Friday, April 18, 2008

April 2007 pt.2

Sunday, April 29, 2007

Bear - 1968 - Greetings, Children of Paradis

01 Greetings (2:30)
02 So Loose and So Slow (2:17)
03 Like Cats (3:37)
04 Happy Days (2:12)
05 What Difference? (6:24)
06 It's Getting Very Cold Outside (3:08)
07 I Won't Be Hangin' Round (3:00)
08 Don't Say a Word (2:32)
09 Don't You Ever Want to Think About Them? (3:24)
10 Hungry Dogs of New Mexico (3:56)

Artie Traum - Acoustic Guitar
Eric Kaz - Keyboards, Vocals on track 7, 9
Steve Soles - Vocals on track on 1, 2, 3, 4, 5, 6, 8
John Herald - Vocal on track 10
Skip Boone - Bass
Darius Davenport - Drums

Though a formidable lineup of talent came together for Bear's sole album, it had neither a consistent style nor compelling material. Another one-shot late-'60s psychedelic band, Autosalvage, might serve as a point of comparison, as two members of that group (Skip Boone and Darius Davenport) play on Greetings, Children of Paradise. Bear's record, though, is even more diffuse than Autosalvage's in its dodges between various circa-1968 underground rock styles, made even more erratic by some aspects which seem to aim for a bit of pop appeal. There's a little of the Lovin' Spoonful's good-time rock from time to time, but more often it's an uneasy mesh of free-floating American hippie rock with some Beatlesque harmonies and melodies. Sometimes there are jazzy beats and arrangements; at other times there are moderately heavy psychedelic guitar solos; at others, their basic folk-blues roots poke through (as on "Hungry Dogs of New Mexico"). The songs are kind of shapeless and the melodies on the undistinguished side, however. ~ Richie Unterberger, All Music Guide

Bio :
Although the members of Bear had some roots in the 1960s folk scene, their late-1960s album was actually an average psychedelic outing, and not an especially folk-rock-inclined one. Artie Traum and Eric Kaz had played in the rock band Children of Paradise, who recorded for Columbia. On the sole Bear album, titled (probably in a nod to the name of their prior group) Greetings, Children of Paradise, they were joined by Steve Soles, with Skip Boone (brother of the Lovin' Spoonful's Steve Boone) and Darius Davenport of the band Autosalvage contributing. The record is a mish-mash of period styles, from good-time rock and Beatlesque meanderings to songs with psychedelic guitar solos and loose, jazzy feels. ~ Richie Unterberger, All Music Guide

Saturday, April 28, 2007

The GoreHounds - Halloween Everywhere LP

I am Gorehound whose real name is Jordan Kratz and I am the founder/writer/singer of the band The GoreHounds. I put this band together at the end of 1985 and it was all over with by 1989. The band had a 1960's garage and psych sound with some 1970's punk thrown in. We also had a jug player like 13TH Floor Elevators.

The main people involved in the project were :

Mark Mayhem:Bass Guitar
Bob Cellars:Rhythym Guitar and "Jug"
John Chalmers:Lead Guitar
Ned Crabbe:Drums
Cindy Williams:Rythym Guitar

I am going to direct you to my webpage which has the whole LP, our 7", and a few live "poem" freeforms that we always opened up our sets with. There are a few videos of us and some pictures as well. I also threw in some unreleased outakes from the 7" recording session.

A while back this blog had posted my Necrosis/Voodoo Priest (7") and I wrote a comment there.
Now I was thinking it might be a good idea to give you all my music from me and ripped by me with my pro-studio gear.

So all of the music is tagged and is 320k mp3.


AND A LOT OF MY OTHER ART (more punk rock music)

Hope you enjoy the music !

Downliners Sect - 2002 - Sectuality

Of all the British R&B bands to follow the Rolling Stones' footsteps, the Downliners Sect were arguably the rawest. The Sect didn't as much interpret the sound of Chess Records as attack it, with a finesse that made the Pretty Things seem positively suave in comparison. Long on crude energy and hoarse vocals, but short on originality and songwriting talent, the band never had a British hit, although they had some sizable singles in other European countries. Despite their lack of commercial success or appeal, the band managed to record three albums and various EPs and singles between 1963 and 1966, with detours into country-rock and an EP of death-rock tunes. Although they recorded afterwards, it is the Sect's early work that continues to attract connoisseurs of '60s garage and punk.

This double-CD set is essential listening — not just for Downliners Sect fans, but for anyone who's ever worn out copies of any of the first three Rolling Stones albums or owns anything by the Yardbirds, the Pretty Things, Them, the Graham Bond Organisation, the Animals, early John Mayall, the Shadows of Knight, or any of countless blues-inspired American garage bands. In content, it's approximately equivalent to Charly's Yardbirds Ultimate Collection, encompassing the complete contents of the Downliners Sect's three original LPs, from the bluesy "Baby, What's Wrong" to the pounding, proto-psychedelic "Glendora." Thus, listeners don't get the EP and demo tracks "Cadillac," "Roll Over Beethoven," "Beautiful Delilah," or "Shame Shame Shame," and "I Can't Get Away from You" and "Roses" are also missing from the other end of their history — all of which are present, along with a lot else, on See for Miles' Definitive Downliners Sect: The Singles A's & B's, which is the perfect complement to this set. What listeners do get is two hours of some of the most delightfully raw and unaffected, downright affectionate British renditions of American rock & roll and R&B, so unstylish that they achieve a kind of beguiling, offhanded stylishness all their own — where the Rolling Stones, Eric Clapton, the original Fleetwood Mac et al. all had personalities with a certain allure and mystery that made them insinuate themselves into the music, the Sect thump away with more enthusiasm than distinctive talent or personalities, or inventiveness.

That must be why they can shift from sounding like Chuck Berry or Bo Diddley to Bill Haley & His Comets on "I'm Hooked on You," then resemble the early Spencer Davis Group on "Comin' Home Baby," then suddenly sound like the rawest American garage band this side of the Litter on "Why Don't You Smile Now," then switch back toward the Rolling Stones on "Don't Lie to Me" (which includes the most delightfully out of tune bass accompaniment you may ever hear on a finished, released record, not that the guitarist seems to have known where middle C was either...), and follow that with the jocular "May the Bird of Paradise Fly Up Your Nose," sounding like the Pretty Things having fun — and they even end in a vaguely Kinks-like mode (circa 1966-1967) with "The Cost of Living." And all of that's on their last album, which isn't usually thought of as representing their peak — geez, on "I'm Looking for a Woman" they get into this Bo Diddley groove that's so perfect, despite being so much more flaccid than Bo would ever permit his band to sound, that your fingers will start dancing to that shave-and-a-haircut beat; there's just something so real and honest about the way these guys plunked and plodded their way through their music, running on sheer bravado and a genuine affection at their core — it didn't propel them to stardom (except maybe in Scandinavia), but it makes their stuff worth hearing in full 40 years later, and how many bands beyond the Rolling Stones is that true about? This set will dazzle any enthusiast of British blues or British Invasion rock, or, for that matter, first-rate American-style garage punk. The sound is excellent and the annotation is very thorough; there are some misprints and missing words on the song listings, but where it counts, this set would be worthwhile even at twice the price. (

posted by Wylde Kyriakos

Friday, April 27, 2007

Fickle Pickle - Sinful Skinful

Fickle Pickle were a North-West London-based studio band, made up of sundry producers, engineers and sessionmen, including a couple of ex-members of the legendary '60s Psych combo The Smoke. In August 1970 they cut an opportunistic cover of Paul McCartney’s ‘Maybe I’m Amazed’, the most radio-friendly song on Macca’s debut solo album. Although it failed to register in the UK it made the charts in Holland, as did their follow-up, the self-penned 'California Calling’. On the back of this unlikely success they were encouraged to cut an album, and the eccentric, wildly eclectic Sinful Skinful duly appeared in The Netherlands in 1972, on a tiny local independent label, Explosion. Laden with memorable hooks, mellifluous harmonies, soaring strings and lyrics of cynicism, wit, and wisdom, This expanded edition comes with 14 bonus tracks including various contemporaneous 45s, outtakes and demos.

Get it here :
1 & 2

posted by Verdier (from Italy)

Thursday, April 26, 2007

Marcus - 1978 - From the House of Trax

Marcus was the psychedelic alias of erstwhile New York folkie/jack-of-all-musical-trades Rusty Evans, born Marcus Uzilevsky in Brooklyn. After graduating from New York's School of Art and Design, in 1958 Evans made his recorded debut, releasing the rockabilly efforts “I Lived, I Loved, I Lost" and “Midnight Special" on Brunswick; a year later, he resurfaced on HIP with “Talkin' from Your Heart." By 1962 Evans was a staple of the Greenwich Village folk circuit, sharing stages with Bob Dylan, David Crosby and Fred Neil; in 1964, he recorded his first LP, Songs of Our Land, followed later that year by Railroad Songs. After one more stab at folk success with 1965's Live at Gerde's Folk City, Evans discovered the nascent psychedelic scene during a brief stop in Los Angeles, where he also recorded the 1965 Musicor single “1983"; upon returning east, he landed in Philadelphia and formed his own psych band, the Deep, with Mark Barkan, David Bromberg and others. Signing to Cameo-Parkway, over just two days in August 1966 the Deep recorded their lone official album Psychedelic Moods of the Deep, one of the more rare and fascinating byproducts of its time; virtually the same lineup later reunited as Freak Scene, releasing 1967's Psychedelic Psoul on CBS. (A series of related CDs culled from the sessions in questions later appeared on Collectables). With songwriter and producer Teddy Randazzo, Evans then co-founded Eastern Productions, signing the bands Third Bardo and the Facts of Life--for the former, Evans and Victoria Pike authored the psych cult classic “I'm Five Years Ahead of My Time." In 1967 he moved to Los Angeles, working as a staff producer for the Take Six label and helming sessions including the Nervous Breakdown's “I Dig Your Mind." After a stint working with producer Matthew Katz, in 1969 Evans reclaimed his birth name to release a self-titled LP on Kinetic as simply Marcus--a minor classic of richly orchestrated psych-folk, like much of his work it is a fascinating relic of a particular time and place, in this case San Francisco's Haight-Ashbury district in the post-Summer of Love era. Evans then dropped out of sight for about a decade, returning to his folk roots for his 1979 comeback effort Life's Railway to Heaven; in 1988 the Arlington Symphony Orchestra performed his Folk Symphony for Sara, and at the dawn of the new decade he later adopted yet another alias, Uzca, to explore world music and ambient on the LPs Slice of Light and Gypsy Dreams. In 2000 Evans truly traveled full-circle, forming the rockabilly combo Ring of Fire with son Danny and releasing a self-titled tribute to Johnny Cash. Under his birth name, he's also enjoyed a measure of fame for his landscape art. ~ Jason Ankeny, All Music Guide

Nine times out of ten it seems that heavily hyped albums turn out to be major disappointments. 1979's "From the House of Trax" is one of those one out of ten exceptions - it lives up to and even exceeds the hype !!! I can't say I know a great deal about Marcus McDonald. He was apparently from Kentucky, but relocated to Indiana, where this album was recorded at Trax Studios (hence the title). Produced by Jim Fergusson, this private press release is also an exception in that it sounds far more accomplished that most such vanity products. Literally dripping with spooky, heavily treated vocals, heavy guitar and psych moves, tracks such as 'Locked Inside a World', 'A Trip In Time' and 'The City of InBetween' are great. Exemplified by tracks such as 'Gary's Song', 'I Want To Fly' and 'Right Inside of You Baby', the 'B' side opts for a slightly more mellow attack, but is every but as impressive. Tuneful and concise (most of the nine selection clock in under four minutes), this one's a must own classic. Besides, it's a wonderful album to crank up on a good stereo system. (As far as I can tell this is one of the real things - packaged in a plain disco cover with the bluish title past on over the center hole. This one's retained it's blue color (some tended to turn green with time)). SOURCE:

- Doug Fisher - keyboards
- Al Jones - bass
- Jeff Kruer - percussion
- David Ledger - keyboards
- Marcus McDonald - vocals, guitar, keyboards
- Will Naugle - bass
- John Pring - lead guitar
- Butch Stultz - rhythm guitar
- Terry Tyler - rhythm guitar
  1. You're Playing With Fire (intro)
  2. Locked Inside A World
  3. A Trip In Time
  4. The City Of Inbetween
  5. Sweet Inspiration
  6. Gary's Song
  7. Captain Zella Queen
  8. I Want To Fly
  9. Right Inside Of You Baby
  10. Satan
  11. You're Playing With Fire (outro)


posted by Crotchbat - many thanks to Chris41 for the album!

The Mystery Meat - 1968 - Profiles

The Mystery Meat - 1968 - Profiles

Track Titles:
01 Give Me Your Love
02 Here Comes The Night
03 Put Me Down
04 It Will Last Forever
05 Tears
06 Profiles
07 Don't Take Me
08 Rung By Rung
09 Both Have To Pay
10 You Won't Believe It
11 Sunshine Makes It
12 Girl Named Sue

Extremely rare garage/folkrock LP whose existence was long doubted, until a few copies were unearthed some years back. The band came out of Blackburn College in Carlinville and existed mainly to record this LP. Great originals all through reminiscent of the Bachs and UK group Complex, chock full of organ-led teen atmosphere, tremendous melancholy vocals, and tunes that grow with each play. My current faves include the Dovers-like "Put me down" and "Girl named Sue", but it's really a wide selection of great sounds, enhanced further by the basement ambience. One of the best garage-era albums you can find, to me better than All Of Thus, Summer Sounds, etc. Primitive sleeve design shows a piece of "mystery meat". According to the band, the pressing was very small, maybe 25-100 copies. Due to the lo-fi nature of the original, substantial sound processing has been applied for the German reissues, with mixed results. [PL]

If there is a Great Lost Garage Album out there, this 1968 artefact by Illinois band MYSTERY MEAT could be it. Like most garage LPs it is a primitive recording, featuring an inexperienced, enthusiastic band. Unlike most garage LPs, however, it has no cover versions but a string of originals ranging from good to unbelievable, and the decision to bring in a skilled, versatile vocalist adds a depth unusual for these teenbeat concoctions. Before moving onto the "meat", here's some background on the band and the LP courtesy of Dick Leighninger:

"...We were all students at Blackburn College, located in Carlinville, Illinois. I was a Senior and the other members were Juniors. I had been singing with a local barbershop quartet, the college choir, and a trio that did original folk songs. Wayne Joplin and Ron O'Dell had been writing songs, and were looking for a singer to help them, and they recruited me. (Blackburn is a small school... we only had about 500 students at the time, so everyone knew everyone). We recorded the album in the basement of our college's administration building... a building that the students had just finished building, but the basement had not yet been divided into offices. So, it was a big space, where we would not disturb anyone at night, when we practiced and recorded. I don't remember exactly how many albums we made; my memory is that we went around the room, and said... "well, how many do YOU want, how many do YOU want?" We then added them up, and made that many. We also may have had a minimum order to fill, but it couldn't have been more than about 25, I think. The record was made in St. Louis, Missouri with a custom label company for RCA Records. We only performed once, and that was at the college. We did not have typical posters for the event, nor do I know of any pictures that were taken. We were pretty much hermits in the basement..."

Of course it's only typical that this needle-in-the-haystack among disappointing garage LPs is also one of the rarest 1960s albums in existence, with at most 100 copies manufactured. For decades it remained a wellkept secret within a circle of rare LP collectors that govern certain events on this planet, any inquiries from the outside fielded by fatsos who declared from their Moms' basements that "Mystery Meat doesn't exist". Several years ago a partial tape dupe of it was smuggled out and fell into my hands, so I knew it obviously existed and sounded like a teen-beat killer too, a basement merger between the Dovers and early New Colony Six. An $4000 price tag was expected if a copy ever should surface in the real world, unlikely as that seemed. Yet this is precisely what happened in 2002 when a local record dealer, fearless of the forces he was about to set loose, put up a copy for auction on eBay; especially as he listed the full names of the band members. The intercontinental frenzy that followed can only be hinted at, but I would imagine the Illinois switchboards lit up like a Christmas tree as rabid collectors calling from as far away as Belgium and Japan tried to track down copies.

This they did, with maybe a dozen or so Mystery Meats being excavated to the tune of $1000 and upwards. One of these copies landed with Thomas Hartlage of Shadoks, a German record label specialized in upscale reissues of super-rarities from the 1960s-1970s. A deal was reached with the (probably stunned) band members and just a couple of months after the initial mania an exact replica of "Profiles", as the title is, hit the stalls. This happened more than two years ago, but I'm noticing that word on this tremendous album is still confined to rare LP collectors who file it away between Music Emporium and Mystic Siva, while the garage guys - who are the ones that really should care - remain at a distance.

"Profiles", then, is an album that consists of twelve 1966-sounding beat/folkrock originals and no covers, just like the Bachs LP, the payoff being that the Meat songbook may be even stronger than that of their Illinois colleagues. Although recorded in 1968 the songs had been written from 1965 and onwards, which explains the slight "lost in time" nature of the album. Tunes such as "Put Me Down" and "Girl Named Sue" are teen-drama masterpieces worthy of the Dovers, and that's saying something! There are also rawer numbers like "Rung by rung" with a three-chord progression typical for Midwest garage bands, and a hint of psychedelic influences on the great "Sunshine makes it". Dick Leighninger's lead vocals are awesome, hitting that yearning Tim Granada/Sid Herring teen innocence we all worship, and making even the lesser tracks shine. Those vocals and the evocative, heartfelt Farfisa organ may recall the All Of Thus album from upstate New York, another obscure garage behemoth, but again I would rate the Mystery guys higher. I'm inclined to credit Chicagoans New Colony Six with a certain influence on the overall style, but oddly the end result reminds me even more of English band Complex (see review #63), whose marvy first LP is one of the few true garage-sounding Brit albums. Apart from the vocal/organ similarities there's a freshfaced teen enthusiasm and brooding sophomore melancholy that connect these two little-known wonders.

So, in short, if you are a fan of great American teen-beat sounds, you have no excuse not to check out the Mystery Meat LP. I would have loved to give the Shadoks reissue a Strong Buy rating, but in light of a $50 price tag and some less than perfect sound-processing I would recommend a test drive before the first down payment.

PS thanks to Luc Wouters for the previously unpublished Dick Leighninger quote.
- review by Patrick the Lama.

Magic Mixture - 1968 - This is the Magic Mixture

Saga Records has got to be one of the most eclectic and collectable of the first flush of budget record labels that emerged in London in the 1960s. Its catalogue boasts everything from genuine spit and sawdust beardy-folk to prime psychedelia and back again via a good few dollops of Swinging London's best finery. The possibilities of finding an excellent record on the Saga imprint are equally as high as unearthing something utterly dreadful, and that is perhaps one of its greatest charms. Seeing the Saga label always makes you look twice at a record, and that's a good sign. (Saga Records: The Swinging Saga)

One of the rarest and most pricey Saga albums, the Magic Mixture LP is quite pleasing psychedelia in the style of early Soft Machine or the trippy side of Syd era Floyd - pumping electric organ all the way with searing bursts of fuzz guitar in the right places. While none of the tracks stand out as classics, it's not a bad effort at all and you can easily see why this record is much prized in psyche circles - 'Moonbeams' having cropped up as a bonus cut on one of the early Rubble series. However, the real peach is 'Motor Bike Song', and odd-ode to the iron horse, sung with tongue firmly in cheek in a cyderdelic accent, that pops up just in time to break up the all-too-serious freak-out. (written @ vinylvulture)
  1. (I'm So) Sad
  2. Urge To Leave
  3. You
  4. Slowly The Day
  5. New Man
  6. Living On A Hill
  7. It's Alright By Me
  8. When I Was Young
  9. Hey Little Girl
  10. Tomorrow's Sun
  11. Motor Bike Song
  12. Moon Beams

also :

posted by Crotchbat

Wednesday, April 25, 2007

Mellow Candle - Virgin Prophet (Unreleased Sessions 1969-1970)

1.Heaven Heath
2.Waterman Weatherman
3.Sheep Season
4.Buy Or Beware
5.Break Your Token
6.Lonely Man
7.Lords Of The Green Grass
8.Dan The Wing
9.Silver Song
10.Poet And The Witch
11.Boulders On My Grave
12.Reverend Sisters
14.Pretty Polly
15.Virgin Phophet

I suppose you all know Mellow Candle's 1972 LP 'swaddling Songs'
for many is considered as the holy grail of Folk-Rock.
Well 'Virgin Prophet' contains early unreleashed songs and demo versions
of songs later re-recorded for the LP. To tell you the truth i prefer
'Virgin Prophet' is far away better than 'Swaddling Songs' the songs are more rough and original here.

Few words about the band now. Mellow Candle were a progressive folk rock band from Ireland.
They weren't an electric band rocking up traditional folk music,
Rather they were all extremely gifted individuals who fashioned a unique brand of music.
an Irish band who mirrored the new progressive folk elements coming across the Irish seas...
Not to mention The SUPERB female vocals -one of two female singers Clodagh Simonds wrote the 'lonely man' at age of 12 (!)-

Well Folk-Rock is not actually my style and i don't consider myself 'into' the folk rock things.
But hey folk-ies .. i believe this doesn't get any better.

Download Link :
Mellow Candle - Virgin Prophet

Monday, April 23, 2007

V.A. - Acid Drops, Spacedust & Flying Saucers

V.A. - Acid Drops, Spacedust & Flying Saucers
Psychedelic Confectionery from the U.K. Underground 1965-1969

Disc One : Down To Middle Earth

So Much In Love - McGough & McGear
10,000 Words in a Cardboard Box - Aquarian Age
Flower King of Flies - The Nice
Dream on my Mind - Rupert's People
Reputation - Shy Limbs
Vacuum Cleaner - Tintern Abbey
Light of your Mind - The David
I Can Take You to the Sun - The Misunderstood
Dear Delilah - Grapefruit
Shine on Brightly - Procol Harum
Fox Has Gone to Ground - Bamboo Shoot
Armenia City in the Sky - The Who
10000 Years Behind my Mind - Focus Three
Gone is the Sad Man - Timebox
Peter's Birthday (Black and White Rainbows) - World of Oz
Subway (Smoky Pokey World - The Tickle
Meditations - Felius Andromeda
Nite is a Comin' - Warm Sounds

Disc Two : Gandalf's Garden

Flight from Ashiya - Kaleidoscope
The Way - July
Witches Hat - Incredible String Band
Celeste - Donovan
Mind's Eye - Ramases & Selket
Shades of Orange - End
Love - Virgin Sleep
Pools of Blue - Barclay James Harvest
Monday Morning - Tales of Justine
Girl from New York - Billy Nicholls
Red Sky at Night - The Accent
Am I the Red One - Mick Softley
Laura's Garden - Orange Bicycle
Baby Your Phrasing is Bad - Caleb
Magician - Amazingly Friendly Apple
We Are The Moles - Moles
Michaelangelo - 23rd Turnoff
Screams in My Ears - Bill Fay

Disc Three : Mushroom Soup

Granny Takes a Trip - Purple Gang
My friend Jack - Smoke
Imposters in Life's Magazine - Idle Race
Talkin' About the Good Times - Pretty Things
Hurdy Gurdy Man - Donovan
Time Seller - Spencer Group Davis
Say You Don't Mind - Denny Laine
I Can Hear the Grass Grow - Move
See My Friends - The Kinks
LS Bumble Bee - Peter Cook & Dudley Moore
Happenings Ten Years Time Ago - Yardbirds
Green Circles - Small Faces
King Midas in Reverse - The Hollies
Days of Pearly Spencer - David McWilliams
From the Underworld - The Herd
Sky Pilot - Eric Burdon & The Animals
Paper Sun - Traffic
Kites - Simon Dupree & The Big Sound

Disc Four : Roundhouse Ghosts

Colours of My Mind - Attack
Searchin' in the Wilderness - Allen Pound's Get Rich
Father's Name is Dad - Fire
Dr Crippin's Waiting Room - Orange Machine
Model Village - Penny Peeps
Run and Hide - Fairytale
Strange Walking Man - Mandrake Paddle Steamer
When My Mind is Not Live - Status Quo
In Your Tower - Poets
Listen to the Sky - Sands
Octopus - Syd Barrett
The Other Side - Apple
I'm Not Your Steppin' Stone - Flies
Machines - Herbal Mixture
Revolution (phased version) - Tomorrow
You've Got What I Want - Sorrows
Royston Rose - Koobas
Escalator - Sam Gopal Dream

Although perhaps a little too similar to volume two of the highly regarded Nuggets series, Acid Drops, Spacedust, & Flying Saucers, compiled by the fine folks at Britain's (in fact, the world's) finest music magazine, Mojo, is the perfect introduction to the rise and fall of British psychedelia. Rather than chart the influence of British music on its surroundings and colonies (as done by Nuggets) Acid Drops takes an easier route. The Nuggets collection focused on all manner and strains of the old empire's R&B, freakbeat, mod, and psychedelic scenes, whilst Acid Drops dissects and inspects the solely British mutation from beat/pop (signified by the Kinks' quasi-raga "See My Friends") into full-blown psychedelia (from the most commercial to most underground of guises). For the hardened collector and avid fanatic, Space Dust will bring few surprises. There's a hefty weight of British hits and a delve through the type of major-label material that missed the mark at the time but has since become legendary through contributor Phil Smee's '80s psychedelic compilation series, Rubbles, that anyone bitten by the bug will be familiar with. What will make purchase of this -- it must be said, rather cheaply packaged box -- essential is the superior sound quality (all tracks have been remastered at Abbey Road) and the interesting liner booklet, which if not a little skimpy, features a superb essay in which Jon Savage chronicles the evolution and devolution of British music's most quirky, imaginative, and brief of genres.

Alongside the short running time (why the hell have EMI held back to only 18 tracks per CD, whilst Rhino made the effort to fill their Nuggets set to spilling point?) and minor quips, like the edited beginning of the Smoke's tremolo-infused classic "My Friend Jack" and the inclusion of the pretty much non-psychedelic "Granny Takes a Trip" by jug band the Purple Gang, this is still a very decent set which takes into account the different sides of U.K. psych. And as said, although rather preliminary for those seeking new thrills, this holds the very essence of the cause and effect the genre had on the changing face of the British music scene from 1965-1969. Practically none of this music has aged badly, and for some reason, however pompous and ridiculous a lot is, it still sounds as invigorating as the day it was recorded. Timeless.
~ Jon 'Mojo' Mills, All Music Guide

Sunday, April 22, 2007

Ant Trip Ceremony - 1968 - 24 Hours

A blend of folk, blues, jazz, and Eastern psychedelia, 24 Hours is at its best on the more Eastern and experimental influenced pieces like "Pale Shades of Gray" with its eerie melody, "What's the Matter Now," and "Elaborations" with its lengthy raga-ish instrumental with some very effective flute. The album also contains some covers like "Get Out of My Life" and Eric Andersen's "Violets of Dawn" which are just adequate, but their version of "Hey Joe" is exciting.

A Trippy psychedelic album with a unique sound, mixing dream improvisation with west-coast styled garage psych, it’s one of the rarest and best private pressings!

A1 Outskirts 1:38
A2 Pale Shades of Gray 4:28
A3 Hey Joe 4:15
A4 Four in the Morning 4:32
A5 What's the Matter Now 2:43
A6 Elaborations 7:14
B1 Riverdawn 3:34
B2 Violets of Dawn 4:31
B3 Locomotive Lamp 3:42
B4 Little Baby 3:01
B5 Sometimes I Wonder 3:48
B6 Get Out of My Life Woman 3:04

The Reviews

If Calm Before The Rising Storm (by the Rising Storm) is the quintessential prep-school garage rock album, perhaps the Ant Trap Ceremony’s 24 Hours is the quintessential college campus psychedelic album. The Ant Trip Ceremony recorded this album themselves and pressed it on their own label, which is certainly an enterprising feat for any small-time rock group. Musically, the Ant Trip Ceremony sound like the Rising Storm might have a few acid hits and several philosophy classes later. 24 Hours is made up of a mixture of cover tunes and interesting originals, including the catchy “Outskirts” and the bizarre “Locomotive Lamp.” No less interesting were the cover songs, including a slow version of “Hey Joe” and a beautiful version of “Violets of Dawn,” which was also done with great success by the Blues Project. Some interest in the Ant Trip Ceremony was recently generated by the rumor that David Crosby of the Byrds produced 24 Hours, but in fact this David Crosby was just a friend of the band, who were based in Oberlin, Ohio. The Collectables reissue is inhibited somewhat by its sound quality, however reputedly this is the best that the album has ever sounded. Likely it is the primitive recording rather than anything else which most contributes to the sound problems. Although the Ant Trip Ceremony album arguably lacks any real highlights, the songwriting is quite ambitious and interesting. It’s an appealing glimpse into the kind of music which was being made at campuses all across the country in 1967 and ’68, produced by recently enlightened young people emulating their musical and academic influences.


An old forgotten gem from the best Psychedelic Rock period, "24 Hours" is the only one Ant Trip Ceremony' album. Back to reality by the Collectables catalogue, the band sounds mesmerizing, hypnotic and complex, mixing acid guitar solos (Steve Detray's courtesy). Sometimes, a vibrant folk flavour appears ("Violets of Dawn" and "Locomotive Lamp"), increasing its unusual Psyc Rock from Utah. The inlay booklet indicates David Crosby (The Byrds) as producer. And a curious cover (Michael Kanarek, a freak sleeve-designer from the old Sixties)with the whole band smoking in a kind of opium pipe)do the rest. Just excellent!!!

Download Link :

The Untamed Youth - 1989 - Some Kinda Fun

The Untamed Youth - 1989 - Some Kinda Fun
( garage/surf )

Followin the tradition of the Trashmen and the Rivieras before them, the Untamed Youth hail from the bounteous midwest region of these United States, and swing forth with the frantically delectable combination of high octane stomp, reverb, shout and soul that powered their heroes. As teenagers, guitar playing Derek "Deke" Dickerson commanded his beloved sidekick Steve "Mace" Mace to play bass, and the two lured local drum legend/school chum Joel Trueblood into the fold, along with organ playing Chris Fletcher to form a combo, which they dubbed UNTAMED YOUTH

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V.A. - Do The Pop ! - The Australian Garage Rock Sound 1976-87

Over two decades before the White Stripes and the Hives made 'garage-rock' the new buzz-word, numerous Australian bands were cranking out a raw, high-energy music which had all the elements that the kids are hankering for today. Inspired by two legendary punk-era bands, The Saints and Radio Birdman (who are just about to embark on an extensive European Tour), Australia exploded in the late '70s with literally scores of bands who melded the wild sounds of classic '60s garage-rock and the Detroit rock action of the Stooges and the MC5 into a raw and powerful sound which was unlike anything else in the world. Includes many out-of-print tracks from artists including The Hoodoo Gurus, The Scientists, Lime Spiders, Celibate Rifles, Died Pretty, Lipstick Killers, New Christs and The Hard-On's. The double-CD set features 50 of the greatest tracks from the period, together with a 28-page color booklet featuring extensive liner-notes, numerous rare and unpublished photos and poster / handbill reproductions, and brand new full-color artwork from Radio Birdman's Warwick Gilbert. 2002.
~Amazons product description
CD 2 Part 1
CD 2 Part 2

Track Listing:

1. Saints, The - (I'm) Stranded 3:30
2. Radio Birdman - New Race (original version) 4:27
3. Psycho Surgeons,The - Wild Weekend 1:51
4. Saints, The - One Way Street 2:57
5. Victims, The - Television Addict 2:56
6. Radio Birdman - Aloha Steve & Danno 3:56
7. Kannis, Johnny - King of the Surf 2:16
8. Radio Birdman - Crying Sun 2:54
9. Hitmen, The - Didn't Tell The Man 2:56
10. Lipstick Killers, The - Hindu Gods of Love 3:19
11. Visitors, The - Living World 2:54
12. Passengers, The - Face With No Name 2:54
13. Saints, The - Simple Love (original version) 3:40
14. Scientists, The - Last Night 2:39
15. Fun Things, The - Savage 2:40
16. Alone With You - Sunnyboys 3:13
17. New Christs, The - Face a New God 4:22
18. New Race - Alone In The Endzone 2:10
19. Hitmen, The - I Don't Mind 2:42
20. Celibate Rifles, The - 24 Hours (SOS) 2:03
21. Sunnyboys, The - Happy Man 3:03
22. Lipstick Killers, The - Driving The Special Dead 3:41
23. Hoodoo Gurus, Le - Leilani (original version) 4:53
24. Hitmen, The - Bwana Devil 3:50
25. Minuteman - Voodoo Slaves 2:27

1. Scientists, The - Swampland 4:09
2. Lime Spiders, The - 25th Hour 3:09
3. Screaming Tribesmen, The - Igloo 4:00
4. Hoodoo Gurus, The - Be My Guru 2:37
5. Lime Spiders, The - Slave Girl 2:50
6. New Christs, The - Like A Curse 3:19
7. Died Pretty - Mirror Blues Pt.1 4:32
8. Screaming Tribesmen, The - Ice 3:39
9. Decline of the Reptiles - Don't Look Down 4:13
10. Eastern Dark, The - Johnny & Dee Dee 3:00
11. Exploding White Mice, The - Burning Red 2:47
12. Hard-Ons, The - Bye Bye Girl 2:00
13. Psychotic Turnbuckles, The - Groove To The Eye 3:27
14. Lime Spiders, The - Out Of Control 3:14
15. Scientists, The - Atom Bomb Baby 3:00
16. Stems, The - Can't Resist 2:33
17. Died Pretty - Stoneage Cinderella 3:15
18. Some Loves, The - Don't Talk About Us 2:35
19. Hard-Ons, The - Girl In The Sweater 2:44
20. Eastern Dark, The - Walking 3:31
21. Celibate Rifles, The - Back In The Red 2:43
22. Philisteins, The - Early Morning Memory 2:11
23. Headstones, The - When You're Down 2:23
24. Stems, The - At First Sight 4:04
25. New Christs, The - I Swear 3:08

Saturday, April 21, 2007

July - 1969 - July

I think someone may have requested this one some time ago...regardless, this is a pretty solid debut from this little known UK outfit.
Allmusic review:
This album has come to be highly prized, mainly for the presence of "My Clown," which is considered to be one of the great psychedelic singles of all time. Tom Newman, who went on to glory as the engineer of choice for Mike Oldfield, handles the vocals for the majority of the album (the exception being Chris Jackson's "Crying Is for Writers"), as well as the majority of the songwriting. Tony Duhig, who later moved on to start Jade Warrior and Assegai, provides guitars and a strong sense of Indian music, although the greater part of his participation is via warbling and groaning guitars and a fortunately blazing solo in the midst of the otherwise painful "Crying Is for Writers." Very good psychedelia, for the most part, but a bit dated in places and heavily influenced by much of the music coming from the direction of San Francisco at that time. The first six cuts are perhaps the most essential, going by the original vinyl release — "My Clown" and "Dandelion Seeds" are delightful, while "Jolly Mary" is simply good fun.

Grateful Dead - Ladies and Gentlemen ... The Grateful Dead

Ladies and Gentlemen ... The Grateful Dead is a 4 CD live box set by the Grateful Dead of recordings of the April, 1971 shows at the Fillmore East in New York. Grateful Dead was recorded at these shows too. The third disc contains a performance of former Grateful Dead keyboardist Tom Constanten.

Grateful Dead - Ladies and Gentlemen ... The Grateful Dead
4 CD Live box set @256

Disc one
1. "Truckin'" (Robert Hunter, Jerry Garcia, Phil Lesh, Bob Weir) – 10:13
2. "Bertha" (Hunter, Garcia) – 6:27
3. "Next Time You See Me" (Frank Forest, William G. Harvey) – 4:23
4. "Beat it on down the Line" (Jesse Fuller) – 3:35
5. "Bird Song" (Hunter, Garcia) – 9:18
6. "Dark Hollow" (Bill Browning) – 3:31
7. "I Second That Emotion" (Al Cleveland, William Robinson) – 5:22
8. "Me & My Uncle" (John Phillips) – 3:39
9. "Cumberland Blues" (Hunter, Garcia, Lesh) – 5:19
10. "Good Lovin' > Drums > Good Lovin'" (Rudy Clark, Arthur Resnick / Bill Kreutzmann) – 23:08

Disc two
1. "Sugar Magnolia/Sunshine Daydream" (Hunter, Weir) – 5:48
2. "Loser" (Hunter, Garcia) – 6:58
3. "Ain't It Crazy (The Rub)" (Lightnin' Hopkins) – 5:36
4. "El Paso" (Marty Robbins) – 5:34
5. "I'm A King Bee" (Slim Harpo) – 8:27
6. "Ripple" (Hunter, Garcia) – 5:15
7. "Me & Bobby McGee" (Fred Foster, Kris Kristofferson) – 6:16
8. "Uncle John's Band" (Hunter, Garcia) – 6:06
9. "Turn On Your Lovelight" (Deadric Malone, Joseph Scott) – 22:18

Disc three
1. "China Cat Sunflower" (Hunter, Garcia) – 4:52
2. "I Know You Rider" (trad., arr. Grateful Dead) – 6:07
3. "It Hurts Me Too" (Elmore James, Marshall Sehorn) – 6:46
4. "Sing Me Back Home" (Merle Haggard) – 10:03
5. "Hard to Handle"(Alvertis Isbell, Allen Jones, Otis Redding) – 9:24
6. "Dark Star" (Hunter, Garcia, Mickey Hart, Kreutzman, Lesh, Ron McKernan, Weir) – 13:55
7. "Saint Stephen" (Hunter, Garcia, Lesh) – 6:06
8. "Not Fade Away" (Buddy Holly, Norman Petty) – 3:31
9. "Goin' down the Road Feelin' Bad" (trad., arr. Grateful Dead) – 6:27
10. "Not Fade Away" (Holly, Petty) – 3:30

Disc four
1. "Morning Dew" (Bonnie Dobson, Tim Rose) – 10:29
2. "New Minglewood Blues" (trad., arr. Weir) – 4:23
3. "Wharf Rat" (Hunter, Garcia) – 9:19
4. "Alligator" (Hunter, McKernan, Lesh) – 4:04
5. "Drums" (Kreutzman) – 4:11
6. "Jam" (Grateful Dead) – 9:32
7. "Goin' down the Road Feelin' Bad" (trad., arr. Grateful Dead) – 4:55
8. "Cold Rain & Snow" (trad., arr. Grateful Dead) – 5:47
9. "Casey Jones" (Hunter, Garcia) – 6:25
10. "In the Midnight Hour" (Steve Cropper, Wilson Pickett) – 9:49
11. "And We Bid You Goodnight" (trad., arr. Grateful Dead) – 3:55

* Jerry Garcia - lead guitar, vocals
* Bob Weir - rhythm guitar, vocals
* Phil Lesh - bass guitar, vocals
* Ron "Pigpen" McKernan - harmonica, organ, percussion, vocals
* Bill Kreutzman - drums
* Tom Constanten - organ (disc 3, tracks 6-10)

* David Lemieux - Compilation producer, tape archivist
* Bob Matthews - Engineer
* Betty Cantor-Jackson - Engineer
* Rudson Shurtliff - Assistant engineer
* Dick Latvala - Tape archivist

Recording dates
* April 25, 1971 - Disc 1, tracks 3-4, 7 & 10, Disc 2, track 1, Disc 3, tracks 1-2 & 4
* April 27, 1971 - Disc 2, tracks 8-9, Disc 4, track 9
* April 28, 1971 - Disc 1, tracks 5 & 8-9, disc 2, tracks 2-5 & 7, Disc 3, tracks 6-10, Disc 4, track 3
* April 29, 1971 - Disc 1, tracks 1-2 & 6, Disc 2, track 6, Disc 3, tracks 3 & 5, Disc 4, tracks 1-2, 4-8 & 10-11

Discs 1-2
irst, Unrar part 1.....separately)

Discs 3-4

Enjoy !!!

Mr.Fox - Mr.Fox / The Gypsy

Mr. Fox was a septet formed in 1970 by Bob Pegg (vocals, guitar, bass, keyboards) and Carolann Pegg (then known as Carole Pegg) (vocals, fiddle).

Contemporaries of
Steeleye Span and Fairport Convention, Mr. Fox was unusual in that they avoided relying on electric guitars and their music's deep origins in the folklore of the Dales. Mr. Fox, whose other members were Alun Evans (drums), Barry Lyons (bass, dulcimer), Andrew Massey (cello), John Myatt (winds), Richie Bull (banjo), and Nick Strutt (multiple instruments), started out with a self-titled debut album on Transatlantic that generated a massive amount of enthusiasm and controversy, over their mix of traditional folk forms and experimental touches in the rhythms and other embellishments. They were serious rivals to acts like Steeleye Span for a time, especially upon the release of their second album, The Gipsy, which featured a smaller line-up and a more experimental approach to their material. Multi-instrumentalist Nick Strutt, in particular, was heavily showcased along with the Peggs on that album. This was to prove their last album, however, as the group splintered soon after. Bob Pegg and Carolann Pegg cut one album together on the Trailer label in 1971, and later emerged on separate solo albums on Transatlantic. ~ Bruce Eder, All Music Guide

Download Part 1:

Download Part 2:

Wednesday, April 18, 2007

Probe (USA) - 1969 - Direction

Probe (USA) - 1969 - Direction
Eborp SS 21396) @320

Tracks :
01 Direction
02 Livin' In The U.S.A.
03 Two Roads In The Night
04 Buffalo
05 Saga
06 Carol
07 Rock Me
08 Sweet Dream

Personnel :
John Furland bs, vcls
Henry Lamarca drms, vcls
Dave Nelson gtr, vcls, hrmnca
Mike Olson gtr, organ, vcls

This is pretty amateurish stuff, and falls into a category somewhere between Bachs/Mystery Meat garage and post-Iron Butterfly hard rock. There's lots of organ and wah-wah, phased drums, an energetic Steve Miller cover, a definite soul influence, and harmonies that don't quite cut it. The best thing about the album is the interplay between the lead guitar and the eerie-sounding organ. None of it is played particularly well, but the spirit is cool in a youthful way and the songs aren't bad. Best song: "Two Roads In The Night," which has a memorable guitar hook, varying speeds and a tricky chord progression. The songs are surprisingly complex; they have ambitions beyond their chops. "Direction" has its faults, but overall it's one of the more enjoyable albums of its style. A long bluesy cover of "Rock Me" is regrettable, though. Recommended to people who like prep rock but wish it was heavier. [AM]
Bread'n'butter local basement longhairs who probably played high schools and clubs in their home-town without aspiring to a high level of artistry. The vibe is post-psychedelic, rootsy bluesy in parts, proggy hardrock in parts. Setting is typical guitar/organ interplay, with some surprisingly sophisticated jazzy guitarwork that doesn't quite gel with the bonehead feel of other parts of the LP; good old local LP idiosynchracy in other words. The vocals tend to fall in the unfortunate soulful macho style of the era which keeps this from attaining the full teenage realness of albums like Top Drawer or the Rockadelic roster. All over a difficult album to knock, but equally difficult to find reasons for people to pick up, unless they have some personal memories attached to the scene. Probe released this to get gigs and delight friends and family, and apart from the excellent "Two Roads", the "Direction" trip doesn't really extend beyond those humble ambitions. The small press size has been reported by the band. [PL]

Athens 2007 Legalise Cannabis Protestival

On 4th and 5th of May 2007 get ready for this year's Legalise Cannabis Protestival extravaGanja in downtown Athens... keep your ears alert...

Our hope and expectation is to create an organic self-managed festival open to new ideas and expressions. An autonomous creative space where everybody will come and contribute according to his/her ability in celebrating our right for total freedom, self-determination and dignity, and contribute in spreading the truth. This is why we ask for your hands-on support with ideas and practical help.

So volunteers are more than welcome... Send an email to iliosporoi(at)yahoo(dot)gr to get onboard and follow the preparations

All big greek Dub, Reggae Drum & Bass, ++++ bands like Attiko Minus, One drop etc will participate

and the big name will be


19.00- 20.00: THC SOUNDSYSTEM (DJ set)
20.00- 20.50: RADICAL GEE and the Moving Target (LIVE)
21.00- 22.15: PALYRRIA (LIVE) (former avaton)
22.30- 00.00: ZION TRAIN sound system (UK) (LIVE)
00.00- 01.15: PROFESSOR SKANK (LIVE)
03.00- 04.30: FUNXION (GR) + COMPLEX (CH) (DJ set+ MC)
04.30- 06.00: GALACTIC DICE (DJ set)
06.00- 08.00: SOTOKKAN + LO-FI (DJ set)

18.00- 19.00: RASTAYOUTH (DJ set)
20.00- 21.00: ATIKO MINUS (LIVE)
22.00- 23.15: ANNA MYSTIC (DJ set) & AFRICAN SIMBA (UK)
23.15- 00.15: 63 HIGH (LIVE)
00.15- 01.30: LOCOMONDO (LIVE)
01.30- 03.00: ONE DROP (LIVE)
03.00- 05.00: PETROS FLOORFILLER (DJ set)
05.00- 07.00: IRAKLIS MINDPHASER (DJ set)
07.00- 08.00: CRYSTAL ZERO & SISSY STARDUST (DJ set)

Joggling and acrobatics cannabis show, Creation of a 30m comic from the crew of GALERA magazine and the contribution of the public
Graffiti show from aLeda Graffiti crew (free canvases, bring your own spreys)
Exhibition of cannabian comics from Giorgos Konstantinou (CaƱamo magazine, Catalonia)
"Traveling with human joy" Photographic projections from the photoreporter Maro Kouri
Live Art performance from the painter Giorgos Tzannes
PropaGanja Visuals from Void Optical Art Laboratory
Chai shop and chill out area with conversations and acoustic music
Bar and slow food> biological products, honey, fruits, herbs, mystic pizza

Info kiosks

On Saturday (5.5) morning 12.00 >
Meeting of the peoples global action (PGA) network, information on the history and future actions against the next G8 Summit, tools of the network

*pga infopoint athens contact: autonomous-infopoint(at) - autonomous_gr(at) (greek)
*install autonomy collective berlin -pga infopoint contact berlin-info(at) (english-german)

14.30 >
anti-biotech workshop, on the framework of the campaign against the biotechnology of dominanceantibiotec_resistance(at)

Tuesday, April 17, 2007

Original Caste - 1970 - One Tin Soldier

Original Caste - 1970 - One Tin Soldier
Track 6

01 One Tin Soldier
02 Mr. Monday
03 Country Song
04 A Picture Of Bob Dylan
05 Nothing Can Touch Me
06 Leaving it All Behind
07 Watch The Children
08 Highway
09 Sweet Chicago
10 Live For Tomorrow
11 Come Together*
12 Ain't That Tellin' You People*
13 When Love Is Near*
14 Come Together (Live)*

* bonus tracks

The Original Caste. The five-member band grew out of the Calgary folk trio The North Country Singers, formed in 1966 by songwriter and guitarist Bruce Innes (b Calgary 7 Jan 1943). They moved to Vancouver and added the singer Dixie Lee Stone (b Moose Jaw, Sask 14 May 1946), who married Innes. After playing western Canadian and US coffeehouses and resorts, in 1969 they signed with Bell Records, adopted a pop sound, and changed their name to The Original Caste. Their first release with Bell was the 1969 pop LP The Original Caste (Bell TA 5003), from which the moralistic tale "One Tin Soldier" (written by US producers Dennis Lambert and Brian Potter) became a No. 1 gold record in Canada and Japan, was No. 1 in several US cities, and reached No. 34 on the US Billboard charts in 1970. Also from this album, "Mr Monday" hit No. 3 on the CHUM charts in May 1970, was No. 1 in Japan, and sold over 2 million copies.

At their peak, the band was based in Los Angeles. They toured North America and Japan, performed with Glen Campbell and B.B. King, and made television appearances, including on Denny Doherty 's CBC TV show in 1978. Additional releases included several singles 1970-1, which fared less well, and two Live in Japan albums (Bell 1971). After the band's dissolution in 1972, Bruce and Dixie Lee Innes continued to perform as The Original Caste, releasing the country-influenced album Back Home (Century II/Capitol ST 17004, 1974), arranged by Tommy Banks and recorded in Alberta. Bruce Innes continued to perform under the band's name through the early 2000s.

"One Tin Soldier" was given a BMI award. A cover version performed by the US band Coven was featured in the 1971 film Billy Jack. In 2003 CHUM radio banned The Original Caste version and other anti-war songs, despite its having reached No. 1 on the CHUM chart in December 1969.

The Original Caste's trademark early sound was polished, uncomplicated pop, made remarkable by Dixie Lee Innes's rich, strong voice and heartfelt delivery. The band was among the earliest Canadian pop groups to be heard internationally.

Author Betty Nygaard King

Chrysalis - 1967 - Definition

This release has all the bonus tracks...some wonderful songs on this album! April Grove and Dr. Root's Garden are my favorites. Awesome vibes.

The recent deluge of mid-'60s relics that continue to rise from the vinyl crypt for a little modern re-consideration are too often more miss than hit. For every Pete Dello or Comus reissue there are seven or eight barely mediocre offerings from bands like Eclection or the Vejtables. Chrysalis, a colorful quintet from Ithaca, New York who dabbled in everything from folk, rock and jazz to Middle Eastern music fall somewhere in the middle, and their one and only recording, Definition remains a fascinating, if uneven lesson in the fine art of psychedelia. Frank Zappa, who championed Chrysalis as "a group that has yet to destroy your mind" was originally asked to produce, but was in the throes of removing himself from a bitter contractual dispute with MGM/Verve. In the end, Definition went through numerous production teams who all left for various reasons — none relating to the music or musicians — which makes it all the more curious that it sounds so defined and cohesive. Frontman Spider Barbour, who had appeared on both Zappa's We're Only in It for the Money and Lumpy Gravy — and who is now, ironically, a naturalist devoted to the lives of moths and butterflies — brings a great deal of early Mothers of Invention aesthetic to the table. Jazzy piano motifs flitter about truncated worldbeat rhythms, while short comedy skits provide segues between songs that deal with insects, yodeling girls, and hippie culture. It's all very Sgt. Pepper's, but there is an adventurous glee to the songs and arrangements that's equally matched by the talent behind them. It's the kind of brainy yet daft art rock that collegiate drug users, music school geeks and even children can find common ground in, and Rev-Ola's extensive liner notes and inclusion of eight bonus tracks from the sessions makes for a rewarding listen whoever you are.

Hawk - Africa She Too Can Cry (1972)

A good friend of mine traveled for work to Botswana for six weeks, and I told him if he saw any cool African psych vinyl while he was there... grab it! A few days ago I received a package in the mail- in it, a postcard, which read: "I searched high + low for African psychedelia but everyone keeps telling me the records are almost all gone. I did speak to a knowledgeable bloke in a hipster record store in Cape Town who recommended these two reissues of South African rawk." The package also contained two CDs- "Galactic Vibes," by Freedom's Children; and "Africa She Too Can Cry," by Hawk. An awesome gift, to be sure. Dan, you're a prince among men. THANKS.

So then- Hawk (AKA JoBurg Hawk, on some pressings). It's a pretty damn cool listen, and one that had completely slipped beneath my radar. A concept album about the exploitation of Africa's natural resources and the bigotry and intolerance of the political climate, the songs are mostly well-written intelligent 70s rock with the occasional nods to African music (i.e., hand percussion, chants, unison female vocals), often creating a hybrid sound that's very distinctive. The singer's voice is also a delight- it might put a few listeners off but I love it: A throaty double-tracked Cat Stevens with a fast vibrato, and somehow he sounds genuine enough to pull off the ocassionally very preachy lyrics (often written as mournful apostrophes to the continent: "oh Africa what has been done to you?" etc. etc.). There's also a progadelic side-length suite that moves through a number of moods, getting more and more inspired as it proceedes. Overtly about an elephant hunt, the allegorical message shouldn't be that hard to decipher.

Get the album HERE.
On-line liner notes HERE.

Monday, April 16, 2007

Children - 1968 - Rebirth (and singles)

Great psych from Texas band who released only one classic album in 1968. Starting out as Stoics back in 66, they evolved into Mind's Eye. Including all their 45's as Stoics, Mind's Eye and Children, lp from 1968 plus more unreleased material as Children from 1969-1970.

it was impossible to find more for this group

This is a soft psych album (produced by Lelan Rogers).
There are flutes, harpsichords, falsetto backing vocals, and occasional garish orchestration. The arrangements are certainly creative and elaborate, though word has it that the original mix is more colourful than the more commonly available version. “Sitting on a Flower,” which sports unexpected chord changes and punchier guitar than the rest of the album, and the long, drony “Pictorial” are probably the best songs. The band had an excellent non-LP 45 in a different style from the LP and were related to legendary garage bands the Mind's Eye, Argyles and Stoics. The Gear Fab reissue has a ton of interesting bonus tracks from their various incarnations before and after this album.

Download Links :


Todd Dilligham - First 2 albums

About Todd Dillingham

The link between the classic Canterbury Scene of the '70s and the D.I.Y. psychedelic pop scene of the '90s, Todd Dillingham is a one-of-a-kind artist. Equally capable of writing concise, catchy little pop songs, twisted psychedelic explorations, and sprawling prog rock improvisations, the North London resident is like a one-man combination of XTC, Robyn Hitchcock and the Egyptians, and the Bevis Frond. Remarkably, for a one-man band who plays almost all of the instruments on his records, Dillingham came late to music, not recording his first songs until he was already into his thirties. His first album was a limited-edition self-released cassette, 1989's Stalking the Wily Chub, with a homemade cover designed by his brother, music journalist and psychedelic poster artist Mick Dillingham. (Dillingham has something of an obsession with fish, which regularly appear in his album titles and cover art.) Brother Mick took an even more active role in Dillingham's next project, the Bizarrdavarks, a trio featuring the brothers and Bevis Frond mastermind Nick Saloman that placed two tracks on 1990's Woronzoid, a double-album compilation on Saloman's Woronzow label. Saloman and Mick Dillingham also appeared on Dillingham's next recording project, the Saloman-produced Art Into Dust, which was supposed to appear on Woronzow in 1990 but was shelved, eventually appearing on the Voiceprint label in late 1992 with the addition of one later track, a nearly half-hour jam on Pink Floyd's classic "Interstellar Overdrive." Dillingham's association with Voiceprint, a label associated with the '70s Canterbury Scene spearheaded by the Soft Machine and Hatfield and the North, began in 1991, when Caravan LEGEND Richard Sinclair invited Dillingham to record an album with himself, drummer Andy Ward (Camel), and reedman Jimmy Hastings (Caravan, Soft Machine, National Health). The resulting Wilde Canterbury Dream received rapturous reviews among prog rock diehards, but Dillingham's next two releases were a pair of more immediately accessible psychedelic pop EPs in the style of XTC's Dukes of Stratosphear side project: the Norwegian release A Dash of Haddock (1993), and the German release Arthur Woodcote (Is His Name) (1994). Dillingham's next two albums, both released in 1994, re-emphasized the prog side of his musical personality, although the live Radio Session included a few '60s-style freakbeat rave-ups as well. Vast Empty Spaces (produced by Peter Giles of the legendary Giles, Giles, and Fripp) marked a reunion with Ward, with Curved Air's Mike Wedgewood and Anthony Alridge of the jazzy and eccentric Skaboosh! contributing bass and violin, respectively. With the exception of occasional extended improvisatory workouts, Dillingham then retreated from progressive epics into a marginally simpler and considerably poppier form of psychedelic pop. The self-released Astral Whelks, which included contributions not only from Ward but Ward's Chrysathemums bandmate, Yukio Yung, was the first evidence of this new focus, but it was 1995's Sgt. Kipper, with its priceless cover portraits of Dillingham, Yung, and Ward in Sgt.Pepper-style satin outfits, that delivered Dillingham's most consistently poppy and groovy set of tunes.

Todd DILLINGHAM - Art Into Dust, 1993 (Voiceprint) [CD]

Todd Dillingham (voc/g)
with Andy Ward (d) - Nick Saloman - Mick Crossley
Rec: unk - Loc: Saffron Walden / Elevator, London - Pr: Nick Salmon, Mick Crossley, Todd Dillingham

1. Little Visions
- 2. Girl Of The Scene
- 3. You Don't Mind
- 4. Art Into Dust
- 5. Celebration Bonfire
- 6. It Really Matters
- 7. Never Want To See You
- 8. Fading (Just For You)
- 9. Fine Time/No Time
- 10. African Device
- 11. Fly
- 12. Crabs Advancing
- 13. Luminous Glow
- 14. Green Pears
- 15. Am I Alone?
- 16. 24 Min. Bonus

Todd Dillingham (voc/g)
with Richard Sinclair (b/g/bv) - Andy Ward (d) - Jimmy Hastings (s/fl) - Nicky Leigh (g) - Tony Green (b) - Vani Har (d)
Rec: Oct 1991-Feb 1992 - Loc: Astra Studios, Kent - Pr: Todd Dillingham, Richard Sinclair & Andy Ward

1. Shy My Dear
- 2. Light
- 3. The Little Box
- 4. I Wonder Why
- 5. Hurt
- 6. Mentail (Beneath My Feet)
- 7. The Time Is Here
- 8. Link
- 9. Little Orphan
- 10. Glad
- 11. Catching Where They Live
- 12. Multodnes
- 13. Fading (Just For You)
- 14. I Wait For
- 15. I'm Phasing
- 16. African Device
- 17. Our World
- 18. It's Hell
- 19. Stalking The Wily Chub
- 20. Inner Grove


Dion McGregor - The Dream World of 1964

The recorded dreams of Dion McGregor are among the most remarkable audio artifacts ever. By turns (sometimes simultaneously) hilarious, bizarre, poignant, macabre and charming, these singular somniloquies — recorded in the '60s by McGregor's songwriting partner and roommate Michael Barr — leave a vivid impression in the mind of the listener. The Further Somniloquies is the sequel to Dion McGregor Dreams Again (Tzadik 1999) and The Dream World of Dion McGregor (Decca 1964). For more information about Dion's life and recordings, visit the American Song-Poem Music Archives where you will find a brilliant biographical account by McGregor archivist Phil Milstein

Dion McGregor (1922 - 1994) was an New York-born songwriter, whose main claim to fame is that he was a voluble dreamer, or somniloquist.

As a songwriter, McGregor's biggest success came when his song "Where Is The Wonder" (cowritten with room mate Michael Barr) was recorded by Barbra Streisand on her hit album My Name Is Barbra (1965). He was unable to find much success afterwards, however, and by the 1980's had given up on songwriting. Critic Joslyn Layne writes that "Despite his lack of success as a song lyricist, McGregor's narration of his vivid dreamlife provided a more unique artistic contribution than any usually recorded."

McGregor talked in his sleep. Not in quiet, barely-comprehensible mumbles; while he slept, McGregor would essentially narrate his dreams at conversational volume. As a narrator of his (often terrifying) dreams, Dion adopted various personas but frequently established a fey, argumentative, insolent approach to the subject at hand – be it a hot air balloon trip to the moon with a group of multi-ethnic children, a frantic journey around New York, or a tattooing job on a woman's tongue. As Phil Milstein notes, the Tzadik LP could just as well be called Dion McGregor Screams Again, as most of McGregor's dream narratives end with him shrieking in terror.

An LP of his dream diatribes – The Dream World Of Dion McGregor (He Talks In His Sleep) – was even released to minor acclaim by Decca Records in 1964. A book of the same name, containing the transcipts of a wider selection of McGregor's dreams, and with illustrations by Edward Gorey, was also published in 1964.

McGregor died in 1994, but researcher Phil Milstein gathered recordings of McGregor's dream-speech considered too risque to be released in the 1960s and assembled them for the 1999 album, Dion McGregor Dreams Again, released on Tzadik Records. A third album, The Further Somniloquies of Dion McGregor: More Outrageous Recordings of the World’s Most Renowned Sleeptalker was assembled by Toronto poet Steve Venright and released in August 2004 on the Torpor Vigil Industries label

1 Val
2 Our town
3 The gift
4 The diet
5 Peony
6 The mogul
7 Swimming pool
8 Mustard battle
9 Dear uncle
10 The operation



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