Thursday, April 17, 2008

August-October 2007

Tuesday, October 30, 2007

Phil Ochs - Pleasures Of The Harbor [1967]

Going into the studio after Dylan's move into rock accompaniment and Sgt. Pepper's vast expansion of pop music, Ochs wanted to make a record that reflected all these trends, and he hired producer Larry Marks, arranger Ian Freebairn-Smith, and pianist Lincoln Mayorga — all of whom had classical backgrounds — to help him realize his vision. The result was Pleasures of the Harbor, his most musically varied and ambitious album, one routinely cited as his greatest accomplishment. Though the lyrics were usually not directly political, they continued to reflect his established points of view. His social criticisms here were complex, and they went largely unnoticed on a long album full of long songs, many of which did not support the literal interpretations they nevertheless received. The album was consistently imbued with images of mortality, and it all came together on the abstract, electronic-tinged final track, "The Crucifixion." Usually taken to be about John F. Kennedy, it concerns the emergence of a hero in a corrupt world and his inevitable downfall through betrayal. Ochs offers no satisfying resolution; the goals cannot be compromised, and they will not be fulfilled. It was anything but easy listening, but it was an effective conclusion to a brilliant album that anticipated the devastating and tragic turn of the late '60s, as well as its maker's own eventual decline and demise []

Track list;
01 - Cross My Heart
02 - Flower Lady
03 - Outside Of A Small Circle Of Friends
04 - I've Had Her
05 - Miranda
06 - The Party
07 - Pleasures Of The Harbor
08 - The Crucifixion


Style; Folk

Monday, October 29, 2007

Kousokuya - Live Gyakuryu Kokuu 逆 流 虚 空 1991.12.30

For those who enjoy the absurdist guitar holocaust blasts and astral projections of Fushitsusha, Les Rallizes Denudes, and High Rise, here's a live album by Kousokuya, the fourth member of that amazing league (oh yeah, and there's also those 3/3 guys). This album (track 1 much more so than track 2) suffers from stereotypical "live" sound--- not the wonderful lo-fi ness of the PSF/Squealer High Rise "Live" album, but rather just frustratingly nonoptimal mixing and EQing. But what are you going to do? It's still quality electric mayhem, punctuated by passionate, baffling, anarchic invocations.

Get it HERE.
(...and get their first studio album HERE.)

Fapardokly - 1966 - Fapardokly

A legendary LP, both for its (supposed) rarity and the appearance of future Mu-wizard Merrell Fankhauser. This is mid-60s pop/folkrock rather than the psych dealers might it hype it for; the hazy "Gone To Pot" excluded. Pretty classy stuff with traces of the Byrds and Beatles but also obvious remnants of an earlier, pre-Invasion pop era of Buddy Holly and the Everly Brothers. Merrell's talent is on clear display even at this early stage, with each track being a finely tuned and completely realized pop song. Fave tracks include the dreamy opener "Lila" and the inspiredly weird "Mr Clock". Quite enjoyable all through as long as you don't expect Lemurian hippie psych magic. A retrospective Merrell & the Exiles LP titled "The Early Years 1964-67" exists on the American Sound label with the same lineup as the Fapardokly LP and collects earlier tracks.

1 Lila
2 The Music Scene
3 Sorry For Yourself
4 Glass Chandelier
5 Tomorrow's Girl
6 Suzie Cryin'
7 Mr Clock
8 Gone To Pot
9 No Retreat
10 Too Many Heartbreaks
11 When I Get Home
12 Super Market

bonus cd tracks
13 The War
14 Yes, I Love You
15 Run Baby Run

Fapardokly were Merrell Fankhauser guitar, Bill Dodd lead guitar, John Oliver bass, and Dick Lee drums. The odd name being a combination of their surnames - or rather three of them plus that of Don Parrish, the original bass player.

But even odder is the fact that this band only plays on 3 out of the 12 tracks on the original album, 3 (maybe 4) tracks are by Aldridge, Fankhauser & Lotspeich, and 5 tracks are by Merrell & The Exiles or variants of that band.

The album is therefore a combination of various styles from early 60s beat to soft psychedelia to folk-rock recorded between 1964 and 1967 - Merrell Fankhauser being the only common element linking all the tracks. Despite this the original vinyl album has become an extremely collectable item - a psychedelic classic (apparently only 1000 copies were pressed and not many sold – hence it has become a real collectors’ item. I’ve seen an original sealed copy offered for sale at $500 !!).

The Aldridge, Fankhauser & Lotspeich tracks have a naïve psychedelic charm to them, while a couple of the Fapardokly cuts are harder edged – one (Gone To Pot) being an instrumental sibling of Eight Miles High.

The CD reissue includes three bonus tracks not released before - one, The War, by the Fapardokly band, another, Run Baby Run, by Merrell & the Exiles and a third, Yes I Love You which Merrell and Don Aldridge put together

Jeff is listed as playing on Sorry For Yourself, Suzie Cryin and Too Many Heartbreaks, all of which were released as singles by Merrell & the Exiles in 1964 and 1965. He is also credited as guitarist on the AFL tracks too although Don Aldridge and Gary Lotspeich do not recall him taking part in those sessions.

The cover of the CD reissue is the same as the original vinyl and the 1967 back cover is also included along with its' ill-advised photograph of the band wrapped in blankets! The CD also includes some sleevenotes by Merrell.

CD - Cover (Sundazed)

Get it here

Saturday, October 27, 2007

V.A. - A Trip to Toytown (119 Top Toytown Tunes)

In the Spring of this year, Marmalade Skies gave us a section dedicated to that unique British Psych / Pop Sound known as 'Toytown'... since then, I've been working on getting them all together into one package. And with some help from friends around the world it's finally been completed, and here it is. The mp3 files are at 360kbps - except the half dozen or so that were supplied to me by others, they appear in their original bitrate - the artwork is at 400 dpi.
I hope you enjoy it as much as I do...

For more Info Visit the Marmalade Skies original page about "Toytown"

1. Excerpt from a Teenage Opera - Keith West
2. Sir Geoffrey Saved the World - Bee Gees
3. The Bitter Thoughts Of Little Jane - Timon
4. I Like My Toys - The Idle Race
5. Flowerman - Syn
6. Peter’s Birthday - World of Oz
7. Auntie Mary's Dress Shop - Tomorrow
8. Toyland - Alan Bown
9. Tales of Flossie Fillett - Turquoise
10. A Prologue to A Magic World - Ruperts People
11. Leave Me Here - The 23rd Turnoff
12. Ye Olde Toffee Shoppe - The Hollies
13. Mr. Small the Watch Repair Man - Kaleidoscope
14. Our Fairy Tale - The Herd
15. Glass House Green, Splinter Red - Kinsmen
16. Gilbert Green - Gerry Marsden
17. Baked Jam Roll in Your Eye - Timebox
18. (Here We Go Round) the Lemon Tree - The Move
19. William Chalker's Time Machine - The Lemon Tree
20. My Name is Jack - Manfred Mann
21. Melody Fayre - John Bromley
22. Uncle Joe, the Ice Cream Man - The Mindbenders
23. Tin Soldier Man - The Kinks
24. Little Bombardier - David Bowie

1. After Tea - Spencer Davis Group
2. Dance 'Round the Maypole - Acid Gallery
3. Toffee Apple Sunday - Toby Twirl
4. Mr. Moody's Garden - Gilbert O'Sullivan
5. Sam - Keith West
6. The Sky Children - Kaleidoscope
7. Colonel Brown - Tomorrow
8. Laughing Man - John Carter & Russ Alquist
9. Alice - Jon Plum
10. Little Girl Lost and Found - Peter & the Wolves
11. Equestrian Statue - The Bonzo Dog Doo - Dah Band
12. (He's Our Dear Old) Weatherman - Mark Wirtz
13. See the Little People - Mike d'Abo
14. Jumbo - Bee Gees
15. Phenomenal Cat - The Kinks
16. Craise Finton Kirk Royal Academy Of Arts - Bee Gees
17. The Sound of the Candy Man’s Trumpet - Tony Hazzard
18. The Muffin Man - World of Oz
19. Town of Tuxley Toymaker - Billy J Kramer
20. Phoebe's Flower Shoppe - The Cortinas
21. The Cooks of Cake and Kindness - Californians
22. Victor Henry's Cool Book - The Smoke
23. Man in a Shop - Marmalade

1. Skeleton and the Roundabout - The Idle Race
2. Jenny Artichoke - Kaleidoscope
3. Uncle Arthur - David Bowie
4. Spare a Shilling - The Bunch
5. Easy Street - Eddy Howell
6. Love and the Brass Band – Dave Christie
7. Harry the Earwig - Pete Dello & Friends
8. Fairyland - Pop Workshop
9. Looking Glass - The Bunch
10. Broken Toys - Broken Toys
11. Ice Cream Man - Kidrock
12. I Lied to Auntie May - The Neat Change
13. Goodbye Thimble Mill Lane - Peter Lee Stirling
14. When I'm Five - Beatstalkers
15. Three Jolly Little Dwarfs - Tomorrow
16. Dogs In Baskets - Geranium Pond
17. Weatherman - John Bromley
18. Cherrywood Green - Just William
19. Gingerbread Man - Mirror
20. Mandy Ann - World of Oz
21. Geraldine - Zion de Gallier
22. Mr. Poem - Mike Batt
23. Sadie and Her Magic Mr. Galahad - A New Generation
24. Mrs. Ward - The Idle Race

1. Persimmons Peculiar Shades - Watchmaker
2. Uncle Hartington - Peter & Gordon
3. Sandman - Neat Change
4. One Man Band - Pinkerton's Colours
5. Birmingham Brass Band - Bullring
6. Joe Organ & Co. - Barnaby Rudge
7. Room at the Top of the Stairs - Timothy Blue
8. Colour Sergeant Lillywhite - Consortium
9. Happy Castle - Crocheted Doughnut Ring
10. A Little Train Number - Kenny Everett
11. Mr. Jewel Went Away - Julian Starr
12. Sydney Gill - The Smoke
13. Harry the Keeper - Buggy
14. Princess And The Soldier - Richard Barnes
15. Mr. Nice Guy - Dragonmilk
16. Zebedy Zak - Cardboard Orchestra
17. Brother Jack - Barry Wigley
18. As For Marionettes - The Marianne
19. Zobo (1871-1892) - Marty Wilde
20. Little Lesley - Alan Bown Set
21. A Little Smile on Christmas Morning - The Annie Rocket Band
22. Christmas Will Be Around Again - Two and a Half
23. Hey Mr. Organ Grinder - Vehicle
24. Lydia - Blue Yogurt

1. Broken Hearts Brigade - Hammond Hazlewood
2. Rainbow Rocking Chair - Majority One
3. Morning Morgantown - Jude
4. Pegasus - The Hollies
5. Chocolate Buster Dan - Pandamonium
6. Admiral Sheer - Chris White
7. Trip on a Orange Bicycle - Orange Bicycle
8. Laughing Boy from Nowhere - Simon Dupree and the Big Sound
9. Flowers for My Friends - Joyce’s Angels
10. Barefoot And Tiptoe - Sweetshop
11. I Want to Go to the Overworld - Freddie & The Dreamers
12. Shine a Little Light into My Room - Jason Paul
13. Railway Jimmy - Barnaby Rudge
14. Good Old Sam - Vaughan Thomas
15. Shepherd Boy – Neil Holland
16. Annies Place - Gene Latter
17. Smoke, Smoke - Sgt Smiley Raggs
18. Constable Jones - The Decision
19. Miss Pinkerton - Cuppa T
20. Penelope - Smiley
21. Piccolo Man - The Flower Pot Men
22. Bric A Brac Man - Bill Nile & His Good Time Band
23. Threepence a Tune - The Laurels
24. Elephant Rider - The Hush

Thanks i. m. he (M.K.) for compiling,
uploading and let us make this compilation available to you !!!

Harvey 'the snake' Mandel - Live At The Matrix Club - Frisco 1968

Harvey 'the snake' Mandel - Live At The Matrix Club - Frisco 1968

Harvey Mandel became the original guitarist with Charlie Musselwhite, releasing the debut album Stand Back! in 1966. As a result of heavy airplay in San Francisco, they were invited to play The Fillmore by Bill Graham. Mandel moved to the Bay Area, regularly performing at the infamous club "The Matrix", where local favorites like Jerry Garcia, Elvin Bishop and Jefferson Airplane would sit in and jam.
On meeting the record producer Abe Kesh, Mandel was able to release his first solo album for Mercury Records entitled, Cristo Redentor in 1968, which included his version of "Wade in the Water."
In July 1969 he replaced Henry Vestine as lead guitarist in the blues band Canned Heat. Harvey remained with Canned Heat for nine months (until April 1970) with slide guitarist/vocalist Alan Wilson and singer Bob "The Bear" Hite. The custom of Canned Heat suggested that each member of the band acquired a nickname upon joining the band. Harvey's nickname, "The Snake," was given to him years before by keyboardist Barry Goldberg in Chicago (attributed to his cracked leather jacket and "snake-like guitar licks"). After several tours and three albums, including Future Blues, he was recruited by British bluesman John Mayall to be a member of the Bluesbreakers, recording the album, entitled USA Union together.
The band featured Mandel with Canned Heat bassist Larry "The Mole" Taylor, and violinist Don "Sugarcane" Harris. Mandel also appeared on another significant Mayall album, Back To The Roots, on which Eric Clapton and Mick Taylor also guested. He also toured with Taylor and Harris under the name "Pure Food and Drug Act" and released one album before Harris was assaulted, effectively ending his career.
He resumed his solo career, releasing several more albums for Janus Records in the 1970s including Baby Batter, The Snake, and Shangrenade, the record where Harvey employed 2-handed fretboard tapping. Mandel was one of the first rock guitarists to utilize this technique, years before Eddie Van Halen and Stanley Jordan.
One of Mandel's most significant session credits was his participation on Black and Blue, the 1976 album by The Rolling Stones.
Following his stint with the Stones, he became a busy session player, with groups such as Love and The Ventures, and opened for Jeff Beck on his Canadian tour as a power trio with Jimmy Haslip, bassist for The Yellowjackets. He relocated to Chicago in the late 1970s and continued to tour extensively, as well as supporting groups such as Roxy Music. In 1980, Mandel relocated to Florida as a member of the house band at Ron Wood's Miami nightclub, "Woody's," with Rolling Stones attendant saxophonist, Bobby Keys.
~BlackCatBone - Standin' At The Crossroads diary magazine

In the mold of Jeff Beck, Carlos Santana, and Mike Bloomfield, Mandel is an extremely creative rock guitarist with heavy blues and jazz influences. And like those guitarists, his vocal abilities are basically nonexistent, though Mandel, unlike some similar musicians, has always known this, and concentrated on recordings that are entirely instrumental, or feature other singers. A minor figure most known for auditioning unsuccessfully for the Rolling Stones, he recorded some intriguing (though erratic) work on his own that anticipated some of the better elements of jazz-rock fusion, showcasing his concise chops, his command of a multitude of tone pedal controls, and an eclecticism that found him working with string orchestras and country steel guitar wizards. Mandel got his first toehold in the fertile Chicago white blues-rock scene of the mid-'60s (which cultivated talents like Paul Butterfield, Mike Bloomfield, and Steve Miller), and made his first recordings as the lead guitarist for harmonica virtuoso Charlie Musselwhite. Enticed to go solo by Blue Cheer producer Abe Kesh, Harvey cut a couple of nearly wholly instrumental albums for Phillips in the late '60s that were underground FM radio favorites, establishing him as one of the most versatile young American guitar lions. He gained his most recognition, though, not as a solo artist, but as a lead guitarist for Canned Heat in 1969 and 1970, replacing Henry Vestine and appearing with the band at Woodstock. Shortly afterward, he signed up for a stint in John Mayall's band, just after the British bluesman had relocated to California. Mandel unwisely decided to use a vocalist for his third and least successful Philips album. After his term with Mayall (on USA Union and Back to the Roots) had run its course, he resumed his solo career, and also formed Pure Food & Drug Act with violinist Don "Sugarcane" Harris (from the '50s R&B duo Don & Dewey), which made several albums. In the mid-'70s, when the Rolling Stones were looking for a replacement for Mick Taylor, Mandel auditioned for a spot in the group; although he lost to Ron Wood, his guitar does appear on two cuts on the Stones' 1976 album, Black & Blue. Recording intermittently since then as a solo artist and a sessionman, his influence on the contemporary scene is felt via the two-handed fretboard tapping technique that he introduced on his 1973 album Shangrenade, later employed by Eddie Van Halen, Stanley Jordan, and Steve Vai.
~Richie Unterberger, All Music Guide

Harvey Mandel - 1968 - Live At The Matrix 1968
RapidShare Link
SendSpace Link

Posted by BlackCatBone @ Standin' At The Crossroads

Wednesday, October 24, 2007

Whitewood (1970)

"One of the more obscure Rockadelics is a crude, unpolished gem that deserves time to manifest itself. A reissue of one of those "we'll put music to your lyrics" song-poem artefacts, but this one breathes with an eerie dementia unlike the usual laugh riots; imagine a suicidal Boa or Ant Trip Ceremony with some fire up their ass. Title track is an instant classic, and 2/3rds is local late 60s garage psych the way you want it. The instrumental fillers include a room-clearing polka-rock fusion that could have been left off, though it does add to the spooky desolate Viet Vet vibe, as does the new front cover design. The bonus track comes from an inferior second LP from this same unsuccesful songwriter." (Acid Archives)

Rockadelic Records, a respected psychedelic rock reissue label, has issued a majestic album entitled Whitewood (RRLP36), by a group of the same name. Whitewood is a straight reissue of a 1970 release from the fly-by-night Exotic label, out of New York. The lyrics of one side of the album were composed by a song-poet, himself a former big-band singer, who sent them to Exotic to be set to music so he could present material for his kids to use in their garage band. Apparently, the finished songs became the band's entire repertoire.

Exotic was run by a musician named Arthur Braun, who is credited as both producer and engineer of Whitewood as well as writer of the songs that fill the album's other side. Braun ran his company on such a shoestring that he didn't even bother printing record covers -- not even stock covers. The cover to Rockadelic's version (as seen to the right) was created especially for this reissue.

Whitewood is a pretty nutso album. The music is a crude psych-garage thud common to the period, its players even less proficient than the typical local rock outfit of the day. The Braun side features a brilliantly unept drums/harmonica workout. Lurking amidst the murky drang of the notes themselves lie tape glitches, crude splices and spoken interludes. The lyrics seem to represent a middle-aged man's clueless notion of what a young, hep garage band should be singing. If you wanted to give the lyricist the benefit of the doubt, you could think of his songs as parodies of pseudo-insightful heavy-rock, but frankly if you did I think you would be being overly generous. A few samples of his poetry:

Volcanic ... the rumbling sound of many evil
Volcanic ... creates the Eve that ate the apple

Your charm is like charisma
Your love is like charisma ...

The power that we all have
Is a fear of power ending ...

World of tomorrow, world of yesterday
World of his evil, world of dismay.

Strangely, the pipe-smoker who wrote those words was disappointed enough by the low quality of Braun's interpretation of them that he agreed to be "compensated" by having several more of his songs included on a future Exotic album. That album, The Arthur Braun Expedition, also includes songs by other song-poets, as well as more material by Braun and what seem to be a couple of traditional song-poem recordings. The Arthur Braun Expedition is a howler of the first order -- among other ridiculosities, the pronunciation of the title phrase of the song "Avant Garde" is so badly mangled that it wasn't until I finally checked the song titles that I came to realize that it was about something other than Ava Gardner!

Rockadelic's edition of Whitewood was pressed in a strictly limited quantity of 500 copies. Alas. their version is itself now believed to be out of print. (song poem music)

1) Intro
2) Volcanic Eruption
3) Charisma
4) Pandemonium
5) An Enduring Love
6) Let My Soul Free
7) New World
8) Whitewood
9) Hoo Ah Polka
10) Victim Of My Mind
11) Marlene's Blues
12) Another Second Chance [For The Victims]


Tuesday, October 23, 2007

Phil Ochs - I Ain't Marching Anymore [1965]

What a difference a year made for Phil Ochs — his 1964 debut, All the News That's Fit to Sing, gained him a reputation as the most promising songwriter to come out of the Greenwich Village folk scene since Bob Dylan, and 1965's I Ain't Marching Anymore proved he was every bit as good as his press clippings said. Ochs had grown by leaps and bounds as a performer in the space between the two albums, and where Phil sometimes sounded a bit clumsy and uncertain on his first LP, here he brims with confidence, and his guitar work — simple but forceful and efficient — didn't require another musician's sweetening as it did on All the News. Most importantly, while Ochs' songwriting was uneven but compelling in his first collection, I Ain't Marching Anymore finds him in consistently strong form throughout. The craft and the emotional weight of the material makes even the most dated material ("Draft Dodger Rag" and "Here's to the State of Mississippi") effective today, and a surprising number of the songs remain as potent (and sadly timely) today as in 1965, especially "Iron Maiden" and "That's What I Want to Hear." And if there are fewer jokes on this set, "Draft Dodger Rag" is funnier than anything on Phil's first album, and his cover of Ewan MacColl's "Ballad of the Carpenter" (as well as his adaptation of Alfred Noyes' "The Highwayman") revealed what a strong interpretive performer he could be. (His liner notes are pretty good, too; it's a shame he didn't write more prose.) Literally dozens of singer/songwriters jumped on the protest bandwagon after the success of Bob Dylan and Joan Baez, but one would be hard-pressed to name one who made an album that works as well almost four decades later as I Ain't Marching Anymore []

Track list;
01 - I Ain't Marching Anymore
02 - In The Heat Of The Summer
03 - Draft Dodger Rag
04 - That's What I Want To Hear
05 - That Was The President
06 - Iron Lady
07 - The Highway Man
08 - Links On The Chain
09 - Hills Of West Virginia
10 - The Men Behind The Guns
11 - Talking Birmingham Jam
12 - Ballad Of The Carpenter
13 - Days Of Decision
14 - Here's To The State Of Mississippi

Second try [VBR]

Style; Folk

Bermuda Triangle - 1977 - Bermuda Triangle

01. Nights in White Satin
02. Right Track

03. Dream On
04. Lark in the Morning

05. Free Ride
06. Standing Together
07. Louisiana
08. Night Train

09. Wind

Bermuda Triangle Band's wild psychedelic or delicately nuanced electric autoharp and transcendental vocals grew out of the late '60s Folk Rock scene.With an independent attitude,eccentric style and highly unusual instrument lineup,the group was unprecedented.Psychedelic Rock Autoharp was unknown, and there were very very few women playing bass guitar. The members are Roger Penney and Wendy Penney...

Ambitious late hippie folkpsych LP with lounge aspects, transcendental female vocals and elaborate keyboard arrangements/production, not bad at all for those into eclectic 1970s sounds. Unexpected covers of Aerosmith and Circus Maximus are a plus while the Moody Blues track could have been left off. Fine originals. Would make a neat double bill with Jade Stone & Luv. The second LP has been described as a less effective dreamy keyboard rock effort. Ex-Roger & Wendy. [PL]
Truly bizarre folk-psych album that's more enjoyable than a lot of "better" records. Two of the first three songs are weird loungy covers of "Nights In White Satin" and Aerosmith's "Dream On," neither of which sound like anything else on the album. For surprise value alone, "Dream On" works the better of the two, since the Moody Blues tune was dangerously close to lounge to begin with. Most of the other songs are full of fiddle-style violin and autoharp, the latter of which is often treated with phasing, flanging and other effects. It feels like the songs are at a normal speed but the backing tracks are sped up. Some of the melodies are pretty speedy too. Spastic, cymbal-heavy drumming adds another layer of intrigue. One song sounds like a twisted take on funk, another like a hoedown. Both the male and female vocals are agreeable and work well in the context of these strange songs. The closing "Wind" (the Circus Maximus song) is another total departure, again not resembling anything else on the album, and sounding uncannily like a Linda Perhacs outtake. This album is kind of a shock on first listen, because at least to these jaded ears it's not often I discover something so original and bizarre.

Monday, October 22, 2007

Sugar Shack - Shotgun For Two (1995)

"Riffs, Riffs, and more Riffs. Can't get enough of these damn fine riffs! It's punchy, it's hard, it swings, it's catchy, and it'll leave you hummin' these tunes for days. "Sonic Sally", is a totally ferocious, dancing can o' whoop ass. You need this, don't even think about throwing your next party without it. You'll thank me...honest!" - Dr. Xavier Nefarious

01. Steppin' Around
02. Leave It Alone
03. Fun,Fun,Fun...My Ass
04. When Yer Not Doin' Me
05. Not 21
06. Just That Way
07. Sonic Sally
08. She No Good
09. Yeah You'll Be Mine
10. Had Had You
11. The Mike Gunn Room
12. Let's Go To The Beach

"This Houston, Texas five-piece growls and roars with timeless, rebellious "we won't be kept down" rock and roll energy, kicking out the jams with one rollicking two-minute three-chord skuzz-rock anthem after another. Sugar Shack's not-quite-controlled chaos marries the sound of pre-punk '60s garage rock -- especially the acid-influenced dementia of Texas acts like the 13th Floor Elevators and the Moving Sidewalks -- with the angry, thunderous bite of early '80s Los Angeles punk outfits like the Misfits. Singer Mark Lockridge's raspy yelp is second to none, and guitarists Andy Wright and Kyle Otis's fuzzy guitar attack skips and dances frenetically. The stellar rhythm section -- comprised of Johnny Gibson's big bass boom and Stefanie Paige Friedman's high-speed snare drum pounding -- provides the stage for the rest of the band's circus antics." - Jesse Ashlock

"Recorded on April Fool's Day 1994, a tight, stompin' mix of punky garage rock is cooked up for you by Sugar Shack on their second album. Mark Lochridge adds a sneering Iggy/Stiv Bators vocal to the raucous, moving rock & roll thrown down by the rest of the band. The Stooges' influence is polished up and displayed front and center on Sugar Shack's adaptation of the Larry & the Loafers' classic, "Let's Go to the Beach." That track has the requisites of plenty of guitar, handclaps, and whacked-out/far-gone vocals, with a touch of Screamin' Jay Hawkins thrown in. Garage rock in the '60s had different eras, and this album draws not on the psychedelia that eventually appeared, but on the angry teenage groups of the earlier period. This band is a perfect fit for the Estrus label, which, by good fortune, they finally wound up on several years later. A celebration of the good rockin' life, even seen through the haze of a damaged memory (see "Not 21"), is the order of the day." - Jeremy Salmon

Mark Lockridge - vocals
Andy Wright - guitar
Kyle Otis - guitar
Johnny Gibson - bass
Stefanie Paige Friedman - drums

Sunday, October 21, 2007

Ora (UK) - 1969 - Ora

Ora (UK) - 1969 - Ora

Tracks :
01 - Seashore
02 - About You
03 - Deborah
04 - Whitch
05 - Venetia II
06 - You
07 - Fly
08 - Ladyfriend
09 - Are You Seeing
10 - Emma's Saga
11 - The Morning After The Night Before
12 - The Seagull And The Sailor
13 - Seashore
14 - No More Love
15 - Pomme
16 - Deborah
17 - It Was An Easy Legend
18 - Fly
19 - Thank God

- JAMIE RUBENSTEIN vcls, acoustic gtr
- ROBIN SYLVESTER bs, keyb's, gtr
- JON WEISS ld gtr

Wah Wah Records is proud to announce the reissue of the recorded works by this amazing folk-with-popsike-jazz-and-even-bossa UK band! Originally released on the Tangerine label, the Ora LP was also issued in the German Metronome label as "Knick Knacks", but gets its first vinyl reissue since it first came out on this 2LP set. Record 1 will feature the original Ora LP as it was first issued back in 1969, while record 2 is made up of previously unreleased in vinyl format top quality material by the band and will include tracks never issued before in any format that original band member James Rubinstein had in his personal archive. 25 must-have songs for anyone interested in UK folk/pop/psych ! !

It is an album of incredible beauty, recorded by some talented young artists, Here is an extract from the original 1969 press release:

Jamie Rubinstein, 18, leader, lead vocalist and guitarist with the group called ORA, wrote all the songs on their new LP. He arranged most of them. While making the album Jamie was studing for his GCE A Levels. This is the group's first release, a single is being planned.

Jamie and Robin Sylvester, 18, who plays bass guitar, piano, organ, and is co-arranger, are the main-stays of the four-piece group. The others, lead guitarist Jon Weiss and drummer Julian Diggle, are "floating" members. Jamie, Robin, and Julian had met at UCS (University College School) in Hampstead.

The Wah Wah edition will be housed in a gatefold sleeve that will respect the original artwork concept, graphically adapted to this new issue following the directions of Ora leader James Rubinstein. James himself signs the inner notes so you get an accurate first person told history of the band who would later become the legendary progressive rock group Byzantium.

This sensational band performed a most unique mixture of folk, jazz and pop sounds and recorded one of the most beautiful LPs coming from the UK in 1969. The original Tangerine issue was valued with four circles on Hans Pokora's "1001 Record Collector Dreams" book and an R3 "extremely rare" qualification on Vernon Joyston's "The Tapestry Of Delights", which means the Wah Wah 2LP set is definetely a very good chance to get the great recordings of this fab band into your vinyl collection and yet save some money for the university of your children! But you'll have to hurry for your copy since only 900 numbered copies are on sale and we do believe these should sell like hot bread! Otherwise expect To pay 500 sterling for an original UK Mint copy without the pressing defect (some original copies have a pressing defect on one song)

Get it here @192

Buy it here (Wah-Wah records)

Saturday, October 20, 2007

Blossom Toes - 1969 - If Only For A Moment

Two years after their brilliant popsike debut, 1967's We Are Ever So Clean, Blossom Toes unleashed this extraordinary fusion of acid rock and prog, emphasizing how far they'd come since "the summer of love." Characterized by complex song structures and memorable guitar solos, and featuring a guest appearance on sitar from US folkie Shawn Philips, the album has gone on to become a major cult favorite.

Side 1
1. Peace Loving Man 4:50
2. Kiss of Confusion 4:37
3. Listen to the Silence 3:42
4. Love Bomb 8:34

Side 2
1. Billy Boo the Gunman 7:02
2. Indian Summer 5:50
3. Just Above my Hobby Horse's Head 2:50
4. Wait a Minute 5:38

Peace Loving Man/Above My Hobby Horses Head - 1969 - Marmalade 598 014

The Reviews
After the delightful debut "We Are Ever So Clean", the Blossom Toes changed their naive-side and became a remarkable underground act with tighter arrangements...The avant-garde experimentalism is still intact and the lyrics reflecting the social buried-dream of the sixties coda are so perfectly eclectic like little else in psychedelic-rock, yet not inaccessible...The magnificent spooky intro of "Peace Loving Man" and the linked "Kiss of Confusion" is so enduring in my memory as the first time I heard this, always discovering new things (new sounds) in these well-crafted songs; the fine "Listen To The Silence", an answer to Paul Simon's "Sound of Silence" delicacy (?) and the stunning couple of extended tracks, "Love Bomb" and "billy Boo The Gunman" or the sitar-driven joy of "Just Above My Hobby Horse's Head"... A CLASSIC!!! To everyone with an appetite for psychedelic music, this is a MUST (a nice pair!!! With "We Are Ever So Clean"!!!).

Released in 1969 , If Only For A Moment is the Blossom Toes second album .Their first "We Are Ever So Clean " was a flinty but enjoyable portion of British psychedelia but their second album see's the band take on more progressive and grungier tendencies .The four piece band had two rhythm and lead guitarists (Brian Goulding and Jim Cregan ) and three vocalists (the aforementioned two plus bassist Brian Belshaw, the drummer was Barry Reeves).This leads to some fascinating interplay and harmonising but also means the music tends to be over elaborate at times -"Indian Summer" even reminds me of Spinal Tap on occasions -but overall the album is a laudable mixture of bluesy acid rock with a west coast psychedelic timbre.
The music recalls Captain Beefheart , Wishbone Ash , Frank Zappa, and even early Led Zeppelin to these ears but tracks like "Just Above My Hobby Horses Head" evokes the Beatles with it's plangent sitar courtesy of US folkie Shawn Phillips. Poli Palmer adds flute ,percussion and that sixties staple vibes on several tracks. It's certainly complex music , with intricate interwoven guitar lines and like I said it can be a little too fussy at times but on tracks like "Peace Loving Man" , "Wait A Minute" and "Listen To The Silence " it all gels very nicely and the lyrics about the usual late sixties things- social unrest, anti war bluster, and why cant we all just live together nicely aren't too toe curling.
This edition is expanded with a informative booklet and extra tracks. The single "Postcard" pre-dated this album and is infinitely poppier -like that debut album and is a bit of a relief after all the convoluted material on the album proper." Everyone's Leaving me Now" -a B side -is a tremendous jazz inflected number but "Ever Since A Memory" and "Nobody But" are demo's and should have remained so. Un-released single "New Day" featuring label mate Julie Driscoll and Reggie King on vocals is a tad overwrought with multi-banked voices and some hideous caterwauling yet I still quite like it.
This album was a much sought after rarity and it's easy to see how certain people would find it an intoxicating work but overall it falls short of classic status for me. The playing is exemplary , particularly the guitar work ,but the song writing is patchy and it does sound rather dated at times. If Only For A Moment is an easy album to admire but a much harder one to love .You should hear it but is more likely to have you nodding sagely than gushing like a overheated chocolate fondue.
I was about 13 (so it was probably 1969 or maybe 1970) and we'd let a couple of rooms out to students. One of these brought with her some records, and I borrowed some of these and taped them on my reel-to-reel machine. I don't remember all of them, but two of them at least went on to become firm favourites. Fairport Convention's "What We Did On Our Holidays" I'll deal with on a later week, but this week's album is Blossom Toes' 1969 classic (IMO) "If Only For A Moment".
This was the second album by Blossom Toes, a band signed to ex-Yardbirds manager Giorgio Gomelsky's Marmalade label. Stable mates there included Julie Driscoll, Brian Auger and the Trinity, John McLaughlin, and two songwriters (Graham Gouldman and Kevin Godley) who had written hits for The Hollies and Herman' Hermits and later formed 10CC.
Blossom Toes' first album, "We Are Ever So Clean" was a delightful slice of British pop psychedelia, but for their second album they went "heavy" and "progressive" (although those terms weren't really being used yet in that sense). A four-piece, with three lead singers and twin lead guitars, I like to think that they predated Wishbone Ash and their ilk.
The first track on the album, "Peace Loving Man", is a raucous anti-war bombast that hasn't really aged very well but the remainder of the album is subtle, imaginative and I still play it today. I finally managed to find it on CD as a Japanese , so I've retired both my vinyl copies - it was a pretty rare LP at the best of times, and a few years later I bought a spare copy secondhand in case anything happened to my original.
They broke up after this album although they formed the nucleus of a band called "B B Blunder" who made one really rotten album ("Workers Playtime", with a cover parodying the Radio Times) and then split. Jim Cregan later joined Family, and then went on to play lead guitar for Linda Lewis (remember her?) and Rod Stewart. I think he's still with him. Brian Godding became a jazzer, playing with Centipede and various Keith Tippets outfits, and I don't know what happened to Brian Belshaw or Barry Reeves. Finally, they reformed briefly to provide the backing to one of the standout tracks on Julie Driscoll's "1969" album (that's it's title, not the year of release), "Break Out".

Get it here

Hampton Grease Band - 1971 - Music To Eat

Hampton Grease Band - 1971 - Music To Eat

1. Halifax — 19:39
2. Maria — 5:30
3. Six — 19:29
4. Evans — 12:28
[disc 1 time: 57:06]

1. Lawton — 7:48
2. Hey Old Lady / Bert's Song — 3:19
3. Hendon — 20:13
[disc 2 time: 31:20]
[total time 88:26]

"This album has been spoken glowingly of on the Zappa newsgroup several times over the years, so when I found a cheap CD copy I grabbed it, sound unheard. Having no idea what to expect, I popped disc one into the car CD player on the way home and spent the next hour trying to decide if I had just lucked into a gem of an album, or if I had just flushed $15 down the toilet.The liner notes start out by proudly proclaiming that this was the second worst selling LP in Columbia Records' history. It's easy to see why - Bruce Hampton's voice is a very acquired taste, and the music behind it shifts between Zappaesque complexity and humor to Beefheart-style weirdness and dada to the Grateful Dead's psychedelic jams to the Grease Band's own unique sound. One minute the music will sound very amateurish, the next minute they'll be tearing through a dual-guitar instrumental assault that most prog bands would love to be able to play. Odd time signatures and hot jams abound.
Hampton's vocals sound like he might be channeling the good Captain. The lyrics are usually stream-of-consciousness, often taken from found sources. For example, to come up with lyrics for the first track, the band opened an encyclopedia at random and hit the entry on Halifax, which inspired the title and lyrics about six thousand miles of graded roads, radar stations and the cleanliness of the air. The opening lyrics of "Hendon" come from the warning label on a can of spraypaint. Hampton's delivery resembles Beefheart's gruff style, but whereas the Captain sounds like an old blues singer, Bruce sounds like a lunatic. He definitely adds color to the music.
The album was originally going to be made up of just the three 20 minute tracks, but the record company asked for some shorter songs, hoping for something a little more radio-friendly. The closest they got was "Hey Old Lady/Bert's Song" and "Maria". The former is an upbeat rocker with lyrics about bag ladies, life and death, the latter is a catchy little number about young Spanish kids in love. But even those were too weird for singles, (not to mention "Maria" containing phrases like "wish that she would touch my bone"), so the existing tracks were just released as a double album and marketed as a comedy record.
As bizarre as it is, this album contains a ton of good music and I keep finding myself listening to it over everything else I've bought recently. But this definitely isn't an album for everyone. Fans of Zappa, Beefheart and the jazzier end of prog (particularly Canterbury) will probably enjoy it, if they can get past the, um, "unique" vocals."
review by Bob Eichler

"A classic! Their music combines the vocal-style of Captain Beefheart with the lyrical-humor of Frank Zappa (Harold and Bruce appear on Zappa's Lumpy Gravy), and the complex American (bluegrass, southern jazz, New York and San Francisco avant-garde) instrumental interplay of The Grateful Dead. In fact, the guitar interplay between both guitarists is really unique and fascinating. They trade off inventive jazz licks, chords, and avant-garde noise rarely heard on "jazz-rock" albums (Trey Anastasio of Phish may have been influenced by this album around the time Junta was composed). The 20-minute songs are half-composed/half-improvised and have tons of parts. The shorter songs are also excellent, and vary from an improvisation to catchy 70's rock. This 90-minute monster has no filler, every minute offers top-notch musicianship, and composition (whether improvised or actually composed)."
review by Steve Hegede

Friday, October 19, 2007

Hp Lovecraft - Hp Lovecraft II

Hp Lovecraft - Hp Lovecraft II(1968)

Tracks :
1. Spin, Spin, Spin (3:27)
2. It's About Time (5:23)
3. Blue Jack of Diamonds (3:13)
4. Electrallentando (6:39)
5. At the Mountains of Madness (5:02)
6. Mobius Trip (2:48)
7. High Flying Bird (3:27)
8. Nothing's Boy (0:44)
9. Keeper of the Keys (3:12)
10. Anyway That You Want Me (Bonus) (2:46)
11. It's All Over For You
(Bonus) (2:36)

Line-up/Musicians :

- George Edwards / rhythm guitar, lead guitar, bass, lead vocals
- David Michaels / keyboards, clarinet, recorder, lead vocals
- Jerry McGeorge / bass, vocals
- Tony Cavallari / lead guitar, vocals
- Michael Tegza / drums, vocals

Review from allmusic :
H.P. Lovecraft was an American psychedelic rock group of the 1960s and 1970s named for the famous horror writer. Originally formed in Chicago, Illinois in 1967, they relocated to San Francisco, California the following year.
Their self-titled 1967 LP was an impressive debut, featuring strong originals and covers of early compositions by Randy Newman and Fred Neil, as well as one of the first underground FM radio favorites, "White Ship." Their second album, H.P. Lovecraft II, was a much more sprawling and unfocused work, despite some strong moments. A spin-off group, Lovecraft, released a couple LPs in the '70s that bore little relation to the first incarnation of the band.

RapidShare or SendSpace

Thursday, October 18, 2007

Apple - 1969 - An Apple a Day [160k]

Apple was a British psychedelic rock band. The band was founded in Cardiff in 1968 by Rob Ingram (guitar) and Jeff Harrad (Bass). They've released a single LP in 1969, titled An Apple A Day. The album was a commercial failure, and the band ceased to exist shortly after its release. However, during the subsequent years several tracks from the LP (most notably The Otherside(Harrad)) were dubbed classics of British psychedelic rock by critics, making An Apple A Day one of the most sought-after British psychedelic rarities.

The original vinyl version (released by Page One Records) is now extremely hard to find. A reissue by Repertoire Records was released in 1994, which included several bonus songs (those being early mono versions of some of the album's tracks) [Wikipedia]

I don’t have the bonus tracks but only the 12 originally tracks from the LP…

Track list;
01.Let's Take A Trip Down The Rhine
02.Doctor's Rock
03.The Otherside
04.Mr. Jones
05.The Mayville Line
06.Queen Of Hearts Blues
07.Rock Me Baby
08.Buffalo Billycan
10.Psycho Daisies
11.Sporting Life
12.Pretty Girl Love You


Style; Psychedelic

Tombstone Valentine - 1999 - Hidden World

One of the first releases on Aether Records was the Hidden World debut (vinyl) lp by a quintet with a 60's/90's West Coast sound. Hidden World was mostly recorded at home on a Tascam 238 8-track and features 4 compositions: the title track and the magnificent "Green Sky Night" are 2 pearls of modern West Coast psych rock with Grace Slick-like female lead vocals, wah wah guitar, Country Joe & The Fish type organ patterns and strange synth noises, while the other 2 numbers are purely instrumental and vaguely sound like one of the space jams of the Grateful Dead with Cork Marcheschi of 50 Foot Hose guesting on weird electronic noises. Especially the side-filling "Elastic Reality" is an impressive, long example of avant-garde psychedelics for the next millenium.

Outstanding lp, long time since I heard a release that balances so neatly between tradition and experiment, and creates something new under the sun.
(Crohingawell, Belgium)

Wednesday, October 17, 2007

Agamenon - 1975 - Todos Rien De Mi

Hippie group from Madrid, this is no doubt one of the most acid psychedelic rock album recorded in Spain in the 70's. It is their sole album, originally released in 1975 on the Explosion label and a very rare and collectable item. No one knew anything about the group members until now, it had been even rumoured to be some Argentinian guys living in Spain...but no, the group was formed by 2 Spanish female and 4 male and the brainhead was Carlos Garcia, who sadly passed away not long ago and to whom this reissue is dedicated. 10 tracks, 8 of them in English and 2 in Spanish, all originals and fantastic; there's lots of heavy acid fuzz guitar here, probably the wildest fuzz recorded in Spain ("Todos rien de mi", "Send me" or "I need money"), and also some great sunshine psych-pop ("Cuco go fly", "Al salir el sol"), and it's all very well packed with some of the best multi-vocal harmonies you can find in a Spanish record ever.

A truely fantastic album that we strongly recommend!!!

This first ever reissue comes with an insert with some never-seen-before pictures and infos about the band, plus a repro of a very rare band poster.

Get it here

Tuesday, October 16, 2007

V.A. - Circus Days

Circus Days #1 & 2
Pop-Sike Obscurities, vol.1 1966-1970
Pop-Sike Obscurities, vol.2 1967-1970
Circus Days #3
UK Psychedelic Obscurities, vol.3 1966-1970
Circus Days #4 & 5
UK Psychedelic Obscurities, vol.4 1967-1972
More Obscure Pop-Sike, vol.5 1966-1970
Circus Days #6
Psychedelic Obscurities, vol.6 1966-1972

Click on titles for tracklists

Download Links :

Set One (for Free users)
(Direct Downloads)

Set Two (for Premium users)

A Small Request to premium users :
Please Do Not download the Direct Links the Direct Downloads Traffic is limited...
You don't need it after all.
Leave this traffic for the free users.

Enjoy !!!

Monday, October 15, 2007

Dogbowl - 1991 - Cyclops Nuclear Submarine Captain

01 you hit me over my head
02 cyclops nuclear submarine captain
03 south american eye
04 swan
05 ferris wheel
06 toilet!
07 silkworm exploding
08 window fall down
09 float
10 love bomb
11 revolution of the homeless
12 flying saucer over mongolia
13 beautiful trailor park
14 apple mary
15 flower garden bed
16 carnival in the swamp
17 so painful
18 cyclops N.S.C. (reprise)
19 shopping mall

Steven Tunney started his career in the late '80s as the original lead guitarist of King Missile who were then known as King Missile (Dog Fly Religion). He recorded two albums with King Missile and then, after finding the group's erratic, somewhat sarcastic musical direction unsatisfying, left to pursue his own erratic, left-wing endeavors. And Dogbowl was born !

Got released several albums but this one, at my humble opinion, is far away his best.
Cyclops Nuclear Submarine Captain is an album of bizarre love songs. Strange lyrics play over a backdrop of clarinet solos and melody. Dogbowl spares no one in making music that is incredible challenging and very likable at the same time. The core of the songs are pop love songs, but he approaches them with such strange imagery that the music comes alive more than any straightforward ballad could ever. It is really pop music that has mutated into a similar but different entity. The melodies are sweet, but the lyrics and sound are so far removed from anything the average music fan is familiar with.

Dogbowl writes good songs outside any kind of standard convention. Actually I am not the appropriate person to judge this one, cause is one of my fav's ever !
But hey, grab this one, you definitely won't regret it.

Download Link
Dogbowl - Cyclops Nuclear Submarine Captain (1991).rar

Sunday, October 14, 2007

The Eyes - Blink

Here's a solid album for fans of the British Invasion genre, with an infectious raw and garagy sentiment that makes it such an endearing listen.

Blackwell - 1970 - Blackwell

This is a real gem of Psychedelic Rock.

Killer tracks like "Wonderful" and Outside".I discovered it recently but can not find much information or review.

I hope you'll enjoy it as much as i do.

1 - Fake
2 - Dirty Story
3 - Heaven Or Worse
4 - Something Real
5 - Please Mr Jupiter
6 - Almost gifted
7- Outside
8 - Sleepy Weekend
9- Wonderful
10 - Long Long Ago

The Texas rock outfit Blackwell released four singles in two years on the interstellar Astro label, but the band's star never got much beyond regional gazing. John "Rabbit" Bundrick, a keyboard noodler, is the one member of the band to mingle with international rock stardom as a member of Free and part of the Who's outer circle of musical accomplices. Vocalist Glenn Gibson, not to be confused with a well-worn songwriting pseudonym of the '50s, had an extremely appealing voice, one of the main reasons the group's first single, "Wonderful," got heavy airplay in Texas and other numbers such as the 1969 "Outside" have gotten small transfusions from later compilations with far-out titles such as Acid Visions: The Complete Collection, Vol. 1 and '69 Love-In

Grab it cause it is very difficult to be found.

Get it here


Saturday, October 13, 2007

Leonard Cohen - 1985 - Berklee Performing Center, 4 May 1985 [Bootleg, 192k]

Leonard Norman Cohen, CC (born September 21, 1934 in Westmount, Montreal, Quebec) is a Canadian singer-songwriter, poet and novelist. Cohen published his first book of poetry in Montreal in 1956 and his first novel in 1963.
Cohen's earliest songs (many of which appeared on the 1968 album Songs of Leonard Cohen) were rooted in European folk music melodies and instrumentation, sung in a high baritone. The 1970s were a musically restless period in which his influences broadened to encompass pop, cabaret, and world music. Since the 1980s he has typically sung in lower registers (bass baritone, sometimes bass), with accompaniment from electronic synthesizers and female backing singers.
His work often explores the themes of religion, isolation, sexuality, and complex interpersonal relationships.
Cohen's songs and poetry have influenced many other singer-songwriters, and more than a thousand renditions of his work have been recorded. He has been inducted into the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame and he is a Companion of the Order of Canada, the nation's highest civilian honor [Wikipedia]

A bootleg from one of my favorite folk artists…
The sound quality is very good

With the download there was a text file, some information from that;
I removed a dozen of small clicks, reduced clapping (only over music), and played a bit with EQ.
t07 [0:37] right channel dropout fixed with a left channel patch (audible, but less annoying than before).

Except for tape flip breaks, seamless. (14 to 14 split seems logical here)

Set One:
01. [6:25.33] Bird on the Wire
02. [5:21.32] The Law
03. [3:49.04] Hey, That's No Way to Say Goodbye
04. [4:54.23] Who by Fire
05. [3:56.38] Coming Back to You
06. [5:17.57] Dance Me to the End of Love
07. [4:25.25] There Is a War
08. [4:57.06] Night Comes on
--- tape flip ---
09. [5:34.05] //The Gypsy's Wife
10. [5:06.42] Diamonds in the Mine

Set Two:
11. [5:06.58] Avalanche (solo)
12. [4:28.21] A Singer Must Die (solo)
13. [5:28.39] The Stranger Song (solo)
14. [5:49.63] Chelsea Hotel #2 (solo)
--- tape flip ---
15. [5:32.17] //Story Of Isaac
16. [5:27.54] Famous Blue Raincoat
17. [6:43.16] Lover Lover Lover
18. [4:50.10] Sisters of Mercy
19. [5:08.03] Suzanne
20. [4:49.39] Hallelujah
--- tape flip ---

21. [6:03.55] I Tried to Leave You
22. [6:01.66] So Long, Marianne
23. [3:20.36] The Captain (read out as a poem)
24. [4:38.44] Memories
25. [4:13.23] If It Be Your Will
--- tape flip ---
26. [5:01.47] Passin' Through (Rob Blakeslee, arr. Leonard Cohen)
27. [7:17.73] Tennessee Waltz (Pee Wee King/Redd Stewart/Leonard Cohen)
28. [4:59.46] The Partisan (Anna Marly/Hy Zaret)

Complete concert.

The band is:

Leonard Cohen - vocals, acoustic guitar
Anjani Thomas - backing vocals, keyboards

Mitch Watkins - guitar, backing vocals
Rob Getman - guitar, pedal steel, backing vocals
John Crowder - bass, backing vocals
Richard Crooks – drums

New link part 1

Link part 2

Link part 3

Thanks Kenwood for this great Bootleg

Style; Folk-Rock, Singer/Songwriter

Friday, October 12, 2007

V.A. - Folk Songs & Minstrelsy

In 1962, CBS records released a large collection of folk songs by some of the most respected folk performers of the day. I don't know what marketing channels were used, but my parents bought a four album boxed set called Folk Song & Minstrelsy. A few years ago, I ripped it to mp3, and arranged it onto 3 cds. 128 VBR and higher.


Track Listing : (with track subtitles from included book)

Disk One
01 Sumer Is Icumen In 1:36 The Deller Consort - Traditional Songs & Ballads of the British Isles- Two English Rounds
02 He That Will an Alehouse Keep 1:16 The Deller Consort - Traditional Songs & Ballads of the British Isles- Two English Rounds
03 Greensleeves 4:51 The Deller Consort - Traditional Songs & Ballads of the British Isles- Love Songs
04 We Be Soldiers Three 1:39 The Deller Consort - Traditional Songs & Ballads of the British Isles- Songs of War
05 Come All Ye Fair & Tender Ladies 3:26 Leon Bibb - British-American Ballads & Songs
06 Squirrel 1:34 Leon Bibb - The American Tradition- American Wit & Humor
07 Cotton-Eyed Joe 1:28 Leon Bibb - The American Tradition- Songs of Love
08 Darlin' 2:24 Leon Bibb - Modern Minstrelsy- Prison & Work Songs
09 Poor Lolette 3:08 Leon Bibb - The American Tradition- Songs of Love
10 The Golden Vanity 3:21 Ronnie Gilbert - British-American Ballads & Songs
11 Go from My Window 2:39 Ronnie Gilbert - British-American Ballads & Songs
12 Johnny Is Gone for a Soldier 2:32 Ronnie Gilbert - British-American Ballads & Songs
13 Spanish Is a Loving Tongue 2:31 Ronnie Gilbert - The American Tradition- Songs of Love
14 House of the Rising Sun 3:34 Ronnie Gilbert - Modern Minstrelsy- Desperate Men & Fallen Women
15 East Texas Red 3:50 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
16 The Sinking of the Reuben James 3:47 Cisco Houston - Modern Minstrelsy- War & Tragedy
17 Meet the Johnson Boys 1:30 The Weavers - Modern Minstrelsy- Humorous Songs
18 The Wild Goose Grasses 2:50 The Weavers - Modern Minstrelsy- Love Spurned & Love Betrayed
19 Aweigh, Santy Ano 2:27 The Weavers - British-American Ballads & Songs
20 Get Along, Little Dogies 3:19 The Weavers - The American Tradition- Ballads of the West
21 The Erie Canal 2:12 The Weavers - The American Tradition- Work Songs
22 We're All Dodgin' 2:31 The Weavers - The American Tradition- American Wit & Humor

Disk Two
01 The State of Arkansas 3:00 The Weavers - The American Tradition- American Wit & Humor
02 Greenland Whale Fisheries 3:13 The Weavers - British-American Ballads & Songs
03 Eddystone Light 1:18 The Weavers - Traditional Songs & Ballads of the British Isles- Humorous Songs
04 I've Been Driving on Bald Mountain & Water Boy 6:39 Odetta - Modern Minstrelsy- Prison & Work Songs
05 Saro Jane 2:40 Odetta - The American Tradition- Work Songs
06 God's A-Gonna Cut You Down 2:13 Odetta - The American Tradition- Spirituals & Gospel Songs
07 John Riley 3:09 Odetta - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
08 John Henry 3:19 Odetta - The American Tradition- Work Songs
09 All the Pretty Little Horses 2:59 Odetta - The American Tradition- Slavery & Emancipation
10 No More Auction Block for Me 2:27 Odetta - The American Tradition- Slavery & Emancipation
11 The Foggy Dew 5:21 Odetta - Modern Minstrelsy- War & Tragedy
12 No More Cane on the Brazos 3:32 Odetta - Modern Minstrelsy- Prison & Work Songs
13 The Fox 1:58 Odetta - British-American Ballads & Songs
14 He's Got the Whole World in His Hands 2:01 Odetta - The American Tradition- Spirituals & Gospel Songs
15 The Ox Driver 3:00 Odetta - The American Tradition- Ballads of the West
16 Another Man Done Gone 2:26 Odetta - Modern Minstrelsy- Prison & Work Songs
17 I'm Going Back to the Red Clay Country 4:40 Odetta - Modern Minstrelsy- Prison & Work Songs
18 Talking Guitar Blues 2:24 Cisco Houston - Modern Minstrelsy- Humorous Songs
19 Danville Girl 2:29 Cisco Houston - Modern Minstrelsy- Love Spurned & Love Betrayed

Disk Three
01 Old Dan Tucker 1:13 Cisco Houston - The American Tradition- American Wit & Humor
02 The Buffalo Skinners 3:24 Cisco Houston - The American Tradition- Ballads of the West
03 The Streets of Laredo 1:44 Cisco Houston - British-American Ballads & Songs
04 Hard Travelin' 1:49 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
05 Bonneville Dam 1:24 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
06 Do Re Mi 2:29 Cisco Houston - Modern Minstrelsy- Hard Times & the Dust Bowl
07 The Wreck of the Old 97 1:19 Cisco Houston - Modern Minstrelsy- War & Tragedy
08 John Hardy 2:12 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
09 The Bold Fisherman 1:33 Ed McCurdy - Traditional Songs & Ballads of the British Isles- Humorous Songs
10 When Cockle Shells Turn Silver Bells 1:38 Ed McCurdy - Traditional Songs & Ballads of the British Isles- Love Songs
11 Frankie and Johnny 3:05 Ed McCurdy - Modern Minstrelsy- Love Spurned & Love Betrayed
12 Lang A-Growin' 3:21 Ewan MacColl - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
13 Virgin Mary Had One Son 2:10 Joan Baez & Bob Gibson - The American Tradition- Spirituals & Gospel Songs
14 Wayfaring Stranger 3:17 Bob Gibson - The American Tradition- Spirituals & Gospel Songs
15 The Hangman, or The Maid Freed from the Gallows 3:43 John Jacob Niles - Traditional Songs & Ballads of the British Isles- Three Famous Ballads
16 I Know an Old Lady 2:51 Alan Mills - The American Tradition- American Wit & Humor
17 Johnny, I Hardly Knew Ye 3:53 Tom Makem - Traditional Songs & Ballads of the British Isles- Songs of War
18 The Whistling Gypsy 3:48 Tom Makem - Traditional Songs & Ballads of the British Isles- Love Songs
19 The Cobbler's Song 2:48 Tom Makem - Traditional Songs & Ballads of the British Isles- Humorous Songs
20 Railroad Bill 1:23 Cisco Houston - Modern Minstrelsy- Desperate Men & Fallen Women
21 The Cat Came Back 2:26 Cisco Houston - Modern Minstrelsy- Humorous Songs
22 East Virginia Blues 2:42 Pete Seeger - The American Tradition- Songs of Love
23 Old Joe Clark 1:55 Jimmy Driftwood - The American Tradition- American Wit & Humor
24 The Unfortunate Man 3:53 Jimmy Driftwood - The American Tradition- American Wit & Humor

Disk 1 :
Disk 2 :
Disk 3 :
NOTE : The above files needs Staffit to extract.
In case that you don't have Staffit in you pc
here is the links in rar files :

Posted by Gathering_Of_The_Tribe (Anonymous user)

Captain Beefheart - 1970 - Lick My Decals Off, Baby

Captain Beefheart & The Magic Band - 1970 - Lick My Decals Off, Baby

Tracks :
1. Lick My Decals Off, Baby
2. Doctor Dark
3. I Love You, You Big Dummy
4. Peon
5. Bellerin' Plain
6. Woe - Is - Uh - Me - Bop
7. Japan In a Dishpan
8. I Wanna Find A Woman That Will Hold My Big Toe Till I Have To Go
9. Petrified Forest
10. One Red Rose That I Mean
11. The Buggy Boogie Woogie
12. The Smithsonian Institute Blues (or The Big Dig)
13. Space - Age Couple
14. The Clouds Are Full of Wine (Not Whiskey or Rye)
15. Flash Gordon's Ape

Produced by Captain Beefheart himself, Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica. As such, the imaginative fervor of Trout Mask is toned down somewhat, but in its place is an increased self-assurance; the tone of Decals is also a bit darker, examining environmental issues in some songs rather than simply concentrating on surreal wordplay. Whatever the differences, the jagged, complex rhythms and guitar interplay continue to amaze. Those wanting to dig deeper after the essential Trout Mask Replica are advised to begin doing so here (be warned: Decals has tended to flutter in and out of print).
~Review by Steve Huey

Captain Beefheart - 1970 - Lick My Decals Off, Baby

The great lost Beefheart album! The Doc continues and distills the madness of Trout Mask Replica. More concise then it's predecessor, this long out of print LP contains some of the Captain's finest, most challenging songs. Considered Captain Beefhearts most fully realized album by no lesser authority then Captain Beefheart himslef.

Captain Beefheart - Lick My Decals Off, Baby @320

posted by Kaiten

Thursday, October 11, 2007

The Killers - Good Bye (Uruguay 1972)

Sweetly compressed work from one of the greatest groups in Uruguay in the early 70s -- the totally great Killers, a combo we'd rank right up there with We All Together for sheer simple brilliance! The Killers have a sound that leans heavy on fuzzy guitars, but they've also got a sweetness that really shines through too -- a warmth that's a bit like some of the soft rock touches that were showing up in South American bands at the time -- but, as with the best of that scene, still rough enough to be compelling, and not nearly as smooth as mainstream American rock from the time. The tunes here are all in English, with many originals, and are done in a really compelling way -- skipping along with a bottom-heavy groove on a number of tracks, and compressing the guitars next to the vocals with a very groovy flanged-out kind of sound! The album title is telling here too -- as the record was the group's "Good Bye" to Uruguay before going into exile to avoid a repressive government.

1) Good Bye
2) Forever
3) Born to Wonder
4) Wondering How
5) After Nothing
6) Sing a Long
7) Reflections
8) Love the One You're With
9) I'll Get Used to It
10) Looking for a Change
11) Superstar [1970]
12) White Room [1970]
13) Woodstock [1971]
14) Love the One You're With [1972]
15) Breach of Lease [1972]

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V.A - Green Crystal Ties : 60s Garage Band Rebels

A Taste Of The Same - The Bad Seeds

I'm A King Bee - The Bad Seeds

Won't Come Back - The Zakary Thaks

Face To Face - The Zakary Thaks

Gloria - The Illusions
Try - The Illusions
Fun, Fame And Fortune - The Outlaws
Worlds Apart - The Outlaws

Something For Me - The Liberty Bell

Reality Is The Only Answer - The Liberty Bell

My Little Red Book - The Nomads

Situations - The Nomads

People See IV - MICHAEL

My Last Day - MICHAEL

Revolution II - Kubla Khan

Help Yourself - Kubla Khan

My Door (Unreleased Version) - The Zakary Thaks

Green Crystal Ties (Unreleased Version) - The Zakary Thaks

If Rhino's Nuggets box only whetted one's appetite for mid-1960's garageand psychedelic-punk music, the this 10 CD series is your next stop. It augments and improves on Collectables' existing "Cicadelic" and garage-punk CD series, with better masters, improved notes and artwork, and cleverer packaging, which is almost deliberately similar to Rhino's Nuggets box. The idea is basically the same as the old Collectables series, presenting pairs of tracks by otherwise under-appreciated psychedelic acts from the mid-1960's to the dawn of the 1970's. Given that time span, the range of sounds is fairly diverse, from garage punk in a StandellsBlack Sabbath. Volume One emphasizes several bands that will be familiar to Collectables' earlier round of releases, including The Zakary Thaks, The Bad Seeds, and The Liberty Bell, along with some less familiar performers such as The Illusions, the Outlaws, Kubla Khan, and Michael. The Illusions deserve to be more than an unknown quantity for the version of "Gloria" featured here, a sneering rendition with a pair of angry sounding guitars and a pumping bass behind an edgy vocal--the paired up number, "Try, " is just different enough, featuring some harmonies, that one wishes there were a full album of material from this outfit. The Outlaws weren't as fierce sounding an outfit, but they knew how to get a fresh take on the Byrds' sound on numbers like "Worlds Apart." The Liberty Bell's two numbers here couldn't be more different, the slow, folk-rock-ish "Something For Me" paling next to the fuzz-box blow-out "Reality Is The Only Answer" which, it's title aside, is a great piece of high-energy psychedelia. The Nomads, cutting music for Orbit Records in Houston, are represented by a savage version of "My Little Red Book" and one superb original, "Situations," that's like a three-minute teen-punk sneer set to music. Michael was actually Michael Taylor, member of The Bad Seeds, who were one of the better Corpus Christi bands; his singles had a defiant personal edge despite the obvious commercial side to the songs. Kubla Khan's 1970 vintage "Revolution II" and "Help Yourself" retained a '60s punk feel despite running times and (in "Revolution") political sensibilities that would've been a too sophisticated for 1966-67, when it was just enough to complain about life. As a bonus, the disc includes unreleased versions of the Zakary Thaks classics "My Door" and the series-naming "Green Crystal Ties"--loud, crunchy, hook-laden garage punk with a vengeance.

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Wednesday, October 10, 2007

23rd Turnoff – ‘66/’67 - The Dream Of Michaelangelo [320k]

The 23rd Turnoff's name was an in-joke, referring to the exit off the M-6 that led to Liverpool, whence they came. Their history was a bit like that of the Tremeloes or, closer to home, the Beatles, in that their musical lineage went back to the end of the 1950s. With guitarist/composer Jimmy Campbell as their leader, they went through a long (and musically credible) stint as the Kirkbys, before evolving into the 23rd Turnoff, embracing flower-power and psychedelia in the process. Their magnum opus was "Michaelangelo," a gorgeous if somewhat downbeat single that should've fit right in with pieces like "Nights in White Satin," among other melancholic hits. It didn't make the charts, and eventually the group split up and Campbell teamed up with Billy Kinsley to form Rockin' Horse

Although this 21-track compilation is credited to the 23rd Turnoff, in fact it's a combination of recordings by the Kirkbys, the mid-'60s Merseybeat group led by Jimmy Campbell, and the 23rd Turnoff, the more psychedelic band they evolved into in 1967. It reveals Campbell as perhaps the most unheralded talent to come out of the Liverpool '60s rock scene, as he was a songwriter capable of both spinning out engaging Merseybeat and — unlike almost every other artist from the city, with the notable exception of the Beatles — making the transition to quality, dreamy psychedelia. Both sides of all three of the Kirkbys' 1965-1966 singles are here, as well as a bunch of unreleased recordings and outtakes by the group, all written or co-written by Campbell. While there's no obvious hit among them, they're catchy, Beatles-influenced tracks, showing some folk-rock and Revolver influence on the later efforts. The 23rd Turnoff material (much of it previously unissued) is more adventurous, though still retaining Campbell's knack for solid vocal harmony-driven melodies, with "Flowers Are Flowering" sounding very much like Roger McGuinn singing something off Revolver. "Michael Angelo," the A-side of the sole 23rd Turnoff single, is certainly the highlight, and indeed a highlight of 1967 British psychedelia as a whole in its hazy bittersweet swirl; you also get not one, but two unreleased studio versions of the same tune as well. It seems as if Campbell needed just a bit more encouragement, and his groups just a little more studio time, to develop into a notable British psychedelic group that could combine solid pop melodies, sophisticated lyrics and arrangements, and touches of English whimsy. Unfortunately they didn't get that chance, but what's here is satisfying on its own terms, bolstered by thorough liner notes explaining the complicated Campbell/Kirkbys/23rd Turnoff saga []

This is a CD release from 2004

Track list;
01-'Cos My Baby's Gone
02-Don't You Want Me No More
03-Don't You Want Me No More 1
04-She'll Get No Lovin' That Way
05-Bless You
06-Bless You 1
07-It's a Crime
08-I've Never Been So Much in Love
09-Dreaming (demo)
10-Flowers are Flowering (demo)
11-(Not) A Penny in My Pocket (demo)
12-I'll be Round (demo)
13-Michaelangeolo (demo)
14-Another Vincent Van Gogh (demo)
15-Mother's Boy (demo)
16-I'll be With You (demo)
17-You Sing Your Own Song (demo)
18-Michaelangelo (demo version with strings)
19-(Not) A Penny in My Pocket (demo version with strings)
20-Leave Me Here
21-Michael Angelo

Link Part 1

Link Part 2

Style; Psychedelic, Merseybeat

Rhubarb's Revenge - Confessions of a Big Lanky Dope (1973)

Nearly every evening in the early 1970s, a group of friends who called themselves RoadApples (founding members: Greg Shuss, Chris Breetveld, Rob Rothschild, Rich Larsen, and Bill DiMartino with occasional help from Mike Rothkopf, Mick Parmenter, and Shotzie) would meet at Chris Breetveld's "Pink Grass Studios" (otherwise known as his parents' house) in Kendall Park, New Jersey after a couple of the members' second-shift jobs let out. The young men would drink beer and attempt, in their untutored, verging-on-incompetent manner, to play something resembling music. They would inevitably play into the small hours of the night, all the while recording their experiments on Breetveld's Sony two-track reel-to-reel tape decks. After awhile, they began sounding pretty decent.

In early 1973, Breetveld's father announced that he would be moving the family to India for a five-year stint with UNICEF. Realizing that Breetveld would be taking his tape deck with him and thus depriving the other regulars of the musical spoils they had toiled over during the previous few years, the RoadApples decided to print up a dozen or so copies of the music as an LP keepsake for each member. It cost the same to press 100 LPs as for ten, however, so 100 copies of Rhubarb's Revenge or Confessions of a Big Lanky Dope were privately pressed in the fall of 1973 under the name Rhubarb's Revenge. Wondering if he had something commercially viable, Breetveld took the LP to a music publisher on Denmark Street in London (following directions given in the lyrics of the Kinks' "Denmark Street" straight to Tottingham Court Row), the first stop for the Breetveld family on its way to India. The publisher turned him down, as did every subsequent music publisher to whom he took the tapes once the family arrived in New Delhi.

Eleven months after leaving for India, Breetveld returned to the States and teamed up with Shuss, Rothschild, and DiMartino to continue recording music. They recorded under various monikers and in a plethora of styles during this period, including "lost classics" such as the prog-rock wierdness of Send Money (1974), the pure pop of Wet Paint (1976), and Breetveld's rock opera/musical, The Panchilla Gorilla (1979)--none of which were released. Breetveld and Shuss later went on to form the '90s cult pop/rock sensation, the Breetles. The absurdly rare Rhubarb's Revenge album--which, despite its rarity, had found its way across the globe--was reissued by Gear Fab in 1999, with four added bonus cuts that had to be cut from the original LP because of length restrictions. ~ Stanton Swihart, All Music Guide (BUY IT!)

1) Intro
2) Time Of Season
3) Victoria
4) Spaceman
5) Wors of Aaron
6) Lonely
7) Tomorrow Begins
8) When I Feet My Prize Hog
9) Nice Spot In The Dark
10) Avon Girl
11) 2000 Man (Bonus)
12) Prize Hoogies (Bonus)
13) Ohio (Bonus)
14) Roas Apple Jammies (Bonus)


Tuesday, October 09, 2007

Backdoor Men - Sodra Esplanaden #4

1. Out of My Mind
2. Magic Girl
3. Going Her Own Way
4. Dance of the Savages
5. I'm Going Home
6. Are You Gonna Be There (At the Love In)
7. People in Me
8. Stop Stop
9. Another Way of Giving
10. Wasting Time
11. Never Take a Chance
12. Inside Out, Upside Down
13. So Very Young
14. Magic Girl

Taken from AMG :
Collecting everything the band released on vinyl during its lifetime plus a few random bonuses from cassettes, Sondra Esplanaden, Vol.4 has the feel of one of the single-disc artist overviews on Sundazed for bands like the E-Types. Then again, that's probably just the way the Backdoor Men wanted it -- a '60s-obsessed garage/mod band from Sweden that came together in the early '80s, the Backdoor Men were one of many similar groups of the time enthralled with an already long-gone past. But they had it better than most thanks to an absolutely killer debut single, "Out of My Mind," which could have dropped out of a time warp from two decades previously and easily made the cut on the original Nuggets. Frenetic, energetic, brilliantly sung, it's easily the highlight on Sodra Esplanaden, Vol. 3, but much of the rest of the disc has a series of enjoyably derivative treats. Besides three full-on covers -- the Music Machine's "The People in Me,"the Chocolate Watchband's "Are You Gonna Be There (At the Love-In)," and the Standells' "I'm Going Home" -- the band merrily made its way through everything from backward-mask-introduced instrumentals ("Dance of the Savages") to breezily tuneful songs like "Another Way of Giving" that tone down the fuzztone and shrieking for calmer but no less peppy approaches. Based on the screams from the live cuts that make up much of the disc, they had one heck of a following at their height, and the performing in general shows they could kick up the right amount of proto-punk chaos. As is appropriate enough for an artifact of a band that celebrated a musical movement with its own boatloads of artifacts, there are liner notes detailing the whole story obsessively and plenty of photos and ads -- all the minutiae that could make Rhino Records proud.

The Syn - The Original Syn (1962-1969)

The Syn - The Original Syn (1962-1969)

1. Mallard Way
2. Grounded
3. 14 Hour Technicolor Dream
4. Created by Clive
5. Flowerman
6. The Last Performance of the Royal Regimental, Very Victorious and Valiant Band
7. Mr White's White Flying Machine
8. Cadillac Dreams
9. Merry-Go-Round (acetate)
10. The Gangster Opera (excerpts from the rehearsal tape) : Part 1: Chorus / Part 2: Legs Diamond / Reprise
11. I Can't Explain (acetate)
12. Love You (acetate)
13. Illusion: Part 1: Illusion / Part 2: Something's Going On / Part 3: Illusion (Reprise)
14. Chris Squire interview part 1 - Original Syn
15. Chris Squire interview part 2 - Jimi Hendrix Experience
16. Chris Squire interview part 3 - Mod Days and Nights
17. Chris Squire interview part 4 - Syn Progressions
18. Chris Squire interview part 5 - New Beginnings

Mod psychedelic rock from Syn -- the early group featuring Chris Squire that a part of the genesis of Yes -- with a sound that takes a distinctively Brit spin on the spiraling pop psychedelia of the time! The tunes are catchy as can be with good guitar and bass grooves, heavier drums, droning and driving organ, and hooky vocals that often show a sinister sense of humor as well as the mind expanding ethos of the era! Titles include "Mallard Way", "Grounded", "14 Hour Technicolor Dream", "Created By Clive", "Mr Whites Flying Machine", "Cadillac Dreams", "I Can't Explain" (acetate transfer), "Love You" (acetate transfer), "Illusion", "The Gangster Opera" (a 3 part excerpt from rehearsal tapes) and more, plus a long interview with Chris Squire.

Biography by Richie Unterberger
For a band that only made two singles, Syn are quite well-remembered by British rock collectors, principally because two of their members — guitarist Peter Banks and bassist Chris Squire — eventually surfaced in the first lineup of Yes in 1968. Their two singles, both issued in 1967 in the U.K. on Deram, were pretty solid efforts in their own right. These charted their transition from mod to psychedelic guitar rock, rather in the manner of a much more famous British psychedelic cult band from the same era, Tomorrow (with Steve Howe on guitar). Their first single, "Created By Clive," was a foppish Carnaby Street takeoff that the band disliked; the fine B-side, the hard mod pop tune "Grounded," featured high soul harmonies and interplay between organ and sparkling guitar, and was much more indicative of the band's sensibilities.

Their promise really bloomed on their next and last 45, "14 Hour Technicolour Dream," one of the best obscure British psychedelic singles (indeed one of the best British psychedelic singles by any band). Inspired by the 1967 psychedelic London festival of the same name, it was an exhilarating distillation of the best attributes of British pop-psychedelia — a hook-happy ebullient melody, precise harmonies, unexpected structural twists and turns, Who-like drumming, and tasteful guitar distortion — into a compact package. It wasn't a hit, though (in fact it was only used as the B-side of "Flowerman"), and the band broke up in early 1968. Banks and Squire played in another psychedelic band, Mabel Greer's Toyshop, for a few months before becoming founder-members of Yes. The four songs from the Syn singles have cropped up on numerous compilations of British psych-pop rarities; all four, and a demo of "Flowerman," also appear on Peter Banks' Can I Play You Something?, a compilation of odds and ends from bands that Banks was involved with prior to joining Yes.

Get it here @224
Part 1 ~ Part 2
Note : Extract first, part1 separately...
(You will find the original first part inside...)

Monday, October 08, 2007

Bread - First 6 Albums

More cooking and eating music.... maybe this is not psyche mostly soft rock but still tasty enough for me.

Bread Discography

Bread On The Waters (2005)
Rhino Hi-five: Bread (2005)
Retrospective (1996)
Anthology Of Bread (1985)
Lost Without Your Love (1977)
Best Of Bread (1973)
Baby I'm-A Want You (1972)
Guitar Man (1972)
Manna (1971)
On The Waters (1970)
Bread (1969)

Bread Biography
Bread was a 1970s rock and roll band from Los Angeles, California. They are a primary example of what later was labeled as "soft rock".
David Gates (1940—) (guitar, keyboards, bass and vocals) and Jimmy Griffin (1943–2005) (guitar and vocals) formed the group in 1968, adding Robb Royer (guitar, bass and vocals of Pleasure Faire) before signing to Elektra Records. Their first single, "Dismal Day", was released in June 1969 but did not chart. Their debut album Bread was released in September 1969. It peaked at #127 on Billboard's album chart.

The band became a quartet beginning with their second album, On The Waters, bringing in Mike Botts (1944–2005) as permanent drummer. This time their efforts quickly established Bread as a major act, hitting the mainstream with the #1 hit "Make It With You" in 1970. For their next single, they released a re-recorded version of "It Don't Matter to Me", a song from their first album. This single was a hit as well, reaching #10. Bread began touring and recording the 1971 album titled Manna, which included possibly their most enduring hit, "If".

Royer left the group after three albums to pursue other interests. He was replaced by Larry Knechtel (1940—) (keyboards, bass, guitar, harmonica), a top session player from the Los Angeles scene. Knechtel's credits included records by Elvis Presley, The Beach Boys, The Mamas and the Papas, The Monkees, Jan and Dean, Johnny Rivers and Simon and Garfunkel. In 1972 Bread released the highly successful albums Baby I'm-a Want You and Guitar Man. They enjoyed continued success on the singles chart as well; by the end of the year they had scored their 11th Top 40 hit. However, tensions existed between Gates and Griffin: Elektra Records had been invariably choosing Gates' songs for the A-sides of the singles, while Griffin felt that the singles should have been split between the two of them.

By 1973 the band members, Gates especially, sensed that they had taken Bread as far as they could. Fatigue from constant recording and touring had set in and personal relationships began to show strain. There was also some dissatisfaction with the songs planned for a sixth album. In view of this, Bread decided to disband instead of continuing on. Gates and Griffin then began solo careers, with mixed results. After reuniting in 1976, Bread released the album Lost Without Your Love in January 1977. The title track was the band's last top-ten hit, peaking at #9 on the singles chart. This comeback album was also RIAA-certified Gold®.

Bread toured throughout 1977. By 1978 renewed tensions between Gates and Griffin led the latter to leave the band. During this time Gates also enjoyed success as a solo artist with the hit singles "Goodbye Girl" and "Took The Last Train". He toured with Botts and Knechtel as "David Gates & Bread". This led to a legal dispute with Griffin over use of the band's name, of which Griffin was co-owner. The resulting litigation was not settled until 1984.

In 1996, having settled their differences, Gates, Griffin, Botts and Knechtel reunited Bread for a successful "25th Anniversary" tour of the United States, South Africa, Europe and Asia.

In 2005, Griffin and Botts died aged 61; both deaths were due to cancer.

BREAD 1969

1. Dismal Day
2. London Bridge
3. Could I
4. Look At Me
5. The Last Time
6. Any Way You Want Me
7. Move Over
8. Don't Shut Me Out
9. You Can't Measure The Cost
10. Family Doctor
11. It Don't Matter To Me
12. Friends And Lovers



1. Why Do You Keep Me Waiting
2. Make It with You
3. Blue Satin Pillow
4. Look What You've Done
5. I Am That I Am
6. Been Too Long on the Road
7. I Want You with Me
8. Coming Apart
9. Easy Love
10. In the Afterglow
11. Call on Me
12. Other Side of Love


MANNA 1971

1. Let Your Love Go
2. Take Comfort
3. Too Much Love
4. If
5. Be Kind to Me
6. He's a Good Lad
7. She Was My Lady
8. Live in Your Love
9. What a Change
10. I Say Again
11. Come Again
12. Truckin'


1. Welcome To The Music
2. The Guitar Man
3. Make It By Yourself
4. Aubry
5. Fancy Dancer
6. Sweet Surrender
7. Tecolote
8. Let Me Go
9. Yours For Life
10. Picture In Your Mind
11. Don't Tell Me No
12. Didn't Even Know Her Name


1. Mother Freedom
2. Baby I'm-A Want You
3. Down On My Knees
4. Everything I Own
5. Nobody Like You
6. Diary
7. Dream Lady
8. Daughter
9. Games Of Magic
10. This Isn't What The Governmeant
11. Just Like Yesterday
12. I Don't Love You


1. Hooked on You
2. She's the Only One
3. Lost Without Your Love
4. Change of Heart
5. Belonging
6. Fly Away
7. Lay Your Money Down
8. Chosen One
9. Today's the First Day
10. Hold Tight
11. Our Lady of Sorrow

Peace and Love

The Deviants - 1967 - Ptooff!

The Deviants – 1967 – Ptooff!

Tracks :
01 Opening (0:10)
02 I'm Coming Home (6:02)
03 Child of the Sky (4:34)
04 Charlie (3:58)
05 Nothing Man (4:23)
06 Garbage (5:38)
07 Bun (2:44)
08 Deviation Street (9:03)

Talk today about Britain's psychedelic psyxties, and it's the light whimsy of Syd Barrett's Pink Floyd, the gentle introspection of the village green Kinks, Sgt. Pepper, and "My White Bicycle" which hog the headlines. People have forgotten there was an underbelly as well, a seething mass of discontent and rancor which would eventually produce the likes of Hawkwind, the Pink Fairies, and the Edgar Broughton Band. It was a damned sight more heartfelt, too, but the more some fete the lite-psych practitioners of the modern age (they know who they are), the further their reality will recede. Fronted by journalist/author/wild child Mick Farren, the Deviants spawned that reality. Over the years, three ex-members would become Pink Fairies; for subsequent reunions, sundry ex-Fairies would become honorary Deviants. And though only Russell Hunter is present on Ptooff!, still you can hear the groundwork being laid. The Pink Fairies might well have been the most perfect British band of the early '70s. The Deviants were their dysfunctional parents. In truth, Ptooff! sounds nowhere near as frightening today as it was the first (or even 21st) time out; too many reissues, most of them now as scarce as the original independently released disc, have dulled its effect, and besides, the group's own subsequent albums make this one look like a puppy dog. But the deranged psilocybic rewrite of "Gloria" which opens the album, "I'm Coming Home," still sets a frightening scene, a world in which Top 40 pop itself is horribly skewed, and the sound of the Deviants grinding out their misshapen R&B classics is the last sound you will hear. Move on to "Garbage," and though the Deviants' debt to both period Zappa and Fugs is unmistakable, still there's a purity to the paranoia. Ptoof! was conceived at a time when there genuinely was a generation gap, and hippies were a legitimate target for any right-wing bully boy with a policeman's hat and a truncheon. IT and Oz, the two underground magazines which did most to support the Deviants (Farren wrote for both), were both publicly busted during the band's lifespan, and that fear permeates this disc; fear, and vicious defiance. It would be two years, and two more albums, before the Deviants finally published their manifesto in all its lusty glory — "we are the people who pervert your children" — during their eponymous third album's "People Suite." But already, the intention was there. (
This is the first Deviants' LP and what a proper masterpiece it is! You'll find their other records posted here too but this one wasn't, so I thought I should do the job. What sets Mick Farren's Deviants apart from the most other bands of the era and places them up there with The Velvets, is their (proto-)punk aesthetics. I mean, hey, just look at the pic above! Moody looks? A friggin whip?? This is definitely no hippie crap!! Anyways, this is the 1995 Alive Recs reissue ripped using EAC/LAME 3.97 (VBR --preset fast extreme). Cheers! - K

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Previous Deviants Posts :
Deviants - 1968 - Disposable
Deviants - 1969 - No. 3

Various Artists - Maidens In The Moor Lay Vol. II

From folk to psychedelia
In this second collection the folk element is still present, but this time psychedelia is the queen. Again, all selections have women on vocals. With two exceptions, all are from recent releases (i.e from the 21st century).

Jessica Bailiff - The Hiding Place (Jessica Bailiff)
Damon & Naomi with Ghost - The Great Wall (Damon & Naomi with Ghost)
Goblin Market - El Dorado (Ghostland)
Kendra Smith - Earth Same Breath (The Guild of Temporal Adventurers)
Wooden Wand & The Vanishing Voice - Caribou Christ In The Great Void (Xiao)
Fern Knight - Awake, Angel Snake (Music for Witches and Alchemists)
Espers - Daughter (Espers)
Iditarod and Sharron Kraus - The Trees Are All Bare (Yuletide)
Lau Nau - Jos Minulla Olim (Kuutarha)
Fit & Limo - Gopher Hat (A Garland of Flowers and a Bunch of Herbs)
Fursaxa - Veeho (Madrigals in duos)
Natural Snow Buildings - Wandering Souls (The Dance of the Moon and the Sun)
Greenpot Bluepot - untitled 2 (Warraw)
Buried Civilization - As Cold As The Clay (Tunnels to Other Chambers)
Majessic Dreams - Have to Go (Majessic Dreams)

Well, I wouldn't call Jessica Bailiff psychedelic, but in this song you can hear how she uses the sitar in her arrangement. A classic comes next - Damon & Naomi with the great guitar of Ghost. Green Pajamas-related, Goblin Market in a pop-psych song and after this two masterpieces: the first from Kentra Smith from 1996 and the second from from the very prolific Wooden Wand, guiding us to the sky. While flying we can listen to the light-as-feather tunes from Fern Knight and Espers, before we go in the gloomy 'The Trees Are All Bare' - an Iditarod song with Sharron Kraus on vocals. Lau Nau in a strange way marry the folk of her frozen country with a certain eastern touch, into which Fit & Limo who follows are wholeheartingly sinking (in an Incredible String Band way). After this comes maybe the most promising artist of our time. Fursaxa's early abums were like magical music boxes and now she's evolving into an unbelievable human-nature unity. The french duo Natural Snow Buildings offer a great psyche tune, while Natalie LeBrecht, as Greenpot Bluepot manages to remind us of the unparalleled 'Birdboys' of Penelope Houston. Buried Civilizations comes from the Jewelled Antler family and the selection closes with a Swedish band, living in Copenhagen - if I got it right.
I wish I had more reactions on these. You want them more psychedelic-oriented or more folkish? Do you want any of these at all? Please let me know.

You can choose between one long mp3 and the
15 individual songs in a rar file.

Saturday, October 06, 2007

Tears On The Console - Holyground The Works Volume Nine

This album by Chick Shannon and The Last Exit Band is Number 9 in the Holyground Works Volumes of Re-Releases of rare records by UK (mostly Folk) artists.

Steve Channing & Lazy Days (aka Chick Shannon and the Last Exit Band) UK 1975 release of "Tears In The Console" was originally titled The original release was called "Tears In The Console (Sweat On The Strings)". 250 copies of the original vinyl were pressed and mostly sold in the Wakefield area of the UK. It was re-released in 1990 on vinyl and now it is available on CD. I was lucky enough to pick this up very cheaply today in our local market. I also managed to get Holyground The Works Vol 2 Number Nine - Bread Street, but I saw a link to that on this site, if anyone wants a Lost In Tyme rip - just ask and it will be uploaded, I already scanned in the covers.

Tracks on the album:
Original Side One:

01 - The Stealers (Channing)
02 - Cornflower Blues (Levon)
03 - Tears On The Console (Levon-Channing)
04 - Peach Of A Love (Channing)
05 - Brand New Day (Channing)

Original Side Two

06 - Living In The City (Channing)
07 - No. 5 Along From Reds (Levon-Channing)
08 - Get Down To It (Channing)
09 - Call The Shots (Channing)
10 - Play Like A Band (Levon-Channing)


from the Tears sessions, (out takes)

11 - No Point At All (Channing)
12 - Dust Blues (Levon-Channing)

from other early sessions

13 - The Bully (Channing)
14 - Like Decent Folks Do (Channing)
15 - White Knight (Channing)

recorded 2004

16 - Heart Of The Storm (Channing)
17 - Echoes Of Holyground (Levon-Traditional)

The performers were :
Chick Shannon (Steve Channing)
John 'Basic' Priestley (Dave Wilson)
Tom Viking (Alan Robinson)
Clayton W Weste (John Shepard)
Zeppo Van Heere (Mick Spurr)
Len Shannon (Mike Levon)
'Kumsi' (Chris Coombs)

Here is what the original cover looked like:

Tracks 1-10 @320
Tracks 11 - 17 @320 Complete with Scans

Part 1 Re-Up
Part 2 Re-Up

Utopian Fields - 1989 - Utopian Fields

Utopian Fields - 1989 - Utopian Fields

Tracks :
A1 ...Of A New Life
A2 Sun :
a) The Porchway, b) Vision Of Our Life
A3 Wishful Thinking In The Garden Of Eden

B1 Cloudless Sulphur
B2 Metamorphosis Sunrise Of God's Creation

In the year 1989 Norwegian progressive rock label Colours released Utopian Fields debut album as their very first release. The bands second and last album was also released by Colours, in 1990.

The main format for the releases from Colours was the vinyl LP, and both of Utopian Fields albums exist on vinyl only.

Utopian Fields had expectations for a career in progressive rock. Yet they wasn't around for so long. Their music was inspired by the classic progressive rock from the seventies. And mainly marked by a gentle, relaxed atmosphere with a little bit of sadness. Nice music to relax with.

Acoustic guitar is extensively used. Very tasteful. Or, as the label wrote in their catalogue about the second
album: "Strong duelling guitars, often acoustic, dreamy organ and a curious rhythm section makes this a progressive feast." (but that was a commercial of course). For Norwegian visitors I have to mention, just for fun, that the singer on the second album is Bard Tufte Johansen. Today, well known comedian on our television (Lille Lordag, Apen Post). And he sings good too. ~alie

source :

Tom Inge Andersen -Bass
(Abductur Mongus + Captain Cumulonimbus And His Wondrous Cloudship + Carvus + COTG + Gentle Touch + Harstad Progressive Rock Ensemble + Sanatorium)

Tor Dahl -Gitar
(COTG + Scream Opera)

Atle Bystrom Olsen -Gitar
(Chris Eckman + Host (Svensk band) + Midnight Choir)

Tor Oyvind Follegg -Keyboards
Geir Wetle Holtan -Trommer
Lars Fredriksen -Vokal
Kjersti Tunem -Floyte
Ronny Bystrom Olsen -Munnspill
(Midnight Choir)

Bard Tufte Johansen -Vokal
Benjamin Grinilia -Vokal, gitar
(Carvus + COTG + Sanatorium)

More info (not in English..)

Band's Myspace :

Get it here @ 192
Utopian Fields - 1989 - Utopian Fields

Joan Jett & the Blackhearts - 1981 - Bad Reputation [192k]

By playing pure and simple rock & roll without making an explicit issue of her gender, Joan Jett became a figurehead for several generations of female rockers. Jett's brand of rock & roll is loud and stripped-down, yet with overpowering hooks — a combination of the Stones' tough, sinewy image and beat, AC/DC chords, and glam rock hooks. As the numerous covers she has recorded show, she adheres both to rock tradition and breaks with it — she plays classic three-chord rock & roll, yet she also loves the trashy elements (in particular, Gary Glitter) of it as well, and she plays with a defiant sneer. From her first band, the Runaways, through her hit-making days in the '80s with the Blackhearts right until her unexpected revival in the '90s, she hasn't changed her music, yet she's kept her quality control high, making one classic single ("I Love Rock 'n Roll") along the way.

Joan Jett's debut album is an infectious romp through her influences, ranging from classic '50s and '60s rock & roll through glam rock, three-chord loud'n'fast Ramones punk, and poppier new wave guitar rock. Half the songs on the original album (not counting bonus tracks on the remastered reissue) are covers, but whether it's Lesley Gore's feminist girl-group anthem "You Don't Own Me" (featuring the Sex Pistols' Steve Jones and Paul Cook) or a roaring version of Gary Glitter's "Do You Wanna Touch Me (Oh Yeah)," Jett makes them all work. The production can be a little weak in spots, but Jett's exuberance and tough-girl attitude overcome most deficiencies. Plus, the title track is a classic. []

Track list;
01 - Bad Reputation
02 - Make Believe
03 - You Don't Know What You've Got
04 - You Don't Own Me
05 - Too Bad On Your Birthday
06 - Doing All Right With The Boys
07 - Do You Wanna Touch Me (Oh Yeah)
08 - Let Me Go
09 - Shout
10 - Jezabel
11 - Don't Abuse Me
12 - Wooly Bully


Style; Rock & Roll

The Ceylib People (US) - 1968 - Tanyet

The Ceylib People (US) - 1968 - Tanyet

1. Leyshem (Deasy)
2. Zendan (Deasy)
3. Ceyladd Beyta (Deasy)
4. Becal (Deasy)
5. Ddom (Deasy)
6. Todda BB (Deasy)


1. Dyl (Deasy)
2. Ralin (Deasy)
3. Tygstl (Deasy)
4. Pendyl (Deasy)
5. Jacayl (Deasy)
6. Manyatt Dyl Com (Deasy)

The Ceyleib People

LYBUK HYD gtr, sitar A

1(A) TANYET (Vault 117) 1968

NB: (1) was also released in Germany with a different sleeve (Polydor International 623262) 1968. Reissued on CD (Drop Out Records DO CD 1991), with both mono and stereo versions on one CD.

1 Changes/Ceyladd Beyta (Vault 940) 1968

A West Coast group, most of whose personnel went on to greater achievements. Osborne, as a member of The Dillards and later as a session musician for Simon and Garfunkel among others; Knechtel as a member of Bread and session musician for Dave Mason, Lee Michaels, Art Garfunkel and Neil Diamond among others, and Cooder, of course, has made many significant solo albums and done session work for numerous artists.

The album is an excellent collection of Indian-influenced instrumentals.

Compilation appearances have included:
"Changes" on Beyond The Calico Wall (CD)
"Ceyladd Beyta" (rare alternate 45 mix) on Everything You Always Wanted To Know... (CD).

(Vernon Joynson/Stephane Rebeschini)

Get it here @HQ VBR

Thursday, October 04, 2007

Various Artists - Maidens in the Moor Lay

A collection of 14 acid-folk songs, sung by women

Cutters, Dealers, Cheaters - Janet Bean & Concertina Wire (Dragging Wonder Lake)
End-In-Tow - Walkabouts (Cataract)
She Looked Down - Mick Wills (Fern Hill)
N.C. - Myra Holder (Four Mile Road)
Wild Mountain Thyme - Penelope Houston (Birdboys)
Gallows Song/Gallows Hill - Sharron Kraus (Songs of Love and Loss)
Maiden in the Moor Lay - Meg Baird (Dear Companion)
The Falling of the Pine - Iditarod (The Ghost, The Elf, The Cat and The Angel)
Silver Dagger - Dame Darcy (Dame Darcy's Greatest Hits)
The Butcher's Boy - Half Asleep (tribute to the anthology of american folk music by harry smith)
Winter of Frosen Mornings - Tower Recordings (Folkscene)
Freight Train - Clay Alison (Fell From the Sun)
Long Black Veil - Bedlam Rovers (Squeeze Your Inner Child)
Kali Nichta (Good Night) - Courage Of Lassie (This Side of Heaven)

Some of the songs are traditional, others are not, some of the artists are well known, others are not, but they all share the feeling of folk music. This selection starts with two rather fast tunes, 'Cutters, Dealers, Cheaters' from the first album of Janet Bean (Eleventh Dream Day and Freakwater) and 'End-In-Tow' from Cataract -maybe the best release of Walkabouts. Then comes the lenghty 'She Looked Down' from Mick Wills, a long time companion of Nick Saloman (or Bevis Front), a song that defines the term 'Acid-folk', sang by Jenny Brown. I won't go in detail on every song, let's just hear those great voices singing. I'll just mention that the music slowly goes more dreamy until the Tower Recordings track, and then to more conventional forms with the two traditionals from Clay Alison and Bedlam Rovers. I can't resist to say that my lovely Dame Darcy gives to 'Silver Dagger' an underwater, spooky feeling, an absolute must-hear version.

You can have this in a long mp3 track here
or the usual rar file with the individual tracks here

Mayo Thompson - 1970 - Corky's Debt To His Father

Mayo Thompson - 1970 - Corky's Debt To His Father

Tracks :
1 The Lesson (2:39)
2 Oyster Thins (6:00)
3 Horses (3:09)
4 Dear Betty Baby (3:47)
5 Venus in the Morning (2:30)
6 To You (2:50)
7 Fortune (2:11)
8 Black Legs (3:50)
9 Good Brisk Blues (3:07)
10 Around the Home (2:50)
11 Worried Worried (5:03)

Review :
Although this, to put it mildly, is not a record for mainstream tastes, it nevertheless may be more palatable to pop ears than any of Thompson's numerous Red Krayola records. With a folkier bent than his group projects, Thompson projects himself as a lovable oddball of sorts, stringing together free-associative, non-sequitur lyrics against chord progressions and time signatures that, as is his wont, refuse to adhere to accepted norms.
Much of it's rather catchy (if not hummable), though, with a whimsical sense of fun that makes it impossible to dismiss as pretentious artsiness.
~ Richie Unterberger, All Music Guide

Bio :
Thompson is primarily known as the leader (and only constant member) of the Red Krayola, the long-running underground band that initially made their mark on the '60s psychedelic scene, and went on to become noted players in the post-punk era. In 1970, he released a little-known album under his own name, Corky's Debt to His Father, for the small Texas Revolution label.
By and large it's as unclassifiably oddball as his Red Krayola stuff. But on the whole it's more accessible and, in a way, rather charming, its off-kilter, folk-rock sensibility bearing some similarities to the work of Syd Barrett
~ Richie Unterberger, All Music Guide

Get it here @ High VBR's_Debt_To_His_Father.rar

Thanks Daniel for this one !!!

Tuesday, October 02, 2007

Farmers Union - 1978 – Reunion [320k]

Farmers Union: a flower in her bud broken?
Set up as an occasional formation Farmers Union played for a half year professional, with a repertoire that consisted of traditional English folk, completed with own material.
This was exported mainly electric and in its time [1972] the group was pretty unique.

A number of disastrous events followed each other; a chain collision in the Velsertunnel damaged the bus so that after a gig in Delft it totally broke down. Piet Kok got jaundice and could not perform for 6 months. This meant the end of the group.

Farmers Union had been stopped then well, but all members appeared to find their way in the music world very well; Liedwien Schaper started as a singer in Manacle Trust, Piet Kok a successful solo career as Pete Cox, Nanne Kalma with Irolt the foundations for a Frisian folk-movement, for the first time Frisian sung folk on vinyl!, Sido Martens ultimately proofed himself in the Dutch band Fungus and built after that a reputation as a solo artist

At the instigation of the ex manager Sjoerd Couperus they started with rehearsals for a Farmers reunion that would take place in it with closing threatened youth centre 'Hippo', on the Queen's Birthday 1978. A whole day music of Irolt, Manacle Trust, Pete Cox and Sido Martens, with as a closing act of an unique reunited Farmers Union

And what a reunification! With a lot of enthusiasm, the old familiar numbers were never played as sparkling as before. The enthusiastic reactions of the public made them decide to make this LP, the circle is around, the bud has emerged to a flower.
[A translation of the story on the back of the album]

Track list;
01. Merlin's melody
02. Once I had a sweetheart
03. Johnson boys
04. Lovesong
05. Phantasmagoria in two
06. Jese James
07. I listen to the morning
08. Hero of the fairytaleland
09. Ragtime millionaire
10. Children of darkness
11. Omie wise


Style; Folk

Monday, October 01, 2007

La Vida (Mexico ) - 1971 - La Vida

La Vida (Mexico ) - 1971 - La Vida
Grupo Frey (LP 07)

Tracks :
1 Around Me
2 Touch Me
3 Words Of King
4 Sharon
5 History Man
6 Listen My Song
7 Rollin Baby
8 The Life Is Golden
9 Coffe And Milk
10 Open The Door
11 Peace Of Mind

Essential Mexican album from 1971.
A fantastic blend of psychedelic rock and garage punk with great Doors / Seeds like keyboards and freaky wah wah guitar sounds that clash with funky Latin American percussion.
If you dug the Mexican Kaleidoscope album then you'll also like this !

Musically similar to the Kaleidoscope album
with absolute KILLER fuzz tracks and top-notch swirling organ madness.
A great and essential garage psych rock album that is one of the jewells of South America.

Get it here @224

Sunday, September 30, 2007

[Mama] Cass Elliot - 1972 - Cass Elliot [192k]

Cass Elliot's departure from ABC Dunhill Records and their bubblegum marketing of her was probably the greatest career move that this awesome vocalist ever made. RCA obviously has better things for her in mind, treating her with the same sort of care that they bestowed on Harry Nilsson. The company let this pair of world class vocalists choose their own material and brought them together with great musicians and arrangers. The end result with Elliot was possibly her finest solo album. She was certainly more comfortable with the material. One of the best performances is Judy Sill's "Jesus Was a Crossmaker," which is vaguely reminiscent of Laura Nyro's fine work of the period. Elliot's version of Randy Newman's "I'll Be Home" is also a standout. Elliot's sister, Leah Kunkel emerges as a sensitive songwriter on this record, and Elliot's reading of "When It Doesn't Work Out" is absolutely graceful. Arranger/conductor Benny Golson's work perfectly frames one of the voices of a generation. [Matthew Greenwald,]

Track list;
01-I'll be home
02-Baby I'm yours
03-Jesus was a cross maker
04-That song
05-When it doesn't work out
06-I'll be there
07-Disney girls
08-I think it's going to rain today
09-Cherries jubilee
10-It's all in the game


Style; Folk-Rock

Saturday, September 29, 2007

The Oxfords - 1969 - Flying Up Through the Sky

The Oxfords - 1969 - Flying Up Through the Sky

Tracks :
1. My World
2. Lighter Than Air
3. Sung At Harvest Time
4. Two Poems
5. Flying Up Through The Sky
6. Always Something There
7. Come On 'Round
8. Young Girl's Lament
9. Trix Rabbit
10. Good Night
11. Time And Place
12. Sun Flower Sun
13. Come On Back To Beer
14. Say It Your Own Way
15. The City
16. Flute Thing
17. Cuttin' You Loose
18. Sweet Lover Man
19. Those Winds
20. Tornado Baby

Review (by Stanton Swihart, All Music Guide)
This compilation is a lovely surprise. The fourth installment in Gear Fab's Louisville music series is the absolute last word on the Oxfords. Starting off with all but one cut from the sole 1970 LP and filling out the story with the two pre-Jill DeMarco 45s, the band's one post-album single, and five previously unreleased cuts from its final incarnation, Flying Up Through the Sky constitutes the Oxfords' entire recorded legacy.

The material from the original LP tends toward the lighter side of the '60s pop spectrum. The melodies are largely Technicolor bright and the sentiments have a paisley-eyed optimism that seems endemic to the late '60s alone. The harmonies of leader Jay Petach and DeMarco approach the sort of oxygenated buoyancy of the 5th Dimension or the Free Design, but with an earthier charm along the lines of Spanky & Our Gang.

The music may strike some as a tad naïve, but it fits the insouciant mood of the period perfectly and 30 years after the fact still sounds fresh. At times ("Come on 'Round," the wah-wah laced "Young Girl's Lament") the band flashes more substantive hints, sounding something like the Jefferson Airplane's tough but yet deflowered younger sister, unsettled but still unspoiled. The rearrangement of the Quechua Indian song, "Sung at Harvest Time," is beautifully, eerily psychedelic, and the avant-orchestral experiment of "Two Poems by e.e. cummings," while not really successful as a pure listening experience, is bizarrely appealing. The tracks from the initial unit are much more derivative (specifically of the Beatles, Kinks, and Monkees) but they are a great window into Petach's developing sense of songcraft, especially the Bandstand-thumbed "Sun Flower Sun," which sounds terribly quaint but is still infectious. It is the last version of the band, circa 1972, that most impresses. The band had obviously found a quite exciting -- perhaps even forward-looking -- niche, very much enthralled with sophisticated jazz and blues. On songs like the whirlwind "Those Winds" and "Tornado Baby," it is consistently in the pocket, while "Sweet Lover Man" even predicts the loose, laid-back, and country-funky songs that Essra Mohawk sang for Bob Dorough's Schoolhouse Rock series several years later.

Flying Up Through the Sky is a time capsule, to be sure, but it is a superb one that transcends its era on sheer exuberance alone.

Full Bio Here :

Get it here @ 192

Thanks Chris41 for this one !!!

T. Rex - 1968 - My People Were Fair And Had Sky In Their Hair, But Now They Are Content To Wear Stars On Their Brows [192k]

Dave Thompson;
Until he joined John's Children, in March, 1967, Marc Bolan had never even owned an electric guitar. And once he quit the band, it is said, he abandoned it as quickly as everything else which that band represented — freakbeat pop, adrenalined psych, electric soup. In fact, Bolan never lost sight of his electric destiny, even as Tyrannosaurus Rex sawed away on their acoustic toys, a point which producer Tony Visconti cottoned onto the first time he ever saw the duo play, "Marc sitting crosslegged on stage playing his strange little songs in a wobbly voice, while Steve Took was banging on his bongos." Visconti himself was a novice producer, "holding out for something really different and unusual. I thought Marc was perhaps that." He was, and the album which he and Took delivered emphasized all the qualities which Visconti had spotted that night at the UFO club. My People Were Fair approaches the listener from a totally unique angle. The Bolan voice, hardened from the slight warble which carried through his early solo material (still noticeable on the backups he performed for John's Children), remains uncompromising, but it blends so perfectly with the bizarre, almost Eastern-sounding instrumentation that the most lasting impression is of a medieval caravansary whose demented Bedouin cast has suddenly been let loose in a recording studio. It is an irresistible affair, if absolutely a child of its psychedelically-inclined time — "Frowning Atahuallpa" even recruits DJ John Peel to read a Tolkien-esque fairy tale. But one of Bolan's loveliest compositions is here — the gentle and deceptively melodic "Child Star," layered by harmonies which hit you sideways and are all the more mighty for it; one of his weirdest, too, is included, the mutant fairy dance of "Strange Orchestras," which sounds like it was recorded by one. Together with fellow highlights "Chateau in Virginia Waters" and "Graceful Fat Sheba," both are so far ahead of the material Bolan had been composing just a year earlier (subsequently made available on the Hard on Love/Beginning of Doves retrospective), that the inclusion of the "oldies" "Hot Rod Mama" and "Mustang Ford" is almost disappointing. They are, however, the only sour notes sounded on an album whose magic is discernible from so many different angles that it is hard to say which is its most astonishing factor. But it's hard not to be drawn to the actual dynamics of My People Were Fair, the uncanny way Tyrannosaurus Rex take the slightest musical instruments, pixie phones, glockenspiels and a Chinese gong included, to make them sound like the heaviest rock & roll band on the planet. Anyone could play power chords, after all. But who else would play them on acoustic guitar? []

Track list;
01 - Hot Rod Mama
02 - Scenescof
03 - Child Star
04 - Strange Orchestras
05 - Chateau in Virginia Waters
06 - Dwarfish Trumpet Blues
07 - Mustang Ford
08 - Afghan Woman
09 - Knight
10 - Graceful Fat Sheba
11 - Wielder of Words
12 - Frowning Atahuallpa


Style; Psychedelic

Maquina - 1971 - Why?

Perhaps the best of the early 70s spanish psych/prog rock albums, with loads of fuzz, twin guitars and organ. Both acts feature extensive instumental freak-outs (in this case the long, divided title track) and strong lead English vocals.

I discovered the group in 2003 when Wha Wha records released this gem on vinyl. I often returned back to this and became one of favorite listens from the psych/prog area. I still enjoy it and new elements comes out every time.
This is a CD rip from 1993 with two bonus singles from 1969 which are very different from the album.

Máquina! is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 69, and the following year, their first Lp was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain: The album was called Why? Máquina! and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don’t Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. It is not known if Guitarist Paris is related to Pan & Regaliz’s singer Guillem Paris.
This is really amazing! Discover it!

Track Listings
1. I Believe (4 :11)
2. Why? (11:52)
3. Why? (continuacio) (12:58)
4. Let Me Be Born (3:03)
Bonus tracks
5. Earth’s Daughter (4:37)
6. Look Away Our Hapiness (4:09)

- JM Paris / guitars
- Luis Cabanach / guitars, bass
- JM Vilaseca / drums
- Enrique Herrera / keyboards
- Jordi Batiste / vocals, flute, bass

With this stunning debut, Máquina! scored heavily for posterity as this is the first known ROCK album to come from Spain and what an astounding one it is!!! Really these guys made one hell of rebellious record given the context in which Spain was being submitted to Franco’s dictature. A stunning artwork depicting a clock rising from a croissant was clearly a call for Spanish youth to wake-up (and have a good breakfast) and get ready for a new day. Quite a revolution knowing the ultra conservateur nature of El Caudillo, even if by that time Spain was letting loose things as European tourist money was flowing in but although the end was near, it was incredibly risky.

Stylistically, we are dealing with a psych/prog rock with extended and excellent interplay, somewhere in between live Cream (with KBs) and early Floyd or even a live Grateful Dead. The twin guitars are one of the features but one of them played bass when the bassist was busy with the flute or singing. The opening track is simply a superb atmospheric instrumental with organ-piano KB attack doubled by a superb and orgasmic guitar, a pure delight! Then comes the 25 min title track (broken over the two sides of the vinyl) with superb organs, twin guitar attack and rather enjoyable but muffled-in vocals, the whole thing going on an not too extended jam and evolving to one of the more entertaining drum solo I have ever been given to listen – maybe because it is not a pure solo as the KB outlines a few phase here and there. The second part of Why? opens the second side of the vinyl and picks up where the first part had left: a superb mostly instrumental enthusiastic prog-tinged rock jam. Quite enjoyable, especially when discovering this in 05, some 35 years after it was recorded. There are some particularly exhilarating moments in this track! The last track is yet another great tune

The two bonus tracks are the afore-mentioned single tracks and although a bit different than the album (especially in the vocal dept but the Earth’s Daughter track sounds like some David Bowie spin-off), they do not interfere in the continuous ambiance of the album and they add to the album’s incredibly short duration.

This album is a relative minor gem for progheads but is a 24-carat nugget for the psych-jam group fans!!

Get it here


Friday, September 28, 2007

Well, sorry for the format of this post....
But chatboard it's quite small for answers to all of you...

I'm also quite busy to post everything that you have upload there.
(I'll do that the next days)

Lets take the it from the start.

@ Feint Operation Rising Storm- Calm Before...

@ radioshoes Don Agrati - Home Grown

@ THULL Goblin - Dawn Of The Dead [soundtrack]


@ mister shabbaddoo
Kali Bahlu - Takes the Forest Children on a Journey of Cosmic Remembrance

Heavypsychman :
Just released a Monster Heavypsych compilation that will rock ya boat!


Ben Elephant :
Inspired by the main post of Brainticket, Her are 3 more Brain Melters for all the Psychonauts out there. Remember to play 'em loud...........
Can be found also Here (with bonus tracks)
Can be found also Here


jhlee69 :
Savage Republic - 1982 - Tragic Figures US
rar Size: 77.28 MB
The download link is:

KaiBailey :
Just a small request :
Roy Harper - Stormcock

Reply by Kundalini :
Well KaiBailey if you are patient and THE GOOD FOLKS at LOST IN TYME don't beat me to it I will have your request uploaded to Rapidshare in "TWO SHAKES OF A LAMBS TAIL" and will post it here in this very enjoyable CHATBOX so there!!!!!!!!!!!!!! We are lucky that The TYME give us this kind of FREEDOM, lets enjoy it while we can.

radioshoes :
Anyone who enjoyed the Nits - In The Dutch Mountains,
here's their most psychedelic album from 1990, Giant Normal Dwarf

Ben Elephant : I'm quite new to the ways of The Blog but if this Chatbox is like a Request and Upload board then I thank all who sail in her. I have been looking for this for a while now and think there must be a few more of us swampy southern souls who luv da voodoo funk. Duane and some other Allmans on the sessions for this Capricorn/Atco lost gem
by Johnny Jenkins - Ton Ton Macoute
Thank You Lost In Tyme.

@ yehaskel Harvey Mandel - Cristo Redentor
Link 1 ~ Link 2

@ dave Love - 1966 - Love can be found Here

@ angelab23 Man From Missuri can be found Here

You can find also some links Here & Here

Thank You All for the Support !!!
Enjoy !!!

P.S. A small request from me....
Please do not uploading albums that we have already post....
It's better for all if you uploading albums that we don't have here....
And try to upload albums in good quality (192kbps or higher)

Judy Henske & Jerry Yester - 1969 - Farewell Aldebaran

Judy Henske & Jerry Yester - 1969 - Farewell Aldebaran

Tracks :
1 Snowblind
2 Horses On A Stick0
3 Lullaby
4 St. Nicholas Hall
5 Three Ravens
6 Raider
7 Mrs. Connor
8 Rapture
9 Charity
10 Farewell Aldebaran

Farewell Aldebaran by Judy Henske and Jerry Yester is a remarkable album of folk rock and psychedelic songs issued in 1969.

Larry Beckett - drums (track 1)
John Forsha - 12 string guitar (2,5,9)
Toxie French - drums (6,7,10)
Judy Henske - vocals
Eddie Hoh - drums (2,9)
Bernie Krause - Moog synthesizer programming (10)
David Lindley - bowed banjo (6)
"David's friend" (Solomon Feldthouse ?) - hammer dulcimer (6)
Joe Osborne - bass (2,9)
Dick Rossmini - guitar (2,9)
Jerry Scheff - bass (6)
Ry Cooder - mandolin ? (6? - credited in Unterberger's book but not by Yester)
Zal Yanovsky - bass (1,10), guitar (1,10)
Jerry Yester - vocals, guitar (1,2,8,10), piano (2,3,4,5,6,7,8,9,10), harmonium (2), toy zither (3), Marxophone (3), Chamberlain Tape Organ (4), orchestra (5,10), organ (7,8), banjo (8), bass (10), Moog synthesizer (10)

Some Info from Wikipedia :

Henske and Yester met while both were working in the West Coast folk scene in the early 1960s, Henske as an uncategorizable solo singer recording folk, blues, jazz and comedy, and Yester as a member of the Modern Folk Quartet. They married in 1963. A few years later, Henske's career was faltering as a result of ill-advised forays into the cabaret market, while Yester had produced albums by Tim Buckley and The Association, and had also replaced Zal Yanovsky in The Lovin' Spoonful.

The pair, with their new-born daughter, moved to Los Angeles in 1968. Henske shared a manager, Herb Cohen, with Frank Zappa, and it was Zappa who suggested to her that she should put to music some of the verse she was writing. Yester, at this point, was working with Yanovsky on the latter's first solo album, and experimenting wildly with new electronic and other sound effects. The trio combined to put together "Farewell Aldebaran", drawing on a varied selection of their musician friends, and it was issued on Zappa and Cohen's new Straight label.

The album contains a wild mixture of late 1960s styles, as though recorded by ten different bands, but all featuring Henske's almost gothic lyrics and remarkable vocal range. The opener, "Snowblind", is a Janis Joplin style belter which was issued as a single, but is immediately followed by "Horses on a Stick", almost a parody of "sunshine pop". Next is the quasi-classical "Lullaby", and then a melodramatic hymn with strong anti-clerical lyrics, "St. Nicholas Hall". From here, the album picks up even higher in quality. "Three Ravens" is a sublime slice of baroque pop; "Raider" has been described as an acid sea shanty; "Rapture" is a folk-rock waltz; and the upbeat "Charity" is possibly the best track of all. Finally, the title track is the most overtly "psychedelic" track on the album, featuring electronically treated vocals and Bernie Krause's Moog synthesizer.

Although the album got some good reviews, it failed to sell, purchasers possibly driven away by its sheer eclecticism. Henske and Yester went on to form a more conventional band, Rosebud, before they went their separate ways at the start of the 1970s.

Get it here :

Thanks Jimmy for this one !!!

Thursday, September 27, 2007

David Hemmings - 1967 - Happens

Actor David Hemmings was afforded pop star-like status after his dashing turn in '60s pop culture flick BLOW UP, so it's appropriate that he took time out from the day job to make an album with members of The Byrds. Released in 1967, HAPPENS is a nine-track folk rock album by the talented actor.

I recommend this album to all who loved the Byrds in their psychedelic era.

The Reviews

David Hemmings; boy opera star, young British character actor, star of the iconic 1960's movies "Blow Up" and "Barbarella", film and TV director and producer, and latterly again a character actor and star in such films as "Gladiator" "Gangs Of New York" and the elegaic British movie "Last Orders". An impressive resume for any man, one might think, but there's more, he made a record too! But not the usual actor-makes-an-album camp artifact ....oh no....our David was quite serious. In fact, "Happens!" was actually produced in Los Angeles by none other than Byrds manager and producer Jim Dickson, AND features The Byrds as well as a session crew (led by legendary bassist James Bond Jnr.) drawn from Dickson's years producing folk and jazz for the World Pacific label. The fact that it was done somewhat in a rush due to David's film commitments actually worked in it's favour as the Columbia-rejected and otherwise unheard Gene Clark song "Back Street Mirror" opens the album with a full-on gorgeous orchestral Folk Rock rush.
Largely improvised collaborations with The Byrds and Mr. Bond's crack crew of jazzers follow, allowing David to express his love of folk music against a background of prime Byrds at their Raga Rock peak, and the cream of LA's jazz fraternity! David's friend, Monkees songwriter Bill Martin provides a couple of songs, and we are on course for an album of rare beauty.

This is an unknown and hidden gem indeed!

This is an unexpected gem from the Sixties. Certainly, David Hemmings was very well known but not as a singer. He starred in a number of classic films from the era, most notably Blow Up where he portrayed a photographer apparently uncovering a murder. The singing side of him remained relatively unknown and the re-release of the album on CD must come as a bit of a surprise, albeit a very pleasant one. Having made his name in the UK, David Hemmings headed off to LA where he met up with a number of the Byrds as well as their producer Jim Dickson. The seemingly unusual collaboration produced this album.
In keeping with the Byrds connection, the opening track Back Street Mirror is a Gene Clark song that was written and recorded subsequent to his departure from the group. However, it was never released and David Hemmings recorded his vocals over the existing backing track. This is really something to thank David Hemmings for, otherwise this Gene Clark song would have remained unreleased.
Reason to Believe is the Tim Hardin classic and Hemmings' version stands up with the best of them. The guitar style of this track reminds the listener of the Incredible String Band, a likeness that appears in later tracks.
Good King James starts with some clearly recognisable Roger McGuinn guitar. Like many of the other tracks, this was improvised in the studio. This was done in one take! Bell Birds is an old song but the lyrics had "disappeared" over time so the new lyrics are from Hemmings. Like Good King James, the following track Talkin' LA another studio improvisation where McGuinn and Hillmann provide the backing to Hemmings' semi-spoken vocals. The backing track is less free-form and this allows Hemmings to improvise with his thoughts about Los Angeles. He had recently moved to the area and seems happy. As he says, "this is where it all happens."
Anathea is another traditional folk song where David Hemmings lays down a beautiful vocal on tops of the Byrds' backing. While some of the tracks feature spoken, improvised vocals Hemmings shows here that he has a fine singing voice. After the Rain is another beautiful song.
Another improvisation is War's Mystery which has the unmistakable Roger McGuinn guitar sound but with the addition of Indian instruments it has the air of a Robin Williamson song, even if the lyric subject is quite different. The track is a long improvisation. This is more than just a curio from a 1960s actor. Hemmings shows that not only does he has a fine singing voice but also that he can improvise his lyrics on top of a backing track. You could say that it is folk-rap! The album stands up on its own and the fact that Hemmings is an actor is quickly forgotten. The album is easily accessible to fans of the Byrds or the Incredible String Band and will be of interest to others with more of a leaning towards folk psychedelia.

Thanks Justin Thyme for this

Get it here
Divshare :
Rapidshare : david_hemmings_-_1967_-_happens.rar

Tuesday, September 25, 2007

Morning Dew - Second Album

Morning Dew - Second Album

tracks :
1 Someday 4:24
2 Flying Above Myself 4:21
3 My Kind Of Music 4:08
4 Lion - Away From It All 9:26
5 1849 4:58
6 Satan Got A Hold On Thee 4:18
7 Money Hungry Blues 2:56
8 Then Came The Light (Alt. Stereo Version) 3:55
9 Something You Say 3:33
10 Our Last Song 1:15

the band :
Mal Robinson (vocals, guitar)
Fredy Baumgart (guitar, organ, background vocals)
Dave Howell (piano, organ)
Blair Honeyman (bass, background vocals)
Don Sligar (drums)

The Morning Dew were formed from the remains of a collapsed folk-rock band called The Toads. Two early single releases, "No More" and "Be a Friend," were local successes in 1967, and the group was signed to Morris Levy's Roulette label in early 1969, for which they cut an entire album of material before disbanding later that year. Collectables has reissued a CD collection, and Gear Fab has released the folk-like "Sing Out" from their unissued late 1968 sessions.
~ Bruce Eder, All Music Guide

Get it here @ 128
Morning Dew - Second Album

Sunday, September 23, 2007

The Spacious Mind - 1999 - The Mind Of A Brother

Saturday, September 22, 2007

Group 1850 - 1968 - Agemo's Trip To Mother Earth [192k]

Group 1850 is an interesting, if sometimes exasperating, late-'60s Dutch band who ranks among the most accomplished and original Continental rock acts of the era, though they made little impression in English-speaking territories. Starting as a more or less conventional beat band in the mid-'60s, they had taken a turn for the more psychedelic and bizarre by 1967. Determined to drive into the heart of the psychedelic beast, their songs (performed in English) are quite eclectic for the era, shifting from doom-laden tempos with growling vocals to sunny, utopian passages with breezy harmonies. The group could be roughly labeled as a mixture of the early Mothers of Invention (whom they supported at a Dutch concert in 1967) and Pink Floyd without much of a sense of humor; their songs are intriguing and not without powerful hooks, and the lyrics ambitious (if often inscrutable), but one's attention tends to wander over the course of an album, or even during their lengthier songs. Their late-'60s LPs are highly esteemed by some serious psych/progressive collectors.

Agemo's Trip to Mother Earth was one of the most ambitious psychedelic albums to emerge from continental Europe in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth. Musically, the record owes a lot to late-'60s British psychedelia (particularly of the Pink Floyd school), with hints of the onset of progressive rock in its less-conventional passages. Although plenty of melodic shifts, celestial organ, wiggling distorted guitar, harmony vocals, Gregorian chant-like singing, Mothers of Invention-like horns, beatific respites (on "Reborn"), and general freakiness entertainingly convey the exploration of new psychic territory, it ultimately lacks the lyrical and musical cogency of, say, late-'60s Pink Floyd. At times the bold weirdness gets self-indulgent, throwing in phased drum soloing, solemnly intoned spoken female romantic exclamations, and multilingual murmuring. The album was reissued, in its original sequence and its entirety, as part of the Group 1850 CD compilation 1967-1968 []

This download only contains all 7 tracks from the LP, later on the 1997 CD release contained 16 tracks…

Track list;
01 - Steel sings
02 - Little fly
03 – I put my hands on your shoulder
04 - You did it too hard
05 - The point in this life
06 – Refound
07 – Reborn


Style; Psychedelic

V.A. - Like Rain !!!

V.A. - Compilation Like Rain!!!

00 - Song For Our Ancestors - Steve Miller Band
01 - Another Time - Pearls Before Swine
02 - Spring ' 69 - Cressida
03 - Widow With A Shawl - Donovan
04 - I've Been Wrong Before - Hp Lovecraft
05 - I Watch The Moon - Gandalf
06 - Heartbreaker - Grand Funk Railroad
07 - Try A Little Bit - Lovin' Spoonful
08 - Sandcastles - 31st Of February
09 - Before The Beggining - Fleetwood Mac
10 - In Retrospect - Six Feet Under
11 - Death Sound Blues - Country Joe & The Fish
12 - A Touch Of Sunshine - Taste Of Blues
13 - Dreams Of Dreams - Smoke
14 - Love Is Here - Blue Mountain Eagle
15 - The Golden Hour III - Electronic Hole
16 - Plastic Horizon - Gods

* This is a compilation of some of my favorite tracks
hope you like it!!

Friday, September 21, 2007

Salvation - 1st & Gypsy Carnival Caravan

1st & Gypsy Carnival Caravan
Initial release : 2001?
Head 4497

The two Salvation LPs on one CD.


01 Love Comes In Funny Packages
02 Cinderella
03 More Than It Seems
04 Getting My Hat
05 G.I. Joe
06 Think Twice
07 She Said Yeah
08 The Village Shuck
09 What Does An Indian Look Like

10 Hollywood 1923
11 Handles of Care
12 Yuk Yuk
13 In the Evening
14 Salvation Jam
15 Come on over Here
16 What'll I Do #42


* Al Linde - vocals
* Artie McLean - bass
* Joe Tate - guitar
* U.S. of Arthur (Art Resnick) - keyboards
* Teddy Stewart - drums
* Rick Levin - drums

The following may also have contributed;
* Tom Scott
* Bill Plummer
* Mike Wofford
* Paul Beaver
* Jim Gordon
* Hal Blaine
* Jay Lewis

* Original producer - Bob Thiele

Related releases

Tracks 1 to 9 were originally released on;
* Salvation , Salvation, 1968

Tracks 10 to 16 were originally released on;
* Gypsy Carnival Caravan , Salvation, 1968

San Francisco psychedelic band Salvation was formed in 1967 by singer Al Linde and guitarist Joe Tate, who first met while students at the University of Washington. Bassist Artie McLean, keyboardist Art Resnick, and drummer Teddy Stewart later completed the original lineup, which at first called itself the New Salvation Army Banned. After earning featured spots in a series of concerts in Golden Gate Park, the band signed to ABC Records, albeit on the condition they abbreviate their name for fear of legal action from the actual Salvation Army. Salvation's self-titled debut LP followed in 1968, boasting an expansive, eclectic sound highlighted by the first single, "Think Twice." Opening slots for bands including the Doors, Big Brother & the Holding Company, and Canned Heat followed, and around the time of their second album, 1969's Gypsy Carnival Caravan, Salvation traveled to New York City to headline the Fillmore East and the Village Gate. But their future was jeopardized after the group's management reputedly ran off with their ABC advance, and in 1970 Salvation dissolved; Resnick later resurfaced in jazz circles with a handful of solo recordings as well as sideman dates behind Nat Adderley, Freddie Hubbard, and others. ~ Jason Ankeny, All Music Guide

Get it here @ vbr

Thursday, September 20, 2007

Andrew (Iceland) - 1973 - Woops

Andrew (Iceland) - 1973 - Woops
Najo Productions Private Pressing JA-1

Tracks :
1 Rockin and Rollin
2 Himalaya
3 I Love You (Yes I Do)
4 Look
5 Dawning
6 Sweetest Girl
7 Heathens
8 Ballad of Herby Jenkins
9 Purple Personality
10 Age

One of the Icelandic psychedelic masterpieces from 1973.

One and only album by yet another "Icecross" related band from Iceland.
Stoned Icelandic private Press Hard Prog Psych with wild Acid Guitar and English vocals.
Issued in a tiny edition of 500 copies.
Including the marvelous doomy-psychedelic jewel "Himalaya".

Highly recommended !

Get it here :
Andrew (Iceland) - 1973 - Woops @256 Vinyl Rip

Wednesday, September 19, 2007

The Pleasure Fair (US) 1968

Group was also known by several other names including The Rainy Day People.

Vocalist Michelle Cochrane, singer/keyboardist Robb Royer, bassist Tim Hallinan, and drummer Steve Cohn formed harmony pop quartet the Pleasure Fair in Los Angeles in 1966. The group signed to Uni Records the following year, and on the recommendation of session ace Leon Russell, pop maestro David Gates was installed to produce their self-titled debut LP, headlined by the single "Morning Glory Days." "(I'm Gonna Have To) Let You Go" followed in 1968, and the Pleasure Fair soon dissolved.

Gates then recruited Royer to join his fledgling soft pop group Bread, and the
rest is AM radio history -- Hallinan is also among the musicians credited on the first Bread album, and later enjoyed a career as a mystery novelist. ~ Jason Ankeny, All Music Guide

01 - stay around for the good times
02 - turnaway
03 - come to the sunshine
04 - nursery rhyme(1)
05 - remember who i am
06 - barefoot in the park
07 - morning glory days
08 - fade in fade out
09 - east-west
10 - the things we said today
11 - talk
12 - put it out of your mind
13 - i`m gonna have to let you go(1)
14 - today(1)

Beautiful sunshine pop psyche, IMO quite enjoyable.

here @192


Blossom Toes - 1967 - We Are Ever So Clean

A Brit psych pop epic from '67 -- the amazing We Are Ever So Clean by Blossom Toes -- a delirious blend of heavy psych rock with ultra catchy hooks! Blossom Toes are quite remarkable for their penchant for masterfully blend pretty much all of the possible permutations of the psych idiom, circa '67. Produced by Giorgio Gomelsky (discoverer of the Rolling Stones and the Yardbirds), it’s a fascinating amalgam of whimsical pop, music hall humour and acid rock. They have the freeform lyricism, the experimental studio touches, the grand arrangements, the hummable hooks, the heavy guitars and drums -- and they do it all quite masterfully!

Track Listing
1. Look At Me I'm You
2. I'll Be Late For Tea
3. The Remarkable Saga Of The Frozen Dog
4. Telegram Tuesday
5. Love Is
6. What's It For?
7. People Of The Royal Parks
8. What On Earth
9. Mrs. Murphy's Budgerigar
10. I Will Bring You This And That
11. Mister Watchmaker
12. When The Alarm Clock Rings
13. The Intrepid Balloonist's Handbook, Volume 1
14. You
15. Track For Speedy Freaks (or Instant LP Digest)

The Reviews

Rumoured to have been played largely by session musicians and masterminded by a psych-pop Svengali, nevertheless this is, IMHO, the finest piece of Beatles' influenced psychedelia ever released. As English as warm beer on a sunny day, it's a rip roaring, delightful, good natured, free-wheeling romp through tape-sliced psychedelia, Victorian chamber music, Revolver-ised chiming guitars, delicious Penny Lane brass and bizarre and totally endearing observations on English life and LSD soaked internal monologues, from old lady's pet budgies ( Mrs Murphy's Budgerigar) to the nature of self ( Look At Me I'm You) to a day in the park ( The People of the Royal Parks).

Despite it's inherent oddness, it remains one of the most accessible albums of its kind and is positively laden with glorious pop songs and beautiful playing. I simply can't praise it highly enough. Its sheer naive joyousness is totally irresistible - never could such fun have been had making a record. It's incredible to think this was being made at the same time as Sgt Pepper but died without a trace.
Sadly, it's hard to find, but I'd urge you to try and get hold of it, because once you fall under its spell, it'll have you for life

Imagine the late-'60s Kinks crossed with a touch of the absurdist British wit of the Bonzo Dog Band, and you have an idea of the droll charm of Blossom Toes' debut album. Songwriters Brian Godding and Jim Cregan were the chief architects of the Toes' whimsical and melodic vision, which conjured images of a sun-drenched Summer of Love, London style. With its references to royal parks, tea time, watchmakers, intrepid balloon makers, "Mrs. Murphy's Budgerigar," and the like, it's a distinctly British brand of whimsy. It has since been revealed that sessionmen performed a lot of these orchestral arrangements, which embellished the band's sparkling harmonies and (semi-buried) guitars. But the cello, brass, flute, and tinkling piano have a delicate beauty that serves as an effective counterpoint. The group sings and plays as though they have wide grins on their faces, and the result is one of the happiest, most underappreciated relics of British psychedelia.

Get it here


Tuesday, September 18, 2007

John Phillips - 1970 - John, The Wolf King Of L.A [200+vbr]

The first solo album of the architect of the Mamas & Papas sound, John Phillips, was certainly one of the more heralded events at the dawn of the 1970s. Phillips, the primary songwriter and vocal arranger for all of the group's great records, however, was not exactly a great lead vocalist. Phillips knew this, and, according to his book Papa John, he purposely buried his voice in the mix. This proved to be a bit of tragedy, because underneath it all, this is an excellent album. Songs such as "April Anne," "Malibu People," and "Holland Tunnel" bear out what a fine songwriter he really was — they are indeed some of the finest songs of his career. The performances on this record are spectacular. Backed by an all star group of musicians (most of Elvis Presley's band, including James Burton, as well as The Wreckin Crew among others), the record's decidedly country feel is crafted to the extreme. Mamas co-founder Denny Doherty has always felt that had the Mamas & Papas recorded this album, it would have been one of their finest. There's no doubt. [Allmusic]

Track list;
01 - April Anne
02 - Topanga Canyon
03 - Malibu People
04 - Someone's Sleeping
05 - Drum
06 - Captain
07 - Let It Bleed, Genevieve
08 - Down The Beach
09 - Mississippi
10 - Holland Tunnel


Style; Folk-Rock, Soft-Rock, Singer/Songwriter

David Gates - First

David Gates - First
Release Date: 1973
Label: Wea International

1 Sail Around the World Gates 3:19
2 Sunday Rider Gates 3:22
3 Soap (I Use The) Gates 2:28
4 Suite: Clouds, Rain Gates 8:55
5 Help Is on the Way Gates 2:56
6 Ann Gates 3:53
7 Do You Believe He's Comin' Gates 4:56
8 Sight and Sound Gates 2:56
9 Lorilee Gates 4:43

1994 Love is Always Seventeen
1981 Take Me Now
1980 Falling in Love Again Songbook
1978 Goodbye Girl
1975 Never Let Her Go
1973 First

David Gates Biography:
A member of the popular group Bread, David Gates is also a songwriter, keyboardist, vocalist and producer. His first hit as a songwriter came with the popular Murmaids song "Popsicles and Icicles."

David Gates was born in Tulsa, OK. to a band director and a piano teacher. Surrounded by music from birth, he was proficient in piano, bass and guitar by the time he was in high school. In 1957, he received a musical break when Chuck Berry came to Tulsa; Gates had his first hit, "Jo-Baby," with Chuck Berry. The song was written for Gates' high school sweetheart Jo Rita, whom he married and had children with while enrolled at the university of Oklahoma.

In 1961, the family moved to Los Angeles, and Gates embarked on a career of songwriting and producing. By the end of the '60s, he had worked with Elvis Presley, Bobby Darin and Merle Haggard, and produced the 1965 Glenn Yarbrough hit "Baby the Rain Must Fall."

Realizing that the only way his songs were sure to be recorded was to sing them himself, Gates founded Bread in 1968; the group consisted of Gates, James Griffin, Robb Royer, and later, drummer Michael Botts and keyboardist Larry Krechtel. The group's first album, Bread, was released in 1969 with hits "It Don't Matter to Me," "Dismal Day" and "Make It with You." Soft rock hits became the band's trademark and made them legends. Greater success and recognition came with the 1971 album, Manna, with the smash hit "If."

With the popular albums Guitar Man and Baby, I'm a Want You, the band's success led the members in different directions. The group disbanded in 1973 to pursue their own solo interests and careers, but regrouped in 1977 to produce the album Lost Without Your Love. David Gates produced albums of his own, First Album and Never Let Her Go in 1975; his songs landed him on the contemporary music charts every time, including "The Goodbye Girl," from Neil Simon's play of the same name. Several of his songs have been recorded by artists such as Julio Iglesias and Boy George. "Everything I Own," a tribute to his father as his greatest influence, was recorded by Nashville artists the Kendalls and Joe Stempley and then by pop rocker Boy George. His incredible songwriting ability offers versatility and a crossing over of musical genres. With a recording studio on his California ranch, David Gates continues to write and produce. Kim Summers, All Music Guide



More Gates and Bread stuff soon !

Brainticket - 1971 - Cottonwoodhill

Brainticket - 1971 - Cottonwoodhill

tracks :
1 Black Sand 4.03
2. Places Of Light 4.03
3 Brainticket (Part One) 8.18
4 Brainticket (Part One - Conclusion) 4.35
5 Brainticket (Part Two) 13.12

the band :
- Joël Vandroogenbroeck: Organ, Flute
- Ron Bryer: Guitar
- Werni Frohlich: Bass Guitar
- Cosimo Lampis: Drums
- Wolfgang Paap: Tabla
- Dawn Muir: Voice
- Hellmuth Kolbe: Potentiometers, Generators and Aound Effects

Review by HeadHeritage :

Next time you feel like getting fried, listen to this! But never mind the first two songs on Cottonwoodhill; they are both a rather ho-hum affair. The real brillance on this disc is to be found throughout their 26 minute acid-fueled masterpiece, "Brainticket", the basis of which is a slightly varrying guitar/keyboard lock groove, kinda like Can at their most repetitive. Over this groove pulses all sorts of sound effects, such as machine guns, screams, gargeling, etc. Mostly, though, the overriding sound is their synthesizer, who, although not in the league of Klaus Sculze, nonetheless provides some very entertaining squawks, squeeks, beeps and drones, resulting is a very high-powered burst of aphetimene driven psychosis, dancable and meditative (but meditative in a disturbing, scary way).

But Brainticket the band doesn't stop there, and what really makes "brainticket" the song transcend ordinary greatness in pursuit of nutty brilliance is the voice of Dawn Muir. Sounding very Engish, she freaks out over the whole thing, recounting a very bad acid trip, doubting her exsistence, screaming her LSD-fueled insights, and just generally making a complete mess of herself.

...Suddenly you realize that the insanity is contageous, as the song stops, revealing a weird computer voice going "Brainticket Brainticket Brainticket" and you are left wondering just what the fuck is going on,just what is this I'm listening to? But then the song fades back in, and it's back to where we started...

Poor Dawn Muir, she sounds like a girl being dragged off towards a mental institution, and I wouldn't be surprised if she was still there. Because after this album, everyone in Brainticket freaked out, and only their keyboard player remained. While other Brainticket albums are interesting, none have the sheer grab you by the balls lunancy as witnessed all over Cottonwoodhill, the cover of which carries the helpful warning :
"Don't listen to this record more than once a day or your brain will be destroyed!"

Get it Here @ 256
Brainticket - 1971 - Cottonwoodhill

Sunday, September 16, 2007

T. Rex - 1968 - Prophets, Seers & Sages The Angels Of The Ages [192k]

Today 30 years ago Marc Bolan died on a car accident, this post is to remind him…

The most underrated of Tyrannosaurus Rex's four albums, Prophets, Seers & Sages was recorded just six months after their debut and adds little to the landscapes which that set mapped out. There is the same reliance on the jarring juxtaposition of rock rhythms in a folky discipline; the same abundance of obscure, private mythologies; the same skewed look at the latest studio dynamics, fed through the convoluted wringer of the duo's imagination — the already classic pop of the opening "Deboraarobed" is further dignified by its segue into the same performance played backwards, a fairly groundbreaking move at a time when even the Beatles were still burying such experiments deep in the mix. But if the album itself found the duo rooted to the musical spot, still it delivered some of Marc Bolan's most resonant songs. The nostalgia-flavored "Stacey Grove" and the contrarily high-energy "Conesuela" were as peerless as any of Bolan's more feted compositions. Equally intriguing is the confidence which exudes from "Scenes of Dynasty," a successor of sorts to the last album's "Scenesof," but presented with just percussion and some strange vocal noises to accompany Bolan's singing — at a time when "singing" was maybe not the term a lot of listeners would employ for his vocals. The excited "one-two-three-four" count-in only adds to the dislocation, of course. Finally, the owlishly contagious "Salamanda Palaganda" offers a first-hand peek into the very mechanics of Bolan's songwriting. Other composers stuck for a rhyme either reach for the thesaurus or abandon the lyric altogether. Bolan simply made one up, and in the process created a whole new language — half nonsense, half mystery, but wholly intoxicating. Just like the rest of the album, in fact [Allmusic]

Track list;
01. Deboraarobed
02. Stacey Grove
03. Wind Quartets
04. Conesuala
05. Trelawny Lawn
06. Aznageel The Mage
07. The Friends
08. Salamanda Palaganda
09. Our Wonderful Brownskin Man
10. O Harley (The Saltimbanques)
11. Eastern Spell
12. The Travelling Tragition
13. Juniper Suction
14. Scenes Of Dynasty


Style; Psychedelic

The Preachers - Moanin'

The Zeke'
Quit Talkin' About Him
Who Do You Love
Chicken Papa
Stay Out Of My World
Pain & Sorrow
Just Don't Complain (As John English and The Lemondrops)
Moanin' (As John English and The Lemondrops)

8 songs! Here is the entire output of THE PREACHERS and their later incarnation, JOHN ENGLISH & THE LEMONDROPS.This 60's Punk band is best known for their scorching version of Bo Diddley's "Who Do You Love?" which appeared on an early volume of Pebbles.This pounding slab of '60s insanity finally gives justice to one of the toughest sounding LA garage bands."Although playing the LA clubs and appearing on a number of TV shows throughout their career, The Preachers only managed to release three singles, and as John English And The Lemondrops one further record before disbanding.

Garage fans will know them for their rousing version of 'Who Do You Love', which was a huge favourite from the first Pebbles compilation many moons ago. Nothing else they recorded reached that fevered wildness, although 'Stay Out Of My World' spices up the snot-nosed Dylan format admirably and 'Don't You Complain' maintains a typically disenfranchised philosophy. And when it comes to the moodier, softer style the band shine on 'Pain And Sorrow'.If more recordings were made

The Preachers could be contenders for the LA garage crown, as it stands these eight songs are a fitting testament to what could have been.(Shindig Magazine)

Download It Here :

Saddar Bazaar - 1998 - The Conference of the Birds

Saddar Bazaar - 1998 - The Conference of the Birds
Delerium DELEC LP 034, 1998

1 Sukoon 5:16
2 Arc of Ascent (Part One) 5:20
3 Kiff Riff 6:26
4 Garden of Essence 8:04

1 Sukoon (Reflection) 2:13
2 Shamsa (Sunburst) 3:24
3 Baraka 2:19
4 Arc of Ascent (Part Two) 3:50
5 Freedom Rider 4:19
6 Neelum Blue 4:52

Saddar Bazaar are:
Rehan Matthew Hyder: Guitars, Percussion, Kubing, Dholak & Agoual on "Shamsa"
Shaun Hyder: Sitar, Percussion, Kubing
Duff Dave Spencer: Dholak, Agoual, Tablas, Percussion
Terry Banx: Keyboards

Recorded at The Bunker, Bristol during the Summer of 1994.
Engineered by Bob Pierce.
Produced by Bob Pierce and Saddar Bazaar.
Artwork by Harvey Woodward


Stick two psych-crazed kids from Bristol in the studio with Bob Pierce, ex of '60s freak beat legends The Mirror, and the result is a haunting hybrid of transcendental ragas and psyched-out slide guitar. No syrupy tea'n'crumpets English whimsy here, no shimmering digital trickery, just the droning narcotic detachment of the Spacemen 3, the dynamic overdriven fuzz slide of Ry Cooder circa Ceyleib People and some sublime electric sitar. Third Ear Band for the 90s? Blues for Ghandi? Who the hell cares? Just keep taking the tablas boys. (Cliff Jones)

An unusual combo this new band from Bristol, with sitars, slide-guitar, tablas and all sorts of unpronounceable Indian instruments. Really, could you imagine Ry Cooder jamming in wth George Harrison's Wonderwall, or the sitar ragas of Popol Vuh combined with Rustic Hinge or Cul De Sac? Heady, far-out, totally instrumental. you'd never guess it was recorded summer last year! Nothing much more I can say really as I got spell-bound by it, and before I knew it the album was finished. Superb! (Alan Freeman)

Ptolemaic Terrascope
Last time I heard Saddar Bazaar was when they played a support slot for the Bevis Frond in home-town Bristol some four or five years ago, and I must confess that at the time the only thing I remembered was how forgettable they were. And yet now, with all the grace and favour of the intake of a butterfly's breath, Saddar Bazaar have blossomed into an exotic and breathtakingly diverse instrumental outfit who successfully encompass mythology, restaurants and bean-bags in their search for the ultimate tabla d'hote. Far from being another of Dlerium's novelty acts, Saddar Bazaar are one of their most exciting, original and potential-filled signings to date. What's special about this band is the way they mix Western-styled slide guitar licks with their obviously Eastern instrumentaion, your sitars and dholaks and agouals and other assorted hot side dishes, together making for a heady mixture that's as textured as a tufed rug and just as comfortable to roll around on. "Arc of Ascent (parts 1 and 2)" and "Garden Of Essence" are probably the strongest tracks on here, the latter building to a hearty throb like a BSA at full throttle and splashing just as much oil around in the process, but Saddar Bazaar are right on target throughout and I'm more than happy to admit that I was entirely wrong about the band all along. I have no idea at all what kind of market this album will appeal to, but I like to think a large number of Terrascope readers will be intrigued enough to investigate it. Leave your preconceptions on you bedpost overnight and you won't be disappointed. (Phil McMullen)

British psychedelia at its most innovative!

Get it here @256
Saddar Bazaar - 1998 - The Conference of the Birds

Saturday, September 15, 2007

Mama Cass Elliot - 1969 - Bubble Gum, Lemonade & Something For Mama [192k]

After the breakup of The Mamas & the Papas, Elliot went on to have a successful solo singing career. Her most successful recording during this period was 1968's Dream a Little Dream of Me from her solo album of the same name, released by Dunhill Records though it had originally been recorded for and released on the album The Papas & the Mamas Presented By The Mamas and the Papas earlier that year. She headlined briefly in Las Vegas at Caesar's Palace for the unusually lucrative pay of $ 40,000 per week, although her performances were not well reviewed.

She was a regular on TV talk shows and variety shows in the 1970s, including The Julie Andrews Hour, The Mike Douglas Show, The Andy Williams Show, Hollywood Squares, and The Carol Burnett Show. She guest-hosted for Johnny Carson on The Tonight Show and appeared on that show 13 other times. Elliot also was a guest panelist for a week in late 1973 on the hit game show Match Game '73. She appeared in the 1973 Saga of Sonora, a TV music-comedy-Western special with stars of the day such as Jill St. John, Vince Edwards, Zero Mostel, and Lesley Ann Warren.

Throughout the early 1970s, Elliot continued her acting career as well. She had a featured role in the 1970 movie Pufnstuf and made guest-star acting appearances on TV's The New Scooby-Doo Movies, Young Dr. Kildare, Love, American Style, and The Red Skelton Show, among others [Wikipedia]

Because of her weight and the rumors concerning the cause of her death, Mama Cass Elliot endures as little more than a punch line, which is a real shame; not only was her voice the linchpin of the Mamas & the Papas' most memorable hits, but her solo records were engaging and unique, capturing the unlikely confluence of bubblegum and the blues. Bubble Gum, Lemonade & Something for Mama, Cass' second solo effort, showcases her brassy, exuberant voice couched in a variety of settings, from the girl groupish "It's Getting Better" to "Blow Me a Kiss," an ersatz Tin Pan Alley pop number in the mold of her hit "Dream a Little Dream of Me." The highlight is the closing "Make Your Own Kind of Music," later covered by Paul Westerberg [Allmusic]

Track list;
01 It's getting better
02 Blow me a kiss
03 Sour grapes
04 Easy come easy go
05 I can dream can't I
06 Welcome to the world
07 Lady love
08 He's a runner
09 Move in a little closer baby
10 When I just wear my smile
11 Who's to blame
12 Make your own kind of music


Style; Folk-Rock

The Mandrake Memorial - 1968 - The Mandrake Memorial

Attending the University of Pennsylvania, guitarist Craig Anderton found time to play in an outfit called The Flowers of Evil. Keyboardist Michael Kac started out as a folkie playing Philadelphia coffee houses, before hooking up with Cat's Cradle. Drummer J. Kevin Lally and singer/bassist Randy Monaco cut their professional teeth in the New York City based The Novae Police. The four came together through Philadelphia promoter Larry Schriver, who was looking for a group to serve as the house band for Manny Rubin's Philadelphia-based The Trauma Club.

With help from Rubin, the quartet started touring through the Northeast, eventually catching the attention of the MGM affiliated Poppy Records. Signed to the label, the band's cleverly-titled "The Mandrake Memorial" debut teamed them with producers Anthony Bongiovi and Tony Camillo. Musically their debut's quite entertaining with tracks like 'Bird Journey' and 'Rainy May' showcasing their unique line up of Anderton's angular guitar and Kac's electric harpsichord. Propelled by Monaco's likeable voice, the album's full of strong melodies, with some great harmonies and surprisingly catchy lite-psych moves. Sure, some of the lyrics haven't aged particularly well, but so what. There really isn't a bad song on the LP (how often can you say something like that?). Personal favorites include 'Here I Am' (sporting a killer lead guitar from Anderton), the sitar and feedback propelled 'Dark Lady' and the aptly titled 'Strange'. (Got to admit that I've always wondered why this one gets ignored by everyone in favor of "Puzzle".) Anyone know how the female singer that pops in from time to time is? Linda Cohen?

Download It Here :

Friday, September 14, 2007

Sundance (1971)

"Early 70s hard rock album with a rural feel. Slightly above average for the genre, but not a stand-out. They’re from Chico, which may be California but isn’t the usual stomping ground of rock bands. “Chico Women” is a terrific song. Recommended to fans of the style." (Acid Archives)

"The sole album from this Chico, CA quintet was unfortunately released just as their label (Kapp) was dissolving (1971; the final Kapp release came out the following year, although the label had been sold to MCA back in ‘67). It’s a tight knit collection of self-penned bluesy jams, featuring the twin guitar attack of Steve Cooley and Fred Campbell with excellent harmony vocals throughout. “Jeweled Scene Stealer” has some particularly tasty guitar soloing, and Cooley’s paean to the local babes, “Chico Women” coming across as particularly funky and beer-soaked.

Campbell whips out his flute and acoustic classical guitar for Side 2’s short, reflective opener, “Changes,” which segues quite nicely into the unusually syncopated time changes of the bluesy howler, “People Change.” Guest Eddie Abner’s steel guitar” and the omnipresent harmonies imbue “Blue Water” with a nice country rock flavor that should please fans of the goodtime groove of New Riders of The Purple Sage, Little Feat and Heartsfield (check out 1975’s “Foolish Pleasures”), with a hint of The Allmans not too far off in the distance.

Bassist Randy Reaves, who wrote or co-wrote seven of the album’s nine tracks, turns in one of his best efforts on “Movie,” a hard-driving, two-step toodle-oo that predicts some of the southern fried chicken rock of Lynyrd Skynyrd and Marshall Tucker. If sweaty, straight ahead bluesy country rock is your cup of moonshine, come forth and drink from the fountain that is Sundance." (Foxy Digitalis) (BUY IT!)

1) Train Time
2) Jeweled Scene Stealer
3) Strange New Time
4) Chico Woman
5) Changes
6) People Changin
7) Blue Water
8) Movie
9) Hollywood Dancers


Moonstone - 1973 - Moonstone

Radioactive ’s intrepid journey to find the most unusual and interesting musical gems from the past touches down this time in Alaska to unearth this eponymous 1973 album by dreamy folk outfit Moonstone, and what a discovery this is!

Download it Here :

V.A. - Rubble Series - Vols 1-20

Rubble is a 20-volume collection of compilation albums
of mostly late-1960s British psychedelic rock compiled by Bam-Caruso Records

The first volume was created in 1984, and the series was completed in 2002 (and later, the New Rubble series has begun). Rubble is one of the first series of compilation albums of psychedelic rock, freakbeat, rhythm and blues, garage rock and beat music of the mid to late 1960s in the United Kingdom. It predated similar compilation series, such as the English Freakbeat series, which AIP Records started in 1988.

The name "Rubble" is influenced by the title of the seminal Nuggets double LP, and resembles the titles of several similar compilation series, such as the Pebbles series, Boulders series and Rough Diamonds series. Most of the bands on these albums were not commercially successful, such as the Glass Menagerie, Wonderland and Wild Silk. However, the albums also include a few better-known bands, such as Tomorrow, The Poets, The Pretty Things and The Crazy World of Arthur Brown.


Click on titles for traclists

  • Rubble #1 [The Psychedelic Snarl]
  • LP (Bam-Caruso, 1984)

  • VA_-_The_Rubble_Collection_vol 01 @256.rar

  • Rubble #2 [Pop-Sike Pipe-Dreams]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 02 @256.rar

  • Rubble #3 [Nightmares In Wonderland]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 03 @256.rar

  • Rubble #4 [The 49 Minute Technicolour Dream]
  • LP (Bam-Caruso, 1984)

  • VA_-_The_Rubble_Collection_vol 04 @256.rar

  • Rubble #5 [The Electric Crayon Set]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 05 @256.rar

  • Rubble #6 [The Clouds Have Groovy Faces]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 06 @256.rar

  • Rubble #7 [Pictures In The Sky]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 07 @256.rar

  • Rubble #8 [All The Colours Of Darkness]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 08 @256.rar

  • Rubble #9 [Plastic Wilderness]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 09 @256.rar

  • Rubble #10 [Professor Jordan's Magic Sound Show]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 10 @256.rar

  • Rubble #11 [Adventures In The Mist]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 11 @192.rar

  • Rubble #12 [Staircase To Nowhere]
  • LP (Bam-Caruso, 1986)

  • VA_-_The_Rubble_Collection_vol 12 @192.rar

  • Rubble #13 [Freak Beat Fantoms]
  • LP (Bam-Caruso, 1989)

  • VA_-_The_Rubble_Collection_vol 13 @192.rar

  • Rubble #14 [The Magic Rocking Horse]
  • LP (Bam-Caruso, 1988)

  • VA_-_The_Rubble_Collection_vol 14 @192.rar

  • Rubble #15 [5000 Seconds Over Toyland]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 15 @192.rar

  • Rubble #16 [Glass Orchid Aftermath]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 16 @192.rar

  • Rubble #17 [A Trip In A Painted World]
  • LP (Bam-Caruso, 1991)

  • VA_-_The_Rubble_Collection_vol 17 @192.rar

  • Rubble #18 [Rainbow Thyme Wynders]
  • LP (Past & Present, 2001)

  • VA_-_The_Rubble_Collection_vol 18 @192.rar

  • Rubble #19 [Eiderdown Mindfog]
  • LP (Past & Present, 2001)

  • VA_-_The_Rubble_Collection_vol 19 @192.rar

  • Rubble #20 [Thrice Upon A Time (Nothing Is Real)]
  • LP (Past & Present, 2002)

  • VA_-_The_Rubble_Collection_vol 20 @192.rar

    Click on titles for traclists


    Vols 01-10 by verybadboy
    Vols 11-20 by Opa-Loka

    Enjoy !!!

    Thursday, September 13, 2007

    Morning Dew - 1969 - Morning Dew

    Reviewed by: Keith "Muzikman" Hannaleck, June 2002

    This reproduction on 180-gram virgin vinyl of Morning Dew's 1967 self-titled LP has a distinct sound; it was the beginning of the psychedelic phase of rock music. And that is firmly in place on the record. According to the back cover of the LP it was released in 1971 on Big Seven Music. That may be the copy that Akarma Records got for reproduction, but upon further research I found that it was originally released on the Roulette label in 1967.

    There are moments of a heavier metal sound, but very few. The peace, flowers, and summer of love influence abounds throughout most of this record. Check out the cover, this couple looks as though like they are frolicking in the fields of Woodstock.

    It's all very good rock music; in fact, this is a solid LP without one throw-away on the entire recording. The musical style remains consistent throughout with the exception of one surprise, the closing track "Epic: The Mann/Death Is A Dream," which starts off with a Spanish flamenco guitar and then launches into one of their rockers, it's a step away from the norm and a nice change showing how the band was talented enough to go into an entirely different direction. For the most part the folk, rock, and psychedelic sounds are what dominate this record, and a nice balance is managed with male and female vocals taking turns. It's a great album and well worth the purchase.

    Morning Dew was-Mal Robinson, Blair Honeyman, Don Sligar, and Don Anderson.

    Rating: 3.5/5

    Track Listing:

    Side One: Outside: Crusader's Smile (3:42) / Upon Leaving (2:12) / Young Man (2:32) / Then Came The Light (4:15) / Cherry Street (4:09)

    Side Two: Inside: Gypsy (5:48) / Something You Say (4:29) / Country Boy Blue (2:39) / Save Me (3:40) / Epic: The Mann / Death Is A Dream (4:33)

    Download it Here :

    Wednesday, September 12, 2007

    Cherokee Mist - 1994 - Gathering Of The Tribes

    Cherokee Mist (UK) - 1994 - Gathering Of The Tribes

    Tracks :
    A1 Coast To Coast (11:14)
    A2 The Quick And The Dead (4:56)
    A3 Believe (5:55)
    B1 Orange Cucumber (22:18)

    John Redfern (guitar, vocals)
    Mo Hone (guitar)
    Chris Jordan (bass)
    Stephen Bayes (drums, percussion)
    Simon Redfern (drums, percussion)


    This could be described as The Morticians second album, as it features the two main members of that band and sounds a bit like side two of The Morticians LP. We're talking heavy acid rock jams, with an American '60s West Coast meets the Pink Fairies feel...
    A limited edition of 1000 (Vinyl only).

    The best music CHEROKEE MIST recorded was with Caroline Davey from WOBBLE JAGGLE JIGGLE sharing the vocals with John Redfern. "Coast to Coast" and "Orange Cucumber",etc. This was going to be released as an LP on the Tangerine label, until the master tapes dissapeared? Theres some Rock and Roll Mythos for you! (Dec 2003).
    Trippy Fish~Psychedelic-Music.Net

    Get it here @192

    Monday, September 10, 2007

    The Patron Saints - Fohhoh Bohob (1969)

    A classic example of a private press release gaining a reputation far outside its initial impact, Fohhoh Bohob was recorded in enthusiastic amateur fashion by the three teenagers in the Patron Saints during early summer 1969 at member Paul D'Alton's house while the rest of his family was on vacation. As explained by de facto bandleader Eric Bergman in the liner notes to the 2007 reissue on Time-Lag, the goal of the trio was to get something out there on their own, even though they could only afford a quick pressing of a hundred copies. Nearly forty years on, the perfect charm of Fohhoh Bohob -- a phrase the original liner notes claims means ‘greetings of the mouth' -- remains immediate and intact. Combining enough technical skill and good enough equipment to result in a reasonable if low-key recording plus a jaunty sense of humor and young but not sloppy instrumental skills on the part of the band, the album's an immediate, gentle pleasure, perhaps one of the first rural psychedelic albums as such. The trio's love for any number of groups of the time is perfectly apparent -- Bergman mentions such logical names as the Beatles, Hendrix and Paul Butterfield -- but it's the reference to Moby Grape that makes the most sense, since this is almost the more upbeat, full band equivalent to Skip Spence's near simultaneously-recorded Oar. The rave-ups on "Flower" and "Relax" and the jaunty vaudevillian kick of "Do You Think About Me?" are merry treats, while the low-key, gentle singing from the deeper voiced Bergman and the slightly higher-pitched Jon Tuttle is alternately warmly inviting and hesistantly melancholy from both singers, depending on the song. ("White Light," Bergman's dreamy high point at the center of the album, handles both emotions quite well.) Clever, unexpected song structures help to give the album an even stronger mark -- while not avant-garde per se, a number of songs eschew standard verse/chorus/verse structures for more complicated lyrical arrangements and musical tempos, all the more remarkable given the age of the performers. The 2007 CD reissue includes seven bonus songs, up from three from an earlier mid-nineties reissue -- a well-received live version of "Do You Think About Me?" as well as an alternate studio mix, two 1975 era songs, "Reflections on a Warm Day" and "Nostalgia Trip," an alternate mix of "The Goodnight Song" and two otherwise unreleased songs from the original recording dates, "Shine On Heart" and "Do It Together." (BUY IT!)

    1) Flower
    2) Nostalgia Trip
    3) Reflections on a Warm Day
    4) Do You Think About Me?
    5) White Light
    6) Relax
    7) My Lonely Friend
    8) Andrea
    9) The Goodnight Song
    10) Shine on Heart
    11) Do It Together
    12) Do You Think About Me? (live)
    13) Nostalgia Trip - 1975
    14) Reflections on a Warm Day - 1975
    15) Do You Think About Me? (demo)
    16) The Goodnight Song (original)


    Joni Mitchell – 1969 – Clouds [320k]

    On request
    Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsure ness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell's classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell's riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen. [Allmusic]

    Track list;
    01 - Tin Angel
    02 - Chelsea Morning
    03 - I Don't Know Where I Stand
    04 - That Song About The Midway
    05 - Roses Blue
    06 - The Gallery
    07 - I Think I Understand
    08 - Songs To Aging Children Come
    09 - The Fiddle And The Drum
    10 - Both Sides, Now


    Style; Folk-Jazz, Folk-Rock, Singer/Songwriter

    Stack Waddy - 1971 - Stack Waddy

    Stack Waddy's debut album is one of the "must hear" discs of the early 1970s, an uncompromising roar that might cavort through that shell-shocked no man's land that sprawls between Captain Beefheart and the Edgar Broughton Band, but which winds up defiantly beholden to absolutely nothing else you've ever heard -- one reason, perhaps, why the group vanished with so little trace.Recorded live in the studio (or thereabouts, Stack Waddy is a blurring blend of brutal band originals and deliciously mauled covers. Beefheart's "Sure Nuff Yes I Do" is an unblinking highlight, while raw takes on "Suzie Q" and "Road Runner" remind us of the group's mid 60s genesis on the Manchester R&B scene. There's also a version of Jethro Tull's "Love Story" that comes close to topping the Sensational Alex Harvey Band in terms of lascivious power and ferocity. Certainly John Knail takes no prisoners as he howls his way through and, while Stack Waddy holds back from completely recreating the live band experience (there's no breaking bottles, for a start), still this is one of those few albums that genuinely requires you to wear protective clothing.

    Saturday, September 08, 2007

    Hawkwind - 1996 - Love In Space

    Death Trap
    Are You Losing Your Mind?
    Photo Encounter
    Blue Skin
    Sputnik Stan
    Alien I Am
    Love In Space
    Silver Machine
    Assassins (2CD only)

    No need to say something about Hawks.

    Clive John - 1975 - You Always Know Where You Stand With A Buzzard

    Clive John, or Clint Space or just Clint to Man-band fans, was the beloved keyboardist and sometimes guitarist for Man through most of their classic periods. His contribution to the sound and humour of the band was a big one, though you might not really realise it until you place him apart to record his one and only solo album, ie. this one. Of all the Man off-shoots and solo projects that I’ve heard (which I have to admit isn’t all of them), this is far and away the best and most consistently high in quality (and other substances), but for some reason it’s also one of the most obscure. I only discovered its existence when I stumbled across it in a random rack-shuffling in a large discount music store, and although I was instantly intrigued by a) the Man connection, b) the title and c) the cover, I was also wary of the late date (1975, by which time Man were no longer so hot on record) and the fact that I’d never heard of it before. A quick internet search later and I’d read some reports that it was supposedly a good album if you like Man, though with only a few tracks that were that great. Well, after I thought I’d take a gamble and just buy it, I was pleasantly surprised, because not only did I thoroughly enjoy pretty much the whole album, I’d go so far as to say that this is some of the best Man-and-related music that I’d heard. I’m not saying the best as far as Man goes – I can certainly think of superior Man stuff – just up there with some of the best. On the other hand, this is surely better and more consistent than either of the patchy Deke Leonard albums, which are roughly 50% filler to my ears. You may not agree, but I’ll try to state my case. (Not so sure I agree with all that = I had this album since it came out = Yes I always loved it, but then I did love the Deke albums too).

    At this time, Clint was holed up in a remote farm in Breton, and after being asked by Andrew Lauder of UA to do a solo album, he transferred holes to Rockfield Studios in Wales to record it. Clint handled most of the instruments on this album – guitars, keyboards and vocals – but he’s backed by Man’s Martin Ace on bass, and Help Yourself’s Dave Charles on drums and engineering, as well as sundry guests on various tracks including Phil Ryan (Eyes of Blue, Quicksand, Piblokto, Man, Neutrons) and Andy Fairweather Low (Amen Corner). The cover features the still-hairy prototypical hippy freak Clint generously holding out a giant fake-looking orange. The title of the album came from what Clint said to a visitor who fled after being attacked by buzzards whose nest site he’d unwittingly approached, the point being that you’re supposed to stand your ground and the buzzards will hold back. Don’t ask me to test that one out...

    ‘Out Of My Tree’ [5:18] begins in a kinda mainstreamy guitar rock mode, and it’s perhaps the most ordinary and seriously-toned track on the album, but don’t let that put you off, there’s better to come, and this song does have a cool slashing fuzzed guitar bit that’s nice. This track might grow a little on you over time, as it has for me. You gotta love a song that’s about questioning your sanity (at least that’s what I think it’s about...).
    ‘Brand ‘X’’ [3:44] changes the mood considerably, not to Brand X-like fusion but with a kooky cascade of cheesy keyboard, bass and guitar matching notes and dripping down the chromatic scale before swinging into a totally chugging Man-esque hard guitar riff, with ultra-cool vocals pleading for a little bit of rock’n’roll. This is a fist-in-the-air anthem to rock and a go-get-‘em attitude that’s up there with the Fairies’ ‘Do It’ as a positive motivator. Midway it breaks down into a gutsy down-home groove as Andy Fairweather Low (here rechristened as Ferretweather) cuts loose with a wicked guitar solo. As far as the guitar-oriented side of things go, this is like Man at their best, I guess not counting things like the 20-minute ‘Spunk Rock’ jam
    on ‘Greasy Truckers Party’.

    ‘Summer Song’ [5:22] sees us in softer, spacier, wistful Man mode, keyboards predominating with a gentle, simple structure that bobs along like the Good Ship Lollipop (no, it doesn’t sound like the Shirley Temple song, I’m trying to create imagery here...), and wouldn’t have been out of place as one of the more unassuming tracks on ‘Back Into The Future’.
    Swansea Town’ [3:47] is, yes, another one to compare to Man, something that’s hard to avoid here. It alternates between, initially, a cheerier kind of Man guitar riff, that swings into a slightly strange one with a harder edge that might be called kinda ‘doomy’ (slightly) if it didn’t sound like a bunch of silly trippers having a bit of fun. Mid-time sees a typical one-note bass groove propelling a tasty dual guitar jam, and well, need I say it, if you’re a Man fan you know what you’re getting here.

    ‘Visitin’ The Duke’ [5:59] is more traditional and down-homey at the start, with blues harmonica and guitar wheezing away, before kicking into a hard, gritty Southern boogie rock slide riff with meaty vocals, done of course a la Man, breaking down and dirty with the harmonica for another jam-out that these guys just can’t seem to escape let alone do badly, and let us be thankful for that! This track, by the way, is about visiting Deke Leonard in London.

    ‘Love To You’ [6:14] starts with bass throbs and weird keyboard sounds hovering in the background, hinting at something that doesn’t come, before a steady, loping groove sets in with a kinda psych-soul-boogie feel, if that makes any sense. Reminds me a bit of The Indelible Murtceps, in other words Australia’s legendary Spectrum in non-psychedelic/prog mode. Of course that won’t mean a thing if you haven’t heard ‘em, but I’m clutching at straws here (one of the hardest things about doing reviews, for me, is that the most meaningful and/or well-known comparisons or descriptions don’t always come to mind when you need them! And, well, I haven’t heard everything...). Anyway, if that sounds dodgy to you, you might find it’s better than it sounds on paper with my measly attempt at description, but still, not one of the better tracks on the album.

    ‘Overflow’ [5:07] begins with some jazzy sparring for a few seconds before a structure sets in with ease and we have a mellowish, unusual rock number with a guitar rhythm and bass line that’s only a few degrees removed from reggae, though as imagined by Patto, if you can paint that in your mind. And the Patto comparison holds into the unexpected brief jam that opens up next, now denser and with more of a jazz-informed hard rock edge, though the second (and longer) jam that follows and fades out the track is more akin to a mellow, almost spacey Man circa ‘Back Into The Future’.

    ‘Bust Again’ [4:36] is, of course, about being busted (for growing dope), and flows as a slow-plodding skanky fuzz rock number as Clint recounts the lament of the events of his undoing at the petty hands of the law. As Clint puts it, “What the fuck can you do with a bush or two of my weed?” Musically, this is comparable to Man’s ‘Romain’ and is likewise pretty cool.
    ‘Ferret Interview’ [1:38] is a ridiculous interview in silly voices regarding the sexual habits of ferrets, apparently “rather a domesticated form of perverted stoat”! I won’t give away any of the rest, suffice to say you’d have to be made of stone if this track doesn’t raise a few chuckles.
    ‘Hold Your Ferret Aloft’ [5:34] is in a slightly odd angular jazz rock vein, cruisy and juicy and reeking of the weed, with oozing harmony vocals imploring us “hold your ferret aloft” and “vote for stoat”, amongst other things I can’t quite make out. However, instrumental interplay predominates, as the band jam away in a lazy, stoned and virtuosic way through various shades and permutations of the basic groove, Phil Ryan providing some tasty, unshowy keyboard licks. I can certainly imagine this track sitting comfortably on the Chillum album, or maybe snuck into some early/mid-70’s Zappa album, and it’s one of the few tracks here that doesn’t sound derived from styles set down previously by Man – let’s call them Mannerisms, eh? But how can you accuse Clint of being derivative of something he helped create and was a part of in the first place? Even if you could get away with calling any of it derivative, there’s no escaping that the music is still great regardless, and that’s what matters ultimately. Unless you don’t like this sort of thing, in which case, why have you read this far?

    This album was reissued on CD (I think for the first time) by Eclectic in 2004, with an added coda at the end of ‘Hold Your Ferret Aloft’, which basically consists of 10 seconds or so of keyboard doodling after the track has otherwise ended. You have a much better chance of getting a copy of this than of the LP, which I’ve never seen. Plus you get some nice informative liner notes with photos in the cover booklet for the CD.

    I was told that Clive has lots of early Man recordings that maybe one day could see the light of day - I certainly hope so.

    Just got the latest Man Band CD delivered - It's OK, but only Martin Ace from the original lineup is on it And as it was released in Feb this year with the 1st 500 copies getting a signed cover - It has not sold so well as I got a signed cover in August! Sol I wont be posting it for a long time.

    Seventh Dawn member Heff Munson "New" Songs

    Hello, Heff Munson here.

    As I promised last month, I have set up a website for free access to my songs, including the originally-planned version of the Seventh Dawn "Sunrise" album.

    The website is

    It contains new versions of my songs from that album plus the other songs as originally planned. The album title is "Such A Lonely __/Seashore". I have also recreated my original cover artwork, and included a printable lyric book.
    There are other songs as well, and I will add more from time to time.

    Thanks to the people who listened to the 1976 version.

    Les Rallizes Denudes - '77 Live [128k]

    On request

    Double CD bootleg, of the most historic Rallizes recording of them all (originally issued by the band in 1991, only very briefly available -- there have been no legitimate Rallizes recordings since). Mastered from CD (presumably), with relatively extravagant die-cut printed sleeve packaging. "Les Rallizes Dénudés, Haddaka No Rallizes in Japanese, and probably 'Les Valises Dénudés' in French, are the most obscure group from Japan. Their guitar-based music began at Kyoto University in late 1967 with their first official gig in 1968. While their self-released recordings from this time are structured in a loose Group Sound ('GS')/Folk Boom-type style, their live shows featured deafening volume, strobe lights and mirrors for maximum disorientation. This, of course, invites comparison with the Velvet Underground's Exploding Plastic Inevitable not to mention Le Stelle de Mario Schifano's art-show happenings in Italy during 1967-68. References could also apply to the Grateful Dead before losing Tom Constantine and Ron 'Pigpen' McKernen. In any case, the volume was too much for others to deal with -- a relationship with a theatre group fell apart due to the band's refusal to turn their amplifiers down. Nothing was going to change for the next 20 years... In the late 1970s the band reappeared, playing their best music. It seemed that punk had allowed Mizutani, with his newly cut hair and leather clothing, one more chance to unleash his over-the-top distortion-laden guitar over their simple melodic rhythms for a supreme Asian form of acid-punk annihilation. In August of 1991 releases were finally made available. Three CDs appeared on the band's own SIXE label. These were 67-69 Studio et Live, Mizutani/Les Rallizes Dénudés, and the 77 Live 2CD set. The only other non-CDR artifacts are a video released in 1992 and a 7" included with the Japanese Etcetera magazine from 1996. It is all rare, sought after and expensive. The 77 Live release (reissued and re-named here with new diecut B&W artwork and photos, mimicking the old Ocora LP sleeve style) is the best, a document of extreme feedback and distressed guitar with Mizutani's detached vocals laid over languid rhythms, unbelievable in intensity

    Track list;
    les rallizes denudes - ('77 live -disque 1-) 01 enter the mirror
    les rallizes denudes - ('77 live -disque 1-) 02 yoru ansatsusya no yoru
    les rallizes denudes - ('77 live -disque 1-) 03 kori no honou
    les rallizes denudes - ('77 live -disque 1-) 04 kioku ha toui

    les rallizes denudes - ('77 live -disque 2-) 01 yoru yori fukaku
    les rallizes denudes - ('77 live -disque 2-) 02 yoru no syuukakusyatati
    les rallizes denudes - ('77 live -disque 2-) 03 the last one

    Link Disc 1 & 2

    Style; Psychedelic

    The Outsiders - 1965 - 68 - C.Q. Sessions

    You liked it so much, you wanted some more and here is what you have requested
    A double CD comprising 29 alternate takes, some instrumental and some vocal, of songs from the classic C.Q. album, one of the finest obscure psychedelic records.

    Besides one or two different alternate versions of each of the 13 songs from that record, it also has alternate versions of sides from non-LP singles they released around the same time ("Do You Feel Allright" & "You Remind Me"), as well as four songs (some instrumental) that never made it onto any official release. Some of the tracks are quite close to the finished versions, and some are quite different, but it's a pretty fascinating look at works in progress, and the sound quality is uniformly excellent. The audience for this reissue is, to say the least, extremely specialized and limited, but if you're a fan of this group, it's worth picking up. It also includes five bonus tracks from excruciatingly rare (and quite good) earlier non-LP singles from 1965 and 1966, when they were a much more R&B/beat-oriented outfit.

    Get it here

    Thursday, September 06, 2007

    Zombies - 1968 - Odessey & Oracle [192k]

    Odessey and Oracle was one of the flukiest (and best) albums of the 1960s, and one of the most enduring long-players to come out of the entire British psychedelic boom, mixing trippy melodies, ornate choruses, and lush Mellotron sounds with a solid hard rock base. But it was overlooked completely in England and barely got out in America (with a big push by Al Kooper, who was then a Columbia Records producer); and it was neglected in the U.S. until the single "Time of the Season," culled from the album, topped the charts nearly two years after it was recorded, by which time the group was long disbanded. Ironically, at the time of its recording in the summer of 1967, permanency was not much on the minds of the bandmembers. Odessey and Oracle was intended as a final statement, a bold last hurrah, having worked hard for three years only to see the quality of their gigs decline as the hits stopped coming. The results are consistently pleasing, surprising, and challenging: "Hung Up on a Dream" and "Changes" are some of the most powerful psychedelic pop/rock ever heard out of England, with a solid rhythm section, a hot Mellotron sound, and chiming, hard guitar, as well as highly melodic piano. "Changes" also benefits from radiant singing. "This Will Be Our Year" makes use of trumpets (one of the very few instances of real overdubbing) in a manner reminiscent of "Penny Lane"; and then there's "Time of the Season," the most well-known song in their output and a white soul classic [Allmusic]

    Really a great album, not just the track 12 - Time of the Season, I even fancy the other tracks more than that one…

    Track list;
    01 - Care of cell 44
    02 - A rose for emily
    03 - Maybe after he's gone
    04 - Beechwood park
    05 - Brief candles
    06 - Hung up on a dream
    07 - Changes
    08 - I want her she wants me
    09 - This will be our year
    10 - Butcher's tale western
    11 - Friends of mine
    12 - Time of the season


    Style; Psychedelic

    Wednesday, September 05, 2007

    The British North American Act - In The Beginning...

    I stumbled across a tatty old LP in my local second-hand record store and only bought it on account of one of the blokes on the cover looking a bit like my brother, but the moment I put the needle down I was entranced and still am to this day. Gorgeous melodies, swirling instrumentation and soaring harmonies, all underpinned by a delicate melancholia that makes your mind drift off in all sorts of directions - intoxicants definitely not needed here. I've been listening to this album for over fifteen years now and it has become one of my personal evergreens, able to subtly insinuate itself with the various moods and changes through my life. Risk your hard-earned here, it's well worth it.

    review by : Mr. P. G. B. Stromeyer's

    Source :

    Highly Recommended !!!

    Download It Here :

    Tuesday, September 04, 2007

    The Midways - 2003 - Pay More And Get A Good Seat

    The Midways are a cranked-up, organ-charged garage foursome with 60s punk, surf, trash and R&B influences branded on their sleeves. While the latest punditry seems to use “garage-this” and “garage-that” to describe any music with guitars, the Midways play garage like it was meant to be. These fellas aren’t ashamed to stomp the path beaten by groups like The Fleshtones, Lyres, Swingin’ Neckbreakers, Headcoats, and Prisoners, and have no plans to change when the next trend is declared. In the meantime they’re happy to stir things up on the dance floor and share the bill with the likes of the Bellrays, Gruesomes, Dirtbombs, Deadly Snakes and Tijuana Bibles, among other trashy tail-draggers of the garage underworld.
    The album is a first for indie startup Fuzzy Logic Recordings. Rushing in late witnessing only the last two songs of a Midways set, founder Maria Bui, was already convinced that this was the band that everyone needed to hear. Without any hesitation she signed The Midways in early 2003. Together they've been tackling all the grim obstacles the music industry has to offer...helping and learning from each other, whether it be label support or how to funnel 3 bottles of Moosehead. Being at a Midways show is like being at a high school basement party, but better. You can flirt with the girls, the beer actually gets you drunk, and the band never gets interrupted by someone’s sleeveless-sporting dad.Members of the press welcome. Wig it and dig it!

    The Midways contacted us and asked for the removal of this album.
    So we cannot share it/re-upload it .

    Some bands like sharing for advertising, some don't,
    cause they believe it reduces their sales & we have to respect that.

    Sunday, September 02, 2007

    Gordon Alexander - 1968 - Gordon's Buster

    1. Looking for the Sun (Alexander)
    2. Letter to Baba (Alexander)
    3. Topanga (Alexander)
    4. Autumn is a Bummer (Alexander)
    5. A Bunch of Us Were Sitting Around a Candle in San Francisco Getting Stoned and I Hope You’re There Next Time (Alexander)
    6. Waiting for the Time (Alexander)
    7. Thinking in Indian Again (Alexander)
    8. Puppet Theatre 23 (Alexander)
    9. One Real Spins Free (Alexander)
    10. Windy Wednesday (Alexander)
    11. Miss Mary (Alexander)

    I was recently turned on to this album by a friend of mine. It's a really obscure pop-psych record somewhat in the vein of the Association. I'm not familiar enough with the scene to comment at length on the origins of the album; there doesn't seem to be much information. I think it's pretty solid though. Alexander has a breezy, surreal vocal delivery and there's certainly enough trippy moments to satisfy any fan of the genre.


    Sunburned Hand of the Man - Jaybird (2001)

    Wonderful long freeform psychedelic/space-rock jams. Every track remains consistently musical and engaging, reminding me in parts of Friendsound, Arica , Dr. John, etc. etc. Proof that psychedelic music is still alive and remains a fresh and productive genre. Another hard-to-find Julian Cope Album of the Month. One just popped up on eBay and instantly sold for $100. Here's the consolation prize for all of us who lack that kind of cash.

    Get it
    HERE (@256).
    (and yes, the tracks tend to end rather abruptly... it's not a problem with the rip!)

    The Marble Phrogg - 1968 - The Marble Phrogg

    Track List :

    I'm So Glad
    Love Me Again
    Born to Be Wild
    I'll Feel A Whole Lot Better
    Fields Of Sun
    Strange Brew
    There's A Girl
    Season of The Witch
    Sky Pilot

    Covers only LP from local club band with Iron Butterfly, Cream, Hendrix, Steppenwolf, and even a belated Byrds number. More interesting than the typical late 60s fuzz cover bands, as they put a lot of effort in delivering and adapting the material, while retaining a cool teen vibe.

    Download it here :

    Saturday, September 01, 2007

    Easybeats – 1965 – Easy [192k]

    The Easybeats occupy a unique place in the pantheon of 1960s British rock acts. For starters, they were Australian, except that they really weren't — they met in Sydney alright, and being based in Australia with the talent they had gave them a leg-up over any of the local competition. But lead singer Stievie Wright originally came from England (although he'd been in Australia for some years), and bassist Dick Diamonde hailed from the Netherlands, as did guitarist Harry Vanda, while the others, guitarists George Young and drummer Gordon ‘Snowy’ Fleet, were recent arrivals from Scotland and England — most significantly, Fleet was Liverpool born and raised, and had been a member of The Mojos, one of that city's more promising bands of 1963 and 1964. They all had talent, but he had a sense of style and an idea of what worked in rock & roll; it was Snowy Fleet who came up with the name "the Easybeats," and the sharp image for the early group, which made them a piece of authentic Brit-beat right in the heart of Sydney, 13,000 miles from Liverpool and as precious there as water on a desert

    After honing their sound and building a name locally around Sydney in late 1964, the group was signed to Albert Productions who, in turn, licensed their releases to Australian EMI's Parlophone label. Ted Albert, their producer, seemed to recognize what he had in a group of talented, newly-transplanted Englishmen and Europeans — the real article, and a rare musical commodity in Australia. The band was signed up with 20 original songs already written, and as they sounded fresh, he simply let the band cut them, merely making sure the music came out right on vinyl. Working from originals primarily written by Stievie Wright, by himself or in collaboration with George Young, the group's early records (especially the albums) were highly derivative of the Liverpool sound, which was fine by all concerned. What made it special was the sheer energy that the quintet brought to the equation — they were highly animated in the studio and on stage, they looked cool and rebellious, and they sang and played superbly
    Read more on Allmusic

    Track list;
    01-It's So Easy
    02-I'm A Madman
    03-I Wonder
    04-She Said Alright
    05-I'm Gonna Tell Everybody
    06-Hey Girl
    07-She's So Fine
    08-You Got It Off Me
    09-Cry Cry Cry
    10-A Letter
    11-Easy Beat
    12-You'll Come Back Again
    13-Girl On My Mind
    14-Ya Can't Do That
    15-For My Woman
    16-Say That You're Mine
    17-The Old Oak Tree
    18-Friday On My Mind
    19-Lisa, Rough Mix
    20-Find My Way Back Home
    21-No One Knows
    22-She's So Fine (Live)


    Style; Rock & Roll, Garage

    Thursday, August 30, 2007

    El Tarro de Mostaza - El Tarro de Mostaza (1970)

    The only album by this Mexican group, whose name translates as "The Jar of Mustard." Side one is a sometimes groovy, sometimes annoying, amateurish psych jam played on what sound like real bargain-basement instruments. The organ comping is particularly ham-fisted. Somehow, the track hangs together, but it's not going to get anyone particularly hot and bothered.
    It's Side 2 which is why you're here. Four picture-perfect pop-psych songs. Nice, simple, catchy melodies that don't overstay their welcome. "En Caso De Que Mi Reloj Se Pare" is a lovely, wistful ballad with a nice cheap organ outro. "El Ruido Del Silencio," which appeared on the Mexican volume of the Love, Peace, and Poetry series, is a miniature masterpiece: a fun little twee rocker that sounds like the little sister of the Outsiders' "Daddy Died on Saturday." Fantastic keyboard and guitar breaks. "Amor Por Telefono" keeps the happy-groove going strong, and then "Brillo De Luz" returns to the balladry of "En Caso..." to end the album.

    A strange little record to be sure. Always fun to pop on side 2 as a good come-down after a Dug Dug's excursion.

    Get it HERE.

    Monday, August 27, 2007

    Dick Dale - 1994 - Unknown Territory [320k]

    Let me introduce you to a style of music I really like; Surf Instros
    Dick Dale is well known so many people will have heard of him, and I see him as the father of Surf Instrumentals, did I say father…. More the grandfather, Dick is 70+ and still rocking
    I love the way Dick Dale plays Ghost Riders in the Sky, so that’s my favourite song of this album.
    When you really like this kind of music than take a look at;
    Trustar Vibrations
    Endless Summer
    Miracle of Genuine Pyrex

    2 downloads needed for this album, second link is to Sharebee..

    Track list;
    01 Scalped
    02 Mexico
    03 F Groove
    04 Terra Dicktyl
    05 Take It Or Leave It
    06 Ghostriders In The Sky
    07 Fish Taco
    08 California Sun
    09 Maria Elena
    10 Hava Negila
    11 The Beast
    12 Unknown Territory
    13 Ring Of Fire

    Link part1

    Link part2

    Label; Rock & Roll
    Style; Surf Instros

    Friday, August 24, 2007

    B.F. Trike - 1971 - B.F.Trike

    A very first Rockadelic album, Based in Indiana, B. F. Trike recorded this album in 1971, but it was rejected and never released by RCA. Rockadelic got the rights and issued it on LP in 1988. First few tracks are exceptional, flying psych somewhere in betweeen the Texan and SF standards. Taken from the original master tapes recorded at RCA Studios in Nashville, TN. It s been compared to Cream and Steppenwolf, but the Trike churned out a midwest sound of their own. No need to hype it any further as it s a legend in its own time.

    1.Times & Changes
    2. For Sale Or Leave
    3. Wait & See
    4. Lovely Lady
    5. Sunshine
    6. Bench Of Wood
    7. Three Piece Music
    8. Six "O" Clock Sleeper
    9. Magic Makin Music Man
    10. Be Free


    Big Fuckin' Trike: same 1989, USA/Rockadelic. Only 300 were made of this one, which was recorded for RCA Victor in 1971 but never issued at the time. Excellent garagy hard rock LP with lots of fuzzed-out guitar and catchy hooks, this record is sought-after for a reason! Band was from Indiana and were also responsible for the collectable Hickory Wind LP on the Gigantic label.

    "The BF Trike album is the exact same trio doing essentially the same musical thing but with a rockier edge. They even do a re-recording of Time & Changes from the Hickory Wind album. I highly recommend the BF Trike album as well as I personally find it a better album than this one."

    Get it here


    Thursday, August 23, 2007

    Captain Beefheart - Legendary A&M Sessions

    I apologize for the lack of posting these days, I've been preoccupied. Anyhow, here's a good listen! Those who appreciate but have difficulty contending with Beefheart's wild experimentation may enjoy this.

    Before gaining a cult with his avant-garde excursions in the late '60s, Captain Beefheart wielded a much more traditional sort of blues-rock. That's not to say that these two obscure mid-'60s A&M singles (packaged together on this five-song EP, which adds a previously unreleased track from the same era) aren't well worth hearing. The Captain's Howlin' Wolf-like growl led a tough outfit that ranked among the best early American blues-rock groups, and among the few that could reasonably emulate the Rolling Stones' toughness. Produced, unbelievably enough, by future Bread leader David Gates, this reissue includes their regional hit cover of Bo Diddley's "Diddy Wah Diddy." The best track, though, is "Moonchild," their shameless derivation of Howlin' Wolf's "Smokestack Lightning." Featuring wailing harmonica, stomping riffs and adventurous, quasi-psychedelic production, it was actually written by Gates himself. To think that the same man was also responsible for "If" and "Baby I'm A-Want You" blows the mind.

    Neil Young And Crazy Horse - Zuma

    Neil Young & Crazy Horse - Zuma(1975)

    "Cortez The Killer"

    He came dancing across the water
    With his galleons and guns
    Looking for the new world
    In that palace in the sun.
    On the shore lay Montezuma
    With his coca leaves and pearls
    In his halls he often wondered
    With the secrets of the worlds.

    And his subjects gathered 'round him
    Like the leaves around a tree
    In their clothes of many colors
    For the angry gods to see.

    And the women all were beautiful
    And the men stoodstraight and strong
    They offered life in sacrifice
    So that others could go on.

    Hate was just a legend
    And war was never known
    The people worked together
    And they lifted many stones.

    They carried them to the flatlands
    And they died along the way
    But they built up with their bare hands
    What we still can't do today.

    And I know she's living there
    And she loves me to this day
    I still can't remember when
    Or how I lost my way.

    He came dancing across the water

    Cortez, Cortez
    What a killer.

    Tuesday, August 21, 2007

    Elderberry Jak - Long Overdue (1970)

    Elderberry Jak was and is arguably the finest rock band to come out West Virginia. It is certainly an arguable case if its single album is an accurate indicator, as the recording reveals a quartet as strong as any number of its more well-known, more commercially successful hard rock contemporaries -- bands such as Free, the James Gang, the Guess Who, and Three Dog Night -- all with which Elderberry Jak shared a variety of sonic attributes.

    The band came together in the fall of 1969, with bass player Dave Coombs and lead vocalist Joe Cerisano as its co-founders. The two had previously played together in Coombs' outfit J.B. and the Bonnevilles. The Bonnevilles formed in 1965 and developed over the next few years into the most outstanding and popular group in the entire state of West Virginia. The band annually headed to Somers Point, NJ, during the summers to act as house band at a shore club called Bayshores. By 1968, Cerisano had joined the band, his first serious professional foray into the music business (though he had played with various bands in his hometown of Fairmont), still just a 17-year-old minor, and when the Somers Point trip arrived that year, Coombs and his wife actually became the legal guardians of the young singer for a time.

    Upon the demise of J.B. and the Bonnevilles in 1969, the duo formed a new unit called Kaboose, which lasted seven months. Then, with the addition of Tom Nicholas on guitar and Joe Hartman behind the drum kit, they became Elderberry Jak, named after the elderberry wine made by an uncle of Coombs. The quartet had soon become a powerful unit, mixing hard-driving rock with invigoratingly tight funk. The band traveled throughout their home states, Ohio and Pennsylvania, for performances, eventually earning a record deal with Kenny's brother Leland Rogers in Memphis. The result was the first-rate Long Overdue, released in 1970.

    After the band's demise, the members scattered with Cerisano, most significantly, remaining in the music business as a professional singer, soon heading for work in New Jersey and then New York, before ultimately gravitating to Los Angeles where he started the band Silver Condor and was signed to Columbia Records, releasing a pair of albums in the early '80s. After returning home to West Virginia, he continued to work not only solo (in TV and radio commercials, among other projects) but also sang with or for a wealth of acclaimed musicians, from Jimmy Webb, Richie Havens, and Bo Diddley to Black Sabbath and Korn. As the dawn of the new century arrived, he could still be found fronting the Trans-Siberian Orchestra. (BUY IT!)

    1) Going Back Home
    2) Forrest on the Mountain
    3) Vance's Blues
    4) Inspired
    5) Restless Feeling
    6) Wish Me Well
    7) Mr. Sun
    8) My Lady
    9) Changes
    10) You're the One


    Grand Funk Railroad - 1969 - On Time

    Grand Funk Railroad - On Time (1969)

    From Wikipedia :
    On Time is Grand Funk Railroad's first studio album, and was released in August of 1969 by Capitol Records. It was produced by Terry Knight. "Time Machine", the band's first single release, barely broke the top 50 in the singles charts. However, after the success of their second album "Grand Funk" (aka the Red Album) "On Time" went gold shortly thereafter in 1970, one of four RIAA Gold Record Awards for the band that year. The other two albums reaching gold status in 1970 for GFR were "Closer To Home" and "Live Album." A notable characteristic of the album's production - quite rare for hard rock bands of the late 1960s and early 1970s - is that the guitars are mixed rather low in comparison to the bass guitar, which is louder than any other instrument. The normal practice at the time was to turn the guitar up in the mix higher than any other instrument. Some fans have claimed this was because Mel Schacher was usually considered to be the band's best musician, but why this was done is unknown. While the Terry Knight-produced Grand Funk Railroad albums tend to feature the bass as prominent in the mix, Mark Farner's guitar was mixed higher on subsequent albums.


    Friday, August 17, 2007

    Sugar Creek - Please Tell a Friend (1970)

    Remember your elementary teachers telling you 'never judge a book by its cover'? Well forget what it is one of rock's uglier covers (apologies to John Edwards), and you're in for a major treat.

    Remember a guy by the name of Jonathan Edwards who had a hit back in 1971 with 'Sunshine'? If you're actually reading this stuff there's probably a pretty good chance that you do. Well, this is Edward's pre-solo career band. I've owned a couple of Edwards solo albums for years (they're fairly easy to locate in Northern Virginia since he lived in this area for quite some time), but never made the connection between the two entities. Anyhow, here's a little blurb I lifted off of Edward's website (the URL is listed below): "I started getting electric about the time Dylan did, doing electric folk music. I joined bands by saying 'Can I be in your band?', and they'd ask, 'What do you play?', and I'd say 'What do you need?' I'm still that way. I still love to play different instruments. It helps me understand production techniques and performance capabilities". Instead of graduating from college, he decided to give music a shot. He sold the car that his father was lending him, bought a van for his band, and headed for the music scene in Boston. The band soon found work, playing "6-40" jobs--six 40-minute sets per night--all over New England. They played cover tunes as well as their own country blues originals under various names, including the Headstone Circus, St. James Doorknob, and the Finite Minds, and they made an album for Metromedia Records as Sugar Creek."

    A little more information on the group. In 1965 Edwards was studying art at Ohio University when he met fellow student/guitarist Malcolm McKinney. The pair quickly decided to form a band recruiting McKinney's brother Todd. As St. James Doorknob the group became quite popular playing dances, parties and clubs around Athens, Ohio. At the same time fellow students Joe Dolce and Gary Gans were playing in The Finite Minds. When the Finite Minds lost their lead singer, Dolce and Gans were invited to join St. James Doorknob, which quickly mutated into The Infinite Doorknob and then The Headstone Circus. In June 1967 the band decided to take a shot at the big time. With the rest of America decamping for San Francisco, Edwards sold the car his father had lent him for school, bought a breaktruck/van and headed for Boston. The band began touring throughout New York and New England, writing material at a farm owned by McKinney's parents.

    By the time the Sugar Creek finished recording their sole 1969 album Dolce had quit (though he's represented by two of the standout selections), leaving a line-up featured Edwards, Gary Gans, and brothers Malcolm and Todd McKinney. Recorded in New York City with Peter Casperson producing, "Please Tell a Friend" will come as a major shock to anyone familiar with Edwards' sensitive singer/songwriter solo career. With Edwards and Malcolm McKinney responsible for the majority of the ten tracks, the album featured a mixture of driving blues-rock ('Old House' and the feedback propelled 'Where Do You Find The Answer') and excellent psych outings ('A Million Years'). Anyone familiar with Edwards solo career will find that his voice sounded surprisingly impressive belting out tougher material, though numbers such as 'Who Do You Think You Are', 'Lady Linda' and the Gospel-influenced 'Heavenly Road' wouldn't have been out of place on one of his early-1970s solo albums. Personal favorites include the band's psych efforts including 'Memory Tree' and 'Night Flash'. Killer tunes. Blessed with excellent sound quality, this one sounds great on an upscale stereo system. (By the way, Joe Dolce is the same guy of 'Shaddup You Face' fame.) (via Badcat Records)

    1) A Million Years
    2) Old House
    3) Who Do You Think You Are
    4) Where Do You Find The Answer
    5) Woman
    6) Heavenly Road
    7) Memory Tree
    8) Miss You
    9) Lady Linda
    10) Night Flash


    Thursday, August 16, 2007

    The Outsiders - 1968 - CQ

    If you ever see a CD with a big CQ on the front, buy it. Don't worry who it's by or what it costs or anything like that for the moment, buy it. Take it home and stick it in your player, then set the program so you miss out the first two tracks. Never mind why, just do it anyway. Make sure that all breakable objects are firmly secured and turn the volume up regardless of what it was to start with. You are now about to experience one of the great popular music recordings of our time, and almost certainly the most unjustly overlooked. You wouldn't want that on your conscience, would you?

    Their final LP ( available on CD) is one of the finer unsung psychedelic records of the late '60s. Heavy echoes of Syd Barrett-era Pink Floyd, Hendrix, and psychedelic-era Pretty Things, with adroit shifts from crunching rock and soft, almost folky passages to spacy phase shift bits and just plain dementia. The album has an ominous and creepy, but rocking, ambience that still cuts deep. The 2001 CD reissue on Pseudonym adds five bonus tracks from late-'60s singles.

    1 Misfit (3:05)
    2 Zsarrahh (3:27)
    3 C.Q. (3:28)
    4 Daddy Died on Saturday (3:03)
    5 It Seems Like Nothing's Gonna Come My Way Today (1:51)
    6 Doctor (4:43)
    7 Man on the Dune (2:08)
    8 Bear (1:05)
    9 Happyville (2:27)
    10 You're Everything on Earth (3:07)
    11 Wish You Were Here With Me Today (1:55)
    12 I Love You, No. 2 (3:14)
    13 Prison Song (5:38)
    14 I Don't Care (2:43)
    15 You Remind Me (2:47)
    16 Do You Feel All Right (3:28)
    17 Daddy Died on Saturday (3:03)
    18 Do You Feel Allright (Stereo Version)(3:
    The Reviews
    In Richie Unterberger’s 1998 book “Unknown Legends of Rock n’ Roll”, The Outsiders were referred to as "not just the finest Dutch group of the 60s, but the finest group from a non-English speaking country, period." Vocalist Wally Tax, guitarist Ronny Splinter, bassist Frank Beek, and drummer Lennart "Buzz" Busch more than substantiate Unterberger’s claim on this, their second and final album. Drawing influence from SF Sorrow era Pretty Things, The Yardbirds, The Doors, as well as Jacques Brel, The Outsiders created one of the more enjoyable albums of their era. Not quite as good as The Kinks Are the Village Green Preservation Society or Odyssey and Oracle (which were released in the same year), but a classic nevertheless.
    The two best songs on the album, "Daddy Died on a Saturday" and "Prison Song" showcase Wally Tax’s skill as both a lyricist( a great feat considering the fact that English was his second language) and singer. Prison Song" starts as a quiet folk song, builds up into a proto-punk stomp, before ultimately turning into a carbon copy of The Doors’ "The End" (without the oedipal climax).
    The Outsiders’ previously mentioned influences are ever present during the course of the album. It’s hard to listen to "Misfit", "Happyville", or "Wish You Were Here With Me Today" without being reminded of the Pretty Things or the Yardbirds or "You’re Everything on Earth" without being reminded of Jacques Brel. Likewise, "Zsarrah" and "I Love You No. 2" could very easily pass as Doors outtakes (well, they could if Jim Morrison sang with a thick Dutch accent). Then, of course, you have "Prison Song" which manages to mix all four of the influences.
    This album is absolutely essential to anyone with any interest in sixties rock. It also works as an excellent supplement to either one of the Nuggets boxes (especially the second one which includes an Outsiders’ track). Also, try to check out the double disc CQ Sessions bootleg which includes alternate takes of every song (including the superior second take of "Prison Song") as well as a few unreleased tracks.

    The legendary psych album by this Dutch band from the late sixties that's often mentioned in the same breath as Group 1850's Agemo's Trip. Renowned for conjuring up psychedelic beat music and punky garage pop the outsiders entered the spirit of '68 with an album that is seemingly filled with a hard edged, dark atmosphere of trippy paranoia. (Freak Emporium)

    Original album here

    Bonus tracks and covers here

    V.A. - Folk Absolute by janisfarm

    Hi friends... this is a compilation of well know folk - rock songs. This 90 minute tape made by the real Janisfarm was and still is a very big trip for me. So here it is

    01 - Steeleye span- rave on
    02 - John Renbourn grouup - my johnny was a shoemaker
    03 - Pentangle - I Loved A Lass
    04 - fairport convention -Suzanne
    05 - tudor lodge - willow tree
    06 - magna carta - Elizabethan
    07 - Donovan - Three king fishers
    08 - Pentangle - Sally Go Round The Roses
    09 - John Renbourn Group - death and the lady
    10 - Trees - lady margaret
    11 - Sallyangie - love in ice crystals
    12 - Magna carta - Spinning wheels of time
    13 - Pentangle - Travelling song
    14 - John Renbourn Group - cannot keep from crying
    15 - Pentangle - Light Flight
    16 - Steeleye Span - Boys Of Bedlam
    17 - Magna carta - times of change
    18 - Fairport convention - (come All Ye) Rolling Minstrels
    19 - John Renbourn group - a maid in bedlam
    20- The Strawbs - Witchwood
    21 - Donovan - ferris wheel
    22- pentangle -_no_more_my_lord
    23 - Trees - Murdoch
    24 - Accolade - Maiden Flight Eliza
    25 - fairport convention - sloth

    Hope you enjoy as much as i did

    new links

    Fairport Convention - Heyday_BBC Sessions 1968 & 1969

    :Fairport Convention - Heyday_BBC Sessions 1968 & 1969

    1. Close The Door Lightly When You Go
    2. I Don't Know Where I Stand
    3. Some Sweet Day
    4. Reno Nevada
    5. Suzanne
    6. If It Feels Good You Know It Can't Be Wrong
    7. I Still Miss Someone
    8. Bird On A Wire
    9. Gone Gone Gone
    10. Tried So Hard
    11. Shattering Live Experience
    12. Percy's Song
    13. You Never Wanted Me
    14. Nottamun Town
    15. Fotheringay
    16. Si Tu Dois Partir
    17. Cajun Woman
    18. Autopsy
    19. Reynardine
    20. Tam Lin Review When a dozen of these songs were released on the first (1987) issue of Heyday, Fairport's original producer Joe Boyd revealed that almost 20 years earlier he'd vetoed numbers like Leonard Cohen's "Suzanne", Johnny Cash's "I Still Miss Someone" and the Everly Brothers' "Gone, Gone, Gone" from consideration for the LPs Unhalfbricking and Liege And Lief, on the grounds that "Americans did these sort of songs in their sleep better than any English band could hope to". Any view from 30-odd years later is likely to be obscured by rosy clouds of nostalgia, but Boyd's opinion seems to be vindicated, especially now that the album has been extended with tracks from the British tradition like "Nottamun Town", "Reynardine" and "Tam Lin" that demonstrate what Fairport really did do well. Also added to the 87 album are a couple of touching originals by Sandy Denny performed as solos, "Fotheringay" and "Autopsy", and an appealingly ramshackle go at Richard Thompson's bayou-blues "Cajun Woman". --Tony Russell

    Album Description
    Heyday captures the classic Fairport Convention line-up in session for John Peel's Top Gear programme on BBC Radio 1 in 1968 and 1969. The band cover some of their favourite songs by Bob Dylan, Joni Mitchell, Leonard Cohen, Johnny Cash and the Everly Brothers amongst others. The album is digitally remastered with eight bonus tracks from the same sessions. Formed in London in 1967, Fairport Convention were widely tipped to be the English Jefferson Airplane. Much against the advice of their longtime producer and mentor, Joe Boyd, the band recorded a string of cover versions for broadcast on the BBC. The fact that these songs were live favourites didn't cut it with Boyd. He felt that the band should concentrate on developing their own quintessentially English sound. The band overruled Boyd's objections and Heyday saw the light of day in 1987. Now digitally remastered, Heyday is a testament to the fact that Fairport Convention could do the West Coast American sound better than the Americans.

    MY OPINION Must have for Fairport lovers




    Wednesday, August 15, 2007

    The 7th Seal - 1967 - Reflections

    This was recorded in 1967, but never released. Introspective US garage/psych band influenced by the "British Sound", soul and R&B. After they recorded their "Leave or Stay" 45 for the Gama label under the name The English Muffins." 32 years later this LP finally sees the light of day via this lovely reissue LP limited to 400 copies and in an old style thick jacket done to look just like the Lp would have looked on the Justice label had it come out way back when. 6 covers include Kinks, Yardbirds and the 5 originals all have an early Stones vibe.

    1. Sympathy
    2. Midnight Hour
    3. Till the End of the Day
    4. Mr. You're a Better man Than I
    5. Mustang Sally
    6. Well I Know
    7. It's My Pride
    8. Come on Up
    9. Proud Reflections
    10. Make Your Bed
    11. I've Got a Mind to Give Up Livin'

    Tuesday, August 14, 2007

    Tempters (Japan) - Complete Singles

    Tracks :
    01-wasure-enu kimi
    02-let's live for today
    03-kamisama onegai
    04-namida wo egao ni
    05-the legend of emerald
    06-bokutachi no tenshi
    08-himitsu no aikotoba
    10-namida no ato ni hohoemi wo
    11-ame yo furanai de
    13-kaeranakatta ken
    14-shizukana arashi
    15-everybody needs somebody
    16-world without you
    17-the end of love
    18-shout of young blood
    20-ore no mono wa nani mo nai
    21-dekirukai? dekirukai?
    22-ai no soso
    23-wakamono yo ai wo wasureruna
    24-riyunaki hanko

    Hoh boy. Apparently, in the 60's Japan followed America's example with regard to releasing singles; whereas the British concept of a "single" tended to be a non-album track packaged with a B-side, in America singles were often part of an album.

    Consequently, The Tempters "Singles Collection" is, without a doubt, essentially a "greatest hits" collection, but a startlingly comprehensive one; generous portions of their four major albums are sampled, to both good ends (you get TONS of music here) and bad .... But if you're coming here from the GS I Love You Too compilation, be advised that this is a *great* purchase.

    Because the Tempters were, for a brief period, an excellent little band. If anything, if one wants to consider the graph of popularity and talent, they were the Beatles of Japan, being almost as popular as pre-fab groups like The Tigers but also being startlingly more talented instrumentally, vocally, and (most importantly) with regard to their homebrew songwriting talent. The band could swing easily from pumping out Zombiesque pop numbers to Bee Gees styled orchestrated excess (as their second album 5-1=0 get quite a bit of that here, also). Indeed, their only real misfire was the "In Memphis" album, but as that's essentially a Kenichi Hasigawa solo album, it's hard to count that against 'em.

    Is this compilation perfect? Not exactly. While many of the tracks it doesn't sample from the first album make sense (most of the covers, while excellent, probably weren't quite single material), the lack of the startlingly good "All Day I Call Your Name" is a big downside. Two, while it's nice to have the rare single version of "Ame Yo Furanaide" on CD finally, the fact that it shows up here only means that, irritatingly, the disc is a necessity and not just a good introduction to the group. Thirdly, Teichiku's remastering leaves quite a bit to be desired, and the overuse of no-noise here is just as bad as on the standard catalogue discs.

    In summary, though, if one has a passing interest at all in pursuing the Japanese GS period, this is a great purchase with which to begin.~Customer Review

    Monday, August 13, 2007

    Rockadrome - Royal American 20th Century Blues (Canada 1969)

    Rockadrome hail from Ontario, Canada, and their album is one of the rarest to emanate from the country. The music contained on here is a mixture of rock, psyche and a touch of blues, and some of the tracks are definitely Beatles influenced. The album opens with 'R.A.T.C.B. Teaser', which is used as a theme throughout the album, with a reprise at the end and the main song later on the disc. The first proper song is 'Very Strange' - which it isn't. It is a nice taste of Canadian psyche with some fetching guitar-work, and is followed by the more bluesy 'Thirteen Miles Down' which includes the requisite blues guitar solo. The title track is split in two and done as a rock version and a psyche/pop version, both of which are very good, and 'There You Go Again' has a Byrdsian chime to it coupled with a Dylan-influenced vocal. 'Inside Out, Inside In' is one of the Beatles-y songs, but there is nothing wrong with that if it is done well, which this is. The intro to 'T.O. Town' has evinced comparisons with the Monkees as it is very similar to 'Last Train To Clarksville', but the song itself is a great garage rocker. 'Ain't It A Shame' is a little too close to goodtime pop for my liking, but put against the high quality of the rest of the album this can be forgiven. It was bootlegged in the 80's with a black and white cover, but you can now get an exact repro with colour sleeve, although it is quite pricey for the vinyl. Haven't seen it on CD for a while, but it usually follows fairly quickly, and when it does it is highly recommended.

    1) r.a.t.c.b. teaser
    2) very strange
    3) thirteen miles down
    4) royal american 20th century blues
    5) live and love child
    6) there you go again
    7) inside out , inside in
    8) t.o. town
    9) ain't it a shame
    10) good dream
    11) r.a.t.c.b. reprise


    Sunday, August 12, 2007

    Les Rallizes Denudes - Heavier Than a Death in the Family (1973 & 1977)

    This (double album? Long CD?) apparently comprises tracks recorded in 1973 and 1977. Hard to know for sure since almost all of this this notoriously anti-system, anti-studio band's material exists in bootleg form. Sonic guitar feedback jamming assault, perfectly captured on the crappiest recording equipment possible. This is the sound of Motown's basslines (see track 3, especially), the cheery psych-pop of the late 60s, and VU's "Sister Ray" being atomized in a blast furnace. This is rock being melted down and reminted. What makes this fascinating is how purely musical the result is. There is so much to HEAR going on in all the noise.

    Get it HERE. (@192)
    A good bio of the band can be found HERE.

    Saturday, August 11, 2007

    Velvett Fogg - 1968 - Velvett Fogg

    Appearing in 1968, and disappearing just as quickly, Velvett Fogg's only LP is a truly great, lost classic of British psychedelic music. At it's best it features some imaginative guitar and organ workouts combined with quirky and unusual lyrics and the band's covers of 'New York Mining Disaster' and 'Come Away Melinda' add an eerie tone missing from the originals. Fogg's own originals include the childlike 'Wizard of Gobsolod', the haunting and somewhat dislocated 'Lady Caroline' and the jazzy workout of 'Owed to the Dip' but the tone of the album is set by the powerfully doom-laden opener, 'Yellow Cave Woman'. It's a great record and it's rounded off with the inclusion of the band's only single, a 68-style, special effect laden version of 'Telstar' - the sleevenotes, by John Peel, are a remarkable 1968 artifact in their own right.

    1. Yellow Cave Women
    2. New York Mining Disaster 1941
    3. Wizard Of Gobsolod
    4. Once Among The Trees
    5. Lady Caroline
    6. Come Away Melinda
    7. Owed To The Dip
    8. Within The Night
    9. Plastic Man
    10. Telstar '69 - (bonus track)

    The Reviews

    This rare psychedelic album was recorded for Pye in 1969 and bridged the gap beautifully betyween psychedelia and the impending progressive rock explosion, the album mixes wigged out rock with improvised jazz/eastern -influences. This re-issue contains a bonus track in the shape of a very bizarre version of the Tornados instro classic. After they split various members ended up in Warhorse and Ghost. Sleeve features semi-naked women and lots of body paint. Hang loose baby!(just as they did!)

    Finally available again on CD (This was actually released years ago by See for Miles Records/England...way out of print!). An instant classic of late 60's Heavy, Trippy UK Psychedelic music. Killer Fuzz guitar and swirling Hammond Organ for fans THE ATTACK, ANDROMEDA, ARZACHEL, JULY etc. The newly Remastered sound quality is top-notch! The Bonus track "Telstar '69" is taken from the A-Side of their only single. Stand out tracks are "Yellow Cave Women" with its drugged out pounding rythms and burning Fuzz guitar. Mind-blowing covers of The BEE GEES "NY Mining Disaster" and Tim Rose's "Come way Melinda" easily surpass the originals. There are a few tracks (like "Wizard of Gobsolod") that are pure UK Pop/Psych but still sound great! Great In-depth liner notes finally shed some light on this obscure band. Over all this is a MUST OWN for fans of Psychedelic Rock.

    Full Biography

    Get it here

    Thursday, August 09, 2007

    Steppeulvene - Hip (1967)

    Steppeulvene (The "Steppenwolves") play Nuggets-inflected Dylanesque electric folk-rock. It's a little slight at points, but certainly an enjoyable listen, and this is a historically significant album as it is the first rock album with original lyrics sung in Danish. (I wish I understood the words...) Singer Eik Skaløe committed suicide in Central Asia not long after this, their only album, was released, causing the dissolution of the band.
    Much thanks to the very generous Jallan for sharing this one with me.
    Get it HERE.

    Wednesday, August 08, 2007

    Bold - s/t (1969)

    Bold released one obscure, self-titled psychedelic album on ABC in 1969, though earlier they'd released two hard garage rock singles on Cameo and Dynovoice (one of them credited to Steve Walker & the Bold). One of those singles, the group original "Gotta Get Some," was very much like Paul Revere & the Raiders at their toughest, and became a favorite among '60s garage collectors after its inclusion on Pebbles, Vol. 9. Another -- a less distinctive cover of "The Train Kept a Rollin'," showed up on Pebbles, Vol. 10. By the time of their ABC album, they'd gone psychedelic, and dropped the "the" from their "the Bold" billing. Produced by a young Bill Szymczyk (later to produce the Eagles, the Who, and several other stars), Bold is a minor but respectable and diverse LP, mixing harmony vocals, classically-influenced organ, and some of the folk-rock sensibility of Buffalo Springfield in that band's harder-rocking moments.Bold grew out of the Esquires, who formed at the University of Massachusetts in Amherst, MA, where one of their friends was the young, then-university student Taj Mahal. The Esquires released a pretty forgettable, early British Invasion-influenced single before changing their personnel, changing their name to Bold, and releasing their Cameo and Dynovoice singles in 1966 and 1967, respectively. Although they were popular regionally, opening for stars like Mahal, Big Brother & the Holding Company, and Jimi Hendrix, their ABC album didn't break them to a bigger audience, and they disbanded shortly afterward. Lead guitarist Bob LaPalm and drummer Tim Griffin formed Clean Living, who put out a couple of albums on Vanguard in the early 1970s, and Griffin briefly played drums for James Taylor.

    1) All I Really Want to Do
    2) Changing Seasons
    3) Child of Love
    4) Crystal Chambers
    5) Factory (Version 3)
    6) For What It's Worth
    7) Free Fugue
    8) Friendly Smile
    9) It's All Over Now, Baby Blue
    10) Lullaby Opus Four
    11) Words Don't Make It


    Tuesday, August 07, 2007

    Axiom - Fool's Gold (Australia 1970)

    Axiom's formation was a by-product of the annual Hoadley's Battle Of The Sounds, where each year the top Australian bands of the day performed in front of judges for the prize of a paid return trip to London - but little else. In 1967 The Twilights were the first winners, the next year The Groop. Both found it difficult to settle back to the grind of the Australian pop scene after tasting the London big time. Neither band had made anything but the smallest dent in London (The Twilights being given a song by the Hollies, the Groop's "When I Was Six Years Old" being recorded by Manfred Mann's Paul Jones), but it was enough to leave the lingering thought amongst band members, 'What if..?'

    When The Groop broke up soon after their return to Australia, The Twilights had already scattered in all directions. Singer Glenn Shorrock had moved into management. A plan was hatched to form a new group out of the two group's frontline remnants. The Twilights' songwriter and guitarist Terry Britten was supposed to join Shorrock and the Groop's piano player and chief songwriter Brian Cadd in the new band, but when Terry chose to go to England instead, his place was taken by the Groop's Don Mudie, who in the last stages of the Groop had formed a strong songwriting partnership with Cadd. The group was completed by Cam-Pact guitarist Chris Stockley, and Valentines drummer Doug Lavery. Immediately dubbed a supergroup the band asked fans to suggest a name and settled on Axiom.

    Almost immediately Axiom buried itself in the recording studio. In December 1969 they released the first single, "Arkansas Grass", heavily influenced by The Band's "Music From Big Pink". "Arkansas Grass" reached #7 in December, 1969. Four months later the group left for London, and as a parting gift left their second single, "A Little Ray Of Sunshine", inspired by the birth of Don Mudie's first child, the single reached #5 in April 1970 . "A Little Ray Of Sunshine" has become one of the Australian songs most often still played on radio and was even celebrated with its own stamp in Australia Post's 1998 Australian Rock stamp series. Just before departing for London drummer Don Lebler (The Avengers) replaced Lavery who joined The Mixtures.

    In their absence the band's album Fool's Gold was released, one of the first true 'albums' in Australian music, despite the "Arkansas Grass" single also one of the first attempts in Australian pop to write about the Australian landscape. The album saw some of the first uses of the didgeridoo in Australian popular music. The songs were all of high quality as were the production values. Fool's Gold reached reached #18 in June, and it still stands as one of the best albums of the period, however it never reached its full potential because Axiom were not around to promote it. A third single failed to chart. In Australia Axiom were signed to Ron Tudor's independent production company. They left Australia with Ron's blessing to secure a world-wide recording contract. He wouldn't stand in their way.

    In England Axiom signed a three-year recording contract with Warners, cemented by a single "My Baby's Gone" produced by Shel Tamly of early Who, Kinks and Easybeats' "Friday On My Mind" fame. The band was then bundled off to Los Angeles to record an album. In international hands they just ended up sounding like everyone else. By the time the album If Only was released the band had already broken up. A couple of trips home to try and keep the momentum on their career and put some money in their pockets had met with disappointing results. The band just fell apart.

    Glenn Shorrock would return to England where the would-be Little River Band found him. Brian Cadd stayed in Australia and launched a successful solo career. A couple of years later Chris Stockley became part of The Dingoes.

    1) Arkansas Grass
    2) Baby Bear
    3) Fords Bridge
    4) Samantha
    5) Take It Or Leave It
    6) Little Ray Of Sunshine
    7) Yesterday, Today And Tomorrow
    8) Mansfield Hotel
    9) Can't Let Go This Feeling
    10) Country Pickin
    11) Once A Month Country Race Day
    12) Fool's Gold
    13) Who Am I Gonna See


    Monday, August 06, 2007

    Tomorrow - 50 Minute Technicolor Dream

    Tomorrow - 50 Minute Technicolor Dream: Unreleased & Live

    50 Minute Technicolor Dream is a compilation of mostly previously unreleased recordings
    by Tomorrow.
    Tracks 1-2 are unused demos for the film Blowup.
    Tracks 7-8 are from BBC Radio 1:
    "Top Gear" (the first "Peel Session", recorded September 21, 1967), rec Maida Vale Studios.
    Tracks 9-16 are live at "Christmas On Earth Continued"
    Friday, December 22, 1967, Kensington Olympia Grand & National Halls.

    Track List :
    1. "Am I Glad to See You"
    2. "Blow Up"
    3. "Caught in a Web"
    4. "Revolution"
    5. "Why"
    6. "Real Life Permanent Dream"
    7. "Three Jolly Little Dwarfs"
    8. "Revolution"
    9. "Caught in a Web" (live)
    10. "Shotgun & the Duck" (live)
    11. "My White Bicycle" (live)
    12. "Real Life Permanent Dream" (live)
    13. "Revolution" (live)
    14. "Why" (live)
    15. "Mr Rainbow" (live)
    16. "Strawberry Fields Forever" (live)

    Flower-power, psychedelia, the summer of love. That's the back-drop to the oh-too-short career of pop group Tomorrow. The promise was all there, though. Billing with Hendrix, The Soft Machine, Pink Floyd, The Move, and The Who. Star vocallist Keith West of "Excerpt from a Teenage Opera" fame. Showcased on Top Gear with Peel and Brian Matthew.

    "50 Minute Technicolour Dream" is a new compilation made up from studio sessions, live recordings, and other recently-discovered tracks from the band. Their best known track, "My White Bicycle" is there, though unfortunately, the fidelity of this live recording is not particularly high. The BBC recorded tracks are, however, superb in quality.

    The songs are very much of the era. Plenty of Wah-wah and flanging. If you hanker for just a little more of the late '60s music there's nostalgia and excitement together in this new RPM album. Their version of "Strawberry Fields Forever" is a real bonus.

    Get it Here @320

    And here is track 11
    (for those who had problem with the previous links...)

    Sunday, August 05, 2007

    All Day - 1973 - York Pop Music Project

    All Day - 1973 - York Pop Music Project
    (Folk- Psych - vinyl rip) RARE

    All Day's Private pressing LP that has gained legendary status.

    This project is made of various bands and individual artists from York University playing various types of music, ranging from Folk over Progressive Rock till electronic Music. This explains the title of the LP : "York Pop Music Project". The York university, for years, has been known amongst many thinks for its excellent "Music studies" under its "Arts and Humanities" department. Some students, back in 1973 decided to record some music. All of them did do this in his / her own style and according to their tastes. The result was released privately as an LP and sold mainly to fellow students, friends and family. Today this album is a hot collectors item. Unfortunately I have not yet found any more information on this album. If you can help me, or get me a cover picture... the please do so. For now, I can only add that its obscurity is one of the main reasons for its prize : around 400EUR at least nowadays.

    source : Dogmatik magazine

    Get It Here :
    RapidShare or SendSpace

    Friday, August 03, 2007

    Love - The Forever Changes Concert (Video)

    It's been almost one year since Arthur Lee pass away....
    and i had manage to make this post in order to honor him !

    Unfortunately....this day it coincided with the sad news
    of the loss of our friend Dirk (a.k.a. Cities On Flame)

    There is not a lot to say....just go to his blog...and wish to him a nice and peaceful trip to a better place !

    Love - The Forever Changes Concert
    [January 2003] (mpg 713MB)

    Track List
    1. "Alone Again Or" (Maclean, – 4:19)
    2. "A House Is Not a Motel" (Lee, – 4:08)
    3. "Andmoreagain" (Lee, – 4:04)
    4. "The Daily Planet" (Lee, – 3:42)
    5. "Old Man" (Maclean, – 3:39)
    6. "The Red Telephone" (Lee, – 7:12)
    7. "Maybe the People Would Be the Times or Between Clark and Hilldale" (Lee, – 3:57)
    8. "Live and Let Live" (Lee, – 5:13)
    9. "The Good Humor Man He Sees Everything Like This" (Lee, – 3:42)
    10. "Bummer in the Summer" (Lee, – 2:34)
    11. "You Set the Scene" (Lee, – 7:40)

    In 2002, Arthur Lee began touring in earnest under the name "Love with Arthur Lee". This new phase of his career met great success, and he performed to enthusiastic audiences and critical acclaim throughout Europe, North America and Australia. The band began to perform the Forever Changes album in its entirety, often with a string and horn section. A live CD and DVD of this material was released in 2003. Two Love tracks, "My Little Red Book" and "Always See Your Face" (from "Four Sail"), appeared on the soundtrack of the John Cusack adaptation of Nick Hornby's "High Fidelity."

    Arthur Lee left the members of Baby Lemonade who, after prison, had backed him as Love in August 2005. The remaining members continued the tour as The Love Band. Lee carried the band name forward, putting together a new lineup in Memphis, which was to include Alex Greene, Jack "Oblivian" Yarber, and Alicja Trout.

    (you can get some parts from & some from

    This was (and still is) the best live i have see
    (maybe have something to do with how much i like that band)

    Thursday, August 02, 2007

    V.A. - Acid Visions_The Complete Collection vols 1-3

    V.A. Acid Visions_The Complete Collection vols 1-3

    Acid Visions - The Complete Collection #1 - CD (Collectables, 1991)

    Acid Visions - The Complete Collection #2 - CD (Cicadelic, 1993)
    Acid Visions - The Complete Collection #3 - CD (Collectables, 1993)

    Tracklists, Reviews & Links


    Enjoy !!!

    Blue Effect (Czechoslovakia) - 1970 - Meditace

    The Blue Effect - Meditace (1970) - CZE

    A pretty terrific lost psychedelic rock LP from Czechoslovakia

    01. Pamet lasky [4:03] R. Hladik/Z.Rytir
    02. Blue Effect Street [4:04] V. Misik/Z.Rytio
    03. Fenix [4:26] R. Hladik/Z.Rytir
    04. Stroj na nic [2:25] R. Hladik/Z.Rytir
    05. Slunecni hrob [1:50] V. Misik
    06. Little Girl [3:54] V. Misik
    07. Deserted Alley [3:09] V. Misik/ K. Kozel
    08. Blue About Stone [7:59] Blue Effect/ V. Misik
    09. Rainy Day [3:57] J.Kozel, R. Hladik/K.Kozel
    10. Where is my star [3:27] R. Hladik/J.Smetana
    + bonus singly na vydani z roku 1996
    11. Sen neni vecny[3:25] R. Hladik/J.Smetana
    12. I Like The World (Sun is So Bright)[3:05] V. Misik, R. Hladik, J. Smetana, J.Kozel, V.Cech, M.Svoboda, K.Kozel
    13. Blue Taxi [2:37] V. Misik/J.Smetana
    14. Snakes [2:24] V. Misik/J.Smetana
    15. Slunecny hrob [3:24] V. Misik/J.Smetana
    16. I've Got My Mojo Working [3:43] Marganfield
    17. White Hair [4:20] V. Misik/J.Smetana

    Vydano v anglicke verzi Blue Effect : Kingdom of Life

    Vladimir Misik : voc
    Radim Hladik : g, sitar
    Jroi Kozel : bg
    Vlado Cech: ds
    Milos Svoboda: g(1)

    Wednesday, August 01, 2007

    Tully - 1971 - Sea Of Joy

    1. Sea of Joy (Part 1)
    2. Pseudo-Tragic-Dramatic
    3. Follow Me
    4. Cat-Clarinet Mit Orge
    5. Trinidad
    6. I Feel The Sun
    7. Thank You
    8. Syndrone
    9. Softly, Softly
    10. Brother Sun
    11. Down To The Sea
    12. Sea of Joy (Part 2)
    FEATURED ON BOOKLET;Liner notes written by Paul Witzig, original members of Tully & Stephen McParland

    First time re-issue & on CD of the music for the classic Australian surf movie filmed by Paul Witzig in 1970, starring Wayne Lynce, Nat Young and Ted Spencer. Filmd in Australia, Mauritius, south Africa, Oahu and Kauai. The music was all written & performed by a psychedelic rock acid folk outfit called TULLY featuring Richard Lockwood and Michael Carlos.

    Tully, the band that recorded Sea of Joy, was the precocious child of two very different creatures, Tully the First (wild psychdelic & spiritual progressive rock) and Extradition (ethernal acid folk sounds, later survived the album "HUSH"). They played together once then became Tully the Second.

    The music they played for the soundtarck was engrossing and particularly enchanting (and still is!). You may find there will be nothing to compare such a recording with other surf soundtracks or surfing related music in whole surf music history (even now). Acid-deep-psyche-progressive-rock-folk surf on in early 1970s!

    Some tracks were heard on the movie, but actually many of them are different version and arrangent (or feeling like so) for this long player, its rightly much higher audiolable quality than we hear on the original film.

    SEA OF JOY, a title borrowed from the Blind Faith song of the same name (featured on the group's 1969 self-titled longplayer), was, as a film, a relaxing experience instead of the usual "story" or "travelogue". Uncrowded waves from Australia to Africa to Hawaii were a strong feature of the film and there was a serene beauty to the production.Geoff Watson in his review of the film in the surfing tabloid Tracks (issue #8) commented, "Paul Witzig takes us into his child's world in his newest film. It is a world of puppy dogs and slow motion pony rides, of fish eye gnomes and laughing faces. The grown-ups are friendly and very kind and every day is a holiday."

    A style and sound that won them inclusion in Lillian Roxon's highly acclaimed ROCK ENCYCLOPEDIA. In fact, they were the only truly Australian group included in the book.

    (from the liner notes by Stephen McParland)
    Sea of Joy is a score filled with evocative memories of an era when youth culture was emerging and searching for a new era of peace and hope of a better world.The world may have lost this path, but the music lives on as a testament to dreams of freedom." ... Paul Witzig

    Tully (L to R): Colin Campbell, Michael Carlos, Shayna Stewart, Richard Lockwood, Ken Firth at a studio in Sydney, circa 1971.

    Photo by John Stewart


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