, Joy Unlimited and more! Fantastic festive stoners.... WOW (an office favourite)! [the Freak Emporium]
1. libido - evolution 2. marcel - god rest ye mary gentlemen 3. joy unlimited - All heaven and all earth are silent 4. virus - mary meets tarzan 5. Dies Irae - silen night 6. libido - come on everybody 7. Ardo dombec - heavenly rose 8. Dies Irae - shepard's song 9. Ardo dombec - open the door, open your mind 10. virus - x-mas submarine 11. flute & voice - Ecce Navicule 12. libido - come on everybody - special radio version
Personnel: JACK GEISINGER bs, gtr A B ANDREW KEILER vcls A B LOUIS MCKELVEY gtr A B DAVE WYNNE drms A B BOB O ISLAND (BOB PARKIN) keyb'ds B WALTER ROSSI gtr B ALBUM: 1(B) INFLUENCE (ABC ABCS 630) 1968 Formed as a quartet in late 1966, this act have an interesting and almost global pedigree. English-born singer Andrew Keiler moved firstly to South Africa in 1964 and together with Irish-born guitarist Louis Campbell McKelvey played in the Johannesburg R&B outfit The Upsetters. McKelvey left this act in late '65, to join The A-Cads, although he was too late to appear on their album, despite being pictured on the sleeve. Andrew Keiler too left The Upsetters, recording a solo album in late 1965 before moving to Montreal in late 1966, along with McKelvey and fellow A-cad, Hank Squires. In Canada, Squires moved into production working with The Haunted, amongst others, and McKelvey briefly played with Les Sinners and Our Generation before reuniting with Keiler in Influence. Czech-born bass player Geisinger came in from the Soul Mates and English-born drummer Dave Wynne was recruited from The Haunted. To complete the line-up, two other former Soul Mates, Rossi and Island joined after playing on a Wilson Pickett tour in June 1967. The band then relocated to the US... David Wynne recalls:- "We played Montreal in the Spring of '67, then went to Toronto Village and played one of the clubs there until September when we went to New York and cut the album with ABC. McKelvey was involved in production. Afterwards we were offered another deal by Columbia which was turned down by the band, and at that point I left and went back to Canada and school. You were right about the album, but it may have had a little impact. Our publicist at ABC was dating Peter Townshend and reportedly he liked the opera idea. As musicians and artists the Influence really outclassed anything else around - Walter Rossi as I said was a superb guitarist. You should have heard us live..." "The entire band except me had done hard time with mature audiences. Not many Canadian musicians had had the experience of recording in or touring the U.S. as Wally, Jack and Bobo had with Wilson Pickett. They were also all seasoned musicians. (I heard, from Buddy Miles I think, that Steve Cropper had said he thought Wally the better guitarist). It was also innovative, and had confidence that it was cutting edge and could compete on any stage. Toronto Village in Summer 1967 was great - lots of talent and a real buzz. The imbalance in the band was that we had two front men, Bobo and Andy, and while it was never pushed I think after I left that it became an issue - I bridged both sides and may have helped keep some of it together. At the time there seemed enough room for everyone, but it was really an amalgam of two bands in one - the Wally, Jack, Bobo and Louis and Andy. Yum Yum who replaced me was definitely associated with the former group. I had started the band with Louis, but felt much more at home musically with Wally, Jack and Bobo. I was not a fan of British drummers (Baker, Moon) but American black funk and jazz drummers. I think I mentioned the time at the Barrel, where watching and talking to Rashid Ali (Coltrane's second drummer with Elvin Jones) and hearing new wave drumming was a priceless clinic..." Their album makes it easy to understand why they chose their name, as it is more or less a hodgepodge of styles without much consistency. Many satirical elements betray the strong influence of Zappa, on whom they clearly lean too heavily. Nevertheless their love of discordant riffs and 'wrong' modulations works brilliantly on at least two tracks: We Are Here, a sour masterpiece on lost love and Natural Impulse. Lyrically Zappa is omnipresent as becomes hearable in the choice of admittedly transitional subject-matter such as sodomy (on County Fair) and the longing of the gentry to mingle with the peasants (on Sir Archibald). Parodies on The Marcels, Little Richard and the hippie-movement in general sound dated, although they probably were modern in 1968. Worth trying, but don't pay too much. After Influence broke up, McKelvey and Geisinger played in the Canadian band Milkwood. Geisinger later left Milkwood for Luke and The Apostles. Rossi meanwhile, played with The Buddy Miles Express briefly before joining Geisinger in Luke and The Apostles. Walter Rossi later played with Charlee, Moonquake and Bombers. Jack Geisinger also later played with Moonquake, Rockers and Crescent Street Singers. Bob Parkin committed suicide in 1970. Walter Rossi is also rumoured to have played on an album by Thee Muffins in 1966. (Nick Warburton/Marcel Koopman/Vernon Joynson/Tertius Louw)
http://rapidshare.com/files/6808084/II.rar
Music kindly submitted by Unicorn. Special thanks!
Butch Engle & The Styx - No Matter What You Say (1967)
Garage rock and some nice flower psychedelia (with the usual ingredients of farfisa organ and loads of fuzz guitar) from the very early hippiedays by this widely unknown Californian band. Most of the songs were written by Ron Elliott of the BEAU BRUMMELS, but the band doesn´t sound "folky".
Tracklist
1 Hey, I´m Lost 2:32 2 Left Hand Girl 2:27 3 No Matter What You Say 2:46 4 Smile Smile Smile 1:52 5 I´m A Fool 2:35 6 I Call Her Name 2:45 7 She Is Love 2:14 8 Going Home 2:07 9 I Like Her 1:56 10 Hey, Im Lost (different version) 2:31 11 Puppetmaster 3:48 12 If You Believe 2:27 13 Tell Me Please 2:07 14 You Know All I Want 1:56
Comment and mp3 files kindly contributed by Unicorn. Special thanks!
Damin Eih, A.l.k & Brother Clark - Never Mind (1973)
Review by Unicorn:
Who are Damin Eih, A.l.k and Brother Clark you may ask yourself and so do i. Hardly anything is known about these lads, but their only LP, a private pressing from 1973 is something you should not miss.Mostly acoustic and gentle, but highly trippy and mystic this is the real collector´s stuff. I really love this record and i am sure you will too...so download, "Take Off Your Eyes" and fly.More information welcome! (Note: the tracks on the LP go into one another, so the parted tracks often don´t have a clearly defined beginning or end. This effect will disappear if you hear it as a whole)
Tracklist: 1 Tourniquet 2:17 2 Sing A Different Song 4:17 3 Take Off Your Eyes 5:40 4 Soft Margins 4:45 5 Thundermice 3:52 6 Monday Morning Prayer 0:38 7 Gone 4:40 8 Marching Together 3:36 9 Kathryn At Night 3:391 0 Party Hats & Olive Spats 3:24 11 Return Naked 1:57
Music kindly submitted by Unicorn. Special thanks!
3rd full length by this progressive psych-rock band from Greece is their masterpiece. Ceremony of innocence creates dreamy atmospheres with male and female vocals, swirling organ, strong electric guitar leads and floating flute parts.(from : psychedelic music net) Combining dreamy atmospheres, sublime male and female vocals, swirling organs, sweeping guitars and lush flute arrangements as well as being beautifully packaged in a deluxe triple fold-out book-like CD Box, this is an awesome record with only 1000 copies pressed. (from : freakemporium)
Tracklist :
1 Smoke Supended In The Still Air 5:05 2 The Rabbit Under The Teardrop´s Shade 3:32 3 Shadows Of Daylight 4:31 4 The Reaper´s Paper Boat 4:28 5 Hew A Dream In The Twilight 5:33 6 Haze Secrets 5:01 7 A William Blake´s Song 3:59 8 Fairies Waltz 4:29
http://rapidshare.com/files/6729816/WOTWCOI.rar
Music kindly submitted by Unicorn. Special thanks!
The first record Creme and Godley released after their departure from 10cc is a monumental, ambitious work that lasts nearly 2 hours - and it is one of my favourite records of all time. It was published 1977 in an expensive 3LP-box, probably too expensive for a number of possible buyers. I still remember it being the most expensive record i ever bought. 1991 followed a double-CD edition limited to 3000 worldwide. It was impossible to get it in a normal record shop, at last i found a used copy in a specialty shop in a foreign country and again i had to pay a real nice sum for it. With a price policy like that it is no wonder that the record always was quite rare, which is a pity because it is so wonderful.At the beginning and the end there are 2 very long instrumental parts. The first with extensive use of the gizmo, a device the two had invented to change sounds of electric guitar, from which they thought it would revolutionize the rockmusic world. But as far as i know nobody else except them ever used this thing. The second at the end "Blint´s Tune" is a parody of a classic symphony knitted together from stolen musical themes from beginning to end. Inbetween you find an audioplay with interwoven musical snippets. The story deals about Mr. Blint, a mad musician in a wheelchair who is the only person being able to save the world from going down with his music based on his weird theories (but "Blint´s Tune" reveals that it is nothing but rubbish).The whole thing is very intelligent and extremely funny from beginnig to end, the music is better than everything from them that followed on later albums. My favourite is "Sailor", a tune that impresses with it´s simplicity.This is a masterpiece that should have a place in the top ten rock records of all time!
Comment, mp3 files and artwork kindly contributed by Unicorn. Special thanks!
Virgin's Dream - The X-Tapes (1971) (Krautrock rarity - only 300 pressed)
Review by Unicorn:
Here is an ultra-rare record from a german band that sounds very different from the kraut fraction or the symphonic proggers. In their time the Virgins had cult-status in Western Germany because of their incredibly energetic live performances, nowadays they are totally forgotten, mainly due to the fact that they never released an official record (the band split up at the beginning of 1972 - just at the time when a first LP by a major record company was in planning). Everything from them that survived were some demo recordings (mostly live) that i had saved for about 30 years on a cassette-tape. Even Rolf Trenkler, former bandleader and songwriter, did not possess a single recording of his youth sins. In 1999 i gave the tape to him and he overworked and denoised it as good as it was possible. From the result a private pressing of 300 CD´s was made as a giveaway to friends; it was never sold officially. The music is quite unique, i couldn´t name another band that sounds like them. There are melodious songparts reminiscent of the wonderful UK band "Cressida" changing with very energetic and driving parts a bit in the style of early "Soft Machine" and Mr.Trenkler´s guitarplaying reminds me a lot of John Cippolina from "Quicksilver Messenger Service". Overall the music could best be described as acid-psych of complex nature, with lots of sudden tempo and rhythm changes. The sound quality still is quite limited, nevertheless the record is a real collector´s item. If you are into sixties "Underground" stuff, don´t miss it. This is another "Garden of Delights" exclusive, you won´t find it elsewhere.
Tracklist :
1 Wake Up 1:21 2 Evening Star 3:21 3 Der Blaue Kapuzinermönch 17:19 4 Rainy day In June 9:20 5 The Well 11:34 6 El Dorado 3:44 7 The Galant Knight 3:34 8 I Am One Of Those 4:52
Comments and mp3 files were kindly contributed by Unicorn. Special thanks!
Local New Jersey demo-release (200 made in 1971) from Victoria, a band and album beyond rare, fantastic, conceptual psych-beauty. Sometimes dreamy, sometimes totally wild underground-psych, this release features female vocals, titanic horns and distorted guitars. Sweet tunes turn into dark psych-power. Totally stoned. This amazing album was first released on the Seven Little Indians label (before it became Shadoks Music) eight or nine years ago as a limited-edition with a red velvet cover and golden engraved artwork. A 500-copy limited-edition CD, also in red velvet, was sold out in a few months. Besides Jungle, this album is a famous Little Indian release. If you like Moby Grape you should check this one out. The album has remained unreleased until a few years ago.TOTALLY STONED! -forcedexposure.com- Brand new CD reissue of this very obscure (200 made, only 5-6 copies known to be in the hands of collectors) New Jersey demo recording (1969-71) from three guys and one girl intent on surfing the same kind of electronically enhanced harmony waves generated by United States Of America, C.A. Quintet, even early Velvets. Beautifully baked atmosphere here - on first listen Alex described it as almost doo-wop in its lunar/swoon quotient - that compares with early Paisley Underground moves from Opal and Rainy Day crossed with wild, testifying brass, high arcs of unison vox ala Jefferson Airplane and blats of black fuzz. Recommended. -volcanictongue.com- Personnel incl: SHARON BARTON A MAUREEN DEIDELBAUM A GREG RUBAN A CHERYL SIMPSON A ALBUMS: 1(A) VICTORIA (No label) 1971 R5 2(A) KINGS, QUEENS & JOKERS (No label) 197? R5 NB: (1) was a demo album issued in a plain white jacket. (2) is an alternate pressing of (1), with the title shown rubber-stamped on the front of the sleeve. (2) contains fewer tracks than (1). (1) reissued in Germany (Little Indians #7) 1997, in a red velveteen jacket with gold foil embossed print, and on CD by the same label with several previously unreleased bonus tracks. Rare local New Jersey private press, with an "odd" sound created by this largely female group and featuring horns prominently on several tracks. Two hundred copies of the album were pressed in 1971, and Ruban distributed a quantity of them through Europe while on a motorcycle trip in the early seventies. Victoria may be connected in some manner to Dirty Martha. One track, Ride A Rainbow has also resurfaced on Love, Peace And Poetry, Vol. 1 (LP & CD). (Clark Faville / Max Waller)
This haunting collection proves once and for all why Meic Stevens is so often called 'the Welsh Bob Dylan'. As well as gathering for the first time the ultra-rare EPs he recorded between 1967 and 1970 (Mike Stevens, Rhif 2, Mwg and Meic Stevens), the package comes complete with both sides of his 1965 debut single, detailed sleevenotes, rare photographs and an introduction by the man himself, making it an essential purchase for all fans of acid folk and psychedelia.-Sunbeam Records- "A legendary folksinger who's been called 'the Welsh Dylan', in the late 60s he recorded a series of ultra-rare Welsh-language psych-folk EPs." - The Tapestry Of Delights "The psych-folk singer and guitarist is often referred to as the Welsh Dylan, and compared favourably with fellow astral-travellers like Syd Barrett. He continues to perform in Wales, where he is treated as a national hero" - (allmusic.com)
Track list
1. Did I Dream? 2. I Saw A Field 3. Yr Eryr a'r Golomen (The Eagle And The Dove) 4. Ble Mae'r Bore? (Where's The Morning?) 5. Ond Dof Yn Ôl (But I Shall Return) 6. Tryweryn 7. Cân Walter (Walter's Song) 8. Hwiangerdd Mihangel (Michael's Lullaby) 9. Glaw yn y Dail (Rain In The Leaves) 10. Lan a Lawr (Up And Down) 11. Mwg (Smoke) 12. Rhedaf i'r Mynydd (I Run To The Mountain 13. Myfi yw'r Dechreuad (I Am The Beginning) 14. Tyrd i Lawr i'r Ogof (Come Down Through The Cave) 15. Mynd i Bala ar y Cwch Banana (Going To Bala On The Banana Boat) 16. Nid y Fi yw'r Un i Ofyn Pam (Not For Me To Ask The Reason Why) 17. Mae Gennyf i Gariad (I've Got A Love) 18. Dim Ond Heddiw Ddoe ac Fory (Only Today, Yesterday and Tomorrow)19. Cân Mamgu (Grandmother's Song)
Previously unreleased Psychedelic Folk album from 1970 by Susan Christie, a Philly based sophomore folk singer who had one novelty hit for a major label in the late '60s. This album, which featured her psychedelic take on Country standards and hand crafted tales of inner-city solitude backed by a Folk-Funk rhythm section, was not considered commercially viable and shelved...until now! Uber-legend John Hill produced the album which features 8 tracks including a 12 minute 'drugsploitation' epic called 'Yesterday - Where's My Mind' featuring Susan flipping vocal styles between Janis Joplin and Margo Guryan. Finders Keepers. 2006.
1. Rainy Day 2. Paint a Lady 3. For the Love of a Soldier 4. Ghost Riders in the Sky 5. Yesterday Where's My Mind 6. Echo in My Mind 7. When Love Comes 8. No One Can Hear You Cry
Ruthann Friedman’s chief claim to fame is having written The Association’s 1967 hit “Windy.” Less well known, however, is Constant Companion , her sole solo album recorded for Reprise in 1969. Water’s reissue of the album seems timed to follow the success of other recently-rediscovered female singer-songwriters (Vashti Bunyan, Judee Sill) and the resurgence of ’60s-inspired folk in general. Constant Companion, however, is no mere nostalgia trip, nor is its re-release a case of opportunistic bandwagoning. While Friedman’s music will undoubtedly be grouped with that of Bunyan and her present-day heirs (Devendra Banhart, for one), she has little in common with them. Contrary to what her song titles (“Piper’s Call,” “Fairy Prince Rainbow Man”) might suggest, she doesn’t indulge in idyllic flower-power folk. While Constant Companion doesn’t immediately elicit comparison to any particular artist, it is perhaps closest in spirit to the first two albums of Friedman’s Reprise labelmate Joni Mitchell. Like Mitchell, Friedman is a skilled guitarist and gifted songwriter, attributes that separate her from the era’s horde of would-be folkies. She possesses a deep, powerful voice, and her impressive vocal control suggests that she may have been classically trained. In other words, she’s no amateur dilettante who got lucky enough to record a one-shot album, but rather a fully mature and practiced artist. The songs on Constant Companion cover a range of styles, from Simon and Garfunkel style folk (“People”) and Mitchell-inspired psychedelic ruminations (“Fairy Prince Rainbow Man,” “Danny”) to jazz-inflected pop (“Morning Becomes You”). The arrangements are sparse, consisting solely of Friedman’s acoustic guitar and voice, with the exception of lead guitar by Peter Kaukonen (brother of Jefferson Airplane and Hot Tuna’s Jorma, and creator of Constant Companion’s cover art). Friedman’s wide stylistic range suggests that the suits at Reprise may have been a little too eager to force her into the role of “the next Joni”; several of her songs cry out for further orchestration (the fingerstyle guitar intro to “Looking Back Over Your Shoulder” being one case in point). While they work as acoustic compositions, they may have benefited from more complex arrangements, as does the post-album single “Carry On (Glittering Dancer),” a quirky track that indulges in Van Dyke Parks-style baroque orchestrations (apparently Parks and Friedman were briefly an item, and he executive produced the track.) Given the fact that Friedman hasn’t recorded anything since, Constant Companion can hardly help but evoke imaginings of what might have been had she stayed in the business longer. As it stands, though, the album is a fine effort, and its rescue from the archives is certainly to be applauded. -Dusted-
Track Title
1. Topsy-Turvy Moon 2. Piper's Call 3. Fairy Prince Rainbow Man 4. Too Late To Be Mourning 5. Ringing Bells 6. Looking Back Over Your Shoulder 7. People 8. Morning Becomes You 9. Peaceable Kingdom 10. No Time 11. Danny 12. Look Up To The Sun 13. Carry On (Glittering Dancer)* *Bonus Track Length
Line Up and Credits
Ruthann Friedman - Vocals, Guitar Peter Kaukonen - Improv Electric Guitar on Morning Becomes You Van Dyke Parks - Executive Producer [Carry On (Glittering Dancer)] Ed Thrasher - Art Direction (Original Release)
Judee Sill was a true original. A singer-songwriter with a wealth of influences and a fascination with religion, she referred to her work as "country-cult-baroque." She was the first artist signed to David Geffen's Asylum label, and, along with Joni Mitchell and Carole King, exemplified the breezy "Laurel Canyon Sound" of the early '70s. Sill scored moderate hits with "Lady-O" (originally written for The Turtles) and "Jesus Was A Cross Maker" and released two albums -- 1971's Judee Sill and 1973's Heart Food -- before suffering chronic pain and eventually dying of a drug overdose at age 35. Sill grew up in Oakland, California, and began playing piano at age three. A troubled family life and brushes with the law landed her in reform school, where, as church organist, she developed the gospel style that would characterize her future recordings. After a stint in college and three down-and-out years of addiction, she cleaned up and began work on her dream of becoming a songwriter. She spent a short time penning songs for The Turtles' production company before signing her own deal with Asylum. For her self-titled debut, Sill gathered a production team that included Jim Pons and John Beck of The Leaves, as well as engineer/producer Henry Lewy, known for his work with Joni Mitchell, Neil Young, The Flying Burrito Brothers, and Leonard Cohen. Her guitar playing provides the foundation for most of the songs, joined by various combinations of pedal steel, strings, and brass. "Jesus Was A Cross Maker," built on a bed of Sill's gospel-flavored piano, was produced by Graham Nash and crafted as a single. Rich with cosmic imagery and ambiguously spiritual lyrics, the songs on Judee Sill often blur the line between the earthly and the divine.
Beautiful folk-rock album with psychedelic touches.Thoughtful, earnest, acoustic guitar-led folk ballads. Backing on the album came from psychedelic legends Mighty Baby. With vinyl copies changing hands for hundreds of pounds, it's finally available on CD, showing itself to be a lost gem of British acid folk.
Robin Scott's 1969 album Woman from the Warm Grass was very much in the mold of many British folk-ground artists of the time who were gingerly making the transition to a folk-rock sound. In fact, in material and presentation, Scott was fairly similar in feel to a few other artists that producer Sandy Roberton worked with, including Al Jones, Keith Christmas, and Shelagh McDonald. Scott's vocals and songs were earnest and verbose, with the reflective fragile moodiness (and yearning, sometimes florid romanticism) found in many British folk/folk-rock singer/songwriters of the era, from Al Stewart and Donovan on down. As artists in this genre go, Scott's pleasant and reasonably interesting, though not distinguished. He and Roberton do vary the arrangements, sometimes opting for just solo acoustic guitar and voice, at others using full rock backing from the band Mighty Baby. Generally, the unplugged tracks work better; "The Sound of Rain," with subdued orchestration backing the acoustic guitar, has the sort of narrative-oriented mystical acid folk pioneered by Donovan, while "Song of the Sun" has the poetic wordy gray melancholy very particular to this period of British folk. So there's a lot here for listeners who dig this particular micro-style in general, with the notable exception of an overwhelmingly strong vocal or songwriting individuality, though Scott's likable enough. [The 2006 CD reissue on Sunbeam adds a nice bonus cut from a BBC session, "Tattoed Lady," that doesn't appear on the original album in any form. This track has lead singing by Scott's girlfriend of the time, Penny Lamb (with Scott on guitar and vocal harmonies), and a slightly brighter, poppier, and more melodic feel than the material that had been recorded for the LP.] ~ Richie Unterberger, All Music Guide
1. The Sailor 2. Song of the Sun 3. The Sound of Rain 4. Penelope 5. The Day Begins 6. Woman From The Warm Grass 7. I Am Your Suitcase Lover 8. Mara's Supper 9. Point Of Leaving 10. The Purple Cadger 11. Tattooed Lady [Bonus Track]
Beautiful laid back trippy Japanese psych album. Strong compositions, English vocals and a late '60's UK psychedelic rock/pop sound make this better than many UK albums of the era! Superb from start to finish. Featured on the Love Peace and Poetry series.
Great album from 1971 by a New York hippie folk duo who use guitar and fiddle to embellish their songs about dope, social issues and headin' west. This can best be described as hippie folk with a strong rural vibe and features top quality musicianship and vocals. Open air, back to the country, freedom music.
Recorded in 1978 this is a fine and rare slice of UK folk rock with great interchange male/female vocals over lilting acoustic tracks that use a selection of instruments such as dulcimers, mandolins, guitars, flutes etc.
"Satori" is the second album, after they had changed their name. It contains five long songs, titled "Satori Part I-V". The whole album had a very special atmosphere. It's not easy to describe, maybe mystical, dark and melancholic are some words I like to drop. In some songs, as in "Satori Part I", they play some kind of a proto epic Doom, brutal heavy riffs with nice tempo-changes. The clear and high voice of singer Joe completes this great song. But it's different to BLACK SABBATH. I think, you can hear, that FLOWER TRAVELLIN' BAND are strongly influenced through ancient Japanese/Eastern music. Like the second song "Satori II" , an instrumental, which starts with a hypnotic psychedelic guitarsound and then turns into a instrumental part with Eastern percussion. But the song doesn't "freak-out" into a endless jam. The band played still very compact. "Satori III" is a very doomy instrumental. The song is like a crossover between Doom/Heavyrock and this typical ancient touch. It changes into a heavy groovy part which goes into something experimental and then back to the opening theme with an oriental-like ending. Really fantastic! "Satori IV"starts more progressive to change then into a groovy Blues part with a harmonica. Joe had a very unique vocal-style on "Satori Part V", maybe not everybodys flavour. The album closes with this song, that goes more in it the Heavy-Prog direction. At least, the production sounds very clear and powerful. Finally,I will give you the advice to discover the world of FLOWER TRAVELLIN' BAND, if you're into early 70's Heavyrock. The original is not easy to find, but there is a CD re-release on WEA, only released in Japan. Review taken from cosmiclava.de/FLOWER_TRAVELLIN__BAND.27.0.html
Bachdenkel were located in France and as a result, they were not fully updated about the contamporary currents of British prog of the era, this worked in their favour as they used influences of the late 60's and updated them independently, they mix influences from the Beatles' Psychedelic era, singer-songwriters such as Joni Mitchell and Eastern and Hippie music and philosophy in a "Progressive" context. The result is magnificent, great songs with beautiful and unusual lyrics, great music and Swinburne's unique and warm vocals makes this album a great listening experience, a true masterpiece and highly recommended. (Gil Keltch)
Tracklist:
1. Translation 2. Equals 3. An Appointment With The Master 4. The Settlement Song 5. Long Time Living 6. Strangerstill 7. Come All Ye Faceless 8. The Slightest Distance 9. Donna 10. A Thousand Pages Before
An Italian - U.S. band, based in Long Island, New York, who played heavy rock with some psychedelic influence. The band were formed by Bruce Brandt, who had also worked with Faine Jade. They enjoyed some minor chart success, and their albums were produced by the famous Jeff Barry. Good album and some cool guitar work.
Tracklist:
1. Did You See Her Eyes 2. Talkin' Sweet Talkin' Soul 3. Just Imagine 4. Run Run Run-Willy Gee 5. I Love You Yes I Do 6. Alone 7. Charlena 8. Why Tell Me Why-The Real Thing 9. You Made Me What I Am
Mid 70's UK Folk rarity featuring fragile folk music played on treble recorder mandolin, guitar, banjo, bodhran etc. This three piece trad folk band at no time gives up its distinctly British musical flavour and the end results are beautifully memorable.
Tracklist:
1. Bodhran Jigs 2. The Grey Lady 3. Evening Aire 4. New Jigs 5. King Richard III 6. Forced Duty 7. Quorn Dollies 8. Fisherman's Night Song 9. Barrow Bumps 10. Jack Hall
The second album from 1970 is an exceedingly more pastoral effort than the band's self-titled debut. As many of the Bay Area groups — most notably the Grateful Dead with Workingman's Dead and American Beauty — had begun to do, the band realigns its sound from the dark psychedelia of its earlier works and into a lighter and earthier country-flavored rock. Marrying Maiden does, however, continue highlighting both the sextet's stellar instrumental proficiencies as well as vocals — featuring the entire band — throughout. Not as good as their selftitled debut but still very enjoyable music.
Tracklist:
1. Don and Dewey 2. The Dolphins 3. Essence of Now 4. Hoedown 5. Soapstone Mountain 6. Waiting for the Song 7. Let a Woman Flow 8. It Comes Right Down to You 9. Good Lovin' 10. Galileo 11. Do You Remember the Sun?
Originally released in 1970. These ex King Crimson pair teamed up to record a stunningly beautiful album with rich musical textures and Abbey Road-esque vocal arrangements and full orchestration, the album continued where their work in King Crimson left off and featured a guest appearance by Steve Winwood. This is a gem that requires immediate attention.
Their fourth album (second for Warner/Reprise) released in 1970 continued the tradition of psychedelic dreamy poetic musing and added a small orchestra of strings to add a classical feel. The album features songs written by Tom Rapp whilst living in Holland including the superb "The Jeweler". Subversive, tender, moving, goofy, maddening, and profound PBS and Tom Rapp created some of the best and timeless musical poetry of the '60's and '70's.
Tracklist
1. Jeweler 2. From the Movie of the Same Name 3. Rocket Man 4. God Save the Child 5. Song About a Rose 6. Tell Me Why 7. Margery 8. Old Man 9. Riegal 10.When the War Began
Perhaps the best known of the Irish bands' albums, this 1973 release was a concept album, detailing one of ancient Erin's most famous folk tales. Combining mournful traditional Celtic music with long haired rock was a masterstroke which can be heard to fine effect on this reissue. An album that appeals to folk rock and progressive rock fans alike.
By any standards this album is a masterpiece of quality celtic rock. Concept albums rarely work, but this does so spectacularly. It tells the ancient legend of a cattle raid in Ulster in prehistoric times, using traditional tunes as the basis of the songs and mixing traditional instruments such as fiddle, pipes and concertina alongside the standard rock format. There is a flow and coherence which is truly marvellous. Even more remarkable is that they repeated the feat with the Book of Invasions a few years later. It is helped by the fact that the band are musicians of the highest order, but their strength is the magic of the songs and tunes which are constructed quite perfectly. There are no fillers and no tracks which fall below the general standard of excellence. The stand out tracks include Dearg Doom, with its phenomenenal riff which makes it a disco hit 30 years later, Faster Than the Hound and Charolais. Comparisons have been made with Jethro Tull, largely due to the extensive use of the flute, but Jim Lockhart plays it even better than Ian Anderson, good though he is. (progarchives.com)
Tracklist:
1. Setanta 2. Maeve's Court 3. Charolais 4. The March 5. You Can't Fool The Beast 6. Dearg Doom 7. Ferdia's Song 8. Gae Bolga (1:23) 9. Cu Chulainn's Lament 10. Faster Than The Hound 11. The Silver Spear 12. More Than You Can Chew 13. The Morrigan's Dream 14. Time To Kill http://rapidshare.de/files/13937468/Horslips_-_The_T_in__1973_.rar
Eccentric, prolific British singer/songwriter Roy Harper is a legend on the U.K. folk-rock scene. He began recording in the late 1960s, as something of a cross between Bob Dylan's troubadourism and Syd Barrett's freewheeling, wild-eyed visions. Though Harper has had an impact on British rockers who gained greater fame (he's feted in Led Zeppelin's "Hats Off To Roy Harper," sings lead on Pink Floyd's "Have a Cigar," and was a major influence on Jethro Tull), his mix of folk and prog-rock has earned him a niche all his own in the pantheon of British songwriters.
Tracklist:
1. Sgt.Sunshine 2. She's the one 3. In the time of water 4. Composer of life 5. One for all 6. Exercising some control 7. McGoohan's blues 8. Manana
First album by this German band who started off with progressive folk rock leanings. This is possibly their best album richly textured and with a gorgeous female vocal and stands up with the best of seventies Kraut Rock for its invention and sheer class. A ravishing album, very folk, acoustic and dreamy with nice, abundant female vocals. This is their best and unique highly recommended effort they made. Celestial and floating kraut / folk music whose approach can be compared with Bröselmaschine, Emtidi and others. An eastern flavour is added by the use of the sitar, also a subtle jazzy guitar touch, mainly improvised for long solo interludes. Specials guests as Walter Westrupp, Peter Bursch contribute to make this album an inspired progressive rock item with many acoustic ingredients added in a kind of fusion style. Hölderlins Traum is very fine for every prog folk lovers.
Tracklist:
1. Waren Wir 2. Peter 3. Strohhalm 4. Reqiem Für Einen Wicht 5. Erwachen 6. Wetterbericht 7. Traum
1968 debut from the US psychedelic rock band. A dark haunting classic album that contains "Fresh Garbage," "Uncle Jack," "Mechcanical World," and "Elijah" all laced with superb guitar work, vocal harmonies and production. Randy California's guitar is always in evidence, but it's the band interplay and sense of space that makes this one of the great debut albums of the genre.
The original lineup of the group was Randy California (guitars), Jay Ferguson (vocals), Mark Andess (bass), California's stepfather, drummer Ed Cassidy, and keyboard player John Locke. The new band was originally named the Spirits Rebellious (after a book by Khalil Gibran) but was soon shortened simply to Spirit. All but Locke had been part of the band The Red Roosters in 1965. California (then still known by his birth name of Randy Wolfe) had also played with Jimi Hendrix (then known as Jimmy James) in Jimmy James and the Blue Flames for three months in 1966. Ed Cassidy is notable as one of the most accomplished drummers in rock and was instantly recognizable by his shaven head and proclivity to wear black. He was considerably older than the rest of the group (he was born in 1923). His earlier career was primarily in jazz and included stints with Cannonball Adderley, Gerry Mulligan, Roland Kirk and Lee Konitz prior to joining Spirit, he was a founder member of Rising Sons with Taj Mahal and Ry Cooder. Following a period of gigging around Los Angeles, the group attained quite a reputation. Brian Berry, the brother of Jan Berry (of Jan & Dean), heard the group and made arrangements for them to record a demo. The demo eventually made its way into the hands of Lou Adler, who was in the process of forming a new record label, Ode Records, which was distributed by Epic Records. The group's first album, Spirit, was released in 1968. Though it didn't spawn any hit singles (the track Mechanical World was released as a single [with a humorous label on the 45 which lists the playing time as merely being "very long", despite the fact that it is prematurely faded in order to shorten its length a bit], but it missed the Top 100), it was a substantial underground hit, making it to #31 on the charts and staying on the charts for over 8 months. Following the relative success of their first album, they capitalized on it with a single, I Got A Line On You. Released slightly before their second album, The Family That Plays Together (which came out in November of 1968), it became their biggest hit single. They also went on tour that year, with Led Zeppelin opening for them (who were obviously listening to the headliners, as they were known to cover Fresh Garbage in concert, used the Theremin after seeing Randy use a model that he had mounted to his guitar, and would later appropriate the Spirit instrumental Taurus for their Stairway To Heaven.
Taken from Wikipedia
Tracklist
1. Fresh-Garbage 2. Uncle Jack 3. Mechanical World 4. Taurus 5. Girl In Your Eye 6. Straight Arrow 7. Topanga Windows 8. Gramophone Man 9. Water Woman 10. The Great Canyon Fire In General 11. Elijah 12. Veruska [Bonus] 13. Free Spirit [Bonus] 14. If I Had A Woman [Bonus] 15. Elijah [Alternate Take - Bonus]
Balaklava is one of the most extraordinary, sublime and sophisticated protest albums of 1968. To many, this album represents Tom Rapp's surrealist song-craft in perfection. Not a foot-stamping anti-Vietnam war album but a complex and psychedelic masterwork that touches on Tennyson and Tolkien in a sublime metaphorical fashion. Tom Rapp is among the most erudite, intellectual songwriters of the American '60s era.
The psychedelic folk band Pearls Before Swine was the brainchild of singer, composer and cult icon Tom Rapp, born in Bottineau, ND in 1947; after writing his first song at age six, he later began performing at local talent shows, and as a teen bested a young Bob Dylan at one such event. Upon relocating to Melbourne, FL, Rapp formed Pearls Before Swine in 1965, recruiting high school friends Wayne Harley, Lane Lederer and Roger Crissinger to record a demo which he then sent to the ESP-Disk label; the company quickly signed the group, and they soon travelled to New York to record their superb 1967 debut One Nation Underground, which went on to sell some 250,000 copies. The explicitly anti-war Balaklava, widely regarded as Pearls Before Swine's finest work, followed in 1968; the group -- by this time essentially comprising Rapp and whoever else was in the studio at the moment -- moved to Reprise for 1969's These Things Too, mounting their first-ever tour in the wake of releasing The Use of Ashes a year later. Two more albums, City of Gold and Beautiful Lies You Could Live In, followed in 1971; moving to Blue Thumb, Rapp resurfaced as a solo artist with 1972's Stardancer, but upon the release of Sunforest a year later he then retired from music, subsequently becoming a civil rights attorney. Frequently cited as a key influence by the likes of Damon & Naomi, the Bevis Frond and the Japanese psych band Ghost, Rapp made an unexpected return to live performance in mid-1998 when he appeared at the Terrastock festival in Providence, RI, joining son Dave and his indie-pop band Shy Camp; he soon began work on 1999's A Journal of the Plague Year, his first new LP in over two decades. Constructive Melancholy, a retrospective of Pearls Before Swine's tenure on Reprise, also appeared that same year. This sparked renewed interest in the band, with Water music releasing a box set of the Reprise material in 2003 (Jewels Were the Stars) as well as a set of unreleased demo and live recordings entitled The Wizard of Is. ESP also remastered and combined their first two albums as The Complete ESP-Disk Recordings in 2005.
Jason Ankeny, All Music Guide
Tracklist:
1. Trumpeter Landfrey 2. Translucent Carriages 3. Images Of April 4. There Was A Man 5. I Saw The World 6. Guardian Angels 7. Suzanne 8. Lepers & Roses 9. Florence Nightingale 10. Ring Thing
Long lost UK folk rock album from 1971. Fresh Maggots were just two people, Mick Burgoyne and Leigh Dolphin, (they came from Nuneaton, Warwickshire, England) and they played melodic acid folk-rock with electric (heavy on the fuzz side) and acoustic guitar mixed with glockenspiel, tambourine, violin, tin whistles and harmony vocals. The results are stunning particularly on the evergreen "Rosemary Hill" which features some beautiful harmonies. The electric fuzz guitar kicks in at various points on the record to startling effect, particularly evident on "Everyone's gone to War". If there was such a genre as garage folk then this it. The original vinyl is very much sought-after today and almost impossible to find.
Long established as a cult classic and collector’s grail, Mick Burgoyne and Leigh Dolphin’s sole album is presented here with their full co-operation. Recorded in 1971 when they were just 19 years old and fresh to the studio, "Fresh Maggots" is one of the best distillations of folk and psychedelia ever recorded. Varying in tone from heavy rock (‘Frustration’) to protest (‘Everybody’s Gone To War’), social commentary (‘Dole Song’) and pastoral (‘Rosemary Hill’), it’s a highly unusual and powerful record that enjoyed extravagant acclaim on release but sold poorly and has never been officially issued since. Original pressings are notoriously badly pressed, so this reissue is sure to be rapturously welcomed by all lovers of acid folk.
Tracklist:
1. Dole Song 2. Rosemary Hill 3. Quickie 4. Everyone's Gone To War 5. And When She Laughs 6. Spring 7. Balloon Song 8. Guzz Up 9. Who's To Die 10. Elizabeth R 11. Frustration
A beautiful and very rare album from the annals of European psychedelic/folk/prog circa 1972. Subway were a half American, half British duo, living in France, who released 200 copies of this, their self titled album, on vinyl, and promptly disappeared without trace. Their sole 'gigging' consisted of busking in Paris subways- hence the band's name- and to add to the legend, it seems that most of the unsold copies were melted, which was usual French practice!! The music itself is dark, psychedelically inclined folk with elements of freeform prog: somewhere betwixt Comus and the West Coast Pop Art Experimental Band, but with less instruments.
Liner Notes:
Subway: It is not a group. It is a duo. It is not an ordinary duo. Composed of IRV, the guitarist, singer and author-composer - he is American; of MALCOLM, violinist - he is English. IRV arrives in England where he meets MALCOM and they start working together. Sometimes later, they decide to try to break in France. But it is not so easy. They have no more money and sing in the underground to earn their living. Their music is surprising and very personal. All the titles included in this album are IRV's compositions.
Tracklist:
1. I Am A Child 2. Song For Sinking Shelters 3. Warm You Are 4. All The Good Things 5. Enturbulaton - Free Form 6. Arizona Sands 7. Rosanna Of The Roses 8.Can I Trade With You My Mind
Third album by German legends Embryo, originally released in 1972. A cool set of trippy jazzy rock with plenty of keyboard led jams. This is one of the bands more commercial releases yet it does not sacrifice the experimentation that made the band so admired. Great Krautrock by one of the top 10 German bands of the 70's.
Tracklist:
1. The Special Trip 2. Nightmares 3. King Insano 4. Free 5. The Sun Song 6. Marimbaroos 7. Forgotten Sea
This 1967 album was one of the first of the progressive rock genre. The first mainstream release to feature a rock band and orchestra playing together, and being a linked suite of songs on a common theme, this of course spawned the massive hit single "Nights In White Satin." It also includes the haunting "Tuesday Afternoon", and the frankly evil sounding 'Twilight Time'. A groundbreaking album in rock and roll history, and one everybody should own. Although not the first concept album ever (that honour may fall to Joe Meek's "I Hear A New World" seven years earlier) it's fair to say all that was ever regarded as 'prog' started here, although the band themselves never liked the term and of course moved away from it into an AOR-MOR direction. Nevertheless, this album is as important as 'Sgt Pepper' 'Pet Sounds' 'Forever Changes' 'SF Sorrow' 'Odessey And Oracle' 'Ogdens Nut Gone Flake' and 'Village Green Preservation Society', and to count the amount of bands its sound influenced would take a whole week. (Freak Emporium)
Tracklist:
1. The Day Begins 2. Dawn, Dawn Is A Feeling 3. The Morning, Another Morning 4. Lunch Break, Peak Hour 5. The Afternoon a) Forever Afternoon (Tuesday?) b) (Evening) Time To Get Away 6. Evening a) The Sun Set b) Twilight Time 7. The Night - Nights In White Satin
Recorded just after Mick Taylor departed for the Stones, John Mayall eliminated drums entirely on this live recording. With mostly acoustic guitars and John Almond on flutes and sax, Mayall and his band, as his typically overblown liner notes state, "explore seldom-used areas within the framework of low volume music." But it does work. The all-original material is flowing and melodic, with long jazzy grooves that don't lose sight of their bluesy underpinnings. Lyrically, Mayall stretches out a bit into social comment on "The Laws Must Change" on this fine, meditative mood album.
Richie Unterberger, All Music Guide
John Mayall was best known as a key figure in the '60s British blues boom, fronting a band containing future members of Cream, Fleetwood Mac and Colosseum among others. However, after releasing a number of rock-edged electric blues albums, Mayall changed direction in 1969. Recorded live at New York's Fillmore East, 'The Turning Point' finds Mayall fronting an all-acoustic four-piece including guitarist Jon Mark and sax player Johnny Almond, who would later gain renown as the progressive rock outfit Mark-Almond. With the new format allowing for a greater degree of subtlety, Mayall offers a blend of blues, folk, and jazz, seamlessly mixed into a new paradigm. Lest you forget that this was 1969, things open up with the pro-pot anthem "The Laws Must Change." The centerpiece of the album, and a Mayall concert staple thereafter, is "Room to Move," a breathless, frenetic number where Mayall shows off his harp chops and gets the audience worked up as only a real blues man can.
Tracklist:
1. The Laws Must Change 2. Saw Mill Gulch Road 3. I'm Gonna Fight for You J.B. 4. So Hard to Share 5. California 6. Thoughts About Roxanne 7. Room to Move
Here comes the 2nd Limbus album (their even more obscure debut from 1969, under the name Limbus 3, has been bootlegged on CD by Germanofon & is legitimately available on LP via the Batschong label), which was originally issued by OHR in 1970. A fantastic dose of early 70s German freeform weirdness and an essential reissue for the tuned-out community. Formed in 1968, Limbus were a most unusual band who grew a unique music out of jazz, folk and avant-garde roots. As the more varied instrumental quartet Limbus 4, with swirling organ, studio effects and a most bizarre use of kazoos, Mandalas has perplexed and confused many. Limbus 4 were certainly one of a kind.
Here comes the second album from this largely unknown group, supposed to come from Long Island, New York. After their outstanding debut that could be described as folk rock with a psychedelic edge, the 2nd record is definitively more rock/blues orientated. Nevertheless, this rare album contains eleven very enjoyable tracks with fine instrumentation and excellent lead vocals.
1. Pillow 2. Sleeping Prophet 3. Put Me Down 4. Personal Manager 5. Reincarnation 6. Sleepy Mountain Ecstasy 7. I Don't Need No Music 8. Little Song 9. Healthy, Wealthy & Wise 10. Around And Around 11. Morning
As requested, here comes Saturnalia's "Magical Love". Famous on release in 1969 (and re-issue in 1973) for being one of the first picture disc albums, this UK album has stood the test of time well. A thoroughly competent slice of mystical West Coast influenced progressive psychedelia with an occult edge, some excellent female vocals and searing lead guitar work.
Saturnalia was a rock group produced by Yardbirds legend Keith Relf. With a man named Adrian Hawkins and woman named simply Aletta heading up the vocal duties, their sound was assorted and fascinating combination of psychedelic rock. I preferred what they sounded like with Hawkins at the helm; Aletta’s voice was off key and irritating for the most part. The music in total bordered on pre-prog-rock with a strong leaning towards hard rock, albeit a different slant than what was available in that era. I am sure some folks would consider this as weird music, I prefer to say they were making music that was original and off the beaten path, which for me personally is very appealing. Besides the tripped out artwork on both sides of the LP, a booklet is included that tells the story of the band with an outline of each individual personality including their astrological sign a full explanation of all the elements, fire and water and such. It is all very much what 1969 was all about. Old hippies (and new) will love this album! It seems there is always so much more to talk about besides the music when I receive an album with so much color and character. This is what collectors live for so snag it up before they disappear.
reviewed by Keith "Muzikman" Hannaleck on progressiveworld.net
Tracklist:
1. Magical Love 2. She Brings Peace 3. And I Have Loved You 4. Winchester Town 5. Traitor 6 .Soul Song 7. Princess And The Peasant Boy 8. Dreaming 9. Step Out Of Line
Beautiful flowing 1972 album by this mellow French progressive band featuring superb keyboard and guitar interplay and female vocals. In places sounds a bit like Julian's Treatment and Earth And Fire. Very rare on vinyl and one of the classic '70s Europe progressive rock albums.
The major attraction within the line-up no doubt is that of vocalist Rose Podwojny, who constantly balances between the raunchy approach of a Grace Slick and that of an authentic Jazz diva. Others have placed her voice in between that of Linda Hoyle and Julian’s Treatment singer Cathy Pruden. Based around the talented guitarist Jean-Pierre Alarcen, Sandrose rose out of the ashes of another French cult band called Eden Rose. Whilst mellotron and Hammond are to be found throughout the lengthy instrumental passages, most of the attention goes towards Rose Podwojny, who has often been compared to Dutch singer Jerney Kaagman, whilst from a musical perspective Sandrose was often compared to Earth & Fire, Kaagman’s band. To my ears, Rose’s voice sounds much more trained, with more vibrato and able to shine in many other musical styles, something we can’t say from the rather limited voice of Jerney Kaagman. Also, from the point of view that this concerns a French band, Rose’s prononciation of the English language is perfect. No doubt the highlight of this album has to be the unrivaled prowess of "Underground Session," which really contains every single element from the book of symphonic rock highlights. This track alone is worth the money of the entire album. It nicely alternates calm passages and more heavy outbursts in order to create the true identity of authentic prog. The dreamy "Summer Is Yonder" could well be an outtake from Focus or Pulsar, once again not being obtrusive in any way and fully composing the arrangement in favour of Rose’s high pitched vocals here. Although the song has a slight medieval feel at times, it’s mainly the Akkerman-like guitar from Alarcen combined with the organ that delivers the Focus likeness. When Rose isn’t singing, the rest of the band most definitely prove that they are also outstanding musicians, leaning heavilly towards jazz and fusion as demonstrated during the rhythmic "Metakara," displaying the typical Hammond from the seventies. All in all, this still is a wonderful album to listen to even though it has been released more than thirty years ago. Some of the sounds may be dated but the way the compositions are made still vouch for great creativity. Chauvinistic as they are, the French rate this album as being one of the world’s top ten progressive albums of all time. I wouldn’t go as far as saying top ten but it most definitely merits a place in the world’s best 100 prog albums of all time, and that alone is a fantastic achievement, knowing there are thousands and thousands of albums out there whilst Sandrose only made this single debut.
Reviewed by John Bollenberg on progressiveworld.net
Tracklist:
1. Vision 2. Never Good At Sayin´ Good-Bye 3. Underground Session 4. Old Dom Is Dead 5. To Take Him Away 6.Summer Is Yonder 7. Metakara 8. Fraulein Kommen Sie Schlaffen Mit Mir (to all who speak German: it's written exactly like that, no spelling mistakes...! )
Big Boy Pete - Homage To Catatonia - The Psychedelic Adventures Of Pete Miller (1966 - 1969)
Great collection of unreleased psych-pop weirdness by the guy who created the monsterous "Cold Turkey" on 'Chocolate Soup', supposedly recorded in the '60s... Great UK style psych gems... anyone familiar with the killer "Cold Turkey" will know what to expect....
Even in his home town San Francisco, few people are aware that the quietly spoken Englishman, Pete Miller, whose recording studio has serviced hundreds of bands since opening its doors in 1977, is in fact, Big Boy Pete. The enigmatic psychedelic legend from the sixties. If you have never heard of Big Boy Pete, you may not be alone. But if you're an avid record collector, you will know that his 1968 45rpm disc "Cold Turkey" is now a prized collector's item. (It commanded a $400 reserve price at last year's Sothebys Rock and Roll auction in London). The Rock and Roll Hall of Fame Museum in Cleveland, U.S., includes this record in its list of Psychedelic Classics. Big Boy Pete's name is painted on the museum wall right next to the Beatles' name. Pete's sixties recordings have been re-released in England for the past couple of years on the Tenth Planet label. They are now becoming available in the US courtesy of Gear Fab Records, Bacchus Archives (a subsidiary of Dionysus Records), and 3 Acre Floor Records. But wait! There's yet another interesting facet of Pete's career. Probably not a single student of the Audio Institute of America (and there have been thousands in over 100 countries around the world), realise that Big Boy Pete is the Founder and President of this State licensed educational school for recording engineers. Pete engineered his first recording in 1959. He was in one of the bands from the original British invasion of the sixties. (Lead guitarist of The Jaywalkers, who toured extensively with the Beatles and Stones in those glorious years). He also had a solo recording contract with Columbia Records under yet another name - "Miller". The single "Baby I Got News for You" is another sought after collector's 45.
taken from bigboypete.com
Tracklist:
1. Sheer Lunacy (1966) 2. Crocogators (1966) 3. I Am Seldom 21 (1967) 4. Knit Me A Kiss (1966) 5. 1,500,000 Volts (1967) 6. Captain Of My Toy Ballon (1968) 7. John Celery (1969) 8. Paranoia (1968) 9. Chinaman (1966) 10.Music Created By Dust (1966) 11.A Dog Called Doug (1967) 12. The Procession (1969) 13. The Candleman (1967) 14. The Treacle Dance (1968)
One and only album by German underground band Vinegar originally released in 1971. Musically in style of early Pink Floyd, progressive but very psychedelic, long instrumental tracks but also with female vocalist reminding of Nico. One of the lost treasures from Germany and very sought after!
Recorded on January 9th, 1971 in Studio Rottenburg, Vinegar’s self-titled album was released on LP in a limited edition of 1,000 copies! I’ve read opinions from folks describing Vinegar’s sound as rather Floydian. While this is true, it should be noted that the group sounds much more like a cross between Amon Duul II and Pink Floyd. With that being said, one can easily hear the Floyd influence in the spacey organ, drum fills, slide guitar, and occasional celestial vocals. Likewise, the Amon Düül II influence can be heard in the violin, vocals, and the guitar riffs. Overall, the two styles are combined rather nicely into a sort of progressive-garage-space rock sound. Highlights from the album include ‘Der Kaiser Auf Der Erbse’, ‘Fleisch’, And ‘Sawmill’. ‘Der Kaiser Auf Der Erbse’ begins with a violin solo which reminds me of Edgar Hoffman from Embryo. From there the track switches gears and turns into a rock track with intentionally unintelligible vocals which could be described as Faust-like. Containing a Floydian organ and drum beat, ‘Fleisch’ slowly introduces distorted guitar and bass into the mix before a celestial vocal kicks in and the track begins to take shape in the classically themed “A Saucerful of Secrets” sort of way. Finally, ‘Sawmill’ showcases the bands mixture of Duul and Floyd influence. ‘Sawmill’ starts out as a psychedelic garage rocker with female vocals (reminiscent of Renate Knaup) before taking a spacey turn and sounding like Sysyphus off of Ummagumma. From here the track revives its garage sound before fading out into part 2 which is dominated by an Amon Duul approach. Overall, the album is a satisfying first effort which, sadly, was never followed up due to their break up in late 1971. (Review taken from krautrockgroup.com)
Tracklist:
1. Missi Solis 2. Sawmill Teil I 3. Sawmill Teil II 4. Der Kaiser Auf Der Erbse 5. Fleisch
Gothic Horizon - The Jason Lodge Poetry Book (1970)
Beautiful debut album by UK band Gothic Horizon. The music exposed on this album is highly unique, transparent and fragile. Kinda like Left Banke meets Honeybus larded and sauced with UK folk. A real beautiful album. Originally released on Argo in 1970.
Gothic Horizon made two albums: 'The Jason Lodge Poetry Book' (Argo ZFB 26) 1970, which also gained an American release: ([USA:] London PS592) 1971; and 'Tomorrow Is Another day' (Argo ZDA 150) 1972. Their music is not gloomy, brooding, damp, ghoulish, dark, threatening, creepy, bloody, horrifying or any of the other adjectives which spring to mind when one thinks of "Gothic". Instead it is warm, chatty, light, breezy, informal, witty. The albums are sometimes hyped as "psych-pop" (the former especially on account of its convoluted title and colourful pop-art cover) or even "acid-folk", but essentially they are neither of these things; they tends mostly towards folk and acousticism. However there are some tracks here to delight the psychedelically-inclined. The title track of the first album, 'The Jason Lodge Poetry Book', is great. Complex pop of sufficient quality to delight the pop-syke faithful. 'Song For Susan' is so close in sound and style to Fairfield Parlour that it just about escapes charges of plagiarism. 'A J Lone's Dog' is ragtime pop; and unsurprisingly with a title like 'Willow Tree Vale Song' this song is folk. But 'A Third For Jason Lodge' is very weird. Bizarre changes and references to flying, mushrooms and toadstools! (by Dave Thubron) Tracklist:
1. The Jason Lodge Poetry Book 2. Song For Susan 3. Odysseus 4. A.J. Lone's Dog 5. Willow Tree Vale Song 6. Six Summers Back 7. Song 8. Althea Williams 9. Wilhelmina Before Sunrise 10. St. Valentine's Day Massacre 11. A Third For Jason Lodge 12. Pisces 13. A Farewell Ode To Port Sunlight
First time issue of unreleased third album by USA 60's band The Hobbits. Originally this album was to be released by Perception Records in 1969 but was shelved. It's a delightful example of orchestrated US 60's pop with a psychedelic edge very much in the mould of the other two Hobbits albums .
Back From Middle Earth, The Hobbit’s third and rarest psychedelic recording, appeared in 1969 on Hobbit-supremo Jimmy Curtiss’ Perception label, an imprint that bizarrely was to include Dizzy Gillespie, Shirley Horn, Tyrone Washington, Johnny Hartman, Astrud Gilberto and even Jimmy Lunceford amongst its alumnists. Although The Hobbits owed their name to the writings of Tolkien, there was little of The Shire about their music, which Curtiss described as “vocals with instrumental accompaniment”, with the emphasis very much on sophisticated harmonies reminiscent of contemporaries such as The Cowsills and Jay And The Americans. Curtiss made his recording debut as Jimmy Curtiss & The Regents in the late ‘50s, but surprisingly Return To Middle Earth is a solid ‘60s pop album which highlights the vocal talents of Curtiss and session-singer Gini Eastwood and is completely free of any references to Curtiss’ doowop past, as indeed are the three heavily psych-influenced 45s Curtiss produced (he also co-wrote two of the tracks) for Decca stable-mates The Bag in 1968. Exactly why The Hobbits changed their name to The New Hobbits is unclear, but this may, along with the album’s release on Perception (the band’s two previous efforts had both appeared on Decca) go some way to explaining why the album remained largely unknown (many Psych collectors have never seen a copy of the album), and consequently is so highly sought after today.
(review taken from blueorchardrecords.com)
Note: To all appearances, the tracks 'I could hear the grass growin'' and 'Underground' (even my faves on the album) are not by The Hobbits. The songs originally came out in 1968 by Fire & Brimstone. Look at the comment section for more information.
Tracklist:
1. You Could Have Made It Easy 2. Growin’ Old 3. I Could Hear The Grass Growin’ 4. Comin’ Out 5. The Devil’s Gonna Get Me 6. Underground 7. Love Can Set You Free 8. Flora 9. Woman So Worried
Sought after late '60's heavy acid rock gem that features a cover featuring young kids sucking on hookahs ! The original album came with a drug dealing game. The album stands up well alongside albums such as Blue Cheers later recordings, Grand Funk, Damnation etc. Hard, heavy and wholesome.
Personnel incl: CAROL FITZGERALD vcls, WILLIE FRENCH LOWERY lead gtr, vcls, FORRIS FULFORD drms, vcls, RONALD SEIGER bs, BOBBY PAUL bs, RICKEY VANNOY gtr, vcls
Tracklist:
1. Tone Deaf 2. Veronica High 3. People Get Ready 4. You Gotta Be Stoned 5. Tone Deaf Jam 6. Streets of Gold 7. Whole World Is Down on Me 8. Whole World Is Sunny Upside Down
Bitrate: 160, ripped from vinyl
Quality is not perfect, but it's worth checking it out anyway. If anyone has a better rip to share, please post in the comment section.
Superb re-issue of classic UK mystical psychedelic folk album originally released on Mushroom Records in 1972. Dreamy Eastern atmospheres with beautiful delicate female vocals sit alongside some excellent eastern sounding instrumentals.This re-issue contains a 20 minute bonus track. This is a worthy addition to any UK psyche collection.
1. The magic carpet 2. The phoenix 3. Black cat 4. Alans Christmas Card 5. Harvest Song 6. Do you hear the words 7. Father Time 8. La La 9. Peace Song 10. Take Away kesh 11. High Street 12. The Dream 13. Raga
Early '70s sitar jam-out extraordinaire by ex-member of Magic Carpet. Superb long instumental passages with electric guitar, sitar, percussion etc. An eastern psych fest!
Malesch (Germany 1972) Album Legnth: 40.03 Genre: Ethnic Release Info: 1992 CD Reissue SPALAX 14250
Lutz Ulbrich, guitars, zither, Hammond; Jörg Schwenke, guitar; Michael Hoenig, synthesizer, electronic devices, steel guitar; Michael Günther, bass, tapes; Burghard Rausch, drums, marimbaphone, vocals; with Uli Popp, percussion; Peter Michael Hamel, Hammond
Tracklist:
1. You Play for Us Today — 6:08 2. Sahara City — 7:42 3. Ala Tul — 4:50 4. Pulse — 4:43 5. Khan el Khalili — 8:10 6. Malesch — 8:10 7. Rücksturz — 2:09
This is should appeal to everyone who likes Third Ear Band ,Embryo ,Area's most experimental stuff ,Penguin Cafè Orchestra ,Clivage's "Regina Astris", Oregon, Limbus 4, Kalacakra, Kaleidoscope (U.S.A.), between ,Agitation Free's "Malesch" and Popol Vuh's "Hosianna Mantra".
Tracklist:
1. When The Light Began 2. Mammoth R.C. 3. Altamira 4. Sarah' Ngwega 5. Alef's dance 6. Dejanira
Line-up- Walter Maioli / flute, harmonica, oboe- Daniele Cavallanti / saxophone- Antonio Cerantola / guitar- Lino Vaccina ('Capra') / percussion- Laura Maioli / percussion
Releases informationLP Bla Bla (BBL 11054) 1973 / CD Artis (ARCD 038) 1993
