Thursday, April 17, 2008

May-June 2007

Saturday, June 30, 2007

The Poets - Scotland's No.1 Group

Although they only released half a dozen singles, these were enough to firmly establish the Poets' status as the best Scottish rock group of the mid-'60s. It's true that this is akin to being a big fish in a small pond -- not many Scottish bands recorded in the 1960s, and not many of them were at all notable. But that shouldn't detract from the genuinely high quality of their records, which still remain known only to a relatively small band of collectors.

The Glasgow group differed from most other Scottish combos of the time in that they concentrated almost exclusively on original material, which alternated between mournful, almost fey ballads and storming mod rockers. Critics have compared the melodic, minor feel of much of their work to the Zombies, a comparison that holds water to a certain point, although the Poets were far more guitar-based. A minor hit single right out of the gate and a management deal with Rolling Stones manager Andrew Oldham seemed to spell probable success. But the Poets fell victim both to subpar promotion and numerous personnel changes, which had gutted the core of the band by the late '60s.

Oldham came across the band by chance on a trip to Scotland in 1964, quickly signing them and arranging a recording deal with Decca. Their first single, a characteristically moody original called "Now We're Thru," made number 30 in the U.K. Yet that was to be their only taste of commercial success, despite a flurry of fine singles over the next couple of years. The two-bass throb of the hard-rocking "That's the Way It's Got to Be," the exquisite acoustic ballad "I'll Cry with the Moon," a fiery cover of Marvin Gaye's "Baby Don't You Do It" -- all are worth hearing by British Invasion fans. Although some may find their slow numbers a bit on the maudlin side, the group had a knack for fine melodies, harmonies, and dense guitar arrangements that lifted these above the ordinary.

took the group with him to his independent Immediate label in late 1965 for a couple of singles, but ultimately the But the Poets were never given full opportunity to develop their unquestioned skills. OldhamOldham association may have worked against them, as he was naturally inclined to focus most of his energies upon the Rolling Stones. The Poets were getting lost in the shuffle and discouraged, and by 1967 not one original member remained from the lineup that had first recorded. They did marshal the energy for a superb 1967 single, the blue-eyed soul/psychedelic "Wooden Spoon," which indicated that the band was still progressing and maturing, even though their continuity with previous lineups was tenuous to say the least. The Poets straggled on until 1971, barely recording again; Poets alumni turned up in Scottish bands like Trash (who were briefly signed to Apple Records), Marmalade, and one of Alex Harvey's outfits.

Friday, June 29, 2007

Buffy Sainte Marie

Changing Woman (1975 MCA Records)

Need no comments...simply one of my favorite Artists... people...pale person salutes you!!!

Song Titles:
YOU TAKE ME AWAY (Buffy Sainte-Marie)
TIL I SEE YOU AGAIN (Buffy Sainte-Marie)
MONGREL PUP (Buffy Sainte-Marie)
THE BEAUTY WAY (Buffy Sainte-Marie)
NOBODY WILL EVER KNOW IT’S REAL BUT YOU (Norbert Putnam & Buffy Sainte-Marie) ALL AROUND THE WORLD (Buffy Sainte-Marie)
A MAN (Buffy Sainte-Marie)

Many A Mile 1965

AMG REVIEW: Sainte-Marie's second LP was most notable for the original version of her most famous composition, "Until It's Time for You to Go," which is her most melodic and memorable track. The rest of the album is more traditional and rough-hewn than some would expect, including a Child ballad with a "Greensleeves"-like melody ("Must I Go Bound"), the Bukka White blues "Fixin' to Die," the oft-done ballad "Lazarus," an Irish-American murder ballad, and a traditional tune accompanied only by mouthbow ("Groundhog"). Of more interest are Sainte-Marie's own compositions, including "Los Pescadores" (which has some of her most uncompromising vibrato) and "Welcome Welcome Emigrante." — Richie Unterberger

Song Titles:
MUST I GO BOUND (trad. Arr Buffy Sainte-Marie)
LOS PESCADORES (Buffy Sainte-Marie)
GROUNDHOG (trad. Arr Buffy Sainte-Marie)
ON THE BANKS OF RED ROSES (trad. Arr Buffy Sainte-Marie)
FIXIN TO DIE (Bukka White)
UNTIL IT'S TIME FOR YOU TO GO (Buffy Sainte-Marie)
THE PINEY WOOD HILLS (Buffy Sainte-Marie)
BROKE DOWN GIRL (Buffy Sainte-Marie)
JOHNNY BE FAIR (Buffy Sainte-Marie)
MAPLE SUGAR BOY (Buffy Sainte-Marie)
LAZARUS (Buffy Sainte-Marie)
MANY A MILE (Buffy Sainte-Marie)

~It's My Way
~Many a Mile
~Little Wheel Spin And Spin
~I'm Gonna Be A Country Girl Again
~Fire & Fleet & Candlelight
~She Used To Wanna Be A Ballerina
~The Best of Buffy Sainte-Marie
~Best Of Buffy Sainte-Marie Vol 2
~Quiet Places
~Native North American
~Child Buffy
~Changing Woman
~Sweet America

Coincidence and Likely Stories 1991 EMI Records Canada/Chrysallis London

Up Where We Belong 1991 EMI Records Canada/Chrysallis London (All new digital recordings of the classic hits)




Thursday, June 28, 2007

The Move - The Move [1968/1998]

Of all the reissues of the Move's first album, Repertoire's 1998 expanded version (which supersedes their 1992 edition) is the most ambitious, so much so that one could almost lose sight of the contents of the original album. That's here, intact, covering the first 13 tracks, and it sounds very good, loud and crisp. Then come the 15 bonus tracks, which pretty much cover the entire studio history of the group up to the point of the album's original release — not just the singles that pre-dated the album, but also previously unissued outtakes of "Cherry Blossom Clinic," "Fire Brigade" and "Second Class," a Roy Wood solo track that had never before seen the light of day. The CD is filled out with the stereo album mixes of a half-dozen of the songs off of Move album. As is too often the case with Repertoire releases, annotation consists of a generic account of the group's history, rather than a detailed discussion of the contents; that flaw, however, doesn't detract from the value of the music, which is delightfully lighthearted psychedelic pop, with some piercing satirical edges. (allmusic)
The brilliant 1968 Move's debut, remastered and expanded. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme). - K
01 Yellow Rainbow
02 Kilroy Was Here
03 (Here We Go Round) The Lemon Tree
04 Weekend
05 Walk Upon the Water
06 Flowers in the Rain
07 Hey Grandma
08 Useless Information
09 Zing Went the Strings of My Heart
10 The Girl Outside
11 Fire Brigade
12 Mist on a Monday Morning
13 Cherry Blossom Clinic
14 Night of Fear (A-Side)
15 The Disturbance (B-Side)
16 I Can Hear the Grass Grow (A-Side)
17 Wave Your Flag and Stop the Train (B-Side)
18 Vote for Me (B-Side)
19 The Disturbance (Alternate Take)
20 Fire Brigade (Alternate Take)
21 Second Class (She's Too Good for You) (Roy Wood)
22 Cherry Blossom Clinic
23 (Here We Go Round) The Lemon Tree (Stereo Version)
24 Weekend (Stereo Version)
25 Flowers in the Rain (Stereo Version)
26 Useless Information (Stereo Version)
27 Zing Went the Strings of My Heart (Stereo Version)
28 The Girl Outside (Stereo Version)
29 Walk Upon the Water (Stereo Version)

Wednesday, June 27, 2007

Will-O-The Wisp - 1999 - Will-O-The Wisp

Tracks :
1 Silent Thoughts (Part One)
2 Elbereth (Lonely Queen)
3 A Sign Or A Smile
4 Hang On To A Dream
5 Summer of Life
6 It's Time...
7 Flying Over the Dawn
8 Vision
9 Silent Thoughts (Part Two)

Will-o-the Wisp is a new psychedelic band from Greece.
Formed late 1997, that released it's excellent debut album through Action Records at the begining of 1999.
Their sound is heavily influenced by the British progressive underground scene of the early 70s and bands such as Caravan, Curved Air and Cressida .
The album is a unique psychedelic-progressive masterpiece, with gorgeous melodic lines and dreamy male-female vocals.
The use of flute and cello adds a certain atmosphere to the overall result, making the record a remarkable and promissing debut.

Don't miss it!!!


buy here

Tuesday, June 26, 2007

Todd Dilligham - A Lizard, A True Starfish

This one, is unreleashed Todd stuff which he and his brother Mick kindly shared with me and you all.

I don't have any info on when this was created or who participates here... maybe Todd can help on this . Aslo the arwork is not form the unreleashed cd... it is a picture that also todd sent me

One thing is for sure IMO... it is great neo-psyche -pop music that can blow your mind.


01 Crimson Spires
02 Triangular Squares
03 Terrafirma Babydoll
04 Carpet Throne
05 So Much Rain
06 Twise As Normal As My Self
07 Lost In A Foreign Country
08 The Candle Burns
09 Uncertainties
10 Asking For The Sun
11 Purple Streakes
12 Song For Valis
13 Mushroom Man
14 Cirkus
15 Trying Hard To Be Happy
16 The Flower Girl
17 Not A Second Time
18 Distant Meadows
19 Listen
20 Wonderland
21 Wombats Overhead

More Todd's Music:

@192 wma files


and RESPECT TO TODD+MICK and their attitude !

Monday, June 25, 2007

Sun Dial - 1990 - Other Way Out

Oh this really is a treat! I forgott I had this. Back in the days of all those Madchester rave on days when I was buying The Inspiral Carpets, The Charlatans (UK) etc I got this cd which was recorded in 1990-but sounds more like 1967. If you think of all the best bits from early Pink Floyd, July, Beatles Revolver, Chocolate Watchband, The Strawberry Alarm Clock etc etc! You can't go far wrong with this album, every track is a winner. Give it a go you'll all love it if you're a fan of the best UK psych.

Gary Ramon-Electric and Acoustic Guitars Vocals
Anthony Clough-Bass Bamboo Flutes Vox Organ
Dave Morgan-Turkish Talking Drum Tibetan Bells

1-Plains Of Nazca
2-Exploding in Your Mind
3-Magic Flight
4-Shes Looking All Around
5-World Without Time
7-Other Side
8-Lorne Blues

posted by Steve

Synanthesia (1969 Acid Folk/Rock)

Though recorded quickly over two days — and indeed, literally recorded live in the studio with no overdubs — Synanthesia's sole album from 1969 is a gentle treat for anyone interested in the obscurer realms of late-'60s U.K. folk and its descendants. It's always a pleasure to hear something that did not deservedly go out of print — and therefore get an unnecessary reputation. Instead, the combination of bandleader Dennis Homes' gentle vocals and delicate guitar work, Leslie Cook's equally strong talents, and the ace-in-the-hole performing of sax and flute player Jim Fraser is often quite magical. That the band openly has a debt to the Incredible String Band and Bert Jansch practically goes without saying, but there's a difference between mere aping and finding a particular spin on a sound, and Synanthesia firmly comes down on the side of the latter. For such a rushed and in-the-moment album, the sound is often quite rich — credit not only to Vic Gamm's inspired engineering, but to the band's clear abilities as a solid live act. Hearing Homes' gentle vibes work on "Peek Strangely and Worried Evening" or Cook's flourishes on mandolin for "Fates" shows how well each complements the other songwriter's work. Yet Fraser in many ways is the key throughout — clearly picking up on jazz influences as much as folk ones, much like his bandmates, and the result is a detailed, fluid series of performances on his chosen instruments, ranging from the restrained then strutting sax parts on "Morpheus" to gentle background flute on "Rolling and Tumbling." The band's weakest element might be the lyrics, but nothing is outright bad, just sometimes awkward. Sunbeam's 2006 re-release, in keeping with the label's similar work, features not only excellent sound but winning, retrospective liner notes from Homes and a slew of rare pictures, plus a bonus track, "Shifting Sands," that originally appeared on an obscure compilation album from 1970.
~from allmusicguide.

Strongly Recommended…
check “Vesta” and "Mnemoysne" feelings…

Sunday, June 24, 2007

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

V.A. - Acid Visions_The Complete Collection vol. 1

Disc 1
1 The Great Believers - Comin' Up Fast (Part 1) (Houston, TX, U.S.A.)
2 The Scotty McKay Quintet - The Train Kept A-Rollin' (Fort Worth, TX, U.S.A.)
3 A-440 - Torture (Houston, TX, U.S.A.)
4 The Things - I Don't Believe It (Houston, TX, U.S.A.)
5 The Stoics - Enough Of What I Need (San Antonio, TX, U.S.A.)
6 Satori - Time Machine (Houston, TX, U.S.A.)
7 Neal Ford & The Ramadas - Life Is So Tough (Houston, TX, U.S.A.)
8 Roy Head & The Great Believers - Easy Lovin' Girl (Houston, TX, U.S.A.)
9 Johnny Winter - Birds Can't Row Boats (Houston, TX, U.S.A.)
10 The Pandas - Walk (San Antonio, TX, U.S.A.)
11 The Bad Roads - Blue Girl (Lake Charles, LA, U.S.A.)
12 The Things - In Your Soul (Houston, TX, U.S.A.)
13 The Stoics - Hate (San Antonio, TX, U.S.A.)
14 Amos Boynton & The ABCs - The Ballad Of Bertha Glutz (Houston, TX, U.S.A.)
15 The Fanatics - Woman (Houston, TX, U.S.A.)
16 The Fanatics - I Will Not Be Lonely (Houston, TX, U.S.A.)
17 The Sherwoods - Bless Me Woman (Houston, TX, U.S.A.)
18 The Sherwoods - I Know You Cried (Houston, TX, U.S.A.)
19 Thursday's Children - You'll Never Be My Girl (Houston, TX, U.S.A.)
20 The Brother Love Congregation - I Don't Want To Go (Houston, TX, U.S.A.)
21 The Things - Loveless Lover (Houston, TX, U.S.A.)
22 Space Cadets - Nothing'll Stand In My Way (San Antonio, TX, U.S.A.)
23 Space Cadets - Love-It is (San Antonio, TX, U.S.A.)
24 The Things - Another Girl Like You (Houston, TX, U.S.A.)
25 The Warlocks - Life's A Misery (Dallas, TX, U.S.A.)
26 Homer - Dandelion Wine (San Antonio, TX, U.S.A.)
27 Homer - Sunrise (San Antonio, TX, U.S.A.)
28 The Bad Roads - Too Bad (Lake Charles, LA, U.S.A.)

Disc 2
1 The Weavils - We're The Weavils (Houston, TX, U.S.A.)
2 The Black Sacks - The Way I Feel (Houston, TX, U.S.A.)
3 The Black Sacks - Take Out (Houston, TX, U.S.A.) *
4 The 13th Floor Elevators - You're Gonna Miss Me (San Antonio, TX, U.S.A.)
5 The 13th Floor Elevators - She Lives (In A Time Of Her Own) (San Antonio, TX, U.S.A.)
6 Johnny Winter - Hook You (Houston, TX, U.S.A.)
7 Sabana Breeze - Slave (Houston, TX, U.S.A.)
8 Pearl Divers - Terminal Loser (TX, U.S.A.)
9 Pearl Divers - Riding On A Rainbow (TX, U.S.A.)
10 Purple Haze - Getting Harder All The Time (Corpus Christi, TX, U.S.A.) *
11 The Surf Knights - There's No Girl Like My Girl (Houston, TX, U.S.A.) *
12 The Chaparrals - So Good (Dallas, TX, U.S.A.)
13 Purple Haze - Electrocution (Corpus Christi, TX, U.S.A.) *
14 Pearl Divers - She Was The Doctor (TX, U.S.A.) *
15 S.J. & The Crossroads - Ooh Poo Pah Doo (Beaumont, TX, U.S.A.)
16 S.J. & The Crossroads - The Darkest Hour (Beaumont, TX, U.S.A.)
17 Pure Jade Green - Into The Sun (El Campo, TX, U.S.A.)
18 Pure Jade Green - How's He Gonna Find Me (El Campo, TX, U.S.A.)
19 Lunar Madness - Exorcism (TX, U.S.A.) *
19 Exorcism - Lunar Madness (TX, U.S.A.) *
20 The Iguanas - I Can Only Give You Everything (Baytown, TX, U.S.A.)
21 The Iguanas - Leaving You Baby (Baytown, TX, U.S.A.)

Disc 3
1 The Lemon Fog - Lemon Fog (Houston, TX, U.S.A.)
2 The Lemon Fog - The Prisoner (Houston, TX, U.S.A.)
3 The Nomads - Situations (Houston, TX, U.S.A.)
4 The Sherwoods - I'll Be Gone (Houston, TX, U.S.A.) *
5 The Sherwoods - Ride Baby Ride (Houston, TX, U.S.A.) *
6 The Pandas - Girl From New York City (San Antonio, TX, U.S.A.) *
7 The Reasons Why - Don't Be That Way (Temple, TX, U.S.A.)
8 The Lavender Hour - So Sophisticated (Houston, TX, U.S.A.)
9 The Crabs - Chase Yourself (Houston, TX, U.S.A.)
10 The Interns - Sally Met Molly (Houston, TX, U.S.A.) *
11 The Six Pents - She Lied (TX, U.S.A.)
12 The Cicadelics - We're Gonna Love This Way (Angleton, TX, U.S.A.)
13 Kenny & The Kasuals - Everybody's Making It (Dallas, TX, U.S.A.) *
14 The Heart Beats - Crying Inside (Lubbock, TX, U.S.A.)
15 The Heart Beats - Choo Choo Train (Lubbock, TX, U.S.A.)
16 Thursday's Children - Try, Girl (Houston, TX, U.S.A.)
17 Thursday's Children - Help Murder Police (Houston, TX, U.S.A.)
18 Saddlesore - Pig Ankle Strut (TX, U.S.A.)
19 The Children - Enough Of What I Need (San Antonio, TX, U.S.A.)
20 Two Boys In The Window - If You Love Me Girl (TX, U.S.A.) *
21 Blackwell - Outside (Houston, TX, U.S.A.)

* indicates that the track only appears on this compilation

One of the very best '60s garage compilations, a high compliment given the thousands of competitors, and the very best Texas '60s garage anthology. With the possible exception of California, Texas was home to more fine obscure garage records than any other state, and these 14 cuts are among the finest. Roy Head delivers a fine Johnny Winter tune, "Easy Lovin' Girl," and Winter himself sings a prime slice of folk-rock-acid-punk, "Birds Can't Row Boats" (this version, incidentally, is much better than the one found on the early Winter compilation of the same name). The other names are totally obscure, and some of the tracks weren't even released until the 1980s. But the Things and the Bad Rhoads come through with fine pop-punk numbers, and A-440's "Torture," Satori's "Time Machine," and the Pandas' "Walk" have been belatedly recognized as some of the best garage psychedelia ever, combining sharp melodic hooks and songwriting with out-and-out dementia.
~ Richie Unterberger, All Music Guide

V.A. - Acid Visions_The Complete Collection vol. 2

Disc 1
1 The Beefeaters - Don't Hurt Me (Dallas, TX, U.S.A.)
2 The Livin' End - All Alone (Abilene, TX, U.S.A.)
3 The Livin' End - Get Off My Cloud (Abilene, TX, U.S.A.)
4 The Chevelle V - Come Back Bird (Abilene, TX, U.S.A.)
5 The Stumblin' Blox - It's Alright (Abilene, TX, U.S.A.)
6 The Royal Knights - I Wanna Know (Arlington, TX, U.S.A.)
7 The Beefeaters - Change My Mind (Dallas, TX, U.S.A.)
8 The Chevelle V - I'm Sorry Girl (Abilene, TX, U.S.A.)
9 The Highlifes - No One To Tell Her (Waxahatchie, TX, U.S.A.)
10 The Highlifes - Lucille (Waxahatchie, TX, U.S.A.)
11 The Sounds Unlimited - Keep Your Hands Off Of It (Dallas, TX, U.S.A.)
12 The Sounds Unlimited - About You (Dallas, TX, U.S.A.)
13 The Outcasts - I'm In Pittsburgh (And It's Raining) (San Antonio, TX, U.S.A.)
14 The Outcasts - Smokestack Lightning (San Antonio, TX, U.S.A.)
15 The Outcasts - Route 66 (San Antonio, TX, U.S.A.)
16 The Outcasts - Sweet Mary (San Antonio, TX, U.S.A.)
17 The Outcasts - I'll Set You Free (San Antonio, TX, U.S.A.)
18 The Outcasts - The Birds (San Antonio, TX, U.S.A.)
19 The Esquires - Judgement Day (Irving, TX, U.S.A.)
20 The Esquires - These Are The Tender Years (Irving, TX, U.S.A.)
21 The Esquires - Come On, Come On (Irving, TX, U.S.A.)
22 The Esquires - Time Don't Mean So Much (Irving, TX, U.S.A.)
23 The Esquires - Loneliness Is Mine (Irving, TX, U.S.A.)
24 The Esquires - Come On, Come On (Reprise) (Irving, TX, U.S.A.)

Disc 2
1 The Livin' End - Roadrunner (Abilene, TX, U.S.A.)
2 The Centurys - Johnny B. Goode (San Antonio, TX, U.S.A.)
3 The Chevelle V - Koko Joe (Abilene, TX, U.S.A.)
4 The Outcasts - My Love (San Antonio, TX, U.S.A.)
5 The Outcasts - Everyday (San Antonio, TX, U.S.A.)
6 Outcasts - Hard Lovin' Babe (TX, U.S.A.)
7 The Sights & Sounds - You Keep Me Hangin' On (Odessa, TX, U.S.A.)
8 The Sights & Sounds - Mystical Bells (Odessa, TX, U.S.A.)
9 The Sights & Sounds - Plastic People (Odessa, TX, U.S.A.)
10 The Sights & Sounds - Kind Of A Drag (Odessa, TX, U.S.A.)
11 The Livin' End - Your Enemies (Abilene, TX, U.S.A.)
12 The Outcasts - The Price Of Victory (San Antonio, TX, U.S.A.)
13 The Love Flowers - Peace And Love (TX, U.S.A.)
14 The Love Flowers - Nirvana (TX, U.S.A.)
15 The Love Flowers - Who Are You (TX, U.S.A.) *
16 The Penthouse 5 - Vertigo Blue Sometime (Dallas, TX, U.S.A.)
17 The Penthouse 5 - It's All My Own Bizarre Dream (Dallas, TX, U.S.A.)
18 The Penthouse 5 - You're Gonna Make Me (Dallas, TX, U.S.A.)
19 The Penthouse 5 - Bad Girl (Dallas, TX, U.S.A.)
20 The Penthouse 5 - In His Shadow (Dallas, TX, U.S.A.)
21 The Penthouse 5 - Don't Mess Around With My Dream (Dallas, TX, U.S.A.)

Disc 3
1 The Exotics - Come With Me (Dallas, TX, U.S.A.)
2 The Exotics - Queen Of Shadows (Dallas, TX, U.S.A.)
3 The Exotics - I Was Alone (Dallas, TX, U.S.A.)
4 The Exotics - Fire Engine Red (Dallas, TX, U.S.A.)
5 The Exotics - Morning Sun (Dallas, TX, U.S.A.)
6 The Exotics - Hymn To Her (Dallas, TX, U.S.A.)
7 The Exotics - Alone Again (Dallas, TX, U.S.A.)
8 The Exotics - Come With Me To Chevrolet (Dallas, TX, U.S.A.)
9 The Headstones - Wish She Were Mine (McAllen, TX, U.S.A.)
10 The Headstones - 24 Hours (Everyday) (McAllen, TX, U.S.A.)
11 The Headstones - Bad Day Blues (McAllen, TX, U.S.A.)
12 Christopher & The Souls - Diamonds, Rats, And Gum (McAllen, TX, U.S.A.)
13 The Cavaliers - Congregation For Anti-Flirts, Inc. (TX, U.S.A.)
14 The Cavaliers - Pride (TX, U.S.A.)
15 The Headstones - My Kind Of Girl (McAllen, TX, U.S.A.)
16 The Playboys Of Edinburg - Wish You Had A Heart (Edinburg, TX, U.S.A.)
17 The Playboys Of Edinburg - Look At Me Girl (Edinburg, TX, U.S.A.)
18 The Playboys Of Edinburg - News Sure Travels Fast (Edinburg, TX, U.S.A.)
19 Jeanne Hatfield - My Babe (McAllen, TX, U.S.A.)
20 The Cavaliers - Sea Weed (TX, U.S.A.)
21 The Fronts - Catch A Thief (San Angelo, TX, U.S.A.)
22 The Fronts - Slash & Drip (San Angelo, TX, U.S.A.) *

* indicates that the track only appears on this compilation

The virtues of this 66-track, three-CD compilation might not be immediately evident to all listeners, since none of the Texas-based acts included here ever came close to charting a single anywhere outside of their home communities (and barely then) -- and it does look like Collectables Records threw in everything but the kitchen sink. But between the Beefeaters (from Dallas), the Livin' End, the Chevelle V, the Exotics, the Headstones, Sounds Unlimited, the Outcasts (the San Antonio-based quintet), the Sights and Sounds, the Cavaliers, the Playboys of Edinburg, the Centurys, the Stumbling Blox et al., we're hearing many of the better unknown recording acts of their time, sort of the "Best of the Rest" of Texas once one got past the Thirteenth Floor Elevators, the Moving Sidewalks, Mouse & the Traps et al. The mix of sounds and influences is bracing, including the Rolling Stones, the Beatles, Bob Dylan, the Byrds, the Leaves, and the Zombies (who would have been thrilled and amazed to know how many of these Lone Star State acts were using their harmonies and instrumental style as a jumping-off point). Any of these three discs would have made one hell of a party record on almost anyone's turntable in 1966-1967, and they're still good listening and lots of fun, the sheer variety and enthusiasm overcoming any lack of invention. Disc one is the strongest of the three, with music that's bracing and interesting from beginning to end, where disc two is laden down just a tiny bit, with one loser track, the Outcasts' earnest rendition of "What Price Victory," a pro-war song about a son joining the Green Berets, and two groups, the Love Flowers and the Penthouse 5, who could be a little too self-consciously heavy -- but even they have their good moments (the Penthouse 5 lots of them). Disc three is built principally around the sounds of the Exotics, whose range encompassed proto-heavy, metal-fuzz-laden guitars and folk-rock-type harmonies, as well as pop-psychedelia -- they sound absolutely elegant on the spaced-out, vaguely folkish "Morning Sun" and turn right around with a virtuoso electric guitar workout on the trippy, psychedelic lament "Hymn to Her." It's all fun and most interesting, although the annotation could use some work, being a bit sketchy even by 1993 standards.
~ Bruce Eder, All Music Guide

V.A. - Acid Visions_The Complete Collection vol. 3

Disc 1
1 The Novas - And It's Time (Dallas, TX, U.S.A.)
2 The Novas - William Junior (Dallas, TX, U.S.A.)
3 The U.S. Britons - Come On (Dallas, TX, U.S.A.)
4 The U.S. Britons - I'll Show You A Man (Dallas, TX, U.S.A.)
5 The Briks - It Won't Be Wrong (Dallas, TX, U.S.A.)
6 The Briks - It's Your Choice (Dallas, TX, U.S.A.)
7 The By Fives - I Saw You Walking (Dallas, TX, U.S.A.)
8 The Penthouse 5 - The Years Have Passed (Dallas, TX, U.S.A.)
9 The Word D - Today Is Just Tomorrow's Yesterday (Dallas, TX, U.S.A.)
10 The Word D - Keep On Walking (Dallas, TX, U.S.A.)
11 The Word D - You're Gonna Make Me (Dallas, TX, U.S.A.)
12 The Word D - You're Always Around (Dallas, TX, U.S.A.)
13 The Chessmen - You're Gonna Be Lonely (Dallas, TX, U.S.A.)
14 The Chessmen - No More (Dallas, TX, U.S.A.)
15 The Briks - Over You (Dallas, TX, U.S.A.)
16 The Briks - Can You See Me (Dallas, TX, U.S.A.)
17 The Briks - Foolish Baby (Dallas, TX, U.S.A.)
18 The Briks - Baby, Let Me Take You Home (Dallas, TX, U.S.A.)
19 The Briks - Keep Down (Dallas, TX, U.S.A.)
20 The Briks - NSU (Dallas, TX, U.S.A.)
21 The Chaparrals - Move On (Dallas, TX, U.S.A.)
22 The Chaparrals - One More Time (Dallas, TX, U.S.A.)
23 The Chaparrals - Wake Up, Girl (Dallas, TX, U.S.A.)
24 The Chaparrals - If Your Heart Were Only Wise (Dallas, TX, U.S.A.)
25 The Chaparrals - Get Off My Cloud (Dallas, TX, U.S.A.)
26 The Chaparrals - Satisfaction (Dallas, TX, U.S.A.)
27 The Chaparrals - So Good (Dallas, TX, U.S.A.)

Disc 2
1 The Basement Wall - Louie Louie (Baton Rouge, LA, U.S.A.)
2 The Basement Wall - We Ain't Got Nothing Yet (Baton Rouge, LA, U.S.A.)
3 The Basement Wall - Hungry (Baton Rouge, LA, U.S.A.)
4 The Basement Wall - Double Shot (Of My Baby's Love) (Baton Rouge, LA, U.S.A.)
5 The Basement Wall - Like A Rolling Stone (Baton Rouge, LA, U.S.A.)
6 The Basement Wall - The Basement Exit (Baton Rouge, LA, U.S.A.)
7 The Briks - Everybody Needs Somebody To Love (Dallas, TX, U.S.A.)
8 The Briks - Till The End Of The Day (Dallas, TX, U.S.A.)
9 The Briks - NSU (Dallas, TX, U.S.A.)
10 The Briks - The Nazz Are Blue (Dallas, TX, U.S.A.)
11 The Briks - Heart Full Of Soul (Dallas, TX, U.S.A.)
12 The Briks - I'm A Man (Dallas, TX, U.S.A.)
13 The Fugitives - Louie, Go Home (San Antonio, TX, U.S.A.)
14 British Colonels - Come Back (Dallas, TX, U.S.A.)
15 The B.C.'s - Oh Yeow! (TX, U.S.A.)
16 The Gypsies - Oh Girl! (Dallas, TX, U.S.A.)
17 The G's - There's A Time (Denton, TX, U.S.A.)
18 The Chaparrals - I'll Go Crazy (Dallas, TX, U.S.A.)
19 The Debonairs - Lonely Is The Summer (San Antonio, TX, U.S.A.)
20 The Loose Ends - He's A Nobody (Fort Worth, TX, U.S.A.)
21 The Loose Ends - Free Soul (Fort Worth, TX, U.S.A.)
22 The Barons - Live And Die (Fort Worth, TX, U.S.A.)
23 The Dinks - Penny A Tear Drop (Beloit, KS, U.S.A.)
24 Cellar Dwellers - Bad Day (Fort Worth, TX, U.S.A.)
25 The Mods - It's For You (Fort Worth, TX, U.S.A.)
26 The Liverpools - Soho (TX, U.S.A.)

Disc 3
1 The Lemon Fog - Summer (Houston, TX, U.S.A.)
2 The Lemon Fog - Echoes Of Time (Houston, TX, U.S.A.)
3 The Lemon Fog - Day By Day (Houston, TX, U.S.A.)
4 The Lemon Fog - The Prisoner (Houston, TX, U.S.A.)
5 The Lemon Fog - Yes I Cry (Houston, TX, U.S.A.)
6 The Lemon Fog - Girl From The Wrong Side Of Town (Houston, TX, U.S.A.)
7 The Lemon Fog - Lemon Fog (Houston, TX, U.S.A.)
8 The Nomads - My Little Red Book (Houston, TX, U.S.A.)
9 The Nomads - Situations (Houston, TX, U.S.A.)
10 The Nomads - Three O'Clock Merrian Webster Time (Houston, TX, U.S.A.)
11 The Smoke - Mainstream (Houston, TX, U.S.A.)
12 The Rebellers - The New Generation (Houston, TX, U.S.A.)
13 The Nomads - I Walk Alone (Houston, TX, U.S.A.)
14 The Nomads - I'll Be There (Houston, TX, U.S.A.)
15 S.J. & The Crossroads - Funny Woman (Beaumont, TX, U.S.A.)
16 S.J. & The Crossroads - London Girl (Beaumont, TX, U.S.A.)
17 Group Therapy - Take Me Back (Scarborough, Canada)
18 The Centurys - Back From Eternity (San Antonio, TX, U.S.A.) *
19 The Centurys - New Orleans (San Antonio, TX, U.S.A.) *
20 The Centurys - City Surfin' (San Antonio, TX, U.S.A.) *

* indicates that the track only appears on this compilation

This three-disc set collects tracks (72 in all) by some of the wildest, toughest garage-rockers from the state of Texas. The sound is a loud and unruly mix of frat-stompers and Yardbird-influenced blues-rockers. The biggest names here are the Briks, who are represented by 14 tracks, and the Nomads, who have seven songs, and they are not known outside of the fanatical world of the garage collector. Other names that might ring a bell are S.J. & the Crossroads, the Basement Wall, and the Chapparals. Garage collectors will find this collection to be a lot of fun and a very worthy look into the sound of 1960s Texas.
~ Tim Sendra, All Music Guide

Enjoy !!!

Saturday, June 23, 2007

V.A. - Yesterday's Dawn (Fossil, 2007)

"Sixteen Vintage Victors from the Garage Vaults"

1 The Blue Condition - Coming Home
2 Blues Unlimited - Hey Joe
3The Avanties - Baby Come Back
4 The Fabulous Bachelors - Not Like She
5 The Countdowns - Can't You See
6 The Vectors - Paisley Haze
7 Crystal Sect - Days & Weeks
8 C.C. & The Chasers - Put The Clock Back On The Wall

Side 2
1 The Inexpensive Handmade Look - Ice Cream Man
2 The Allusions - Where Have All The Good Times Gone
3 Brown Paper Bag - Something Tells Me
4 The Paragons - Mister You're A Better Man Than I
5 The Jades - When Shadows Fall
6 Robb London & The Rogues - Who'll Be The One
7 The Buddhas - My Dream
8 Skip Ellis - Ice Cube Girl

Kaleidoscope (US) - 1976 - When Scopes Collide

(Vinyl Rip @320 by Opa-Loka)

Tracks :
1. Ghost riders In The Sky
2. Canun Tune

3. You Never Can Tell

4. Little Egypt

5. My Love comes So Softly

6. Your Love

7. Black & Tan Fantasy

8. Hard On The Trail

9. Stu's Balkan Blues

10. Man Of constant Sorrow

11. It's Love You're After

12. So Long

* Chris Darrow - guitar, vibes, keyboards, mandolin, saxophone, violin, vocals
* Max Buda (aka Chester Crill) - harmonica, keyboards, vocals
* Solomon Feldthouse - guitar, oud, finger cymbals, tuba, caz, canun, doumbeg, vocals
* Stuart Brotman - bass, penny whistle, gudulka, cemenche, oud, vocals
* Paul Lagos - drums, vocals
* Tempelton Parcely (aka Chester Crill) - violin, organ, vocals
* De Paris Letante (aka David Lindley) - guitar
* John Ware - drums

"Six years after the end of the Kaleidoscope, members Stuart Brotman, Chris Darrow, Solomon Feldhouse, Paul Lagos, and Chester Crill (alias Max Buda, alias Templeton Parcely) teamed up again to record this reunion album for Mike Nesmith's Pacific Arts label. (It has also been reported that the "De Paris Letante" credited on the album is in fact another ex-member, David Lindley.) The song selection is, if anything, even more eclectic than the band's earlier work. Covers of the Coasters ("Little Egypt"), Duke Ellington ("Black and Tan Fantasy"), and Chuck Berry ("You Never Can Tell") are included, along with the traditional folk song "Man of Constant Sorrow," Middle-Eastern-inspired music, and even an Eastern European bit, "Stu's Balkan Blues." Feldhouse's bag of exotic instruments has expanded, and both he and Brotman play tuba (!). There are some highlights, the most effective being the Feldhouse-sung recasting of "Ghost Riders in the Sky" as a slow, spooky tune (it's reminiscent of Gregg Allman's solo version of "Midnight Rider") featuring two ouds — and where else could you hear that?"
~Stephen Raiteri

Friday, June 22, 2007

Crash Coffin- Same

"Crash Coffin" 1974 (Mus-I-Col cc-69) [plain cover w/ label logo]

This wellknown LP has a couple of great moody psych tracks with excellent vocals like "Alone together" and "God loves the loser", but also some less appealing stuff and is a rather inconsistent backwoods trip all over. "Amazon women" is a pretty funny 1950s b-movie throwback. Many sleeves come with artistic embellishments by Crash himself. Contrary to popular belief there were no "original covers" destroyed in a mythical fire, but simply a case of real sleeves being too expensive to print. A 1980s followup (Cuyahoga, 1984) is reportedly more in a hippie jugband style. [PL]

~~~This is true oddball loner stuff. The mix of styles is unlikely to make anyone enjoy this from start to finish, but there are some great moments nevertheless. A few songs are straight ahead rock and roll, one is a completely offensive anti-feminism song (“Mama, get back in the kitchen”), three are goofy novelties with kazoos, a few others are cool folky psych tunes, and “Alone Together” is an absolute semi-heavy psych monster. Most copies of this are in hand-decorated covers, but some have a plain white cover with a Mus-I-Col label (after a while, Coffin got tired of decorating!). [AM]

1 Massochist Blues
2 Lilly
3 Amazon Jungle
4 God Loves The Loser
5 Get Back In The Kitchen
6 Alone Together
7 Freedom Cake
8 Electric Dog
9 Looney Polka
10 Blue Kazoo

CRASH COFFIN Self titled CD (Radioactive)... Crash Coffin is a fellow from Ohio who put together a band and recorded ten of his songs on a local label back in 1970. Crash had a good grasp on singing, storytelling and songwriting as well as a working knowledge of various musical genres. This CD contains "Masochist Blues" and "the Looney Polka" as well as eight others that are not as readily pegged as belonging to a particular musical style. One song, "Freedom Cake," could have given the Lovin' Spoonful some serious competition in the jug band pop field. Crash had a strong and smooth voice with plenty of Elvis that crept in around the edges. This is actually a pretty good record that I've gone back to more than once. I especially like the closing track, a rambling folk pop ditty about Jesus stealing his "Blue Kazoo." Mr. Coffin did individual artwork for the covers of the few copies of the LP that actually made it into the hands of the public because he couldn't afford to have the covers printed. It's a shame because this could have been a popular record with a little support from a label.

You can buy this + 2 more songs here:

This is a real masterpiece



Fifty Foot Hose - 1968 - Cauldron

Fifty Foot Hose - 1968 (some sources say December 1967) - Cauldron

Tracks :
1. And After
2. If Not This Time
3. Opus 777
4. The Things That Concern You
5. Opus 11
6. Red The Sign Post
7. For Paula
8. Rose
9. Fantasy
10. God Bless The Child
11. Cauldron

12. If Not This Time
13. Red The Sign Post
14. Fly Free
15. Desire
16. Bad Trip

Like The United States Of America at the same time, Fifty Foot Hose were huge electronic experimenters. They too had released only one album before they split, wonderful Cauldron. There are songs like Red The Sign Post, God Bless The Child (weird psychedelic Billie Holiday cover), Fantasy or closing track Cauldron, which could hardly be called a song, and which I wouldn't recommend to listen when being alone at night.
The CD reissue comes from the nineties (I am not sure about the exact year), and contains 5 bonus tracks, where especially Bad Trip is worth a look. It is a track (again I don't know if I could call it a song) that the band leader Cork Marcheschi released with his previous band Ethix. Quite hair-raising.

Thanks Mr. Blues for this one !!!

Thursday, June 21, 2007

Dimentia 13 - 1991 - Flat Earth Society

73 MB @ 224

1. Can This Be True Love
2. Arabesque
3. You Tickle Me Pink
4. Flat Earth Society
5. Whisperer
6. God Part III (You'll Be Fine)

7. Helpless Feeling
8. People Get Old
9. Pleasant Shoes
10. Heaven and Hell
11. Plastic Contraption

12. Heaven and Hell
13. Four Faces On The Clock
14. Buddha Was A Good Ol' Boy

Bradley S. Warner: Vocals, guitar
Louanne Varholick: Vocals, Keyboards
Joe Nofziger: Bass
Jeff Lisk: Drums

Produced by Glenn William Rehse from Plasticland
Recorded August 1989 and February 1990 at Cornerstone, Milwaukee
Front Cover Art: H.O. Morris
Jacket Concept and Coloring: J.D. Martignon

This is the CD reissue w/ 2 extra tracks.

A follow up to previous posts (Mirror Mind, and the S/T)..
I bring you Dimentia 13's Flat Earth Society!


Wednesday, June 20, 2007

Will-O-The Wisp - A Gift For Your Dreams (2007)

1) Nature Boy (cover)
2) Serpent's Kiss
3) The Night Twined The Hours
4) Fairer-Than-A-Fairy
5) Flying With Witches
6) Inward Reflections
7) Sliding Down At The Shades Of Mind
8) Nature Boy (female vocals)(cover)

Hello again, brothers & sisters

Be here again, for an important reason . . .

The reason of the amazing new album of Will-O-The-Wisp that recently released in beautiful CD form with an great designed art work.

In addition. I would like to inform you that this amazing album as I said before, will be released also in vinyl, and I’m so happy for it !!!

By the way, Will-O-The Wisp formed in Athens of Greece of 1997 and a ‘’A gift For Your Dreams’’ is their 4rth album which is a masterpiece with psychedelic and mellow flavours with the big dose of inspiration from 60’s bands, like Caravan, Quicksilver Messenger Service, Camel, and go on.

It is like a music fairy-tale, that easily can put you in a dreamy path with full imagined pictures and places, while enjoying this marvellous album !!!

Further more, it can full you with a plenty of vibes . . . I said again fellows,

This album is an amazing masterpice!!!

Let's take a trip

Tuesday, June 19, 2007

V.A. - Gathering of the Tribe vol. Opa-Loka

01 A Very Sarcastic Song ~Lang'Syne
02 Speak Down The Wires ~Edgar Broughton Band
03 First Line ~Deviants
04 Yesterlove ~Sam Gopal
05 Shifting Sands ~The West Coast Pop Art Experimental Band
06 Mystic Mourning ~The Beacon Street Union
07 Marriage Of Inconvenience ~Spiral Sky
08 Putovanie U Plavo ~Igra Staklenih Perli
09 Free Fall ~Hawklords
10 Thief ~Can
11 Mountains Of The Moon ~Grateful Dead
12 Silver Children ~One St. Stephen
13 Time ~The Incredible String Band
14 Love Song With Flute ~Caravan
15 Sunrise ~Arthur Brown's Kingdom Come

I gather some of my fav tracks (only from vinyls that i own*...)
It's very "classic" songs...but i like them a lot !!!

I have mix the tracks for your listening pleasure.
(don't think something professional...just not spaces through songs)

*except 1st track



Hope You Like It !!!

Sagittarius - 1967 - Present Tense

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

Sagittarius was the brainchild of producer Gary Usher. Although having worked with legends such as Brian Wilson and the Byrds, Usher felt that he wanted to record under his own steam. Pressures from the record company wouldn't allow him the time or money to persue this on his own, hence Usher created the faux-band Sagittarius.

The project in it's initial form resulted in the classic "My World Fell Down"/"Hotel Indiscreet" single. The A-side is a masterpiece and one of the absolute best psychedelic singles of the 60's. Featuring Glen Campbell and Bruce Johnston on vocals (both of whom had subbed for Brian Wilson in the touring version of the Beach Boys), plus various members of the LA session pros known as the Wrecking Crew, we basically get the best Beach Boys tracks that none of the band members actually had a hand in. It has a very SMiLe like cut-and-paste sound, with the added avant-garde bonus of a found sound midsection. The B-side of the single sounds like the theme song for some strange sex sitcom with a short interlude from a screaming hippie-fascist courtesy of the Firesign Theatre.

After the initial single, the history of Present Tense becomes a bit more convoluted. Faced with the prospect of creating an entire album, Usher brought in Curt Boettcher, who had worked with The Association, The Ballroom, Eternity's Children, and later, The Millennium. With Boettcher's presence, the final album has a very different feel from the single.

Present Tense is certaintly a sugary-sweet album, perhaps the sunniest of sunshine pop. While "My World Fell Down" has a strong tinge of melancholy, the later tracks don't. Boettcher's voice, prominent on the finished album, is also quite different.

As long as the listener doesn't expect more creations like "My World Fell Down" and can stand a little syrup, Present Tense is a very worthwhile album. "Another Time," "The Keeper Of The Games," "Would You Like To Go," and "The Truth Is Not Real" are all immaculately writted sunshine pop songs with spectacular vocal arrangement. Even questionably titled songs such as "Song To The Magic Frog" make for pleasant listening.

I imagine scheduling was a problem and a few tracks from Boettcher's previous project The Ballroom are ported over to Present Tense. Unfortunately, one of those tracks is "Musty Dusty," which was embarassing on the Ballroom's album and remains so here. Usher's presense is best felt on the awesome and etherial "The Truth Is Not Real." "My World Fell Down" and "Hotel Indiscreet" are present here in inferior versions with the avant garde sections excised. That said, the modified versions do fit the flow of the album better, and the original single is present in the bonus section.

The bonus tracks are quite strong many of them could have been a strong asset to the album proper- certaintly they coud have replaced "Musty Dusty." Usher has another opportunity to shine on the harmony laden "Mass #586" while "Get The Message" could have been a great single in 1967.

Present Tense is one of the stronger sunshine pop albums, with a production touch somewhere between SMiLe and The Notorious Byrd Brothers. It's a perfect wall to follow up The Millennium's Begin, although I would probably recommend that 1968 project first.

Buy Me:
Sagittarius- Present Tense

Listen To Me:
RapidShare : Sagittarius - Present Tense Part 1
RapidShare : Sagittarius - Present Tense Part 2
SendSpace : Sagittarius - Present Tense Part 1
SendSpace : Sagittarius - Present Tense Part 2

Monday, June 18, 2007

No Man's Land - 1988 - Zalion

A psychedelic rock band from Athens formed in 1985. Their name was taken from a Syd Barrett song. They joined some festivals around in Europe and give many great gigs in Greece. The band released one lp Zalion and one ep The reality trip. In the middle of 90 's they stopped playing till their reunion in 2oo1. Then they recorded a demo and now they are performing a new cd "Home in the sky"

For the lp Zalion worked:
Vasilis Athanasiadis
: guitar , vocals
Evi Chasapidou: vocals
George Papagewrgiadis: bass
George Nikas: drums
Akis Gravaris: synthesizer

Zalion was one of the most famous greek albums in the late 80's
My favorite track is "following you down" enjoy!!

Sunday, June 17, 2007

The Poets - 2002 - Surrealistic Rain

This contemporary Italian trio (no relation to the legendary Scots) have sixties pop ambitions that veer from early Searchers beat to "Midas"-era Hollies, and if their reach exceeds their grasp, you gotta respect 'em for trying-plus they write all their own songs. The blend of accented English vocals, oddly lush instrumentation and sudden tempo changes gives the whole affair a weird air akin to riding a carousel on heavy meds. None of the other revivalists sounds a bit like 'em.

Cosmic Gardeners - Stars and Tears in Melange

stars - light - hope
tears - sorrow -sympathy

01 - G.R.E.E.N
02 - Some Day I'll Be
03 - Wouldn't It Be Pity
04 - Reverse Collapse
05 - Spiral Three _ Dancing Leaves
06 - Children Of The Stars
07 - Synbetheen
08 - See You
09 - Seperation From Suffering
10 - Moving Fields
11 - Space Fruits
12 - Let Me Be One
13 - Watch The Stars

In a corealtion of melancholy moments and colourful folk psychedelic dreams ,
the Cosmic Gardeners leave the strict spacerock-fields to create new soundscapes
by using symphonic timbres , to merge into their useful equipment of electric and acoustic guitars ,sitar , mandoguitar , synthesizers , organ and drumcomputers



The Gods - 1968 - Genesis

The Gods were the musical launching pad for Uriah Heep members Ken Hensley and Lee Kerslake and 'Genesis' was their first studio LP, originally issued by Columbia Records in 1968. The album's ten tracks have now been joined by four bonus cuts that feature both sides of the bands ultra rare 45's 'Baby's Rich' and 'Hey Bulldog' and come in the original Hipgnosis designed sleeve.

The album is included in the 100 Greatest Psychedelic Records of all time by Records Collectors Magazine in 2005

1. Towards The Skies
2. Candles Getting Shorter
3. You're My Life
4. Looking Glass
5. Misleading Colours
6. Radio Show
7. Plastic Horizon
8. Farthing Man
9. I Never Know
10. Time And Eternity
11. Baby's Rich
12. Somewhere In The Street
13. Hey Bulldog
14. Real Love Guaranteed

The Gods are widely regarded these days as something of a glorified nursery band, providing musical apprenticeships for the likes of a pre-Stones Mick Taylor, Greg Lake and a whole raft of names that would subsequently turn up in Uriah Heep. Nevertheless they were an interesting act in their own right, extesively recording at Abbey road throughout the late 60’s in the company of staff producer David Paramor.

The Gods had first came together in the mid 60’s, with a line up of keyboardist Ken Hensley, guitarist Mick Taylor and brothers Brian and John Glascock on drums and bass. Though issued by Polydor in the extended group name of Gods (Thor, Hermes, Olympus, Mars) Come On Down To My Boat Baby became the group’s debut single in 1967, but the band’s progress was abruptly halted when Taylor joined John’s Mayall’s Bluesbreakers as the replacement for Peter Green.

The Gods briefly folded but a few months later Hensley resurrected the name with bassist Paul Newton. A number of guitarist came and went before the Gods pick up Joe Konas and Lee Kerslake on drums. This line up recorded a handful of studio demos.

Paul Newton then left, playing pre-Uriah Heep band Spice. They replaced him with Greg Lake, but the band’s original bassist John Glascock was back in the fold in time to contribute to Genesis recorded for EMI in the summer of 1968.

In common with fellow EMI signings Deep Purple, the Gods owed something of a stylistic debt to Vanilla Fudge , inflating fairly straightforward pop melodies with a ponderous, almost bombastic approach that incorporated portentous Hammond organ, distorted guitar riffing and the dramatic high harmonies of Hensley and Konas.

Genesis is something of a period classic that lies on the very cusp of the psychedelic / progressive rock crossover. A non lp track Baby Rich was chosen as a single.

The band followed Genesis with a great cover version of the Beatles song Hey Bulldog. When that also failed to find public favour, they cut a second LP, the concept set To Samuel A Son. They then recorded the album Orgasm under the pseudonym of Head Machine before splintering , though the various members would retain a working relationship through out the early 70’s principally with Uriah Heep and Toe Fat.

Download Link

Saturday, June 16, 2007

Ivory - 1968 - Ivory

01 - Silver Rains
02 - Free And Easy
03 - Losin' Hold
04 - Laugh
05 - A Thought
06 - I, Of The Garden
07 - All In My Mind
08 - A Light
09 - Last Laugh
10 - Grey November

Ivory is one of those fascinating California rock bands that seemed to spontaneously materialize in the heady psychedelic days of late '60s, making a brief but outstanding impression before just as quickly fading along with its music into the headless 1970s, never to be heard from again. Most such artists rarely merit rescuing from obscurity, but Ivory is one of the few that deserves what little belated acclaim might come its way in the era of CD reissue.

Guitarist and songwriter Ken Thomure spent his high-school years playing in any number of amateur and semi-professional combos with friend, classmate, and keyboardist Mike McCauley in Boron, CA, a town situated next door to Edwards Air Force Base about 90 miles outside Los Angeles. Their various aggregates played military clubs, teen hangouts, schools, battle-of-bands, and just about anywhere else that would have them. Upon graduation, the duo decided to move to Hollywood together to give the music business a shot. By chance, while hitchhiking, they ran into Chris Christman on the Sunset Strip one day shortly after arriving, and asked her, partly on the basis of her blonde good looks, to audition for them. As it turned out, she was also a burgeoning songwriter and vocalist of considerable, Grace Slick-like skill. The newly formed trio moved into a downtown loft with a group of art students and made its living playing nearby small clubs in the Hollywood and Santa Monica areas, as well as throwing occasional "rent parties" by enlisting a number of other bands to play and help publicize the events. This makeshift apprenticeship in enterprise led to the formation of a legitimate production company and offers for out-of-town concerts.

Ivory began landing auditions and were hired to create the soundtrack for an underground film. The band also earned a recording contract and, under the tutelage of well-known producers Al Schmitt and Les Brown Jr., recorded the Ivory album, a dead ringer for fellow Schmitt-production the Jefferson Airplane. This brought the band an agent and bigger concerts and gigs, including an appearance on The Tonight Show. Ivory's first promotional tour took them to almost every city in Colorado. It also, however, turned out to be the band's only tour. Upon the trio's return to Los Angeles, McCauley was drafted, sent to Vietmam, and wounded, in effect, breaking up Ivory. Christman did make a solo album in the early '70s, but then married and moved out of state. Thomure and McCauley dropped out of music altogether but continued to play together occasionally.
~by Stanton Swihart AMG

Download It Here :

V.A. - Monterey International Pop Festival (1967)

Monterey was the first major rock festival in the world and became the model for future festivals, notably Woodstock -- although unlike Woodstock it was not a profit-making venture, and Monterey's various audio and visual products still earn income for the non-profit Monterey Festival Foundation.

More info @ Wiki

Disc: 1
1. Festival Introduction - John Phillips
2. Along Comes Mary - The Association
3. Windy - The Association
4. Love Is a Hurtin' Thing - Lou Rawls
5. Dead End Street - Lou Rawls
6. Tobacco Road - Lou Rawls
7. San Franciscan Nights - Eric B
urdon & the Animals
8. Hey Gyp - Eric Burdon & the Animals
9. Rollin' and Tumblin' - Canned Heat
10. Dust My Broom - Canned Heat
11. Bullfrog Blues - Canned Heat
12. Not So Sweet Martha Lorraine - Country Joe & the Fish
13. Down on Me - Big Brother & the Holdi
ng Company
14. Combination of the Two - Big Brother & the Holding Company
15. Harry - Big Brother & the Holding Company
16. Road Block - Big Brother & the Holding Company
17. Ball and Chain - Big Brother & the Holding Company

Disc: 2
1. The Flute Thing
2. Mystery Train - The Paul Butterfield Blues Band
3. Born in Chicago - The Paul Butterfield Blues Band
4. Double Trouble - Butterfield Blues Band
5. Mary Ann - Butterfield Blues Band
6. Mercury Blues - Steve Miller Band
7. Groovin' Is Easy - Electric Flag
8. Wine - Electric Flag Listen Listen
9. Bajabula Bonke (The Healing Song) - Hugh Masekela
10. Renaissance Fair - The Byrds
11. Have You Seen Her Face - The Byrds
12. Hey Joe - The Byrds
13. He Was a Friend of Mine - T
he Byrds
14. Lady Friend - The Byrds
15. Chimes of Freedom - The Byrds
16. So You Want to Be a Rock & Roll Star - The Byrds
17. Dhun: Fast Teental [Excerpt] - Ravi Shankar
18. Flute Thing - The Blues Project

Disc: 3
1. Somebody to Love - Jefferson Airplane
2. Other Side of This Life - Jefferson Airplane
3. White Rabbit - Jefferson Airpla
4. High Flyin' Bird - Jefferson Airplane
5. She Has Funny Cars - Jefferson Airplane
6. Booker-Loo - Booker T. & the MG's
7. Hip Hug-Her - Booker T. & the MG's
8. Philly Dog - Booker T. & the MG's
9. Shake - Otis Redding
10. Respect - Otis Redding
11. I've Been Loving You Too Long - Otis Redding
12. (I Can't Get No) Satisfaction - Otis Redding
13. Try a Little Tenderness - Otis Redding
14. Substitute - The Who
15. Summertime Blues - The Who
16. Pictures of Lily - The Who
17. Quick One, While He's Away - The Who
18. Happy Jack - The Who
19. My Generation - The Who

Disc: 4
1. Killing Floor - Jimi Hendrix Experience
2. Foxey Lady - Jimi Hendrix Experience
3. Like a Rolling Stone - Jimi Hendrix Experience
4. Rock Me Baby - Jimi Hendrix Experience
5. Hey Joe - Jimi Hendrix Experience Listen
6. Can You See Me - Jimi Hendrix Experience
7. Wind Cries Mary - Jimi Hendr
ix Experience
8. Purple Haze - Jimi Hendrix Experience
9. Wild Thing - Jimi Hendrix Experience
10. Straight Shooter - The Mamas & the Papas
11. Got a Feelin' - The Mamas & the Papas
12. California Dreamin' - The Mamas & the Papas
13. I Call Your Name - The Mamas & the Papas
14. Monday, Monday - The Mamas & the Papas
15. San Francisco (Be Sure to Wear Flowers in Your Hair) - Scott McKenzie
16. Dancing in the Street - The Mamas & the Papas

Enjoy !!!

Friday, June 15, 2007

Houston Fearless (1969)

One and only album by this Houston, USA outfit. Some excellent hard rocking stuff here with some beautiful psychedelic touches. Originally released on Imperial records in 1969.

(Anyone have any more info on this band?)

1) Not Foolin' Me
2) His Eye Is On The Sparrow
3) Only For You
4) Blue Bones And Ashes
5) Race With The Devil
6) Mr. Soul
7) What Are Those Things
8) Knock Knock
9) Joshua
10) Love Has A Habit
11) Hold Me

Many thanks to Chris41!


The Electric Flag - The Trip [soundtrack]

01 Peter's Trip (2:38)
02 Psyche Soap (:55)
03 M-23 (1:14)
04 Synesthesia (1:46)
05 Hobbit (1:46)
06 Fewghh (1:02)
07 Green and Gold (2:50)
08 Flash, Bam, Pow (1:31)
09 Home Room (:53)
10 Practice Music (1:27)
11 Fine Jung Thing (7:25)
12 Senior Citizen (2:57)

  • Paul Beaver - synthesizer
  • Michael Bloomfield - guitar
  • Harvey Brooks - bass
  • Marcus Doubleday - trumpet, flugelhorn
  • Barry Goldberg - organ, piano, harpsichord
  • Nick Gravenites - guitar, vocals
  • Bobby Notkoff - violin
  • Buddy Miles - percussion
  • Peter Strazza - saxophone

One of the greatest exploitation movies of all time, The Trip was the "vision" of Peter Fonda and Jack Nicholson (who wrote the original script). The finished film didn't turn out exactly the way Jack and Peter wanted it to, but it certainly had it's moments...all in Psychedelic Color. This, the soundtrack, was pretty cool, too. It contains the first studio recordings of the Electric Flag, Michael Bloomfield's swaggering soul/jazz/rock ensemble. Writing and performing trippy music was a bit removed from this fine ensemble's area (they were, in fact, a serious and funky band), but they succeeded admirably. Considering that it came out on Mike Curb's Sidewalk Records (a Capitol subsidiary) and it was an American International film, one wonders if the Flag saw any dough from this? No matter, as some of the music is excellent. "Fine Jug Thing" and "Peter Gets Off" are wild, jazzy rockers, which perfectly score Fonda's Sunset Strip/trip adventures. The album's closer, "Gettin' Hard," is a variation on "Hoochie Coochie Man" and closes the album out in funky style. Also, there are a few early efforts from synthesizer pioneer Paul Beaver, such as "Synesthesia," which is quite similar to David Bowie's work on the Man Who Fell to Earth/Low projects -- eight years later.
~ Matthew Greenwald, All Music Guide



Thanks audiodrome for the vinyl tracks
(not on the CD version)

Thursday, June 14, 2007

Takashi Nishioka - 1973 -Manin No Ki

Former member of Japanese folk band Itsutsu No Akai Fuusen (5 Red Balloons), this was Takashi Nishioka's first solo album from 1973, some lovely tunes with psychedelic touches and a couple of minimal home recordings.

Review from
Takashi Nishioka's Manin No Ki is surely one of the finest psych-folk singer-songwriter albums I've heard; if it weren't for the fact that it's sung in Japanese it'd probably already be in your collection. Nishioka has had a long and artistically successful and varied career of enough stature that he's been afforded a five-CD box set in Japan. He first came to public attention in the '60s as a member of Five Red Balloons, a group whose music was indebted in great part to the folk revival taking place in America at the time. Where his career really begins to interest us, however, is around 1970, when he was the nominal leader and songwriter of Tokedashita Garasubako (Melting Glass Box), whose members included notable musicians from Apryl Fool and the Jacks. They made one extraordinary and essential album of dreamy and avant-garde psych-folk that stands on par with any thing else of the era. Unfortunately, that CD is long out of print and vinyl copies sell for exorbitant amounts of money, but they do have a fine song included on the Japanese installment of the Love, Peace and Poetry series. After Tokedashita Garasubako dissolved, Nishioka began work on his first solo LP for URC (Underground Record Club), a label that had been started to document the intriguing folk and pop music that was being made in Japan's early-'70s counter-culture, a good portion of their catalog has been reissued and is well worth tracking down. Manin No Ki is far less amorphous than Tokedashita Garasubako, it begins on a foreign sounding note with a short ditty laden with ethnic string instruments and rattling wood blocks. It's probably the weirdest piece on the album and it barely hints at the songwriting to follow.

Nishioka is a master of the lilting melody and he specializes in those mid-tempo ballads that characterize many of Neil Young's greatest moments. Not that Nishioka just sounds like a Japanese Neil Young, far from it. His writing includes space for complex vocal overdubs and he uses a diverse array of instrumental shading, including marimba and xylophone sounds that would make Tom Waits jealous, and whoever engineered his drums is a complete genius. But now I'm starting to come across like a real nerd, because truly the main strength of the album is simply Nishioka's moving songwriting, that the sounds surrounding his songs are interesting only adds to the appeal. Manin No Ki is the album I've listened to the most this year by far and it won't fail to make it to my top ten. [MK]

1. Osaka-ben
2. Manin No Ki
3. Hitori No Onna
4. Owari No Sasetsu
5. Miren
6. Professional Ji-Ji
7. Kimi To Boku, Boku To Kimi
8. Dousei
9. Tsuma Ni Naru Onna Ni
10, Minna Ii Hito


posted by J-bag

The Nightcrawlers - The Little Black Egg

Twenty-four track compilation of this little known 60's band, coming to you from Daytona Beach, Florida. Best described as garage rock with a folk edge to it. Better tunes include their sole hit, the disc's title cut "The Little Black Egg", "Basket Of Flowers", "I Don't Remember", their Kinks cover "All Day And All Of The Night" as well as their two Stones covers "Grown Up Wrong" and "Heart Of Stone". Might draw in fans of Shadows Of Knight, Byrds, Barbarians, The Haunted and Beau Brummels. Give this CD a listen !

By Mike Reed

Download It Here :

Country Joe & the Fish - Electric Music for the Mind and Body

Recorded at Sierra Sound Laboratories, Berkeley, January-February 1967 and it's Fish debut this one.

This album is really tripy , psychedelic , acid-rock of the most albums recorded in the late 60 's
The band formed in San Francisco and they released 5 albums

Joe McDonald: vocals, harmony vocals, rhythm guitar, harmonica, tambourine, bells
Barry Melton: vocals, lead guitar
David Cohen: rhythm guitar, organ, lead guitar
Bruce Barthol: bass, harmonica
Gary "Chicken" Hirsh: drums, background sounds


The United States Of America - 1968 - The United States Of America

1. "The American Metaphysical Circus" (Joseph Byrd) – 4:56
2. "Hard Coming Love" (Byrd, Dorothy Moskowitz) – 4:41
3. "Cloud Song" (Byrd, Moskowitz) – 3:18
4. "The Garden of Earthly Delights" (Byrd, Moskowitz) – 2:39
5. "I Won't Leave My Wooden Wife for You, Sugar" (Byrd, Moskowitz) – 3:51
6. "Where Is Yesterday" (Gordon Marron, Ed Bogas, Moskowitz) – 3:08
7. "Coming Down" (Byrd, Moskowitz) – 2:37
8. "Love Song for the Dead Ché" (Byrd) – 3:25
9. "Stranded in Time" (Marron, Bogas) – 1:49
10. "The American Way of Love" (Byrd) – 6:38
1. -Metaphor for an Older Man (Byrd)
2. -California Good time Music (Byrd)
3. -Love Is All (Byrd, Moskowitz, Rand Forbes, Craig Woodson, Marron)
11. "Osamu's Birthday" (Byrd) – 2:59
12. "No Love to Give" (Moskowitz) – 2:36
13. "I Won't Leave My Wooden Wife for You, Sugar" (alternate version with Moskowitz singing lead) (Byrd, Moskowitz) – 3:45
14. "You Can Never Come Down" (Byrd) – 2:32
15. "Perry Pier" (Moskowitz) – 2:37
16. "Tailor Man" (Moskowitz) – 3:06
17. "Do You Follow Me" (Kenneth Edwards) – 2:34
18. "The American Metaphysical Circus" (demo version) (Byrd) – 4:01
19. "Mouse (The Garden of Earthly Delights)" (demo version) (Byrd, Moskowitz) – 2:39
20. "Heresy (Coming Down)" (demo version) (Byrd, Moskowitz) – 2:32


A wonderful psychedelic experiment, a nice example of an early experimental electronic music. Formed in 1967 by Joseph Byrd, the band membership consisted of the following: Joseph Byrd (electronic music, electric harpsichord, organ, calliope, piano, and Durrett Electronic Music Synthesizer), Dorothy Moskowitz (lead vocals), Gordon Marron (electric violin, ring modulator), Rand Forbes (an early adopter of the fretless electric bass) and Craig Woodson (electric drums and percussion). Ed Bogas also performed on the record with occasional organ, piano, and calliope; he became a full member of the band on its first and only tour. Note that there was no guitar!

Their only album they released, self-titled from 1968, is a masterpiece, containing blasts as "Hard Coming Love", "The Garden Of Earthly Delights" or "I won't Leave My Wooden Wife For You, Sugar".

It was reissued first in 1992 with two bonus tracks, and in 2004 with 8 more bonus tracks.

Thanks Mr. Blues for this one !!!

Wednesday, June 13, 2007

Werkraum - 2004 - Unsere Feuer Brennen

'Unsere Feuer Brennen', which translates from the German as 'Our Fires Burning', is one of the most interesting releases that has come my way in a long time. Strikingly packaged in gold upon white and aided by both Jason Thompkins (Harvest Rain) and Nick Nedzynski (Lady Morphia), the eleven tracks on this CD run to just over 50 minutes in length.

The first of them, 'Nocturne', opens with the words 'Welcome, sweet death', taken from J. Dowland's 'A Pilgrime's Solace' from 1612 and possibly even inspired by Johann Sebastian Bach's 'Komm Susser Tod'. Regardless, it's most certainly infused with the same Classical spirit and even a wry sense of optimism. To a slight extent these poetic utterances remind me of Elijah's Mantle, but there is a darker edge to them and the words frolic menacingly with the pounding drums in the background. The second track, 'Die letzte Jagd' (The Last Hunt), is a lively mixture of acoustic guitar, bass drum and Axel Frank's stunning German vocals. An infectious chorus helps to convey the thrill of the chase and the whole thing is performed with real confidence and far more enthusiastically than most of the neo-folk dirges I'm used to hearing these days.

'Chanson de la plus haute tour' (Song of the Highest Tower) is based on Arthur Rimbaud's 1872 poem of the same name and, once again, deals with the demise of youth and even life itself. The beautiful vocals, sung here by Antje Hoppenrath, sweep from ear to ear in an arpeggio ballad that wouldn't be out of place on a Simon & Garfunkel album. Both melodic and atmospheric at the same time, this is European folk at it's very best. 'Einsamernie' (Never Lonely) interrupts this vision of late-60s harmony with muffled German vocals and explosions, a low organ swinging back and forth like a mesmeric pendulum across the tree-shattered landscape of No-Man's Land. It's rather like Ostara in one of their more Ambient moments, but perhaps tinged with the stark foreboding of Blood Axis on 'The Gospel of Inhumanity'. Meanwhile, 'Legion' vomits words out backwards like a sick dwarf being hassled by an unintelligible choir at a David Lynch garden party. It's true! Stuttering drums give way to acoustic jangling, measured vocals and crazy King Hammond-style synths that weave their way through the song like a thin brown line in an animated Bisto advert.

A tolling bell marks the onset of 'Steh auf, Nordwind!' (Rise Up, North Wind!) and one of the album's catchier numbers. The impeccable vocals remind me of Belborn's Holger F, but in between the verses the rich musical undercurrent is similar to early-90s Death In June. 'Dignitas Dei' (God's Honour) sees the return of those whirling space-age synths, joined here by dislocated chanting and the distinct feeling that you're listening to Hawkwind perform a Black Mass in Canterbury Cathedral. As a closet [Not anymore. - ML.] fan of Psychedelia, I'm glad to say that this represents a fantastic break with the increasingly dull neo-folk tradition and so perhaps it's time to dust off those liquid wheels and grab yourself a bag of hallucinogenic fungi.

Where was I? Oh yes, the review. 'Ewigland' (Eternal Country) heralds the participation of Jason Thompkins of Harvest Rain and a lilting guitar that makes this track sound like a lament to a distant homeland. All accompanied by sentimental lyrics, a rattling snare, the light blare of passing aircraft and other portentous contributions. With its uplifting chords, synthetic horns and bass guitar, 'Heilige Krieg' (Holy War) is slightly similar to 'Steh auf, Nordwind!', but the vocals are much more powerful and possess an unusual and rhythmic quality. The sampled American drawl [what "drawl", exactly?! - ML], shimmering tambourine and clip-clop percussion makes this a cataclysmic statement on the perils of our age.

The vocals on 'Hohezeit' (High Time) are performed by Antje Hoppenrath in a late-medieval style, her voice rising and falling amid hushed echoes and layers of stridulating Morricone-style effects. Quite enchanting. The final track, 'Civitas Dei' (City of God), is a slow march across an Augustinian plain of urgent voices, hypnotic cantata and the irresistible cry of a whooping electronic maelstrom. Like a heretical theocracy presiding over an inquisition of clinical radiologists, each determined to get their knobs out and have their own say.

To conclude, then, Werkraum's first album is truly remarkable and has exceeded all expectations as far as I'm concerned. It's good to see Justin Mitchell's label continuously branching out into unexplored territory, too. The lad certainly has an eye for innovative and exciting material. For more information about Werkraum go to:

source :

Download It Here :

Lewis and Clarke Expedition

Lewis and Clarke Expedition - "Earth, Air, Fire & Water"
Company: Colgems
Catalog: COM-105
Year: 1967

Having enjoyed mammoth profits with their pre-packaged Beatles-clones The Monkees, it only made sense that Colgems (co-owned by RCA and Columbia) would attempt to manufacture a second corporate super group. That said, how many of you remember The Lewis and Clarke Expedition? Probably few of you. That's unfortunate since the band's sole album, 1967's "Earth, Air, Fire & Water" is nothing short of wonderful.

1966 found Travis Lewis (aka Michael Martin Murphey) and Boomer Clarke (aka Owen Castleman) paying their bills as songwriters for Screen Gems. Originally from Dallas, Texas, Lewis/Murphey was a passing acquaintance of Mike Nesmith. The connection helped the pair place one of their compositions "Hangin' Round" with the Monkees, in the process bringing them to the attention of Colgems which quickly recognized their potential and signed them to a recording contract. Produced by Jack Keller and built around the talent of Lewis and Clarke (the line up rounded out by multi-instrumentalist Ken Bloom, guitarist John London and drummer Johnny Raines ) actually debuted with an instantly obscure 1966 single for the small Chartmaster label ("" b/w ""). While parallels to The Monkees were apparent, there were also some major difference; notably the fact the band were all capable musicians and namesakes Lewis and Clarke were responsible for the majority of material. That said, their debut was easily as good as anything in The Monkees catalog. Musically varied, the set included stabs at shimmering top-40 pop ("I Feel Good (I Feel Bad)"), folk-rock ("This Town Ain't the Same Anymore"), vaudeville ("Everybody Loves a Fire"), raga ("House of My Sorrow"), an ecological message ("Chain of Flowers") and Byrds-styled jangle-rock ("Blue Revelation"). Rounded out by strong melodies and tight harmonies, mid-'60s pop simply didn't get much better. Highlights included the goofy "Spirit of Argyle High" and the extended suite "Memorial To the American Indian" which included one of the first covers of J.D. Loudermilk's "(The Lament of) The Cherokee Reservation Indian" we've ever heard (coming a full three years before The Raiders' hit). Unfortunately, with Colgems devoting most of it's energy to marketing The Monkees, neither the band nor the LP or much in the way of promotional support.
Needless to say, it failed to chart.

"Earth, Air, Fire & Water" track listing:
1.) Windy Day (Travis Lewis - Boomer Clarke) - 3:00
2.) Freedom Bird (Travis Lewis - Boomer Clarke) - 2:50
3.) Spirit of Argyle High (Travis Lewis - Boomer Clarke) - 3:15
4.) This Town Ain't the Same Anymore (Travis Lewis - Boomer Clarke) - 2:40
5.) Everybody Loves a Fire (Travis Lewis - Boomer Clarke) - 2:30
6.) House of My Sorrow (Travis Lewis - Boomer Clarke) - 4:24
7.) I Feel Good (I Feel Bad) (Travis Lewis - Boomer Clarke) - 2:26
8.) (I Call Them) Lies (Travis Lewis - Boomer Clarke) - 2:44
9.) Destination Unknown (Travis Lewis - Boomer Clarke - Jefferson) - 2:51
10.) Chain Around the Flowers (Vandiver) - 2:53
11.) Blue Revelation (Travis Lewis - Boomer Clarke - Hilderbrand) - 2:16
12.) Memorial To the American Indian
Legend of the Creation (Travis Lewis - Boomer Clarke) -1:45
Send Me Rain (Travis Lewis - Boomer Clarke) - 1:09
Red Cloud's Farewell To His Tribe (Travis Lewis - Boomer Clarke) - 1:45
(The Lament of) The Cherokee Reservation Indian (J.D. Loudermilk) - 2:35

The band briefly struggled on releasing a pair of non-album singles ("Why Need They Pretend?" b/w "Chain of Flowers" and "Daddy's Plastic Child" b/w "Gypsy Song Man"). They also contributed material to and made a cameo appearance in the film "For Singles Only" and provided the theme song to the film "The Tiger Makes Out". Murphey subsequently reinvented himself as a country singer, enjoying a massive pop hit with the nauseating top-10 "Wildfire". Castleman also reappeared as a solo act, hitting the charts with "Judy Mae".
Very much recommended psych pop.....

Unfortunatelly @128 any upgrade would be great

Many thanks to Abra for the share


Help Yourself - 2 Albums

Help Yourself was formed in the London area of England in 1970 initially as a backup band for Malcolm Morley, who was signed as a solo act under the management of the Famepushers whose acts Brinsley Schwarz and Ernie Graham had also secured contracts with the U.K. division of United Artists/Liberty Records. The band consisted of Richard Treece (guitars/vocals/harmonica), Dave Charles (drums/percussion/vocals), Ken Whaley (bass), and of course Malcolm Morley (guitars/keyboards/vocals).

Folk Rock - Pub Rock - Country Rock is what you call ther music, they recorded 4 albums during 1971 - 1973 with a bonus live album.

Help Yourself - 1971

There's no question that Help Yourself's debut album was a product of its times — something about the whole easygoing boogie vibe and gentle psych-inspired trippiness, the way of singing, the production, and more just screams early-'70s non-metal and non-glam rock & roll. Look at it one way and Help Yourself was just a cut above incipient bar band culture but, heard with fresh ears years after its release, it strikes a great balance between entertaining the crowd and exploration. Call the band a more down-to-earth Pink Floyd or Hawkwind set somewhere in the English countryside without specifically owing anything to either band. Morley, who takes vocal lead throughout, shows a fine voice similar to Neil Young's, with just that hint of twang while not sounding quite so cracked and strained. At some points the resemblance is overwhelming — check out the chorus of the wistful "Old Man" (in fact not a cover of Young's own standard, though that would have been perfectly appropriate). As a unit, the four-piece, which finished up the album in a week's time, comes across as seasoned without being overly pro or polished — the curse of "tasty licks" is generally avoided in favor of relaxed understatement, solos smoothly fitting into the songs rather than dominating them. The more immediately singalong numbers, like "I Must See Jesus for Myself" and the lovely "Paper Leaves," as perfect a late summer evening ramble and sigh as one could ask for, still sneak up on a listener, entrancing without trying too hard to do so. There are some darker numbers worthy of note — "To Katherine They Fall" is the most space rock of the bunch, keeping the right head-nodding vibes while not tripping out completely, while "Deborah" is a flat-out lovely piano ballad, Morley's wounded voice the perfect accompaniment.

Download Link

Help Yourself - 1972 - Strange Affair

An excellent second album from a band that, familial comparisons to
Man notwithstanding, was always closer to the British pub rock ideal than many of the movement's better-feted icons ever could be. And that despite the best of Help Yourself's bluesy barroom rock predating any but the earliest birds of the beer and sawdust circuit — departing guitarist Ken Whalley's Ducks Deluxe included. Opening with the hefty chimes of the title track, Strange Affair moves on through a kaleidoscope of moves and movements, ranging from the gently and certainly Beatles-ish "Deanna, Call & Scotty," and onto a clutch of songs that would not have sounded out of place on the American West Coast — a touchstone that, again, would soon become a pub rock ideal. The album's peak, however, has to be the nine-minute "The All Electric Fur Trapper," a lush and lovely epic that conjures images of a faintly country-flavored Pink Floyd as it moves through a series of distinct phases that climax with a semi-funky, deeply fuzzy burst of JoJ0 Glemser guitar savagery. Accompanied by a wryly flowery essay from Ducks Deluxe frontman Sean Tyla, "The All Electric Fur Trapper" stands not only among Help Yourself's greatest achievements, but also among the highlights of the entire early-'70s British underground.

Download Link :

The Creation - We Are Paintermen

This was the only full-length album released during the brief life-span of the Creation, one of the few beat groups to rival the raw intensity of the Who. (Guitarist Eddie Phillips, who committed violin bow to guitar strings before Jimmy Page, was allegedly even courted by Pete Townshend to become the Who's second guitarist.) This album, released in 1967 on Hit-Ton, a label out of Germany, where the group enjoyed immense popularity (a situation not mirrored back home in the UK), consists of the singles and some uninspired choices of covers ("Cool Jerk," "Like a Rolling Stone," "Hey Joe"). The group's criminally under-appreciated sound is fueled by Phillips' clanging, melodic power chords and feedback-drenched squalls, which show up most prominently in the Creation's signature single, "Making Time." Other highlights on this essential album for fans of Mod and British Invasion include "Try and Stop Me," "If I Stay Too Long," "Biff Bang Pow," and "Painter Man." A 1999 Repertoire Records reissue cleaned up the poor sound quality of the original. (allmusic)
Not much to say about this band, except that this album is an absolute mod/freakbeat essential. There are quite a few Creation reissues/anthologies around, but I think this is the best in terms of sound quality. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme), the best mp3-ripping way possible. Don't be put off if you notice "low" bitrates. This happens because the tracks are in mono, which is why there's no need for extremely high bitrates. That would just make useless bigger file sizes, with no actual improvement in sound quality. The sound is transparent to the original cd. - K
01 Cool Jerk
02 Making Time
03 Through My Eyes
04 Like a Rolling Stone
05 Can I Join Your Band
06 Tom Tom
07 Try and Stop Me
08 If I Stay Too Long
09 Biff, Bang, Pow
10 Nightmares
11 Hey Joe
12 Painter Man
13 How Does It Feel to Feel (US Version)
14 Sylvette
15 I Am the Walker
16 Ostrich Man
17 Sweet Helen
18 Life Is Just Beginning
19 For All That I Am
20 Midway Down
21 Hurt Me If You Will
22 I'm Leaving
23 Work All Day (Sleep All Night)
24 Going Down Fast

Tuesday, June 12, 2007

V.A - Over The Rainbow

You keep asking for some compilations made by us.
Well here is the first one

I made this a few months ago for some friends of mine
Hope you like it !

cd 1 : Bright Side Of The Rainbow

1-Aphrodite's Child - the four horsemen
2-Saturnalia - Soul Song
3-Dantalian's Chariot-world war three
4-Ford Theatre - i've got the fever
5-Grace Slick & the Great Society - sally go round the roses
6-Byrds - eight miles high
7-Pretty Things-I See You
8-My Indole Ring- Silk Road
9-Dukes Of Stratosphear- 25 O'Clock
10-Tomorrow - three jolly little dwarves
11-Beatles - Tomorrow Never Knows
12-Six Feet Under - inspiration in my head
13-Golden Dawn- Starvation
14-Orange Alabaster Mushroom Band- Your Face Is In My Mind
15-Seeds- pushin' too hard
16-13th Floor Elevators - slip inside this house

cd 2 : Dark Side Of The Rainbow

1-Aphrodite's Child- ofis
2-Bee Gees - Every Christian Lion Hearted Man Will Show You
3-Savage Ressurection-Tahitian Melody
4-The Beau Brummels - The Wolf of Velvet Fortune
5-Pink Floyd - Set the Controls for the Heart
6- Frantics - her and her mountain
7-Music emporium - Cage
8-Phantom's Divine Comedy - welcome to hell
9-Chocolate Watchband - dark side of the mushroom
10-Brain Police- I'll Be on the Inside, If I Can
11-Neighb'rhood Childr'n-long years in space
12-Jefferson Airplane - white rabbit
13-Misunderstood - i unseen
14-Attack - Strange house
15-Electric Prunes - i had too much to dream
16-Pussy - Comets

Download It Here :

Monday, June 11, 2007

Try These...

...and many more in the other pages of Lost In Tyme. You can find them at the top of this page or click on any cover you like, to go to to the appropriate page.

Kryptasthesie - No Age

Kryptasthesie - No Age

Audubon would kill his birds then he would draw them - capturing their beauty in death. Kryptasthesie has accomplished the same thing. "No Age" is the last dying breath of one of Italy's greatest psychedelic bands. Over all they have done over the years, THIS is the idealized statement by this band. A large part of the success is singing in their native Italian, which is truer to the band than earlier records that employed English. I believe that language just is not a way of communicating ideas but it also shapes your thinking. Thus, when the band previously used English, it seemed forced whereas now the vocals are working with the music (not against it). The band seems to want to put everything into this record. They get atmospheric with "ALH84001" and rock like a modern Pink Floyd (meddle era) in "Il Tao Della Violenza" and get techno with "Tutto Passa". It seems that when you get this good you've got nowhere to go but down like a brilliant asteroid on its way to its eventual breakup. Lets hope that the remnants that have shattered on impact are as brilliant as their source.


Mick Softley - Songs For Swingin' Survivors (1965)

Softley's debut LP is one of the rarest '60s British folk albums, and one of the most coveted by collectors. While it's not as musically impressive as it is collectable, it's notable as one of the first U.K. singer/songwriter folk albums in the contemporary style pioneered earlier in the U.S. by Bob Dylan and the North American performers Dylan inspired. Indeed, there were few others in Britain taking a similar approach at the time of Songs for Swingin' Survivors' release, with the exception of Donovan and perhaps Bert Jansch. Early Donovan is an unavoidable point of comparison when listening to this solo acoustic guitar album, both for the earnest social consciousness and romanticism, and also since Softley actually wrote a few songs covered by Donovan in 1965. One of them, "The War Drags On," appears here in Softley's own version, and while it's not as good as Donovan's, it's notable as one of the first protest songs to directly mention the Vietnam War. Softley isn't as good a singer or tunesmith as early Donovan, however; his voice is a bit on the nasal and restrained side, sometimes coming off a little like a male equivalent to how Marianne Faithfull sounded after her voice lowered. Other than "The War Drags On," the voice of protest is felt in "After the Third World War Is Over," but, in fact, Softley was a fairly versatile writer, espousing early Donovan-like romance in "All I Want Is a Chance" and "What Makes the Wind to Blow"; got-to-ramble troubadourisms in "Keep Movin' On"; and a surprisingly direct (for 1965) reference to cocaine addiction in the love lament "Jeannie." Not everything is youthful singer/songwriting, as there are also covers of "Strange Fruit," "The Bells of Rhymney," and Woody Guthrie's "Plains of the Buffalo," as well as a couple of folk-blues instrumentals. Though it might be a minor album in all, it's still a rather good one, more tuneful than many a mid-'60s folk record based around original material, with impressive guitar work, ~allmusic.

Sunday, June 10, 2007

Bert Jansch - 1969 - Birthday Blues

One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and a key member of Pentangle. Also a talented songwriter and affecting (if gruff) vocalist, he wrote dark and sparse material that recalled the folky side of Donovan, though he was much less pop-oriented than the psychedelic pop troubadour. Incorporating elements of blues, American folk, and British Isles traditional music into his playing, his influence was not only immense in the British folk scene, it also extended to the rock world -- Neil Young and Jimmy Page, two electric guitar gonzos who often turn to acoustic picking as well, have acknowledged Jansch as a major influence. Young went as far as to tell Guitar Player that Jansch did for the acoustic guitar what Jimi Hendrix did for the electric. A revered elder statesperson in the U.K., he has escaped widespread notice in the States. He has all the prerequisites for a large cult following on the order of Nick Drake, another musician whose work contains definite echoes of Jansch.

Born in Scotland, Jansch vagabonded around the U.K. and Europe for a while before basing himself in London in the early '60s. He made an impact on the city's folk community not only for his guitar skills, but for his original songwriting, singing his own compositions at a time when Dylan was just beginning to make that practice widespread in folk circles. Friend and fellow folksinger Anne Briggs helped Jansch get a contract with Transatlantic, a small British folky label. Recorded on a single microphone and a borrowed guitar at Jansch's apartment, his first album immediately established him as a major force in British folk. Consisting almost entirely of original compositions, the brooding, plaintive compositions showcased his dextrous fingerpicking. "Needle of Death," inspired by the heroin-related death of a friend, may still be his most famous composition.

Jansch graduated to a real studio for his second album, It Don't Bother Me. That LP featured some contributions from guitarist John Renbourn, and the pair would record a joint effort in the mid-'60s as well, Bert and John. Soon Jansch and Renbourn would be playing together as part of a five-member group, Pentangle, one of the greatest folk acts of the 1960s. Pentangle, also featuring vocalist Jacqui McShee and the rhythm section of Danny Thompson and Terry Cox, was very much a group effort. Of all the group members, however, Jansch was probably the most important, writing the best original material, singing occasional lead vocals, and recording some enthralling guitar tandems with Renbourn.

Jansch's increasing involvement (and eventual commercial success) with Pentangle did not mean an end to his solo career, although Pentangle got first priority in the late '60s and early '70s. Nicola, from 1967, was a pretty good attempt to commercialize his sound somewhat with poppier material and some fuller studio arrangements. 1969's Birthday Blues was an effort more consistent with his early folk recordings, and included instrumental support by some members of Pentangle. Rosemary Lane (1971) is acclaimed by Jansch fans as one of his finest works.

Jansch's first decade of recording attracts the lion's share of interest from listeners, but he continued to record with his instrumental skills intact. For instance, Jancsh played in re-formed versions of Pentangle in the 1980s and '90s, while Drag City released Black Swan in 2006.

by Richie Unterberger AMG

Download It Here :

Changes - Fire of Life (1974, Apokalyptic/ Dark Folk)

This album has never been issued until now and is taken from tapes made during 1969 to 1974 by Robert Taylor and Nicholas Teslak. In theory they make simple acoustic guitar based folk music similar to Tir Na Nog, however this is much stranger and darker concern. The two performers were part of the 'Process' church, a cult like group that was obsessed with apocalypse, gothic doom and was also interested in Satan. They had a curious uniform of black clothes, clocks shoulder length hair and goatee beards. Taking themselves very seriously they were part of the proliferation of such post-hippie groups and were much seen in London and New York in the late sixties before splintering and falling apart. Musically this album is stark, very dark folk based songs with acoustic guitar, intense vocals, gothic lyrics and occasional harmony vocals and flutes. Fans of dark folk groups like Current 93 or Nature and Organisation will find much here that they will enjoy. Also fans of Comus, the legendary pagan psychedelic-folk band of the same era will find a companion album of similar sound and strangeness.Because the artists take themselves so seriously this music can be slightly intimidating. I is fine musically but doesn't stand out emotionally, it is more haunting than moving. The first song 'Fire of Life' taken from is intense and unsettling with it's lyrics of 'the world if burning, in fact it sounds just like late period Swans and Michael Gira their leader singing. The second song 'Sweet Eve' is more normal sounding like Tir Na Nog with flute and delicate melodies. 'Bleeding Out Your Feelings Evermore' is a baroque ballad style song with a female joining on the vocals to excellent effect. 'Early Morning Hours of the Night' reminds of early Steve Tilston with a distant quality. 'Horizons That I See' has nice folk picking guitar and was written in a desert. A song fragment from a lost fuller work 'Satanic Hymn #2' is churning in the Comus style. 'The Stranger In The Mirrow' is a pagan Medieval styled ballad Last track 'Twilight of the West' is a ten minute epic recorded poorly but strangely this seems to add to the air of incense and intensity. This won't be an album that will appeal to everyone, but those attracted to the darker and stranger edges of psychedelic folk will find much to enjoy. These are essentially amateur tapes but there is enough here to entertain and occasionally put a chill up the spine, from the unbroken circle.

Tangle Edge (Norway) - 1989 - In Search of A New Dawn

@ 192-224 VBR

Track Listings
1. Isis At The Invisible Frontispiece
2. Caesar's Integrated Flaw
3. Nephtys
4. A Secret Inside Clopedia
5. The Approaching Triptykhon Sunset
6. The Centipede's Tune
7. Later Than The Pinnworm- Era
8. Mushy Shadows From A Lost Caravan
9. Solorgy

- Rune Forselv / drums (2, 5, 7 & 9)
- Hasse Horrigmoe / bass, acoustic 12 string guitar, moog, string ensemble and ring modulated penny whistle
- Ronald Nygård / electric and acoustic guitar, slide, bow-guitar, moog, bells tom tom and reversed cymbals

TANGLE EDGE is a norwegian music group that plays a kind of music that is purely instrumental and mixes improvisation with written parts. Stylistic they combine rock with elements of jazz, etnic and classical music. Though their style is very personal and unique blend, they have by their audience been categorized as differently as progressive rock, krautrock, free- jazz, space rock, canterbury rock, psychedelia, jazz- rock and experimental rock.

The band was founded around 1980 by Ronald Nygård (guitars and keyboards) and Hasse Horrigmoe (bass guitar and 12-string acoustic guitar). The current lineup including Kjell Oluf Johansen on drums, has been operating since 1988. Since 1989 they have released four CD's, and toured England, Russia, Italy, Denmark, Sweden and Norway.

Saturday, June 09, 2007

Arcadium - 1969 - Breathe Awhile

Arcadium - 1969 - Breathe Awhile

1. I'm on my way (11:51)
2. Poor lady (3:59)
3. Walk on the bad side (7:35)
4. Woman of a thousand years (3:39)
5. Change me (4:47)
6. It takes a woman (3:53)
7. Birth, life and death (10:19)
8. Sing my song (4:18)
9. Riding alone (2:48)

- Miguel Sergides: 12-string guitar, vocals
- Graham Best: bass, vocals
- Allan Ellwood: organ, vocals
- Robert Ellwood: lead guitar, vocals
- John Albert Parker: drums

ARCADIUM were a late 60's psychedelic band fronted by songwriter, 12-string guitarist and lead vocalist Miguel Sergides. Sergides was joined by Graham Best on bass and vocals, Allan Ellwood on organ and vocals, John Albert Parker on drums and Robert Ellwood on lead guitar and vocals. Like many, they played the clubs until a small label by the name of Middle Earth - who released a whopping total of five albums - finally approached them. In 1969, "Breathe Awhile" was issued on an LP, the only album the band ever recorded. It has lately been reissued in cd format by German label Akarma.
ARCADIUM's ominous, cathedral-like organ, distorted guitar and anguished vocals are clearly derivative of bands such as the DOORS, IRON BUTTERFLY and VANILLA FUDGE - very much in the 'downer-heavy' school of the genre that was popular at the time. Their album is something of a bad-trip soundtrack that relies on minor-key melodies, ghostly harmonies and anguished vocals. What with all its flaws - bad production, sloppy vocals and doomesday atmospherics - its historical significance is immense. The music's intensity and sense of urgency, the blazing acid-drenched guitars, the tortured vocals and heavy nightmarish sounds all perfectly convey the late 60's atmosphere.
Fans of heavy psychedelia in search of a genuine dose of 60's nostalgia will love this band.
RapidShare : Part 1 ~ Part 2
SendSpace : Part 1 ~ Part 2

Friday, June 08, 2007

Delvins - ep (Grey Past)

First time ever 4-tracks release of this Dutch beat group from Dordrecht. Very much inspired by the likes of The Kinks and The Motions. Recorded 1966. Comes in very nice PS, designed after the legendary Dutch Fontana sleeves from the 60s.

01 - When You See
02 - You Know You're Losing Me
03 - There Are Things We Used To Do
04 - I Won't Hear You're Gone


Todd Dilligham - Astral Whelks

Neo psyche masterpiece 1995
1 My Friend (4:00)
2 Laughing into a Teapot (4:20)
3 Arthur Woodcote (Is His Name) (5:08)
4 Pigshead (2:55)
5 Astral Whelks (10:56)
6 Circles Going Nowhere (4:03)
7 Janus (The End of the Peace) (1:15)
8 Janus (At the Gates of War) (12:52)
9 Even When (3:43)
10 The Turquoise Mountain (15:58)
11 Time Heal Me Now (4:56)
12 The Summer (4:58)
13 Sleepsong (1:45)
14 Arbon Close
astral whelks - album credits
Todd Dillingham - Bass, Guitar, Keyboards, Producer, Main Performer, Vocals
Andy Ward -drumming, genius, percussive
Yukio Yung - Bass, Keyboards, Vocals, Saxophone, Guitar
Mike Wedgwood - Bass on 8
Anthony Aldridge Violin
Peter Dillingham - bass on 12
Peter Giles - Keyboards on 8&10
1995's Astral Whelks is the album where North London D.I.Y. psychedelicist Todd Dillingham moves away from the extended prog rock epics of his earlier albums into a more concise brand of psych pop heavily influenced by the freakbeat bands of Swinging London (the Creation, John's Children, etc.), close to the same artistic neighborhood explored by the Soft Boys and the Dukes of Stratosphear. There are still a few lengthy pieces (the title track is nearly 11 minutes, while "Janus at the Gates of War" and "The Turquoise Mountain" run nearly 13 and 16 minutes each), but even those are based around catchier melodies than you're likely to find on, say, an Emerson, Lake & Palmer album. Peter Giles of Giles, Giles & Fripp, the band that mutated into King Crimson, plays keyboards on these lengthier pieces, adding to their progressive credibility. The remaining 11 tracks range from not quite two minutes to just over five, and they're uniformly fine psych pop. Indeed, the banjo-laced "Pigshead," which sounds like one of Michael Nesmith's later Monkees songs, and the swirling "Laughing Into a Teapot," featuring backing vocals by Dillingham's mate Yukio Yung (Yung's Chrys&themums bandmate Andy Ward is the album's drummer), are two of Dillingham's best songs ever. The others range from the early Pink Floyd-style heavy rock of "Arthur Woodcote (Is His Name)" (a different version than the one on the German EP of the same name) to the delicate, spacy "Time Heal Me Now." Not all of the tunes are winners, and this album's follow-up, Sgt. Kipper, would explore this psych pop territory in even more entertaining fashion, but Astral Whelks is one of Todd Dillingham's most enjoyable efforts. ~ Stewart Mason, All Music Guide
Also check
Many thanks to Todd and his brother Mick for creating and sharing this music
@192 wma

Demian - 1971 - Demian

Check out these hard rocking psych tunes from former members of Bubble Puppy!
Review by Lysergia:
This album ranks up there with Jericho; it's a wholly successful transformation from psychedelia to hard rock. The obvious hard rock tendencies they showed as Bubble Puppy are tightened and sharpened, and the group harmony vocals are dropped. There's an unnecessary remake of a Bubble Puppy song, but there's not much else to quibble about. There are enough tempo and rhythm variations to keep the formula from getting dull.

Thursday, June 07, 2007

7 X 7 is - U.S. Garage singles pt.7

Jodie Cosmo - Staying Power/Blacksand of Love-Real Cool Time (West World WW-05, 1993)
I believe this is the most strange release of the great Jesus Acedo. After the incredibly godlike first releases of Black Sun Ensemble, and in a time when he was just out of psychiatric treatment, Acedo as Jodie Cosmo, with the help of Rich Hopkins, recorded these, uhm.. slightly disoriented songs. The a-side is more pop and Jesus sings "Staying power will see us thru and so I send my love to you", while in the b-side, backed by Hopkins and Co., covers Stooges "Real Cool Time."

Wicked Ones - The Devil's In My Pants/Nightmares/The Boy That Time Forgot(Get Hip GH-104, 1989)
Former members of Oregon's Miracle Workers (Joel Barnett) and Surf Trio (Jeff Martin & Pete Weinberger), and Ron Klein (both in Surf Trio and Marble Orchard) who plays bass on the a-side, under the Wicked Ones moniker are twisting and shaking violently in these three tracks (I think it's their only release).

Jigsaw Seen - Jim Is The Devil/Idol Chatter (Skyclad/Get Hip GH-38, 1989)
Second devil song in this part, this from Jigsaw Seen, a group founded from Dennis Davison (ex-United States of Existence) and Jonathan Lea (ex-Revolver). Begun as Playground, changed to Jigsaw Seen in 1989. Shortly after they released this single and the Shotrcut Through Clown Alley" LP, both on Skyclad Recs. They're still active, (drummer Teddy Freese (ex-Yipes) joined in 1993, and bassist David Nolte (ex-the Last) in 1996. You can visit their site

Herrera & The Hand-Outs - Another Lie/Playin' For Time (Midnight 4519, 1988)
This is the first single of David Herrera (ex-Cheepskate), before his LP (posted here , where there's plenty of info). This 7" is in the usual luxurious cover of the Midnight singles - ie a plain white envelope with a photocopied (?) and obviously cut-with-scissors painting (this is a portrait made by Bobby Belfiore), which covers the front side and half of the back of the vinyl! I'll just add that in David's myspace page there's a very nice photo gallery two 1990 shows at McCarthy's bar on 14th Street, of which the first can be downloaded for free.

New Duncan Imperials - Feelin' Sexy (EP, Pravda PR 4508, 1990)
The NDI saga began in Chicago in the spring of 1989. Bored with the straight-ahead approach of the band they were in, Pigtail Dick (guitar and vocals), Skipper Zwackinov (bass, balloons, and vocal), and Goodtime Dammit (drums, drums, drums) began playing for laughs in the basement of Pigtail's mom's house. "She really, really hated us," Goodtime recalls. "That's when we knew we were onto something." The band focused on laying strange yet sharp lyrics. "Most of our songs were about food, or driving, or how to prepare intricate chicken dishes while driving," says Skipper. "A lot of people didn't get it, but the ones who did loved it." Listen to these 4 tracks and then take a look here

Lithium X-Mas with T. Tex Edwards - Strange Movies/Love Power
(SFTRI 136, 1991)
If you think that Jthe Jodie Cosmo single was strange, you got to listen to this: Recorded live Feb 3 1991 at the Texas Tube Room, Ft Worth, Texas, Tex Edwards joins Lithium X-Mas
A-side is a Troggs cover (VERY noisy), while b-side is a superb cover of the Mel Brooks tune (from Vertigo I think), given the famous Tex Edwards treat.

Mooseheart Faith - Bluevolution Pt.1 (7"EP, SFTRI 088, 1990)
This is from the ultra psychedelic Mooseheart Faith, subtitled "A brief history of Blues-Psychedelia as revealed by Mooseheart Faith", where you can listen to the "Remington Electric Razor" solo (in Number One), Lynn Johnston playing baritone saxophone and a version of "Temple Departures" -different than the one in The Magic Square of The Sun LP.

7 more 7-inchers

Medusa - Calling you

Schnecke AP 15016
1977 LP Germany
Medusa Calling You

01 - go kids go
02 - the change
03 - hey rock and roll
04 - medusa's calling you
05 - qq 10

Cannot find any info... maybe German friends could help?

I expected that to be progressive stuff, but i think it is mostly rock, psych some moments and pretty good, though not a masterpiece.



Wednesday, June 06, 2007

The Idle Race - Back to the Story

The Idle Race are a beloved band of British psychedelia collectors, because the music was rare, because the band was Jeff Lynne's first significant group, and because the music was, by and large, very good. There is a bit of a relative judgment there — this is not music that stands among the very best of British pop-psych of the '60s, since it's not as innovative or consistent as the Beatles, Pink Floyd, the Move, or even Tomorrow, but it's certainly among the best of the second tier, as singles like "Impostors of Life's Magazine," "Big Chief Wooly Bosher," and "Girl at the Window" illustrate. Since this band itself is a collectors item, it only makes sense for collectors to seek out EMI Premier's 1996 collection Back to the Story, which was only available for a brief period (possibly a matter of months) the year of its release. This is the complete Idle Race, containing the three albums (Birthday Party, Idle Race, Time Is), the ten non-album tracks, three previously unreleased alternate versions and two songs from the Nightriders, Lynne's first band. This is a treasure trove for both British psych and ELO fanatics, and while the best of this is on See for Miles' The Best of the Idle Race, the hardcore are going to seek this out. But they will pay a price — just five years after its release, this was going for well over 120 dollars a pop on eBay. Is it worth it? If you have the cash and the inclination — the pure bloodlust to own this, damn the cost! — it probably is, but having that crazed collector mentality will is essentially to shelling out that price. But if it can be found at an affordable price, by all means get it. (allmusic)

In fact, the album has been re-released early this year by Zonophone/EMI, so it's available at a reasonable price. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme). - K

1 Skeleton and the Roundabout
2 Happy Birthday
3 The Birthday
4 I Like My Toys
5 Morning Sunshine
6 Follow Me, Follow
7 Sitting in My Tree
8 On With the Show
9 Lucky Man
10 Mrs. Ward
11 Pie in the Sky
12 The Lady Who Said She Could Fly
13 End of the Road
14 Come With Me
15 Sea of Dreams
16 Going Home
17 Reminds Me of You
18 Mr. Crow and Sir Norman
19 Please No More Sad Songs
20 Girl at the Window
21 Big Chief Wooly Bosher
22 Someone Knocking
23 A Better Life (The Weatherman Knows)
24 Hurry up John
25 Lucky Man
26 Follow Man
27 Days of the Broken Arrows

1 (Here We Go Round) The Lemon Tree
2 My Father's Son
3 Imposters of Life's Magazine
4 Knocking Nails into My House
5 Days of the Broken Arrows
6 Worn Red Carpet
7 In the Summertime
8 Told You Twice
9 Neanderthal Man
10 Victim of Circumstance
11 Dancing Flower
12 Sad O' Sad
13 The Clock
14 I Will See You
15 By the Sun
16 Alcatraz
17 And the Rain
18 She Sang Hymns Out of Tune
19 Bitter Green
20 We Want It All


The Ballroom - Preparing For The Millennium (1966)

Quality: 3.5 out of 5
Trip-O-Meter: 3 out of 5

I discussed this slab of Curt Boettcher produced sunshine pop in my very first posting. I didn't, however, provide a posting for the tunes. So here it is. Along with a short recap of the review:

This disc presents the Boettcher-led Ballroom's rejected LP. It's a not-bad collection of sunshine pop with a few slight hints of psychedelia. Think of it as a second rate Mamas and Papas. The first two tracks, "Spinning, Spinning, Spinning" and "Love's Fatal Way" are worthwhile am radio style pop, and there is the great tune "Would You Like To Go," which Sagittarius later reused. It's here in a mono mix (as this album is in mono). Another Sagittarius track present here is "Musty Dusty." Unfortunately, this ultra-syrupy ode to childhood was by far my least favorite track on Sgaittarius' Present Tense, and it remains so here.

Buy Me:
The Millennium/The Ballroom- Magic Time

Listen To Me:
The Ballroom - The Ballroom

Tuesday, June 05, 2007

V.A. - Folk is Not a Four Letter Word vol. 2 (2006)

"Folk-Funk? Electric Folk? Hippy-Rock? Acid Folk? Sunshine-Pop? Folk-Fusion? Folksploitation? Once again music lovers struggle to bridge the deep and wide gully where another hybrid genre wanders lonely amongst the vinyl ghosts of yesteryears' ethereal love songs. Let us introduce a flock of unsung songbirds who flutter between rocks and hardened pastures too commercial to be traditional -- not successful enough to be credible -- from the wrong side of town -- on the other side of the globe. Here are some of the would-be folk legends that you didn't read about, they never played the festivals and you never heard their records... until today. Folk Is Not A Four Letter Word is the debut release from Delay 68 Records, a brand-new label from Cherry Red Records, set to bring you the best in folk, funk, psych, prog, ye-ye, & beat from across the world. Compiled by, and featuring original artwork and sleevenotes from Andy Votel (Twisted Nerve), fans of Andy's groundbreaking Music To Watch Girls Cry mix CD (an insanely eclectic mix of 75 tracks in 76 minutes!), and Finders Keepers' compilation on Fat City Records will have some indication of what to expect from this enthralling compilation." (BUY IT!)

1) Intro (Winter) - Carol Batton
2) Balladen Om Belfast - Midsommar
3) A Night In The City - Y Triban
4) Of Broken Links - These Trails
5) Flying - Chuck & Mary Perrin
6) Number 33 - Jan & Lorraine
7) Heksenkring - Elly & Rikkert
8) Paint A Lady - Susan Christie
9) Dialogue Of Wind And Lover - Paul Parrish
10) Apres Londee - Emmanuelle Parrenin
11) How Do? - Naomi
12) Son Of God - Parchment
13) Sunrise - Alexis Korner & CCS
14) Grey Today - Woody Simmons
15) Dime Felix - Vainica Doble
16) The Waters Of Babylon - 11.59
17) Maids And Gentlemen - Midwinter
18) I Saw An Angel - Pentangle
19) Softly - Sibylle Baier
20) Song - Turid
21) På Tredje Dagen Uppståndna - Turid


Megaupload Link :

RapidShare Links :
Part 1 >
Part 2 >

The Bomboras - 1996 - Swingin' Singles

The Bomboras were formed, in 1994, by guitarist Pam Moore and ex-members of the Finks and the Witchdoctors: drummer Dave Klein, bassist Shane Van Dyke, and guitarists Gregg Hunt and Johnny De Villa. Taking their name from a classic surf instrumental by the Original Surfaris, this "intoxicating surf & garage combo" combined their love of fast-paced and fuzzy instrumentals from the sixties -- inspired by the Deadly Ones, Ventures, the Astronauts, etc. -- with tiki and hot rod subculture and punk-style intensity. After organ player Jake Cavaliere (ex-Untamed Youth) joined the group, Moore decided to leave (she assumed the name Pamita Neptune and formed the all-girl surf trio, the Neptunas). Cavaliere (now calling himself Jake Bombora) took over as the Bomboras' leader. Their live show (where they were often accompanied onstage by topless go-go girls) and wild stage antics soon became legendary in the local L.A. club scene; the band would appear onstage wearing Halloween masks, dressed as Borneo headhunters or glow-in-the-dark Day of the Dead skeletons with oversized black-lit sombreros. At the end of their set, they also destroyed their vintage gear by setting it on fire. Cavaliere would often spit fire over the crowd's heads as well, a la Gene Simmons. The local L.A. fire officials often attempted to shut the band down, or warned club owners and promoters of potential fines should they allow the band to use fire in their performances (the band usually promised to behave, but sometimes set their gear on fire anyway).

The Bomboras quickly came to the attention of Dionysus Records, who signed the group and issued several albums over the next few years. Their first, 1995's Savage Island, was recorded in two days at a cost of only two hundred dollars. The Burbank-based indie label released several 7-inch singles, two additional full-length studio albums -- 1996's Swingin' Singles and 1997's It Came From Pier 13-- and a live EP, Organ Grinder, which combined tracks from a limited-edition ten-inch with six tracks recorded live at Los Angeles' famed Jabberjaw club. The group also appeared on various artist compilation albums, including a Ventures' tribute CD and Del-Fi's Surf Monsters: Past, Present & Future Surf Classics. In the summer of 1997, the Bomboras signed to Rob Zombie's newly-formed Zombie a Go-Go label, which was distributed by Geffen. The band entered the studio on August 8th, 1997, and emerged seven days later with Head Shrinkin' Fun, but its release was delayed until June 1998, due to the Universal company acquiring Geffen along with several other labels. In the resulting shuffle, the Bomboras, somewhat mysteriously, ended up on Universal's Hippo reissue label. By then, the Bomboras were ready to move on, and called it quits. Drummer Dave Klein and bassist Shane "Showman" Van Dyke focused their full attention on their longtime side project, the Invisible Men; they were eventually joined by guitarist Gregg Hunt. Cavaliere, meanwhile, formed the Lords of Altamont.
~ Bryan Thomas, All Music Guide

Download It Here :

Harumi (Japan)- 1968 - Harumi

(psych, only US released?) @160

Produced by Tom Wilson (the Velvet Underground, Bob Dylan, Simon & Garfunkel), this sprawling set of Japansese acid pop and folk was originally released in 1968. With contents ranging from Eastern-tinged pop to introverted epics, all featuring a range of Japanese instruments, it's stuffed with possible samples and is sure to delight all fans of mystic psychedelia.

Titles :
01 Talk About It (4:11)
02 First Impressions (3:11)
03 Don't Know What I'm Gonna Do (3:08)
04 Hello (3:59)
05 Sugar In Your Tea (3:23)
06 I Took A Ride (In Your Caravan) (3:04)
07 Hunters Of Heaven (2:56)
08 Hurry Up Now (3:50)
09 What A Day For Me (2:45)
10 We Love (2:19)
11 Fire By The River (3:31)
12 Twice Told Tales Of The Pomegranate Forest (23:51)
13 Samurai Memories (19:11)

One of the trippiest albums recorded for Verve in the 60s -- a unique 2LP set by Japanese psyche artist Harumi -- and a record that stands proudly next to the best by Zappa or the Velvets at the time! The double-length space of the record really helps give it some shape -- as Harumi starts out sweet, then gets a bit wilder, and increases the sense of experimentation as the set rolls on -- so that the final track is a side-long psychedelic jam that's topped with spoken passages by Harumi's parents and sister! We like the poppier tunes the best, though -- and they feature a mix of orchestrations, fuzzy guitar, and vibes -- all layered with a really beautiful sense of sound, to accompany vocals by Harumi and Rosko. There's a gentle, breezy, and sometimes slightly funky quality to these numbers -- Sunshine Pop with a trace of jazz -- and exactly the kind of psyche album you might imagine from Verve in the 60s!
Harumi – ‘Harumi’ [Verve Forecast, 1968] was a 2-LP set. Harumi was a Japanese guy residing in the US where he recorded and released this. It’s reputedly ‘psych with many native instruments’ and vocals in both Japanese and English. The first LP is apparently more poppy, but the second contains only a lengthy track per side, reputedly “heavily introverted mystical Eastern hippie rambling” according to Fuzz, Acid & Flowers.
From phasey folkrock psych pop to side long tripout tracks, this cool double LP must mark about the first time a Japanese psych artist got a deluxe USA issue. Verve Forecast FT 3030 2X from circa 1968. Fab stuff from the psych era on Verve's 'progressive' subsidiary

Monday, June 04, 2007

Hearts and Flowers - Discography

Hearts and Flowers were one of the most eclectic groups on the Southern California folk-rock scene in the '60s, skewing more to the folk side of the equation and often adding flourishes of psychedelia and, most importantly, bluegrass and country music. The group was founded by guitarist Larry Murray, a Georgia native who had come to California in the late '50s and played with a bluegrass group called the Scottsville Squirrel Barkers. At various points, the Barkers' membership included Chris Hillman and Bernie Leadon, and they recorded a rare album for Crown in 1962 before breaking up. Murray went on to play in several other bands, including another one with Hillman called the Green Grass Group, before forming Hearts and Flowers with vocalist/guitarist Dave Dawson and vocalist Rick Cunha, who had worked together as a folk duo in Hawaii. The trio played the Los Angeles club scene, sometimes by themselves, sometimes with a rhythm section, and eventually landed a deal with Capitol. Their debut album, Now Is the Time for Hearts and Flowers, was released in 1967 and echoed work by the Byrds, the Stone Poneys, and the Dillards. Its eclectic originals and wide-ranging taste in covers meant that it didn't sell very well, however, and at Capitol's urging, the group underwent an overhaul, adding Terry Paul and Dan Woody to flesh out their live sound, though both left before the group completed its second album. So too did Cunha, who was replaced on guitar by Leadon. The group's sophomore effort, Of Horses, Kids and Forgotten Women, was released in 1968 and featured more elements of pop and psychedelia than their debut, in spite of the fact that the band had taken to playing folk-rock arrangements of country tunes almost exclusively at their live shows. Of Horses didn't sell either, and the group disbanded not long afterward. Murray and Cunha both went on to release solo country-rock albums.

Now Is The Time For Hearts And Flowers- 1967

This debut album is an overlooked precursor to country-rock, echoing the late-'60s Byrds, Stone Poneys, Gene Clark, and most especially, as Brian Hogg points out in his lengthy liner notes, the Dillards. Earnest vocals and conscientious harmonies on this subdued, acoustic, and countrified take on folk-rock, with mild Eastern/psychedelic dabs of autoharp. The songs mix original tunes with covers of Donovan, Tim Hardin, Hoyt Axton, Kaleidoscope, and Carole King. There's little to criticize, but it lacks the innovative spark that characterizes the best folk-rock of the time.

Download Link :

Of Horses, Kids & Forgotten Women - 1968

Future Flying Burrito Brother/Eagle Bernie Leadon replaced Rick Cunha for the group's second and final album, which is actually a considerably more L.A. pop-flavored production than their debut. Country-seasoned folk-rock remains at the core of the group's sound, but producer Nik Venet provides occasional tasteful, psychedelic-tinged orchestral arrangements. The material — about half original — is fairly strong, especially their covers of Arlo Guthrie's "Highway in the Wind" and Jesse Lee Kincaid's "She Sang Hymns Out of Tune" (also covered by Harry Nilsson on his first album). The unquestioned highlight is Larry Murray's "Ode to a Tin Angel"; by far the group's most psychedelic slice of folk-rock, with its swimming strings, tripped-out lyrics, and sweet harmonies, it's also their most atypical track. A slicker, but better, album than their first effort.

Download Link

Saturday, June 02, 2007

Booze Hoister Band - Tavern Tales

01 - ild rather be a dove
02 - garry owen
03 - letters
04 - the piper o'dundee
05 - it's a beautiful booze
06 - gay lady say
07 - the lady and the dragoon
08 - the roisin' dubth the wind t
09 - i must and i will get married.
10 - she's false as she's fair

The BOOZE HOISTER BAND is a dutch folk band wich started in 1980 the band grew from the band BOOZE HOISTER FOLKGROUP, wich allready had recorded a album in 1978.
Ine van Beek (then still Ine Swinkels),Henk van Beek and Pierre Koolen started the band because they didnt like the way the band was goin,more towards Folk Rock.
BOOZE HOISTER BAND made one album "Tavern Tales" wich was a album full of irish folk music.


@vbr over 192

Panos Savvopoulos - Epeisodio (1971- Folk/ Acid Folk)

Just try this rare greek record...
Forgotten but not lost..
Many thanks to Aggeliki for this one...
One more from this guy coming soon..
Waiting for your comments..

The 4 Levels Of Existence - The 4 Levels Of Existence (1976)

01. Μεταμορφη (Metamorphic)
02. Σαν λιωσουνε τα χιονια (When The Snow Melts)
03. Ο Ταχυδρομος Του Χωριου (The Village Postman)
04. Ερημια (Wilderness)
05. Του Τρελου η Σαλπιγγα (The Fool's Trumpet)
06. Ο Αγωνας Μας (Our Fight)
07. Απογοητευση (Dissapointed)
08. Παιδικο τραγουδι (Child's Song)
09. Χωρις τιτλο (untitled)
10. Καποια Μερα Στην Αθηνα… (Someday In Athens..)

The 4 Levels Of Existence
is a Greek band.I know many of you think Greece is only ouzo souvlaki and sun, but this beuatifull disc says the opposite.

Well, the band story begins somewhere in 1974 -'75 when Thanasis Alatas and Xrhstos Blaxakhs, both ex-members of another Greek Band ''Frog's Eye'' meet Mario Giamalakh and Niko Grapsa. (I'm not sure on that, but i think Grapsas was ex-member of band ''Paralos'')
This four people join forces and create ''The 4 Levels oF Existence''. One year later (1976) release their only, self titled album, in a very small quantity, under the ''Venus'' label. The material of LP is reissued by the good people of the Canadian (!) label of ''Lion Productions'' i think last year or 2005.

Now about the music. The 4 Levels Of Existence is a -stunning- hard edged psychedelic album. A really folk-flavored fuzz monster with superb guitar leads and solos, melancholic lyrics (sung in native Greek) and majestic melodies. The guitar work is exchellent and very fuzzy!!, that gives the album a heavy taste, but after some listenings you realize.. hey, that fits exactly to the band style!

In few, this is a beuatifull and unique album!!!
Do you love Greece ? Proove it...

Sendspace Link :
The 4 Levels Of Existence - The 4 Levels Of Existence (1976).rar

RapidShare Link :

Friday, June 01, 2007

Yays & Nays

YAYS & NAYS: Yays & Nays (Neo US 1968?)

01 - gotta keep travelling
02 - nature is my mother
03 - some do, some don't
04 - contrary mary
05 - easy woman
06 - it's what's happening baby
07 - call me a dog
08 - if
09 -take it easy baby
10 - let it all hang out + what women do
11 - onstage revelations


The majority of LPs that fall into the "incredibly strange" category do so to no fault of their own, but as an effect of a marked disconnect between whatever artistic vision that went into them, and how the work is perceived by a listener in another time and place. A band such as the Kaplan Brothers obviously thought they had created a deep, meaningful statement with "Nightbird", while most people who listen to it hear... something else. This is all fine and doody and a testament to the lasting quality of popular music springing from experience and honesty, no matter if clever, misguided, or just strange.

But then there is a rarer type of bizarre vinyl testaments which we can enjoy because the band knew exactly what they were doing, and what they were doing remains unusual and imaginative to this day. After listening many times to the remarkable LP by Southeastern band the YAYS & NAYS I'm prepared to put them in this upscale category of strangeness. The misleading descriptions you may see on the rare occasions it's offered for sale is another indication of its elusive qualities. I don't know any LP even remotely like it, yet it's highly listenable, even commercial in parts.

This track, and the LP as a whole, is smart and hip on so many levels that it's difficult to sort out, but I'll give it a shot. To begin with the vocals, the guys are typically solo and sing in a tongue-in-cheek, "manly" Johnny Cash/Lee Hazlewood style that works as an ironic deflation of the macho content of their lyrics. The result projects the 1950s family provider husband as an increasingly powerless and slightly neanderthal creature, clueless in the emergence of a modern era of liberated women. The women in turn usually sing ensemble, like the chorus of a Greek play, their high-pitched feminine voices aggregating power when heard together -- and this clever solo <-> ensemble juxtaposition is no accident. The gals can sing pretty and romantic, like they do on a few songs, but they can also be tough and uncouth, thus given a wider range of expression than the guys. The lyrics follow a similar pattern, the guys delivering sentiments and desires from a by-gone era, while the gals usually express a sense of freedom and independence. The whole thing plays like an inspired fratty college musical sendup of the Lee & Nancy and Sonny & Cher duets.

The opening track "Gotta Keep Traveling'" is an uptempo garage ditty sung mixed ensemble that works as a gender-neutral starting point for the album, with typical 60s lyrics about doing your own thing and escaping a dull, conformist society; the 1950s vocals of band leader "Big Daddy" adds an appealing beatnik touch in line with the subject matter. This is followed by "Nature is my mother", a partly-French sung tune that comes closest to "hippie" sounds on what is mostly a raw folkrock album. The gender theme is then introduced in full with the hilarious "Some Do, Some Don't", where-in "Big Daddy" laments the fleeting nature of his ladies' promises with lines like "Down with the ones who say they will/And then later say they won't". The gals back him up with a mocking gleam in their eye. This subject matter is extended into "Contrary Mary" wherein the 1950s macho crooner retroism is put to full use; the male lead asking Johnny Cash-style his girl for a bit more stability in their relationship.

The rest of the album continues in this same convincing manner, each track both an excellent standalone item and a piece in the bigger Yays & Nays puzzle. One reason it works so well, and stands up for repeat plays with no loss of impact, is that the songwriting and arrangements are remarkable, worthy any name release from L A or the Brill Building. The style is an eclectic 60s bag of P F Sloan folkrock, tough upscale r'n'r like the Raiders, Eastcost girl-group sounds and Broadway musical, all held firmly together by the strength of the lyrical content and the idiosynchratic, self-referential vocals. You'd be hard pressed to find another local, unknown item that delivers on all levels like this -- no matter where you press, it's there; the lyrics, the concept, originality, creativity, zeitgeist, even rare attributes such as irony and internal logic.

Here at Lama Reviews we have a tradition of lamenting the unjust lack of success for artists that were in the wrong place or on the wrong label, but that line doesn't really cut it for the Yays & Nays, because even on Vanguard or Elektra I think this would have flopped at the time -- it's such a multilayered, double-edged trip that requires many plays to grasp, and thus probably better fit for our age than the fast and flashy 1960s.


There are many different opinions on this record... i 'd like to hear yours


Thursday, May 31, 2007

Alan Hull - First 2 albums

James Alan Hull (February 20, 1945 — November 17, 1995) was a British singer-songwriter and founding member of the Tyneside folk-rock band Lindisfarne.

Pipedream (1973)
Squire (1975)
Phantoms (1979)
On The Other Side (1983)
Another Little Adventure (1988)
Back to Basics (1994)
Statues & Liberties (1996)
When War is Over (1998)
We Can Swing Together - Anthology (2005)

The cover artwork is of La Lampe Philosophique by Rene Magritte.

1. Breakfast
2. Justanothersadsong
3. Money Game
4. Std 0632
5. United States Of Mind
6. Country Gentleman's Wife
7. Numbers (Travelling Band)
8. For The Bairns
9. Drug Song
10. Song For A Windmill
11. Blue Murder
12. I Hate To See You Cry
there is also a reissue with +6 tracks


Info and reviews

1. Squire
2. Dan the Plan
3. Picture (A Little Girl)
4. Nothin' Shakin' (But the Leaves on the Trees)
5. One More Bottle of Wine
6. Golden Oldies
7. I'm Dorry Squire
8. Waiting
9. Bad Side of Town
10. Mr. Inbetween
11. End
12. Crazy woman
13. Carousel


Info and reviews


The Millennium - 1968 - Begin

Quality: 5 out of 5
Trip-O-Meter: 4 out of 5

The Millennium was a short lived project headed by sunshine pop producer extrodinaire, Curt Boettcher. Although the Begin album is Boettcher's baby, it is also very much the work of a functioning band. In fact, the members make up a sort of an obscuro 60's supergroup. Ron Edgar and Doug Rhodes joined in from the Music Machine ("Talk Talk"), and Sandy Salisbury was a holdover from the Ballroom project.

Begin is truly a lost classic that has not yet recieved it's due. The basic sound of the disc harkens back to Beach Boy Brian Wilson's 1966-1968 productions. In fact, many moments of Begin stand up well to Pet Sounds and surpass the sunshine pop of later Beach Boys albums. Like Wilson's productions, Boettcher, along with co-producer Keith Olsen, created difficult to pick out instrumental combination, and use potential dissonance to create a wall of sound. The band also uses many other sounds, such as raga singing, steel drums, and sound effects, to create amazing atmospherics.

The opening medley of "Prelude" and "To Claudia On Thursday" (the latter of which makes me think of 90's psych poppers The Olivia Tremor Control) reveal production that was state-of-the-art for its time, including compressed drums and full use of stereo range. The tripped out folk sound is similar to The Byrds The Notorious Byrd Brothers (produced by Usher), but to my ears surpass even that enviable achievement. "I Just Want To Be Your Friend," "5 A.M.," and "It's You" all stand out as should-have-been singles, but the full impact of The Millenium can be found in the tracks "The Island" and "Karmic Dream Sequence #1." Both of these songs have stellar hooks, but are far too weird even for singles. "The Island" creates a tropical lysergic sound. The songs seems as much a threat as an invitation. The band pulls out all of the stops for "Karmic Dream Sequence #1." Starting off as a hazy ballad similar to Crosby's songs for The Byrds and Jefferson Airplane, things start to collapse into a wild sound collage, even sampling "Prelude" from the start of the album.

Unlike most sunshine pop concoctions, the lyrical content of Begin holds up to scrutiny. Many tracks, especially "The Island," "It's You," and "There Is Nothing More To Say" have almost a strange cult-like ambiance. As "There Is Nothing More To Say" admits, "There is something that you hear in so many of our songs, but it's something that we want you to know." The album slowly reveals it's spiritual convictions, but the details of their philosophy is never quite ironed out. It's an interesting precursor to the modern psychedelic cult pop of The Polyphonic Spree.

Just as a fun fact, the cover of this set was designed by Arni Geller. Geller's other album art was for the similarly styled, but more colorful Friends by The Beach Boys.

If you haven't already heard it, I can give The Millennium's Begin my highest recommendation. The version here sports much better sound than the Columbia Records CD from the early 90's. The LP is still occassionally in print (I bought a new copy on vinyl last month) and would be worth seeking out.

Buy me:
The Millennium/The Ballroom- Magic Time

Listen To Me:
The Millennium - Begin
The Millennium - Begin Bonus Tracks

Ronnie Von - Brazil Psych

Ronnie Von was, and still is, a star in Brazil. Although now he conducts television shows of dubious cultural content (reality shows and alike), he started off with music. Let's be honest, most of his stuff was crap, like his first album which is full of Beatles covers and lacks any interest. But later... during the psychedelic era, he released three of my favourite albums. A trilogy which in terms of quality (and not so much in terms of musical style) can be compared to Mutantes. Why they have been overlooked in such way, I don't know. Very nicely produced, with incredible song composition and lyrics, those are three records to be listened carefully.

Originals are kind of rare, and really rare if you look for copies in good shape. They were reissued some time ago on LP (not on CD as far as I know) and I think they are still available, so if you like them you can get them (greeks out there check Anazitisi , and I think Guerssen has them too). Well... please listen to them and I really hope you will like them. If you don't, listen to them again. Oh.. and excuse the poor sound quality.

Ronnie Von - Same (1968)

Tracks :
01- Meu novo cantar
02- Chega de tudo
03- Espelhos quebrados
04- Silvia, 20 horas, domingo
05- Menina de tranças
06- Nada de novo
07- Esperança de cantar
08- Anarquia
09- Mil novecentos e alem
10- Tristeza num dia alegre
11- Contudo, todavia
12- Canto de despedida

Get it here:

Ronnie Von - A Misteriosa Luta do Reino de Parassempre contra o Imperio de Nuncamais (1969)

Tracks :
01- De como meu heroi flash gordon ira me levar de volta a alfa do centauro, meu verdadeiro lar
02- Dindi
03- Pare de sonhar com estrelas distantes
04- Onde foi
05- My charie amor
06- Atlantida
07- Por quem sonha Ana Maria
08- Mares de areia
09- Regina e o mar
10- Foi bom
11- Rose Ann
12- Comecei uma brincadeira

Ronnie Von - A Maquina Voadora (1970)

Tracks :
01- Minha maquina voadora
02- Baby de tal
03- Verao nos chama
04- Seu olhar no meu
05- Imagem
06- Continentes e Civilizaçoes
07- Viva o chopp escuro
08- Enseada
09- Tema de Alessandra
10- Aguas de sempre
11- Cidade
12- Voce de azul

Get it here:

Tuesday, May 29, 2007

Blessed End - 1971 - Movin' On

US psych, acid rock and garage. Blessed End were from Philadelphia and this debut album was originally recorded in 1971, while still in high school . Sounding like The Doors, thanks mainly to the strong doomy vocals and prominent flowing keyboard sound.

Great organ led psycher LP, private press and borderlining on "real people".....Vocalist sounds like that fucker from The Doors, and the vocals themselves are mixed waaaay to loud.....but, still this is pretty good....the songs seem kind of 'throwaway' at first, but eventually really stick.....I wish the guitars were mixed louder....cheesy lyrics like the above really add to the charm.....

1. Nightime Rider
2. Someplace To Hide
3. Is It Time
4. Sometimes You Got To Be Strong
5. Movin' On
6. Day Before Tomorrow
7. Dead Man
8. Can't Be Without Her
9. One Stop Woman
10. Escape Train
11. Can't Be Without Her - (previously unreleased, bonus track)

One of the few major late-'60s bands who were not often copied (at least well) was the Doors, perhaps because the disparate elements that made up the group were so complex and difficult to assimilate by a group of teenagers, and probably because there weren't too many Jim Morrisons, even in the tumult of the times. No teenager could match Morrison's combination of brilliance and b.s., poetry and pretension, and few bands could match the powerfully-ominous instrumental attack of Ray Manzarek, Robbie Krieger, and John Densmore. One of the best of the Doors understudies was Blessed End. Their only album, Movin' On, may not be as strong as anything the Doors created, but that is an unfair comparison to begin with. What the album is, though, is a solid collection of garage-pop songs with foreboding subject matter, considering the band members' youth. Steve Quinzi's organ lines are not as complex and menacing as Manzarek's, but they are often catchy in their frat-rock (think "96 Tears") way. Mike Petrylak's drumming is not as precise and commanding as Densmore's, but it holds down the music nonetheless. Jim Shugart's guitar work is mostly steady and unobtrusive, and is not really trying to stand up to Krieger's idiosyncratic psychedelic-flamenco-blues. And, of course, Doug Teti is not the Lizard King, but he does possess a booming (in the mold of Bob Mosley or Jack Bruce), tormented baritone that looms over the music. The argument could be made that Tetiwas more Gary Puckett than Jim Morrison, but Puckett never sounded as threatening, and his music never had the exuberant garage amateurishness that Blessed End's showed. Of course, the music is not completely melancholy. Sustaining that type of atmosphere necessitates a certain degree of physical or emotional destructiveness, as Morrison demonstrated. Movin' On shows elements of blues (Teti's Bruce-like wail on "Escape Train"), but there is ultimately a buoyant rather than somber feeling to their music in spite of its fair share of gloom. The opening one-two punch of "Nightime Rider" and "Someplace To Hide" may be constructed out of minor chords, but the music chugs along enthusiastically instead of broodingly. Throughout the album Teti sings about death, being alone, and hateful women, but repeated listening reveals it to be less sinister and more a manifestation of imaginative angst.

Download Link

Christine McVie - Perfect Album

This Was Christine McVie's First solo album, it was relesed just after she left Chicken Shack but before she joined Fleetwood Mac. The Album Contained the hit single "I'd Rather Go Blind" from Christine's days with Chicken Shack.
Chicken Shack
In 1968 a friend of Christine told her that her ex-bandmate Andy Sylvester and Stan Webb were forming a blues band and were looking for pianist, so she wrote to them asking to join them. A few days later they replied, inviting her to play keyboards/piano and sing background vocals in their band Chicken Shack. Christine stayed with Chicken Shack for 2 albums and together they scored the top 10 British hit "I'd Rather Go Blind" with Christine on lead vocals. She was also given a Melody Maker award for female vocalist of the year, and she was lauded for having one of the "top 10 pairs of legs in all of Britain". Christine left Chicken Shack in 1969 after meeting Fleetwood Mac bassist John McVie.
Fleetwood Mac
Christine was a big fan of Fleetwood Mac at the time and while touring with Chicken Shack the two bands would often run into each other. Encouraged to continue her career, she recorded a solo album, Christine Perfect. As Christine McVie, she joined Fleetwood Mac in 1970, just after marrying Fleetwood Mac bass guitarist John McVie. She had already contributed backup vocals, played keyboards, and painted the cover for Kiln House. The band had just lost founding member Peter Green and its members were nervous about touring without him. McVie had been a huge fan of the Peter Green-era Fleetwood Mac, and since she knew all the lyrics to their songs, she went along. McVie quickly became an essential member of the group and the author of some of its finest songs, a position she would continue to hold for nearly 25 years.

Released Dec 6 1970
Recorded 1969, 1970
Genre Rock, Blues
Label Blue Horizon

1 "Crazy About You Baby" (Williamson) – 3:03
2 "Im On My Way" (Robey) – 3:10
3 "Let Me Go (Leave Me Alone)" (McVie) – 3:35
4 "Wait And See" (McVie) – 3:14
5 "Close To Me" (McVie, Haywood) – 2:40
6 "I'd Rather Go Blind" (Jordan, Foster) – 3:52
7 "When You Say" (Kirwan) – 3:14
8 "And Thats Saying A Lot" (Jackson, Godfrey) – 2:58
9 "No Road Is The Right Road" (McVie) - 2:49
10 "For You" (McVie) – 2:46
11 "I'm Too Far Gone (To Turn Around)" (Hendricks, Otis) - 3:26
12 "I Want You" (White) - 2:23

Full info here

Sorry for the bitrate... can't find it better

Phantom (a.k.a. Phantom's Divine Comedy)

1974 - Phantom's Divine Comedy_Part 1

Tracks :
01 Tales From A Wizard
02 Devil's Child
03 Calm Before The Storm
04 Half A Life
05 Spiders Will Dance (On You Face While You Sleep)
06 Black Magic/White Magic
07 Merlin
08 Stand Beside My Fire
09 Welcome To Hell

- Phantom -- vocals, guitar, keyboards
- X -- drums, percussion
- Y -- bass
- Z -- keyboards

Bordering on novelty sounds with overblown Lizard King vocals and a goofy fairytale concept, but is somehow well-done enough to be enjoyable. Lots of fuzz and dramatic mood changes plus almost inaudible spoken parts between the songs that few people have discovered (the vinyl re possibly omits these). Their manager claimed it to feature Jim Morrison on vocals which ensured a rapid journey down the cutout trail. In addition to this LP there is a "Lost Album" with recordings that may predate the Capitol album. The tapes have been bootlegged in Italy on vinyl (Ghost, 1989) and CD (Flash, 1997) and display an unexceptional Brit-inspired prog/folk sound. [PL]
see also -> Happy Dragon Band

1990 - Phantom's Divine Comedy_Lost Album

Tracks :
01 Your Life
02 Queen Of Air
03 Lone Wolf
04 Storms
05 The Music Rolls On
06 Realese Me
07 Sailin' Away

Get Both Albums Here @192

More info Here :

Little Phil & The Nightshadows - Patriarchs of Garage Rock

Little Phil & The Nightshadows - Patriarchs of Garage Rock

Track List :
01 So Much
02 60 Seconds Swinger
03 In The Air
04 Plenty Of Trouble
05 I Did My Part
06 The Way It Used To Be
07 The Hot Dog Man
08 Perils Of Pauline
09 The Hot Rod Song
10 I Wish I Could Sing Soul Music
11 Knock On Wood
12 Summertime

(aka Little Phil & The Night Shadows)

The Night Shadows were originally organized in December 1956 as The Cavaliers. The spelling was changed to The Kavaliers in 1957 to avoid legal problems with another group using that name. After some personnel changes in the summer of 1959 the group became The Barons. In the fall of 1959 the lead guitarist wrote an instrumental he called Night Shadows that the bass player thought was the perfect name for their Blues group. Assuming leadership of the band and against everyone's wishes, he changed their name to The Night Shadows on their business cards and quickly booked several months of gigs to make everyone relent. He also hired a front man for the group. From the fall of 1959 through 1961 The Night Shadows were primarily a Chicago-style Blues band featuring Bobby "Bones" Jones, a rowdy harp playing, skinny James Dean look-alike. Like the old-time blues men of the past, Jones went to prison for an alleged assault on someone with a brick mason's hammer. He later lost three toes to frostbite passing out drunk in ten-degree weather on the bed of a pick-up truck. He still writes blues tunes as Sweet Papa Jones.

In 1962 the group changed to a Rhythm & Blues show band featuring Little Erv (Barocas) & Judy (Argo), an Elizabeth Taylor look-alike, as headliners. For the next two years, the group became one of the one most popular R&B bands for Southern college dances and formals since Black R&B (or "Beach) acts were considered "crude frat party bands" by snobbish southern faculty and alumni. In 1964 the English invasion changed the group's primary direction to Rock relegating R&B, now called (East Coast) Beach Music to secondary importance. Little Erv quit the music business to get married and Judy Argo became a jazz diva appearing on NBC's Tonight Show before a purported suicide attempt in New York derailed her career.

When14-year old Little Phil (Rosenberg) was picked as their replacement to front the group, the other band members thought their leader "had lost it" since they were all in their early twenties. Over their protests of playing "nursemaid to a snot-nosed kid", he knew that Little Phil could do "James Brown type" choreography as well as sing Rock, Blues and Soul songs. His gamble paid off, and 1965 turned into a watershed year for the Night Shadows. Johnny Brooks, a studio engineer and producer Janoulis had worked with on sessions since 1959, had opened his own recording facility and was seeking artists with original material. This gave the group an opportunity to record both the tunes Little Phil had collaborated on and some others that Janoulis had written. The end result was a label deal with Dot Records, a very successful record company owned by Paramount Pictures in Hollywood, California. The single "So Much" featured Little Phil as lead singer. The other band members were Jimmy Callaway (guitar), Bobby Newell (organ), Charles Spinks (drums) and Aleck Janoulis (bass). Everything seemed to be going their way until the "conflict" in Viet Nam suddenly escalated into "war" and all able-bodied, single men between the ages of 18 to 26 were made eligible for the draft. Little Phil was still in high school and Janoulis, Spinks, and Newell were all in college. If the group left school permanently they would all be drafted except for Little Phil who was only 16. This prevented any extensive traveling to promote the record. As the record reached the Top Ten in three states, a corporate decision to make the record company a Country oriented label stopped all pop and rock promotion dead in its tracks. Their follow up single "60 Second Swinger" was permitted to be released on Gaye Records and featured a full color sleeve. Due to contractual obligations the group then recorded for Baja Records under the pseudonym "The Square Root of Two". This became the title of their classic 1968 psychedelic album on Spectrum Stereo which now sells for over $1200 to record collectors. Due to internal conflicts the band split up after their last concert on Memorial Day in 1969. Teen-age guitar prodigy, Barry Bailey, performed with the group in their final months (Ref: "Live At The Spot") and later went on to form the hit-making Atlanta Rhythm Section. Janoulis formed the group Starfoxx in 1974 that had a nationally charted hit "Disco Rock" in 1977 and, as Big Al Jano, released the anti-AIDS cult single, "The Condom Man", in 1987, based on the Night Shadows 1961 blues single, "The Garbage Man". Little Phil was lead singer for Kudzu and Bandit in the 1970's and has recently been recording some new material in the studio. Incredibly, Little Phil and the Night Shadows are still selling records and CDs to collectors all across the globe.

Monday, May 28, 2007

Remember the Wayfairing Strangers collection posted two weeks ago here in Lost-In-Tyme ?

check the link above !

Thank You whiteray !!!

Simon Finn-Magic Moments (2005)

This is the first new release by Simon Finn after 30 years, and it’s nice to see nothing of his honest slightly open-emotional playing has changed over the years. The songs are more sparsely arranged, but with well played acoustic guitar, and just some flute and violin by Joolie Wood. The songs don’t really need much more to sound good. The emotionality from the early album and songs concerns are the same. The song perspective has matured, while Simon's essential nature remains unchanged. I wish all singer-songwriters had this kind of musical stability, even when it has its own specific tiny human so called "unstable" aspects that make it even better, more human, and which gives it an integral musicality. Just the kind of "raw" "inner struggle" to speak out of an earlier age, is now more tempered. It's not replaced by something like a different vision but by continuity strength in grabbing its own visions. Well done.

Sunday, May 27, 2007

Pete Atkin - 1971 - Driving Through Mythical America

Pete Atkin - 1971 - Driving Through Mythical America

This a beautiful album by english folk singer Pete Atkin. Pete sung and wrote the music and Clive James the words (don't let that put you off, its fantastic). All the songs tell a great story along with some very fine backing by the likes of Herbie Flowers, Barry Morgan, Chris Spedding etc.

Checkout "No Dice" I love this song to bits!

01 Sunlight Gate
02 The Pearl Driller
03 No Dice
04 The Flowers and the Wine
05 Where Have They All Gone
06 The Prince of Aquitaine
07 Thief in the Night
08 Driving Through Mythical
09 Faded Mansion on the Hill
10 Practical Man
11 Lady of a Day

Music and arrangements by Pete Atkin / Lyrics by Clive James

Alan Parker-Guitar trks-2,3,6
Chris Spedding-Guitar trks-1,5,8,11
Herbie Flowers-Bass trks-1,2,3,6,11
Dave Bell-Bass trks-4,5,7,8,9,10
Barry Morgan-Drums trks-2,3,6,7,9
Kenny Clare-Drums trks-1,4,5,8,10,11

Enjoy !!!

Thanks Steve for this one !!!

Comus - 1970 - First Utterance

Allmusic review :
Comus' first album contains an imaginative if elusive brand of experimental folk-rock, with a tense and sometimes distressed vibe. Although there are elements of traditional British folk music, there's an edginess to the songwriting and arrangements that would be entirely alien in a Fairport Convention or Pentangle disc. At times, this straddles the border between folk-rock and the kind of songs you'd expect to be sung at a witches' brew fest, the haunting supernatural atmosphere enhanced by bursts of what sound like a theramin-like violin, hand drums, flute, oboe, ghostly female backup vocals, and detours into almost tribal rhythms. All of this might be making the album sound more attractive than it is; the songs are extremely elongated and fragmented, and the male vocals often have a grating munchkin-like quality, sometimes sounding like a wizened Marc Bolan. The lyrics are impenetrable musings, mixing pastoral scenes of nature with images of gore, torture, madness, and even rape, like particularly disturbing myths being set to music. It's been reissued on CD, but here's one case where you might want to get the LP reissue (on Get Back) instead, as it comes with a bonus 12" of three songs in a similar vein as their rare 1971 EP.

Saturday, May 26, 2007

Tool Shed - 1971 - Skyscape Music

Track Listing:
1. The Kingdome Come
2. Angle in her Walk
3. Variations on Cannabis
4. Candlelight
5. Time and Changes
6. As You Really Are
7. Court Roger
8. Piano and Choir Sonata
9. Fall Away
10. Baby Blues
11. Travelin' Blues
12. The Wave

TOOL SHED (New York City, NY)

"Skyscape Music" 1971 (RPC 19291) [500p]
"Skyscape Music" 199 (no label, Austria) [300p; altered cover]

Desoriented urban college dorm hippie-folk album with some good and strange tracks like "Angels in her walk" that go deep, and a pretty interesting LP all over. Actually a various artists college project LP from NYC but usually referred to only as "Tool Shed". [PL]

Friday, May 25, 2007

Cherrystones - Entertaining the Unobvious (2004) + Crawl Back To Mine (2006)

Wow! Limited edition mix CDs from DJ Cherrystones!

This is one of two heavy, heavy DJ party mixes featuring super-tough drums and hard funky hip hop breaks galore! Garage punk, glam rock, percussive 70s metal, Turkish jams, uptempo soul and so much more!

Even better than his essential Cherrystones compilations! YOU NEED THESE MIXES!!! Very highly recommended!

Second in the series of Cherrystones' legendary psychedelic street-freak mixes.

"I dread the day that I die," Gareth Goddard says solemnly, "because I think, 'What the hell's going to happen to my collection?'" (interview with DJ Cherrystones)


The Mystery Trend - So Glad I Found You (1966-1967; compilation released 1999)

Quality: 3.5 out of 5
Trip-O-Meter: 3.5 out of 5

The Mystery Trend's place in music history exists in a strange twilight. I suppose that they're best known for having a place on the Nuggets box set (with their lone single "Johnny Was A Good Boy") and for naming their band off of misinterpreted lyrics out of Dylan's "Like a Rolling Stone" (they should more accurately be The Mystery Tramps). Otherwise, they are now basically a footnote to the San Francisco scene, but still they were there at the start of the scene, playing along with the early Jefferson Airplane and Grateful Dead. The band unfortunately never really found an opportunity to put out any more than a Verve Records single, and this compilation consists of their entire recorded output, the vast majority of which was unreleased until the 1990's. As this is basically everything, it's a little spotty. But the high points are truly spectaular, however, and I feel like if The Mystery Trend had found the opportunity to put together a proper album, it may have been a true classic.

The Mystery Trend does share some similarities with their San Francisco bretheren. The vocal sound is extremely strong and layered, often resembling the Jefferson Airplane at their best. The winding guitar leads also recalls many of the bands from that era. There's a freak-folky sound right in line with the Dead and the Airplane's debut albums. If you're open to the San Francisco scene, there is definitely something here to grab your attention.

The true charm, however, rests in the little differences. The Mystery Trend was a bit older than the rest of the crowd and skipped over some West Coast psychedelic pitfalls. First off, jamming was completely ignored by The Mystery Trend. They were truly fascinated by the art of the pop song, and their strong writing (usually in the hands of keyboardist.vocalist Ron Nagle and guitarist/vocalist Bob Cuff) often recalls that of Burt Bacharach or the Brill Building. Only one track here passes the three minute mark, and that one only makes it to four.

Standing out even more is The Mystery Trend's atypical sound. Psychedelia in general relies on quite a bit of reverb and echo to create a strange vibe. The guitars here are very dry and brittle sounding. Still, they manage to cut right through the powerful rhythm section to make a strong impression. This sound is mixed with Ron Nagle's also bone-dry clavinet. The band may be playing the same notes as their more-poular peers, but the sound ends up being very different. If nothing else, this makes their recordings worth a listen or two. For a fun comparison pair their cover of the Who's "Substitute" along with the original.

The songs, while often strong, remain a mixed bag. This is understandable as this disc is the band's complete recordings and they were never trying to produce an entire album. Both sides of their only single, which included "Johnny Was A Good Boy" and "House On The Hill," are standouts. Even better still are the should-have-been single "Carl Street" (presented in two versions), the lyrically biting "Mercy Killing," and the Bacharach influenced "There It Happened Again." These high points make up for some of the lesser tracks like the dull instrumental "Mambo For Marion," and the annoying "Carrots On A String" (which also shows up twice for some reason). The otherwise average "Shame, Shame, Shame" is notable for including what must be one of the earliest uses of a wah pedal on guitar.

If you can track this one down, So Glad I Found You is a worthwhile and important release that clears up some of the smoke surrounding this formerly enigmatic band from the initial burst of San Francisco psychedelia.

Buy Me:
The Mystery Trend- So Glad I Found You

Listen To Me:
Part One
Part Two

Review From Dr. Schluss' Garage Of Psychedelic Obscuities
(all links should be working now; please visit!)

Thursday, May 24, 2007

Kensington Market (Canada)

Kensington Market - 1968 - Avenue Road

1 I Would Be The One
2 Speaking Of Dreams
3 Colour Her Sunshine
4 Phoebe
5 Aunt Violet's Knee
6 Coming Home Soon
7 Presenting Myself Lightly
8 Looking Glass
9 Beatrice
10 Girl Is Young

Alex Darou - bass
Luke Gibson - 2nd lead singer
Gene Martynec - lead guitar, electric piano, writer & singer
Keith McKie - chief composer, lead singer, guitar
Jimmy Watson - drums, sitar

Yes, Kensington Market were one of the most well-respected groups on the scene in late-1960s Canada; yes, this album came out on a big label (Warner Brothers); and yes, it was produced by a major figure, Felix Pappalardi, then hot with Cream. This doesn't mean, though, that this is anything more than a very ordinary late-1960s rock LP, leaning towards the gentle pop/rock side without being too mainstream. In keeping with the times, a lot of attention was paid to varying the styles and arrangements, from airy-fairy pop-psychedelia ("Looking Glass") and jugbandish good-time rock with echoes of the Lovin' Spoonful ("Beatrice") to folk-rock-pop ("Speaking of Dreams" is rather like 1966-1967 Elektra-produced folk-rock with a poppier slant) and somberly orchestrated, introspective tunes that never lost sight of pop harmonies and vague psychedelic sentiments. The tunes just weren't outstanding, though, from either vocal or compositional perspectives, and the group didn't have a personality to set them apart from much similar middling pop/rock on the market in 1968. Kensington Market were artier, more ambitious, and somewhat more melancholic than the typical good-time group of the era, but not so much so that the album demands rediscovery. ~by Richie Unterberger

Kensington Market - 1969 - Aardvark

1 Help Me
2 If It Is Love
3 I Know You
4 The Thinker
5 Half Closed Eyes
6 Said I Could Be Happy
7 Ciao
8 Ow-ing Man
9 Side I Am
10 Think About The Times
11 Have You Come To See
12 Cartoon
13 Dorian

Keith McKie - Lead Vocals, Rhythm Guitar (1967-1969)
Alex Darou - Bass Guitar (1967-1969)
Jimmy Watson - Drums, Percussion, Sitar(recording only) (1967-1969)
Eugene Martynec - Lead Guitar, Piano (1967-1969)
Luke Gibson - Backup Vocals, Rhythm Guitar, Harmonica (1967-1969)
John Mills-Cockell - Synthesizer (1969)

Kensington Market was a Toronto, Canada based rock band, active from 1967-1969. Named after a downtown Toronto neighbourhood, it was formed by singer/songwriter and guitarist Keith McKie (born November 20, 1947 in St Albans, England, immigrated to Canada in April 1953), formely with The Vendettas, with guitarist and pianist Eugene Martynec (born March 28, 1947 in Germany) from Bobby Kris & The Imperials. The original line up was completed with former Vendettas' bass player Alex Darou (born January 6, 1943 in Sault St. Marie, Ontario) and drummer Jimmy Watson (born August 23, 1950, Belfast, Northern Ireland). Former Luke & The Apostles frontman, singer/songwriter Luke Gibson (born November 5, 1946 in Toronto) was added later in 1967, and the synthesizer player John Mills-Cockell (born May 19, 1943 in Toronto) was a member in 1969.

Brought together around May 1967 by musical entrepreneur Bernie Finkelstein, the Market debuted at the Night Owl on June 4 and performed initially in Toronto coffeehouses like the Red Gas Room and high schools. In mid-August, after the dissolution of "Luke And The Apostles", the Market recruited Luke Gibson by which time they had already released two singles for Stone Records. These singles achieved minimal success but Finkelstein was able to sign them to Warner Brothers in New York City. In 1968, the Market did the soundtrack to the NFB film "The Ernie Game." Later that year, they released the album Avenue Road(Produced by Felix Pappalardi), followed by a tour of the United States. In 1969, keyboardist John Mills-Cockell joined, and their follow-up, 'Aardvark', was released, once again produced by Pappalardi, followed by their second US tour. However, this wasn't done in enough time to save the splintering band who split that same year.

The Ghost - 1970 - When You Are Dead - One Second

Not to be confused with the new Japanese band this Birmingham collective recorded their only album in 1970, which displays a lot of influences. West Coast US acid rock, early progressive music and folk all rub shoulders on this polished album, originals of which are now highly sought after by collectors.

Great Airplane like male/female vocals..

1. When You’re Dead (4:25)
2. Hearts And Flowers (2:54)
3. In Heaven (3:21)
4. Time Is My Enemy (4:06)
5. Too Late To Cry (5:04)
6. For One Second (5:25)
7. Night Of The Warlock (4:22)
8. Indian Maid (4:21)
9. My Castle Has Fallen (2:57)
10. The Storm (3:36)
11. Me And My Loved Ones (4:09)
12. I’ve Got To Get To Know You (4:02)

The Ghost formed in Birmingham in the late sixties. They started out playing a heavish sort of blues-rock before they met up with singer Shirley Kent who'd already recorded two tracks on a charity EP, The Master Singers And Shirley Kent Sing For Charec 67 (Keele University 103) in 1966. Paul Eastment had earlier played in Velvett Fogg.

They recorded their album at the end of 1969, spawning their first 45 at the end of the year. When You're Dead was a strong song with a clear US West Coast influence. It was hardly Chart material, though, so predictably sales were poor. The album came out in January 1970. There's a clear contrast between the folk pieces that Shirley Kent sings on like Hearts And Flowers and Time Is My Enemy, which in style recall Sandy Denny's heyday in Fairport Convention, and the blues-rock numbers contributed by the rest of the band, of which For One Second sounds the strongest. Also worth checking out is the powerful Too Late To Cry. The album has now become a major collector's item, partly on account of its rarity but also on account of the breadth of its appeal to fans of both blues-rock and folk.

The band returned to the studio in Spring 1970 to record I've Got To Get To Know You. Another track from their album, For One Second, was put on the flip, but when the 45 failed to sell the band slowly began to fall apart. Shirley Kent left to pursue a solo career and eventually released an album in 1975, Fresh Out, under the pseudonym Virginia Tree. I haven't heard it but it's reputedly folkier than Ghost's output and featured former band members Paul Eastment and Terry Guy on three of the tracks. After Kent's departure, the remaining band members soldiered on for a while using the name Resurrection but this later incarnation of the band didn't make it onto vinyl.

Download Link :

Kevin Ayers And The Whole World - 1970 - Shooting At The Moon

I'm not completely familiar with this one yet and have not reviewed it yet, but there was a request in the Bananamour comments, so here it is. The following review is from the All Music Guide, but they don't seem to like it much. They gave it 2 stars, but my first impression is that this is probably another 4 star album.

From All Music:

Following the release of his solo debut, Joy of a Toy, Kevin Ayers created the Whole World to take the album on the road. In retrospect, the band was a kind of Brit supergroup, comprised of young Mike Oldfield (bass/guitar), Lol Coxhill (sax), Mick Fincher (drums, occasionally subbed by Robert Wyatt), and David Bedford (keys/arrangements). Following the tour, the band found itself in the studio, and in October 1970 Ayers introduced the world to the Whole World with the release of his follow-up, Shooting at the Moon. A snapshot of the era, the album is saturated with original ideas, experimentation, and lunacy, all powered by the bottled grape. It is this very "headiness" that propels and simultaneously hinders the work, resulting in a project overflowing with potential, much of which remained underdeveloped. Flushed and flustered, the band dissolved a little more than a year after it formed, leaving only Moon as its legacy. Somewhere on The Moon is a solid, unique pop record; however, Ayers and producer Peter Jenner (known for his production of Roy Harper's best '70s output) have presented the material in the guise of progressive, arty rock. Shorn of its excesses, meanderings and filler, Moon is easily one of Ayers' better releases. As it stands, the album serves more as a curiosity piece peppered with some of Ayers' best pop tunes in early stages, not yet molded by later collaborations and live performances. Ayers' music is at its zenith when he's crooning (in his lovely, flat baritone) warm, daft ditties, so simplistic yet singular in nature. Moon is blessed with several of these: the uninhibited concert staple, "May I?"; "The Oyster and the Flying Fish," a folky duet with Bridget Saint John that foreshadows Ayers' 1974 collaboration with Campbell Cramer (aka Lady June); and Ayers' timeless classic, "Clarence in Wonderland," in one of its shortest (at only two minutes) incarnations. Written on the beach in 1966, this whimsical ditty is a carefree summer's day in a capsule. No songs in Ayers' discography are more representative of his amiable musical nature than these. But Ayers' pop songs are embedded in lengthier structures, overwhelmed and obscured by the framework of the album. The band's prog-like excursions -- "Rheinhardt and Geraldine," "Pisser Dans un Violon," and the atmospheric "Underwater" -- are interesting at times, but ultimately come off as unfocused filler that serves to frustrate the listener (note the end of "Rheinhardt"). In particular, "Pisser" and the album's title track (a reworking of the Soft Machine's "Jet Propelled Photograph") are very much in the tradition of early British avant-garde fusion; ripe with free or loose structures, providing a fertile ground for unbridled improv that often lacks payoff.

Buy Me:
Kevin Ayers And The Whole World - Shooting At The Moon

Listen To Me:
Kevin Ayers And The Whole World - Shooting At The Moon

Wednesday, May 23, 2007

Kevin Ayers - 1973 - Bananamour

Quality: 4 out of 5
Trip-O-Meter: 3 out of 5 (5 for "Decadence")

By the time of this release, Kevin Ayers had spent far more time as a solo artist than as part of the Soft Machine. The sound here still occassionally recalls that band, but there is a much more folky quality permeating much of this disc and the songwriting here is much stronger than his first solo recordings. Still, Ayers does not strive for any kind of unified vibe here. We find a psychedelic drone-fest along side an attempt to recreate a Stax Records sound. It's a little hit or miss, and probably less than the sum of its parts, but fortunately most of the parts are pretty strong. Production-wise, Bananamour recalls other albums of it's time, especially glam rockers like T. Rex and Ziggy Stardust-era Bowie, but Ayers sensibilities mostly remain in the 60's.

Ayers' for the most part does a fine job balancing his own psych-folk muse with concessions to glam rock and a singer-songwriter sound on Bananamour. The opening "Don't Let It Get You Down (For Rachel)" is a solidly constructed example with the core song very much recalls Carnaby Street pop, but the female vocals, watery guitar, and fluid bass guitar shift the vibe a little more into the 70's. Many of the best tracks here follow an acoustic template with perhaps a nod or two to contemporary sounds. "Shouting In A Bucket Blues" is a rolling number with great sad sack lyrics and a touch of glam guitar from Gong's Steve Hillage. Later we find "Oh! Wot A Dream" recalling some of Dylan's dream lyrics filtered through Ayers' Cambridge sensibilites and featuring a duck sound on the rhythm track. Although the Soft Machine is firmly in Ayers past, band alumni Mike Ratledge shows up on organ for the somewhat derivative "Interview" (although some strange dissonance and amusing lyrics save this sort of bluesy number), while Robert Wyatt provides harmony vocals to the lilting "Hymn."

The centerpiece and perhaps best track on the album is also somewhat of an anamoly. "Decadance" drones along with almost a kraut-rock vibe, with a bed of delayed guitars, droning analog synths (maybe these were borrowed from Gong too?), and mostly metronomic beats. It's by far the most psychedelic song on the album, and Ayers' absurdist lyrics completely match the music. There's an alternate mix of "Decadence" in the bonus section that is interesting for a comparison, but inferior to the album version and not essential.

The only misstep is the aforementioned Stax knockoff, "When Your Parents Go To Sleep." First off, bassist Archie Leggett gets the lead vocal instead of Ayers and this obscures much of the charm of Ayers' lyrics. The big problem is that the five minute track seriously disrupts the flow of the album, and probably would have been better as a B-side. This is not to say it's a bad song. There's a groovy horn section here and the rhythm section works hard to live up to an MGs sort of vibe. It would have been a great B-side, but sticks out like a sore thumb in the context of Bananamour. I'd probably enjoy "Interview" much more if this track did not precede it.

The album proper concludes with the majestically orchestrated, bad joke of a song (literally and intentionally) "Beware Of The Dog." It a silly track, but short and a perfect way for Ayers to end his album. It's kind of like Ayers' version of the Looney Tunes "T-That's All Folks" closer.

Excluding the alternate mix, the bonus tracks here reveal a unexpected obsession with tropical islands, reggae, and calypso. "Take Me To Tahiti" and "Carribean Moon" reference this directly in their titles while "Connie On A Rubber Band" is arranged with a reggae beat. All three are predictable breezy and make for an enjoyable sundrenched aural dessert after Bananamour.

Ayers' would soon depart Harvest Records to work out his prog-rock mojo on Island Records. Bananamour was an undeserved commercial flop and in fact Ayers would never experience any large scale success. This is unfortunate as Bananamour is a strong testament to his songwriting skills.

Buy Me:
Kevin Ayers - Bananamour

Listen To Me @ 256 :
RapidShare : Part 1 ~ Part 2
SendSpace : Part 1 ~ Part 2

Review From:
Dr. Schluss' Garage Of Psychedelic Obscurities

Gravy Train (1971)

Gravy Train were a Rock group from Lancashire, England, formed by vocalist and guitarist Norman Barratt in 1970. Together with J.D. Hughes (keyboards, vocals, wind), Lester Williams (bass, vocals) and Barry Davenport (Drums) they made 4 studio albums. The first 2 were released under the label Vertigo and the latter 2 by Dawn Records.

The band was dissolved in 1974. Little is known what happened with its members except for Norman Barratt who appeared in Mandalaband for their second and last album in 1978. He went on to found the Barratt Band, which recorded albums in the early 1980s.

There is a big confusion concerning Norman Barratt or Norman Barrett, who is credited so in Vertigo releases.

Starting like your typical Vertigo act, Gravy Train's first album sounds faintly like early Jethro Tull, mainly due to similar flute lines, but without a dominating personality like Ian Anderson. Hard-rock riffing is alternated with more quiet and melodic moments and the flute is high in the mix throughout. The tracks are not at all "folky" as some dealers' lists describe them. Some of the music sounds like any old power trio. A nice track is "Dedication To Syd" (Barrett), a quiet but highly atmospheric experimental piece.

1) The New One
2) Dedication To Sid
3) Coast Road
4) Enterprise
5) Think Of Life
6) Earl Of Pocket Nook


Tuesday, May 22, 2007

The Peanut Butter Conspiracy

The Peanut Butter Conspiracy - Spreading From The Ashes

I take the pass from nikos1109 and here it is
One of the legendary 'food bands' of the late 60s acid boom (alongside Strawberry Alarm Clock, Electric Prunes, Chocolate Watch Band, Lemon Pipers, Vanilla Fudge etc) the Conspiracy sprang from the same folk rock roots as their contemporaries Jefferson Airplane (with whom they shared a drummer, Spencer Dryden) under the name of the Ashes, hence the title of this fine 26-track compilation. It's a great set of previously unreleased PBC demos and outtakes including tracks by The Ashes. Compiled with the full cooperation of the band, and laden with pix and scribblings from the era, this is a West Coast psych-lovers' technicolor dream.

Track Listings

1. Time Is After You
2. Love's Last Ground [#]
3. Is There Anything I Can Do
4. Eventually [#]
5. Dark On You Now
6. Winds Up High [#]
7. Free [#]
8. Big Bummer
9. Light Bulb Blues [#]
10. Let's Take Our Love [#]
11. Enchanted World [#]
12. I'm Falling [#]
13. Flight of the Psychedelic Bumble Bee [#]
14. Foolhearted Woman [#]
15. Shirley Can You Come Out & Play [#]
16. 1-9-6-7
17. So Lonely [#]
18. Floating Dream
19. Shuffle Tune [#]
20. Moment of Happiness [#]
21. Hangman [#]
22. Roses Gone
23. Make Someone Happy [#]
24. Naturally (Wintry Ways) [#]
25. Taste of Something New [#]
26. You Should Know [Live][#]



The Peanut Butter Conspiracy - 1968 - The Great Conspiracy

They sound like a cross between the Mamas and Papas and the Byrds with a bit of Airplane thrown in for good measure...but end up sounding quite unique ..a large part due to the beautiful voice of Sandi Robison.

It is also the strength of the songs...very melodic... and the lyrics are rarely hippy drippy and often quite insightful.

Very similiar to Jefferson Airplane( female vocalist male backing members- drummer of PBC was lured to the Airplane-etc). Comparisons aside- this is excellent well written with great vocals from female singer Sandy who has since passed on. The songs are steeped deep in the San Fransisco sound- part pysche-part acid rock pastoral folk. For psyche summer of love "hippie" or sixties fans its a must own.

1 Turn on a Friend (To the Good Life) 2:21
2 Lonely Leaf 3:53
3 Pleasure 3:26
4 Too Many Do 6:34
5 Living, Loving Life 3:20
6 Invasion of the Poppy People 0:40
7 Captain Sandwich 2:10
8 Living Dream 4:20
9 Ecstacy 6:19
10 Time Is After You 3:04
11 Wonderment 4:12
12 I'm a Fool 2:36
13 It's So Hard 2:33
14 Peter Pan 3:17

The Great Conspiracy (1968) -- the second long-player from the Los Angeles-based Peanut Butter Conspiracy -- was much more of a reflection of their live sound as compared to their debut effort, the pop-driven Peanut Butter Conspiracy Is Spreading (1967). The quintet was literally born circa 1964 out of the Ashes, another burgeoning L.A. rock combo whose personnel featured soon-to-be Jefferson Airplane drummer Spencer Dryden. After solidifying the lineup of Lance Fent (guitar), Jim Voight (drums), Al Brackett (bass), John Merrill (guitar), and Barbara "Sandi" Robinson (vocals), they inked a deal with Columbia Records, which assigned staff producer Gary Usher to work with them. His well-meaning but over the top production style diffused the band, which came off sounding more like the Mamas & the Papas than the Jefferson Airplane or It's a Beautiful Day -- both of whom also sported female lead singers. However, by the time of this release the Conspiracy were sonically asserting themselves with a decidedly hipper approach. This is especially evident on the stretched-out and psychedelic "Too Many Do" and the deliciously trippy "Ecstasy" -- which sports frenzied and wiry fretwork similar to that of Quicksilver Messenger Service string man John Cipollina. Equally inspired are "Lonely Leaf" and the somewhat paranoid and darkly guilded "Time Is After You." These contrast the somewhat ersatz hippie fodder "Turn on a Friend (To the Good Life)," the 38-second throwaway "Invasion of the Poppy People," or the simply wretched "Captain Sandwich."

Download Link

Monday, May 21, 2007

Cathy Young - A Spoonful Of

Canadian Icon singer/guitarist from the late ‘60s. Billboard Magazine picked 'A Spoonful Of Cathy Young' as it's 'Pick of the Week' in 1969.
Young received Juno Award for 'Most Promising Female Vocalist 1973' in March, 1974.
She was also nominated for a Juno Award in the category of 'Best Female Artist 1974' in March, 1975.

Young toured consistently from 1979 to 1995 and diversified into Theatre & Television work including roles in the Canadian touring version of 'Jesus Christ Superstar' (as Mary Magdalene) and vocal work on 'Rita MacNeil & Friends'.
She has also been a featured performer on various 5 Star Cruise Lines, and at the highest rated hotels in the world including the Sheraton in Hong Kong , the Oriental Hotel in Bangkok , and The Annabelle Hotel in Cyprus.
I have been blessed to be able to travel this earth and meet so many unforgettable human beings along the way. I must credit the gift I have received, the music in my heart.
Music is a precious treasure and it has afforded me all the opportunities to experience this amazing world of ours.
We can communicate with each other through the Universal language that is music... may the music bring you Peace.

1973 Set Me Free (GRT)
1974 Eagle (GRT)
1969 A Spoonful Of Cathy Young (Mainstream - USA)
1973 Travel Stained (GRT)

Must have for everyone who is into hippe divas. So beautiful and so underground



Saddhu Brand - 1970 - Whole Earth Rhythm

Saddhu Brand - 1970 - Whole Earth Rhythm

1. Whole Earth Rhythm
2. Dhun
3. Babu Shoda
4. Ha Ha Modi
5. People Brittle
6. I Give You Johnee The Truth
7. Dabi Das' Song

Four hippies go to India in the 1960's, stay for two years & then return to the San Francisco Bay area & this would be the outcome.

With Peter Van Gelder (ex-Great Society) after the long trip to India.
Cosmic sitar folk and psych, trippy female & male vocals, chanting in English and Hindu, lots of ethnic instruments.
An early example of a genre that would become common during the 1970's.

The LP was picked up by UNI (73116) and re-released in 1971 with a new and less blatantly druggy cover.

If the Mid-East vibe is your thing then don't miss out on this L.P. !

Sunday, May 20, 2007

Q65 - Singles A's & B's

Based on sheer musical ability, the Q 65 deserved to be at least as well known as the Pretty Things or the Yardbirds. Indeed, the Dutch quintet could have held their own with either of those groups or the Animals without breaking a sweat, based on the recorded evidence, and they also had room for some of the more countrified blues evident in the work of the Downliners Sect. Yet the Q 65 have remained one of Europe's best-kept star caliber musical secrets for more than 30 years. The Q 65 were Frank Nuyens (guitar, vocals, sax, flute, harmonica), Wim Bieler (vocals, harmonica), Peter Vink (bass), Joop Roelofs (guitar), and Jay Baar drums, who first got together in 1965, in the Hague. The city was known as "the Liverpool of the Netherlands," with a music scene that had been thriving since the end of the 1950s.

Instrumental groups, patterned after the sound of the Shadows had been very big at that time. Peter Vink and Jay Baar had been playing in a blues-based band called Leadbelly's Limited before they hooked up with Wim Bieler, Frank Nuyens, and Joop Roelofs to form the 65 in February of 1965. The group's professed influences were American soul acts like Sam & Dave, Wilson Pickett, and Otis Redding, yet somehow, when they performed, what they played came out closer in form and spirit to the likes of the Pretty Things, the Downliners Sect, and the Yardbirds than it did to any of those soul acts, at least at first. They landed a recording contract with Phonogram, a unit of Philips Records, late that year, and put on the Decca label. Their first single, "You 're the Victor," was released in February of 1966. This was a strange record for a band professing an admiration of Sam & Dave or Wilson Pickett, a frantically paced piece of punk-style blues-rock with an infectious Bo Diddley beat, screaming, raspy vocals, and a savage attack on their instruments. The single made No. 11 on the charts in Holland rode the bestseller lists for 13 weeks. The B-side, another original called "And Your Kind," was a more low-key, relaxed piece of blues-rock with slightly more of a soulful feel, but also some crunchy punk guitar.

In May of 1966, with the group now primed for success (including a full-time manager working for them), they released their second single, "The Life I Live." This was a more soulful record that built almost bolero-like in intensity. It was a good enough record to get Phonogram's management interested in promoting the group in England, which led to a publicity stunt that was not only a waste of time, but utterly foolish, sending the group to England by boat and having them come ashore in a rubber lifeboat, a though they'd come across the ocean that way. They were then supposed to play a gig, but as nobody had secured work permits, the group was only able to pose for photographs and press interviews before returning to the Netherlands. The Q 65 were greeted at the shore in Schevenning when they landed (again manning the lifeboat to land) by 30,000 fans, and ended up playing a gig right there at the pier. The band may not have done much for themselves in England, but they garnered a top 10 hit in the Netherlands.

With two successful singles under their belt, the group debut album, Revolution, followed in 1966. Revolution was a powerful blues-rock album that included a snarling rendition of Willie Dixon's "Down in the Bottom," a rendition of Dixon's "Spoonful" that boasted gloriously crunchy acoustic guitars behind a raspy vocal worthy of Howlin' Wolf himself, and a funky version of Allen Toussaint's "Get Out of My Life, Woman," and a handful of originals that were fully competitive with the covers. The highlight, however, was a riveting 14 minute version of Sonny Boy Williamson II's "Bring It On Home." The album sold 35000 copies, a respectable number in the Netherlands, and established group sufficiently to rate a spot playing with the Small Faces, the Spencer Davis Group, the Kinks, and the Pretty Things when they toured Holland.

During 1967, they didn't release any LPs, but did get a solid extended-play single out called Q Blues, which did well at home. Their music during this period reached what was arguably its peak—"Ain't That Lovin' You Babe" is a garage-punk classic worthy of the best American bands of the period, while their version of "Ramblin' On My Mind" thunders and surges with ferocious energy. They were unique in their approach, mixing the sounds of saxes and even an ocarina—an instrument virtually unknown in rock away from the Troggs—into country and Chicago-style blues. The group continued trying to make it as a blues-rock band for most of 1967. Their sound began to change late in the year, just as music was turning psychedelic, and around the time just before Wim Bieler was drafted into the army. His exit heralded the end of the Q 65's classic period. Nuyens, Baar, and Roelofs hooked up with Herman Brood (piano, vocals) and Henk Smitskamp (vocals, bass) to form a new, more psychedelic oriented outfit, which eventually evolved into a group called Circus, which lasted, in varying line-ups, for the year of 1968. Peter Vink, meanwhile, joined a group called Big Wheel, whose line-up included future Focus member Cyril Havermans. In 1969, a second Q 65 album was released, entitled Revival and made up of singles and latter-day tracks. The music was still powerful and very intense—perhaps too much so—if not as accessible. Had the line-up stayed intact, the group might even have found an audience. They still played well, even if it was experimental in nature (and what blues they played was more psychedelic than classic style). They might've given bands like the Creation a run for their money, but the Q 65 split up at just about this point. The Q 65 reformed in 1970 with Beer Klaasse on drums, and signed to Negram Records, staying together for one year and two LPs, Afghanistan and We Are Gonna Make It, which had a slightly more psychedelic orientation.

The Q 65's line-up changed during the early '70s as Nuyens exited to join Baar in a band called Rainman, while the Q 65 continued with a new line-up, featuring John Frederikz on vocals and Joop van Nimwegan on guitar. The original Q 65 reunited in 1980 and toured that year. The group continued in various configurations throughout the middle of the 1980's. Jay Baar passed away in 1990, but a version of the band, with Wim Bieler as leader, continued playing into 1990's. During the early 1970's, Dutch bands such as Ekseption (Holland's answer to The Nice) began getting a tiny bit of exposure in England and America, and in 1973, the floodgates fairly well opened, albeit briefly, with the chart-topping status of Focus. The Q 65 were around a little too early for their own good, in terms of finding any major exposure in England, much less America, but they were at least as worthy of being heard as any number of better known British bands of the period. (allmusic)

CD 1
1 You're the Victor
2 The Life I Live
3 I Despise You
4 From Above
5 Ain't That Loving You Baby (EP Kjoe Bloes)
6 Rambling on My Mind (EP Kjoe Bloes)
7 So High I've Been, So Down I Must Fall
8 Medusa (Circus)
9 Ann
10 Sundance
11 Don't Let Me Fall
12 Sexy Legs
13 Love Is Such a Good Thing
14 I Just Can't Wait
15 Fighting Is Easy
16 Hoonana (Kjoe)
17 Lady of Love (Willem Bieler & Dambuster)
18 Let's Roll
19 Feel Her Still (mono)
20 Ridin' On A Slow Train (Circus - alternative long version)
21 From Above (second version)
22 Ann (alternative take)

CD 2
1 And Your Kind
2 Cry in the Night
3 I Was Young
4 No Place to Go (EP Kjoe Bloes)
5 80% O (EP Kjoe Bloes)
6 It Came to Me
7 Where Is the Key
8 Mother Motha's Great Sundance (Circus)
9 Sour Wine
10 World of Birds
11 Crumblin'
12 There Was a Day
13 Night
14 We're Gonna Make It
15 Country Girl Polydor
16 Troubles (Kjoe)
17 Are You Home
18 Feel Her Still (stereo)
19 Fairy Tales Of Truth (Circus - alternative version)
20 Happiness (Willem Bieler)
21 I Was Young (without backing vocals)
22 From Above (alternative take)

posted by Kyriakos

TheBadSeeds [McGregor, TX]

Dennis Fehler [Faylor] sent us an e-mail which I think it might be of interest :

"I was searching for the Bad Seeds on google and came across this link:"

"I play / perform with some guys that call themselves TheBadSeeds from McGregor, TX.
The odd thing is I didn’t know there were any other Bad Seeds until the late 1990’s.
Way back when in 1968…, we had to stop performing because several of the members had to serve in the Vietnam war [and we didn’t get back together until 1999]. "

"In the past few years we have tried to make up for lost time, and we are really enjoying the music."

"We are looking for a way to find new friends and fans,
and it appears your blog is perfect for us."

It has taken 40 years but theBadSeeds have finally released their original music
“The Bad Seeds - Return”. Unlike other bands that “made it big” way back in the 1960’s and 70’s, theBadSeeds had to wait until 2007 for their time in the sun.

TheBadSeeds are a garage band formed by guitarist Allan Jansen in the fall of 1966 at Kilgore College, in Kilgore, Texas. Allan and college roommate and keyboardist Dennis Fehler immediately began the search for band members. Soon, Kilgore classmate and vocalist Larry Drennan joined Allan and Dennis and the beginning of the band formed quickly. During most of the fall of 1966 other Kilgore musicians auditioned but the band didn’t jell until McGregor, Texas High School classmates Skip Spoonts and Mike Rushing joined to play guitar and bass. The last need was for a good drummer. Over the years, theBadSeeds have performed with numerous drummers and the band joked about having to always find a drummer on “short notice.”
In Kilgore [Allan’s Freshman year] the band came to be quite popular with the Kilgore Rangerettes, who arranged for theBadSeeds to play at several football pep rallies, a few fraternity and sorority parties, and some private parties as well.

TheBadSeeds play cover music by The Kinks, The Doors, The Animals, Wilson Pickett, The Rolling Stones, The Kingsmen, ZZ Top, Jonny Lang, Jimi Hendrix and many more.

In addition to the cover music, forty years later, theBadSeeds perform many original songs that reflect the youthful 1960’s and chronicle the 21st century with the sounds that are uniquely Bad Seeds. TheBadSeeds – Return is the current album that features sixteen of the best of the best Bad Seeds sounds.

TheBadSeeds - Return
1. The 60's (2:53)
2. TV2 (3:29)
3. All Night Baby (3:04)
4. Make Me Feel (2:26)
5. The 4 Bar Blues (4:08)
6. If I Had Known (3:25)
7. Get It (2:48)
8. Don't Know (3:12)
9. Get In or Get Out (3:05)
10. Mad Dog Killer (2:59)
11. My Job (2:06)
12. Heaven (1:54)
13. More or Less (3:18)
14. Romeo (2:52)
15. You Won't Change (3:36)
16. Bo's Place (3:56)

Navigate to:

We hope you will find us online and enjoy our sound.

Dennis Fehler {Faylor}

Kevin Ayers - 1969 - Joy Of A Toy

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

Kevin Ayers is sort of a lesser known musical cousin to Syd Barrett. His distinctive baritone voice exists in the same strange netherworld as Barrett, although Ayers seems much more in control of what he's expressing. Ayers served for one album as the leader of the tripped out and reknown London based Soft Machine (although significantly less reknown than Pink Floyd) and quickly split to start his solo career. Unlike Barrett, Ayers left more for the infamous creative differences, which seems to be accurate in this case. Ayers wanted to explore poppier avenues while the rest of the band soon followed their jazz-fusion, prog-rock muse. And like Barrett's The Madcap Laughs, Ayers created A Joy Of A Toy with the blessing, and even active particiption of his former bandmates.

A Joy Of A Toy has some definite attributes. There is a folkish vibe from the late 60's Cambridge scene audibly present, but Ayers does view into many interesting and sometimes unexpected venues of sound. Ayers' lyrics are uniformily of a high caliber surrealist nature that is worth paying attention to. It's not quite Dylan, but can be quite mindbending. Better yet is Ayers ability to create distinctive musical atmospheres. The are a slew of instruments included in the arrangements of this album including cello, celeste, melodica, Hawaiian guitar, mouth organ, and electronics along with the more conventional rock instrumentation.

A carnival atmosphere begins the album on "Joy Of A Toy Continued," a mostly instumental Soft Machine rewrite that doesn't really resemble its mother song much at all. "The Clarietta Rag" is a full fledged pop song that revises this bouncy feel. "Town Feeling," "The Lady Rachel," and "All This Crazy Gift Of Song" echo, but do not emulate, the acid drenched vibe of Barrett's solo performances. "Girl On A Swing" is truly haunting and provides some truely stirring psychedelic imagery. On Joy Of A Toy, Ayers is much more in control of his facilities than Syd Barrett's somewhat similar solo LPs, but Ayers trades in the mystery of Barrett's unhinged performances for a little more musicality and stability. As I stated before, The Soft Machine's presence is clearly heard and drummer Robert Wyatt provides most of the beats on this album. In fact the floating "Song For Insane Times" features the entire band, and might be considered a Soft Machine band as it contains the complete 1968-1969 line up (who never played together elsewhere as Hugh Hopper was Ayers' replacement).

I've often heard that Ayers is regarded as a bit of a musical slacker. This is hard to dispute on A Joy Of A Toy. The shorter compositions do not at all overstay their welcome, but still tend to rely mostly on a single groove. This becomes a problem on the longer songs. "Stop This Train" comes out on top due to its concept of train travel although the track does not reward close attention. "Oleh Oleh Bandu Bandong" unfortunately more than overstays its welcome. The different iterations of "Religious Experience/Singing A Song In The Morning" in the bonus section are musically pretty cool, but suffers from the fact that Ayers only bothered to write one verse of lyrics.

The bonus tracks here are extremely valuable, and add a considerable amount of music to this 2003 reissue. Among the different versions of "Religious Experience" is an early take that actually features Barrett on lead guitar. His part is slightly disjointed, and absent from the final single, but sounds a lot more together that Barrett's reputation suggests. Also present is "Soon Soon Soon," an album quality outtake and some interesting later versions of "The Lady Rachel."

Buy Me:
Kevin Ayers - Joy Of a Toy

Listen To Me @ 320 :
RapidShare : Part 1 ~ Part 2
SendSpace : Part 1 ~ Part 2

Saturday, May 19, 2007

The Chocolate Watch Band - 2nd and 3rd album

Take a bit of the The Rolling Stones, The Kinks, The Yardbirds with a tiny bit of The Who ; shake them all and put them in a psychedelic environment and you'll have an idea of the sound of the Chocolate Watchband.

The Chocolate Watchband was a mod-outfitted garage punk unit par excellence, their sound founded on English-style R&B with a special fixation on
the Rolling Stones at their most sneering. After hooking up with producer Ed Cobb, a former member of the 1950s vocal ensemble the Four Preps, the group released No Way Out in mid-1967, though the Watchband had already begun breaking up. A new incarnation carried them through 1967, though the band's existence as a viable performing unit were all but over. The group's producers had other ideas, however, releasing two more albums (The Inner Mystique, One Step Beyond) in 1968 and 1969 , sporting the band's name but not too much else associated with the group. That would probably have been the end of the group's story, but in the early '80s, record buyers and, more particularly, young musicians discovered the Watchband. A set of Australian reissues of the group's albums quickly found a market in America and Europe. Thus, it was no surprise when, in 1994, Sundazed Records reissued the complete Watchband catalog on compact disc.

The Inner Mystique - 1968

1.Voyage of the Trieste 3:38
2.In the Past 3:06
3.Inner Mystique 5:35
4. 'm Not Like Everybody Else 3:42
5. Medication 2.06
6. Let 's Go, Let's Go, Let's Go 2:15
7. It's All Over Now Baby Blue 3:11
8. I Ain't No Miracle Worker 2:49
She Weaves A Tender Trap 3.29
Misty Lane 3.16
Baby Blue 3.12
Sweet Young Think 2.55

Inner Mystique seems to be the Chocolate Watchband album that fans and casual listeners know best, even though it was the one of their three records that was most disconnected from any active incarnation of the group. Slapped together in late 1967, in the wake of the virtual collapse of their lineup and rushed out in February of 1968, its original first side contained not a single note played or sung by the Watchband itself. Instead, engineer Richie Podolor assembled a group of studio musicians, playing a pair of languid psychedelic instrumentals — "Voyage of the Trieste" and "Inner Mystique" — in which the sitar flourishes and flute arabesques hung like jeweled ornaments, sandwiched around a new recording by singer Don Bennett (who'd already supplied some vocals without the group's knowledge or approval on their first album) of "In the Past," the latter a song originally written and recorded by the Florida-based psychedelic-punk band We the People. The second side was comprised of a hodgepodge of superb finished Watchband sides — most notably "I'm Not Like Everybody Else" and "I Ain't No Miracle Worker," mixing punk bravado and angst, which have long been the album's selling points — and outtakes such as "Let's Go, Let's Go, Let's Go" and "Medication," with Bennett's vocals replacing David Aguilar's, and one remixed and partly redubbed version of "It's All Over Now, Baby Blue." As with the group's first album, however, Inner Mystique is sort of "guilty with an explanation" — yes, it's a mess in terms of continuity, with two different singers and three different vocal/instrumental combinations present, but the three full Watchband tracks are killer recordings that can hold their heads up with the best rock records of 1967; what's more, even the Bennett-sung/studio band played "In the Past" is worthwhile, Watchband or not, as a piece of shimmering psychedelia with a great beat and arrangement; and even "Voyage of the Trieste" and "Inner Mystique," as pieces of psychedelic background music, were good enough that one of them ended up on Rhino's Best of the Chocolate Watchband collection. And that's not bad for a 28-minute album with only eight cuts on it, pieced together with only the barest (if any) participation by the band.

Download Link @320


One Step Beyond - 1969

1. Uncle Morris
2. How Ya Been
3. Devil's Motorcycle
4. I Don't Need No Doctor
5. Flowers
6. Fireface
Don’t Need Your Lovin’ 2.36
Sitting There Standing 2.20
Blues Theme 2.21
Loose Lip Sync Ship 3.01

The third and final of the original studio albums by the Chocolate Watchband, One Step Beyond is a bit misleading and contradictory. On the one hand, it's as close as any performing group called the Chocolate Watchband ever got to making a finished album of their own, which is reflected in the fact that all but one song here was an original by the bandmembers; but on the other hand, this is a different Watchband lineup, assembled by
Sean Tolby and Bill Flores, including guitarist Mark Loomis and drummer Gary Andrijasevich (both of whom had left in 1967 to join the Tingle Guild), and original, Foothill College-era Chocolate Watchband member Danny Phay (who'd also been in the Tingle Guild). Missing is David Aguilar, the band's one-time lead singer and most visible songwriter up to that time — and the result is an album that has almost none of the influence of the Rolling Stones, and, instead, shows the greatest folk-rock influence in their history. The overall sound is brittle but melodic, reminiscent in some ways of the Quicksilver Messenger Service, the Charlatans, Moby Grape, and the Jefferson Airplane. Danny Phay isn't nearly as charismatic a singer as Aguilar, but he's not bad, either, and there are lots of interesting shared vocals. There's also quite a bit more guitar noodling here than on any previous Watchband recording — that's not necessarily a bad thing, though it does dilute some of the impact of the punkier moments. "Devil's Motorcycle" is also of special interest to fans of Moby Grape, as it features the Grape's Jerry Miller subbing for Loomis on lead guitar. They shined on Ashford & Simpson's "I Don't Need No Doctor" as well as the Loomis/Andrijasevich original "Uncle Morris," and "Flowers" was a beautiful piece of folk-based psychedelia, while Sean Tolby's "Fireface" recaptured some of the original band's thicker rock textures. Original Foothill College-era member Ned Torney was also present on the sessions playing keyboards, but his work was left out of the final mix of the album, which meant the guitars got even greater exposure than intended

Download Link

Liverpool Five - 1967 - Out of Sight

Any Way That You Want Me/My Generation/Piccadilly Line/I Can OnlyGive You Everything/Baby,Out of Sight/Gotta Get a Move On/She's( Got Plenty ofLove)/Do You Believe/The Snake/I'm Your Hoochie Cooche Man/Get Away 

In spite of their name none of the Liverpool Five were from Liverpool!

Dave McCumiskey (aka Dave Burgess) was a Cumbrian, formerly with The Ramrods of Carlisle, which is why they appear on this site. The other lads, Steve Laine, Ron Henley, Jimmy May and Ken Cox, were all Londoners.

The Liverpool Five had more success abroad than in England. They played across Europe in Holland, Germany, Switzerland and Austria. In Germany they appeared with the top German band of the time The Rattles and recorded for CBS. It was while they were in Germany that they successfully auditioned to tour Japan and perform at the Tokyo olympics. They played for crowds of six to eight thousand and performed their final gig at the vast K ouraken Ice Palace. While in Japan they also played at the Camp Zama American military base.

The band stopped over in the Philippines on their way back from Japan and played at a party held by the American ambassador.
The ambassador was impressed with them and arranged for visas for them to enter the USA to play for the American troops. They performed on several mini tours, appearing with such acts as The Loving Spoonful, Stevie Wonder and the Rolling Stones. The highlight of their American adventure was playing at the Hollywood Bowl with the Beach Boys, The Righteous Brothers, The Byrds, Sam The Sham and the Kinks.

Source :

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Archimedes Badkar - 3 Albums

Arcimedes Badkar - Badrock Far Barn i Alla Eldar (1975)

01 Det stog en karring uppa torget (1:56)
02 Aumba (2:58)
03 Sweet Love (3:04)
04 Wago Goreze (13:53)
05 Yelir (1:19)
06 Samepojkens jaktlat (3:06)
07 Del tre (0:24)
08 Lat tusen taxar springa (2:56)
09 Mister X (3:14)
10 Sammansmaltning (4:54)
11 A Love Supreme (3:10)
12 Jarnet (2:46)
13 Kjelles lat (1:45)
14 Morgonstjarna (3:28)
15 Repris (1:35)

Archimedes Badkar - II (1976)

01 Fortryckets sista timme (11:17)
02 Efter regnet + vattenfall (10:17)
03 Rebecca (1:33)
04 Jorden (6:13)
05 Charmante Yerevan, en lat fran Armenien (3:25)
06 Afreaka II (10:40)
07 Radio Tibet (9:17)
08 Tva varldar (9:26)
09 Jugoslavisk dans (2:15)
10 Indisk folkmelodi och ett tema av Ingemar (7:05)
11 Tva hundra stolta ar (9:46)

Archimedes Badkar - Tre (1977)

01 Badidoom (8:36)
02 Varldens Liv (2:07)
03 Akombah (3:04)
04 Bhajan (3:29)
05 Slum (3:55)
06 Thumb Piano Music (4:13)
07 Suite (Pharoah - El Legend - Marrakech) (6:53)
08 Desert Band (3:13)
09 Tzivaeri (2:53)

Overall: Archimedes Badkar (Archimedes Bathtub) was a Swedish group formed by percussionist/pianist/composer Per Tjernberg that existed between 1972 -1980.World Music was not yet a household term, but for once that description seems perfect for what Archimedes Badkar must definitely be regarded as one of the pioneering bands. Several of the members had travelled and studied music in North and South India, Morocco, Mali, Ghana and other countries, and several of them were well educated in the languages of jazz and contemporary music.Their style is fairly unique,combines folk, ethnic/traditional music, rock, jazz and even experimental elements.

Archimedes Badkar - Badrock Far Barn i Alla Eldar: Their debut album, shows an already mature band that tries to integrate ethnic music, jazz, rock and folk. An exchellent album.!

Archimedes Badkar - II: In this album the band displayed a much wider range of styles.The instrumentation here is half acoustic, half electric.besides guitar, bass, piano/organ and percussion, a wealth of other instruments such as violin, mandolin, trumpet, flutes, cello, bouzouki, saxophones, etc. can be heard.Their music is partly energetic and lively, while other tracks have a much more raga-like drone or even a cosmic, trippy Krautrock vibe.(At my eyes, this album is even better than their superb debut).

Archimedes Badkar - Tre: More sedate tracks follow with references to various ethnic music styles.Maybe ? some of the tracks have a jazzy feel to them as reed instruments are used frequently. Another excellent album showing no signs of compromise or lack of musical ideas.

What still seems unique and fascinating about this band is that there seemed to be NO LIMITS in terms of musical styles and instrumentation. All three albums is highly recommended !!!

At my humble opinion, Archimedes Badkar deserve a place among the 5-6 best bands in Europe. Discover them ...

Download Links :

Archimedes Badkar - Badrock Far Barn i Alla Eldar (1975).rar

Archimedes Badkar - II (1976).part1.rar
Archimedes Badkar - II (1976).part2.rar

Archimedes Badkar - Tre (1977).rar

The Bystanders - Pattern People_The Pye Anthology

Bystanders - Pattern People_The Pye Anthology

1 That's The End
2 This Time
3 (You're Gonna) Hurt Yourself
4 Have I Offended The Girl
5 My Love...Come Home
6 If You Walk Away
7 98.6
8 Stubborn Kind Of Fellow
9 Royal Blue Summer Sunshine Day
10 Make Up Your Mind
11 Pattern People
12 Green Grass
13 When Jesamaine Goes
14 Cave Of Clear Light
15 This World Is My World
16 Painting Time
17 Stay A Little While
18 You're Ready Now
19 Cheryls Going Home
20 Little Girl I Onve Knew, The
21 Dang Me
22 My Way Of Thinking
23 Grapevine

This 23-song compilation shows a group who had the pop sensibilities and range of the Tremeloes, and who could do credible soul covers and more than decent psychedelia, but somehow never developed a distinctive sound of their own. The result is an almost dizzying array of styles, represented by eight singles that were perfectly good records but which seldom sounded like each other. The Bystanders' early sides, from 1965, were heavily Beatles-influenced, their debut recalling the Liverpool quartet's early-1963 recordings, but also displaying smooth pop hooks reminiscent of Herman's Hermits on their better singles. By the time of "Have I Offended the Girl" in 1966, they start to sound more like the early Who vocally, but the other side of the same single is the dramatic pop ballad "My Love -- Come Home," and their next single, "If You Walk Away," is somewhere midway between Unit 4+2 and Tom Jones, while their cover of "98.6" is cheerfully upbeat in a way that recalls Herman's Hermits at their most embarrassingly upbeat. And then they come up with a decent cover of "Stubborn Kind of Fellow" in 1967. Beyond that point, the group turned toward a gentle brand of psychedelic pop, represented by "Royal Blue Summer Sunshine Day," "Pattern People" (where they sound a bit like the Association), and the poppish, upbeat "Green Grass," moving into ethereal psychedelia on the sitar-laden "Cave of Clear Light." And then, just as their history as the Bystanders was coming to an end, they plunge into the Bee Gees-inspired sides "This World Is My World" and "Painting the Time" (think the trio's late-psychedelic era). This CD is filled with moments like that, little pop/rock jewels that are widely scattered and don't exactly spell out a full story of anybody, but are pretty satisfying on their own terms. The disc also includes a brace of unreleased tracks, among them a rocking cover of "Cheryl's Going Home" and interesting renditions of "The Little Girl I Once Knew" (where the harmonies intermingle well with the lean instrumental sound) and "Dang Me," plus the two prizes of the 23 songs here, "My Way of Thinking," a hard-rocking piece of U.K.-style garage rock, and "Grapevine," a blue-eyed soul classic that shows what this group was truly capable of in the way of original songs, when they aimed that high. ~ Bruce Eder, All Music Guide

One of the few Welsh bands to release records on a fairly regular basis in the mid to late '60s, the Bystanders are chiefly notable not for their own derivative music, but because they evolved into the Welsh progressive rock group Man. As the Bystanders, they managed to release eight singles in the U.K. between 1965 and 1968, competently plugging into Merseybeat, blue-eyed soul, and harmony pop trends without developing any clear vision of their own or landing any superb material. Slight psychedelic hues colored some of their final tracks, which pointed the way into more original and progressive directions that the group would embrace when it mutated into Man.

The Bystanders formed long before the dawn of Man in the South Wales town of Merthyr Tydfil in 1962. They made one Merseybeat-Four Seasons hybrid single for the independent Pylot label (in fact, it was the only record the company ever released) in 1965 before picking up a new manager, George Cooper, who had handled major British pre-Beatles rock singers Joe Brown and Marty Wilde. In 1966 they got a contract with Pye, who put out seven singles by the group over the next couple of years without breaking them as a significant seller.

Perhaps, surprisingly given their later excursions in Man, the Bystanders were very much a pop group, giving the impression of sailing whichever way the wind was blowing, and writing little of their own material. Their early singles showed the pronounced influence of American harmony groups with high vocal lines, such as the Four Seasons, Beach Boys, and lesser known pop acts like the Happenings. In 1967 and 1968 they moved into somewhat more sophisticated, but still poppy, material that recalled the fluff of late '60s California sunshine pop. The group, which had not recorded any of their own compositions prior to 1968 (except on their debut single), finally did write their two final B-sides, which staked out a psychedelic pop direction. With the departure of singer Vic Oakley and the addition of guitarists Deke Leonard and Martin Ace (both from the Dream) in the late '60s, the Bystanders changed their name to Man and embarked on a different course. ~ Richie Unterberger, All Music Guide

Thursday, May 17, 2007

The Cryan' Shames - 1967 - A Scratch In The Sky

The Cryan' Shames:

Isaac Guillory (vocals, guitar, cello, accordion, keyboards, bass guitar)
Jim Fairs (vocals, guitar, flute, bagpipe, bass guitar)
Lenny Kerley (vocals, guitar, bass guitar, tambora)
Toad (vocals, autoharp, bells)
J. C. Hooke (vocals, French horn, cowbells, tambourine)
Dennis Conroy (drums, percussion)

Just like scientists posturing the existence of an unknown particle or detecting a planet through its gravitational pull, you knew this had to exist - a Chicago psychedelic pop-rock album. Okay, maybe you did not know it, but it does exist and if you can accept the fact that the Cryan' Shames never had an original idea in their entire lives, you'll enjoy A Scratch in the Sky. The album succeeds because Fairs and new bassist Larry Kerley did a great job writing hooks, coming up with catchy melodies, and getting the group's vocal harmonies into shape. Instead of the Byrds, the Chicagoans now echoed West Coast harmony groups like the Beach Boys and the Association, as well as British psychedelia. So, the group gathered up every conceivable instrument they could play, and went on a psychedelic pop-rock binge. A Scratch in the Sky is not a masterpiece by any means, but it was more cutting edge than Paul Revere and the Raiders ever got. The band's flexibility is apparent, from happy little tunes like "The Town I'd Like to Go Back To" and the cosmopolitan "In the Cafe," to more Beach Boys influenced songs like "It Could Be We're In Love." The group had enough chops to successfully venture into more rock territory ("Sunshine Psalm" and the humorous "Dennis Dupree from Danville") and their psychedelic jams are rather, erm, pretty (the intricate "The Town I'd Like to Go Back To"). Fairs and Kerley just cranked out a pile of fine pop songs such as "A Carol for Lorelei", "In the Cafe", "Cobblestone Road" and the tripped out "The Sailing Ship," among those already mentioned, and the band's playing is credible and detailed enough to enable the Fairs/Kerley songwriting team to present all this without it coming off as crude. Sure, there is plenty of outright copying: "Mr. Unreliable" is a fine Beatles knockoff and "I Was Lonely When" is a dead-on impression of a Marty Balin led Jefferson Airplane track, and there's an unnecessary cover of the Goffin/King "Up on the Roof". Still, if you like psychedelic pop-rock (or think you might) check this out - it's rather good, even if unoriginal. (Isaac Guillory (guitar) replaced Stone as well.)

source :

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Label September Gurls
Released 1997
Time (minutes) 58
Musicstyle Psych Folk

Discolor is the solo project of Stefan Lienemann alias Limo of Shiny Gnomes and Fit+Limo (supported by friends on moog, cello, violin). Combination of new space travelogue with Fit+Limo folk sensibility. Songs expand into pastoral, multilayered guitar landscapes. Solar distortions, white noise acoustics, hypnotic sitar-driven Eastern Kraut dub and chamber string drones create a deeply psychedelic space trance experience. Album ends with a beautiful, haunting version of Beach Boys' "In my room." Discolor shows influences of new UK/US/NZ space rock/drone scene (FSA, Jessamine, Amp, Montgomery etc.), which in itself is influenced by Kraut Rock of the 70's, so the circle closes...



Many Bright Things - Birds of Impossible Colour

Label Aether records
Released 1999
Musicstyle Psychedelic
Remark Limited Edition of 450

Long floating psychedelic fairytales with wailing backwards guitars, heavy tribal rhythms and beautiful female vocals...90's US psychedelic renaissance of outstanding beauty. One of the essential releases of 1999!" - Crohinga Well



White Noise - 1968 - An Electric Storm

Perhaps one of the most important steps to another definition of music.
This is an amazing experimental work -- way ahead of its time
"spacey, proto-electro-techno, psychedelic"
Listen in the dark!

Listing in the 50 most mind blowing LPS of all time by Mojo magazine.

A1 Love Without Sound 2:57
A2 My Game of Loving 3:38
A3 Here Come the Fleas 2:31
A4 Firebird 2:43
A5 Your Hidden Arms 4:25
B1 The Visitation 11:45
B2 The Black Mass-An Electric Storm in Hell 7:04

This album is an unbelievable classic from the late sixties from many listeners' point of view.

The sound signature is very dark and leaves a reliable understanding of just how powerful the physics of music can be. It leaves you to believe the sounds are unearthly and allows you to enter a temporary state of mechanic fixedness with...well, everything! In terms of physics involving sound and music, technically this album leaves a permanent vacuum of a genre as in there's no sound in a vacuum, but this album breaks that rule because this a one of a kind genre breaking album that creates and thrives in it's own vacuum of musical space. The atmosphere and sounds produced were something I think would be hard to equal today even with all the technical equipment they have now. It still gives me the shivers just to think about it. Like many others I found it difficult to listen to the Visitation and could only rarely listen to Black Mass (and NEVER alone).

An extraordinary mixture of 60's type light pop (Game of Loving), tongue-in-cheek "Here come the Fleas" and truly frightening second side (and I mean frightening! ). Nothing is simple here though. Even the so-called light stuff is infused with fabulously vivid melody/harmony. I bought this on vinyl back in the early '70's. I've yet to hear any of the subsequent albums. Get this album !

The 1968 "White Noise -- An Electric Storm"LP became the holy grail amongst collectors of 'Science Dimension' music, a staple ingredient for lovers of cosmic electronic space-rock.

White Noise was really one David Vorhaus (b,sc,dip.elec) American born, son of a black-listed film director. He avoided the draft by coming to the UK. Later he became a post graduate doing an electronics degree at the Northern Poly whilst studying classical music playing the double bass. After having attended a lecture by the group Unit Delta Plus, Vorhaus was compelled to combine his love of music with his scientific background and start making his own music. At the time Unit Delta Plus were Brian Hodgson and Delie Derbyshire who were persuaded to collaborate with Vorhaus on his early recordings whilst they continued their day jobs at the BBC's radio phonic workshop, itself a shrine to new electronic music and birthplace of the famous Dr. Who theme. After recording two tracks on a six-revox set up all synchronised by one remote control, (i.e. the mains on/off switch), Vorhaus found himslef introduced by chance to Island Records' Chris Blackwell. Chris was so captivated by the white noise experience that he shunned their appeal for a one-off singles deal and demanded that they do a whole album of material. An instant cheque for £3,000 quenched their fears about not earning a quick buck through a hit single and our band of merry pranksters set about building theur own sonic laboratiry in London's Camden Town out of 'borrowed' gear, home made gizmos and equipment more assiciated with a scince lab than a recording studio. 'Songs' took ages to build, each note being a compilation of various tape edits painstakingly stuck together. After a year Island Records became nervous and demanded a conclusion in a matter of days which, luckily, White Noise managed to pull off. The album was released in a total vacuum. Vorhaus played no gigs and did no interviews. Word of mouth over many years caused this album to sell tens of thousands of records. Like stablemates Art and Nirvana, this album remained on catalogue deep into the seventies and became the hit of many a bedroom and sicth form commonroom. Five years after its release Vorhaus made a second album on Virgin and a third in 1980 for the Pulse label. He continues to make music, a good deal for film and television work, and threatens a new album for the nineties. One album per decade is hardly a Prince-like output but when the quality is this high does it really matter?

Download Link

Wednesday, May 16, 2007

The Sopwith Camel - 1967 - The Sopwith Camel

A west coast rock band with a lot of psychedelic and sunshine pop elements.

These pioneering San Francisco psych band flower-poppers mixed pop with Jazz with a little Indian meeting Vaudeville on these blissed out grooves Seminal material.

1. Hello, Hello
2. Frantic Desolation
3. Saga Of The Low Down Let Down
4. Little Orphan Annie
5. You Always Tell Me Baby
6. Maybe In A Dream
7. Cellophane Woman
8. Things That I Could Do With You, The
9. Walk In The Park
10. Great Morpheum, The
11. Postcard From Jamaica
12. Treadin' - (bonus track)

The Sopwith Camel's eponymous debut is a tepid, under-produced effort that alternates between strained pastiches of pre-World War II pop and lukewarm San Francisco folk-rock/psychedelia. "You Always Tell Me Baby" is an affecting folk-rock number, but played and produced as though it's a rehearsal demo; "Maybe in a Dream" and "Cellophane Woman" have some psychedelic guitar riffs that sound more gratuitous than inspired; and the hit "Hello, Hello" is here, although it's not really any better than most of the rest of the album. The One Way reissue adds a bonus cut with a Byrds-like guitar on "Treadin'," that counts as one of their better tracks.

Formed in 1966, the Sopwith Camel was the second San Francisco band to be signed by a major record company right after Jefferson Airplane and before the Grateful Dead. They might also have been the first San Francisco group to break up, disbanding after only one album and a "wildly commercial" single "Hello, Hello."

The Sopwith Camel began in a San Francisco bookstore when Terry MacNeil met Peter Kraemer. Peter had been writing poetry for some time and, remembers Terry, "I met him at the Big Little Bookstore on Polk Street. He was bopping around with some lyrics he'd written. 'Well,' I told him, 'I play guitar.' We got together at a party later that evening and again the next day." A month later they decided to audition musicians for a group.

With Norman Mayell and Martin Beard the band was together and it was time to choose a name. Peter just happened to have one available. "A while earlier, I had been living at Chet Helms' house. He had a band that he was trying to launch, and we all came up with names for it. My idea was Sopwith Camel. Everybody laughed at me; they thought it was trite and dumb. Their band was finally named Big Brother and the Holding Company. Ours became the Sopwith Camel."

Because the Camel shared the same label and producer (and similar musical tastes) with the Lovin' Spoonful, most people thought they were from New York. Their friends in San Francisco groups "accused us of being sellouts. That's absurd; back in those days, we were all looking for hits. It's just that ours was the first." The Camel's big return to San Francisco met with disaster. "We were headlining over the Airplane and the Dead. The Dead did one of their long, long sets, and by the time we were on, we were only able to do three tunes before the cops pulled the plugs before curfew. We took it to be a sign of some sort."
Before that, the Camel had toured the country, appearing with the Rascals, the Rolling Stones, the Who and, of course, the Lovin' Spoonful. They even wrote and performed a couple of commercials for Levis. But finally inner frustrations disbanded the group; there wasn't even time to record an album to capitalize on "Hello, Hello." It wasn't until several months later that they got together in the studio and assembled enough tracks for an album before finally going separate ways.

Download Link

Tuesday, May 15, 2007

The Maze - 1968 - Armageddon

Rare acid psych killer by obscure San Francisco band from the late '60s.Their all-original material emphasized heavy organ, long drawn-out fuzzy guitar solos, despondent stoned vocals, and minor-key melodies.

Then as a bonus you get to hear what the band sounded like a year or two earlier on a few tracks- the two or three old songs are more folky with a femal vocalist.

1. Armageddon
2. I'm So Sad
3. Happiness
4. Whispering Shadows
5. Kissy Face
6. Dejected Soul
7. As For Now
8. Right Time - (previously unreleased)
9. Rumours - (previously unreleased)
10. Whispering Shadows - (previously unreleased, alternate take)
11. Dejected Soul - (previously unreleased, TRUE instrumental)
12. As For Now - (previously unreleased, alternate take)
13. Kissy Face - (previously unreleased, TRUE instrumental)

The Reviews

An obscure San Francisco-area group that cut one extremely rare album in 1968, Armageddon (recorded at Leo Kulka's Golden State Recorders, and issued on MTA), which is highly valued in some collector circles. Actually, they don't rank as a very impressive find, in fact epitomizing some of the period's least enduring excesses. They originally recorded under the name Stonehenge, with a female vocalist, before assuming their more familiar name, and left behind a good deal more than an album's worth of tracks, some of which turned up on the 1995 Sundazed CD reissue of Armageddon. Their all-original material emphasized heavy organ, long drawn-out fuzzy guitar solos, despondent stoned vocals, and minor-key melodies, somewhat in the mold of Iron Butterfly, though not as bombastic. An alternate take of "Whispering Shadows," written by Wayne Gardner-who composed all but two of the 10 songs on Armageddon, fellow members Jensen, Boyd, and Eitrreim dividing two songs between the three of them-was included on Gear Fab's 1997 Psychedelic Crown Jewels Vol. 1.

The Maze seek a sense of drama, with long songs, prominent organ, eerie harmonies, heavy lyrics and a singer who becomes unhinged here and there. If you're in the right mood for it, it's pretty enjoyable, especially since there are some crazed fuzz guitar breaks. One truly terrible semi-novelty song, "Kissy Face", destroys the mood, which makes the rest a little harder to take seriously. The overall effect is similar to the album by The Phantom, though the best songs here, especially "I'm So Sad", are more worthy of semi-serious respect than anything on that album. The short songs take a poppier approach, and they're reasonably good, with the one above-mentioned exception. Pretty cool, though not distinctive enough to really stand out in the genre.

Download Link
: (@224 + Art Work)

Paul Roland - 1988 - Happy Families

Happy Families.rar

Gothic-psych-baroque-rocker waxing demented in a way only an Englishman can...impeccable." (Goldmine magazine, USA).
"Sublime, fabbo and very, very in. Don't get left behind." (Melody Maker, UK)
"Enigmatic gothic/baroque troubador with the psychedelic fringe" (Ptolemaic Terrascope,UK)
"For some 15 years the enigmatic Paul Roland has carved out a niche in peculiarly ornate British pop music." (Record Collector, UK)
"He must be ranked with the most creative and unique songwriters of his generation...the work of an exceptional talent." (Bucketful Of Brains, UK)
"The male Kate Bush" (Robyn Hitchcock)
"If pop music had existed in the 19th century Roland would have been a star." (Music Week, UK)
"England's popmeister and future King" (The BOB, USA)

from Paul Roland's site:
Since 1979 Paul has been spinning his bizarre tales against an evocative backdrop of rock, psychpop, folk and, occasionally, baroque strings. His most memorable character creations include a crotchety Regency magistrate, various 19th century murderers, a retired executioner, an opium addict, and an entire court of medieval grotesques. But not all his dreams are dark. Among his more whimsical creations are the eccentric characters on the largely acoustic album 'Happy Families' and its prequel 'A Cabinet of Curiosities'.
In England he is better known as a writer of mass market books on mysticism and the occult for major publishers. However, his reputation as a uniquely imaginative and consistently fascinating figure on the psych-pop circuit has substantially increased with each album. Other cult figures such as Robyn Hitchcock, Nick Saloman (Bevis Frond), Nick Nicely, and Andy Ellison (John's Children) have made guest appearances on his albums, several of which are now listed as highly collectable.

Tracks : The Curate Of Cheltenham/Journey To The Pole/Nursery Crimes/Cousin Emilia/Builder Of Follys/The Best Years Of our Lives/Aunty/Animal Crackers plus extra tracks from CD : Beau Brummel (re-recorded)/Go Down You Murderers/ I Can't Control Myself (radio session)/Captain Blood (radio session)

Happy Families released 1988 in the french label New Rose

Liner notes
Paul Roland: Vocals, Accoustic Guitar
Cris Randall: Organ, Harpsichord, Bass, Keyboard
Mauris Memmond: Violins, John Gallagher : Cello
Recordet at Elsewhere Studios, Kent, August 15-22 1988
Organ&Boys Chorus Recorded in the Chapell of St Trinians School for Backward Boys Canterbury, Kent
Note: Most of the songs are based on the lives of real eccentries who lived during the Victorian Period.

This is for 'Tydalwaves' who is "desperately searching for it". He has the great new blog Hidden Among The Leaves with a lot of out of print records from the 80s (and 2 or 3 Roland LPs).
Update: Gomonkeygo informed us that in his excellent Time is a Disease That Only Space Can Cure blog you can find the Happy Families album, as well as the (better) Danse Macabre album (and many other great records).

Gandalf - 1969 - Gandalf

Quality: 4 out of 5
Trip-O-Meter: 4 out of 5

Gandalf is one of the more sought after pieces of late-60's vinyl. This album itself is prime 1967 psychedelia, but as you may note from the date above, a almost-two year delay (by which time the band had long since dissolved!) relagated Gandalf to obscurity. It probably didn't help that the band's name was somewhat of a misnomer anyway as the group spent 98 percent of their existence as the somewhat unfortunately named Rahgoos.

Still, the name Gandalf easily conjures up images of wizardry and songs about elves and gnomes. Strangely enough, we find none of that here. Instead, the band resembles an American version of the Zombies trapped in an acoustically superior well with a predilection towards showtunes about women's accessories ("Golden Earrings," "Scarlet Ribbons," "Tiffany Rings"). Much of the psychedelia on these cover songs involve an amazing amount of echoey reverb on the vocals. Another lynchpin of Gandalf's sound is some extensive use of the Hammond B3 organ. How much you like that particular instrument will likely influence your opinion of Gandalf.

The strange thing about Gandalf, especially for late-1967 (the recording date), is their lack of original tunes. The two present here, "Can You Travel In The Dark Alone" and "I Watch The Moon," are by no means lacking in songwriting chops. In fact they are some of the best songs here, sporting a great west coast-style (even though they were from Jersey) psych-pop structure as opposed to relying on production tricks alone for an altered sound. Apparently, the band simply didn't have enough original material. It's too bad they couldn't have spent 1968 writing and recording more instead of just waiting for the existing album to be released.

Still, Gandalf's cover selections are outstanding, and even the choices that look questionable on paper end up sounding great. Peggy Lee's hit "Golden Earrings" and "Nature Boy" from the interminably strange Eden Ahbez are transformed from what could easily be novelty numbers into dreamy, floating meditations. "Golden Earrings" in particular ended up being Gandalf's single and is probably their signature number. The band also seems to have outsourced three songs from a fellow named Tim Hardin. In fact, the lurching rhythm of "Hang On To A Dream" is an early highlight of the album. "Tiffany Rings" is the only track her which really doesn't do it for me. On this one the group seems to cross the line from mysterious into twee, which for me disturbs the flow of the album.

The album ends with a pair of deeply psychedelic rock songs. Gandalf was not really a showcase for instrumental prowess, but they were able to lock into a great groove which they take time to draw out a little more on "Me About You," and "I Watch The Moon." "I Watch The Moon" in particular is a goldmine for lovers of the Hammond B3 organ, which on the track is matched with some blazing fuzz guitar.

Also of note is the flamboyantly insane cover art. It seems to depict some kind of tripped-out butterfly god or something. The cover alone catapulted Gandalf to the top of my shopping list. The emotionless expression and yellow eyes actually scare me a little bit. The music isn't really wacked out enough to match this prime display of pop art, but it certainly catches one's attention.

Gandalf is far from the top of the 60's rock pile, but it deserves to be heard. The band managed to carve out a sound similar to the Zombies, but with enough of their own touches to keep from sounding like a knockoff.

As a side note, Gandalf 2 saw release from Sundazed early this year. Apparently, it's a collection of demos, live tracks and such, but it interestingly contains far more original songs. I'd be curious to know how the sound quality holds up on the new disc.

Buy Me:
Gandalf- Gandalf (1969)

Listen To Me:
Gandalf- Gandalf (1969)

Review from Dr. Schluss Garage Of Psychedelic Obscurities:

Monday, May 14, 2007

Oliver - 1974 - Standing Stone

Couldn't find too much info or a decent cover picture for this album. I stumbled upon this one inadvertently and it blew me away; it's a true gem of the acid-folk genre!

Here's a brief commentary from

Recorded in 1974 on a farm in the heart of Wales, a limited vinyl edition of 'Standing Stone' recieved ecstatic reviews in 1992. 'Wholly original, pure and surrealistically sublime', drooled the NME; 'a lost gem', suggested Record Collector; 'an indispensable item in any adventurous person's collection', noted Ptolemaic Terrascope; while John Peel descibed it as 'the find of the year' on Radio One. A maelstrom of folk and acid rock with distinct Beefheartian overtones

V.A. - Wayfaring Strangers_Ladies from the Canyon

Following acclaimed compilations of obscure soul and power pop, the record collectors at Chicago's Numero Group label have turned their attention to female folk singers from the 1970s. One singer on Wayfaring Strangers: Ladies from the Canyon sounds almost exactly like Joni Mitchell. Her name is Caroline Peyton, and her "Engram" is one of the best tracks on the CD. In recent years Peyton's voice has apparently been heard in some Disney cartoons, but you'd never guess that from hearing the song. Barbara Sipple's "Song For Life" reminds me a lot of Kath Bloom, and other artists on the collection sound similar to Judee Sill and Shelagh McDonald. Aside from Ellen Warshaw, whose cover of "Sister Morphine" closes the CD, all of the singers collected here had albums on extremely small private press labels; Warshaw's album came out on Vanguard. There are a lot of pleasant and pretty songs on here, and you're not likely to find them anywhere else. [RH] (March 15, 2006)

1. A Special Path - Becky Severson
2. Cricket - Collie Ryan
3. Sunlight Shadow - Linda Rich
4. Engram - Caroline Peyton
5. And I A Fiarytale Lady - Carla Sciaky
6. Window - Judy Kelly
7. Eternal Life - Shira Small
8. Maybe In Another Year - Jennie Pearl
9. Dedication - Mary Perrin
10. With All Hands - Priscilla Quinby
11. Rain - Marj Snyder
12. Song For Life - Barbara Sipple
13. Wildman - Ginny Reilly
14. Sister Morphine - Ellen Warshaw

Enjoy !!!

Entheogens - 1995 - The Gnostic Mass

Entheogens - 1995 - The Gnostic Mass

01 The Dance of the Priestess
02 Fire At Will
03 IO Pan!

The Gnostic Mass (XMLP-8 1995)


"Two long oriental esoteric jams with sitar, flute and percussion. This is a really psychedelic party where almost all of Xotic Minds members contribute. The improvisations that were recorded at Adam Axelzons home and at the Babalon Bar in Stockholm reaches orgiastic crescendos, especially the “Io Pan”, a primordial invocation to Pan, with polyrhythmical structures that grows and grows. Reminds one of such masterpieces as “Seven Ate Sweet” or “Taxim” by the mythical Kaleidoscope (USA). The Entheogens LP is a cleansing dip in a oriental acid distortion. A kind of record you seldom see nowadays." – Rockerilla, Italy

Personal fave of LP on the label; as appealing as any US private press monster. All of the label's talent gathered for extended tribal acid oriental jams, partly recorded live. Strange cult inspiration adds an eerie vibe. Never reprinted and hard to find. Has insert. – Patrick ”The Lama”/The Lama Reviews

Medverkande musiker:
Adam Axelzon: pot drum, slagverk
Stefan Kéry: gitarr, bouzoki, sitra, kalimba, klaviatur, sång, FX
Stefan Kälfors: darboka
Lisa: flöjt
Måns Månsson: sitar, sång, FX
Anna Nyström: flöjt, sång
Anders Paulsson: bas, klaviatur
Mikael Sundström: sitar, klaviatur, tablas, sång
Patrik Unge: glockenspiel

Far East Family Band - 1975 - Nipponjin_Join Our Mental Phase Sound

Far East Family Band - 1975 - Nipponjin_Join Our Mental Phase Sound

1 Nipponjin
2 The Cave
3 Undiscovered Northern Land
4 Timeless
5 The God Of Water
6 River Of Soul
7 The God Of Wind
8 Movin' Lookin'
9 Yamato
10 Mystery Of Northern Space

- Fumio Miyashita: guitar, keyboards, vocals
- Akira Ito: keyboards
- Masanori Takahashi (Kitaro): keyboards, percussion
- Hirohito Fukushima: guitar, vocals
- Akira Fukakusa: bass
- Shizuo Takasaki: drums

Thanks Michael for this one !!!

Sunday, May 13, 2007

Fat Mattress - 1969 - Fat Mattress

Fat Mattress was a solid, sometimes folky/woodsy, sometimes mystical rock band - very English and very stripped down, without pyrotechnics or pretensions.

Just like Clear Light and Skip Bifferty, Fat Mattress was a short lived band that made a strong impression with their great songs. With the rhythm section of Englebert Humperdinck's band and Noel Redding on guitar they put together a solid band.

There are a lot of influences at work here: Small Faces, Traffic, The Byrds, The Who. If you're gonna crib, crib from the best-it rubbed off on them because these songs are just great! Listen and you will be pleasantly surprised.


1. All Night Drinker
2. I Don't Mind
3. Bright New Way
4. Petrol Pump Assistant
5. Mr. Moonshine
6. Magic Forest
7. She Came in the Morning
8. Everythings Blue
9. Walking Through a Garden
10. How Can I Live
BONUS TRACKS ~ Previously Unissued
11. Little Girl in White
12. Margerita
13. Which Way To Go
14. Future Days
15. Cold Wall of Stone

Fat Mattress' first album must have come as a surprise to fans expecting something at least somewhat related to the former activities of its most famous member, ex-Jimi Hendrix Experience bassist Noel Redding. But Fat Mattress doesn't sound at all like Jimi Hendrix (and, for that matter, Redding plays guitar on the album, not bass). Instead, it's passable, pleasant late-'60s psychedelia with a far lighter touch than the hard bluesy psychedelic rock Redding played with Hendrix. From the sound of things, Redding (who had a hand in writing much of the material) and his new cohorts were doing some heavy listening to California psychedelic rock and folk-rock, as this is far breezier and more oriented toward harmony vocals. It's often like an amalgam of the Byrds, Buffalo Springfield, Moby Grape, and Love, with some passing nods to British psychedelia by Traffic (whose Chris Wood plays flute on "All Night Drinker"), the Move, and the Small Faces; there's even a bit of a Monkees-go-spacy feel to "I Don't Mind." In the manner of Forever Changes-era Love, the lyrics have a fleetingly opaque feel, easy on the ear but not really about anything, save soaking up good-time vibes. The problem, at least inasmuch as playing this back to back with something like Forever Changes, is that the words and music don't penetrate nearly as deeply, or coalesce into nearly as strong a group identity. They're pleasing but indeed fleeting in their impression, lacking the indelible hooks or songwriting brilliance of their apparent inspirations, the songs tending to run together in their similar moods. All that said, this isn't a bad album at all; had it not been dismissed by many Hendrix collectors as irrelevant, it might well be getting rediscovered by revisionists and championed as a minor nugget of obscure British light psych. The 1992 reissue on Sequel adds five previously unreleased bonus tracks, undated but from the sound of things cut around the same time as the album or slightly afterward, most of them using a heavier instrumental approach.

Download Link

Rainbow Ffolly - Sallies Fforth (1968)

Quality: 4.5 out of 5
Trip-O-Meter: 4.5 out of 5

No, the double "f's" above are not a typo. This fleeting psych pop band from 1968 chose these strange looking words in honor of a British cartoonist named Wally Ffolks. Fortunately, and unlike many wacked out obscuro bands, these guys had the songwriting chops and atmospherics to shore up their nomenclature.

Sallies Fforth is the sole full length release from this band out of High Wycombe (can't say I know where that is, other than somewhere in England). The album is at heart a collection of demo recordings, and was put out as such by an impressed Parlophone. The only other existant track, included on the Rev-Ola CD, is a great non-LP single called "Go Girl."

The Rainbow Ffolly's musical style does stand out from the rest of the British psych-pop pack. Most bands of the era seemed to use Revolver-era Beatles, Syd Barrett, or the Yardbirds as their basic template to build a psychedelic sound. These guys seem to build their psychedelia more off of the folk-rock sound of Rubber Soul. The ballads in particular are in a distinctly McCartney-esque vein. In fact, there's a song present here called "Drive My Car," although strangely enough it's a completely different song than the Rubber Soul track of the same name.

On top of this template, the Ffolly throw on some well-done music hall touches and echo effects and then stitch the whole album together with some strange British humor and sound effect interludes. In fact the opening of the disc makes me think of the intro tracks often found on Hip-Hop albums, although markedly less funky and more British here.

Also pushing the Ffolly ahead is some great songwriting. There's not a bad song present on the album and most of it is first rate. "Drive My Car," "Hey You," "Sun Song," and "No" are phenomenal rockers. "No" benefits from a strange rubbery beat and fuzz bass, while "Drive My Car" is propulsed by a skiffle like rhythm. Even better are the ballads "Montgolfier" and "Goodbye." These have a bit of a Brazillian touch to my ear and feature perfect arrangements. The band manages some English music hall arrangements that don't come across as dorky-sounding on "I'm So Happy" and "They'm."

As mentioned earlier, Sallies Fforth is basically demo recordings. Parlophone rushed this album out much to the band's dismay. Although the recording is quite good, and much better than typical 60's demo quality, the folks in Rainbow Ffolly wanted to add some more overdubs to flesh the album out. I have to say that I'm glad Parlophone ran off with the unfinished album. I can see where the band might have added soome more stuff, but I think doing so would make Sallies Fforth far less distinctive. Many songs have a truly psychedelic, yet-sparse sound that I don't recall hearing many other places. At times it seems like a more together version of Syd Barrett's The Madcap Laughs.

Also of note is the tripped-out cover art. It was produced by the band and sort of makes me think of something a relatively talented high schooler would come up with. It's nicely representative of both the music insine and has a basic signifier of British psychedelia.

Those of us plunging through the depths of obscure psychedelia often have to sift through lots of dull or simply "ok" stuff to get to the real gems. Sallies Forth is the kind of disc that makes the searching worth it.

Buy Me:
Rainbow Ffolly- Sallies Fforth

Listen To Me:
Rainbow Ffolly- Sallies Fforth

Review from Dr. Schluss' Garage Of Psychedelic Obscurities:

Sagittarius - The Blue Marble (1969)

Quality: 3.5 out of 5
Trip-O-Meter: 3.5 out of 5

Although Sagittarius' first album Present Tense has gained somewhat of a reputation over the years, The Blue Marble remains largely unknown. The album debuted on the fledgeling Together Records, which unfortunately folded shortly after the release of this record and forced the music into a nose dive into obscurity. This is quite a shame as The Blue Marble features some great sunshine pop and is a worthy follow up to Present Tense.

Present Tense is more of a peaks and valleys record. While some songs there make me cringe, the high points are among the best that 60's music has to offer. The Blue Marble is a lot more consistant. There's nothing here with the punch of "My World Fell Down," but we are spared another "Musty Dusty."

The Blue Marble seems to have Gary Usher firmly in the driver's seat. Whereas Present Tense ended up having Curt Boettcher working practically as a collaborator, he appears here with only one songwriting credit, three production credits, and a smattering of vocals. Usher wrote a good 80% percent of The Blue Marble, five of them alone.

Usher really was one of the best producers in the late 60's, and that is apparent here with awesome multi-track layering and some tasteful use of the Moog synthesizer. The pitfall on The Blue Marble is that the songwriting tends not to stand out very much. Still, nothing here is embarrassing, and the lyrics aren't too bad.

The lead off track here is a "cover" of the Beach Boys' "In My Room." Since Usher co-wrote the song with Brian Wilson, I'd say he has full rights to play with it, and does so here recasting it in an almost Smile-like baroque-pop arrangement. On "From You To Us," we hear a ripping Moog bass-line, and I'd say if The Blue Marble has one major improvement over Present Tense, it would be in Usher's use of this synth. In fact, I don't recall the Moog being used in a better manner on any other 60's pop album. On the title track the Moog provides an really cool atmospheric atmosphere, while it makes for a nice retro-futuristic lead on "Lend Me A Smile."

It's really hard to choose highlights here as there's an extremely consistant, although far from dull sound. The closing track, "Cloud Track," could speak for the entire album as it's a pretty dreamy affair. The bonus section on my disc provides a few singles and alternate versions, but it does serve up a should-have-been-standout track with "Navajo Girl." There's a nice wall of sound present and the track almost rocks (as much as sunshine pop is going to). It recalls something like the Beach Boys' "Darlin'." The lyrics do seem a touch un-PC in the modern world however.

My 2001 CD reissue mostly does justice to Usher's production and crystaline arrangements. The album does seem to have a touch of vinyl noise here and there, so I'm pretty sure the master tapes were not available for remasering. The bonus tracks are in a too-compressed mono, but they're stilll quite listenable. It is a shame this album remains unknown as it is a sparkling example of sunshine pop.

Buy Me:
The Blue Marble

Listen To Me:
The Blue Marble

Review from Dr. Schluss' Garage Of Psychedelic Obscurities:

Roger Nichols And The Small Circle Of Friends (1968)

Quality: 4 out of 5
Trip-O-Meter: 1.5 out of 5

Sunshine pop does not necessarily equate to psychedelic as this 1968 release attests. It's an odd disc that often earns favorable comparisons to Pet Sounds but in the end remains pretty square. If Laurence Welk ever tried to bring out a rockin' group to show he was "hep and with it," these folks must have been on the top of his list. And if my grandmother could still hear, I'd have no problem playing this one for her. This is not the place to look for anything that would be considered experiementation, but the sound is as sundrenched as anything you'd expect from A&M Records and Herb Alpert's guidance in the 60's.

Even without any particularly new sounds, Roger Nichols And The Small Circle Of Friends is a high quality product that takes more attitude from the Sinatra dominated era of pop than the rock age. The arrangements here use a little bit of electricity and occasionally louder drums, but once the tight harmonies are in full effect, the songs tend to resemble a really good toothpaste commercial. The production is top flight and often has a dreamy sheen (hence the 1.5 on the Trip-O-Meter).

Roger Nichols carved out most of his career as a songwriter, penning Carpenters' hits such as "We've Only Just Begun" and "Rainy Days And Sundays." For a few years in the 60's he teamed with siblings Murray and Melinda MacLeod for a vocal duo that must have been in it's element in a slightly more upscale Holiday Inn lounge.

Fortunately on this album he cowrote four songs with Brian Wilson's Pet Sounds lyricist Tony Asher and the songs have a little more depth than I usually associate with such breezy pop. Still, don't expect anything close to the emotional whallop of Pet Sounds. There are a few more original numbers present, along with a slew of covers, including two Lennon/McCartney songs, two Lovin' Spoonful tracks, and one composition each from Burt Bacharach and Goffin/King. They do a pretty good job fitting all these songs into their signature sound, and I don't come off wishing that they'd included more original material. The Beatles songs in particular include a fine version of "With A Little Help From My Friends" (I certainly enjoy it more than Joe Cocker's version) and a rendition of "I'll Be Back" which includes an original and unexpected tag at the tail end of the song. In fact, it's my favorite moment on the album.

The Rev-Ola reissue includes 8 bonus tracks and makes a pretty nice addition to the set. We get two mono single versions of songs on the proper album while the other tracks are proper outtakes and obscure tracks. They maintain the consistancy of the album with the exception of the completely stupid "St. Bernie The Sno-Dog." But can one really expect much from a song with that title?

This is properly acknowledged as a sunshine pop classic, but don't expect any psychedelia here. The 5th Dimension sound like Captain Beefheart compared to these folks. But Roger Nichols And The Small Circle Of Friends is immaculately produced, almost sickeningly consistant, and is a good place to seek out the breezy A&M sound of the 60's.

Buy Me:
Roger Nichols And The Small Circle Of Friends

Listen To Me:
Roger Nichols And The Small Circle Of Friends

Review from Dr. Schluss' Garage Of Psychedelic Obscurities:

Shocking Blue - 20 Greatest Hits

Dutch Power-Pop Pioneers

A great collection of some of the most appreciated Shocking Blue recordings. All their hit singles are here, as well as lesser known songs from their various albums, recorded in the first halt of the 1970`s.

Though "Venus" was their only international hit, a lot of these songs had the same potentials. Songs like "Never Marry a Railroad Man", "Mighty Joe", "Dream on Dreamer", or "Out of Sight, Out of Mind" could have been equally big hits, had the wind blown in the Shocking Blue direction, when they were released.

Guitarist Robbie van Leeuwen had an unique skill for writing catchy pop-rock tunes, and their music still sounds fresh and appealing today.

The arrangements are mostly the classical bass, guitar and drums line-up, with occasional piano or saxophones.

They never fell into the trap of overproducing their records, like many of their contemporaries. I guess this is one of the reasons that they have aged so well.

This is a must buy for any fan of melodic power-pop.

reviewed by : Morten Vindberq

Download Link:

Saturday, May 12, 2007

The Left Banke - There's Gonna Be A Storm: the complete recordings 1966-69

Though it's missing a few rarities -- namely the Steve Martin single for Buddha that reunited him with Michael Brown -- this is the most definitive Left Banke compilation. It features the entirety of their two late-'60s albums, as well as a couple of singles that didn't make it onto LPs at the time (though they later appeared on Rhino's History) and a previously unissued cut, "Men Are Building Sand." Their debut 1967 LP, Walk Away Renee/Pretty Ballerina, is an underrated classic of the time, matching smart harmonies and pop hooks to baroque orchestration. Its brilliance casts a bit of a shadow over the rest of this collection. The group's 1968 album Too suffered from bloated production and, more importantly, the absence of chief songwriter/arranger Michael Brown. In turn, the 1967 single Brown cut under the Left Banke moniker with singer Bert Sommer suffers from the absence of lead vocalist Steve Martin. By the time Brown and Martin tenuously reunited for a late-1969 single, some of the spark had gone. All of the aforementioned highs and lows of this prodigiously talented but strife-ridden group are on this disc. ~ Richie Unterberger, All Music Guide

Download It Here :

Part 1

Part 2 :

Savage Rose - 1968 - Savage Rose

Danish psychedelic rock group, founded in 1967 by Thomas Koppel, Anders Koppel, Alex Riel, Jens Rugsted, Flemming Ostermann, and Annisette. Ilse Marie Koppel was also participating. Nils Tuxen replaced Flemming Ostermann from their second album. Since the mid 1970s, the group has been an acoustic trio consisting of Thomas Koppel, Annisette Hansen and John Ravn as a core. From the beginning of the 1990s, the group returned to electric instrumentation. Thomas Koppel died on February 25, 2006, and the future of the band is still uncertain. Annisette has announced that the 2006 autumn tour in Denmark will be carried out. Their debut album was recently selected to be part of the Danish national "cultural canon".

Official Site :

Download Link :

Thanks Michael for this one !!!

Bob Hocko and the Swamp Rats - 2003 - Disco Still Sucks!

Looking back at the '60s, it seemed like any kid with a garage and a guitar was able to record and release a disc. As a result, the dusty bins of rock & roll history contain too many bands to keep tabs on. Among the avalanche of Nuggets and Pebbles collections, there are passing notices paid to the Swamp Rats, but unlike many of the one-off bands included in those collections, the Swamp Rats are worth revisiting. Hailing from the Pittsburgh, PA suburb of McKeesport, the Swamp Rats emerged in 1966 and gained some degree of renown with their surprisingly wild take on the ubiquitous garage rocker, "Louie Louie." Their reputation was further fueled by a string of raucous singles offering solid versions of tracks by the Beatles ("Here, There and Everywhere"), the Kinks ("She's Got Everything"), and what would become the group's most recognizable song, the Rolling Stones' "It's Not Easy." A thoughtful reissue unleashed by Get Hip in 2003, Disco Still Sucks! does a solid job of gathering up the band's finest moments. With a string of songs originally released from 1966 and 1967, the band made quite an impression among garage rock fans. Graced with extensive liner notes, the album details the band's career from beginning to end. The most immediately jarring thing about Disco Still Sucks! is how brash and noisy the guitar were for 1966. Before kids were armed with digital effects and fancy studio tricks, the Swamp Rats were pounding their instruments into fuzzy revolt with pure teenage fury — and it sounds great. The CD also includes unlisted bonus tracks that seem to show leader Bob Hocko wrestling with some psyched-out Vietnam-era demons. Whether the stories are fact or fiction, the trippy barrage of spoken word pieces and sound effects are an unsettling but offer an intriguing glimpse at the experimental direction the band might've taken had it survived a few more years. (allmusic)

posted by Kyriakos

Peter Ivers Band - Knight of the Blue Communion

Prepare yourselves for one of the strangest albums ever made. Originally released on Epic (!!!!) in the late 60s, this album really has no peers, the nearest possible connection would be to staunchly noncommercial artists such as United States of America, White Noise, Captain Beefheart or Frank Zappa. Peter Ivers-singer/ songwriter, actor, theatre writer, experimental video director, Harvard graduate and all-round nutter/genius created this incredible soundscape from electronic sounds (provided by an "intermodulator"), free jazz, classical yet spontaneous singing, blues and rock.

Many music fans will know Peter Ivers as the writer of 'In Heaven (Lady in the Radiator Song)', which he originally composed for David Lynch's classic film, Eraserhead. The song was later immortalised, of course, by fellow Bostonians, the Pixies.

Ivers may not be a household name, but during his short life he made an impact on many fronts. He was a musician, arranger, composer, screenwriter, catalyst, TV presenter, spotter of new talent, a black belt in karate and a yoga master. Talking to people who knew and worked with him even 24 years after his untimely death, the superlatives still come gushing forth: such epithets as 'perfect'; 'a totally unique and refreshing individual'; 'a legend in the making'; 'a genius in many fields' freely trip off the tongue about him.

Peter's first big music industry break came in 1969, when Epic Records signed him to record his debut solo LP, Knight of the Blue Communion, the first ever legitimate CD reissue of which is now released on Hux Records.

In addition to playing harmonica and providing backing vocals, Peter acted as arranger and composer, while his friend Tim Mayer provided all the lyrics. Ivers assembled a fascinating group of musicians to play on his record. On drums was Cleve Frank Pozar, with Richard Youngstein on contrabass, and Tony Ackerman on guitar. The horn section featured Steve Kowarsky on bassoon, Henry Schuman on oboe and Paul Balmuth on sax. However, the icing on the cake was chanteuse Yolande Bavan, and the way in which Peter used her as lead vocalist on the album. Bavan was a singer and actress who was born in Sri Lanka and had started her professional career working as a vocalist with renowned pianist Graeme Bell. Later, she met and was befriended by the legendary singer Billie Holiday. Holiday took the young Bavan under her wing and in addition to mentoring Yolande, developed a close friendship with her. Subsequently, Yolande found her way to America where she replaced Annie Ross in the renowned jazz vocal trio, Lambert, Hendricks and Ross.

On its original release in 1969, Knight of the Blue Communion drew comparisons with Captain Beefheart and Frank Zappa, with Yolanda appearing to be the conventional vocalist cast in what was often a sea of avant-garde madness, the music a blend of blues, rock & jazz. The LP was produced by the veteran US pop producer Sandy Linzer, who had written and produced the hit 'Let's Hang On To What We Got'.

Yolande left the band the following year and was replaced by Asha Puthli, a forward thinking, boundary breaking vocalist who'd trained in Indian classical singing and was a natural jazz improviser, whom the New York Times described as 'a sound like raga meeting Aretha Franklin'.

With Asha now on vocals, the Peter Ivers Band released their debut single in 1971, a cover of the Marvin Gaye number, 'Ain't That Peculiar', backed by the Ivers' original, 'Clarence O'Day'. Both titles, previously unavailable on CD, are included here as bonus tracks. As Puthli recalls, the single 'received glowing reviews from all three major industry magazines, Billboard, Cashbox & Record World and briefly entered the Top 100 Singles Billboard charts'.

Asha Puthli went on to sing on Ornette Coleman's Science Fiction album and won Downbeat poll award for best female jazz vocalist for her sterling contribution to that classic album.

Track Listings
1. Cat Scratch Fever
2. Water Curtain
3. Dark Illumination
4. Confession
5. Travelling Lightly
6. Showroom Model
7. Tobacco
8. Lord God Love
9. Knight of the Blue Communion
10. Gentle Jesus

Absolutely amazing stoned walk stuff
IMO a must have


Freeman Sound and Friends - Heavy Trip (1970)

"Unreleased recordings from obscure Ohio band with 1970 45 on the same label as Morly Grey. Much of this is actually modern recordings, nevertheless about half of it is enjoyable sinister psychrock with a late Doors vibe." (AcidArchives)

"World In Sound presents another group that represents the late '60s, early '70s heavy psychedelic era scene in northeast Ohio, USA (the same region that Dragonwyck is from). Having won the Starshine Productions' 'Battle of the Bands' in 1970, the five-member Freeman Sound was established as the most popular of several bands (including Morly Grey), that had records released on the Starshine label. This special collection of original songs and sounds is an exciting bit of rock history that documents some of the charm, wit and depth of talent that made Freeman Sound the special local phenomenon they were. This release includes twelve great, quality tracks, four on an extra 7" record. Bio and photos are on a poster. You'll get stoned on some mind-bending vocals backed by instrumentation that includes some very intense, heavy fuzz and wah pedal guitar sounds, solid drums and a screaming organ with flashes of famous British groups. This band broke up before they were able to make the most of their popularity. With this previously unreleased album, they may be taking up where they left off. For fans of intelligently-executed psychedelic hard rock and pop with a message."

1) Tomorrow Is Plastic
2) Heavy Trip #70 (Freak Out)
3) All I Need
4) If I Could Only
5) Wanting To Be Free
6) All Roads Lead Home
7) 16 Tons
8) Singing My Own Song
9) On The Way
10) Get It While You Can
11) I Just Can't Stop Lovin' You, Babe
12) Christmas Card


Friday, May 11, 2007

Vikings - I Need Your Lovin/Such A Love (7" single-Norton,2007)

"rare 1965 ohio garage"

side 1
I Need Your Lovin'

side 2
Such A Love


Sea Train - 1969 - Sea Train

Of the Blues Project came Sea Train.

This album ranks alongside Family's Music in a Dolls House, Quicksilver's Happy Trails, Steve Miller's Sailor; all classic albums of the time. It's an eclectic mix of classical,country,jazz and psych-fuzz-rock styles that is fragile and inventive and still sounds "quite good".

A1 Sea Train 4:07
A2 Let The Duchess No 3:38
A3 Pudding Street 4:55
A4 Portrait of The Lady As a Young Artist 3:45
B1 As I Lay Losing 4:55
B2 Rondo 3:22
B3 Sweet Creek's Suite 4:20
B4 Outwear The Hills 4:40

Roots-fusion combo Seatrain formed from the ashes of the Blues Project -- following the exits of the New York-based group's other members. Flutist/bassist Andy Kulberg and drummer Roy Blumenfeld relocated to Marin County, CA, forming a new lineup with vocalist Jim Roberts, ex-Mystery Trend guitarist John Gregory, former Jim Kweskin Jug Band violinist Richard Greene, and saxophonist Don Kretmar. Though the group's 1968 album, Planned Obsolescence, was issued under the Blues Project name out of contractual obligations, the sextet immediately rechristened itself Seatrain to release a self-titled 1969 LP highlighted by their unique blend of rock, bluegrass, folk, and blues. A series of roster changes plagued the group in the months to follow, however, and in 1970 Seatrain -- now comprising Kulberg, Roberts and Greene in addition to keyboardist Lloyd Baskin, drummer Larry Atamanuik, and former Earth Opera guitarist Peter Rowan -- released their second album, also eponymously-titled, scoring a minor hit with the single "13 Questions." The George Martin-produced Marblehead Messenger followed a year later, with Greene and Rowan soon exiting to join Muleskinner; Roberts and Atamanuik left Seatrain as well, with the latter eventually resurfacing in Emmylou Harris' Nash Ramblers. The remaining duo of Kulberg and Baskin recruited guitarist Peter Walsh, keyboardist Bill Elliot, and drummer Julio Coronado for one final LP, 1973's Watch.

Download Link :

V.A. - Relics (of the 60's) 1&2

Relics #1 - LP

Side 1
1 The Traits - High On A Cloud (Pelham, NY, U.S.A.)
2 Hot Dog Stand - Zilch
3 The Xtreems - Facts Of Life (St. Louis, MO, U.S.A.)
4 The Soulbenders - 7 And 7 Is (Grand Rapids, MI, U.S.A.)

5 The Basement Wall - Never Existed (Baton Rouge, LA, U.S.A.)
6 The Eyes - I'm Rowed Out (London, U.K.)
7 The Pack - The Colour Of Our Love (Detroit, MI, U.S.A.)
8 Third Power - Snow (Detroit, MI, U.S.A.)

Side 2
1 Bubble Puppy - Beginning (San Antonio, TX, U.S.A.)
2 The Eyes - When The Night Falls (London, U.K.)
3 Plastic Cloud - Shadows Of Your Mind (Bay Ridges, Canada)

4 The Underground - Psychotic Reaction (U.S.A.)
5 The Ninth Street Bridge - Hey Baby (Houston, TX, U.S.A.)
6 Pinkerton Colors - Strange Things (MI, U.S.A.)

Relics #2 - LP

Side 1
1 The Bow Street Runners - Another Face (U.S.A.)

2 Nomads - Hey Joe (Edmonton, Canada)
3 Marcus - A Trip In Time (PA, U.S.A.)
4 Help - Questions Why (CA, U.S.A.)
5 Maxx - 200 Years (MI, U.S.A.)
6 The Day After - The Graduate (PA, U.S.A.)
7 The Night Riders - Journey To The Stars (NC, U.S.A.)

Side 2
1 The Saxons - The Way Of The Down (West Palm Beach, FL, U.S.A.)
2 The Saxons - Things Have Been Bad (West Palm Beach, FL, U.S.A.)
3 Internal Canitery Sin - Purple Haze (Circleville, OH, U.S.A.)
4 King's English - Mister You're A Better Man Than I (Worthington, OH, U.S.A.)
5 Beau Jests - Love Is A Beautiful Thing (FL, U.S.A.)
6 Little John & The Monks - Black Winds (Blue River, OR, U.S.A.)
7 The Animated Egg - I Said, She Said, Ah Cid (U.S.A.)
8 The Farm - Inner Space (IL, U.S.A.)

Thursday, May 10, 2007

Many Bright Things - 1st album

From Aural Innovations #5 (January 1999)

This was one of the albums that led me towards writing the Texas Psych-out article. Never mind that I later discovered the band is really from Indianapolis! (Only the issuing label is in Texas.) It's funny, but the style of psychedelia on this one lays right in the Texas tradition. But what the hey? Who cares where they're from...the music is really cool. Many Bright Things is a band (?) with two main protagonists (Stan Denski and Ray Pierle) and a guest guitarist (Larry DeMyer) on one track. Both Denski and Pierle are versatile instrumentalists, sharing guitar and bass duties, but with Denski solely providing the vocals and Pierle the drums. I believe the LP came out a few years' back - this CD reissue also includes three bonus tracks which up the total time to a full hour.

The three-part epic musical rendition of "A Midsummer Night's Dream" opens with a female voice reading what I can only imagine is prose originally penned by Shakespeare in the work of the same name. But a majority of the twenty-minutes is just total psychedelic madness with an eastern flavor (there's that sitar sound again). "When the Night" is an excellent piece of work, a 10-minute shamanistic tribal romp featuring successive wah-wah and e-bow guitar solos. Here, Denski's vocals are chant-style and oddly engaging. "Lazy River Blues" is a cover of an old Jon Uzonyi (of Peace Pipe and The Human Equation) tune, though it seems to hearken all the way back to the Robert Johnson delta blues style. MBT adds their own touch to the music though, with the 'tremelo-style vocals' and a particularly intriguing bubbly guitar sound. "4 AM" is a Denski solo signature piece, which could very easily be a Jimmy Page composition for acoustic guitar (a la "White Summer"). I really like this sort of thing when done well, and this one ranks very high. The bonus tracks don't add too much to the original album, though are well worth a listen. "Loop Jam #2" is undoubtedly a bit of fooling around in the studio one day while the tape was rolling, pleasant enough whether 'finished' or not.

From the photos on the back cover, I can tell these guys have been around for awhile and no doubt have recorded things in the past, whether as a unit or separately. I enjoyed this effort and want to seek out more of their work. And now that I realize the band resides in Indiana (just a few hours west of the AI home base), the possibility of researching their past history seems more feasible. So watch this space for more info on this talented duo.

Available through Lone Starfighter records
Reviewed by Keith Henderson


Enjoy !

V.A. - Delincuentes (Martian, 2001)

"Jovenes Punks de America Latina"

Side 1

1 Los Hitters - Delincuente
2 Los Yetis - No Me Digas Adios
3 Los Ovnis - Baby Please Don't Go
4 Los Yorks - El Loco
5 Los Yetis - Amor Sideral
6 Los Ampex - Lost Love
7 Los Yaki - Las Estatuas De Marfil
8 The Speakers - Glendora

Side 2
1 Los Yorks - El Sicodelico
2 The Speakers - Lucille
3 Los Ovnis - Ya Se
4 Los Beat 4 - Lo Que Sera
5 Los Saicos - Lonely Star
6 Los Bulldogs - I'm Gonna Find A Cave
7 Los Shain's - Shain's A Go Go
8 The Beat Boys - Wake Me Shake Me


V.A. - Czechoslovakian Beat vol.1 (Reverendo Moon, 1996)

Side 1

1 The Matadors - Old Mother Hubbard
2 The Matadors - Malej Zvon, Co Mam
3 The Matadors - Don't Bother Me
4 The Bluesmen - A Proto Se Bojìm Mìt Te Rád
5 The Bluesmen - Ler Proc Nemohu Spat
6 Juventus - Bob Hands
7 Juventus - 18 Minut

Side 2
1 The Beatmen - The Enchanted Lie
2 The Beatmen - Safely Arrived
3 Flamengo - Poprava Blond Holky
4 Flamengo - Pani V Cenerem
5 Flamengo - Zavrazdil Jsem Lasku
6 The Olympics - Vzpominka Pliziva
7 Juventus - Procitnuti

Afterflow - 1968 - Afterglow

Extremely Organ/Keyboard driven album with a few catchy pop songs and the aforementioned Pscyh-out "Susies Gone".

Recorded in 1966-67, this Oregon group's sole release is notable for two serious 60s pop classics ("Morning" and "Afternoon"), a 2:29 gem of farfisa, slide guitar, and vocal dementia worth snagging for a "freaky 60s" comp ("Susie's Gone"), and another outstanding pop cut only a step behind the two monsters ("Love"). As the remaining cuts are quite solid and satisfactory, it's an album that holds up well to a full play and repeat plays. The basic sound is dominated by thin, corny, effusive farfisa organ lines and fleshed out with electric guitar, bass guitar, and drumkit. The multi-part male vocals are very clean, pretty, and generic to the era.

1. Morning (2:05)
2. Dream Away (2:33)
3. Susie's Gone (2:29)
4. Mend This Heart of Mine (2:37)
5. Afternoon (1:59)
6. Chasing Rainbows (1:49)
7. By My Side (1:54)
8. It's a Wonder (2:28)
9. Love (3:02)
10. Riding Home Again (2:34)
11. Meadowland of Love (2:23)
12. Susie's Gone [Alternate Version) (2:32)
13. Chasing Rainbows [Alt. Backing Track)1:51)
14. Afternoon [Alt. Backing Track ) (1:48)
15. Morning [Alt. Backing Track] (2:11)

The Reviews

Afterglow starts with "Morning," a gentle folk-rock song that finds the middle ground between the Byrds and Jefferson Airplane. Although there are a couple of tracks similar to "Morning" on the album, it is no more an indication of what's to follow as any other song on the record. Each song on Afterglow sounds as if it could have been written by different bands -- sure, there is the sighing "Mend This Heart of Mine," but it follows the downright bizarre "Susie's Gone," a which, with its dissonant Farfisa organs and slide guitars, sounds like a space voyage. It's not particularly coherent but its sampler nature makes Afterglow a charming psychedelic relic.

An obscure psychedelic band based in Oregon, Afterglow released only one album in 1968 before vanishing. Afterglow's lone, eponymous release was sort of like a sampler of American psychedelic styles, featuring songs that recalled not only the Doors and Jefferson Airplane, but also the Byrds, Donovan and trippy garage-psychedelic bands like the Strawberry Alarm Clock. Led by guitarist/vocalist Tony Tecumseh, the group formed in August of 1965 when Tecumseh was convinced by a friend to contact drummer Larry Alexander and a bassist named Mike. The trio, dubbed the Madallions, soon added vocalist Gene Resler and the band played several shows, usually at a local pizza parlor, before they went their separate ways to attend college. They re-formed in 1966, adding new bassist Ron George and keyboardist Roger Swanson. That fall, they began recording with producer Leo Lukla at his Golden State Recorders studio, but due to their studies, they were unable to complete an album until late 1967; the resulting eponymous record appeared early the following year on MTA Records. Afterglow was ignored at the time and the group broke up shortly afterward, but the record became a favorite of psychedelic collectors.

Organs, sunshiney guitar, harmonious backup vocals. This record is so good I had to raise the score! The sound is often similar to Belle and Sebastian (I suspect they may have covered "Riding Home Again", or written a song that is an exact copy)other times it's Beatle-esque. Beautiful organ stuff going on (Farfisa?) similar to the Piper at The Gates of Dawn at times (much more bubblegummy song content though in comparison but not overall). They get spaced out on "Susie's gone" almost to a No-Wave groove 10 years too soon. It's kind of a short record, but you'll just want to listen to it again after the first time, so who cares.
Something of a cross between Country Joe and The Fish and British North American Act,their album is certainly worth investigation and has been reissued on CD by Sundazed.

Download Link

Wednesday, May 09, 2007

Gandalf The Grey -1972 - The Grey Wizard Am I

A spellbinding combination of laid back acid folk rock & psychedelic fuzz guitar,
of the classic 1972 privately pressed album from the New York wizard aka, Chris Wilson.

Originals sell for over $1000! Sixteen tracks in total all recorded between 1966 and 1972.The songs are jangly folk-pop, mixing Tolkien mythology with big-city observationals. Througout the record, Wilson maintains a keen sense of structure and drama, adding little modulations here and there to keep things interesting.


1. The Grey Wizard Am I
2. My Elven Home
3. From The Green Havens
4. Here On Eighth Street
5. Go And See
6. The Christmas Song
7. Old Town Church
8. The Home Coming
9. I Don't Know Why The People
10. Mr. Joe's
11. Sunshine Down The Line
12. The World Belongs To The Children
13. A Young Girl Just Died
14. Before Tomorrow
15. The Shadow Of Tomorrow
16. An Elven Song Of Love

One could make the argument that J.R.R. Tolkien's The Lord of the Rings fantasy trilogy (published 1954-1955) had as significant a formative influence on the emergent hippie generation as did Robert Heinlein's Stranger in a Strange Land (1961) or Joseph Heller's Catch-22 (1961). Certainly you can hear it in the twee archaisms of British folk from the era and in the more whimsical, otherworldly strains of British psychedelia (the Incredible String Band comes immediately to mind), and, in time, it would saturate '70s prog rock. It is right there, too, as a catalyst in American folk-rock (perhaps Simon & Garfunkel's "Scarborough Fair/Canticle," probably the Byrds' "Renaissance Fair") and Baroque pop (Sagittarius' Present Tense, Love's "Forever Changes"), and ultimately in its acid folk (Perry Leopold's dark masterpiece Christian Lucifer). But Chris Wilson took the inspiration to its logical extreme on The Grey Wizard Am I. His nom de guerre, appropriated from the novels, is the ultimate homage, while many of the lyrics on the album were directly inspired by Tolkien's imaginary landscapes as well, and even by some of his characters. The remainder convert the ins and outs of Wilson's bohemian life in Greenwich Village into a sort of fantasy world of its own. And it is all quite delightfully, if earnestly, done — or, to be less precious about it, The Grey Wizard Am I is often a transfixing, bewitching little relic, particularly on such songs as "My Elven Home," "Go and See," and "Sunshine Down the Line." It's not likely to have a wide appeal — anything this eccentric, unworldly, and chimeric, no matter how well done, probably has a limited audience — and there is not a great deal of melodic variation from song to song to push it into the upper echelon of similar recordings. Nevertheless, The Grey Wizard Am I is a lovely little pastry for fans of obscure '60s and '70s folkadelica, ideal music for playing dress-up to, or for daydreaming.

Download link


Savage Rose - 1969 - In The Plain

Savage Rose - 1969 - In The Plain

01 Long Beofre I Was Born (3:19)
02 I'm Walking Through the Door (4:28)
03 Let's See Her (3:52)
04 Ride My Mountain (5:38)
05 Shepherd and Sally (5:18)
06 His Own Happiness Gods Little Hand (4:19)
07 Evening's Child (3:25)
08 Trial in Our Native Town (7:08)

In the Plain by Denmark's Savage Rose has a striking cover photo with psychedelic color coordinated band members surrounded by wild pink lettering of the group name. Inside is innovative music, pretty much living up to the typical Polygram hype from this era written on the back cover. "Let's See Her" sounds like Ten Wheel Drive meets Vanilla Fudge; brothers Anders Koppel and Thomas Koppel wrote seven of the eight tracks, and created with this one clever sound and arrangements. The sleeper on In the Plain, though, is the one non-original, five minutes and 38 seconds of "Ride My Mountain," a composition by Jade. It's a wonderful production number where Anisette's vocal scream out over the very together instrumentation. The back cover photo reflects the intensity of "Ride My Mountain," the band looking like exiles of Charles Manson's clan in the positive of the back cover photo, a larger negative version above it making this import very hip. The Savage Rose look like they are auditioning for the film The Savage Seven. The opening track reminds one of a hipper Peanut Butter Conspiracy, and there is no doubt that Savage Rose find more inspiration in their music than similar bands from the era. The production is somewhat like Davd Briggs' work on Alice Cooper's Easy Action, while titles like "The Shepherd & Sally" are as experimental as anything on that early Cooper disc. Having the male vocals on "His Own Happiness" is unnecessary, sort of like Big Brother & the Holding Company letting Janis Joplin take a time out. Thankfully, Anissette comes back after a mini-instrumental interlude for a rare look at the band's sangfroid. It is also interesting to hear Thomas Koppel's to-be ex-wife, Llse Maria Koppel, on harpsichord backing his next wife, Anissette. "Evening's Child" is like a psychedelic powwow of jazz-influenced garage rock which cascades into the dirge that is "A Trial in Our Native Town." Without the polish producer Jimmy Miller would bring to the mix on Refugee, In the Plain is a very good look at a highly creative band.
~ Joe Viglione, All Music Guide

Hope you like it :-))

Thanks Michael for this one !!!

P.J. Orion & The Magnates

P.J. Orion & The Magnates

"Local prep-garage LP with a folkrock sound a la Ha'Pennys but slightly more pro-sounding, adds some early 60s and UK R'n'B covers for good measure. Consistent in its $15 jangly Searchers/early Byrds sound, even on Stones and Animals numbers, with a folkrocked "Love Minus Zero" perhaps the most original thing on board. Nice live feel with appealingly loose drummer and amateur vocals. No selfpenned material and kind of short with only nine tracks, even as most of them cross the 3-minute mark. Recorded in New York. The band members belonged to wealthy Greek shipping families (hence "Magnates") and were students at the Groton prep school, which makes their tough greaseball stance on the supercool cover seem a wishful Spring break fantasy. [PL]"

1] As Tears Go By
2] We Gotta Get Out Of This Place
3] Eve Of Destruction
4] Under The Boardwalk
5] Sheila
6] Love Minus Zero
7] What Have They Done To The Rain
8] Bells Of Rhymney
9] Gloria

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posted by RP PeachFuzzForest Blog

V.A. - Crude PA vol.1-2 (Distortions, 1996)

Side 1

1 Pat Farrell & The Believers - Brand New Baby
2 The Conductors - She Said So
3 The Soul Generation - I Can't See You
4 The Couriers - Feelings
5 The Changing Tymes - You Make It Hard
6 The Sands Of Time - Come Back Little Girl
7 The Scholars - I'm Gonna Make It
8 The Effects - I've Been Told
9 The Bitter End - If You Want Somebody

Side 2
1 The Snaps - Polka Dotted Eyes
2 J.C. & The New Tones - Love: Human Emotion
3 The Nomads - Point Five
4 The Nomads - I Need Your Energy
5 Facts Of Life - I've Seen Darker Nights
6 The Iron Gate - Feelin' Bad
7 Thee Young Generation - Ruby Tuesday
8 Thee Young Generation - Stupidity
9 The Starfyres - Captain Dueseldorph

Side 1
1 The Wilde Things - Can't See The Sun
2 The Wilde Things - My Life Is Black
3 The Undertakers - Little Girl
4 The Bats - How Could You Have Known
5 The Glas Menagerie - Natasha
6 The Creations - Love Is Tuff
7 Effects/Glass Company - MW Lads

Side 2
1 The Savoys - Only So Much
2 The Savoys - Got To Say Goodbye
3 The Loose Enz - A World Outside
4 The Rising Tydes - Artificial Peace
5 The Rising Tydes - Don't Want You Around
6 The Chosen Few - Staircases, Places And Time
7 Strawberry Tuesday - Return Of The Walrus
8 Mysterious Clown - Mysterious Clown

V.A. - Cicadelic 60's vol.3-1965-66 Folk Rock ( Cicadelic CD,1993)

"The Savage Sounds of 12 Far-Out Groups"

1 The Sting Rays - Baby If I Loved You
2 The Sting Rays - You Better Think Twice
3 The Sting Rays - I Can Feel
4 The Sting Rays - Now That You're No Longer Mine
5 The Beats - We Can Work It Out
6 The Beats - Paperback Writer
7 The Mods - Days Mind The Time
8 The London Knights - Go To Him
9 The Maltees Four - You
10 The F.B.I. - What Am I To Do
11 The F.B.I. - Daytime Nightime
12 The Shillings - Laugh
13 The Cascades - She'll Love Again
14 The Uncalled For - Since You've Been Gone
15 The Uncalled For - Masters Of War
16 The Outcasts - Nothing But Love
17 The Outcasts - Something About You
18 The Infinite Pyramid - On A Windowsill
19 The Beats - Norwegian Wood
20 The Beats - Love Me Do
21 The Super Lloyds - River


V.A. - Attack Of The Jersey Teens (Bona Fide,1984)

"60's Punk from the Garden State"

Side 1
1 The Young Monkey Men - I Believed You
2 The Young Monkey Men - I'm Waiting For The Letter
3 The What-Nots - Morning
4 The What-Nots - I Need You Baby
5 The Friedles - She Can Go
6 The Young Monkey Men - I Love You
7 The What-Nots - I Was A Fool
8 The Friedles - I Lost Her

Side 2
1 T.P. & The Indians - Ally Or Enemy
2 The Friedles - Don't Tell Me What To Do
3 The Young Monkey Men - Bald Headed Woman
4 The Calliope - Streets Of Boston
5 Loved Ones - Surprise, Surprise (For You)
6 The Confederate Society - Pride
7 The Friedles - When Love
8 Saturday's Garbage - The River Of Styx


Tuesday, May 08, 2007

Shark Move - Chede Chokra's Shark Move (Indonesia 1970)

(Many thanks to Mr. Attic for the vinyl rip!)

Shark Move started playing in Bandung, Indonesia in 1970 and was founded by Benny Soebardja who play lead guitar and sings. Shark Move is one of the Indonesian rock pioneers who combined rock music with traditional harmonies and progressive sounds. Some songs on this LP using English lyrics, while other bands at that time where still playing sweet music, this is really an experimental recording. Unfortunately at the end of 1970 the keyboard player passed away so Benny decided not to continue with his band and formed a new on named Giant Step. A very complex prog album which is as strong as many good UK albums of the same period but it has this little extra which makes this album unique and great. (Shadoks)

Another heavy new title from Shadoks that restores an obscure 1970 psych monster from Indonesia. Shark Move have that classic slow sunrise sound of countless South American titans mixed with the kind of sunburst vocal style that floats the best of the UK freakbeat sides (Jason Crest et al), crunching fuzz, heavy keyboards and kaleidoscopic song stylings. This is ambitious, florid psych that should please anyone who digs the more dramatic UK sugarcube moments as much as the more enjoyably complex Euro prog shit. And if that ain't you, who the fuck is it? (Volcanic Tongue)

1. My Life
2. Butterfly
3. Harga
4. Evil War
5. Bingung
6. Insan
7. Madat


A Cid Symphony - 1967 - A Cid Symphony

A Cid Symphony - 1967 - A Cid Symphony
[bonus tracks] @256

1. Loudusphone Number 1 - 1:17
2. Loudusphone Number 2 - :35
3. Loudusphone Number 3 - 14:01
4. Pierced Hand Number 1 - 6:30
5. Pierced Hand Number 2 - 4:11
6. Pierced Hand Number 3 - 8:50
7. Golden Gate Number 1 - 7:34
8. Golden Gate Number 2 - 3:21
9. Golden Gate Number 3 - 1:33
10. Golden Gate Number 4 - 3:57
11. Burning Bush Number 1 - 3:02
12. Burning Bush Number 2 - 2:56
13. Burning Bush Number 3 - 8:45
14. Noismakers, No. 1 - :35
15. Noismakers, No. 2 - 4:37
16. Noismakers, No. 3 - 5:46
17. Noismakers, No. 4 - :56
18. Scrambled Psychadelic BS Number 1 - 8:31
19. Scrambled Psychadelic BS Number 2 - :26
20. Scrambled Psychadelic BS Number 3 - 6:43
21. Scrambled Psychadelic BS Number 4 - 3:21
22. BT 1 [*] - 2:53
23. BT 2 [*] - 4:15
24. BT 3 [*] - 2:37

The artists' name are actually Fischbach & Ewing while the LP is often listed as "Acid Symphony", a reading that one of the band members has approved. The music is stoned acoustic counterculture brainstorms with an Eastern vibe. More bluesy/folky beatnik angle than psychedelia, so beware of the usual dealer hyperbole. Interesting period piece in any event. Engineered/produced by Denise Kaufman of the Ace Of Cups, who handled the publishing via her Thermal Flash Music company (this is NOT the label).
Homemade low-key mostly acoustic acid folk with eastern sounds and anti-war spoken word dialogues. Records are on green, orange, and purple vinyl respectively with matching inner sleeves and square labels. [RM]

Any CD that opens with over a minute of country harmonica-backed yodeling followed by an entire 35-second track of silence is bound to be peculiar, even if it was created in a time that hosted more than its fair share of bizarre music. A Cid Symphony certainly wasn't the pop group next door. In fact, there is nothing remotely pop about the group, from their psychedelically derived moniker to the nameless "songs" and original 3-LP, colored-vinyl packaging, and the completely counter-pop, noodling droning of their music — droning sometimes indescribably beautifully, but occasionally in the pejorative sense of that word. The band is unquestionably of their time, yet their music is unique from any other during the '60s. The most obvious way in which their sound is grounded in the heady, spiritually yearning malaise of the '60s is its complete immersion in Hindustani and Middle Eastern music, with modal, raga-esque scale progressions and a discernibly mystical bent filling the entire first CD and a portion of the second. A Cid Symphony easily conjures an image of college-aged kids who are caught up in the kaleidoscope of social and cultural energy of the period, sitting in a public park completely engrossed in the strangely expressive, foreign music coming out of the instruments they're playing, oblivious to any passers-by. This is actually very close to how the music was actually conceived. Ernest Fuschbach's fluttering dulcimer is the basis of these songs, interspersed with Charles Ewing's flamenco-picked guitars. At times, alongside the Eastern underpinnings, the music is wholly evocative of front-porch Appalachian folk and blues, and the mixture of the two genres mostly works brilliantly, and at least much more successfully than it would seem possible. There are also elements of Native American ceremonial music, Spanish music, and a smattering of 12-bar acoustic blues, especially on the second CD, where A Cid Symphony performs several actual folk-blues songs with vocals, although even these are rarely straightforward. At times the music can touch on a palpable dissonance, while at others it can be so lyrical and innocent that the only way to describe it is heart-wrenchingly romantic or entirely sensual. There is no doubt that this is indulgent music, hopped up with not a little bit of naivete and the sort of self-righteous austerity that is only the province of the young, compounded by the righteousness of the era. It can seem underdone or convoluted in small patches, and after long stretches of undisturbed listening, it can also blend together a bit. By and large, though, a profound and transforming sort of innocence shines through these songs, and A Cid Symphony frequently hit on a groove so beautiful that it is mandala-like in its transcendence. — Stanton Swihart

Formed 1966 in Berkeley, CA

Unquestionably a harbinger of the times, A Cid Symphony — a folk-and-ethnic music collective that incorporated instruments as wide-ranging as dulcimer, hand-held brass, and Hindustani ankle bells into their extended Middle Eastern-cum-country & folk music drones — was instigated and helmed by Dustin Mark Miller. Miller, was a part of the mid-'60s Free Speech Movement at UC Berkeley, spending his time selling protest records to raise money for the movement. The musical passion stuck, so in 1966 he enlisted old pal and neighbor Charles Ewing, whom he had known since kindergarten, and Ernest Fischbach to start a folk/ethnic flower-child band aligned with the San Francisco Diggers. Ewing was an avid flamenco guitar aficianado, and he had met Fischbach while the two were in graduate school together at Cal State Long Beach. The two shared a passion for music, and Ewing soon discovered Fischbach could play any instrument with strings, as well as drums and harmonica. The trio converged in Los Angeles and A Cid (originally Acid) Symphony was born.

Early in the band's genesis, Fischbach married teenage model Deborah Cleall, who promptly became a part of the group, which, moreso than a band, soon grew into a loose band of nomadic friends, a family and tribe. John Goeckermann and Tom Harris often added their percussive skills, and David Goines contributed as well. A Cid Symphony began playing mostly at colleges, often with like-minded peers the Firesign Theatre and sponsored by friends, Students for a Democratic Society, or whomever would support the music. They also crashed the Monterey Pop Festival, playing on the grounds of the festival and meeting Ravi Shankar. According to Digger principles, the band would hold free concerts at which they fed everyone that showed up.

When the band earned its first write-up in the Sunday Los Angeles Times, they all quit their jobs on the spot and migrated to the San Francisco Bay Area, where Ewing and Fischbach studied Hindustani music at the Ali Akbar (Khan) College of Music. San Francsco music columnist Ralph Gleason introduced Miller to Max Weiss of Fantasy Records. Weiss allowed the band to use Fantasy's studios, and they recorded and released their first and only record, a self-titled triple LP, in 1967, published by the Thermal Flash Music label of Denise Kaufman, an original Merry Prankster. The Fischbachs went on to play with the Golden Toad, one of California's premier folk/ethnic music bands led by Bob Thomas and a sister band of sorts to the Grateful Dead. They would often join A Cid Symphony at functions such as the Renaissance Pleasure Faire. By the late sixties, after three years together, A Cid Symphony dissolved for the most part as a collective musical entity. Miller and Ewing's families, however, went on to live communally for the next two decades. — Stanton Swihart


Monday, May 07, 2007

V.A. - A Pot Of Flowers (Mainstream, 1967)

Side 1
1 The Wildflower - Baby Dear
2 The Wildflower - Wind Dream
3 Euphoria - Hungry Women
4 Other Side - Streetcar
5 The Wildflower - Coffee Cup
6 The Harbinger Complex - I Think I'm Down

Side 2
1 The Wildflower - Jump In
2 Other Side - Walking Down The Road
3 The Harbinger Complex - When You Know You're In Love
4 Euphoria - No Me Tomorrow
5 The Harbinger Complex - Time To Kill
6 The Harbinger Complex - My Dear And Kind Sir

Sixto Rodriguez - Coming from Reality (1972)

Sixto Diaz Rodriguez is a US folk musician, born in Detroit, Michigan on the 10th of July 1942. He was named 'Sixto' because he was the sixth child in his family. However, he is also known as Jesus Rodriguez by South African fans. Rodriguez's parents were middle-class immigrants from Mexico, who left in the 1920s. In most of his songs he takes a political stance on the cruelties facing the inner-city poor.

Rodriguez recorded some songs with a small recording company, who later folded due to financial problems. He did, however, manage to produce two albums - "Cold Fact", in 1970, and "Coming to Reality". They were relatively unknown in his home country, and most of the world, but unbeknownst to him went platinum in South Africa, where he achieved cult status. He was also popular in Zimbabwe, New Zealand and Australia. After the failure of the record company, he gave up his career as a musician. He was working on a Detroit building site in the late 1990's when his daughter discovered his fame thanks to a South African fan website.

"South Africa in the early 1970s was a very restrictive society," says Stephen Seger-man, a former Johannesburg jeweller who made it his mission to track down Rodriguez. "Cold Fact was never banned, but it never received any radio play, except on pirate stations like Swazi Radio, which weren't under the censor board. The song I Wonder had this line, 'I wonder how many times you had sex', which for South Africa in those days was about as controversial as it could get. For kids, it was like a joke song, they were like 'listen to this!'. Then they heard the album, and realised there was a lot more in it, it was trippy, it was beautiful, it had a lot of social content. It affected a lot of people in a lot of different ways. The commercial success was unbelievable. If you took a family from South Africa, a normal, middle-class family, and looked through their record collection, you'd find Abbey Road, Neil Young's Harvest and Cold Fact. It was a word-of-mouth success."

The word of mouth did not reach Detroit, where Rodriguez had given up his recording career after a second album, 1972's Coming From Reality, vanished in much the same fashion as his debut. He tried an unsuccessful career in politics, studied for a BA in philosophy, worked in a petrol station and apparently "took part in Indian pow-wows throughout Michigan", before becoming a self-employed labourer. In South Africa, meanwhile, his record company seemed to have no idea of his whereabouts. In place of any concrete information, rumours spread. It was variously assumed he was dead from a heroin overdose, had been burned to death onstage, had been committed to a mental hospital, or was serving a prison sentence for murdering his lover: "Who or what Rodriguez is remains a mystery," claimed the sleeve notes to a reissued CD.
  1. Climb Up On My Music
  2. A Most Disgusting Song
  3. I Think Of You
  4. Heikki's Suburbia Bus Tour
  5. Silver Words
  6. Sandrevan Lubally - Lifestyles
  7. To Whom It May Concern
  8. It Started Out So Nice
  9. Halfway Up The Stairs
  10. Cause

Subway - 1972 - Subway

A dreamy Acid-Folk album, very much evocative, beautiful.

Truly odd and almost indescribably strange record.

Subway were a half American, half British duo, living in France who released 200 copies of this, their self titled album, on vinyl, and promptly disappeared without trace. Their sole 'gigging' consisted of busking in Paris subways- hence the band's name- and to add to the legend, it seems that most of the unsold copies were melted, which was usual French practice!! The music itself is dark, psychedelically inclined folk with elements of freeform prog: somewhere betwixt Comus and the West Coast Pop Art Experimental Band, but with less instruments.

1. I Am A Child
2. Songs For Sinking Shelters
3. Warm You Are
4. All The Good Things
5. Enturbulation - Free Form
6. Arizona Sands
7. Rosana Of The Roses
8. Can I Trade With Your Mind

Early 70s acid folk songcraft from Subway -- the duo of guitarist/singer/composer Irv Mowery and violinist Malcolm Watson -- a lost gem of minimalist psychedelia! Legend has it the the original LP was released in 1972 in an astoundingly small pressing of 200 copies (?!) -- and it's totally worth a rediscovery! The tunes aren't as out there as you might imagine -- the guitar and violin are both plaintive and impeccable, and Mowrey's tunefulness is rewarding -- with real songs that are closer to a stripped down Sunshine era Donovan than the typical overpitched freak folk oddity. Nice! Titles include "I Am A Child", "Song For Sinking Shelters", "Warm You Are", "All The Good Things", "Enturbulation -- Free Form", "Arizona Sands:m "Rosanna Of The Roses" and "Can I Trade You With My Mind".

A Must Have Acid Folk Lovers.

Download Link :

Flying Karpets - 1968 - Flying Karpets

01 Gimme A Little Sign
02 La Felicidad
03 White Rabbit
04 Behind A Young Girl's Smile
05 20th Century Fox
06 That Girl Don't Say Much
07 San Francisco Nights
08 I Wanna Be Free
09 My Back Pages
10 Yes I Know
11 Mercy Mercy Mercy
12 Winter Song

Wonderful mellow psychedelic from late 60's recorded by a bunch of US draft dodgers in Mexico. All english vocals and dreamy trippy psych pop. Full of appealing garagey primitiveness with some originals & great covers of 'My Back Pages', 'San Francisco Nights' & 'White Rabbit'

Sunday, May 06, 2007

Os Mutantes - 1968 - Os Mutantes

Allmusic review:

The band's debut album, Os Mutantes, is far and away their best — a wildly inventive trip that assimilates orchestral-pop, whimsical psychedelia, musique concrète, found-sound environments — and that's just the first song! Elsewhere there are nods to Carnaval, albeit with distinct hippie sensibilities, incorporating fuzz-tone guitars and go-go basslines. Two tracks, "O Relogio" and "Le Premier Bonheur du Jour," work through pastoral French pop, sounding closer to the Swingle Singers than Gilberto Gil. Though not all of the experimentation succeeds — the languid Brazilian blues of "Baby" is rather cumbersome — and pop/rock listeners may have a hard time finding the hooks, Os Mutantes' first album is an astonishing listen. It's far more experimental than any of the albums produced by the era's first-rate psychedelic bands of Britain or America.

Saturday, May 05, 2007

Fallen Angels (US) - 1968 - Fallen Angels

Fallen Angels (US) - 1968 - Fallen Angels

01 Room At The Top
02 Love, Don't Talk To Strangers
03 Your Friends Here In Dundervil
04 I've Been Thinking
05 It Might Be EEasier To Stay Home
06 Most Children Do
07 Introspective Looking Glass
08 I Don't Want To Fall
09 No Way Out
10 Painted Bird
11 Your Mother's Homesick Too
12 You Have Changed

Fallen Angels

JACK BRYANT vcls, bs A B C D E
HOWARD DANCHIK keyb'ds, flte A B C D
JACK LAURITSEN gtr, sitar, vibes A B C D E
LARRY WILLIS keyb'ds, B-3 E

1(C) FALLEN ANGELS (Roulette SR 25358) 1968
2(D) IT'S A LONG WAY DOWN (Roulette SR 42011) 1968
3(B) RAIN OF FIRE (Wild Child! 05852) 1998 (CD only)

1(A) Everytime I Fall In Love/I Have Found (Laurie 3343) 1966
2(A/B) Have You Ever Lost A Love?/A Little Love From You Will Do (Laurie 3369) 1966
3(C) Room At The Top/Your Friends Here In Dunderville (Roulette 4770) 1967
4(C/D) Hello Girl/Most Children (Roulette 4785) 1967
5(C) Room At The Top / Most Childen Do (PS) (Philco HP-23) c1968
6(D) Everything Would Be Fine/Hid And Found (Sun Dream 704) 1974

NB: (5) is a 'Hip Pocket' 45 - a 4" flexi in a pic envelope, a series issued by Philco. (6) was recorded in 1969 but released posthumously on manager Tom Traynor's local label.

Operating out of Washington D.C. this band was formed in 1965 when Wally Cook and Ned Davis of the Young Rabbits teamed up with Jack Bryant and Charlie Jones. Initially called the Disciples, then the Uncalled Four, they eventually settled on the Fallen Angels. Drummer Rocky Isaac was also a member at one point (he was formerly with the Tejuns, the Creatures, and later Cherry People) but his place was eventually taken by Richard Kumer from the The Mad Hatters by the advent of the first LP. Lauritsen had also replaced Charlie Jones by then and Danchik had been added to make it a quintet.... Their first album has a nice paisley cover and consists of competent rock with some pleasant psychedelic interludes. The second album carried on from where the first had ended. Three tracks in particular - One Of The Few Ones Left, Something New You Can Hide In and I'll Drive You From My Mind - stand out, being full of melodic guitar work, climbing keyboards and sensitive vocals.

The band split in 1969 but in 1974 a retrospective 45 was released on their manager's own-label 45. This has an acoustic mellow rock sound until some mean guitar kicks in, and is notable for affected 'vibrato' vocals. The flip is dull by comparison and full of la-la-la-la-la's.

Both original albums are worth searching for and the second has been repressed. You can also find twelve album tracks on each of the Collectables CDs Roulette Masters, Part 1 and Part 2.

In 1998, The Fallen Angels returned with a new CD Rain Of Fire. Every Time I Fall In Love and Everything Would Be Fine are updated and accompanied by eleven new tunes (all bar one by Jack Bryant). Purists who expect a time-warp back to their garage and psych sounds of 1967/8 will be disappointed; but for those without such unrealistic preconceptions, this is accomplished and mature rock with blues, folk and country influences (just the odd spot of rust in the vocals department).

Compilation coverage has included: Have You Ever Lost A Love? on Mindrocker, Vol. 10 (Dble LP) whilst their decent cover of Arthur Lee's Signed D.C. resurfaced on Psychedelic Moods - Part Two (LP & CD).

For a comprehensive lowdown on the band check out issue #9 of Jeff Jarema's excellent Here 'Tis fanzine. (Max Waller)

V.A. - Turkish Delights_26 Turkish Beat Psyche & Garage Delights

From Mogollar to Erkin Koray this is an excellent compilation,
which prooves that Turkey had a great rock scene back in the 60's.

26 Turkish Beat, Psych & Garage Delights: rarities from beyond the Sea of Mamara (also called Turkish Delights) is a compilation of Turkish rock groups from the 1960s and 70s. The album highlights the early and classic 1966-77 rock periods in Turkey, including giants such as Mavi Işiklar, Erkin Koray, and Moğollar. Informed by the music coming out of Britain and the United States, the fourteen bands in this collection run the gamut from early beat sounds of garage bands to mid-seventies psychedelic explorations, simultaniously infusing the music with a distinctively Turkish sound.

One of the greatest impediments to the total global domination of rock and roll was language. The young and curious in non-anglophone regions were often put off by their inability to decipher the frequently slurred and confusing lyrics of rock and roll. Such was the case in Turkey, which, although it had a small rock contingent in the 1950s, did not truly jump on the bandwagon until a decade later. Early on, the interest in Euro-American popular music was fuelled in Turkey primarily by instrumental bands such as the Ventures or the Shadows. Then the Beatles broke and, as happened in many popular music scenes around the world, everything changed.

No matter the era, most novice rock bands (and some more experienced groups) have participated in the time-honored tradition of copying hit songs, and the garage, beat and psych bands in Turkey were no exception. Turkish Delights includes several covers of early rock songs, ranging from Selçuk Alagöz’s Turkish reworking of a tune by the Israeli group The Cedars (Track 18) to renditions of tunes by more well-known European acts such as the Atwoods or Shocking Blue (Istanbul Erkek Lisesi’s “In the Deepings,” Track 4, and Mavi Işiklar’s “Ask Çiçeği,” track 11), to songs by large top-forty and super-groups like the Yardbirds (İzmar Özel Karşiyaka Lisesi’s “Over Under Sideways Down,” track 8) or Paul Revere and the Raiders (Mavi Işiklar’s “The Great Airplane Strike of 1967.”

While the covers are intriguing, what is truly fascinating are the ways in which Turkish musicians in the 1960s fused rock with more traditional Turkish elements. Turkish youth were in a unique position relative to many of their international peers, placed as they are at the geographical and social crossroads of Europe and Asia. The social and cultural reforms of Ataturk made the young people of that time particularly sensitive to European aesthetics and ideology. Turkish musicians in the 1960s, unlike their counterparts in other regions, were better able to fuse traditional Turkish music with rock and roll, leading to several recordings that are breathtaking in their beauty and audacity.

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Flat Earth Society - 1968 - Waleeco

Having read the previous review of this album,it's time to set the record straight.Firstly,their cover of the midnight hour[all the other songs are originals]is a fair effort.I wouldn't call it either dreadful or fantastic.

But I would call the haunting,eerie "Dark Street Downtown" fantastic..a masterpiece with its distinctive vocals and piano accompaniment supported by lyrics of the finest order.Turn the lights out,light the candles and just listen.Breathtaking stuff!! Very Baroque and very beautiful.
This standard is maintained on "Prelude For The Town Monk", another Jack Kerivan composition and with equally thought- provoking lyrics.A young man in his late teens getting his message across in the most literate of ways and with a voice to match any before or since in Rock.

His third contribution is "Shadows",an uptempo,organ-driven number but with the same haunting mood of "Dark Street".The rest of the songs are written by Jack Kerivan and Phil Dubuque or Jack Kerivan and Rick Doyle. The latter collaboration contains two excellent instrumentals of a laid-back,psychedelic nature, "Portrait in Grey" and "Satori". Some nice phasing and experimentation that rounded off an excellent debut[and sadly only]album.
If you like Folk Rock, you'll like The Flat Earth Society.If you like Baroque,similarly.Psychedelic,garagey, quite a mix in this the band themselves say "no particular bag at all"

I rate this album with any Boston album of the era and probably any album of any area.But it's for the mellow,haunting moments when you want to be both relaxed yet stimulated by thoughts and imagery.Was music ever so good?

Wonderful fare from one of Boston's greats and if you like this try The Rising Storm's "Calm Before" and The Beacon Street Union's two albums.

Reviewer:C. M. Roughan "Panamaniac" (London,UK)

Download It Here :

Family - Entertainment

FAMILY was formed in 1967 by John ‘Charlie’ Whitney (guitar, vocals), Roger Chapman (vocals), Jim King (saxophone, Flute), Ric Grech (bass) and Rob Townsend (drums) in Leicester.

FAMILY plays a mixture of Rock, Blues and Folk interwoven with Classical and Jazz elements.

The history of FAMILY goes back to1962 when John Charlie Whitney formed the R&B outfit THE FARINAS, together with Jim King (sax & vocals) Harry Overnall (drums) and Tim Kirchin (bass). In 1965 Rick Grech replaced Kirchin on bass and in 1966 singer Roger Chapman joined the band. Chapman’s vocal-style and the use of violin and sax expanded the band’s sound in a progressive direction. They changed their name to ROARING SIXTIES and started to wear double-breasted suits on stage, that gave them a gangster image. Consequently the producer Kim Fowley, who recorded demos with the band in1967,christened them ‘The Family‘. Shortly after becoming FAMILY, drummer Overnall was replaced by Rob Townsend.

In September 1967 FAMILY released a single for ’Liberty’, produced by Jimmy Miller and a year later signed to ’Reprise’ for their first record ’Music In A Doll’s House’ (1968), produced by Dave Mason (TRAFFIC), who contributed one composition to the record. The record presented a mixture of Rock, Blues and Folk with Classical and Jazz-elements, dominated by Roger Chapman’s typical ’throaty’ vocal-style. The record came out with a sophisticated cover, a feature that would become one of FAMILY’S trademarks. In July1968 the band opened for singer Tim Hardin at the ‘Royal Albert Hall’ in London and in 1969 they released their second record ‘Family Entertainment’, that followed the same musical direction as the first. After the release of the record and prior to a US tour Ric Grech quit the band to join BLIND FAITH. John Weider (Ex-ERIC BURDON &THE ANIMALS) joined the band on bass and violin and in 1970 John ‘Poli’ Palmer (Ex-ECLECTION/keyboards & vibes) replaced Jim King ,who was dismissed for his ‘erratic behaviour’.

In 1970 FAMILY released two records ‘A Song For Me’, on which the band developed a more aggressive sound and ‘Anyway’, a half-live half-studio record, with a beautiful ‘Leonardo Da Vinci’ cover . Both records entered the British Top Ten. In 1970 the band played several major European Rock-Festivals (among others ‘The Isle Of Wight Festival‘) and became an appreciated live-act. Roger Chapman became famous for tambourine and mic-stand crashing and his special custom ‘Idiot-Dancing’.

In 1971 the band released a compilation with remixes of older songs plus unreleased singles ’Old Songs, New Songs’. The same year John Wetton (Ex MOGUL TRASH/bass, guitar and vocals ), replaced John Weider. The new line-up recorded ‘Fearless’ in 1971, the first FAMILY album to use a synthesizer and ‘Bandstand’ in 1972. Both albums continued the harder and rockier side of FAMILY‘S music. Prior to a US tour John Wetton left the band to join KING CRIMSON and was replaced by Jim Cregan (Ex -STUD) on bass and guitar and Tony Ashton (Ex-ASHTON, GARDNER &DYKE) replaced Poli Palmer on keyboards. The band recorded one last record ‘It’s Only A Movie’ in 1973 and gave a Farewell-concert in Leicester on October 13. After the dissolution of FAMILY Roger Chapman and Charlie Whitney formed the STREETWALKERS until Chapman went solo in 1979.

Family Entertainment was the second album from the British progessive rock band Family, released in February 1969.

The cover of the album was a clear takeoff off the sleeve of the Doors's second album, Strange Days, which Family frankly admitted to.

Family Entertainment was the last album from the group's original lineup, as listed below:

Roger Chapman: vocals and percussion
John "Charlie" Whitney: guitars, organ
Jim King: vocals, saxophone, piano
Ric Grech: bass, vocals, violin
Rob Townsend: drums and percussion

Track list
The Weaver's Answer
Observations From a Hill
Hung Up Down
Summer '67 (instrumental) (Whitney)
How-Hi-the-Li (Grech)
Second Generation Woman (Grech)
From Past Archives Dim Processions (Whitney)
Face In the Cloud (Grech)

All selctions are by Roger Chapman and Charlie Whitney except where noted.

This album is among the best music that has ever been made, in my opinion.


Daughters Of Albion - 1968 - Daughters Of Albion

Daughters Of Albion - 1968 - Daughters Of Albion

1. I Love Her & She Loves My
2. Still Care About You
3. Yes, Our Love Is Growing
4. Candle song
5. Ladyfingers
6. Sweet Susan Constantine
7. Hat Off, Arms Out, Ronnie
8. Good to Have You
9. Well Wired
10. Hey, You, Wait, Stay
11. Story Of Sad
12. John Flip Lockup

GREG DEMPSEY vcls, gtr A

1(A) DAUGHTERS OF ALBION (Fontana SRF 67586) 1968

NB: (1) came with a pair of mini-posters, approx 8"x11", featuring surrealistic hippie drawings. (1) also released by Fontana in U.K. (STL5486) and Holland (887806).

A hippie psych pop duo who were produced and arranged by Leon Russell. All the songs were written by Greg Dempsey (sometimes helped by Dave Luff) and some arrangements are obviously influenced by the Beatles's Sgt. Pepper album. Quite pleasant but nothing essential.

Graced with a really good voice, Kathy Yesse recorded a solo album in 1974 (produced by Greg Dempsey) as Kathy Dalton, Boogie Bands And One Night Stands. This was also released with one different track as Amazing, with both titles appearing on Frank Zappa's Discreet label. While the record itself is unremarkable, failing to showcase her considerable talents, it's worth noting that she was backed by Little Feat with guest apperances including Van Dyke Parks, Sneaky Pete, Carl Wilson, Billy Hinsche (of Dino, Desi and Billy) and others.
(Stephane Rebeschini/Matt Moses/Ed Worcester)



Thanks Chris41 for this one !!!

Friday, May 04, 2007

Shiny Gnomes - 1994 - Mc Creatrix

Shiny Gnomes - 1994 - Mc Creatrix
(Vinyl Rip @256)

Tracklist :
A 1 Birthday OM
A 2 Healing Sounds Asleep
A 3 It`s All Here
A 4 In Nadreena`s Garde
A 5 Heart Moon

B 1 Lavender Hill
B 2 Dyade
B 3 Triple Mother

B 4 Thinking At The Edge Of The Unthinkable
B 5 Hemlock 93

Limo - voc,g
Gasman - keys, filter

Hanz - b, voc
Ufo - dr, cymbals

“MC Creatrix is a very rich, versatile and almost perfect contemporary psychedelic album, the best Shiny Gnomes have ever made and one of the very best German-made releases from the past years. This is big class and therefore mega-recommended. What more can I say?” (Crohinga Well, Belgium)

Thursday, May 03, 2007

Phantasia (2 albums)

Phantasia - 1972 - Phantasia

Monster acid fuzz guitar alert! A much sought after super rare US '70s psych album loaded with trippy, languid West Coast styled fuzz guitar.

This is up there with
Music Emporium, Hunger & Mystic Siva.

1 Transparent Face 3:09
2 Winter Wind 2:55
3 Talk to the Moon 3:35
4 Chasing Now the Flying Time 4:54
5 Featheredge 3:39
6 Genena 9:21
7 Willow Creek 5:48
8 Give Life Another Try 3:51
9 I Walk to the Moon 4:30
10 Winter Wind 2:57
11 Chasing Now the Flying Time 5:11
12 The Saddest Song I Know 5:44

Reissue of US psychedelic ultra rarity recorded 1971/72. The original albums (a complete one and a one-sided) are legends for all psychedelic/garage collectors, only 25 copies pressed of each -- not many people have the pleasure of having seen a copy. The music is creeping slowly and sensitively in your mind, whether stoned or not ö it takes you wherever you want. Those are the complete sessions, 55mins in mastertape quality presented the first time to the public. One of the best Psychedelic albums, playing in the same league as Fraction,
Music Emporium, Hunger, Mystic Siva, Damon. Later the band changed into Trizo 50. Unbelievable that this extremely talented band didn't make it!!!

Download Link : (224 @ with artwork)

Phantasia 1969-1972 A Psychedelic By

This is unreleased material laid down in the Damon Studios from 1969 into the early Seventies.

The sound is gentle psychy hippie-rock but with the odd heavier moments as witness the excellent slow burnin' psychedelic workout A Stumbling Dragon.

Other highlights the siren effects on the rocky Ride Me and the phasing and bubbling sounds on I'm Alive.
Some songs of this album are from the time the group called Trizo-50.

Download Link :

Hungry Wolf - 1970 - Hungry Wolf

Hungry Wolf - 1970 - Hungry Wolf

My favourite line-up of session men combine on this album from 1970 Hungry Wolf fantastic organ from the king of Hammond Alan Hawkshaw and the most inventive bass you'll ever hear from ace bassman Herbie Flowers.This album is the little brother of Ugly Custard-same 1971, which I'll post if requested.

1. Melanie
2. Watching and Waiting
3. Custards Last Stand
4. Country Wild
5. Waiting For the Morning Sun
6. Like Now
7. Hole In My Shoe
8. Sleepy
9. The Drifter
10. Revolution???

Alan Hawkshaw-Piano,organ
Alan Parker-Guitar
Clem Cattini-Drums
Herbie Flowers-Bass
Peter Lee Stirling-Vocals

Enjoy !!!

Thanks Steve for this one !!!

Folly's Pool (Fresno, CA)

"Folly's Pool" 1977 (Century 44675)

01 Folly's Pool
02 Fallen Pony
03 Just a Memory
04 Jig in A
05 Before the Gates of Elessaar
06 Kathleen
07 West of the Skies

"Here's another little musical gem, this time featuring the indisputable talents of guitarist and singer/songwriter Steve Ono and his chums in Folly's Pool. Folly's Pool is another of the literally hundreds of private pressings which appeared in 1977 on the specialist label, Century Records, although it must be said that there can't be many other bands on the label that attain this level of recording quality and impressive musicianship. Under the stewardship of Fresno-born Ono, the band takes us on a tour de force of acoustic-based rural rock with folk, prog and country influences often to the background. At times Folly's Pool sounds like they're trying to be The Eagles or Loggins & Messina, but in many ways this does the band a disservice as they have successfully created an individual approach to their music which often turns the ordinary into the exceptional (the cunning transformation from folk to prog of 'Jig In A' is worth the price of admission alone) and the high standard of everything the band plays (the stunning electric guitar solos are particularly fine) makes this album one to play and savour."

This is an unusual album, kind of to prog what The Third Estate is to psych, with the same combination of acoustic guitars and wide-open low-budget production sound. It’s highly ambitious despite obvious recording limitations. It’s also extremely varied, going from California-style 70s rural rock to long folk songs with jig beats to flute-heavy prog epics. The creative approach to an otherwise mainstream style is intriguing, though the sound is really smooth, with harmonies that occasionally make me long for the good taste, restraint and passion of the Eagles and Seals & Croft. The sharp acoustic guitar sound doesn’t exactly mix well with the showoffy electric leads either. There seems to be a good deal of talent here to go along with the creative ideas, but ultimately it sounds like the slickest possible major label recording (but without a major label budget.) I find much of it irritating, but I think that if the basic sound of it doesn’t turn you off, with deep listens you’ll find a lot more to like here than I do. In fact, this is the kind of unique record that may become an absolute favorite to the right person. The way they turn “Jig in A” from an old fashioned folk tune into a prog epic and back is unlike anything else I’ve heard. Also noteable: the last song is based around the interesting lyric “we’re waiting on a mountain to die.” [AM]

~~~ These guys tried hard to eat their cake and have it too, as they mix Eagles-style 1970s westcoast with musically advanced UK guitar-prog and hope that noone's going to complain. Few people probably will, as they do both styles in a surprisingly adept way for a vanity label band, with nice country-flavored melodies and strong vocal harmonies on the LA cowboy stuff, and adventurous and technically impressive guitar arrangements on the prog moves. Possibly originating from Jethro Tull, the end result recalls another Tull-influenced band, Denmark's great Culpeper's Orchard, although Folly's Pool don't quite reach that level of consistency and inspiration. Third Estate is another possible reference, although the dreamy psych x-factor magic of that LP isn't really to be found here. Still, I enjoy this LP quite a bit, and as a merger of two seemingly opposite musical styles it's a rare experience. [PL]

I am really into it right now.... west coast feeling but something makes it different.....

Very Recommended


you can buy this here:


The Ill Wind - 1968 - Flashes

American hippie psychedelic monster from 1968.
A Boston band made only this album. Guitars that intertwine like incense and soaring male/female vocals harmonies, make this an aural pleasure.

1 Walkin' and Singin'
2 Sleep
3 Little Man
4 Dark World
5 L.A.P.D.
6 High Flying Bird
7 Hung-Up Chick
8 People of the Night
9 Full Cycle
10 illwind
11 You΄re All I See Now
12 It΄s Your Life
13 People Of The Night
14 R.U. Write
15 Tomorrow You'll Cme Back

The Reviews


The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-'60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn't make the most of the bandmembers' assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970.

In 1988, after buying Vernon Joynson's FLASHBACK, I had the cheek to ask him if he'd do some tapes for me. At that time, there were next to no re-issues and the cost of 2nd hand albums was way beyond me. ILL WIND's 'FLASHES' was among some of the first batch that he did me. I grew up in Glasgow, as did my wife and between us we had virtually no West Coast music, mine was all STOOGES, VELVETS, KRAUTROCK & TAMLA MOTOWN. There was something abourt FLASHES which just got to that peak in us, and it still does. Ignorant people who know little about music would compare them to JEFFERSON AIRPLANE etc. My cherished little TDK tape from Vernon has given my wife and I years of delight. They didn't slcken either when listening to them on mushrooms, just got more powerful. I LOVE this album, and I can really relate to Stardancer and how he feels about them. In my opinion, a TRULY Psychedelic album that cuts to the Central Nervous System like a laser, Ill go into the Glaswegian vernacular now - fucking brilliant, Alistair. By the way, in exchange for all the tapes Vernon did me, I did the first cover of FUZZ, ACID & FLOWERS, and the cover for his re-issue of FLASHBACK before he began using a more laid back Artist not possessing the Celtic edge.

My album collection was stolen from my apartment in the mid 70's. Of all the albums I lost, it was the Ill Wind - Flashes that I missed the most. I had to go to an oldies shop and have them record this for me on tape ( I've since put it on CD) I was probably the first person in my area to ever hear of Ill Wind and only because, at the tender age of 16, I fell deeply and passionately in love ( summer romance) with a handsome, older man (19) from Massachusetts. Ahhhh Frank S...where are you now? He and his family introduced me to this album and I've been in love with it ( and maybe him) since. My taste in music has changed over the years but I still love cranking up the radio in my car and flying down the road on the Ill Winds of time.

Download Link :

Wednesday, May 02, 2007

Jan Dukes de Grey - Mice and Rats in the Loft (1971)

Awesome progressive acid-folk. Reminiscent of the excellent Fuchsia album but somewhat darker, slightly more rock oriented and "out," and peppered with almost Gong-like jams. And maybe a tiny touch of Tim Buckley in the vocals? The first side-length track features great melodies and intelligent, complex, well-arranged song structures that make it a delight to parse. The two songs of the second side are more freeform but equally engaging. Highly recommended by me and the NWW list, too.

Get it HERE.

Robbie The Werewolf - Live at the Waleback

ROBBIE THE WEREWOLF: Live at the Waleback (no label US 1964)

This is one of the rarest beatnik and monster-related lps. It was featured in the book “Incredibly Strange Music” (which is a guidepost to any collection like this). This is a small press, local record of a beat poet reciting in full werewolf get up at club in California in the early sixties.

Vampire man
Drums and guns
My little brother
Frankie Stein
That judge
Censored man
Count Dracula
Streets of Transylvania
Rockin' werewolf
Inside story of flamenco
Tip-toe through the wolfbane
Censored Dooley
Live jawdropper bohemian folk comic "real person" with monster concept. Strummed guitar lunatic tunes about Frankenstein, the joys of werewolfdom, and Count Dracula. A cover to die for with serial photos of lycanthropic transformation. [RM]

--- Remarkable early private press LP that manages to be a folk LP and a parody of a folk LP at the same time. Half of it is monster-fan piss-takes on standards such as "Tom Dooley", "Tip toe through the tulips", other half is Robbie originals of varying quality, hitting an unforgettable apex with the echo-laden Count Dracula track, which warns us to " out for those vampires, some of them are QUEER". Also daring for the time marijuana and sex jokes, and a general bohemian counterculture feel to it all. Some of his in-between song jokes aren't all that funny, but the Santa Monica crowd had had enough red wine & weed to cheer and laugh at pretty much everything, creating a nice vibe. Unique artefact, made even more compelling by the fact that this guy later turned up in big time band Clear Light. [PL]



Deerfield - Nil Desperandum

Texas had the knack in the late '60s and early '70s for birthing excellent rock bands — whether they were psychedelic, blues-rock, pop/rock, or some oddball hybrid — that were, first and foremost, exceedingly heavy. Loud was the rule rather than the exception, and incendiary guitar work and thundering drums the hallmark of the sound, even as each band found individual ways of utilizing the volume. On their 1971 debut, Nil Desperandum, Deerfield occasionally show the vaguest hints of heaviness — white-lightning guitar runs, for instance — but mostly follow a decidedly divergent path, one that emphasizes a laid-back charm and textured group harmonies. The album is a smiling, fresh-faced effort, permeated by a good-time communal vibe so full of country goodwill that it melts away any possibility for cynicism. While Nil Desperandum is without question a rock & roll album, roots music is an important formative influence on the record — and not just the normal, blues-based infatuation most of Deerfield's Lone Star peers favored. This is unequivocally American music, bursting at the seams with references to, and borrowed tricks from, California country-rock, folk-rock, and bluegrass. Its rootsy amalgam strongly recalls the Grateful Dead, and, indeed, there are strong strains of Workingman's Dead and American Beauty on the loping title track, the effervescent "Kitty Is a Lady," and "Me Lovin' You" that rarely sound like affectations. Sunny, CSNY/America-like harmonies pop up on occasion, and there are fingerprints of Buffalo Springfield all over the songwriting. The band also toss in the odd British touch (the offbeat, English music-hall feel of "Magapolis/Out Without") and a bit of Bob Dylan's spicy humor, as well. Many of their contemporaries couldn't shoehorn such overt influences into a personal hybrid, but there's something singularly appealing about Deerfield's music. There are missteps along the way, to be sure: The playing can occasionally drag, while "Riverside" and "Do You Believe in Words," attempts to write epic Neil Young/Crazy Horse-style tracks, are only partly successful. But surprises such as the funky, wah-wah-laced "Better Way" and "The Great Rio Grande Border Run," with its hayseed guitar picking and farmyard languidness, easily trump any criticisms that can be leveled at this sweetheart of an album.

Tuesday, May 01, 2007

Fresh Maggots - 1971 - Fresh Maggots

Fresh Maggots were just two people, Mick Burgoyne and Leigh Dolphin, they recorded their only vinyl in London 1971. They played acid folk-rock with electric and acoustic guitar, glockenspiel, tambourine, violin, tin whistles and vocals.
The original vinyl is very much sought-after today.

1.Dole Song
2. Rosemary Hill
3. Quickie
4. Everyone's Gone To War
5. And When She Laughs
6. Spring
7. Balloon Song
8. Guzz Up
9. Who's To Die?
10. Elizabeth R
11. Frustration
Bonus Tracks
12. Car Song (non-album A-side)
13. What Would You Do? (non-album B-side)

The Reviews

Long established as a cult classic and collector's grail, Mick Burgoyne and Leigh Dolphin's sole album is presented here with their full co-operation. Originally recorded in 1971 when they were just nineteen and fresh to the studio, Fresh Maggots is one of the best distillations of folk and psychedelia ever recorded. Varying in tone form heavy rock 'Frustration', to protest 'Everyone's Gone To War', social commentary 'Dole Song' and pastoral 'Rosemary Hill', it's a highly unusual and powerful record that enjoyed extravagant acclaim on release but sold poorly. Welcomed by all lovers of acid folk.

This duo from Warwickshire that had a meteoric career, but their sole album is ultra-sought after especially so that both vinyl pressings had major fabrication flaws. They developed an acid-folk-prog that was particularly personal but their style was wide-ranging including fuzz guitars. Even before their debut album, this multi-instrumental duo was hyped by the music press, but there was an unusual delay (including an artwork change) between the recording and the release of the album, and when it did finally arrive on the market, all interest had waned. Which is a real shame, because the duo had much talent and they were switching from guitars to violin to glockenspiel to guitars again. Sadly they became one of the many casualty from the era’s overcrowded scene.

Fresh Maggot played melodic acid folk-rock with electric (heavy on the fuzz side) and acoustic guitar mixed with glockenspiel, tambourine, violin, tin whistles and harmony vocals. The results are stunning particularly on the evergreen "Rosemary Hill" which features some beautiful harmonies. The electric fuzz guitar kicks in at various points on the record to startling effect, particularly evident on "Everyone's gone to War".

A must have for lovers of early Strawbs, Jethro Tull, Fairport Convention, Steeleye Span etc.

Download Link :

Human Zoo - 1968 - Human Zoo

Human Zoo - 1968 - Human Zoo

01 It's Got To Be
02 Na - Na
03 Help Me
04 I Don't Care No More
05 Funny
06 Late To My Resurrection
07 When Papa Started Drinking
08 Gonna Take Me A Ride
09 Stone Sassy Fox
10 Human Zoo
11 The Time Was Over

Jim Cunningham -vcls A
Bob Dalrymple -bs A
Larry Hanson -gtr, keyb'ds A
John Luzadder -gtr A
Kim Vydaremy -drms A
Roy Young -vcls A

1(A) The Human Zoo (Accent ACS 5055) 1969

V.A. - Best Of IGL _Folk Rock

Best Of IGL - Folk Rock

1] The Scavengers - It's Over
2] The Scavengers - But If You're Happy
3] The Scavengers - She Don't Care About Time
4] The Dark Knights - Send Her To Me
5] The Epicureans - I Don't Know Why I Cry
6] The Torres - Don't You Know
7] The Restrictions - Down On The Corner
8] Dale & The Devonaires - Never Be Free
9] Second Half - Forever In Your Mind
10] The Berries - Baby, That's All
11] The Berries - I've Been Looking
12] The Dynamic Hursemen - You Tell Me Why
13] Mad Lads - Everything Is Blue
14] Napoleon I & His Relatives - Summer Love
15] The Pawnbrokers - Someday
16] The Senders - She Told Me
17] The Kingpins - Come And See

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Posted by RP (PeachFuzzForest Blog)

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