Thursday, April 17, 2008

November 2007 - March 2008

Monday, March 31, 2008

The Crystal Mansion - The Crystal Mansion

There is always a little story behind every record posted here, so bear with me!
I bought this album in 1998 at Leeds. I found it in a small shop that had opened very close to my house. The shop was at Brudenell Road, Hyde Park and it used to sell every kind of second hand stuff such as flares and retro gadgets in general, as part of the sixties/seventies revival that had taken over England as a trend in those days. The owners were very polite but they hadn't a clue about rare records!!! The price of this album was 2 quid (we are talking about original pressing gatefold vinyl with lyrics included)!!! I grabbed it immediately (I had been looking for it for a while) and I also bought a couple of other original vinyls at ridiculous prices (Golden Earring's "Moontan" and Amon Duul II's "Dance Of The Lemmings" were among them).

The Crystal Mansion were a band signed to Rare Earth Records (a subsidiary of Motown) and they were one of the numerous "white soul-funk" bands of the label. Their music is kinda anodyne and, to be honest with you, I was a little bit disappointed by the album, since I expected it to be funkier. Nevertheless, it contained some nice tracks such as the real funky "Somebody (Outta Turn Your Head Around)" and "Let Me Get Straight Again". The latter was a funky anti-drug confession of a fucked-up pothead. I used to play that track every day, for quite a while. It was somehow connected to my life and thoughts at the time.

Unfortunately, most tracks are rather prosaic and they lack energy (...mind you, my tastes are a bit eclectic) but I am sure that some of you will consider it an interesting album. It is fairly rare to find (especially on vinyl) but if you dig, you should go and buy the CD reissue.

The Crystal Mansion

Saturday, March 29, 2008

Gay & Terry Woods - The Time Is Right [1976, Vinyl] & Renowned [1976, Vinyl]

The husband-and-wife duo of Gay and Terry Woods got their beginning in 1969, when Terry Woods was still a member of Sweeney's Men. At that point, negotiations were underway for Sweeney's Men plus Gay Woods to join Fairport Convention bassist Ashley Hutchings in a new band, to be called Steeleye Span. When Sweeney's Men members Irvine and Moynihan decided it wasn't what they wanted, another duo, England's Tim Hart and Maddy Prior, went in with Woods and Hutchings. The Woods lasted for just one album before striking out on their own as the Woods Band, releasing an eponymous debut in 1971, where they mixed traditional and original material. After touring extensively throughout Europe, the band fell apart and Gay and Terry returned to Ireland. Settled again, they signed with Polydor, for whom they recorded Backwoods in 1975. Composed mostly of original material just as their subsequent releases would be, they became more experimental on their two 1976 records, The Time Is Right and Renowned. Given their small niche, that proved to be the end of their major-label association and their final album together, Tenderhooks, appeared on the tiny Mulligan label out of Dublin, an Irish folky roots rock swansong (selections from their final two years can be found on Gay and Terry Woods in Concert). At that point, Gay joined prog band Auto Da Fe and Terry Woods briefly revived the Woods Band before abandoning music for a few years. He resurfaced in 1986 as a member of the Pogues, whose music was a direct descendent of his work with Sweeney's Men. Though Gay Woods, too, retired from music, she did emerge into the spotlight again in the late '90s, rejoining Steeleye Span and becoming their sole vocalist after the departure of Maddy Prior. []

The Time Is Right [1976, Vinyl]

Track list;
01 - Song For The Gypsies. 3:12
02 - Brown Girl. 5:04
03 - Northwinds. 2:56
04 - When The Time Is Right. 3:43
05 - Back To You. 5:18
06 - Redlake Piper. 3:01
07 - Empty Rooms. 4:11
08 - Under The Yew Tree. 3:25
09 - Stealer Of Dreams. 4:22
10 - Country Girlie. 2:30
11 - Country Girlie Reprise. 0:51

192k @ [RapidShare] or [Sendspace]

Renowned [1976, Vinyl]

Track list;
01 - Love Is Like A Burdon. 3:44
02 - One More Time. 4:09
03 - Radio Man. 3:44
04 - Solace. 5:17
05 - Save The Last Dance For Me. 3:15
06 - I Found You. 2:21
07 - Jameson And Port. 3:29
08 - Country Blues. 2:54
09 - Van Dieman's Land. 8:14

192k @ [RapidShare] or [Sendspace]

Style; Folk

Thursday, March 27, 2008

Arthur Gee - 1971 - Same (Tumbleweed TWS 101)

ARTHUR GEE (Toronto, Canada / CA / Denver, CO)

"The End Is The Beginning" 1969 (Two:Dot) [1-sided]
"In Search Of Arthur" 2004 (RD Records 13, Switzerland) [+bonus tracks; insert]
"Dawn Of Time" 197 (Marcus 2502) [no cover]
"Arthur Gee" 1971 (Tumbleweed TWS 101)
"City Cowboy" 1973 (Tumbleweed TWS 107)

Gee's real debut LP is also the first release on the Tumbleweed label, and a fine start for both. Upscale, intricate production typical of the label with Arthur's atmospheric voice given an appropriate context that involves a full folkrock setting plus bells, violin, even jew's harp. Opens on a strong psych vibe, then goes through various chameleon tricks including outlaw country, Tim Hardin folk, and some obvious Dylan "Blonde On Blonde" moves. It's all quite appealing and held together by the expensive, elaborate arrangements. The LP has obvious 60s remnants and is less singer/songwriter than most Tumbleweeds. Two tracks from the Two:Dot demo LP appear in more elaborate versions, although I prefer the sparser 1969 sound of "Meditations". Easy to find and well worth checking out. Gee's second LP for Tumbleweed ("City Cowboy", 1972) is inferior in a countryrock direction. [PL]

1 Dimensions + Plain Talk
2 Cotton Suede
3 Love Song 451 + A.L.F.A.L.F.A.
4 Country Fable + Waterweight + Love Song 450
5 Confessions + Dawn of Time

All info and photo from acid archives.
Hope i am correct and not confusing this album with dawn of time or city cowboy.


also get the first album here
Thanks Opa-Loka and Freaky lady



Wednesday, March 26, 2008

Ray Conniff presents Irving Berlin - Dreaming Of Broadway

Ray Conniff. Yes! With this guy, you got it all: massive horn arrangements, space age pop attitude, light 'n dreamy vocals, musical, theatre and jazz, jazz, jazz!
Here is a really nice 45 from the man and his orchestra, with four quality tracks. I ripped it on a bad day but it made me feel better! Simply great music from another time.

I will actually let the liner notes to do the talking (click to enlarge) :

Dreaming Of Broadway

Sunday, March 23, 2008

India National Sitar Ensemble - Sitar Music Of India

Get ready for a real treat. This brilliant vinyl (which I bought quite a few years ago but managed to listen to relatively recently) contains three tracks of original Indian music performed by the ...appropriately named India National Sitar Ensemble. Two of them form a suite that contains numerous different themes (many of them are really complicated and beautifully arranged) and the third one is a great Meditational Raga, ready to transport you to another planet! All thanks to the obscure Everest Records (can any of you provide any information on this label?) who presented us with this extraordinary album.

The vinyl is Out Of Print and I am pretty sure that there has been no reissue of it on CD. Anyway, we are talking about great music here, people. Don't miss it and don't be intimidated by the style of the recording (it's quite old, you see). And, if you stumble upon the original vinyl, do yourself a favour and buy it.

Kick Off
[320kbps (click & pop elimination) + artwork]

Friday, March 21, 2008

Spacefarm - 1972 - Going Home To Eternity

Short lived trio, this being their sole album. Originally released by the famous New Zealand Zodiac label in 1972 for a very brief time. Featuring the phenomenal guitar work of Harvey Mann, who's only peer back in the day in N.Z was the Human Instinct's Billy T.K.
1. Space Farm (3:14)
2. Homeward Bound (3:56)
3. Infinity Way (3:24)
4. Waking Dream (3:40)
5. On the Loose (3:14)
6. Flying (4:23)
7. Gypsy Dream (6:23)
8. Whell (4:14)
9. Lover Not a Dancer (3:36)

This 1972 recording is a peculiar release in that it is an alternate version of an
incredibly rare LP released on Zodiac in New Zealand. While the original version may remain in obscurity, this alternate take is certainly as high standard acid rock as the infamous original LP. Spacefarm were a Hendrix-inspired psychedelic rock group lead by pyrotechnic guitarist Harvey Mann, who is often compared to fellow New Zealand post-Jimi Hendrix guitar legends Billy T.K. and Jesse Harper. Fans of the heavy psychedelic rock sound of the Human Instinct need look no further than Spacefarm to add to the compendium of obscure New Zealand psychedelic rock — the small but brilliant output of this group is clear evidence as to why these obscure LPs are so sought after in collector circles. Think Cream, Hendrix Expeience, and Blue Cheer and you're getting close to the guitar overload Harvey Mann summons up on this LP. Audiophiles take note that Little Wing released this on vinyl only.

Get it here

Tuesday, March 04, 2008

The Driving Stupid - Horror Asparagus Stories (2002)

The Driving Stupid released just one single, "The Reality of (Air) Fried Borsk"/"Horror Asparagus Stories," which came out on the KR label and flopped in 1966. The band eventually attracted a notoriety way out of proportion to their accomplishments, however, when both songs were anthologized on the '60s garage rock compilation Pebbles Vol. 3 about 15 years later. The tracks are considered to be the apogee of stupid psychedelic garage rock, with their over-the-top juvenile absurd comedy. Some listeners would subscribe to the "it's-so-stupid-it's-brilliant" school; many would find the single unbearably amateurish and dumb. But of such things reputations are made, if only cult ones.

The Driving Stupid were formed on the East Coast by college students, three of them longtime friends from New Jersey. As more of a lark than a serious endeavor, in the summer of 1966 they drove from New Jersey to Hollywood in an effort to crack the big time, stopping off in Albuquerque, New Mexico to record some demos. They did manage to land a deal and record an album's worth of material in Hollywood, but the album didn't come out at the time, after the commercial death of the 45. This unreleased material, like the single, combined sloppy garage band rock with self-consciously silly lyrics, like a garage group providing the soundtrack for a Z-grade horror-science fiction film.

Most of the Driving Stupid left Hollywood at the end of the summer of 1966 to return to college. The single, plus 17 unreleased tracks from their 1966 adventures, were issued in 2002 by Sundazed on Horror Asparagus Stories.

The excavation of an entire album's worth of unreleased material by the Driving Stupid must have excited some die-hard garage-heads, though the result proved to be somewhat less thrilling than might have been imagined. The exact sources of each specific track are undocumented, but they're taken from their 1966 demos in New Mexico and the unreleased album they did in Hollywood the same year. Both sides of the "Horror Asparagus Stories"/"The Reality of (Air) Fried Borsk" single are included as well, naturally. But the reality of the Driving Stupid is that this particular brand of horror/science fiction/comedy rock isn't too funny or clever. Imagine a bunch of teenagers who barely know their way around their instruments, fueled by a steady diet of surf rock, Mad magazine, and monster and outer-space films, half-improvising songs in their suburban basement. That's what this sounds like, and though some might interpret that as a high recommendation, it's not. Frank Zappa and the Mothers of Invention these guys weren't, though those who get enormous kicks out of kitsch might enjoy songs about postmen putting spiders in mailboxes and the like, backed by the most rudimentary of riffs and over-excited sung-spoken vocals. They did actually try to get "serious" on a couple of occasions with the romantic ballad "How Do You Tell a Stranger?" and the deliberately Lovin' Spoonful-like "Happytime Springface and Flowers," and not memorably so. For those enamored of the "Horror Asparagus Stories"/"The Reality of (Air) Fried Borsk" single (which admittedly did include their best songs), rawer versions of each of those songs are here, along with an interview with lead guitarist Roger Kelley that does much to reveal the mysterious story of the group.

1) My Mother Was A Big Fat Pig
2) Rid The Lobsters
3) Fast City?
4) The Reality Of (Air)
5) We've Come To Take The Earth Away
6) Green Things Have Entered My Skin,Gladys
7) I'm Gonna Bash Your Brains
8) Water My Doing Here?
9) Girl's Got A Turtle
10) How Do You Tell A Stranger
11) Happytime Springface And Flowers
12) Greensleeves
13) Fast City (Version 2)
14) I'm going To Bash Your Brains In (Version 2)
15) We've Come To Take The Earth Away (Version 2)
16) The Reality Of (Air) (Version 2)
17) Ride The Lobsters (Version 2)
18) Green Things Have Entered My Skin, Gladys (Version 2)
19) Horror Aspargus Stories


Dorian Gray - 1976 - Idaho Transfer

Dorian Gray - 1976 - Idaho Transfer
LP New Blood NPA 476 (1976)

Tracks :
1 Idaho Transfer (4:14)
2 Nighttime Is Colder Than Outside (5:21)
3 The Mole (6:56)
4 Extraordinary Exercises (0:56)
5 Quasimodo Shuffle (11:56)
i Crusus ii The Doombox
6 July, 13th (5:05)

Claudia Schippel (vocals)
Filler Mueschenborn (guitar, vocals)
Kurt Paetzold (drums)
Rüdiger Brune (keyboards)
Herbert Jassmann (bass)

New Blood - 1986 - LP spray cover

These were an obscure non-professional band who self-produced one album and then disappeared. Interestingly Dorian Gray can be seen as a very early example of a music that was later to be simplified and commercialised by innumerable female vocal fronted 80's new-wave bands. But, it must be said, Dorian Gray were odd! They mixed in a lot of heavy guitar rocking and contrasting spacey folk, male and (mostly) female vocals, all creating a hybrid between the 60's psychedelic trippiness and slightly punky sounds. An interesting album, though hardly worthy of its reputation as a pricey collectable rarity.

source : The Crack In The Cosmic Egg

Get it here :

Saturday, March 01, 2008

Creamcheeze Good-Time Band - 1973 - Home Cookin'

Creamcheeze Good-Time Band - 1973 - Home Cookin'

Tracks :
01 Living Without You
02 Ruby Tuesday
03 Fleetwood Plain
04 Wild World-Song For Marlene
05 Home Cooking
06 Redwood Hill
07 Uncle Jed
08 Log Cabin Home (In The Sky)
09 T.O. Lady
10 Five Foot Two, Eyes Of Blue

Billy Kell (guitar; vocals)
Dave Harwood (bass)
Barb Payne (fiddle, maracas, washboard, recorder,vocals)
Pat Kell (mandolin, tambourine, kazoo, whizzer, washboard, vocals)
Jimi Kell (drums, spoons)

This quintet from Perth County, Ontario was a showcase for three siblings and the vocals of Barb Payne.

Their first hit was 1971's "Uncle Jed" from their Terry Regan produced 'Perth County Green' LP.
Their second hit was 1973's "Living Without You" from the album 'Home Cookin' produced by Gary Buck and contained a number of cover tunes including The Rolling Stones' "Ruby Tuesday", Cat Stevens' "Wild World", Gordon Lightfoot's "Redwood Hill", and "Fleetwood Plain" written by Greg Quill, long-time columnist for The Toronto Star. The latter song was the second song off the album.

The group disbanded in the mid-70s.

The Kells and Ross Whitney released an album together in 1981 called Kell High Energy featuring studio sessions done at Waxworks in St. Jacobs, Ontario plus live material from The Blue Moon in Petersburg, Ontario (featuring Gary Halliwell on bass).

In the early '90's Billy Kell released an independent cassette called "Too Old To Quit Now". Billy Kell succumbed to cancer in 1992.

notes from Ross Whitney and John Sakamoto.

1971 Uncle Jed (Dominion)
1973 Living Without You/Redwood Hill (Dominion/MCA) MCA-40089
1973 Fleetwood Plain/T.O. Lady (MCA) MCA-40163

1971 Perth County Green (Dominion)
1973 Home Cookin' (Dominion/MCA)

source :

Get It Here :

Thursday, February 28, 2008

Dennis Linde - 1970 - Linde Manor

Dennis Linde
(b. March 18, 1943, Abilene, Texas - d. December 22, 2006, Nashville, Tennessee) was an American songwriter.

Although he is best known for writing the 1972 Elvis Presley hit, "Burning Love", Dennis Linde has written numerous hit songs for mainlycountry music singers, beginning with hits for Roger Miller and Roy Drusky in 1970. In 1990, Sara Hickman covered his song "Hello, I Am Your Heart" for the compilation album Rubáiyát. In 2000, his song for the Dixie Chicks, "Goodbye Earl", stirred some controversy for its apparently humorous take on spousal abuse. Linde has also written tunes recorded by Tanya Tucker, Gary Morris, Don Williams, the Judds and Garth Brooks.

He was known as one of the more reclusive figures on the Nashville scene, rarely attending industry events. Nashville manager Scott Siman described him as a "mystery man," explaining, "If you ever saw Dennis Linde it was amazing, because you didn't get that opportunity very often.

In 2001, Linde was inducted into the Nashville Songwriters Hall of Fame.
Linde died of idiopathic pulmonary fibrosis at Vanderbilt University Medical Center on December 22, 2006. He was 63.
His daughter, Lisa Linde, is married to actor James Marsden.

Solo Albums
1970 - Linde Manor
1971 - Surface Noise (unreleased)
1973 - Dennis Linde
1974 - Trapped in the Suburbs
1977 - Under the Eye


Mushroom - 1999 - Leni Riefenstahl

Mushroom - 1999 - Leni Riefenstahl
(Aether Records 1999, AE LLP-007, LP-only limited to 450)

Tracks :
A1. Leni Riefenstahl
A2. A Violin Bow In Curved Air

B1. A Tribute To Eddie Harris
a) Swiss Movement (The Ticking Of A Clock)
b) Some Jive Ass Wasting My Time
B2. Dig My Mood

Michale Holt - Mellotron / Rhodes piano / voice (track 1)
Erik Pearson - flute / saxophone / violin (tracks 1, 2, 3)
Patrick O'Hearn - drums / tape manipulation (tracks 1 - 4)
Dan Olmstead - drone guitar / guitar (tracks 1, 2, 3)
Alec Palao - bass (track 1)
Graham Connah - analog keyboard sounds (track 1)
Kurt Statham - bass / invisible bass (tracks 2, 3, 4)
Alison Faith Levy - keyboards /overdriven keyboards (tracks 2, 3, 4)

Continuing their worldwide tour of record labels, Mushroom's sixth studio album has now appeared on the Aether label out of Indianapolis (run by the folks who perform as Many Bright Things) as a limited edition vinyl-only release. The album is a collection of four (more like five, really) very different instrumental works, totalling (well, pretty obvious really) about 40 minutes. Just like the old days! Again, some lineup shuffling of the ever-evolving group has led to different sounds and styles emerging.

The opening track, "Leni Riefenstahl" (named for a German actress/film maker), is a long, winding mesmerizing affair. Set to a relatively leisurely pace, the steady bassline and drumming are countered by streams of (what I imagine is) heavily-f/X'ed guitar, that comes across like a squadron of aircraft successively strafing your position. The tune reaches its full fruition at about the 8-minute mark when the power chords from Dan Olmstead's guitar stream through, followed then by bits of soloing against a peculiar curtain of rising and falling runs on both flute and synths. Eventually, the tune winds down and morphs directly into "A Violin Bow in Curved Air," initially an experimental piece of kling-klanginess mixed with Erik Pearson's screamin' violin. Somewhere in the middle of the piece, the unsettling sounds resolve into a more pleasant mix of atmospheric sounds... an effective device.

Side B opens with "A Tribute to Eddie Harris," a two-part journey that is more similar to the Mushroom of Analog Hi-Fi Surprise. "Swiss Movement" ebbs and flows over seven minutes, full of individual statements mainly from Olmstead's strangely-tuned and buzzing guitar and Pearson's sax. The combo soldiers on into a downright bluesy affair for the second phase, "Some Jive Ass Wasting My Time," a lazy stroll down to the Mississippi Delta for another five minutes of improvisation, before suddenly switching into a more uptempo jam with a rambling bassline and a swirly guitar 'whine' mixed with some inspired soloing. The LP wraps up with the more ambient "Dig My Mood," essentially a solo electric piano piece by Alison Faith Levy, full of soothing Cluster-like motifs echoed in just the right way to induce a reflective mood. Levy's stylish playing is a welcome new addition to the group.

Mushroom have yet to put out a sub-par work, and this one ranks right up there. The title track was taken from the Analog Hi-Fi recording session, but the bulk of the album is new material with a different intent. Some of the sounds and patterns in the improvisations are recognizable as distinctly 'Mushroom,' but the band always manages to present them in different guises with each successive album, such that they never produce redundant works. Given the limited nature of this release, I recommend promptly tracking it down.

~Reviewed by Keith Henderson (Aural-Innovations)

Get it here :
RapidShare or SendSpace

Saturday, February 23, 2008

Atomic Rooster - Land Of Freedom

There you go. A 12inch by Vincent Crane and his pack, promoting the 1983 "Headline News" album. Dave Gilmour is on the guitar, as far as I remember (there are no details on the sleeve, unfortunately). Both tracks ("Land Of Freedom" and "Carnival") are distant, dark and chaotic in places. Nice one.

Try It

Thursday, February 21, 2008

Larry's Rebels - Feelin Good! 1965-1969

John Williams (Lead Guitar)
Terry Rouse (Keyboards / Rhythm Guitar)
Viv McCarthy (Bass Guitar)
Dennis 'Nooky' Stott (Drums)
Larry Morris (Vocals)


Mike Furber & The Bowery Boys - 1966 - Just A Poor Boy

Furber, born in London in 1948, emigrated along with his family to Australia in the '50s. A chance meeting in 1965 with two members of the fledgling garage band, The Bowery Boys, resulted in Furber joining the group as singer. At this point, the band was definitely a single entity, but when they were spotted by impresario Ivan Dayman and subsequently signed to his burgeoning Sunshine Records label, the emphasis shifted to Furber, who Dayman intended to launch as a solo act. Although Furber had a limited vocal range, Dayman saw his little boy lost teen-girl appeal and so the group became Mike Furber And The Bowery Boys. Just A Poor Boy (the band's first and only album), achieved modest chart success but brought theunwanted attention of the music press. Three more singles followed until, at Dayman's behest, Furber parted company with the highly-talented Bowery Boys to pursue a solo career, which, despite the patronage of Barry Gibb, failed to materialise. In October '67, Furber released wbat many believed to be his finest single, Bring Your Love Back Home, but the record-buying public failed to concur, and the single disappeared without trace, an occurrence which prompted the first of many nervous breakdowns. A single penned by the Easybeats' Harry Vanda followed, along with a few recordings for EMI-Columbia which were never released. And that was almost that. Furber's career stumbled along for a few more years, but following his sacking from the stage musical Nuclear, he lapsed into of this sorry little saga is that The Bowery Boys themselves were an extremely tight and accomplished band which, bad it not been overshadowed by Furber, would undoubtedly have gone on to greater things, as this superb album amplattes. Radio-Active. 2005.

Tracks :
1. Just A Poor Boy
2. That’S When Happiness Began
3. You Stole My Love
4. Diddy Wah Diddy
5. Mercy, Mercy
6. If You Need Me
7. Love Talk
8. Stop
9. You’Re Back Again
10. Take This Hammer
11. It’S Gonna Work Out Fine
12. Mailman Bring Me No More Blues


Wednesday, February 20, 2008

The Fabulous Thunderbirds - Girls Go Wild!

Get ready for some Texas blues, people. Our respect to the late John Fahey and his Takoma label for bringing us exceptional music. The Fabulous Thunderbirds are an electric blues band with Jimmy Vaughan (brother of Stevie Ray) on guitar, Kim Wilson on vocals and harmonica, Keith Ferguson on bass and Mike Buck on drums. Leslie-driven guitars, swamp grooves, snarling harmonicas and bawdy (check "Scratch My Back") blues covers as well as originals, are all in here. Good stuff.

I bought this album back in 1996 for 2 quid from a small record shop at the ground floor of the Corn Exchange building in Leeds. I had bought some 90 lps from there before the shop finally closed down. Shame.

Note: this is a vinyl rip at 320 kbps


Tuesday, February 19, 2008

Hookfoot - Hookfoot

Hookfoot were Elton John's backing band in the seventies featuring the musical minds of Caleb Quaye, Ian Duck, Dave Glover and Roger Pope. They released four albums as a band (as far as I know) and they played a blend of blues and rock, quite often influenced by folk-rock artists of their time. This is their debut album featuring original songs as well as two covers, Stephen Stills' "Bluebird (a major hit for Buffalo Springfield)" and Neil Young's "Don't Let It Bring You Down". Both tracks are given a rockier edge. The album contains a few tracks to keep you interested (always according to my taste), namely the a-fore-mentioned and "Mystic Lady".

I bought this vinyl in 1996 in Leeds and, although it was supposed to be relatively rare, it was only priced for 50p, probably because the worn-out cover made the salesman think that the record was in bad condition too. Lucky bastard I was then!!! If you happen to be a retro freak, a record digger or a purist like me, try to find the original vinyl.

Rip is in 320 kbps. A few clicks and pops are present but nothing really to worry about.

Try it here and enjoy!

Monday, February 18, 2008

Orkustra - 1967 - Light Shows For The Blind

Orkustra - 1967 - Light Shows For The Blind
(San Francisco, CA)

Tracks :
A1 Flash Gordon (4:54)
A2 Bombay Calling (5:45)
A3 Punjab's Barber (6:43)
A4 Flash Gordon's Return (7:36)
B1 St. John's Cathedral Jam (25:44)

Band :
Jaime Leopold - Bass
Terry Wilson - Drums, Percussion
Bobby Beausoleil - Guitar, Bouzouki
Henry Rasof - Oboe
David Laflamme - Violin

Reviews :
Legendary 1966-67 Bay Area band, whose members would go on to various sorts of fame. Mainly instrumental music of a highly eclectic nature, mixing modal Eastern sounds with impressionist classical and plain old SF acid rock. Embryonic versions of two It's A Beautiful Day numbers can be heard. Somewhat challenging and with below average sound quality, but well worth hearing for purveyors of mid-60s freak sounds and of obvious historical value.
[PL]~Acid Archives

Here is what we would name some of the best, most important, unreleased at the time, historical and lost westcoast psychedelic recordings ever.

This legendary band includes none other that the famed Kenneth Anger soundtrack creator Bobby Beausoleil as well as a very young David LaFlamme, before starting his legendary band “It's A Beautiful Day”.

As for the music, we are talking waaaaayyy out tunes here! This is the missing link between the Drone Avantgarde and the Hippie Scene symbolized by 2 people that couldn't be further apart. The complete B-side features a single long tune which can best be described as Theatre of Eternal Music (the famed Pre-Velvet Underground La Monte Young/ John Cale Drone Band) meets It's A Beautiful Day. On the other side you will find middle eastern influenced hippie psychedelic jams that will remind you of bands like the “BEAT OF THE EARTH”.

A true slice of pure acid psychedelia.

Get it Here

Saturday, February 16, 2008

Terry Jacks (Canada) - 1974 - Seasons In The Sun

Terry Jacks (Canada) - 1974 - Seasons In The Sun
Goldfish GFLP-1001

Tracks :
A1 Concrete Sea (2:20)
A2 I'm Gonna Love You Too (2:40)
A3 Pumpkin Eater (2:45)
A4 Again And Again (2:35)
A5 Since You Broke My Heart (2:27)
A6 Fire On The Skyline (3:05)
B1 The Love Game (2:16)
B2 I'm So Lonely Here Today (2:22)
B3 It's Been There From The Start (2:16)
B4 Sail Away (3:00)
B5 Seasons In The Sun (3:28)

It's been a long time since "Seasons in the Sun" became a monster hit for Canadian Terry Jacks, but the syrupy 1974 single is still top dog among all best-sellers issued by Canadian acts. The release spent more than three months on the U.S. charts and more than four months on the charts in Jacks' native country. Its accumulated sales topped more than 11 million copies. Jacks, who moved on to producing for artists such as the Beach Boys, Nana Mouskouri, DOA, and Chilliwack, reaped the good life from the monster hit's royalties, which he acknowledged by naming his power boat Seasons in the Sun. Royalties also spill in from "Which Way You Goin' Billy?". He and former wife Susan Pesklevits recorded the song under the name the Poppy Family in 1969. The release hit number two in the U.S. and topped the Canadian charts, raking in four Juno Awards and selling more than two million copies.
~Linda Seida, All Music Guide

Full article here :

More Info :

Myspace page :

No reissues yet....

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Thursday, February 14, 2008

The Galaxies - 1968 - The Galaxies

The Galaxies - 1968 - The Galaxies

Tracks :
01. Hey
02. Cant Judge a Book by Looking
03. Orange Skies
04. I'm Not Talking
05. Ain't Gonna Lie
06. Linda Lee
07. Mellow Yellow
08. Concrete and Clay
09. Que Vida
10. How Does That Grab You Darling
11. Slow Down Baby
12. Farmer John

Review :
With a mere eight songs (six of them covers) and untrained amateurishness pervading the recording techniques, instrumental performances, and singing, The Galaxies is by no means a lost gem. Should you be in that certain mood for slightly kitschy relics of '60s garage band naive sincerity, however, it's a pretty fun listen, if only for the refreshing open-eyed enthusiasm they bring to their bash-it-out covers of "Mellow Yellow," Mose Allison by way of the Yardbirds' "I'm Not Talking," Keith's "Ain't Gonna Lie," Love's "Orange Skies" and "Que Vida," and Nancy Sinatra's "How Does That Grab You Darling." You won't find a weirder Love cover than the Galaxies' "Orange Skies," where Jocelyn Ann Odams — supposedly an American according to the reissue's liner notes — sounds very much like she's singing in English as a third language, or at least as if she can't decide whether to use a British or American accent. Not far behind that for strangeness is a punky "How Does That Grab You Darling," where Odams sing-purrs the spoken interjections with the uncertain intonation of an ESL student. As for the two band originals, "Hey!!!" (all three exclamation points included) actually is a pretty entertaining mismatch of basic Mamas & the Papas/Beatles-like pop with overheated fuzz guitar, while "Linda Lee" is a far more basic early British Invasion-derived rocker with way out of tune guitar.
~by Richie Unterberger

Biography :
From Sao Paolo, Brazil, the Galaxies issued a rare album on the Brazilian Som Maior label in 1968. Strictly speaking, it might not be correct to call them a Brazilian group: they were based there, but featured an English guitarist-singer (David Charles Odams) and an American singer (Jocelyn Ann Odams, who also played maracas), as well as Brazilian members. Like many '60s rock records cut by bands from non-English-speaking countries, particularly ones from South America, the LP was crudely recorded and performed, and heavy on clumsy covers of American and British rock songs. However, the untutored innocent energy of the eight tracks — including a couple of originals in addition to covers of songs by (or popularized by) Donovan, Love, the Yardbirds, Keith, and Nancy Sinatra — is appealing. Highlights include the reasonably tough fuzz guitar-laden original "Hey!!!" and the weird cover of Love's "Orange Skies," sung in an indefinably Transatlantic accent by Jocelyn Ann Odams. The album was reissued in 2002 in Italy on Misty Lane.
~by Richie Unterberger

No download or buy link.....
Reason in comments.....

Sunday, February 10, 2008

Gomez - Machismo EP

Having already mentioned that Gomez are among my favourites, this is an EP they issued back in 2000 with 5 tracks, all wrapped-up in eco-paper decorated with those quasi-impressionist paintings. They once again combine acoustic melodies with great lyrics and scattered sample spells. "Touchin' Up" and "The Dajon Song" are my picks from this EP with the latter being an extended psychedelic blues jam, slow and creepy.

I bought this CD during my last year in Leeds, England (2000-2001) from a nice little record shop called "The Polar Bear", up in the Headingley area. Good 'ole days they were. I wonder if the shop is still there. Anyway, I have been known for my tendency to digress so I'll stop here and will let you enjoy the music. And enjoyable it is, believe me.

Indulge here

Tuesday, February 05, 2008

The Frantic Five 1994-2004 (compilation)

We created this compilation with stuff from the very early days till 2004.

It includes tracks taken from all of our past releases (including the unreleased "Frantic Party" from the very first demo,1994).

Here's the track listing (and the year each track was recorded)

1.Frantic Party (1994)
2.Feeling Sad (1998)
3. It's Been So Long (2004)
4. She Can't Be Found (1996)
5. Be Mine (1998)
6. What Made Me Lose My Head (1996)
7. Misty Morning (1998)
8. I've Been a Fool (1998)
9. In The Bradford Mist (1996)
10. Last Night (1996)
11. Haunted Melody (1994)
12. The Fugitive (1994)
13. Zoe's Stomp (1994)
14. Quinta (1996)
15. Why Did You Lie? (1998)
16. I'm Blue (1998)
17. Last Laugh (1994)
18. Do Like Me (1998)
19. She Ain't You (1998)
20. Kathe Fora (1998)
21. There's a Pain (1998)
22. I Believe You Were Wrong (1998)
23. Wrong Guy (1998)
24. Room 409 (2003)
25. James Bond In Space (1994)

Here's the link :
Frantic Five 1994_2004.rar

-The Frantic Five

Rayman - bass, vocals
Captain K - guitar, vocals
Alex - drums, vocals
Dr Organ - farfisa, vocals

The Frantic V were formed in early summer 1994. As they became active they started live performances in front of stunned crowds representing the real garage of Thessalonica. In 1995, Jens Lindberg, of Crimson Shadows, came to visit the boys and on a starless night they recorded properly 2 tracks lost in oblivion. Some e.p.'s were published in and out of Greek border, while wild and fun gigs were the permanent winter agenda for the cold north Greek nights. They have been on the same stage with monster bands like: ? & The Mysterians, The Seeds, The Fuzztones etc. A well-experienced band that offers a non-stop dancing set.

More info for the band here :

Monday, February 04, 2008

Roy Wood - Boulders

Check out this great person - ality

Roy Wood (born Roy Wood, 8 November 1947, Kitts Green, Birmingham, West Midlands, England) - sometimes erroneously thought to be born as Ulysses Adrian Wood, from an offhand interview comment in the 1960s - is a songwriter, guitarist and multi-instrumentalist. He was particularly successful in the 1960s and 1970s as member and co-founder of the bands The Move, Electric Light Orchestra and Wizzard. As a songwriter, he contributed a number of hits to the repertoire of these groups.

Wood's first group in Birmingham in the early 1960s was Gerry Levene and the Avengers; he moved to Mike Sheridan and the Nightriders (the band later to become The Idle Race, in which Jeff Lynne took his first steps); from this basis, and other Birmingham-based groups, the most talented musicians formed The Move, and Wood became their musical leader. The Move quickly entered the charts and became well-known for spectacular stage shows; their track "Flowers in the Rain" was the first track to be played on Radio 1 when it was launched in 1967.[1]After the departure of The Move's lead singer Carl Wayne, Wood became more prominent, developing an unconventional image for a 'pop group'. Since The Move's members could not agree on musical direction, the potential of the group was diluted. Wood therefore began to develop into other directions.

Wood was keen on musical experimentation and was in this respect one of the most progressive musicians of his time, taking the 'pop group' into new areas. He was an early proponent of combining rock'n'roll and pop music with other styles, such as classical music, or the big band sound, and introduced classically-styled string and brass sections into the pop record. When The Move was still on tour, he founded, together with his band colleagues Jeff Lynne and Bev Bevan, the Electric Light Orchestra (ELO), which was later to gain major commercial success by successfully fusing the basis of a rock band with a permanent string section, without losing rock 'n' roll roots.

ELO's early live performances were chaotic, and after increasing tensions, Wood left and formed a new group, Wizzard, which assembled cellists, brass players and a bigger rhythm section, with several drummers and percussionists. Wood emulated the wall of sound production style of Phil Spector whilst successfully, and affectionately, pastiching the rock n roll style of the early 1960s. Meanwhile, he released several solo albums, exploring further musical directions. His 1973 album, Boulders, was an almost entirely solo effort, right down to the sleeve artwork, with Wood playing a wide variety of instruments. A second solo album Mustard (1975), including contributions by Phil Everly and Annie Haslam, was less successful.

The line-up of albums was always fascinating, because of the large number of instruments Wood, and his band members, were playing. Wood himself is mentioned as singer as well as player of guitars, bass guitar, sitar, cello, double bass, saxophones, clarinet, trombone, tuba, recorders, oboe, French horn, banjo, mandolin, bassoon, drums, percussion, vibraphone, bagpipes and keyboards.

Collectively, hit records by The Move, Electric Light Orchestra, Wizzard, and Wood's own solo singles demonstrate an impressive chart run for an individual, both as composer and performer.

By the late 1970s, Wood was appearing less in public; commercial success faded away, and his musical experiments did not always match popular taste, but he remained productive in the studio as musician, producer and songwriter. He was a big Elvis fan, but never succeeded in getting 'The King' to adopt one of his compositions. However, he was untiring as a producer for other acts, most successfully doo-wop revivalists Darts. In 1976, Wood recorded Beatles cover songs "Lovely Rita" and "Polythene Pam" for the ill-fated musical documentary All This and World War II.

In 1977 he formed the Wizzo Band, a jazz-rock ensemble, whose only live performance was a BBC simultaneous TV and radio broadcast in stereo, which split early the following year after cancelling a nationwide tour.

In the early 1980s Wood released a few singles under his own name and also as The Helicopters, and played some live dates under this name. The release of one of these singles, "Aerial Pictures", backed with "Airborne", was cancelled owing to the lack of chart success for its predecessors, but both sides appeared for the first time in 2006 on a compilation CD, Roy Wood - The Wizzard!. "Aerial Pictures", using the original backing track, subsequently became a solo single for former Move vocalist Carl Wayne.

Wood also made a one-off rock'n'roll medley single with Phil Lynott, Chas Hodges and John Coghlan, credited to The Rockers, "We Are The Boys", which made the Top 100 in late 1983, and played a leading role in the Birmingham Heartbeat children's charity concert, on 15 March 1986. As well as designing the logo, Wood stole the show[citation needed] in a line-up which also included the Electric Light Orchestra and the Moody Blues.

After an extended period of hibernation, following the release of the album Starting Up (1987), a cover version of the Len Barry hit "1-2-3", and a guest vocal appearance on one track on Rick Wakeman's Time Machine album, he went on the road with 'Roy Wood's Army'. Rumours of a new live album, and an album of new studio work, provisionally called "Electric Age", did not materialise. He also recorded a two tracks with Jeff Lynne around this time ("If You Can't Get What You Want" and "Me and You"), which likewise have never seen the light of day.

Altogether he had more than 20 singles in the UK Top 40 under various guises, including several number one hits. His most regularly performed and broadcast oldie is the seasonal Wizzard single "I Wish It Could Be Christmas Everyday". In 1995 he released a new live version as the 'Roy Wood Big Band', which charted at No. 59, and in 2000 he joined forces with Mike Batt and The Wombles, for a re-recording of the song and the Wombles' hit "Wombling Merry Christmas", which reached No. 22.

Most recently, he has formed 'Roy Wood's Rock and Roll Band' for occasional live dates and TV performances in the UK.

Fans of Wood are a loyal bunch, and in 2007 a group of them launched the website Release Roy! lobbying Warner Brothers Records to release two of Wood's 1970s albums Super Active Wizzo (now released on Wounded Bird Records), and On The Road Again.

Over Christmas 2007, Wood appeared in a catalogue advert for Argos, where he played the part of a rowdy neighbour playing guitar along to Wizzard's "I Wish It Could Be Christmas Everyday", and the song once again entered the UK Top 40 singles chart.
Wood was awarded an honorary doctorate for his contribution to music by the University of Derby on the 18 January 2008

Get the expanded and digitally remastered version ( plus more info on his bio and discography) From his site



Track Listings
1. Songs of Praise
2. Wake Up
3. Rock Down Low
4. Nancy Sing Me a Song
5. Dear Elaine [Rough Mix]
6. All the Way Over the Hill/Irish Loafer (And His Hen)
7. Miss Clarke and the Computer
8. When Gran'ma Plays the Banjo
9. Rock Medley: Rockin' Shoes/She's Too Good for Me/Locomotive

Many kinds of music... prog, psyche, rock, melody ...masterpiece i.m.o.

Hats of to Mr Wood (or maybe heads of....????)

Enjoy and long live music loving and sharing, freedom of feelings

Sunday, February 03, 2008


Well, I said in my previous post, that I would tell you more for those people "tomorrow"...

I had the post ready and I was about to publish it, but wiser contributors asked me not to do it.

I won't discuss with those people. Their minds are connected only with their pockets and that makes any conversation with them a waste of time.

For those who missed the Boulders series :

Boulders 01.rar ~ Boulders 02.rar ~ Boulders 03.rar
Boulders 07.rar ~ Boulders 08.rar ~ Boulders 09.rar
Boulders 10.rar ~ Boulders 11.rar

You may ask why I'm re-uploading this series...
The reason is that "Boulders" series it's compiled by Dave G. (r.i.p.) of Moxie records.
It's a bootleg series from the first day, and all the the tracks are for 45's.

In the mid sixties almost every town in the states had a record label who published all these teenager music later known as garage. Most of this labels never had the copyrights for this recordings because most of the artists never make this for profit. It was just music !!!

P.S. Thanks all of you for the welcome back messages.
Lost-In-Tyme : Prog - Kraut - Classic Rock - Blues.....It's closed for some time...
Don't ask for permission.

Friday, February 01, 2008

Courage of Lassie - 1989 - Sing or Die

I was saving this for posting it on March 21, first day of spring, as it's my second best "spring album" of the past 30 years. If you ask me for my all-time favorite "spring album", the answer is Penelope Houston's Birdboys (I'm not going to post it - you can get it from here - and I'm telling ya Penelope has made an album in the same rank as Tim Buckley's or Tom Rapp's masterpieces - I may post some review of it soon).

After the recent wave of music blogs closing - see Totally Fuzzy (1/16/2008) and my previous posts for more on this - it seems like a severe winter is coming in music sharing, so I decided to post it now as an invocation to the coming of Spring and also to use its title as a call for the music lovers: Sing or die, Share or die, Spread the music you like or die. (I'm sure you understand that I'm not saying that if you don't sing or share you have to die! It's the music that will die if we squeeze it in plastic and labels.)

Back to the album: Courage of Lassie was the band of Ron Nelson and Mady Schenkel, originally from Vancouver, Canada. They first met as art students in the punk band Private School (1978-79) and after their break-up in early 1980, they formed The Singing Cowboys. They released an album as Magic Dragon in 1981, which you can find in Vertigo's site here. In 1982, they formed Courage of Lassie, making music on potential film soundtracks, and around 1984-85 they moved to Montreal and released the "Threshold of Hearing" cassette in 200 copies. In 1986 Lorenz Eppinger's Amok records released their first LP, "The Temptation To Exist" and in 1989 their masterpiece "Sing or Die", which was also released in the USA through C'est La Mort records and in the UK through Third Mind records. "Sing or Die" was very well received in Europe (the older Greek visitors may remember that it was voted as best record of 1989, by the "Sound & Hi-Fi" magazine). They had another release, 1994's excellent "This Side of Heaven"on a major company (you can find a taste of it in Maidens In The Moor Lay) and after that ...nothing. I've searched the web in any combination I could imagine and I haven't found a trace of the band or the two core members. Seems that everything stops in 1994, with the release of their last album and some touring. Did they quit music? I hope not. I was also surprised to discover that this long out of print album, was nowhere to be found in the blogland - except a mention in the above Vertigo post.

I found this photograph in Rachel Melas' myspace page, and I think it's Courage of Lassie.

This is from Hearsay magazine: Ron Nelson's background, part French and part Native Indian, (blended with Mady Schenkel's Swiss - German heritage) is perhaps what gives the album its truly Canadian, wild, organic feel, literally sounding like crashing waterfalls, huge evergreens, frozen tundra, cross-cultural cities full of underground artistic expression...(Hearsay)

When you listen to this record, I think you'll understand why I called it "Spring album". The nature of Canada is here, the morning dew and the sounds of twilight. You can hear the breeze through the grass and smell the flowers blooming. Yes, the music in "Sing or Die" contains all these and more. Singing in both French and English, Ron Nelson and Mady Schenkel, full of sweet melancholy, recall in mind Leonard Cohen or Tom Rapp (and a little of Joni Mitchell), along with the French trobadours. Yes, there were/are many more artists trying to do this, but the results in most cases are very lame, comparing to this essential folk record. The male/female vocals, the rich acoustic arrangement with the violin and accordion in the same rank as the guitars, catch all the colors and whispers and perfumes and the innocence of their songs. Two poems of James Joyce and Yeats, a cover of Creedence's "Who'll Stop the Rain?" and their unbelievable beautiful own songs compile a record that will haunt you for a long time, like a sweet memory from your past, that you can't really remember, but you like the feeling it creates.

Line-up: Ron Nelson-vcls, Mady Schenkel-vcls, gtr, vln, Rachel Melas-bs, Rod Booth-vln, acdn with:Chris Dean, Domenique St.Pierre, Edgar Bridwell, Phil Bova, Pierre Gautier, Ray Condo.

This is the cover from the Amok release (I've scanned it from a magazine) and it's the best of the three - with nice blue/mauve colors. The cover of the record at the top of this post (I believe) is from its uk release. You can see the us cover here. There was no point scanning the covers of my LP, as the white vinyl version of C'Est La Mort release I have, came out in a plain black cover with a sticker with the tracklist. So here's the scan of the vinyl

(Side one) - Ami dans Cette Vie / Who'll stop the Rain / Bang Bang (My Baby Shot Me Down) / Lonely Street / Big Town
(Side two) - Sing Or Die / Ophelia / Wild River / Down By the Salley Gardens / The Night Closes In

(in the canadian version there was a "city side" and a "country side" but not on the other two releases)
Here are the links for it: link1 or link2

Edit: In the comments you'll find a link for This Side of Heaven from 1994

Monday, January 28, 2008

We Are Back !!!

First of all my apologies for no replies to your mails for invitation to our "private" blog(s)...
But I couldn't reply to all this mails and explain why we "close" this page(s) for a couple of days.

"A private blog it's not a solution, so Don't send me requests for invitations. You will not have access for some days...that's all."

We had to back-up all the info and covers for all 4 Lost-In-Tyme pages.
That give us the possibility to open a New Lost-In-Tyme if blogger take "actions" against my account.

"Please note that repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account."

Let's focus to the problem.

There is someone out there (mr. Shawn Gordon & P.A.P.)
who is trying to stop the illegal downloads...from thieves like us who offering,
and thieves like you who steal the mp3's. (This is his opinion about music blogs)

As you know 90% of the albums posted in this blog(s) are oop or unavailable for purchase, and the main purpose of this blog
it's to introduce the artists/bands to you.

We never said no to someone who request from us to remove the link or a post.
(Actually we ask for them also to give us a link for a place that you can buy the album directly from the artist --If this isn't promotion then what is ?--)

Let's see what albums have been deleted recently (among others)
from mr. Shawn Gordon & his gangs :
The Chemistry Set – Sounds Like Painting (Unreleased LP)
Offered from the Artist
Roger Humphreys - 1996 - Beyond the Wall of Sleep
Offered from the Artist
The Sun Blindness - 2007 - Like Pearly Clouds
Shared with Permission
Various Artists - Maidens In The Moor Lay Vol. III
Homemade compilation - mostly oop tracks
Various Artists - 1988 - The October Country
LP Only compilation (oop)
Various Artists - Boulders
LP Only compilation (oop)
...the list it's huge...

"Look bloggers, its very simple, copyright holder entails that they have certain rights - akin to rights of privacy that you all value highly - that will trump any of the anarchist thought swirling around. There maybe bloggers that actually work w/ the labels and remove stuff when notified but when you see links deleted that get reupped only because folks missed before they received complaints, then you lose the high ground in any event."

So you trying to tell me that this files should not be re-upped ?
I can't know if a link reported from someone who had the right to do it...or from someone who haven't have something better to do in his life (Like you mr. president).

You can ask from me to delete the files and not from rapidshare.
(If you have time for only one mail...otherwise you can contact me And rapidshare)
And i will delete/remove the link(s).

It's that simple. Don't try to close Lost-In-Tyme by sending DMCA complaints.
This will bring a negative result from that you're trying to do.

If you're trying to stop me...I'll try to do the same.
A war you give, a war you'll get.

Read more about those good people here :

More Tomorrow.

The Sun Blindness - 2007 - Like Pearly Clouds (repost)

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

Usually when I hear a locally based band, I have trouble taking it completely seriously. I start thinking "Well I could do it better," or "Wow, that sounds like a poor man's (insert name of famous band)." Not so here. After hearing the Sun Blindness' album I instantly became a drooling fanboy. I'm up at almost 3:30 in the morning compelled to write about this duo. This completely obscure release from Australia quickly rocketed into my top five albums for 2007.

The Sun Blindness manages some completely narcotic sounds from the onset of opening track "Our Glassy Selves." Once we get past that fine intro we find ourselves in a forest of psychedelic sound for the length of the records. There are perfect webs of guitar layered with the sparsest percussion. It recalls, but doesn't copy, the Spacemen 3 sound circa Playing With Fire. Possibly topping that classic psych band, the Sun Blindness manages to fuse the softer side of Sonic Boom's drones with the proto-spiritualized sound of Jason Pierce's songs in a way that the Spacemen were never able to do. I also hear the influence of the completely ethereal Flying Saucer Attack with a hint of the pop touch of the Elephant 6 bands.

Some of the highlights here include "Flash In The Cosmic Pan," which is like a 60's pop song boiled down to it's psychedelic essence. The gauze relaxes just a bit for the psych-folk "It's Only 3am," and then returns in its full-on, yet subtle droning force on "A Trip In A Painted World."

The only thing holding this back from a full five star rating is a little lack of diversity. The songs here inhabit the same world of sound, but a fine one it is. This is the kind of album that you simply have to let wash over you and take over. Being only a debut, I hope that the Sun Blindness finds the stamina to continue. I wouldn't be at all surprised if these fellows managed to create a complete classic down the road; this one is certainly a contender already. Make sure to visit their myspace site at:

Buy Me:
The Sun Blindness - 2007 - Like Pearly Clouds

Listen To Me:
The Sun Blindness - 2007 - Like Pearly Clouds

Glaze Of Cathexis - 2008 - The Holographic Universe


There's a lot a debate concerning the legality of downloaded music on music blogs. My position is that I try to keep links for recent releases off of my site as those artists are on the frontline of the market, and do deserve some income for their recording troubles. For older albums, it certainly is a gray area, but I have no guilt about downloading a long out-of-print album, and I've bought quite a few older albums that I never would have thought about otherwise after having heard it first on the net.

Anyway, for this post I'm the artist and I'm happy to share my music with you. David Byrne stated in his now infamous interview that album cost almost nothing to record these day, and barring my instrument purchases over the past 13 years, all this album cost to make was well-enjoyed time. I consider my sound to be a probably muddy mix of all the psych groups I review on my blog (with an emphasis on the shoegazers), along with a dose of David Bowie. I suppose the quality of my music is key as to whether I'm supporting or hurting Byrne's statement, but that's for you to decide.

If you do like this music and would like to financially support my music making, you're certainly welcome to (but not at all obliged). Go to and contribute whatever you want to Radiohead-style to I'd be happy to professionally master the next set of records, have someone make more swank artwork, be able to buy a Moog, or take my wife out to dinner more (well, it can't be ALL about the music). But the bottom line is that I've made this because I enjoy it, and I'd love for you to hear it and hopefully enjoy it too!

Pay For Me (care of
Glaze Of Cathexis - 2008 - The Holographic Universe

Listen To Me:
Glaze Of Cathexis - 2008 - The Holographic Universe

Tuesday, January 15, 2008

Lost-In-Tyme It's Under Attack !!!

We have a major problem with this DMCA complaints.
Someone it's trying to close Lost-In-Tyme...
Please note
that repeated violations to our Terms of Service
may result in further remedial action
taken against your Blogger account.
So I have to close this blog(s) before that happens.
I know that it sounds hard for all (especially for me)
But this blog it's not only download links.

It's a HUGE MUSIC LIBRARY and I can't let anyone to destroy it.
I will close tomorrow all pages.
(at least 'till I found a solution for this problem)

A private blog it's not a solution, so Don't send me requests for invitations.
You will not have access for some days...that's all.

Any proposals are welcome.

Saturday, January 12, 2008

The Smoke (US) - 1968 - The Smoke [Vinyl]

Copies of Smoke's self-titled album are highly valued by collectors of West Coast soft rock and psychedelic music. The album certainly deserves its reputation as one of the masterpieces of 1968. It opens with the organ-driven "Cowboys and Indians," which was producer/songwriter Michael Lloyd's personal homage to Brian Wilson's "Heroes and Villains" and lyrically makes mention of war (obviously the Vietnam war was very much on everyone's minds at the time). Lloyd had met Wilson after Beach Boy Bruce Johnston invited him to the recording sessions for "Good Vibrations." In addition to Beach Boys-style production values, there are also references to the Beatles' Sgt. Pepper's Lonely Heart's Club Band throughout. The chorus to "Lucy in the Sky With Diamonds" is even quoted in the fade to Lloyd's "Fogbound." Other references pop up in the warm "Gold Is the Colour of Thought," which features an amazing arrangement encompassing Sgt. Pepper's-esque bursts of trumpet, strings, harpsichord, and sweet harmonies. The harpsichord-driven "October Country," a song previously recorded by the Lloyd-produced group of the same name earlier that year, reappears here with Lloyd handling the vocal lead chores this time, wrapped around bright strings. The album is dedicated to Stuart Sutcliffe. Fans of post-Pet Sounds West Coast psych-pop or Curt Boettcher-produced groups (the Millennium, Sagittarius) will love this album, which is not available on compact disc. []

I must confess that I never heard of this band before, I was working on my British Invasion files and was searching for The Smoke [UK] – The Smoke [1967].
So I was very pleased when I heard this one and thought it might fit in nicely on Lost In Tyme. mentions that it is never released on CD so this must be a Vinyl rip which you almost can’t hear… and I did found also the Smoke from the UK but posted that one somewhere else..

Track list;
01-Cowboys and Indians. 2:44
02-Looking through the mirror. 1:45
03-Self analysis. 2:53
04-Gold is the color of thought. 3:04
05-The hobbit symphony. 3:56
06-The daisy – intermission. 0:26
07-Fogbound. 2:20
08-Song thru perception. 1:44
09-Philosophy. 0:44
10-Umbrella. 2:26
11-Ritual gypsy music opus 1. 0:14
12-October country. 2:45
13-Odyssey. 3:45


Style; Psychedelic

The Chemistry Set – Sounds Like Painting (Unreleased LP)

The Chemistry Set – Sounds Like Painting – Unreleased LP
“The Fanzine and Flexi Disc Kings”

There was a time before the internet when if you wanted to know what was going on in the world of Psychedelia you would purchase one of the hundreds of fanzines around the world. Like Bucketful of Brains, Freakbeat, The BOB, Rockerilla, Ruta 66 and Sound Affects, to name just a few.

In the late 1980’s The Chemistry Set appeared in fanzines all around the globe. From the UK to France, Spain, Italy, Holland, Germany, Sweden, Japan, USA, Australia and New Zealand

Some of these fanzines used to give away flexi discs (for younger readers these were 7” floppy plastic records) that used to last for about 5 plays if you were lucky. For a period from 1988 – 1990 it seemed that every other fanzine were giving away a Chemistry Set flexi disc.

Formed in London in 1987, The Chemistry Set comprised of Ashley Wood
(Guitars and vocals), Paul Lake (guitars and vocals), Henry Taprell (bass) and David Mclean (drums and vocals)

They came together through a mutual friend and a mutual love of Psychedelia. Their influences were: Syd Barrett, Robyn Hitchcock, Tomorrow, UK Psych, the 4 B’s (Beatles, Beach Boys, Buffalo Springfield & The Byrds), Love, Moby Grape, The Yardbirds & The Misunderstood (particularly the use of the volume pedal, check out the quiet part of “Wake up Sometimes”) and Hendrix.

They spent the first 6 months of their existence in the laboratory (AKA a rehearsal studio in Kensington, London) before hitting the road.

An early stage favourite “Batmutation Overdrive” was the Batman Theme that careered into Interstellar Overdrive and could last anywhere from 5-15 minutes depending on the crowd reaction.

Covers that were played at early gigs were “She Don’t Care About Time”, “Renaissance Fair” & “Lady Friend” by The Byrds, Dylan’s “Tombstone Blues” and The Buffalo’s “Mr Soul” (later recorded at the ” Wake up sometime” sessions)

During their existence they also covered “See Emily Play” by The Floyd (recorded and released on Imaginary records Syd Barrett tribute “Beyond the Wildwood”, “Faintly Blowing” by Kaleidoscope and “A House Is Not A Motel” by Love (recorded and released on Spanish LP “Wake up Sometime”)

The Chemistry Set could be found playing weekly in London @ venues like The Marquee, The Borderline, The Greyhound, Rough Trade Record Shop & regularly at Alice in Wonderland. They played with Robyn Hitchcock, Bevis Frond, The Steppes and even good old Hawkwind.

The bands rehearsal sessions were more like gigs. Every Saturday a trail of about 50 freaks and hippies would make their way to the rehearsal studio, where they would watch a 4 hour freakout and jam session. Greg Shaw once paid a visit with The Steppes and a Chem Set/Steppes jam session ensued.

In February 1989 The Chemistry Set entered into Raven Farm Recording Studios to record their first LP; Sound Like Painting. The LP was finished and ready for release in April 1989. Interviewed at the time by Bucketful of Brains, they had been offered a number of deals from record companies; Voxx (USA), Music Maniac (Germany), Resonance (Holland) & Romilar-d (Spain) but were holding out to see who else would come along.

The BOB (USA) review of Sounds Like Painting

The band sent out about 200 copies of the LP to record companies, fanzines, magazines and radio stations and it was “Sounds Like Painting” that became the main reference point for the band.

Sounds Like Painting was never released.

Jim Mcgarry, Head of the Rainbow Quartz label said ” It is one of my favorite albums of all time”

This was early unfinished artwork for the LP.

1. Some People Never Learn
2. The Candleburns
3. The Look Inside
4. Acacia Gardens
5. Sittin’ on Top of the World
6. Orange Juice Sun
7. Living Alone
8. The Dreams That I Saw Yesterday
9. Minas Tirith
10. Under The Valley

Enjoy from the master tapes @320k

The band went on to release many singles, an LP for a Spanish label and numerous compilation appearances but they never again reached the heights that was “Sounds Like Painting”.

Note that the version found here is not the finished “mixed” LP. This is an earlier rough mix (with count-in’s etc) that has more power than the finished version.

“Sounds Like Painting” and most of the above article
first appeared on the great “It’s Psych” forum.

David Mclean 11 Jan 2008

The Third Bardo - The Third Bardo



1(A) LOSE YOUR MIND (7") (Sundazed SEP 106) 1993

2(A) THE THIRD BARDO (10") (Sundazed SEP 10-160) 2000

NB: (1) contains Five Years Ahead Of My Time, Lose Your Mind, I Can't Understand Your Problem and Dawn Of Tomorrow. The latter three are previously unreleased. The EP was released on yellow vinyl. (2) gathers all their 1967 recordings - essentially adding two versions of My Rainbow Life (one previously unheard) to the 7" EP tracks.
45: 1(A) I'm Five Years Ahead Of My Time/My Rainbow Life (Roulette 4742) 1967 A New York outfit. Their name, chosen by lead singer Jeffrey Monn and extracted from the 'The Tibetan Book of the Dead', refers to a "return to reality". The inclusion of I'm Five Years Ahead Of My Time on Pebbles, Vol. 3 (LP) has made it something of a classic among collectors of psychedelic punk. Deservedly so in view of its haunting intro and fine fuzztone guitar work. Subsequently it has resurfaced on other compilations:- Born Bad (The Songs The Cramps Taught Us), Songs We Taught The Cramps, Nuggets Box (4-CD), Pebbles Vol. 3 (CD), Trash Box (5-CD) and Best of Pebbles, Vol. 1 (LP & CD). Rusty Evans of The Deep/Freak Scene wrote the 45 for The Third Bardo along with songwriter Victoria Pike, who was married to The Third Bardo's producer Teddy Randazzo (of Roulette Records) at the time. The excellent flip side of the 45 can also be heard on Vile Vinyl, Vol. 2 (LP) and Magic Carpet Ride (LP) whilst another version of it appears on Freak Scene's Psychedelic Psoul LP. If that wasn't enough, David Walters (author of the excellent "Children of Nuggets" book) has pointed out that the version of My Rainbow Life on Glimpses, Vol. 4 (LP) is an acetate version, 20 seconds shorter than the final single and with a different mix! Both sides of the 45 can also be now heard on Psychedelic Microdots Of The Sixties, Vol. 3 (CD). In the early seventies, their lead singer Neufeld released an album under another pseudonym, Chris Moon. In the 1980s The Nomads did a fine cover version of I'm Five Years Ahead Of My Time and Kenne Highland's Majestic Gizmos reworked it into He's Five Beers Ahead Of Your Time (!) on the LP of that name. In 1999, Rusty Evans has helped re-record I'm Five Years Ahead Of My Time, My Rainbow Life and a number of other tracks with his son's band Kaos. Although currently unreleased, the new recordings are great, capturing the spirit of the originals. Rusty may also be writing some new material for The Third Bardo themselves, who played live again on May 16th 1999 with a line-up of Jeff Moon aka Neufeld, Damian Kelly and Ricky GoldClang from the original band. As for former drummer Bruce Ginsburg, his whereabouts are unknown - somewhere in California, whilst Richie Seslowe sadly died of a drug overdose in the eighties. (Vernon Joynson / Max Waller / John P. Melendez)

source :

Download It Here :

Friday, January 11, 2008

[#231402755] Blogger DMCA Complaint received

allegedly infringes upon the copyrights of others. The content in question
is located in the following posts:

The notice that we received, with any personally identifying
information removed, will be posted online by a service called Chilling
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in accordance with the Digital Millennium Copyright Act (DMCA). Please
note that it may take Chilling Effects up to several weeks to post the
notice online at the link provided.

The Blogger Team

Thursday, January 10, 2008

V.A. - Boulders Vols 1-11

In the late 1970s and 1980s, the Moxie label was famous, or infamous, for its Boulders compilations of obscure 1960s garage rock.
Boulders was to Pebbles what Pebbles was to Nuggets; an even rawer,
more obscure approach to unearthing 1960s garage music,
in both the rarities unearthed and the fidelity and graphics of the packages.

~Richie Unterberger, All Music Guide

Tuesday, January 08, 2008

DMCA Complaint received

Well, some people believe it's good for them to create DMCA Complaints...
instead to contact us for removing the links from those post.

To bad for them...
Blogger says :
"We are asking that you please remove the allegedly infringing content in
your blog. If you do not do this within the next 3 days (by 1/10/08), we
will be forced to remove the posts in question. If we did not do so, we
would be subject to a claim of copyright infringement, regardless of its
So you have 3 days to download this albums.

I'm not removing anything...before those 3 days.
If someone want from us to remove a link from the blog, he have to contact me,
and I'll do it...but not in this way.

[#230426472] Blogger DMCA Complaint received

Allegedly infringes upon the copyrights of others. The content in question
is located in the following posts:

The notice that we received, will be posted online by a service called Chilling
Effects at We do this
in accordance with the Digital Millennium Copyright Act (DMCA). Please
note that it may take Chilling Effects up to several weeks to post the
notice online at the link provided.

The Blogger Team

Sunday, January 06, 2008

These Trails - 1973 - These Trails

These Trails - 1973 - These Trails

Tracks :
01. These Trails
02. Our House In Hanalei
03. Of Broken Links
04. El Rey Pescador
05. Psyche I & Share Your Water
06. Hello Lou
07. Rusty's House & Los In Space
08. Psyche II
09. Sowed A Seed
10. Rapt Attention
11. Waipoo
12. Garden Botanum

Location is very often everything when it comes to great folk music, whether it be the tranquil green countryside of home-counties England that informed the pastoral moods of Nick Drakes legendary albums, or the heather-clad moorland and Neolithic sites of Northern England used today as backdrops to the avant-folk experimentation of Xenis Emputae Travelling Band. In the world of psychedelic folk there are few better examples of this than the sole self-titled release from 1973 by These Trails, a then little known folk act from Hawaii, that is now held up, with deserved reverence, as a cult-classic of the genre. It is an album that skillfully combines a keen sense of melody with otherworldly vocals from the enigmatic late Margaret Morgan and innovative sonic experimentation that over 30 years later has stood the test of time. What’s more the band furnished each of its tracks with the colours, scents and atmospheres of the botanical treasure of the volcanic Pacific island paradise that birthed them.
~by Simon Allen

Get It Here :

Saturday, January 05, 2008

Grapefruit - Around Grapefruit [1968]

Like the fruit after it was named, Grapefruit's debut album was at times too sweet, but was on the whole a promising and worthy effort. Devoted almost wholly to songs written by leader George Alexander, the record featured tuneful, upbeat mid-tempo late-'60s British rock with good harmonies, creative ornate arrangements, and a very slight and very sunny psychedelic tinge. Certainly similarities to the Paul McCartney-penned tracks from the Beatles' own psych-pop era are evident, and if George Alexander's songs weren't in nearly the same league as McCartney's, well, no one working the style was in McCartney's league. Grapefruit was at their best on the occasional songs in which they reached into slightly darker and more melancholy territory, particularly when they made creative use of strings, organ, baroque keyboards, and Mellotron, as on "This Little Man" and "Dear Delilah" and the instrumental "Theme for Twiggy." The latter tune sounds like something that could have been killer had words been devised; as it is, it seems like something that wasn't quite seen through to completion. There's also the Four Seasons cover "C'mon Marianne," which, although it wasn't one of their better tracks, was (along with "Dear Delilah") one of their two small U.K. hits. The CD reissue on Repertoire adds "Dead Boot," the non-LP B-side of "Dear Delilah." []

Track list;
01 - Another Game
02 - Yesterday's Sunshine
03 - Elevator
04 - Yes
05 - C'mon Marianne
06 - Lullaby
07 - Round Going Round
08 - Dear Delilah
09 - This Little Man
10 - Ain't It Good
11 - Theme For Twiggy
12 - Someday
13 - Dead Boot


Style; Psychedelic Pop

7 X 7 is - U.S. Garage singles pt.8

Sister Ray - Purgatory/Hillside (Forced Exposure FE-016, 1988)
Sam and Mike D'Angelo , two brothers from Youngstown, Ohio (like Boys From Nowhere), have a rather long story, which you can read here. This is a single from 1988, released thru Forced Exposure and therefore a collector's item now. Both sides are killers, with muddy garage sounds and releaving guitar solos.

Sam D'Angelo - Enter Hell (7'EP, Resonance 904501, 1990)
As in the credits of the previous Sister Ray's single Sam D'Angelo appears as did 'nothing at all', here's his single from 1990 with 3 tracks. He tries to move away from the sound of the band and he partially succeeds in 'This was My Blood' as the title track could be in any Sister Ray release.

The Clams - Train Song/Crazy Boys (7', Imaginary IMC 509, 1987)
All-girl band from Minneapolis, Clams with a couple of rock'n'rollers from 1987, 'recorded on a tascam four track in mark's basement'. They released a 12' also in Imaginary and a 7' in another Mpls label, Susstones. According to John Dougan (AMG) (who obviously was a fan) "Live they were sensational, with Lawson exuding pure attitude and lead guitarist Roxie Terry (the coolest rock chick ever!) striking an alluring Joan Jett-ish pose that made her a rock goddess come to life."

Hopelessly Obscure - Shoot That Girl/Linda Sue Dixon/Do The Doug/Too Tired (7'EP, Arf Arf AA-019, 1986)
Time for the inevitable Kenne Highland and his gang (see previous posts of '7X7', Dark Cellars, the World of Distortion etc for more). In this EP we find all the usual suspects, like Aram Heller, Erik Lindgren and Willie 'Loco' Alexander, whose stories are too long to fit here. Special mention to Gay Hathaway (gtr, vcls). As for the music, you know what to expect: raw, lo-fi, pure garage!

The Original Sins - Coca-Cola (Sweet)/Juicy Fruit (7', Get Hip GH-134, 1990)
JT (John Terleski), founder of the Original Sins, continues until today under the name Brother JT or Brother JT3. In one of his solo records he put the title 'Music For The Other Head' and the appropriate cover. That's exactly the point here: two primitive/2-chord/garage tracks to make you remember to keep smiling (as the boy says on the cover).

Popealopes - Poor Tom/Bovine Lament (7', Resonance 88-4507, 1988)
PopeAlopes were a group from Davis, CA, active from 1986 to 2001, according to this myspace page (though their last official release was in 1993). This 7' was given as bonus with the first 1000 copies of their (Russ Tolman produced) album "An Adder's Tale", which, as I remember, was rather well received in Europe, reminding the missed True West.

Crypt Kicker Five - 4th Hole/Bedouin Stomp (7', C/Z records, CZ019, 1990)
Crypt Kicker Five were founded in Seattle by Jaime Caffery and Chip Doring, as a surf-punk band, in 1984. At their second incarnation, they joined by Jack Endino (yes this one!) on drums and production and Rhonda Pelikan on vcls and guitar. This single is from their 2nd phase,the only vinyl output of their recordings (that were released recently) and contains a gnarly a-side with some of the most sophisticated riffs you could find in a garage-punk song and a catchy oriental/surf tune on the b-side.

Here are the links for rapidshare and massmirror .

Friday, January 04, 2008

Albatross - 1973 - A Breath Of Fresh Air

Side 1:
1."Full Moon"
2. "The Drowning Song"
3. "Escher's Door"
4. "Drop Me a Line"
5. "Bouzouki Boogie"
6. "A Breath of Fresh Air"
Side 2:
1. "The Games Cards Play"
2. "Nimbin Stopover"
3. "Mermaid"
4. "A Message to You"
5. "Seashell Secrets"
6. "Wings Of The Albatross"
7. "The Angel & the Boy"

Albatross formed in September 1972, after the split of legendary Sydney band Tamam Shud. The initial lineup was a trio, comprising Bjerre and Baron (both ex-Shud) and drummer Kim Bryant (ex-Country Radio).

While bands like The Aztecs and The La De Das and were mining the rich veins of blues, boogie and heavy rock, Albatross took a different tack, exploring a mellower, acoustically-based style that was a development from the quieter side of Tamam Shud's Shud's progressive/psychedelic sound. Albatross' music incorporated elements of folk and country music, as were a number of other contemporary Australian groups like Country Radio, The Flying Circus and The Dingoes. Lyrically, the band's material continued Bjerre's concerns with sprituality, nature and environmental issues.

The band's home-base was on Sydney's northern beaches, and during the year of its existence Albatross played regularly at the Memorial Hall in the Sydney beachside suburb of Mona Vale. In early 1973 the band was augmented by Lindsay's wife Simone on vocals and in April they were joined by multi-instrumentalist Richard Lockwood, formerly of Tully, who had also played with the last version of Tamam Shud.

This augmented lineup recorded the group's only LP, A Breath Of Fresh Air (Warner Reprise), which also included session contributions from Gary Frederick (slide guitar), Pirana organist Keith Greig and Chris Blanchflower (harmonica). It's a fine album, and long overdue for reissue. Bjerre's unusual voice is perhaps an acquired taste but the album is full of excellent material, beautifully played and very well recorded. The pacy opening track "Full Moon", a road song opens with an innovative string arrangement and features some heavier sounds that recall Tamam Shud, and it's decorated with some very tasty "Layla"-style slide guitar from Fredericks. Other highlights include the rollicking "Bouzouki Boogie" and "Nimbin Stopover", a commemmoration in song of the 1973 Aquarius Festival, which features the inimitable harmonica stylings of the great Chris Blanchflower (Country Radio).

Another sought-after Warner album from this period, Total Union by Band Of Light, has been recently reissued by Gil Matthews' Aztec Music label, so there is some hope that the Albatross album will eventually be remastered and re-released on CD. Meanwhile, the original LP -- which presumably sold few copies -- has become highly collectible, with copies now changing hands for over $100.
Albatross gained important exposure with a prestigious support spot on Frank Zappa's his first Australian tour, but the band did not last out the year, and had already broken up by the time the LP was released in November.

Lindsay Bjerre spent the next few years pursuing spiritual interests and travelling; he also wrote a (never-performed) rock opera and studied mime in England with theatrical legend Lindsay Kemp. He re-emerged in 1977, with a new performance persona, simply called Bjerre, and with support from Countdown he scored a surprise hit with the single "She Taught Me How To Love Again".

Get It Here

Bill Fay

Bill Fay - 1970 - Bill Fay

A brilliant lost set from singer Bill Fay -- recorded in baroque brilliance that rivals the late 60s work of Scott Walker! Like Walker, Fay's as much a poet as he is a singer -- and also like Walker, he's got the great fortune here to be working with some excellent arrangements -- handled by British jazzman Michael Gibbs, and featuring some excellent guitar work from Ray Russell. Fay's style is slightly folksy at times, with echoes of Leonard Cohen somewhere in the mix -- but his overall vision is far more elaborate, and carried off here to perfection in a rare kind of "once in a career" record that still holds up beautifully today!

Get It Here :


Bill Fay - From The Bottom Of An Old Grandfather Clock
(Demos & Outtakes 1966-1970)

25 Stunning Demos (22 Previously Unreleased) and Work in Progress Tracks Cut Between 66 and 70 from this Cult British Artist. 60's Pop Art at It's Finest. Wilco Fans Take Note, this Includes the Original Version of "be Not So Fearful", a Song Covered by Jeff Tweedy in the Wilco Documentary Film 'i Am Trying to Break Your Heart'.

Get It Here :


Bio :
Obscure British singer/songwriter Bill Fay made a couple of albums in the early '70s that matched Dylanesque songwriting with unusual arrangements. Fay had actually done his first single, "Some Good Advice"/"Screams in the Ears," for Deram back in 1967, produced by early Donovan co-manager Peter Eden. The single introduced his characteristic downbeat melodies and scrambled impressionistic lyrics, though with somewhat more pop-oriented production and melodies than those heard on his albums.

It wouldn't be until 1970 that his self-titled debut appeared. Bill Fay is an odd and not particularly good record, in large part because his songwriting has the obvious ambition of song-poets like Bob Dylan and Leonard Cohen, but not nearly as much talent. His hoarse, thin singing is also obviously Dylan-influenced, but like fellow Dylan acolyte David Blue, he had the tendency to go distressingly off-key. There was a bit of the British lilting storytelling style to his songwriting, in the path of Al Stewart, Donovan, and Nick Drake, but these traits were far subordinate to the inchoate Dylanisms. Twee orchestral arrangements figure strongly on the record, as if to cover up for some of the artist's vocal deficiencies. His second LP, Time of the Last Persecution (from 1971), was similar in its songwriting, but far more straightforward and rock-oriented in its production, and more conventionally accomplished in its vocal delivery. Though still not noteworthy, it was definitely better than its predecessor, and sometimes enlivened by unexpectedly gnarly rock guitar.
~Richie Unterberger, All Music Guide

posted by Ben Elephant

Thursday, January 03, 2008

Various Artists - Maidens In The Moor Lay Vol. III

Dark Ages -
Piano Magic w/Vashti Bunyan (Saint Marie EP)
Passiflora - The Gray Field Recordings (Hypnagogia)
Painted Skies - Tiny Lights (Prayer For The Halcyon Fear)
Under the Gaze - Samara Lubelski (The Fleeting Skies)
Hold You Up - Alice Despard (Thinning of the Veil)
The world is burning, so let us waltz - Post Crash High (The apocalypse came yesterday and no one noticed)
You Don't Love Me Yet - Bongwater (Double Bummer)
A Good Many Things - Matty and Mossy (Fraimers Hamey)
Down by the River - DiGiTaL DaN & EliZaBeTh (Unknown)
Dark World - Sylvia Juncosa (Nature)
This Train - 28th Day (28th Day)
The Orange Bears - Famous Boating Party (Silvery Branches)
Happy go lucky - Spray Pals (7"single)
Hiawatha - Look Blue Go Purple (Compilation)

A quiet start with one of the few worthy comebacks (Vashti Banyan), followed by the promising Gray Field Recordings (multi-instrument player R. Loftiss), a little pop/psyche with Tiny Lights with Jane Scarpantoni's cello (from 1984) and a much more recent album of Samara Lubelski (Tower Recordings) and a nice song from the real passionate Alice Despard (ex-Hyaa!). Post Crash High's song is subtitled "it's almost as good as listening to the tale of "Long Lankin" under the influence of psilocybin" and I don't have anything to add, Ann Magnuson w/Bongwater in a Roky Erickson cover, Matty & Mossy (Jana Hunter's band from 2001), in a real dark tune, and a duo (DiGiTaL DaN & EliZaBeTh) I wish I knew more: I have only a few tracks from them, but they're really good. Sylvia Juncosa (more on her in a few days - if anyone's interested) takes us high with her outstanding guitar playing and then a version of Pete Seeger's 'This Train' from 28th Day and Barbara Manning with all her youth (it was 1985!) and innocence (which I'm sure she still has). Famous Bloating Party is one of the many inhouse bands of Jewelled Antler Collective.
I must confess that the next song from Spray Pals triggered me to compile this third part of Maidens. You may know Susanne Lewis from Thinking Plague. This is one of her first recordings (from 1982) where they managed to make a song based on tribal percussion, Indian Raindance chant vocals with bouzouki solos, flavored with drops of folk. You have to listen to believe it. We close with the stormy Hiawatha from the New Zealanders Look Blue Go Purple.

Here it is from massmirror and rapidshare

Wednesday, January 02, 2008

Blues Magoos

The Blues Magoos, who started out as The Trenchcoats in The Bronx, NY, in 1964, were by 1965 denizens of the Greenwich Village scene, along with the likes of The Lovin' Spoonful, The Fugs and Mama Cass Elliott's pre-Mama's & The Papa's group The Mugwumps.

At this time they were managed by Marvin Lagenoff...who supposedly had also managed Eydie Gorme earlier on...the man that had changed their moniker to The Bloos Magoos (Magoo was short for Moo Goo Gai Pan; he'd supposedly been eating this at a Chinese restaurant). It was from there that they'd set about recording. In October of that year, they'd signed with MGM's Verve subsidiary and recorded a double-sided single, 'So I'm Wrong And You Are Right'/'The People Had No Faces', the former penned by Rick Shorter (along with Bobby Hebb and Richie Havens one of the few black musicians involved with folk music), the latter a Scala/Castro composition.

Meanwhile, in Greenwich Village, they'd met up with the two men who would become the definitive lead guitarist and drummer, Mike Esposito and Geoff Daking (who, after a rift between Scala/Castro/Gilbert and Finnegan/Lapore, a la Pete Best, promptly replaced the latter) and the management team of Bob Wyld and Art Polhemus. It was with this aggregation that they began recording in November for Mercury Records, the first effort being another double-sided single, John Loudermilk's 'Tobacco Road', backed with 'Sometimes I Think About' (a/k/a 'Willie Jean'), a traditional Negro folk ballad about a condemned man set to a blues style. Due to the over-three-minute length of the former and the subject matter (however subdued) of the latter, the single received limited airplay. And I would guess that the actual composer of the latter was the condemned man.

No one will know for sure, especially considering that until the '30s no black writers could even obtain copyrights. 'Sometimes...' was written decades before. Then in 1966, while the group was playing at The Chessmate Club in Detroit, came the breakthrough. A DJ on station CKLW played '(We Ain't Got) Nothin' Yet' one afternoon and caused a Nationwide deluge!!! In a short time every station was playing it and it eventually reached ..5 in 1967. 'Nothin' Yet' was backed with an earlier version of 'Gotta Get Away', another song that appeared on their PSYCHEDELIC LOLLIPOP album, also released in '66.

Other albums followed, ELECTRIC COMIC BOOK and BASIC BLUES MAGOOS, but did not meet with the same success. The Magoos, meanwhile, were playing dates all over the country with The Who and Herman's Hermits and recorded more singles that met with the same fate. Finally, at the beginning of 1969, the original group broke up.

Then during the time of Woodstock, Bob Wyld put together a new version of The Magoos with only Castro remaining. His backup musicians were John Liello (keyboards & vibes...who also strongly resembled Scala), Roger Eaton (bass), Eric Kaz (electroharp) and Richie Dickson (drums). This aggregation, whose sound closely resembled Blood Sweat & Tears' and Santana's, recorded one album for ABC called NEVER GOIN' BACK TO GEORGIA (1969).

Eaton and Dickson left shortly after and Castro, Liello, Kaz and studio musicians recorded GULF COAST BOUND (1970). Then it was the end of the Magoos until 2000. Castro, meanwhile, has appeared in the Broadway musical HAIR and was in the groups Barnaby Bye and Balance. His son Jesse Doran Castro is currently heading his own group called CASTRO.

Watch them here : clip 1 ~ clip 2

Download Them Here :
Psychedelic Lollipop
Electric Comic Book
Basic Blues Magoos
Never Goin' Back to Georgia
Gulf Coast Bound

Tuesday, January 01, 2008

Roger Humphreys - 1996 - Beyond the Wall of Sleep

Debut privately pressed album by this Canadian solo artist. Beautiful electric/acoustic folk with a Celtic, pastoral edge. Fragile and bewitching stuff......~freakemporium

I invite you to download my 1996 Folk/Psych album :
"Beyond the Wall of Sleep" via RapidShare.
All I ask is that you leave a comment.
This album was never available in shops. Sold about 500 copies back in the day through record collector's catalogues. I hope to put more of my music on this page soon.
Thanks, Roger Humphreys.

Link to download:

The Vietnam Veterans

The Vietnam Veterans were one of the main attractions of the Neo-Psych movement and a major event in the psych scene of the mid 80s (what was rather small, sadly), with every new record. Today it seems they are Lost-In-Tyme.

The Vietnam Veterans are a French band, that first started playing in 1982. They play a very unique and fantastic psychedelic music style!

The very first members were: Mark Enbatta, Lucas Trouble, Greg Jones, Angelo Jupp, Steve Palermo (Drums), D.D. Richardson (Harmonica). In this formation they produced the first LP "On the Right Track Now !" (1983). The record itself was recorded and mixed in only three days.That gave the album a pretty low sound quality, but that doesn't changes the fact that this is one of the best albums ever recorded from the post-psychedelic garage scene of the 80's, especially in Europe. It includes many great songs but probably the best known pearls are
"Don't Try To Walk On Me" and "Dreams Of Today."

Vietnam Veterans - 1983 - On the Right Track Now !

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar) Angelo Jupp (Bass)
Steve Palermo (Drums) Lucas Trouble (Keyboards) D.D. Richardson (Harmonica)

Tracks :
1. Don't Try To Walk On Me 2. Dreams Of Today
3. I Can Only Give You Everything 4. You're Gonna Fall
5. I Walked With A Zombie 6. Back From Hell
7. Out From The Night 8. Critics 9. That's Love
10. Dogs 11. Hey Gyp 12. Right Track Now

Get It Here (mp3) :

On the second LP "Crawfish for the Notary" (1984), there is a little change, Steve Palermo and D.D. Richardson left the band and Martin Joyce became the new drummer of the Vietnam Veterans. That should be the final formation of this band. "Crawfish for the Notary", was recorded in the same studio as "On The Right Track Now", but it was done in three weeks so it had a much better sound quality to it. It also contains some of the bands' best songs: "Children Eyes," "What Are You Hiding," "I Give You My Life" and more.

Vietnam Veterans - 1984 - Crawfish for the Notary

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar)
Angelo Jupp (Bass) Martin Joyce (Drums) Lucas Trouble (Keyboards)

Tracks :
1. Burning Temples 2. I Heard The Wind Blow
3. I Give You My Life 4. Children Eyes 5. My Trip 6. Liars
7. Is This Really The Time 8. What Are You Hiding
9. Masters Of Time 10. This Life Is Your Life 11. Gary Cooper's Trip

Get It Here (m4a) :
Get It Here (mp3) :
RapidShare or SendSpace

Not long and the third LP "Green Peas" (1985) was released, a record featuring the band's first two live gigs in Germany. This album features the best songs from the first two albums and had other songs that were completely improvised on the stage during the show- more proof of the band's unique chemistry. It's the best album to start with for someone who wants to learn about the Vets.

Vietnam Veterans - 1985 - Green Peas (Live)

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar)
Angelo Jupp (Bass) Martin Joyce (Drums) Lucas Trouble (Keyboards)

Tracks :
1. You're Gonna Fall 2. Dreams Of Today 3. Curanderos 4. Dogs
5. Liars 6. Critics 7. Wrinkle Drawer 8. Tower Of Babel
9. What Are You Hiding 10. Is This Really The Time
11. Don't Try To Walk On Me 12. Out From The Night
13. The Trip 14. Dreams Of Today 15. Peas On Earth

Get It Here (mp3) :

In 1986, the band released Ancient Times, a well-produced album which contained one of the band's more stirring masterpieces- "Curanderos," among other brilliant songs such as "Tower Of Babel","Wrinkle Drawer" and "Crooked Dealers" (the first three also appeared on the Green Peas).

Vietnam Veterans - 1986 - In Ancient Times

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar)
Angelo Jupp (Bass) Martin Joyce (Drums) Lucas Trouble (Keyboards)

Tracks :
1. Let It Rain 2. Ancient Times 3. Curanderos
4. Everywhere Is My Nation 5. Run Baby Run 6. Tower Of Bablel
7. Three Months Every Year 8. Wrinkle Drawer 9. Next Year
10. Crooked Dealers 11. Safety Razors

Get It Here (m4a) :
Get It Here (mp3) :
RapidShare or SendSpace

"Catfish Eyes And Tales" was released in 1987 and provide to be the last Vets album. It's a special album which contains the piece, "Medley," was built out of three connected songs: "Distant Drums," "Sea Horse" and a cover of the late David McWilliams's song "The Days Of Pearly Spencer."

Vietnam Veterans - 1987 - Catfish Eyes and Tales

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar)
Angelo Jupp (Bass) Martin Joyce (Drums) Lucas Trouble (Keyboards)

Tracks :
1 Dead Breams Don't Bite 2 Southern Comfort 3 Maybe You Think
4 Time Is The Worst 5 Crying 6 Catfish Eyes And Tales
07 Medley : a.Distant Drums b.Sea Horse c.Days Of Pearly Spencer

Get It Here (m4a) :
Get It Here (mp3) :
RapidShare or SendSpace

Before the band broke up, another album was released. "The Days Of Pearly Spencer" (1988) is a collection of unreleased songs and better versions of songs from the first two LP's. It also contains a live version of "The Trip" with strange people joining them on stage.

Vietnam Veterans - 1988 - Days of Pearly Spencer

Mark Enbatta (Guitar & Vocals) Greg Jones (Guitar)
Angelo Jupp (Bass) Martin Joyce (Drums) Lucas Trouble (Keyboards)

Tracks :
1. The Days Of Pearly Spencer 2. 500 Miles 3. Is This Really The Time
4. Burning Temples 5. Don't Try To Walk On Me 6. Dogs
7. You're Gonna Fall 8. Dreams Of Today 9. Be My Baby 10. The Trip

Get It Here (mp3) :


source :

Their sound are at first rooting in the 60's Garage sound evolved into a very unique mix of Psychedelia through their records. Very recommended.

posted by chocofreta

Happy Neo-Psychedelic Year !!!

Sunday, December 30, 2007

V.A. - Love Is The Song We Sing: San Francisco Nuggets 1965-1970

Love Is The Song We Sing: San Francisco Nuggets 1965-1970

Released in commemoration of the 40th anniversary of the Summer of Love, the four-CD San Francisco Nuggets set gives an unprecedented look at the music scene that changed America. Featuring legends such as Jefferson Airplane, Sly Stone, and Santana alongside local hits from the fertile garage-rock underground, it's an ideal reminder for those who were there and a proper introduction to those who wish they were.

It wasn't all peace, love, and drugs that made San Francisco the fulcrum of the burgeoning hippie scene in the mid '60s. According to this sprawling 77-track, four-disc set — the third in Rhino's ongoing Nuggets series — it was the music that nurtured and helped create Haight-Ashbury. This expansive package succeeds in presenting the disparate acts involved in that cultural revolution through a detailed aural exploration. Sure, the usual suspects like the Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, and Janis Joplin are here, but it's the obscurities and oddities — some never previously available and many more extremely difficult to find — that provide intimate glimpses into the crevices, building blocks, and influences of what was later dubbed the "San Francisco Sound." The platters are broken down into rough category/chronological groupings, with disc three focusing on 1967, the Summer of Love whose 40th anniversary this box's release celebrates. Even there, acts such as the Ace of Cups, the Mystery Trend, and the Loading Zone fly way below the radar. There's lots to absorb, even for genre enthusiasts, but compiler Alex Palao's extensive, track-specific liner notes provide concise yet vital contextual background to guide the listener through a wildly diverse landscape that runs from the British Invasion-styled pop of the Beau Brummels and the soft folk of the Youngbloods to the furious garage psychedelia of the Count Five and the eardrum-bursting, proto-metal power rock of Blue Cheer. — Hal Horowitz

Disc 1: Seismic Rumbles
1. Dino Valenti - "Let's Get Together"
2. Country Joe & The Fish - "I Feel Like I'm Fixin' To Die" (EP Version)
3. We Five - "You Were On My Mind"
4. The Charlatans - "Number One"
5. The Warlocks - "Can't Come Down"
6. The Beau Brummels - "Don't Talk To Strangers"
7. The Vejtables - "Anything"
8. Jefferson Airplane - "It's No Secret"
9. The Mystery Trend - "Johnny Was A Good Boy"
10. The Great! Society - "Free Advice"
11. The Grass Roots - "Mr Jones (A Ballad Of A Thin Man)"
12. Blackburn & Snow - "Stranger In A Strange Land"
13. Quicksilver Messenger Service - "Who Do You Love" (Demo Version)
14. The Mojo Men - "She's My Baby"
15. The Wildflower - "Coffee Cup"
16. The Family Tree - "Live Your Own Life"
17. The Sons Of Champlin - "Fat City"
18. The Frantics - "Human Monkey"
19. The Tikis - "Bye Bye Bye" (Warner Bros. Single Version)
20. Country Joe & The Fish - "Section 43"
21. The Sopwith "Camel" - "Hello Hello

@320 part 1 - part 2

Disc 2: Suburbia
1. Count Five - "Psychotic Reaction"
2. The Front Line - "Got Love"
3. The Mourning Reign - "Satisfaction Guaranteed"
4. The Oxford Circle - "Foolish Woman"
5. The Stained Glass - "My Buddy Sin"
6. The Otherside - "Streetcar"
7. Teddy & His Patches - "Suzy Creamcheese"
8. The Immediate Family - "Rubiyat"
9. Syndicate Of Sound - "Rumors"
10. The Harbinger Complex - "Sometimes I Wonder"
11. The New Breed - "Want Ad Reader"
12. The Generation - "I'm A Good Woman"
13. The Chocolate Watchband - "No Way Out"
14. Butch Engle & The Styx - "Hey I'm Lost"
15. People - "I Love You"
16. Public Nuisance - "America"
17. Country Weather - "Fly To New York"
18. The Savage Resurrection - "Thing In 'E'"
19. Frumious Bandersnatch - "Hearts To Cry"

@320 Part 1 - Part 2

Disc 3: Summer Of Love
1. The Charlatans - "Alabama Bound"
2. The Mystery Trend - "Carl Street"
3. The Great! Society - "Somebody To Love" (LP Version)
4. Country Joe & The Fish - "Superbird"
5. The Beau Brummels - "Two Days 'Til Tomorrow"
6. Moby Grape - "Omaha"
7. The Serpent Power - "Up & Down"
8. Grateful Dead - "The Golden Road (To Unlimited Devotion)"
9. Quicksilver Messenger Service - "Codine"
10. Big Brother & The Holding Company - "Down On Me" (Live)
11. Salvation - "Think Twice"
12. Jefferson Airplane - "White Rabbit"
13. Steve Miller Band - "Roll With It"
14. Notes From The Underground - "Why Did You Put Me On"
15. Sly & The Family Stone - "Underdog"
16. Blue Cheer - "Summertime Blues"
17. The Ace Of Cups - "Glue"
18. Santana - "Soul Sacrifice"
19. The Loading Zone - "The Bells"

@320 Part 1 - Part 2

Disc 4: "The Man Can't Bust Our Music"
1. Santana - "Evil Ways"
2. Fifty Foot Hose - "Red The Sign Post"
3. Kak - "Lemonaide Kid"
4. The Sons Of Champlin - "1982-A"
5. Dan Hicks & His Hot Licks - "How Can I Miss You When You Won't Go Away"
6. Mad River - "Amphetamine Gazelle"
7. The Steve Miller Band - "Quicksilver Girl"
8. Mother Earth - "Revolution"
9. Moby Grape - "Murder In My Heart For The Judge"
10. Quicksilver Messenger Service - "Light Your Windows"
11. Flamin' Groovies - "I'm Drowning"
12. Seatrain - "Portrait Of The Artist As A Young Lady"
13. It's A Beautiful Day - "White Bird"
14. Grateful Dead - "Dark Star" (Single Version)
15. Blue Cheer - "Fool" (Single Version)
16. Jefferson Airplane - "Mexico"
17. Janis Joplin - "Mercedes Benz"
18. The Youngbloods - "Get Together"

@320 Part 1 - Part 2

Enjoy and Happy New Year Everybody!

Quintessence - 1970 - Quintessence

Quintessence - Quintessence ( UK Island Rec. 1970)

Quintessence The fifth essence. The ancient Greeks said there are four elements or forms in which matter can exist- fire, or the imponderable form; air, or the gaseous form; water, or the liquid form; and earth, or the solid form....
(Details Here)

by Richie Unterberger
While Quintessence's second album had a guileless sincerity to its spiritual striving that was uncommon in pop music, it's very much a relic of its hippie age.

The good points? An uncalculated, genuine wish to both reflect the era's ideals and to use its music as a tool to achieve them, as well as a willingness to blend aspects of jazz,
Indian music, and religious invocation into an overall psychedelic-progressive rock structure (complete with flute and some acid rock guitar). The bad points? An absence of conventional songwriting chops, exacerbated by the band's tendency to ramble on in formless jam-like passages, though actually none of the tracks here exceed six minutes. Certainly it's eclectic, with a commune-like vibe permeating the proceedings, though the recording's quite professional. "Jesus, Buddha, Moses, Gauranga" sounds rather akin to the We're Only in It for the Money-era Mothers of Invention, though minus any hint of satire or irony in the over the top beatific lyrics. Overall, though, it feels a little like listening to the house rock band of a pan-religious cult that doesn't have anything of particular value to sell. The 2004 CD reissue on Repertoire adds a live version of "Jesus, Buddha, Moses, Gauranga" (originally released on the first pressing of the 1970 Island compilation Bumpers) as a bonus track.

Quintessence (English band)
From Wikipedia, the free encyclopedia :
Quintessence was a band formed in April 1969 by Raja Ram in Notting Hill, London, England. The style was a mixture of jazz and progressive rock with an influence of music from India. This trend in music started by Quintessence would later resurface in the 1990s in the form of Goa trance. Quintessence were formed in April 1969 by Raja Ram in Ladbroke Grove, Notting Hill. They played a hybrid of jazz, progressive rock and Indian Music.

The original line-up included Shiva Jones (voice, keys, percussion), Raja Ram (flutes, percussion), Sambhu Baba (bass, guitar), Maha Dev (guitar), Allan Mostert ((guitar), and Jake Milton (drums, percussion). Quintessence were tagged a 'spiritual' band and were playing new age rock before the term was born.
Although their evangelism in retrospect might seem to be a bit over the top, the music retains its beauty created by some highly individual souls. They rehearsed in All Saints Hall which was a converted church near Portobello Road, and recorded 3 albums for Island Records between 1969 and 1971. two further albums were recorded in 1972 for RCA. The 'Self' entitled first of these was their best with studio material on side one, and the band playing live at Exeter University December 11, 1971 on side two. Their live set was usually mostly improvised as they avoided playing the same riff twice or going into a routine thing. Not unlike the Grateful Dead, they did a lot of collective jamming with an intention to trance out their colourful audiences by a forceful combination of the chanting of mantras with the Krishna flute lines and the lyrical guitar soloing. Often the local Hare Krishna disciples would provide an extra percussion section to the already steamy proceedings. Quintessence had their household guru in Swami Ambikananda. They built a reputation on solid club work and were deemed London's Underground Sensation in 1970. Besides appearing at the first two Glastonbury Festivals (then called 'Faires'), in 1970/71, they also were invited to play the Montreux Jazz Festival at a time when jazz was still being played there. At their peak they sold out the Royal Albert Hall twice.
Although Quintessence played many hundred of concerts and festivals all over Europe, they never made it to the United States. Although a concert at New York's Carnegie Hall was already lined up in early 1972, they didn't make it because Shiva and Maha Dev were asked to leave the band by Raja Ram in spring 1972. Shiva and Maha Dev went on to form the short-lived outfit called Kala.

With ego clashes and problems on many frontiers, Kala quickly folded and Quintessence, now trying to make it the body without a head, and bereft of a sense of purpose, direction and being victims of the changing times, played on into the eighties, then slowly drifted into limbo.
Jake Milton went on to form Blurt with his brother Ted Milton.
(Maha Dev) has recently released his first solo album.
"The band turned down a US record deal negotiated by Chris Blackwell (Island Records) and didn't play at Carnegie Hall or tour the USA because four of its members wanted a larger monetary advance. This disappointed Chris Blackwell greatly and he dropped the band from the label. The band signed with RCA and recorded one album with Shiva and Maha Dev. Raja Ram unexpectedly 'fired' Shiva and Maha Dev after that album with RCA was recorded.
"The 'real' reason that Shiva's band Kala broke up was because Bradley's Records (a subsidiary of ATV) changed their policy towards their artists. They no longer wanted bands to make albums and insisted on them being singles pop artists. They wanted Shiva to wear a 'glitter suit', and when he refused, the senior management of ATV broke up the band by taking all of the equipment back and canceling their dates. It had nothing to do with 'ego' clashes. I don't know where this 'Nik' got his info from." - directly quoted from Shiva/Phil Jones

Sambhu Babaji -Bass
Dave Codling -Guitar
Shiva Shankar Jones -Keyboards, Vocals
Jake Milton -Drums
Alan Mostert -Guitar
Raja Ram -Flute, Piano, Vocals

see complete information

Saturday, December 29, 2007

Purple Overdose - 2004 - Painting The Air

Based in Greece, Purple Overdose were one of the great psychedelic bands of the past several years. Though disbanded for a couple years now, their manager, Stefanos Panagiotakis, enthusiastically pursued making available this vinyl only collection of rarities and unreleased tracks. The songs on Painting The Air were originally recorded in 1989 with the intention of comprising their second album, slated to be titled Magic Forest. Five of the songs later ended up, in different forms, on what ultimately became their second album, Indigo.

Long time Purple Overdose fans will be pleased to know that two of the tracks are unreleased. "Painting The Air" is classic Purple Overdose 60's inspired psychedelia, a heady mixture of trippy song and acidic instrumental. And "Still Ill" is a special treat, being one of the first ever recorded Purple Overdose songs, and featuring a guitar/bass/drums trio version of the band. It has the trademark Purple Overdose sound, but has more of a down ‘n dirty garage-psych feel, and includes an ultra trippy jam section. Excellent! "Sail On Your Wings" originally appeared on the volume 3 CD of the fanzine The Thing in 1996, and was later included on the CD version of The Salmon's Trip Live. This track is a real highlight, featuring Purple Overdose at their most cosmic, with swirling guitars, a luscious 60's organ sound and a mind expanding atmospheric vibe. "2008 Old View" is the B side of the bands only 7" single, and is an intense song with more classic 60's organ melody and cool shimmering trip guitars.

Those who own the album Indigo will of course recognize the 5 songs that appeared on that album - "Moonlight Sunshine", "Cosmic Ladder", "Rain Without Storm", "Golden Eyes" and "Magic Forest". Diehard fans with a taste for historical perspective will enjoy hearing these earlier versions of the songs. Most have a rawer sound and feel than the Indigo versions, which in some cases has a special charm of its own, having a cool trippy flower power vibe. I particularly liked the version of "Cosmic Ladder" on this collection, which has much more of a garagey sound than what's heard on Indigo, and we get some really tasty screaming guitar lines. And though similar to one other, the versions of "Golden Eyes" and "Magic Forest" are each lengthy tracks that take off into jams that are worth hearing side by side.

In summary, Painting The Air is a real treat for fans of this sadly defunct band. And as most of their albums were vinyl only releases that are long out of print there are likely many of you out there who have never had the opportunity to hear any of these songs. Here's your chance.

From Aural Innovations #29 (October 2004)

@320k with covers

V.A. - A Perfumed Garden Vols 1-3

A Perfumed Garden Vols 1-3

A Perfumed Garden, collects some of the rare U.K. mod-psych 45s for 3 LP's which should blow the flowery mynds of all Chocolate Soup/Electric Sugar Cub fan-addicts.

Track Lists :
Vol 1 ~ Vol 2 ~ Vol 3

Out of Print for some time, no serious Psych-Collector should be without these.
Ripped from my own Original CD's with Lame 3.97,
at 256 kbit/s. Artwork included !
(Cover, Back, Inlet)

Each Volume Separately :
MegaUpload : Vol. 1 ~ Vol. 2 ~ Vol. 3

Alternate Links (All 3 Vols in 4 Parts) :
RapidShare : Part 1 ~ Part 2 ~ Part 3 ~ Part 4
Mirror Links
SendSpace : Part 1 ~ Part 2 ~ Part 3 ~ Part 4

Enjoy !!!

Thanks SKULL(y)76 for the rip, tag & upload of this compilation !!!

Friday, December 28, 2007

Unknown Passage (Greece) - 2001 - Tales From Prison

If you're into the no fuss raw-garage /psychedelic side of the American sixties in the spirit of Syd Barrett and Rocky Erickson you'll be overblown by this gem. “Tales From Prison” is their first release consisting of 7 tracks and including a magical rework of Lucifer Sam (Pink Floyd) and White Rabbit (Great Society / Jefferson Airplane) blended into a single track. Expect to be blown away by this prodigiously talented band!

@ 320k covers inside


Green Bullfrog - The Green Bullfrog Sessions

I wasn't actually sure where to classify this. Most tracks are in the Northern Soul vein, yet personnel hails from other genres. Anyway....
Fans of Ritchie Blackmore would probably know this album. It was recorded in 1970 in De Lane Lea studios, London, and it allegedly began as a session jam. Ritchie Blackmore, Albert Lee, Big Jim Sullivan & Tony Ashton are among the musicians. It was produced by Derek Lawrence and engineered by Martin Birch. The tracks are mostly in the Northern Soul style, as I mention above, and production quality is fairly good. The musicians are in a loose form and Blackmore doesn't really sound very decent, since he manages to overindulge in those fast-and-tedious riffs as well as tremolo bar abuse. I, personally, prefer soul music played by musicians who have an actual understanding of the particular groove. And the musicians in this album don't have it, in my opinion. Simply because their actual genre is quite different.
I bought the particular album in green vinyl (1991 reissue) and it contains some extra tracks from the vaults. Rip is in 224kbps and I have also scanned all the notes from the sleeve.

Get It Here :
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Thursday, December 27, 2007

The Mops - 1968 - Psychedelic Sounds In Japan

The Mops - 1968 - Psychedelic Sounds In Japan

A buzzing, hard-hitting batch of pychedelic rock from Japan's The Mops -- featuring some groovy, echoey tunes penned by the group and sung in their native language -- plus a nice choice of passionate covers! The sound is a little bit like Love in their early rawness -- and the Mops obviously have a great feel for psychedelia at its fuzziest and most tuneful. Great stuff!

Tracks :
1. Asamade Matenai
2. San Franciscan Night
3. I Am Just A Mops
4. Inside Looking Out
5. The Letter
6. Blind Bird
7. Somebody To Love
8. Bera Yo Isoge
9. White Rabbit
10. Asahi Yo Saraba
11. Light My Fire
12. Kienai Omoi

Personnel :
Hiromitu Suzuki - vocals
Masaru Hoshi - lead guitar, vocals
Tarou Miyuki - guitar
Kaoru Murakami - bass
Mikiharu Suzuki - drums

Bio ~by Keith Cahoon :
The Mops are one of Japan’s best know “group sounds” bands, particularly noted for their psychedelic period. The group was founded in 1966 by high school friends Mikiharu Suzuki (drums), Taro Miyuki (guitar), Masaru Hoshi (lead guitar) and Kaoru Murakami (bass), playing mostly instrumental rock ala the fabulously popular Ventures. Suzuki’s older brother Hiromitsu joined in later and became the group’s main vocalist, sharing the job with Hoshi.

The Mops started playing clubs and discos early on, but did not immediately distinguish themselves. In the summer of 1967 their manager visited San Francisco, and was very excited about the hippie movement that was booming there. He brought a copy of a Jefferson Airplane album back with him to Japan, which he impressed the Mops with. The band became enthusiastic about the new sounds, and singer Hiromitsu Suzuki especially became a big fan of Animals singer Eric Burdon. In what seems a fairly commercially driven decision, the Mops, prodded by their manager, became a “psychedelic band”, and signed with JVC Records. In November 1967 they released “Asamade Matenai”, which went to #38.

The Mops album of April 1968 Psychedelic Sound in Japan, was full of flower power flourishes, including cosmic artwork, ethnic clothing, fuzz guitars and sitar playing. It included covers of the Airplane’s hits “Someone To Love” and “White Rabbit”, the Doors' “Light My Fire”, the Animals' “San Franciscan Nights” and “Inside Looking Out”, as well as the Mops theme song “I Am Just A Mops” (which later became a cult favorite after being included on the obscurities album Nuggets 2). To complete the band’s hippie vibe, at their album release party they passed out banana peels to journalists.

Much was made of the band being Japan’s first psychedelic band, and they are sometimes credited as pioneering new studio effects, or at least introducing them to Japan. The band also performed with lighting effects, and sometimes blindfolded, supposedly to simulate the influence of drugs. Despite being widely considered a psychedelic band, their original songs were more garage band sounding. Also while most GS bands were playing love songs, the Mops had a song called “Blind Bird”, which contained the lyrics “please kill me”, which led to the song being left off some re-issues (but included on the obscurities collection Boulders #7). In 1969 Murakami quit the band and Miyuki took over bass duties.

After just one album with JVC, the group switched to Toshiba/EMI, where they changed their sound to more of a blues rock sound, it seems trying to change with the times. While not as warmly recalled, the band did moderately well after their psychedelic period. Their biggest hit was in 1971, “Gekko Kamen (Moonlight Mask)", which they recorded as a joke, but which became a novelty hit. Their hard rock number “Goiken Muyo (No Excuse)" charted in 1971, and the following year they did well with “Tadoritsuitara Itsumo Amefuri”, which was written for them by popular folk singer Takuro Yoshida. Before finally breaking up in May 1974, the Mops released a total of eight albums on Toshiba/EMI, a long career compared to most of the GS bands. Hoshi continued in the music business as an arranger, and Hiromitsu Suzuki became a TV “talento”. Mikiharu Suzuki today runs a major artist management company.

The Mops, however remain best remembered for their landmark psychedelic first album.

Get It Here :
RapidShare or SendSpace

Tuesday, December 25, 2007

The Pretty Things - 1968 - S.F. Sorrow

The Pretty Things - 1968 - S.F. Sorrow

A late 60s masterpiece from The Pretty Things -- beautifully baroque west coast psyche pop, done in a style that links together the headier LA sound of Love with some of the more concept-driven work of the UK scene at the time! There's an undeniable power in the record -- an energy that was years ahead of its time, and which has led to the album's rediscovery by a host of new generations. At some points, the instrumentation is simple guitar-based rock -- but at others, it's topped off by just the right use of strings, larger orchestrations, and bits borrowed from Indian music!

Tracks :
1 S.F. Sorrow Is Born
2 Bracelets Of Fingers
3 She Says Good Morning
4 Private Sorrow
5 Ballon Burning
6 Death
7 Baron Saturday
8 Journey
9 I See You
10 Well Of Destiny
11 Trust
12 Old Man Going
13 Loneliest Person
14 Defecting Grey (Bonus_Acetate Recording)
15 Defecting Grey (Bonus)
16 Mr.Evasion (Bonus)
17 Talkin' About The Good Times (Bonus)
18 Walking Through My Dreams (Bonus)
19 She Says Good Morning (Bonus_Live 1969)
20 Alexander (Bonus_Live 1969)

[This reissue adds four valuable songs from their 1967-1968 singles ("Defecting Grey," "Mr. Evasion," "Talkin' About the Good Times," and "Walking Through My Dreams"). This version of "Defecting Grey" is the original, long, uncut five-minute rendition, and not of trivial importance; it's superior to the shorter one used on the official single.] ~ Bruce Eder & Richie Unterberger, All Music Guide

One of the first rock concept albums, S.F. Sorrow was based on a short story by singer-guitarist Phil May. The album is structured as a song cycle, telling the story of the main character, Sebastian F. Sorrow, from birth through love, war, tragedy, madness, and the disillusionment of old age.

The album is now generally acknowledged as having been an influence on The Who's Pete Townshend in his writing of Tommy (1969).

The songs were recorded over several months during 1967 at EMI's famous Abbey Road Studios in London, during the same period when The Beatles and Pink Floyd were recording Sgt Peppers' Lonely Hearts Club Band and The Piper at the Gates of Dawn respectively.

Working with noted EMI staff producer Norman "Hurricane" Smith (who had engineered the earlier Beatles recordings) and house engineer Peter Mew, the group experimented with the latest sound technology, including the Mellotron and early electronic tone generators, often employing gadgets and techniques devised on the spot by Abbey Road's technicians.

Phil May has emphatically stated that Smith was the only person at EMI who was fully supportive of the project, and that his technical expertise was invaluable to the effects and sounds on the album; May once even referred to Smith as a "sixth member" of the band. This attitude was in marked contrast to Pink Floyd's unhappiness with Smith. No need to say more about one of the best albums ever recorded !

Get it here :
Part 1 :
Part 2 :
Part 1 :
Part 2 :

Marry Christmas to All of You !

Monday, December 24, 2007

Link Wray - 1964 - The Swan Demos

I bought this vinyl album a few years ago, for a very small price. It contains alternative takes and out-takes of otherwise known tunes by that great surf-axeman, Link Wray. I lent the album to a friend who inconsiderately left it in his car one very hot summer's day and, subsequently, the vinyl got warped and so did my mind. Luckily, I had managed to rip the record before it became redundant. The original vinyl had no cover, as it came in a simple black cardboard sleeve. Thus, I scanned the vinyl tag. Encoding quality is very high and, apart from a few clicks and pops, you'll be able to enjoy this great album. Try to locate the vinyl (there has been no CD reissue of this) and if you find two copies, please let me know!!!

Enjoy !

Sunday, December 23, 2007

Prúdy - 1969 - Zvoňte, Zvonky

Prúdy - 1969 - Zvoňte, Zvonky

Tracks :
1. Zvonky, zvoňte (Let The Rings Ring)
2. Pred výkladom s hračkami (In Front Of The Toy Shop Window)
3. Balada o smutnom Jánovi (Ballad Of Sad John)
4. Jesenné litánie (Autumn Litanies)
5. Strašidlo (Bugaboo)
6. Keď odchádza kapela (When A Band Ends)
7. Poď so mnou (Come With Me)
8. Možno, že ma rada máš (You May Love Me)
9. Možno (Maybe)
10. S rukami vo vreckách (With Their Hand In Their Pockets)
11. Dám ti lampu (I'll Give You A Lamp)
12. Ćierna ruža (Black Rose)

The debut album of Prúdy, a Slovak band, who had previously recorded a couple of songs for radio and this is a collection of them. Considered by many to be the best album of Slovak pop music, it contains nowdays' classic Slovak hits such as Čierna ruža, Zvonky zvoňte, Možno or Pred výkladom s hračkami.

Posted by Porculus

The Sun Blindness - 2007 - Like Pearly Clouds

The Sun Blindness - 2007 - Like Pearly Clouds

Tracks :
1. Our Glassy Selves
2. Everything Is Imminent
3. Flash in the Cosmic Pan
4. A Crack In The Concrete (For D. Crosby)
5. Jeremy Stares Into The Sun
6. It's Only 3 am
7. A Trip In A Painted World
8. Right Where You Are Sitting Now
9. Sleep Inside
10. Everything Comes Right
11. Panta Rhei'
12. Lazy Livin'

A delightfully lush, druggy & dreamy neo-psychedelic affair is this one. These guys hail from somewhere in Australia and they really have come up with something unique here for their first album. A strange mixture of LSD-era Beach Boys, J.K & Co, Byrds & perhaps the softer side of Spacemen 3.... songs such as "It's Only 3am" and " Everything Is Imminent" really have a warm, beautiful atmosphere to them. Lots of backwards guitars, strange percussion, echoed harmonies and a New Tweedy Bros cover. This is one of my favorite releases of the year.

Shared w/ Permission.... Enjoy!

Get It Here :

If you like the album you can visit band's myspace
for instructions how to purchase a copy !

Posted by DangerDuck23

Astral Projection - 1968 - The Astral Scene

A straight reissue of a 1968 album originally issued on Metromedia, The Astral Scene is one of those weirdly compelling pop albums that could have only emanated from the Age of Aquarius. A conceptual undertaking meant to reveal the wondrous cycle of the telepathic phenomenon of astral projection. The album somehow manages to communicate the complex precepts of astral experience in lay terms and remain deliciously frothy pop at the softest, most easy-listening end of the spectrum. It works the same sonic conceit as the Fifth Dimension (only in lily-white, soul-lite mode) or the stable of bands (the Association, Ballroom, Sagittarius, and Millennium) produced or helmed by Curt Boettcher, only without the countercultural credibility and legitimately trippy factor. That's because the album, as with dozens of similar efforts from the era, is really a quasi-exploitive cash-in project. Essentially a studio creation conceived and written by Bernice Ross and Lor Crane, who did not take part in the actual recording (although the latter co-produced). The playing was done by ace sessionmen (Al Gorgoni, Hugh McCracken, Frank Owens, Buddy Saltzman, etc.), and then the music overlaid with delicate strings, and a brass and woodwind section. In a sense, it entirely missed the thrust of the decade's more original and exploratory music that it meant to exploit. But in another cosmically ironic sense, it captures the heady era far more vibrantly than those more important artists, partly because the music of the Astral Projection is nowhere near as timeless as the music of those artists. And partly because the explosive creativity of the era filtered in weird and wonderful ways even down to the eternally unhip music business types responsible for this album, giving them carte blanche to experiment with the money formula, but not too much, thereby resulting in this odd hybrid of commercially minded but ultimately uncommercial music. Like most such efforts, it is wildly uneven and only intermittently successful, containing too much lightweight material and unbearably twee sentiment to take serious, but then that partial failure to execute its pretensions is perhaps the most intriguing aspect of such masterworks, and especially this one. Still, The Astral Scene is largely soft-pop ambience. Songs are scarely present (and as a result it's difficult to single out particular successes), which stands to reason since it is more studio exercise than artistic inspiration. Nevertheless, it has moments of pure delight that bring the '60s experience back in full technicolor.
~ Stanton Swihart, All Music Guide

Track list;
01 - The Sunshine Seekers
02 - Plant Your Seed
03 - The Airways of Imagination
04 - The Happening People
05 - Accordian Pleated Mind
06 - Dreams, Shadows and Illusions
07 - Whatta We Gotta Loose
08 - Something To Believe In
09 - Today I Saw The Sunrise
10 - The Astral Scene


Style; Psychedelic Pop

Friday, December 21, 2007

Nightshadows - The Psychedelic Years_1967-1969

The Nightshadow(s)


1(A) THE SQUARE ROOT OF TWO (Spectrum Stereo ) 1968
2(A) THE SQUARE ROOT OF TWO (Hottrax ST 1414) 1978
3(-) LIVE AT THE SPOT (Hottrax ST 1430) 1981
4(-) INVASION OF THE ACID EATERS (Hottrax ) 1982
5(-) A ROCK ANOMALY (Roft ) 1988
6(-) PATRIARCHS OF GARAGE ROCK ( Penniman) 2003

NB: (2) was remixed in stereo and is much superior in sound to (1). Consequently this reissue has become very wanted and belongs better in the R2 rather than R1 category in the rarity/sought-after scale.

1 The Way It Used To Be/So Much (Dot 16912) 1966
2 Hot Dog Man/Hot Rod Song (800 pressed) (Banned 6T9) 1966
3 60 Second Swinger/In The Air (500 pressed, 250 with PS) (Gaye 3031) 1966
4 Turned On/Don't Hold Your Breath (500 pressed) (Baja 4504) 1967

NB: (1) - (3) as Little Phil & the Night Shadows. (4) as 'Square Root of 2'.

The Nightshadows, who were also known as Little Phil And The Nightshadows, were one of the Old South's few acid punk bands, and something of a rock anomaly. They started playing in the late fifties, and their 27 or so members apparently included Barry Bailey (later of The Atlanta Rhythm Section). The artistes listed above were those who recorded their 1968 album which was pieced together from an assortment of tapes recorded on portable cassette machines. The band, who came from Atlanta, Georgia in the heart of Dixieland, never achieved the recognition they might have because of the Vietnam War, which prevented them touring for fear of losing their draft deferments.

Of particular note on their album is the psychedelic intro to In The Air and The Hot Rod Song. Another track I Can't Believe has a Spoonful-type beat and others like Illusions sounded rather a racket. Overall, the album is probably best forgotten. The most sought-after of their recordings is the original release of The Square Root Of Two on Spectrum Stereo. They recorded over a long period under various names and backed numerous other artistes so the 45s shown are highly selective and only cover their garage/psych period.

Compilation appearances have included:
The Way It Used To Be on Pebbles Vol. 5 (CD) and Pebbles, Vol. 5 (LP); and So Much on Psychedelic States: Georgia Vol. 1 (CD).
(Vernon Joynson / Max Waller)

Tracklist :
1 The Prologue (The Voice of Electric Bob) 2 So Much (1967 Version) 3 I Can't Believe 4 Plenty of Trouble 5 In The Air 6 Anything But Lies (Time After Time) 7 Gimme, Gimme 8 Don't Hold Your Breath 9 Listen To My Heart 10 Fly High 11 60 Second Swinger 12 Psychedelic Illusion 13 Little Phil Jokes With The Audience14 Anything But Lies (Lost Live Version) 15 Turned On 16 The Hot Dog Man (Stoned Version) 17 Epilogue: Fly High Reprise 18 Excerpt from a 1979 Radio Retrospective on Little Phil 19 The Garbage Man (1961)

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V.A. - Girls in the Garage Vols 1-11

V.A. - Girls in the Garage
Variable sound quality of this series makes these discs slightly less attractive than they were back in the '80s, when they started the whole trend.
But the song selection is still awesome, as is the harder-edged, garagey, chicks-can-rock-too headbanginess of it all.As with most reissue series, the first volumes are the best... and they are all doozies!

Highly recommended!

Girls In The Garage #1
- CD @ 256
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Girls In The Garage #2 - CD @ 256
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Girls In The Garage #1 - LP @ 192
Girls In The Garage #2 - LP @ VBR

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Girls In The Garage #3 - CD @ 192

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Girls In The Garage #3 - LP @ 192

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Girls In The Garage #4 - LP @ 256

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Girls In The Garage #5 - LP @ 256

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Girls In The Garage #6 - EP @ 192
Girls In The Garage #6 - LP @ 192
Girls In The Garage #7 - EP @ 192

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Girls In The Garage #7 - LP @ 320

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Girls In The Garage #8 - LP/CD @ 112
Girls In The Garage #9 [Oriental Special] - LP/CD @ 192

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Girls In The Garage #10 [Groovy Gallic Gals!] - LP @ 192
Girls In The Garage #11 - LP @ 192

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Track Lists on format (LP, EP, CD)

Note :
CD versions didn't include all tracks from the LP versions.
(But CD versions have better quality)

Enjoy !!!

Wednesday, December 19, 2007

Kenneth Higney - 1976 - Attic Demonstration

Attic Demonstration is a collection of demos performed by Higney in 1976. A New Jersey truck driver looking to jumpstart a career as a songwriter, Higney pressed the record in order to give it to other musicians, in hopes that they would perform his songs. That no one took him up on his offer is not surprising, since this a relentlessly downbeat, ramshackle collection of music. It’s a compelling and frequently bleak piece of work, but not one with much (or anything at all) in the way of the commercial potential Higney may have hoped for. Imagine Neil Young’s depressive masterwork On the Beach, only replace Neil Young with an untrained singer who vacillates between a haunted, plaintive drawl and a raspy shout, force the musicians to play constantly out of time, drench everything in tortured lead guitar, and deprive the band any second-takes.

As Higney explains in his liner notes, all of the music, (including overdubs), was recorded in a single take. That explains the ragged, cacophonous sound of the LP’s two rockers, the opening “Night Rider” and the final track, “No Heavy Trucking.” Perhaps they were intended as anthemic road songs; instead, these are abandoned landscapes as desolate as the one photographed on Attic Demonstration’s front cover – a shaggy haired Higney framed by a dreary cloud-choked sky, a vaguely pained expression on his face, resembling the jean-jacketed lead in some long-lost, Garden State Antonioni film. “Night Rider” is the most upbeat track; Higney harangues the title character, probably a biker, backed by clattering drums and guitars that are rarely in sync with the percussion. The dissonant and claustrophobic “No Heavy Trucking” portrays a truck-driver at the end of his rope, sitting alone and helpless in a malfunctioning rig - a glimpse into the trucker’s life far removed from anything dreamed up by C.W. McCall.

There’s also a plodding dirge sung from the point of view of a disillusioned rock star, a plea for his “Children of Sound” (his songs?) not to leave him and go “die in this world of hate,” and three break-up laments that combine bitter misanthropy and wounded self pity. “Look at the River” is the highlight – it begins as an acoustic rumination on the pain of being left by a woman, but builds into an acidic rebuke of her foolishness in abandoning him (”Your life will be an empty shell / Your life will be a rusty bell”), with Higney‚s increasingly desperate vocals matched by corrosive blasts of guitar.

While the LP showcased Higney’s original songwriting (almost utterly devoid of hope and happiness), the two bonus tracks, both from a single released in 1980, are in a more playful vein. Since they were produced with the intention of actually being released commercially, they are considerably more polished than the demos on Attic Demonstration. “Funky Kinky” is a disco (!) song, complete with a high-pitched chorus and cheesy synths. The stomping glam-rocker “I Wanna be the King” is Higney’s tribute to New York City punkers, and contains a great should-not-be-a-rhyme in the line: “I’m gonna be a star / I hate the sissy music of John Denver!” The single, Higney explains, didn’t get much more attention than Attic Demonstration did – it was a “monster record which drowned in the swamp after being chased by villagers.” (BUY IT!)

1) Night Rider
2) Children of Sound
3) Rock Star
4) Can't Love That Woman
5) Look at the River
6) Quietly Leave Me
7) Let Us Pray
8) I'll Cry Tomorrow
9) No Heavy Trucking
10) Funky Kinky
11) I Wanna Be the King

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Saddar Bazaar - 1998 - Path Of The Rose

Saddar Bazaar - 1998 - Path Of The Rose

Tracks :
1 Madhya Laya
2 The Process
3 Sama Red
4 Mi' Raij
5 Arabesque
6 Painted Dust
7 Peacock Angel
8 Five Jewels
9 Tones And Waves
10 When The Waters Were Changed

From Aural Innovations #6 (April 1999) :
From Bristol, UK comes this Eastern-psychedelic quartet Saddar Bazaar, though I wouldn't be surprised if the lead duo, the Hyder brothers Shaun (sitar) and Rehar (guitar), were really from Pakistan where the actual Bazaar exists. Because this is very nearly 'true' Eastern music, complete with instruments I'd never heard of...such as a dholak (Indian hand drum) and a tambura (Asian lute). So it surprises me to learn that these Bristol lads recorded a track with Texas doom metal-heads Solitude Aeturnus, the entity that also spawned the excellent psychedelic trio the Liquid Sound Company. Hmmm.... perhaps that meeting even led to the inspiration for LSC's formation?

"Path of the Rose" wanders through 10 tracks of similar length, amounting to a 45-minute oriental journey. Tablas and sitar abound throughout, although a number of tunes have a western pop flavor (á la the Beatles) with the melodies carried by various instruments, usually sitar and slide guitar from the Hyders or moogy organ from Terry Banx. "Arabesque" (sic) in fact sounds a bit like "Norwegian Wood" though the melody is built atop a mindnumbing drone created by some unknown instrument, probably something that relies on a rosin wheel and a crank (my ignorance is showing). The followup, "Painted Dust," is a pretty, ambient piece that sprinkles a simple sitar melody and light acoustic guitar work atop the hovering synth tones. "Peacock Angel" then comes across with a little more urgency with sitar/guitar drone and multiple percussion tracks from Dave Spencer, and features an excellent flute solo by guest Tainenska Royal. This is the sort of frosting the group really needs to exploit more. The remaining tracks explore very similar themes, and are a bit anti-climactic even.

The lone major drawback of "Path of the Rose" is the lack of vocals... nothing wrong with instrumentals, but many of these tracks seem to be set up for verses and choruses - or at least I can imagine them in my head. Still, by listening to the Bazaar, you'll take one more step towards appreciation of true Eastern music past what one would get by simply listening to the Ozrics or Steve Hillage's "L." And the cover art is too cool to pass up.
~Reviewed by Keith Henderson

Link @ 192 :

Enjoy !!!

Monday, December 17, 2007

Sundragon - Listen To The Sky_The Complete Recordings 1964-1969


1 Oh Yeah
2 If You Don't Come Back
3 Smokestack Lightning
4 I'm Taking Her Home
5 River Deep, Mountain High
6 Mrs Gillespie's Refrigerator
7 Listen To The Sky
8 Weddings Make Me Cry
9 Green Tambourine
10 So You Wanna Be A Rock ''N Roll Star
11 Seventeen
12 Peacock Dress
13 Five White Horses
14 Far Away Mountain
15 Blueberry Blue
16 Love Minus Zero
17 I Need All The Friends I Can Get
18 Windy
19 Empty Highway
20 Look At The Sun
21 Drivin' Drivin' Drivin'
22 Bring Back That Love Again
23 Hey, Hey, What Did You See


1 Green Tambourine/I Need All The Friends I Can Get (MGM MGM 1380) 1968 50
2 Blueberry Way/Far Away Mountain (MGM MGM 1391) 1968
3 Five White Horses/Look At The Sun (MGM MGM 1458) 1968

This male duo had a minor hit in 1968 with their cover of The Lemon Pipers' Green Tambourine. Their album was attractive Summery pop-psych in the vein of the first Bee Gees album. At least one of the members had earlier been in Sands.

Compilation appearances include: Far Away Mountain on Justavibration (LP).


Mas informacion chequea los putos de RevOla
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Saturday, December 15, 2007

V.A. - Autumn Records_Someone To Love

V.A. - Nuggets from the Golden State_Someone To Love
[The Birth of the San Francisco Sound]

Tracks :
1 The Mojo Men - She's My Baby (San Francisco, CA, U.S.A.)
2 The Mojo Men - Fire In My Heart (San Francisco, CA, U.S.A.)
3 The Mojo Men - Why Can't You Stay (San Francisco, CA, U.S.A.) *
4 The Mojo Men - Girl Won't You Go (San Francisco, CA, U.S.A.) *
5 The Great Society - Girl (San Francisco, CA, U.S.A.) *
6 The Great Society - Father Bruce (San Francisco, CA, U.S.A.) *
7 The Great Society - You Can't Cry (San Francisco, CA, U.S.A.) *
8 The Great Society - Born To Be Burned (San Francisco, CA, U.S.A.) *
9 The Great Society - Daydream Nightmare Love (San Francisco, CA, U.S.A.) *
10 The Great Society - Heads Up (San Francisco, CA, U.S.A.) *
11 The Great Society - Double Triptamine Superautomatic Everlove' Man (San Francisco, CA, U.S.A.) *
12 Charity Shayne - Ain't It Babe (San Francisco, CA, U.S.A.)
13 The Vejtables - The Last Thing On My Mind (San Mateo, CA, U.S.A.)
14 The Vejtables - Mansion Of Tears (San Mateo, CA, U.S.A.)
15 Dino Valenti - Let's Get Together (San Francisco, CA, U.S.A.)
16 The Great Society - That's How It Is (San Francisco, CA, U.S.A.) */**
17 The Great Society - Right To Me (San Francisco, CA, U.S.A.) *
18 The Great Society - Where (San Francisco, CA, U.S.A.) */**
19 Jan Ashton - Cold Dreary Morning (San Francisco, CA, U.S.A.)
20 Butch Engle & The Styx - I'm A Fool (Mill Valley, CA, U.S.A.) *
21 Butch Engle & The Styx - Smile Smile Smile (Mill Valley, CA, U.S.A.) *
22 The Great Society - Somebody To Love (San Francisco, CA, U.S.A.)
23 The Great Society - Free Advice (San Francisco, CA, U.S.A.)
24 The Tikis - Bye Bye Bye (Santa Cruz, CA, U.S.A.)
25 The Tikis - Lost My Love Today (Santa Cruz, CA, U.S.A.)
26 The Tikis - More & More & More (Santa Cruz, CA, U.S.A.) *
27 The Tikis - True Love Is Hard To Find (Santa Cruz, CA, U.S.A.) *
28 The Tikis - Happy With You (Santa Cruz, CA, U.S.A.) *
29 The Tikis - Mad (Santa Cruz, CA, U.S.A.) *
30 Jan Ashton - About My Tears (San Francisco, CA, U.S.A.) *

* indicates that the track only appears on this compilation

Note :
/** indicates that those 3 tracks are tagged as Dino Valenti on the mp3 files

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Thursday, December 13, 2007

Lollipop Shoppe - Just Colour [1968, Vinyl]

Led by singer Fred Cole, who had formerly been in the Northwest punk band the Weeds, the Lollipop Shoppe's sole album (from 1968) ranks as one of the better psych-punk LPs, and also as one of the better one-shot rock records of the late '60s. Featuring Cole's choked, bitter phrasing, the group staked out the middle ground between the Seeds (who shared the same manager) and Love, with a bit of fellow L.A. psych-punkers the Music Machine thrown in. If comparisons must be made, they were definitely closer in tone to Love than the Seeds, with a mixture of raunch and reflection in the spirit of Arthur Lee. Cole was one of the few psychedelic performers to make a contribution during the punk era, surfacing in the Portland punk band the Rats in the late '70s. []

The Lollipop Shoppe were a 1960s psychedelic garage rock band.
They were originally known as The Weeds and featured Fred Cole, now of Dead Moon. After The Weeds signed to UNI Records (a now-defunct subsidiary of MCA), their new manager, "Lord" Tim Hudson, insisted they change their name to The Lollipop Shoppe to fit in with the current trend of bubblegum music. The band's actual recordings, including the 1968 LP Just Colour, are hardly bubblegum, but instead a mix of garage rock and psychedelia. The album and its single, "You Must Be a Witch," are regarded as period classics and still prized by collectors, though neither made the charts. The band opened for stars such as Janis Joplin and The Doors, and appeared in the biker movie Angels from Hell. The album has been bootlegged; the Music Maniac label has announced a reissue but it has not appeared. The Lollipop Shoppe released one more single, "Someone I Knew" b/w "Through My Window", before breaking up in 1969. They reunited as The Weeds for a 1971 single [Wikipedia]

Track list;
01 - You Must Be A Witch
02 - Underground Railroad
03 - Baby Don't Go
04 - Who'll Read The Will
05 - It's Only A Reflection
06 - Don't Look Back
07 - Don't Close The Door On Me
08 - It Ain't How Long
09 - It's Makin' It
10 - I'm Gonna Be There
11 - You Don't Give Me No More
12 - Sin


Style; Psychedelic, Garage Punk

Wednesday, December 12, 2007

Dennis the Fox - 1975 - Mother Trucker

"DENNIS THE FOX Mother Trucker (MusArt US '7?)
Only a handful of heads have encountered this mad beast of an LP, and it's top 40 at least of all US LP's for me: utterly dark and sleazy lowlife nirvana! Like seeing God in a burst condom stuck to the tailpipe of a rusty pimpmobile, finding out Jesus stole your mama, looking for the meaning of life in a puke pile by a truckstop motel .... kinda scary how real this dude is! The cover is awesome and the music ranges from seedy bluesy loser zones into fucker up dive bar epiphanies. I can't think of any other record more at the end of the road seeking salvation in the tawdry. Wicked sense of humor. Twilight Zone. One of those smart literate guys attracted to funky situations. Like so many obscure LP's, the names of people on it seem too weird to be real .... Alfie Van, Audie Bridges ... backup vocals by Mary Bliss & the Bixens. Blows Damon & Fraction out of the water as far as my own need for kicks goes. "

all i can say is YES and YES
and how about some lyrics:

well you talk about your whiskey
and you talk about your wine
so i'm here to tell ya people
that that kind of thing is fine
you go chasin' after women
but you sure ain't got one yet
that knows somethin' about somethin'
and that's one thing i can bet
when it comes to really livin'
or just somewhere in between
there's a high steppin' side steppin'
life outside you ain't never seen

she's the lady
they refer to when they cut the ace of spades
she's the lady
that they think of when the night pulls down its shades
she's the lady
with the action if you think you've got the nerve
to put your money where your mouth is
and find out what she can serve
she's a lady
with the answers that can teach you about the world
she's a truck drivin' piledrivin' mean mothertrucker of a girl

pile driver
don't you worry she treats every man the same
pile driver
don't you worry that's the way she plays the game
pile driver
don't you worry cause when everything goes wrong
just call her name
call her name
call her name
and she'll come lookin'

[guitar solo]

[repeat above]

she'll come bookin'
she'll come cookin'
(review by Joaquim_Peso @

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Aorta - 1969 - Aorta (LP)

Hi everybody,
Here is an essential addition to Lost-in-Tyme.
Some straight from the LP 320 kbs hi quality MP3s for your enjoyment of discovering or rediscovering a great album!

Aorta is the name... For the album and for the band.
1969 was the year...

Tracks :
1 Main Vein I
2 Heart Attack
3 What's In My Mind's Eye
4 Magic Bed
5 Main Vein II
6 Sleep Tight
7 Catalyptic
8 Main Vein III
9 Sprinkle Road To Cork Street
10 Ode To Missy Mxyzosptlk
11 Strange
12 A Thousand Thoughts
13 Thoughts and Feelings
14 Main Vein IV

May you find your main vein (or at least one of the four suggested on that LP) and have a nice trip. Some of you may reply that the aorta is not a vein but an artery... Who cares? the effects you get are the same... A complex cocktail indeed. Some passages may suffer the test of time (but not the one of Tyme) The whole remains a flowing suite of very satisfying tracks both for the ear and the mind :) Enjoy!

Here is what Bryan Thomas from Allmusic have to say about this one :

"During the mid-'60s, the members of Aorta -- originally hailing from Rockford, IL -- had previously been in a group called the Exceptions. Early members of this group included Kal David (later of Illinois Speed Press and H.P. Lovecraft), Marty Grebb (the Buckinghams), and Peter Cetera (Chicago). The Exceptions were a soulful, if unremarkable, Top 40s cover group who were nevertheless acclaimed for their "exceptional" musicianship. They were one of the more popular acts on the greater Chicago local scene, and released a handful of singles on numerous Midwest labels -- Tollie, Cameo, Quill -- and for L.A.-based Capitol. For the last of these releases, the band dropped the "s" from their name and began calling themselves the Exception (a compilation for the Collectables label, The Quill Records Story, collects two of their singles). They also recorded an EP called "A Rock & Roll Mass for the Flair label; it featured six different rock songs with words taken from various religious prayers. As each member of the group -- with the exception of bassist Peter Cetera -- already had an eye toward expanding their original material to include a more "psychedelic" sound, they soon reconfigured themselves as Aorta, and, in late 1968, recorded a single for Atlantic. Eventually, producer Bill Traut (American Breed) approached them on behalf of Dunwich Productions, Inc., and -- with Bobby Jones taking over on bass after Cetera's departure -- they accepted his offer to record their debut album for Columbia in 1969. They recorded two albums under the name Aorta. The first of these, the self-titled Aorta, is today highly acclaimed as a lite-psych album of some minor renown, and though it managed to chart on Billboard's album charts, it failed to do what was expected. A revised version of the group -- still led by Jim Donlinger and now featuring Michael Been on bass/guitar/vocals -- recorded the drastically different second album, Aorta 2, for the Happy Tiger label. Jim Donlinger -- who along with his brother and Jim Nyeholt (during a brief period between the two albums), had all played in the Rotary Connection -- later left Aorta to join Lovecraft (formerly H.P. Lovecraft, who were signed to Reprise at the time), while Billy Herman would eventually move on to join New Colony Six. Michael Been later played with Moby Grape members Jerry Millerand Bob Mosley in Fine Wine, and ultimately achieved his biggest success with the Call. Been is also the father of Robert Turner of Black Rebel Motorcycle Club. The original Aorta later re-formed (joining another great Chicago-area group, the Cryan' Shames) to do promo spots for the U.S. Armed Forces on a very rare promotional LP. They've appeared on numerous compilations over the years. Aorta was re-issued on CD in 1996."

Sounds good to me... Thanks Bryan ;)

I've never heard that CD reissue but some reviewers say that the sound is so so... Here is the occasion to hear it in all its glorious LP version!

May Lost-in-Tyme never find the way home! (Another way of saying Keep on Rockin'!)

By the way, thanks to Pat Lego for that awesome LP!

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Posted by J.P. the 60s Junkie

Tuesday, December 11, 2007

Love - 1974 - Reel to Real

Love - 1974 - Reel to Real

Tracks :
  1. Time Is Like A River (Arthur Lee)
  2. Stop the Music (Arthur Lee)
  3. Who Are You (Arthur Lee)
  4. Good Old Fashion Dream (Arthur Lee)
  5. Which Witch is Which? (Arthur Lee)
  6. With A Little Energy (Arthur Lee)
  7. Singing Cowboy (Arthur Lee-Jay Donnellan)
  8. Be Thankful For What You Got (William DeVaughn)
  9. You Said You Would (Arthur Lee)
  10. Busted Feet (Arthur Lee-Charles Karp)
  11. Everybody's Gotta Live (Arthur Lee)
Personnel :
  • Arthur Lee: rhythm guitar, acoustic guitar, vocal
  • Melvin Whittington: guitar
  • John Sterling: guitar
  • Sherwood Akuna: bass
  • Joe Blocker: drums
  • Bobby Lyle: keyboards
  • Gary Bell: synthesizer
  • Wilber Brown, Fred Carter, John Clauder, Alan DeVille, Clifford Solomon and Billy Sprague: horns
  • Vanetta Fields, Jessica Smith and Carlena Williams: vocal
  • Robert Rozelle: bass (6, 7, 10)
  • Buzzy Feiton: lead guitar (3)
  • Art Fox: acoustic guitar (5)
  • Harvey "The Snake" Mandel: electric guitars (5)
  • Joe Deaguro: vocal, vibes (8)

Reel To Real turned out to be Arthur hitting it right on the nail again. For on it, he is returning to the Rhythm and Blues music he did before he heard the Byrds. On this album he had an entirely new band, with two exceptional guitarists. Melvan Whittington on lead and John Sterling on slide. (The latter had previously played with Eric Burdon.) On bass, Sherwood Akuna (a meaty Fatback bassist) and Joey Blocker on drums, providing an able pounding punchy backbeat. Among the guest musicians, Arthur had Buzzy Feiten on guitar and Bobby Lyle on keyboards (well known session men), and among the people he thanked for helping him with the album was Keith Moon of the Who. Arthur Lee was always able to find great new musicians to play with. And maybe this is his secret. Why he has been able to survive so long. Because like Miles Davis, he is always changing. Lee, who at this time had the clean shaven headed Isaac Hayes look and a Fu Manchu mustache (which looked surprisingly good on him), seems to have developed an interest in Eastern Religion and Vegetarianism; as evidenced by the photographs on the album jacket and inside record sleeve.

With the opening number, ‘Time Is Like A River’, Arthur hits us with something entirely outrageously new. A perfectly blended, smoky Rhythm and Blues sound. Horns, background chorus (with a molten groove) added to the band (a deep New Orleans Funk if you will, just hinted at contextually in Rock form in ‘Feel Daddy Feel Good’ on False Start.) And with each succeeding song, ‘Stop The Music’ (where Lee plays burning Harmonica and Melvan Whittington a stuttering guitar solo while John Sterling plays a lean threatening slide) the stop/start arrangement hanging you on the edge, ‘Who Are You’ (a really silky devil of a vocal) with guest guitarist Buzzy Feiten smoking furiously on guitar, ‘Good Old Fashion Dream’ (Arthur cooking and boiling with the background chorus); this is a startlingly different Arthur Lee. ‘Which Witch is Which’, a merging of acoustic and electric Blues, with Lee adding just a touch of Harmonica to a mix of backwards guitar (that Beatles/Hendrix influence) and John Sterling’s slide solo. ‘With A Little Energy’, another smoking R&B number with the added twist of a solo on Moog Synthesizer by second guest keyboardist, Gary Bell.

On side two Arthur revisits ‘Singing Cowboy’ from Four Sail. A more restrained and relaxed smooth vocal this time, with Melvan Whittington and John Sterling cutting two musical swathes across on guitars, behind his vocal. A very different take on the song, with Arthur having developed a completely new singing style (which he first attempted on Vindicator and perfected on the title song for the film ‘Tomasine and Bushrod’). Next is William Devaughn’s popular ‘Be Thankful For What You Got’. And Lee does one hell of a reading; as good as the original. This is Arthur Lee, very Black and very Funky. Besides using his own regular vocals and voicings on the album, he also uses occasional inflections of Sly Stone and Al Green; which are very good. The following song, ‘You Said You Would’, is a humorous Country Rock affair with Arthur singing the tale of the ‘woman who done him wrong’. Whittington and Sterling trading licks, and the song ending with an explosion worthy of ‘Seven and Seven Is’. Next, a remake of ‘Busted Feet’ from the Vindicator album, that is much better than the original. Whereas on Vindicator it was just an average Rock song, here, the song is shorter and the arrangement is much tighter and threatening. Gary Bell provides a great atmospheric background with Moog Synthesizer, as Melvan Whittington really cuts loose on guitar and Arthur abruptly cuts off the song; as he sings about not quite being able to let go of the past. The final song, ‘Everybody’s Gotta Live’ (also from Vindicator) is an acoustic reworking and a very poignant statement; as Lee leads the group of backup singers into the chorus, singing smoothly and finally doing justice to a very good song. An album worth having and cherishing.

At last a positive review from a Real Arthur Lee Fan

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Saturday, December 08, 2007

V.A. - WorldBeaters Vols 1-8

Can things get any crazier? As we scour the planet looking for the wildest and most obscure 60's punk on the planet we become more and more amazed at what we are uncovering.
From Italy, to Chile, Poland to Singapore the kids were going crazy over fuzzed out guitars, primitive drum beats and wild tambourines. It is with great pleasure that we give you the instalments of theworld beaters series.

As far as international 60s garage compilations go,
Get it before it's gone, these bands ALL rock like crazy - and there's even some groups here from PAPUA NEW GUNIEA - i don't get no more obscuro than that, freak fanz!!!
Submitted by elroy (Wallingford, CT, USA)

We are dealing with a very good collection of later 60’s beat, freakbeat, punk and 60’s psych from various places from all over theworld (Latin America, Europe, Australia and New Zealand, Canada, the East). The compilation is well done also because the styles and songs fit well together.

An excellent approach to beat music from outside the Anglofile countries,is what this compilation is all about !

Track Lists & Links Here

Enjoy !!!

Neighb'rhood Childr'n - Long Years In Space 1967-1968

Neighb'rhood Childr'n

RICK BOLZ 12 string gtr, tamb, hrmnca, vcls A B
DYAN HOFFMANN vcls, organ, tamb A B
W. A. FARRENS drms, hrmnca, tamb, vcls B
RON RASCHDORF gtr, tamb, vcls, hrmnca B

1( ) THE NEIGHB'RHOOD CHILDR'N (Golden State Recorders acetate) 1967 R5
2( ) THE BOOK OF CHANGES (Golden State Recorders acetate) 1968 R5
3(B) NEIGHB'RHOOD CHILDR'N (Acta A-38005) 1968
4(-) LONG YEARS IN SPACE (dbl) (Sundazed 5023) 1997

(1) is a 12" metal acetate album. Some tracks appear on the Acta album, most don't.
(2) is a one-sided 12" metal album acetate of Acta album tracks with different mixes. Chocolate Angel has a longer intro.
(3) pirated in 1989 and also on CD.
(4) is an essential retrospective collection, also issued on CD (SC 11041).

1 THE NEIGHB'RHOOD CHILDR'N (Vegas Productions 863) 1967

(1) issued with press kit by the group's booking agency. This promo-only 7" EP was not issued in a sleeve. It contained non-album cuts/versions of Up, Down, Turned Around World, Maggie's Farm, That's What's Happening and Please, Please Leave Me Alone.

1 Little Black Egg/Louie Louie (Golden State Recorders) 1967
2 Maintain/Just No Way (as 'The Neighborhood') (Acta 813) 1967
3 Please Leave Me Alone/Happy Child (Acta 823) 1968
4 Behold The Lilies/I Want Action (Acta 828) 1968
5 Woman Think/On Our Way (Dot 17238) 1969

(1) is a One-sided 8" metal acetate. Only
(3) is from the Acta album.

One of the many forgotten bands gigging in the 'Frisco area, Neighb'rhood Childr'n's sole album on Acta is a psychedelic 'gem'. But, alas, after its release they simply vanished from the scene. Back in '68 with comparatively crude instrumentation available they created some very spacey sounds on tracks like Long Years In Space, while Chocolate Angel is something of a psychedelic jam. Feeling Zero appears to have been specially written to bring you down after another trip, while tracks like Happy Child and Patterns feature Dyan Hoffmann's crystal clear vocals. lndeed on Long Years In Space she complements the other vocalists to give the band a Jefferson Airplane-type sound. They even perform a re-creation of Over The Rainbow from Wizard of Oz.
Neighb'rhood Childr'n also recorded a couple of acetate albums in addition to the album on Acta. Much of this material has been compiled on the excellent Long Years In Space retrospective on Sundazed, and this together with the 'Acta' album is strongly recommended to connoisseurs of psychedelia.

The band evolved out of Oregon's Navarros, when their original drummer John Morrison was drafted. After about a year Campbell, Gleim and Ryan quit too and Bolz and Hoffman were then joined by central California musicians W.A. Farrens on drums and Ron Raschdorf on lead guitar.
Collectors should note that a DJ 45, with Dancing In The Street on both sides (N.A.M.l. 2014) 1974, is actually by a different Neighborhood Children, and sounds similar to early Jackson brothers.

Compilation appearances include:
Changes Brought To Me on Turds On A Bum Ride Vol. 1 & 2 (Dble CD)
and Turds On A Bum Ride, Vol. 2 (Dble LP).

(Vernon Joynson / Clark Faville / Darryl F. Riffero / Stephane Rebeschini)

Disfruten el estofado!
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Friday, December 07, 2007

"The Holy Modal Rounders... Bound to Lose"

"The Holy Modal Rounders... Bound to Lose"
Anthology Film Archives, Friday December 7th - Thursday December 13th.

The Theatrical and DVD release of the
documentary film "The Holy Modal Rounders...Bound To Lose". The film chronicles the bizarre forty year history of The Holy Modal Rounders, a 1960's Greenwich Village psychedelic folk duo (sort of like "A Mighty Wind on Amphetamines"). Featured in the film are Dennis Hopper, former band member Sam Shepard, Peter Tork of The Monkees, Wavy Gravy, Ira Kaplan of Yo La Tengo, Dave Van Ronk, The Fugs, Loudon Wainwright III, among many others. Read More...

Roky Erickson- I Have Always Been Here Before

Roky Erickson; Tommy Hall, Clementine Hall (vocals); Stacy Sutherland (guitar); John Shropshire (bass guitar, background vocals); Bennie Thurman, Ronnie Leatherman (bass guitar); Danny Thomas, John Kearney (drums).

Given the influence Roky Erickson has had throughout a career dating back to his work with the psychedelic garage rockers The 13th Floor Elevators, it is amazing that it took until 2005 for an anthology as comprehensive as I HAVE ALWAYS BEEN HERE BEFORE to appear. Kicking off with "We Sell Soul," a 1965 lo-fi nugget Erickson cut with his pre-Elevators band The Spades, this wild ride spans over three decades. In addition to the seminal Elevators classic "You're Gonna Miss Me" (with its gravelly vocals and rubbery twang), there's his mid-'70s solo comeback featuring the Doug Sahm-produced, wah-wah-drenched dirge "Red Temple Prayer (Two Headed Dog)" and its hook-filled sibling "Starry Eyes."

Marred by frequent bouts with mental illness throughout his career, it is frightening to hear the enormous talent that Erickson displayed during moments of clarity. His raw, mercurial skills shine throughout, whether on the late '70s sessions with the Aliens (including the faux skinny-tie twang of "I Think Up Demons" and "Don't Shake Me Lucifer") or the forlorn, autobiographical chamber pop of "Please Judge" from 1995's ALL THAT MAY DO MY RHYME.


After the suggestion of a friend...
and some more mature thinking about this release...
we decided to remove the links...

Wednesday, December 05, 2007

Johnny Lunchbreak - Acetate (1974 / 1975)

"Found circa 2004 while digging through Connecticut, a mysterious nine-track 12-inch acetate housed in a stickered jacket. No real info, other than the aforementioned sticker giving the band a name, a photo giving the band a face and a psychedelic style drawing pulled from a notebook tucked inside. The label on the record gave a general idea of location...the Gallery Recording Studios in CT. The 'detective work' was started by calling the recording studio. They didn't remember anything. With no names, I posted a pic of the acetate and two MP3s up on the Yahoo psychedelic web board to see if anybody knew anything. Some unknown Swede noticed the drawing was signed by a chick and managed to track her down right away. She, in turn, got a hold of an original member who in turn got a hold of me. All within a day or two of my original post. Amazing how that works out sometimes! The acetate was impressive...all originals showing healthy influences of their heroes the Kinks, Bee Gees (Odessa era) and the Stones. Yet the band retained an identity much of their own. Since the acetate went unreleased, I thought it fit to press up 300 copies to share with the world. Had these sessions been pressed up on a private label back in the day, the resulting album would surely be on many a want list now. This reissue is a real gem for fans of early/mid-'70s underground rock. Strict pressing of 300 numbered copies with minimalist hand assembled packaging. Also includes liner notes (um...kinda) by an original member. The reissue is mastered from the original found acetate (and is by no means of 'audiophile' quality)."

1) Tinsel Days
2) The Same Could Happen To You
3) Take Me Baby
4) The Best That I Had
5) Never Found
6) It's Got a Hold On You
7) A Very Papal State
8) Amazing Pain
9) Not a Dry Eye in America


The Voyage Limpid Sound - 2000 - Electronically Enhanced Dream

Soundflat writes :
Behind the Voyage Limpid Sound stands a 19 year old Greek -an original
psychedelic talent- who writes, plays and records his songs in his father's studio. Musically he is close to the British psychedelic groups of the 60's and mostly to the first records of Pink Floyd, while the accords of his vocals are influenced by the psych/pop era of the Beach Boys. I know the artist personally but I'm not lying when I say that this album is disturbingly good! As other reviewers have said, Pink Floyd and the Beach Boys can be heard in his music, but I'd like to add David Bowie to that list!

Here's a young man who's doing with ease all the things that others try to do for years:sophisticated arrangements,strong melodies and songs,stunning voice and original 60's sound as none 80's psychedelic outfit ever did!Find this album-then you'll know why!The song "Shades of the sky" is a fave!! Benjamin Roses

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Monday, December 03, 2007

Collective Tools - St

"Collective Tools" 197 (Silver Crest Custom nt-5272) [insert; blank back]

Dialater blues
Two of us
40 & 20 years [actually 4 & 20 years]
Get together
Sunny days
Long tall Sally
S ail to Maine
Someone's here
Clear silver
Run past my window
If I were carpenter
Just the same

Circa 1970 upstate New York collaboration on a NYC label. Features the groups Eon, Silverwood, and other musicians from a drug rehabilitation clinic. Moody basement folkrock and fuzz sounds. On the surface this is a terrible record, but amateur fans will go nuts over the loose playing, warbling female vocals, no-fi production, and downer vibe throughout. Similar to "Tool Shed" and the Earlham College comps but murkier. Highlights: the murky take on "40 & 20 Years" (sic), the thud fuzz instro "Clear Silver", and the mournful "Sail to Maine" which is about scoring cocaine. Real people with real damage. [RM]~~~

This mix of rock, folk and jazz is a lot more interesting when you discover the background behind it. Knowing that it was made by people in a drug rehabilitation clinic/mental hospital, it just plain creeps me out, starting with the mournful trumpet and out of tune harmonica on the opening instrumental, moving through the chilling “Sail To Maine” (in which the singer seems to have the attitude that she can’t beat drugs so she’ll just snort cocaine until she dies) and some really stark loner folk. About half of the songs are covers. “Two of Us” is especially chilling, with the heavily echoed vocals and abrupt ending making my own mind turn this hopeful song into something completely different, where the “home” they seek is the clinic... or death. I’m probably reading too much into it, but given the feel of the rest of this album I might be on the right track. Despite the basement production and a certain kind of sloppiness, most of this is reasonably well played and sung. The ones that aren’t (i.e: “Get Together”) have a weird urgency that’s compelling. Every song here sounds like a last gasp. Very interesting stuff. [AM]

From Acid Archives...

My opinion --- i did like it a lot. Not best played but sounds true and worm to me. Original

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Sunday, December 02, 2007

The Tea Company - 1968 - Come And Have Some Tea With The Tea Company

The Tea Company from New York City was one of the early birds from the US psychedelic underground scene with an LP on the market by 1968 originally released on Smash Records. This album marks the evolution of the 45 rpm teen-psych-garage band market to the upcoming LP-generation with extended improvisational parts. “The Naturals” formed in 1963 with Joe Meek influence and evolved into the Tea Company which showcased a more psychedelic sound. Opening up big ballrooms for such acts as; The Mamas and the Papas, The Lovin’ Spoonful, Bob Dylan, Ritchie Havens, and many others, the Tea Company became popular in the US underground, also in San Francisco for spectacular live shows and lyrical hippie statements.

Influenced by and using the same equipment as the Beatles, the controversial and intense “East-Indo Sound” reflects “an assemblage of possessed rock performers; retinue preparing the unusual; alternating with the roots of soul…whose purpose is to cause sensation, due to stimulation of the auditory centers of the brain!” Played with lots of freaked-out-echo-organ/-guitar noises on a 12-string Rickenbacker and various-stereo madness, reminds strongly of Syd Barrett´s spirit but more driven by hard hittin´ drums. You will find an outrageous 9 min. cover version of Vanilla Fudge “You Keep Me Hangin’ On”, which is celebrated among 60s collectors as a true milestone. The album is a mindblowing and freaky production (LP includes 3 bonus tracks by the NATURALS). This LP-release (remastered) captures the end 60s stereo sound-experiments in a fresh and intense way! The insert contains a nice bio and photos. A must for those who wanna feed their minds with unusual heavy-psychedelic Rock-ROOTS!

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Jim & Jean - 1966 - Changes

Some time without sharing anything, so I thought, hey, before the year ends, let's post at least another album. I recently upped this for a friend, so you can have it too :-)

I'll borrow some comments found on the net (from Madhaiku , credit to him! ) for it, so no need to give my poor opinion about it. My opinion is: I love it! Specially their cover of Cruxifixion... such beautiful voices!

I'm guessing that you've never heard of Jim & Jean who had the misfortune of releasing their first album just as the folk revival was being crushed by the weight of the British Invasion and its own pretentiousness. (And the dopes at the Newport Folk Festival booed Dylan when he plugged in and went a electrified. Sheesh.)

Anyway, Jim Glover and Jean Ray recorded a couple of albums on the Verve Folkways label in the mid-1960s, then seemingly vanished off the face of the earth. Their first album, Changes, was released in 1966 and covered songs by Phil Ochs, David Blue, Eric Anderson and Dylan. The rest were penned by Glover himself who is said to have introduced Ochs to the music of Woody Guthrie and taught Ochs guitar when they were roommates at Ohio State. It was Ochs who wrote the liner notes on the Changes album.

"The folk boom has come and gone like a plague," Ochs wrote ruefully. "As the scene came to its inevitable shift, some resigned and officially became salesmen, others became ethnic defenders of Mother Earth tradition even though there were no attackers.

"Many grew their hair down to their wallets and jumped on the Beatle bandwagon in true hands-across-the-sea spirit. Palms upward as usual.

"Myself, I also planned to form a new group of former folkies. We would expand our hair, be backed by an electronic symphony orchestra, we would play sitars and various other eastern instruments we learned of by reading record jackets, and we would talk about the free-form ultra-Zen music on television. The group would be called the Pretensions."

Of Jim & Jean, Ochs said, "Into this melange of ultra hip and ultra hyped scenes leap Jim & Jean, a true blend of Americana, the kind of couple who might well persuade people from Iowa to buy U.S. Savings Bonds.

"Can they sing? Are they worth listening to? I think so, because unlike many of the people you have come to know and love in the folk and folk-rock scenes, they actually have voices with timbre and tone, control and intelligence."

OK, Ochs was a bit overwrought, but it was the 60s, and he would later kill himself (hanged himself in 1976), and there would be big tributes to him (I remember reading how Allan Ginsberg wore Ochs' gold lamè jumpsuit on stage at one event). But he had a point when he wrote, "There has been a vacuum of decent interpreters of the new wealth of songs pouring out of the New York decadence. These lyrics demand sensitive treatments, and don't necessarily need the overwhelming blare of drugged speakers. They demand phrasing, harmonies, counterpoint and higher wages."

I first bought this album right after it came out; found it in a store downtown. Or rather it found me. It's not the greatest album in the world. I didn't think so then and I don't think so now. On some harmonies Jean's full, high-pitch warble can get downright irritating. But Jim & Jean do a killer version of Ochs' song Crucifixion, which is like a postmodern, pre-psychedelic interpretation of the New Testament. And the title track, Changes, which Ochs also wrote, has that snap and pop of quintessential hippie dippy Sixties. He wrote some damn good songs, Ochs did, and Jim & Jean did them justice after all.

Hope you like it folks ;-)

Saturday, December 01, 2007

Cat Stevens - Matthew & Son [1967]

Cat Stevens' Matthew & Son was among the handful of releases that introduced Decca Records' "offbeat"-oriented (but ultimately largely psychedelic/progressive) Deram label in England. Actually, Stevens' "I Love My Dog" launched the label in fine style by climbing to Number 27 on the U.K. charts, and its follow-up, "Matthew & Son," hit Number Two, resulting in the release of the original album of the same name. The latter was not only a fine account of Stevens' early folk-influenced pop/rock sound, but was also a beautiful, candid audio "snapshot" of one side of Swinging London's musical ambience in late 1966 and early 1967. It melds tinkling harpsichords ("Matthew & Son") and moderately ambitious orchestrations (mostly horns and strings) on some songs ("I Love My Dog") with folky acoustic guitar on others ("Portabello Road"), a lot of it carrying highly expressive, weirdly personal lyrics. Though it was like pulling teeth to get some of those early records out from Decca, this album sounds today like the record that should have accompanied the American version of the Beatles' Rubber Soul onto millions of turntables. It's very distant from the sound that Stevens was ultimately known for, and in many ways, it's more dated than what he did for Island/A&M, but it's much more self-consciously accessible, arranged in different styles, ranging from vaudeville-style band accompaniment ("I See a Road") to trippy Donovan-esque ballads ("Baby Get Your Head Screwed On," "When I Speak to the Flowers," "Hummingbird"). Some of it, such as the sax-driven "Come on and Dance," is a little awkward as efforts at a soul sound, but all of it is fun, even the slightly too Engelbert Humperdinck-esque "Lady." []

Track list;
01 - Matthew And Son
02 - I Love My Dog
03 - Here Comes My Baby
04 - Bring Another Bottle Baby
05 - Portobello Road
06 - I Ve Found A Love
07 - I See A Road
08 - Baby Get Your Head Screwed On
09 - Granny
10 - When I Speak To The Flower
11 - The Tramp
12 - Come On And Dance
13 - Hummingbird
14 - Lady
15 - School Is Out
16 - I'm Gonna Get Me A Gun


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

V.A. - Nightmares From The Underworld_Canadian Punk Vols 1 & 2

Nightmares From The Underworld #1 - LP

Side 1
1 The Power Of Beckett - Lost Soul In Disillusion (Montreal, Canada)
2 M.G. & The Escorts - A Someday Fool (Montreal, Canada)
3 Les Bohemians - I Need You Baby (Montreal, Canada)
4 Mike Jones Group - Funny Feeling (Montreal, Canada)
5 The Midnight Angels - I'm Sufferin' (Le Pas, Canada)
6 Underworld - Go Away (Toronto, Canada)
7 Witness Inc. - Not You Girl (Saskatoon, Canada)
8 Mainline - Don't Wait Around (Winnipeg, Canada)
9 The Munks - Long Time Waiting (Montreal, Canada)
10 The King-Beezz - Gloria (Edmonton, Canada)

Side 2
1 Great Scots - Give Me Lovin' (Halifax, Canada)
2 The Heart - Treat Me Bad (Almonte, Canada)
3 The Checkerlads - You Just Can't Hide (Regina, Canada)
4 Dee & The Yeomen - Baby It's All Worthwhile (Toronto, Canada)
5 Simple Simon & The Piemen - People Of Tyme (Montreal, Canada)
6 Great Scots - That's My Girl (Halifax, Canada)
7 Our Generation - Cool Summer (Montreal, Canada)
8 The Jury - Who Dat? (Winnipeg, Canada)
9 The Esquires - It's A Dirty Shame (Ottawa, Canada)
10 Skaliwags - Turn Him Down (Ottawa, Canada)

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Nightmares From The Underworld #2 - LP

Side 1
1 The Quiet Jungle - Everything (Toronto, Canada)
2 Eight Point Five - Casey's Mail Order Bride (Bathurst, Canada)
3 The Purple Haze - Love Is Fine (Montreal, Canada)
4 Berries - Night Winds (Toronto, Canada)
5 Naughty Boys - Baby (Ottawa, Canada)
6 Please Feed The Animals - I'm Crying (Toronto, Canada)
7 The Power Of Beckett - Shake Me, Wake Me (Montreal, Canada)
8 Underworld - Bound (Toronto, Canada)
9 Skaliwags - 365 Days (Ottawa, Canada)
10 Expedition To Earth - Time Time Time (Winnipeg, Canada)

Side 2
1 Don Norman & The Other 4 - Low Man (Ottawa, Canada)
2 The Quid - Crazy Things (Winnipeg, Canada)
3 Satan & The D-Men - She'll Lie (Kenora, Canada)
4 Naughty Boys - Heart (Ottawa, Canada)
5 Les 409 - They Say (Montreal, Canada)
6 The Northwest Company - She's A Woman (Vancouver, Canada)
7 Expedition To Earth - Expedition To Earth (Winnipeg, Canada)
8 Just Us - I Don't Love You (Toronto, Canada)
9 Sound Box - Warm Your Mind And Soul (Montreal, Canada)
10 Royal Family - Solitude (Edmonton, Canada)

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Reviews :
In the overcrowded field of '60s garage reissues, a compilation exclusively devoted to Canadian bands sticks out as something of a novelty. But the Canadian garage sound was virtually identical to the U.S. one; it just emanated from a more northerly direction. So this 20-track anthology sounds like just another American garage comp, albeit a rather below average one. The Quid's "Crazy Things" is a good take on the Pretty Things' approach, and the Berries' "Night Winds" distinguishes itself with some flute trills (quite uncommon to find in garage records). Otherwise there's little to detain you, unless you're one of the thousand or so collectors who's determined to own every damned last garage compilation that's ever come out.
~ Richie Unterberger, All Music Guide

These are both 20-track LP compilations [which have been reissued as a 2-CD set] of Canadian rock ("punk" or "garage") from 1965 to 1969, featuring 34 groups from Vancouver to Bathurst, New Brunswick. Actual cities represented are (from west to east): Vancouver (The Northwest Company); Edmonton (Royal Family, King Beezz); Regina (Checkerlads); Saskatoon (Witness Inc.); Le Pas, Manitoba (Midnight Angels); Winnipeg (Expedition To Earth, Quid, Satan & the D Men, Mainline, Jury); Ottawa (Naughty Boys, Skaliwags, Don Norman & the Other Four, Heart, Esquires); Toronto (Quiet Jungle, Berries, Please Feed the Animals, Underworld, Just Us, Dee & the Yeomen); Montreal (Purple Haze, Power of Beckett, 409, Sound Box, M.G. & the Escorts, Bohemians, Mike Jones Group, Munks, Simple Simon & the Pieman, Our Generation); Halifax (Great Scots); and Bathurst, New Brunswick (Eight Point Five).

The majority of these groups produced only one 45; of the others, only two groups produced more than one more single: The Northwest Company (four more) and Don Norman & the Other 4 (six more). None made albums except the Esquires in 1964, and Please Feed the Animals, who made just one album but no single releases. That album contained only cover songs, seven of them by the Animals (hence the group’s name), one by the Yardbirds, one by Cream, and one by the Small Faces.

So you can be sure that these are rare, with the book value from $25 to $85+. Rarity often also means low budget production and that usually equals low fidelity, and here, with the sources (as usual with rare stuff) being the 45s and not the master tapes, the sound is compressed, but so what? We’re lucky that it’s been made available. But is the music any good? Well yes it is, although much of it is derivative with influences by the Animals, Beatles, and various ’60s-isms like snarling vocals, tambourines, organ, lots of background singing in harmony, and fuzz guitar. All but four are originals, as far as I know, except the covers of Beatles ("She’s A Woman"), Them ("Gloria"), Blues Project ("Wake Me, Shake Me"), Animals ("I’m Crying"). Rating: 8/10

Nightmares From The Underworld Vol 1 AGNC 100 Can 1983
One of the most sought-after comps and proof positive that Canada had the best 60's scene outside the US. Several awesome classics here though the number of tracks and crappy vinyl make the sound quality less than satisfactory. Compiled by Andre G of Canadian discography fame, released back in '83 in a ltd ed of 300. Haven't seen this offered for years.

Nightmares From The Underworld Vol 2 Underworld Rec 1205 Can 1985
Perhaps fewer classics here but a great consistency makes it just as enjoyable. Slightly psychier and with some unusually
well-chosen covers. Not as rare as vol 1 and with better sound quality.
~from :

Some more info can be found here :
Nightmares From The Underworld_Canadian 60's Punk
from Canadian Records Obscurities & Rarities by Andre Gibeault
Link :

Enjoy !!!

Friday, November 30, 2007

Amen Corner - The National Welsh Coast Live Explosion Company [1969]

The band was named after a 1954 play by James Baldwin.

Their first singles and album appeared on Decca's subsidiary label Deram, but they left at the end of 1968 to join Immediate, where they were instantly rewarded with a No. 1, "(If Paradise Is) Half as Nice" (originally a song by Italian songwriter Lucio Battisti) in early 1969, followed by another top five entry with the Roy Wood composition "Hello Susie".

After recording a live album, Farewell To The Real Magnificent Seven, and a final single, a rather premature cover version of The Beatles' "Get Back", they disbanded at the end of 1969.

While sax players Alan Jones and Mike Smith went on to form Judas Jump, guitarist and vocalist Andy Fairweather-Low led Dennis Byron (drums), Blue Weaver (organ), Clive Taylor (bass) and Neil Jones (guitar) into a new band, Fair Weather. The band scored a UK No.6 hit with "Natural Sinner" in 1970 and recorded one album before disbanding a year later.

Fairweather-Low went on to a successful solo career in the 1970s, notably with the top ten hit "Wide Eyed and Legless" (1975); he became a regular player with Eric Clapton, George Harrison and Roger Waters. He also worked with Strawbs and the Bee Gees. Blue Weaver also played keyboards for the Bee Gees from the mid-Seventies through to the Nineties [Wikipedia]

Track list;
01-Introduction; Macarthur Park
02-Baby Do The Philly Dog
03-You're My Girl (I Don't Want To Discuss It)
04-Shake A Tail Feather
05-So Fine
06-(Our Love) Is In The Pocket
07-Penny Lane
08-High In The Sky
09-Gin House
10-Bend Me Shape Me
11-(If Paradise Is) Half As Nice


Psychedelic Pop

Thursday, November 29, 2007

V.A. - Mayhem & Psychosis vols 1 & 2

Vol. 1
1 The Jelly Bean Bandits - Generation (Newburgh, NY, U.S.A.)
2 Holocaust - Savage Affection
(Chicago, IL, U.S.A.)
3 The Galaxies IV - Don't Lose Your Mind
(Trenton, NJ, U.S.A.)
4 The Magic Mushroom - I'm Gone
(San Diego, CA, U.S.A.)
5 The Monocles - The Spider & The Fly
(Greeley, CO, U.S.A.)
6 The Magic Plants - I'm A Nothing
(New York, NY, U.S.A.)
7 The Hysterics - Everything's There
(San Bernardino, CA, U.S.A.)
8 The Bruthers - Bad Way To Go
(Pearl River, NY, U.S.A.)
9 The Liverpool Set - Seventeen Tears To The End
10 The Leather Boy - I'm A Leather Boy
(Manhattan, NY, U.S.A.)
11 The Front Line - Got Love
(San Francisco, CA, U.S.A.)
12 The All Night Workers - Why Don't You Smile
(Syracuse, NY, U.S.A.)
13 The Cave Men - It's Trash
(Key West, FL, U.S.A.)
14 The Beatin' Path - Original Nothing People
(Reading, PA, U.S.A.)
15 The Dirty Wurds - Why
(Chicago, IL, U.S.A.)
16 The Bluethings - The Orange Rooftop Of Your Mind
(Hayes, KS, U.S.A.)
17 The Chob - We're Pretty Quick
(Albuquerque, NM, U.S.A.)
18 The Id - Boil The Kettle, Mother
(San Diego, CA, U.S.A.)
19 The Chocolate Moose - The Chocolate Moose Theme
(Dallas, TX, U.S.A.)
20 The Little Boy Blues - The Great Train Robbery
(Chicago, IL, U.S.A.)
21 The Bare Facts - Bad Part Of Town
(Portsmouth, OH, U.S.A.)
22 The Spades - You're Gonna Miss Me
(Austin, TX, U.S.A.)
23 Ravin' Blue - Love
(Nashville, TN, U.S.A.)
24 The Ruins - The End
(Lincoln Park, MI, U.S.A.)
25 Nobody's Children - Colours And Shapes
26 The Third Stone - True Justice
(Salem, OR, U.S.A.)
27 The Changing Tymes - Go Your Way
(Gate City, VA, U.S.A.)
28 The Barons - Now You're Mine
(Washington, DC, U.S.A.)
29 The Young Men - Go!
30 Riders Of The Mark - The Electronic Insides And Metal Complexion That Make Up Herr Dr. Krieg

Vol. 2
1 The Sparkles - Hipsville 29 B.C. (I Need Help)
(Lubbock, TX, U.S.A.)
2 The Burning Bush - Evil Eye
3 The Trespassers - Living Memories
4 The Purple Underground - Count Back
(Winter Haven, FL, U.S.A.)
5 Rain - E.S.P.
(Los Angeles, CA, U.S.A.)
6 The Fanatics - Woman
(Houston, TX, U.S.A.)
7 The Humane Society - Knock Knock (Who's There)
(Simi Valley, CA, U.S.A.)
8 The Rainy Days - I Can Only Give You Everything
(Detroit, MI, U.S.A.)
9 The Unrelated Segments - Where You Gonna Go?
(Detroit, MI, U.S.A.)
10 The Golliwogs - Brown-Eyed Girl
(El Cerrito, CA, U.S.A.)
11 The Clue - Bad Times
(Midland, TX, U.S.A.)
12 Bedlam Four - Hydrogen Atom (Or Mushrooms Are In)
(Minneapolis, MN, U.S.A.)
13 The Moonrakers - Baby Please Don't Go
(Denver, CO, U.S.A.)
14 The Ugly Ducklings - She Ain't No Use To Me
(Toronto, Canada)
15 The Show Stoppers - If You Want To, Why Don't You
(Rochester, NY, U.S.A.)
16 The Deepest Blue - Pretty Little Thing
(Ontario, CA, U.S.A.)
17 The Fountain Of Youth - Witness People
(Fredericksburg, TX, U.S.A.)
18 unknown - Voodoo
19 Larry Knight & The Upsetters - Everything's Gone Wrong
20 The Specktrum - Confetti
(Cranston, RI, U.S.A.)
21 Sentrifical Fours - You Put Me Through Changes
22 The Swingin' Apolloes - Slow Down
(Atlanta, GA, U.S.A.)
23 Oxfords - Don't Be A Dropout
(Philadelphia, PA, U.S.A.)
24 The Trippers - Taking Care Of Business
(Los Angeles, CA, U.S.A.)
25 The Endd - Come On Into My World
(La Porte, IN, U.S.A.)
26 The Backdoor Men - Evil
(Goshen, IN, U.S.A.)
27 The Changing Tymes - The Only Girl I Love
(Gate City, VA, U.S.A.)
28 The Wanted - Sad Situation
(Detroit, MI, U.S.A.)
29 The Tribe - Fickle Little Girl
30 The XL's - Mary Jane
(Terre Haute, IN, U.S.A.)

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Wednesday, November 28, 2007

The Incredible String Band - Live In Canada 1972

(From the Album The Circle Is Unbroken Studio & Live 67-72, & Also Released At the Chelsea Sessions)

The second disc here is from a Canadian gig in 1972 that featured Mike Heron and Williamson with four (then) new-ish members, including the band's equipment manager on drums and their soundman on bass. It was previously issued on CD as The First Girl I Loved in 1998 on Mooncrest. There is some debate here as well about the material being taken form various shows instead of a single concert. The original issue contained at least one cut, "Ithkos," that was from 1974. That song has been replaced by other bonus tracks from the same gig, or series of gigs: "Oh Did I Love a Dream," and "The Hag with the Money." The sound on this set is a bit more marginal, but the material and performances are lively and savvy.

Essentially, this two-disc compilation pairs the Incredible String Band's previously issued Chelsea Sessions 1967 (with one bonus track — a medley), with a live set from Canada in 1972. Therefore, it's not material recorded between the years, as the title would suggest, so much as from those years. (It should be said, for the sake of accountability, that perhaps "God Dog" may date later than the other cuts; no one seems to know.) The 1967 material is wonderful, coming as it does from the sessions that resulted in the band's second album 5000 Spirits or the Layers of the Onion. Six tracks made the LP. Many of these tunes feature Robin Williamson debuting his material solo, accompanied only by his guitar. The sound on the first disc is great throughout.

Biography by Jim Powers
One of the most engaging groups to emerge from the esoteric '60s was the Incredible String Band. Basically the duo of Mike Heron and Robin Williamson, its sound was comprised of haunting Celtic folk melodies augmented by a variety of Middle Eastern and Asian instruments. Heron was a member of several rock bands in England in the early '60s, while Williamson and Clive Palmer played as a bluegrass and Scottish folk duo. Heron was asked to join as rhythm guitarist, and the trio named itself the Incredible String Band. The band was spotted at a club by Joe Boyd, who was opening a British wing of Elektra Records. The trio gave Boyd a demo tape of mostly American bluegrass standards with a few original songs, which impressed him more than the standards. The Incredible String Band, released in 1966, featured mostly original numbers enthusiastically played in American and Celtic folk styles. Following the album's release, Williamson spent several months studying music in Morocco, and Palmer left the group to travel to Afghanistan. For the String Band's second album,

The 5000 Spirits or the Layers of the Onion, exotic touches such as the Middle Eastern oud, Indian sitars, and tambouras began to permeate the group's sound. The band's lyrics also became more whimsical; highlights include Williamson's tale of insomnia "No Sleep Blues" and Heron's amorous "Painting Box."The press raved about the Incredible String Band, and their next album, The Hangman's Beautiful Daughter, was the band's brief flirtation with stardom. Although the music was less commercial than its predecessor, the LP reached the Top Ten in the British album charts and was also the group's highest Billboard chart placing in America, reaching number 161. The songs became less structured, as on the opening, "Koeeoaddi There," which changed tempo frequently as it cascaded joyously with sitars and jaw harp. The album's centerpiece, "A Very Cellular Song," was a suite of short pieces sewn together with the folk song "Bid You Goodnight." For Wee Tam and the Big Huge, the Incredible String Band was augmented by Williamson and Heron's girlfriends, Licorice McKechnie and Rose Simpson. The group also began to electrically amplify its instruments. This expanded lineup performed at the Woodstock festival in 1969, but due to circumstances it was not one of the band's most memorable performances. The Incredibles' slot was originally to be Friday night after Joan Baez; however, due to heavy rain, the band opted not to perform. Folksinger Melanie took the Incredibles' place and went down extremely well, writing her big hit "Candles in the Rain" about that moment. The Incredible String Band got a lukewarm reception the next afternoon between Creedence Clearwater Revival and Canned Heat.At the turn of the '70s, the Incredible String Band began to lose some of their momentum. The album Changing Horses was not as engaging as the band's previous collections, and the group's eclecticism became a liability rather than an asset. Bassist and pantomimist Malcolm LeMaistre joined in 1971 for U, a well-received stage show that did not translate as easily to record. The band made the transition to electric rock & roll in 1972.In 1974, following the album Hard Rope & Silken Twine, the Incredible String Band disbanded. Both founding members had prolific solo careers; Heron's took him in a rock direction, while Williamson explored his Celtic roots. For several years the band was seen as a dated anachronism. Recently, with the resurgence in interest in the psychedelic '60s as well as world music, the Incredible String Band's music has been rediscovered by new audiences won over by its mystical charm.

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Monday, November 26, 2007

Fate - 1968 - Sgt. Death

Fate - 1968 - Sgt. Death

Another vintage previously unreleased Psychedelic wonder from 1967-1968. From the remains of legendary band "Euphoria's". Influenced by Doors and other West coast psychedelic bands. Eerie keyboards led psychedelia with great slashing guitar leads and biting vocals to Yardbirds like rave ups.

1.: Sergeant Death
2.: Simone
3.: Sexual Fantasy #8
4.: Having A Cigarette
5.: I Need A Woman
6.: Hungry Lovin' Blues
7.: Mannequin
8.: Tribute To The Bo
9.: Smoke And Stone

One of the few 1960s-era titles in the Rockadelic catalog, this piece of zeitgeist plays like a completely finalized album that could, and probably should, have come out back then. Archetypal ambitious mainstream psych with a New England slant a la St Steven while extensive use of keyboards recalls the 1st Mandrake Memorial; the all-bases-covered approach could appeal to fans of Food as well. Vocals are a bit too Morrisonesque/operatic, while the production and arrangements are impressive. Not a bad LP but spread a bit too thin for my tastes; the sarcastic anti-Vietnam title track is what makes it stand out. Die-cut sleeve design makes the reissue look like a local heavy metal LP. Band (or main guy) recorded a rare garage 45 as Euphoria's ID prior to this. Here is a description of the original album: "a no info test pressing, other than the words FATE SIDE 1 and FATE Side 2 written on it. Side one dead wax says "6 25 68 a 1", side 2 dead wax "2 1 69 b 1". The reissue rearranges the track order and has a somewhat different (less compressed) sound than the original disc. [PL]

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T. Rex - 1970 - A Beard of Stars

There was a big and obvious change to Tyrannosaurus Rex on their fourth album, A Beard of Stars, as Steve Took was replaced by Mickey Finn, with Marc Bolan remaining the true captain of the duo act as singer and songwriter. Of more significance was the change in the band's sound, moving into far more electric rock territory with much greater use of electric guitar, though Bolan's songs were still often grounded in the fairytale-like musings of his earlier work. It was still a ways off from his glam rock approach, but it was definitely more accessible than the relatively homespun elflike folk-rock of the earliest Tyrannosaurus Rex albums. It also made some effective use of organ and somewhat more pop-friendly, conventional tunes like "By the Light of the Magical Moon," "Elemental Child," and "A Daye Laye," though weirder items like "Wild Cheetah" and "Dove" bore a slight similarity to some of Syd Barrett's gentlest compositions.

Sunday, November 25, 2007

John Berberian & the Rock East Ensemble - 1969 - Middle Eastern Rock

Side 1
The Oud & The Fuzz


Side 2
Iron Maiden
Flying Hye

3/8 + 5/8 = 8/8

The Magic Ground

John Berberian: oud

Steve Pumilian: dumbeg
Souren Baronian: clarinet, sax, zills

Bob Tashjian: percussion & vocal

Joe Beck: lead guitar

Ed Brandon: rhythm guitar

Chet Amsterdam: bass

Bill LaVorgna: drum kit

One day I bought 3 records at a Goodwill for about a dime apiece -- two were psych-looking relics with groovy album covers by groups called Mandala and Central Nervous System. The third was this one, with it's silly arabs-and-camels-painted-on-a-girls-belly cover art. But surprisingly it turned out to be by far the best of that day's purchases. First of all, the title & cover art are totally deceptive: John Berberian and his crew are Armenian-Americans, not Arabs (though there is one song on here that is based on a traditional Arabic tune.) The "Rock East Ensemble" consists of 4 guys from Berberian's regular group along with 4 NYC session musician types who play in a more traditionally "American" rock/jazz style. In other words, this is a fusion record. Unfortunately marketed in a kind of crass way, but I got nuthin against Berberian's attempt to crossover from the "ethnic music ghetto" to the rocknroll masses. Because the result is a pretty wonderful record that defies categorization but is still fun to listen to, in fact I've thrown it on at parties.

"The Oud & The Fuzz" begins with a multi-percussive groove and some jazzy chords before Berberian begins soloing on the oud -- apparently he was the premiere oud player of his day, and I can believe it cuz he smokes. His style is rooted in an Asian tradition, the instrument sounds a bit like a sitar so to compare it to "raga" isn't half wrong. Only it's funkier, trance inducing spring-loaded rhythmic motiffs joyfully bouncing from the speakers. Then the dumbeg doubles up the beat (they don't play faster, just MORE) and Beck plays a fuzz guitar solo that is a little too slick for rock but too scuzzed for jazz. After his solo, he starts playing some chicken scratch funky afrochords such as you rarely hear outside of Fela records as the oud runs amok. Then the beat doubles up one more time and the oud & fuzz guitar leads go at it simultaneously.
The only track on the album in your standard 4/4 rock time (all the time signatures are helpfully provided in the liner notes), it's like high energy bellydance music and I can totally dig that it's not really acid rock, surf music, jazz, traditional Armenian or "Middle Eastern" music -- yet it is like all those things at once.
"Tranquility" is in 6/8 time, very mellow, sort of psychedelic with a ghostly flute riffing along. Add a overwrought hippy singing through a ton of reverb and it could be July or Jade Warrior! Also some sax playing which is refreshing in that it bears little relation to your standard jazz fare of the day -- though the "oriental honking" he's doing does start to sound like klezmer at times. "Chem-oo-chem" is a traditional Armenian tune, the only one on the record with vocals (in Armenian natch.) It's a catchy tune, sounds like something from "Fiddler on the Roof" and I can picture the band playing this at a wedding for the Armenians to dance to. There's a nice jam section in the middle with jazz/psych lead guitar and more of that honking not-jazz sax, and throughout the whole record the guy on the drum kit is snapping off these neat funky little licks in odd meters, so he deserves a comparison with Jaki Liebezeit!

"Iron Maiden" features the sax in snake-charmer mode, and more typically brilliant soloing on the oud by Berberian.
"Flying Hye" (Hye being Armenian for "Armenian") has an unusual loping groove (it's in 9/8 time) and features a cool descending riff on the oud. During Beck's solo he's obviously trying to imitate Berberian's style (and doing a pretty good job of it.) "3/8 + 5/8 = 8/8" is a reference to the way they subdivide the beats on this one -- actually the opening beat & guitar riff sounds a lot like the beginning of "Kobaia" off the first Magma album! Then it turns into another of those vaguely East-European klezmer jam type things. At times it begins to sound quite like the "Ritual Dance of the Young Pumpkin" jam on the Mothers' "Absolutely Free" album (which was also released on Verve FYI.) "The Magic Ground" is an actual traditional Arabic tune, the title and bouncy vibe make me think of the Meat Puppets for some reason (not that it sounds anything like that band, more like it conjures up surreal desertscape imagery similar to wot you find on Pups album covers.)

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Saturday, November 24, 2007

Wimple Winch - The Story Of Just Four Men 1963-1968

Wimple Winch was an interesting British '60s group, weaving soul, intricate harmonies, and unusual whimsical lyrics into their original material. Starting out as Just Four Men, the Liverpool-area outfit was initially just one of the dozens of Merseybeat groups riding the Beatles' coattails, although they cut a couple of fair singles. Changing their name to Wimple Winch, they released three much more progressive singles that were popular locally, including the explosive raver "Save My Soul" and the dramatic story-song "Rumble on Mersey Square South." Arguably the most creative group to work from Liverpool after the Merseybeat boom dried up, they broke up in the late '60s, leaving a wealth of unreleased material. Much of that material, as well as their rare singles, eventually appeared on compilations of British Invasion and British psychedelic rarities in the '80s. ~ Richie Unterberger, All Music Guide

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Friday, November 23, 2007

Magical Power Mako (Japan) - 1977 - Jump

Magical Power Mako (Japan) - 1977 - Jump

Tracks :
1. Jump To You
2. The Story Of Our Master
3. Give Me Present
4. Reat Light Down
5. So
6. Blue Wind
7. Elephant's Jungle
8. Jump
9. 21st Ocean

Magical Power Mako - A short biography :

Magical Power Mako was born on 1956 in the city of Shuzeni Izu , Japan. Mako was intrigued by music from childhood and begun his musical education at a very early stage of his life. His first concert performance, at the age of 16, was with his first band "Genge" playing in the famous 'Shibuya' club in 1973.

During the years of 1973 and 1974, Mako was invited to play with one the most famous contemporary composers of Japan, Mr. Toru Takemitsu, playing in three musical pieces composed by the master for three important films of the time, "Inheritance For The Future"; "Petrified Forest" "Himiko".

1973 was also the year in which Mako released his first LP, simply called "Magical Power".
In the album, Mako joined forces with Keiji Haino, one of the most interesting and controversial Japanese guitar players. The response was amazingly supportive and Mako had become an admirable artist in Japan over night, gaining a semi God like status and many followers.
"Magical Power" was both original and innovative, composed of new ideas unknown at the time. The album portrays a mix of folk and psychedelic music and as a whole, is considered to be a milestone in the Japanese progressive rock scene. In 1975, two years after his first LP, and after a recording period of three years (1972-1975)

Mako released his second LP, "Super Record". This album is considered to be Mako's best experimental journey through sounds and musical ideas. Strong elements of Japanese folk music play an important role in "Super Record along with psychedelic pieces with new sounds and enormous imagination.

"Jump", Mako's third LP came out in 1977 and had an easier style than his former ones. However, until today it is still considered as an amazing musical milestone one in which Mako's guitar work earned him a place among the greatest guitar player's in Japan's history.

In 1979, Mako released his fourth LP - "Welcome To Earth" As insinuated in the title, Mako thought himself to be like an alien out of space. "Welcome To Earth" was more electronic then his former LP\'s, and also less popular among his followers.

1982 saw Mako's fifth LP, "Music From Heaven". The album is considered to be masterpiece and one of Mako's best artistic achievements. The LP was released under a new Indie label named "Clear Records", in a very limited edition of 500 pieces. The musical feel of "Music from Heaven" is of German Krautrock rather than psychedelic music that were strongly presence in Mako's early work.

The 80's and the 90's work of Magical Power Mako were dedicated to varied fields of music. During 1991 Mako built his Studio, located in Fiji, Japan. Starting from 1993 he released numerous CD's, not categorized as Progressive rock.
His recent LP's are more into collages and soundscapes.

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Thursday, November 22, 2007

Neil Young - After The Gold Rush [1970]

In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, "Helpless" and "Country Girl," returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, "Sugar Mountain" and "Oh, Lonesome Me," also emphasized those roots. But "Ohio," a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, "Southern Man" (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young's most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young's major achievements. []

Track list;
01-Tell Me Why
02-After the Gold Rush
03-Only Love Can Break Your Heart
04-Southern Man
05-Till the Morning Comes
06-Oh, Lonesome Me
07-Don't Let It Bring You Down
09-When You Dance You Can Really Love
10-I Believe in You
11-Cripple Creek Ferry

Folk-Rock, Country-Folk, Singer/Songwriter

Tuesday, November 20, 2007

The Vipers - 1984 - Outta The Nest !

That's both THEE, as in a '60s garage-rock affectation, and THE, as in a definitive. I recently went back and bought the enhanced CD version of The Vipers' debut album (originally released Christmastime '84 on vinyl on the PVC label) so I could more readily show my LP-lacking friends in Fresno what they've been missing these past two decades. Surprise! -- even though I knew the disc by heart, it was a mad, wild experience all over again listening to the CD cranked on the computer's surround sound. In the late '90s, Vipers frontman Jon Weiss was as responsible as anyone for the latter-day garage resurgence as the creator of the Cavestomp! music festivals in NYC (1997-2001), conjuring by alchemy a host of legendary acts we never thought we'd see in person (? and the Mysterians, The Remains, The Pretty Things, The Chocolate Watchband, Richard & the Young Lions, The Standells and most especially The Monks) and putting them on bills with neo-garage bands past, present and future (Fleshtones, Lyres, Plasticland, Chesterfield Kings, Fuzztones, The Swingin' Neckbreakers, The Mooney Suzuki and yes, The Vipers, too). And that's why Steve Van Zandt gives Weiss his propers every week on his radio show.
But back in the '80s, Weiss, a onetime Fleshtones saxman, was the gangly, youthfully nasal-voiced, maracas-wielding leader of a quintet that absorbed the sounds of many '60s rock, blues and psychedelic records, found out where the over-the-top point was, and then climbed over it, simple as that. Anyway, they had a cool, sleek name and, on this album, a sound to more than back it up.

The opening tune, "Nothing's From Today," with its chiming guitar opening the door into another dimension ... truth is, I preferred the original version (which appeared on Voxx Records' "Battle of the Garages Vol. 2" LP months before), with its dag nasty fuzz guitar intro; the "Outta the Nest" remake was maybe too clean. But looking back, it was a nitpick -- and besides, the enhanced CD has both takes. Then, there was the convincer -- track 2, "Now I Remember," an explosion of sight, sound, mind, drums, chimes and Eastern-influenced guitar madness, sent far over the wall midway through with a wailing scream from Weiss. The rest was just dessert (and just deserts): the brutal-nasty fuzz guitar line that provided the kick to The Standells' "Medication"; the romp-stomp of The Loved Ones' "Surprise Surprise"; the poppy, full-on, near-insane swirl of "Tellin' Those Lies"; "Cheated and Lied," which sounded like the theme to a '60s secret agent series; "Borrowed Time," commenced with a Middle Eastern guitar curlicue that set the tone to another agent-series-theme-in-wait; the appropriately gloomy overtones of "Dark as My Day" and "Not to Be in Love"; and the band's most sensitive song, the smart strummer "Tears (Only Dry)." In its time, this was a 12-song record that went 12-deep. But -- pick your favorite hot stove league reason -- "Outta the Nest!" didn't bust out beyond its rabid but limited audience. And sadly, for several reasons, this was good as it would get for The Vipers, who were done by the end of the '80s.
But good music is eternal; Weiss and music fiends like him have certainly demonstrated that over the years with their zeal to expose the great rock'n'roll of the '60s to the audience it deserves. Maybe someone should do the same good turn for The Vipers and get this disc and listen to what they've missed and then spread the word ...
by Fran Fried (Fresno, Ca. United States)

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Monday, November 19, 2007

T Swift & The Electric Bag - 1968 - Are You Experienced ?

T Swift & The Electric Bag (US) - 1968 - Are You Experienced ?

Tracks :
1 Are You Experienced ? (4:37)
2 What's Your Bag ? (2:09)
3 Free Form in 6 (2:07)
4 The Strut (2:25)
5 As I Grow into a Man (2:46)
6 Red Eyes (2:56)
7 A Jet (2:28)
8 Take It Easy Baby (3:05)
9 The Stinger (2:36)
10 Expo in Sound (4:34)

Review :
No one besides the folks who made Are You Experienced? knew exactly who T. Swift, let alone his Electric Bag, was. You could lay down good money, however, that Are You Experienced? is a psychsploitation toss-off. The record smacks of a group of grizzled, thirty-something, Sunset Strip sessionmen trying their hand at the groovy pop sounds of the day, on the strict orders of label suits with chic sideburns looking to make a quick buck off the amusements of the hippies and flower children. As cynical as that sounds, it doesn't take a Herculean stretch of the brainpan to imagine a quick, beer-fueled recording session leading to the music that graces the album. Whoever the faux-longhairs who made it actually were, though, in the process of laying down a half-dozen truly innocuous facsimiles of the way-out '60s sounds -- "A Jet" is a straight cop of the Box Tops' "The Letter," "Take It Easy Baby" literally is Classics IV's "Spooky" -- they somehow managed to stumble on a handful of startlingly inspired moments. "Free Form in 6," in particular, is a jolting freakout (think Chocolate Watchband by way of the Doors) that taps into some sort of zoned-out consciousness through its lulling jazz rhythms, fuzz bass, and ominous organ runs. Slightly less sublime but still outstanding are cuts like the surf go-go "The Stinger" and "Expo in Sound," while "What's Your Bag?" has a spooky acid-washed guitar solo amid its slick, sub-Byrdsian raga noodling. And there is something goose-pimple creepy about the lurching, minimalistic, otherworldly version of the Jimi Hendrix title track that belies its origin. Even the most contrived cuts on the album -- most in pale Booker T. mold -- are wonderful in the way that only the most disposable, plastic muzak of the '60s seems to be. The songs aren't suitable for more than a couple close listens, but they might be precisely the background soundtrack required for -- well, that can be left to the imagination. The mystery surrounding the band may be the only thing keeping most of us listening to this platter some 30 years after it was hatched in some swank boardroom or other, but it really does have a few moments worthy of at least a degree of attention. If most of it blows smoke in our faces, that seems to be all some latter-day psych fanatics listen for anyway.
~Stanton Swihart, All Music Guide

Biography :
T.Swift & the Electric Bag is yet another one of those psychedelic-era mysteries that has left barely a clue as to its true identity. The group's sole album doesn't contain any sort of playing credits, nor does it even own a precise release date, although it is a matter of public record that the LP originally appeared on Custom Records. Some sources list it as a product of the Summer of Love, but internal sources (and cooler heads) tend to place its appearance more realistically as sometime in the spring of 1968, which would have been a logical time frame corresponding with the cover of the Jimi Hendrix Experience's title song, as well as the less-than-subtle "interpolations" from the Box Tops and Classics IV that appear on the album. The more hopeful psychedelic devotees point to a conceivable connection with a band called Tom Swift & the Electric Grandmothers, who released a 45 on Sound Tex out of Houston in 1964. That connection is tenuous, at best, and not really even that. As none of the guilty parties has come forward in the decades since the album was initially recorded, it seems more likely that it is a product of cynical marketing rather than a product of genuine artistic exploration. Whatever the case, T.Swift is shrouded in a far-out haze that, at this point, is unlikely to lift.
~Stanton Swihart, All Music Guide

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sixtiesfan) :

Sunday, November 18, 2007

Samson - 1969 - Are You Samson

Samson was one of the more obscure outfits signed to Andrew Oldham's Immediate label, considering that they got to cut an entire concept album, Are You Samson?, which was released by the label in 1969. They played the Marquee Club, and were known around London, but never caught on. Keyboard man and singer Ian Kewley later worked with Strider and Limey, before hooking up with Paul Young. This Samson had no relationship to an early '70s English band of the same name.

Tracks :
1. Traffic (3:27)
2. Sleep (2:20)
3. Journey (3:10)
4. Fair (8:44)
5. The End Song (4:44)
6. Mars (4:46)
7. Venus (2:56)
8. Saturn (3:49)
9. Poem for Sam (4:25)
10. Wool and Water (4:24)

Originally released in November 1969 on Andrew Loog Oldham's subsidiary to his failing Immediate, Samson sank without trace, which was about as much as could be expected. Oldham's seemingly careless attitude of not even releasing a single to wet the record buyer's appetite however is now easier understood: Immediate was at its end; within weeks of Samson's debut release Oldham's empire went bankrupt! As the band were eagerly recording their carefully calculated work, Oldham had a lot more to worry about than whether the next album released on his subsidiary would be a big seller. With little assistance from the label, and practically no promotion, it's not surprising that the album had such low sales figures. But the poor turnover of this admittedly tackily sleeved album is by no means an indicator of the music contained within. Samson brought into their music a successful blend of harmonies which sound akin to the
Gregorian psych-era choral vocal parts of the Pretty Things and the Zombies, a touch of Deep Purple circa Shades of Purple, and a hint of the increasingly popular concept album. For sake of classification, their blending of Kinks-ish psych-pop with more progressive elements is befitting of the title progressive pop -- a contemporary handle used to describe everything from the Fox's For Fox Sake, Caravan's early work, and fellow north country lads the Koobas' 1969 album. If the later songs compiled on the superb Rubbles series appeal to you, Samson are well worth investigating.

Get it here

Wilson McKinley - 1971 - Spirit Of Elijah

Wilson McKinley - 1971 - Spirit Of Elijah

Tracks :
1 He
2 It's Up To You
3 Come On Home
4 One In The Spirit
5 Tree Of Life
6 His Eye Is On The Sparrow
7 All My Life
8 Crown Of Glory
9 I Need A Saviour
10 Spirit Of Elijah

"Spirit Of Elijah" 1971 (Voice Of Elijah 27977) [2-3]

Their really good one, west coasty Christian rock reminiscent of the best tracks on the Rainbow Promise LP and solid all through. Well-written songs combine perfectly with the jammy S F ballroom sound popular among the Jesus Music bands, recalling the mellow aspects of Moby Grape in particular. The epic, spine-chilling title track is especially good. A loose, understated live in the basement recording adds to the appeal. I personally rate something like Kristyl even higher, but this album is undoubtedly one of the classics from the era. The band sells a CD compilation of their 3 albums, with the "Elijah" tracks reportedly losing some of their magic in their cleaned-up state. [PL]
This isn't just the best Christian album I've heard. It may possibly be the best album in the laid-back West Coast late 60s/early 70s style I've heard, period. The crude recording style works in its favor, making it sound fresh and vital, like a great live recording (which it basically is.) While the fidelity isn't great, the instruments and vocals are completely clear, proof that expensive recording technology isn't necessary as long as something is recorded with common sense. The occasional bum note from the singers isn't enough to detract from the heartfelt and warm singing style, and the band really gets a groove going on every single song. The songs aren't heavy at all, but they rock with an energy and confidence that's completely arresting. A few songs are stolen (how un-Christian of them!) from well-known sources (Moby Grape, Moody Blues) but are given new, Christian lyrics. It's an interesting and successful gimmick, and these songs fit nicely in with a batch of killer originals. There's a mixture of slow and fast songs, but my personal favorite moment is the rave up in "Tree of Life." My favorite overall song, though, is the ballad "I Need A Savior," with its harmonies and lead guitar playing a perfect ringer for Let It Be-era Beatles. Unfortunately no direct reissue exists. A self-made best of CD contains much of this album, but it's definitely best heard as one coherent piece. [AM]

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Saturday, November 17, 2007

Stealers Wheel - Ferguslie Park [1974]

Stealers Wheel was a Scottish folk/rock band formed in Paisley, Scotland in 1972 by former school friends Joe Egan and Gerry Rafferty.

In the beginning of the 1970s, the band was considered as the British version of Crosby, Stills, Nash & Young and, after two unsuccessful singles, came to worldwide fame with their hit "Stuck in the Middle With You". The track in the style of Bob Dylan and The Beatles reached the top ten of the single charts in Great Britain and the US in 1973 - number 6 in the USA, number 8 in UK - and sold over one million copies worldwide. Some decades later a dance version was a September, 2001 UK Top 10 hit for Louise, with a music video that drew heavily on the original song's appearance in the sound track of Reservoir Dogs.

The first two albums were produced by the well-known Leiber & Stoller, the last because of disagreements and managerial problems by Mentor Williams. All three had particularly striking, slightly surrealist sleeve designs by artist John Byrne.

Although the band's self-titled debut album sold quite well, (number 50 in the US-album-charts) and was critically acclaimed, Stealers Wheel could not repeat this success with following releases. In 1973/1974 the two singles "Everything Will Turn Out Fine" and "Star" would also reach the top 30 of both the UK and US charts, but only the latter track is still relatively popular today. Former Spooky Tooth member Luther Grosvenor (later of Mott the Hoople) participated in the recordings for "Everything Will Turn Out Fine" and replaced Rafferty who left the band for quite some time. By 1973, Coombes, Pilnick and Williams had all left en masse, Williams later went on to tour with Jethro Tull in 1978 teaming up with old acquaintances from Blackpool Ian Anderson and Barriemore Barlow.

Because Rafferty and Egan could not agree whether they should continue as a full band or duo, and because of artistic differences, there was a delay of over 18 months in the release of their third and last album. After frequent changes in the line-up, Stealers Wheel broke up in 1975, and their last album Right Or Wrong was released without a band to promote it. Almost two years after Ferguslie Park (1973), the group was hardly known and the two last single releases silently faded away in the charts.

In 1992 director Quentin Tarantino used the track "Stuck In The Middle With You" in the soundtrack of his debut film Reservoir Dogs, bringing new attention to the band. All three albums have been unavailable for years, but in 2004/2005 the British independent label Lemon Recordings (of Cherry Red) re-released them with remastered sound and new liner-notes. [Wikipedia]

Track list;
01. Good businessman
02. Star
03-04. Wheelin-Waltz
05. What more could you want
06. Over my head
07. Blind faith
08. Nothings gonna change my mind
09. Steamboat row
10. Back on my feet again
11. Who cares
12. Everything will turn out fine


Style; Folk-Rock

Friday, November 16, 2007

Jackie DeShannon - Laurel Canyon (1968)

If you like that "Laurel Canyon" sound, then you'll love this country-pop-easy listening album. Dr. John plays the keys, which alone makes it worth a listen. It's got a fun version of "Sunshine of Your Love" and souls up "The Weight" before Aretha got around to doing the same thing.
Get part 1 HERE.
Get part 2 HERE.


Broselmaschine - 1971 - Broselmaschine

1. Gedanken (5:06)
2. Lassie (traditional) (5:06)
3. Gitarrenstuck (2:03)
4. The Old Man's Song (5:26)
5. Schmetterling (9:31)
6. Nossa Boba (8:06)

Personnel :
- Jenni Schucker / vocals, flute, shells
- Willi Kismer / vocals, guitars, zither
- Lutz Ringer / metallophon, bass
- Mike Hellbach / congas, tabla, spoons, mellotron
- Peter Bursch / vocals, acoustic guitar, sitar, flute

Quite possibly the pinnacle of Krautfolk, Broselmaschine is certainly tops in the folk subgenre and is recommended to those interested in the lighter side of Krautrock. Broselmaschine combines the highly talented acoustic guitar playing of Peter Bursch (a master of the instrument who has published many instructional books on the subject), romantic vocals, and a mild Eastern influence highlighted by the use of sitar and flute. The album begins with 'Gedanken', a peaceful track with a slight renaissance-era feel, featuring acoustic and electric guitar, flute and romantic lyrics. Next the group performs the Scottish traditional 'Lassie' with multi-tracked vocal harmonies. Next, 'Guitarrenstuck', is a beautiful piece played with folk guitar and a soothing female vocal. 'The Old Man's Song' seems slightly out of place due to its use of wah-wah peddle, but this gives way to some rather ominous sounding Duul-ish acoustic guitar and folk percussion. 'Schmetterling' introduces an Eastern flavor to the album and is most notable for its sitar which reminds me a little bit of mid-period Popol Vuh. Bursch's guitar playing on this track is simply masterful and the track is given an extra boost from some atmospheric mellotron. 'Nossa Bova' stands out as a folk masterpiece with its incredible guitar work, folk percussion, and female vocals. This track has a peaceful quality similar to Paradieswarts Duul, the only difference being the musical ability of Broselmaschine's members. The album was produced by Rolf Ulrich Kaiser and engineered by Dieter Dierks and was first issued on Pilz in 1971.

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Broselmaschine - 1975 - Broselmaschine II
Peter Brusch Und Die Broselmaschine

Tracks :
1. Sofa Rock (6:16)
2. Gc (3:30)
3. Come Together (9:08)
4. Country Doddle (1:48)
5. Nah So ‘Was (2:37)
6. House Carpenter (4:31)
7. Wayfaring Stranger (6:53)
8. Standchen (1:12)
9. Mississippi Blues (3:29)

Personnel :
- Peter Bursch / acoustic guitar, vocals
- Willi Kissmer / guitar
- Klaus Dapper / flute, zither, saxophone, bass
- Mahendra Kapadia / tablas
- Jan Fride / congas, drums
- Roland Schaeffer / bass
- Mani Neumeier / percussion

Not too many collectors will be lucky enough to find this little obscurity as it has never been reissued. Those who seek it out should be made aware that sadly, this is not a rehash of the group's incredible 1971 debut. I liken it to Ax Genrich's (Guru Guru) equally obscure 1975 solo LP 'Highdelberg Supersession'. Peter Bursch and Willi Kissmer, the only remaining original members, formed the new Peter Bursch Und Die Broselmaschine in early 1975. The resulting self-titled album was recorded between February and July of that same year in Conny Plank's Neunkirchen Studio. The album features guest appearances by Roland Schaeffer and Mani Neumeier (Guru Guru) and Jan Fride (Kraan). The resulting music, while still retaining a strong folk-rock tendency, is much different than the atmospheric folk which dominated the legendary 1971 album. There are a few similarities however, most notably the inclusion of three traditional tracks ala 'Lassie' and the abundance of "ethnic" percussion. Musically, the emphasis is placed on Peter Bursch's highly talented acoustic guitar techniques, although Willi Kissmer's electric guitar steals the show at times. Standout tracks include 'Sofa Rock', a six-minute instrumental folk-rock jam with ethnic percussion, and 'Come Together', a laid-back track highlighted by flute, idyllic vocals and dreamy guitar passages. Peter Bursch Und Die Broselmaschine is well worth tracking down if you are a fan of the first album.

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Bio :
Inspired by the American folk music of Bob Dylan, Joan Baez, Phil Ochs and Joni Mitchell, German master of acoustic guitar Peter Bursch formed the first line-up of BROSELMASCHINE back in 1968 alongwith flautist/vocalist Jenni Schucker – a female singer with an irresistible whispy voice – Willi Kissmer on vocals, guitars and zither, Lutz Ringer on metallaphon and bass, and Mike Hellbach on congas, tabla and mellotron. Although many tracks bear German names, almost all are sung in English. The quintet disbanded after a first album in 1971 and Bursch, keeping only guitarist Kissmer from the original line-up, pursued his musical endeavours under the name of PETER BURSCH UND DIE BROSELMASCHINE, joined by percussionist Mani Neumeier (GURU GURU), drummer Jan Fride (KRAAN) and three other musicians.

Their eponymous LP is definitely their best: a wonderful acoustic album full of finesse of subtle Indian, Middle-Eastern flavour (sitar, tabla, flute) as well as Irish/Scottish traditional folk (mandolin, multi-voice harmonies). Their second album, released under the moniker PETER BURSCH UND DIE BROSELMASCHINE, unfortunately doesn’t even come close to the first. In spite of its decidedly folk flavour and many guest appearances, it is altogether different and less inspired, putting the emphasis on Bursch’s acoustic guitar techniques (although Kissmer’s electric guitar steals the show at times).

Chillum - 1971 -

Chillum - 1971 -

Superb early '70s mix of progressive rock and psychedelia from the band that included most of Secondhand. Dominated by the swirling keyboards of Ken Elliott, this sounds at times like early Floyd, ELP and early Deep Purple. Also includes five unreleased tracks. The band roll big joints on front cover. @133-184

Tracks :
1. Brain Surgeon's Intro
2. Brain Strain
3. Land Of A Thousand Dreams
4. Too Many Bananas
5. Yes! We Have No Pajamas
6. Promenade des anglais
7. Fairy Tale
8. Celebration
9. This Is Not Romance
10.Incubator (Take 1)
11.Incubator (Take 2)

Review :
Chillum was the third album by undeservedly lesser-known psychonauts Second Hand, or at least their twin enfants terribles, vocalist/keyboardist Ken Elliott and drummer Kieran O'Connor; it seems no-one can now remember why they also elected to use it as the band name. It's possible that the overt drug connotations were a deliberate attempt to piss someone off (record company? Society? Each other?), but that can only be a matter for conjecture.

The album opens with a side-long jam, Brain Strain, apparently recorded at guitarist Tony McGill's audition, which is remarkably good, all things considered. A brief proto-symphonic piece, Land Of A Thousand Dreams, is followed by a drum solo (Too Many Bananas), another lengthy jam (Yes! We Have No Pajamas), before a final short well-arranged piece in Promenade Des Anglais, making this more of a jamming album than anything else. Elliott's Mellotron work is confined (big surprise here) to the two short arranged pieces, with a major string part on the all-too brief Land Of A Thousand Dreams, and a minor one on closer Promenade Des Anglais, making this a bit of a minor effort in the Mellotron Canon, though at least it's audible where used.
[~From Planet]


Thursday, November 15, 2007

The Fredric - 1968 - Phases and Faces

LP Front Cover

Storming US '60s psych pop rarity on CD at last with bonus tracks and a band history. Alongside The Baroques, David and C.A. Quintet this is one of the US '60s psych / pop Holy Grails. Beautiful songs and a totally unique psychy pop style (melodic harmonies and swirling keyboards) add up to one hell of an album that is highly recommended to fans of both US '60s psych and harmony pop !
(The Freak Emporium)

LP Back Cover

Phases and Faces (West Michigan Psychedelia 1967 - 1969 The Complete Recordings) by the Fredric - a collection that includes the complete contents of the original album as well as a single and some outtakes that were recorded for an unreleased second album.

Track Listing:
Tracks 13 - 16 are the extra, non-album tracks.

1. Federal Reserve Bank Blues
2. The Girl I Love
3. All About Judi
4. Henry Adams
5. Morning Sunshine
6. Taggin'
7. Cousin Mary Knows
8. My Yellow Tree
9. Red Pier
10. Old Fashioned Guy
11. Born in Fire
12. Saturday Morning with Rain
13. Five O'Clock Traffic
14. Postmarks
15. Bob's Songs

16. Lori Lee Loveland

CD Back Cover

From Grand Rapids, Michigan, the Fredric issued a rare, limited-run album in the late '60s, Phases and Faces, that's highly valued in some collector quarters. It is soft psychedelia; it's too clean-cut and poppy, with conscientious harmonies, guitar-organ interplay, and light lovelorn lyrics. They were a very young group, and it shows in the callow songwriting, despite the well-executed arrangements. The single "Red Pier" made some modest local noise, and by 1970 they were signed to Capitol, who changed their name to the Rock Garden. They disbanded shortly after beginning their relationship with Capitol; drummer-vocalist David Idema eventually had a hit as David Geddes, "Run Joey Run."

Get it here

Hillow Hammet - 1969 - Hammer

Tracks :
1 - Slip Away
2 - Trouble
3 - Fever
4 - Home
5 - Brown-Eyed Woman
6 - Nobody but You
7 - Come with Me
8 - We want to be Free
9 - Oh, Happy Day!

Excellent hard guitar rock produced by Lelan Rogers of IA/Elevators fame. Recorded at Sounds of Memphis Studio in Memphis, Tennessee. Stock mono pressings may not exist; it also appears that many or all 'mono' promos actually play stereo. The band name incorrectly listed as 'Hillow Hammet' the House Of Fox version. The 1978 release corrects the spelling, while the cover is different and has incorrect song listings. One track has been replaced. The sound has been reported as inferior to the 1969 pressing.

Thanks bilbo1742 !!!

Wednesday, November 14, 2007

Nightshadow - 1968 - The Square Root of Two

"Square Root Of Two" 1968 (Spectrum 2001) [bonus 45; poster; 1000p]
"Square Root Of Two" 1979 (Hottrax 1414) [remixed; altered sleeve; 200p]
"Square Root Of Two" 199 (no label, Europe) [blue vinyl; +2 tracks]
"Square Root Of Two" 199 (CD Cosmic Mind, Italy) [+2 tracks]
"Vol 3: The Psychedelic Years 1967-69" 2003 (CD Hottrax 60012) [LP +9 bonus tracks]

And here's another longtime legend, reissued as early as 1979.
The band was usually known as Little Phil & the Nightshadows and had roots in the pre-Beatles era, but changed their name due to legal complications at the time. Unlike the Litter LPs I think this really is as great as people would have you believe, particularly side 1 which is like listening to a comp of killer fuzz acidpunk 45s. Beyond Phil's showmanship and the blatantly druggy lyrics and sound fx the fact remains that the superb songwriting puts most "Nuggets" classics to shame, and the band is completely at home in a sound that was unusual for the deep South. Some silly songs close the LP but all over this must rank among the top early garage psych LPs. Apart from the LP they had some killer 45s in 1966-1967. [PL]
The Nightshadows discography is very complex and includes multiple versions and remixes of the same recordings, as well as 45s released under aliases, withdrawn records, and more. Here's an attempt to sort "Square Root" out: 1) The 1968 original came with a bonus 45 that contained the band's risqué songs 'Hot Dog Man' and 'Hot Rod Song' on Banned records (both also on the LP); this with 900 copies of the LP. The poster was supposedly included with the remaining 100 copies that did not include the 45, although some subsequent finds of sealed copies have included both the 45 AND the poster. 2) The 1979 Hottrax release is a unique remix with "So Much" having an extra guitar lead, while "60 Second Swinger" has a loud fuzz riff added throughout. "Anything But Lies" has been shortened by 1 minute. Both front and back cover have been altered, as well as the running order. 3) Both the European 1990s bootlegs are sourced from the 1979 remix rather than a 1968 original. 4) The recent CD series is the easiest way to get a complete picture of the Nightshadows. Vol 3 has all tracks from the LP except "Hot Rod Song", which can be found on vol 2. "So Much" is the 1979 remix version, while "60 Second Swinger" and "Anything But Lies" are the 1968 LP versions. The running order from the LP has been completely broken up. Some of the unreleased bonus material is very good.


Nightshadow - 1968 - The Square Root of Two

It bears repetition: the "Square Root Of Two" LP in its original 1968 format has NEVER been reissued, to this day. The difference in sound and mix to both the 1979 vinyl reissue (which was bootlegged in the 1990s) and the 2003 CD is so pronounced that you can determine which is which after only 15-20 seconds into any track.

The key areas for comparison are:
- different mixes of "So Much" and "60 Second Swinger" with whole guitar tracks added
- clarity of vocals, in terms of separation from the backing track
- overall clarity of sound
- degree of stereo separation
- running times altered due to fadeouts and edits
- track sequencing

The 1979 remix is so different from the 1968 original that it should be regarded as a wholly separate work, and in certain spots may actually be superior to the earlier Spectrum release.

The 1980s-1990s bootlegs are based on the 1979 remix, something which not many people realized at the time. They also add a couple of bonus tracks.

The 2003 CD reissue on Hottrax is a lot closer to the 1968 original than the 1979 remix yet differs in important areas, both in terms of mixing and overall sound.

"The Square Root Of Two" (Hottrax 1414, 1979)
- remixed by band member Aleck Janoulis for the reissue

1. Prologue 3:27
2. So Much 2:12
3. In The Air 2:50
4. Plenty Of Trouble 1:48
5. I Can't Believe 9:31

1. 60 Second Swinger 3:08
2. Illusion 3:00
3. Anything But Lies 2:37
4. Turned On 3:44
5. The Hot Rod Song 3:03
6. The Hot Dog Man 2:25

The overall sound is clearly different from the 1968 original mix, more compressed and "garagey". The vocals blend into the backing tracks and there is overall less separation between the instruments. It makes the recordings sound more primitive and muddy than they actually were.

The track order has also been changed, with the extended "I Can't Believe" placed at the end of side 1, and "So Much" following the freaky prologue. At least to me this is a superior running order to the 1968 original.

a) the "Prologue" is now almost 10 seconds shorter due to an earlier fadeout.
b) "So Much" has an excellent guitar lead that enters for about 10 seconds at the 1:10 mark, playing a figure somewhat like "Born To Be Wild". On the 1968 version there was no lead instrument in this break, just the rhythm section.
c) "60 Second Swinger" has seen even more drastic changes, as a loud fuzz guitar overdub plays the basic riff throughout the song; on the 1968 version the organ was the lead instrument, with no fuzz in sight. Just as on "So Much" this could be seen as an improvement.
d) "Anything But Lies" is drastically altered with a whole minute (almost exactly 60 seconds) of fuzz/organ rave-up removed vs the original 1968 version; the remix also downplays the psych-effect backing vocals somewhat.

The Hottrax reissue met with enough interest for Janoulis to embark on two other Nightshadows-related projects; the first official release of the "Live At The Spot" album of 1967/1969 live recordings (Hottrax 1430, 1981), and a reunion LP with 1 side of more old live recordings titled "Invasion Of The Acid Eaters" (Hottrax 1450, 1982). Details on these LPs can be found in the Acid Archives Of Underground Sounds.

More Info (source's page) Here

Read A Review Here


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Hottrax 1414, 1979

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Enjoy !!!

Tuesday, November 13, 2007

Salamander - 2003 - Birds of Appetite

Minneapolis' finest psychedelic export have once again delivered the goods on this, their third full-length (all on Camera Obscura). Guitarists Erik Wivinus (also of local legends Skye Klad and Gentle Tasaday—whose debuts are also available from Camera Obscura) and Sean Connaughty (also of The Vortex Navigations—debut on Camera Obscura as well) team up with bassist Doug Morman and skinpounder Matt Zaun (another Skye Klad member) for a collection of ethnic wyrdfolk which is lighter than their previous "Red" outings ("Mantra" and "Ampersand") and heavier on the Floydisms, ca. "Set the Controls..." In fact, leadoff track "Vessel Is Vacant" cops the riff right out from under Water's nose and eases its way into our cranium like a hot knife through butter. It ends so abruptly, however, I thought they left the coda on the cutting room floor.

"Ithsmus" is easier to absorb than pronounce, circling around the room like a spider ensnaring her prey in a web of guitar duals, Connaughty and Wivinus challenging each other in a series of "can you top this?" guitar runs. "Minutia Divine" has a hint of Spanish air about it, with Connaughty's flamenco-styled guitar hovering over the proceedings as samples, loops, acoustic guitars and Zaun's special fx rumble along like tribal warriors readying for the "sweat tent."

Leonard Nimoy introduces the 11-minute jam, "Sadhu" (in the preamble, "Yeoman, Pt. 1"), which springboards from its early "Set The Controls." atmospherics into referential nods to Grimble Grumble's "Future, The Only Point of Entry" and the band's earlier workouts like "Old Mr. Jones" along the way. It features more spacey "swooshes" over Connaughty's crystalline electric guitar runs as Wivinus serpentines his way over, under, sideways, down and back again in the finest tradition of twin guitar gods Deebank & Lawrence (Felt) and Lever and Smithies (Chameleons.) Snippets of Disintegration-era Robert (Cure) Smith also sneak in for a few guest riffs. This is a guitar head's fantasy come true and these two masters have adjourned as the new "heads" of the class of '01!

Those who remember the 3xLP/2xCD compilation, Harmony of the Spheres from a few years back will appreciate the awe and mystery of the ominous "Trench of Fire" (originally a sidelong, 20-minute extrava-ganja), with its familiar opening strains of Siouxsie's "Premature Burial" eventually yielding to Connaughty's echoey dive-bombing kamikaze assaults on the psyche while Wivinus swabs the deck with thundering Sabbath tonnage and the rhythm section announces the arrival of the Walkyrie. The tightly focused piece takes a few minutes to find its footing (common with lengthy, improvised jams of this sort), but soon combines elements of krautrock (Can and Amon Duul II come to mind) with industrial-strength, screeching guitars (perhaps inspired by the gothic influences of Wivinus' side project, Skye Klad) that will surely have the Cleopatra death metal kids creaming in their jeans. The sensual overload pinned me to my chair, leaving permanent imprints on my cerebellum.

The jam continues on "Mumpsimus' Lament." Unfortunately, the slight pause between tracks fails to take advantage of the CD technology, leaving us once again with a break in the vibe, and the appearance that we are joining our heroes mid-jam, similar to the outtakes on Abunai!'s Round Wound. Just as listeners were previously forced to turn the record over, the pause is unsettling and awkward. I would have preferred if the two tracks ran together, creating a seamless continuity so obvious in the music itself. The trade-off with this missed opportunity is a vastly superior sound, particularly over my copy of the original double-vinyl release, which had annoying, bowel-evacuating, scratch-the-stylus-across-the-record scratches at the end of each side.

The clanging bells at the onset of "The Wreck of Old 99" may be some sunken liner at the bottom of one of Minnesota's 10,000 lakes, but I'm going out on a limb and offering an alternate reading: the (often indistinguishable) TV samples and funereal organ flourishes, to my ear, signal the end of the 20th century.

Ending this album with this particular track, in light of what's proceeded, indicates not only the end of the century, but the end of Salamander's "phase 1" and the start of a gentler, kinder direction. Goodbye "Old Mr. Jones." He's dead and buried and Salamander have embarked on a new journey to the stars. The Birds of Appetite (a pseudonym for vultures?) are circling overhead observing the carnage of our past, their tears of remorse dousing the fires of the apocalypse below.

source :

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Sunday, November 11, 2007

The West Coast Pop Art Experimental Band

This somewhat mysterious collection of L.A. players issued several albums in the late '60s that plugged into the era's standard folk-rock, freakouts, and trippy lyrics without establishing a solid identity of their own. But because the currents they were riding were themselves so inspired, average in this case doesn't necessarily mean bad. They cut a fair number of tracks, moving without rhyme or reason from straightforward Byrds and Kinks cops to zany orchestrated self-absorbed psychedelic pop to self-conscious exercises in hippy outrageousness (including, of all things, a cover of the Mothers' "Help I'm a Rock"). Though their legacy reeks of determined trendiness, the best of their output holds up reasonably well.
~from allmusic...

With their impressive light show, the band became popular around Los Angeles and were signed by Reprise Records.
~from wikipedia...


The West Coast Pop Art Experimental Band - Vol.1
later reissued as Volume one with bonus tracks
Volume One (1997 Sundazed)

Volume One and was the first album recorded by the influential psychedelic rock band, The West Coast Pop Art Experimental Band. The album was first released in 1966 on the small record label, FIFO, before being reissued on compact disc in 1997 by the recording label Sundazed. The album features covers of popular songs from the mid 1960's such as Richard Berry's Louie, Louie, The Kinks' You Really Got Me. The songs mellow out into a blues/folk style with covers of Bob Dylan songs.

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Part One (1967)

Their first "proper" album, "Part One", ranged from anthemic pop songs and acoustic ballads to harder-edged psychedelic numbers. It reflected the tensions between the band’s musicians and Markley, who effectively controlled the band’s output but who was regarded by the others as musically untalented. Markley contributed rambling pseudo-psychedelic lyrics and spoken sections, and the album also included ill-assorted inputs from nominal co-producer Jimmy Bowen, songwriters Baker Knight and P.F. Sloan, drummer Hal Blaine and pianist Van Dyke Parks. Disputes between Markley and Michael Lloyd also led to the inclusion of guitarist Ron Morgan (1945-1989), who over time became a fully fledged member of the band.

Get It :
RapidShare or SendSpace


Vol. 2: Breaking Through (1967)

Recorded and released in 1967, "Volume Two – Breaking Through" was a more ambitious and coherent album, with all of the tracks credited either in whole or in part to members of the band. It featured Markley’s anti-war rant "Suppose They Give A War And No One Comes?" – partly based on a speech by Franklin D. Roosevelt – and the song "Smell of Incense", featuring Morgan’s guitar work and later covered by Southwest F.O.B. The album also started to demonstrate Markley’s lyrical obsession with young girls.

Get It :
RapidShare or SendSpace


Vol.3 A Child's Guide to Good and Evil (1968)

The next album, "Volume III - A Child's Guide To Good And Evil" is generally regarded as the group's high point. However, again the naive peace-and-love message of some of the songs sat uneasily beside the ironic cynicism of tracks like "A Child Of A Few Hours Is Burning To Death", and the songs showed a tension between the Harris brothers’ melodies, Morgan’s strident lead guitar and effects, and Markley’s sometimes bizarre declamations. By this time, the band effectively consisted of Markley, Morgan and Shaun Harris, with Danny Harris having withdrawn through illness.

Get It :
RapidShare or SendSpace


Where's My Daddy? (1969)

The two Harris brothers, both disillusioned with Markley and with the group’s lack of commercial success, reunited in 1968 to form a touring band, California Spectrum, apparently also with Michael Lloyd’s involvement. However, this was not a success, and they returned to record a further West Coast Pop Art Experimental Band album, "Where's My Daddy?" This was credited to a line-up of Markley and the Harris brothers, although both Lloyd and Morgan also contributed.

Get It :
RapidShare or SendSpace


Markley, A Group (1970)

In 1970, a further album emerged, "Markley, A Group", which, although presented as a Markley solo album, had the active involvement of the whole band, including both Lloyd and Danny Harris.

Get It :
RapidShare or SendSpace


After that time, The West Coast Pop Art Experimental Band ceased to exist. Michael Lloyd became the Vice President of A & R at MGM, aged 20, in 1969, and went on to win a Grammy with Lou Rawls, to produce hits for the Osmonds, Shaun Cassidy and Leif Garrett, and to produce the best-selling soundtrack to "Dirty Dancing". Shaun Harris released a solo album in 1973, and worked with Barry Manilow, but eventually retired from the music scene to set up a successful children’s film festival. Danny Harris also released a solo album, in 1980, and has worked as a folk musician and actor. Ron Morgan went on to join Three Dog Night and then a touring version of the Electric Prunes, and later worked as a cab driver and janitor, before his death from hepatitis in 1989. Bob Markley worked as a record producer for a short while, but then ran into legal issues arising from his fascination with underage girls, as well as other domestic and health problems. He was last heard of in a mental hospital in the mid-1990s.

Enjoy !!!

Thanks strummy for this post !!!

Saturday, November 10, 2007

New Dawn - 1969 - There's A New Dawn

New Dawn - 1969 - There's A New Dawn

Tracks :
(There's A) New Dawn
I See A Day
It's Time
It's Rainin'
Hear Me Cryin'
Dark Thoughts
Proud Man
Billy Come Lately
Well Fall In Love
Last Morning
Life Goes On

Excellent 60s garage / psychedelia

Rare US psych garage from 1970, dreamy and atmospheric. Pounding bass and fuzz guitar back up softly melodic vocals whilst the bands songs are filled with a sense of dreamy despair.

Originally released by Hoot in 1970. Psychedelic rock band hailing from Salem, Oregon. The album is full of fuzz guitars & 'acid' organ sounds but with a few nice soft rock ballads.

anyone having more info is more than welcomed to share it with us

Download It Here :

Michael Chapman - 1969 - Rainmaker

Michael Chapman - 1969 - Rainmaker

Genre Folk
Styles British Folk, British Folk-Rock

In 1969 British singer/songwriter Michael Chapman took the U.K.'s folk-rock world by surprise with his debut album, Rainmaker, on the Harvest label. In an era when each week garnered a new surprise in the music world, gathering serious and widespread critical acclaim wasn't easy, and finding a buying public near impossible. Rainmaker showcases a new talent who holds nothing back for himself. Every songwriting principle and trick, killer guitar riff, and songwriting hook in his bag makes an appearance here (something he would never do again). As a result, there are several truly striking things about the album that makes it stand out from the rest of the Brit folk-rock slog from the late '60s. One of them is Chapman's guitar playing. A true stylist in his own right, he holds a middle line between John Martyn and Bert Jansch with the provocative electric rock funkiness of Martyn juxtaposed against the rock solid folk traditional so wonderfully espoused by Jansch. Another is Chapman's lean, carved, sleek lyrical style, preferring the starkness of poetry to the lush elements of the song styles usually found on records of this type. Both are put to fine use on the opener, "It Didn't Work Out," a gorgeous broken love ballad with a philosophical bent, along with Chapman's doleful resigned vocal; the electric guitars cascade over fingerpicked acoustics, and acoustic and electric basses — courtesy of Rick Kemp and Danny Thompson. Here, the old-English melody style was welded to a rock backbeat and fused into a whole, rhythmic, elegant, but sparse tale of broken love. The fiery emotions were carried through the measures by Chapman's tumultuous guitar leads. On the title track, an instrumental with thunderstorm sound effects, the weave between electricity and natural sound grows tighter. When playing in traditional or blues styles, such as the dark, menacing folk-blues of "No One Left to Care," Chapman fuses the rock pulse to the folk or blues song, open-tuning his guitars to such a degree that drones created multiple tones and a solid bottom for his voice to pounce down upon. They also create a sense of emotional honesty not so prevalent on the scene at the time — artists were given to interpret old songs with an air of academic distance — Chapman chews his words and spits them out while rifling off guitar riffs at every turn that are as gnarly and venomous as anything by Richard Thompson at the time. Not to mention the stunning instrumental "Thank You, P.K., 1944," with its silvery 12-string work that turns the tonal qualities of the instrument inside out so completely you could swear there were three guitars players — despite the fact that none of the guitar parts were overdubbed — or the shimmering, high-whining slide work on the rock growler "Small Stones." The CD reissue contains five bonus tracks, a shorter single version of "It Didn't Work Out," and its B-side, "Mozart Lives Uptown," as well as a second part to that track, "On My Way Again," and the humorous but poignant "Bert Jansch Meets Frankenstein" (the latter three previously unreleased). As auspicious a debut as Rainmaker was for its fine songwriting, history has proved it to be more so because it's the only record in Chapman's distinguished catalog where he ever showcased his truly virtuosic talent as a guitarist. Why, is anybody's guess?

Tracks :
1. It Didn't Work Out (Chapman) - 5:16
2. Rainmaker (Chapman) - 3:38
3. You Say (Chapman) - 3:43
4. Thank You P.K. 1944 (Chapman) - 4:14
5. No-One Left to Care (Chapman) - 4:22
6. Small Stones (Chapman) - 3:02
7. Not So Much a Garden-More Like a Maze (Chapman) - 5:35
8. No Song to Sing (Chapman) - 3:45
9. One Time Thing (Chapman) - 4:51
10. Sunday Morning (Chapman) - 4:27
11. Goodbye to Monday Night (Chapman) - 5:01
12. It Didn't Work Out (Chapman) - 3:44
13. Mozart Lives Upstairs (Chapman) - 3:58
14. Mozart Lives Upstairs, Prt. 2 (Chapman) - 1:05
15. On My Way Again (Chapman) - 6:41
16. Bert Jansch Meet Frankenstein (Chapman) - 2:04

Personnel :
Michael Chapman - Guitar, Keyboards, Vocals
Mick Ronson - Guitar
Aynsley Dunbar - Drums
Dave "Clem" Clempson - Guitar
Alex Dmochowski - Bass
Norman Haines - Organ
Rick Kemp - Bass
Barry Morgan - Drums
Danny Thompson - Bass


Friday, November 09, 2007

Loudon Wainwright III - 1970 - First Album

Loudon's first was to set him off on a great career. Some excellent songs here and a few not so good. But, well worth knowing if you like Loudon. Certainly I do!
Packing tonight for what is likely to be 2 weeks in Singapore - Sigh...
1. School Days
2. Hospital Lady
3. Ode To A Pittsburgh
4. Glad To See You've Got Religion
5. Uptown
6. Black Uncle Remus
7. Four Is A Magic Number
8. I Don't Care
9. Central Square Song
10. Movies Are A Mother To Me
11. Bruno's Place

Landberk - 1995 - Unaffected

Unaffected's a bit of an odd one; when I spoke to Stefan Dimle about it, he laughed and referred to it as a 'bootleg', although other people have refuted this, so it's difficult to know what to think. It sounds like a soundboard tape to me, with the vocals sometimes too high in the mix, and the sleeve lacks the professional sheen of the band's official releases, but it's been so widely available, unchallenged by the band, that I feel compelled to include it. N.B. Mauro Ranchicchio tells me that it was supposed to be given away free with issue #6 of 'Melodie & Dissonanze' fanzine, but the mag went under after issue #5. As the CD had already been mastered (and manufactured?), it was sold through shops instead, although it would appear that the band had no say in this state of affairs.

Anyway, the band are playing in front of small club audiences in Italy and Germany in early '95, with vocalist Patric Helje singing in both Swedish and English. Many of the songs are extended versions, giving the band room to relax and stretch out a little, making a change from the also valid 'straight copy of studio version' outfits. The one outstanding performance included here is the opener, a great, Mellotron-driven version of Van der Graaf Generator's Afterwards, from The Aerosol Grey Machine, the Peter Hammill solo project that somehow ended up as the first VdGG album. In fact, thinking about it, Van der Graaf are one of Landberk's more obvious influences, although without the shouty bits. Anyway, most of the rest of the songs are from Riktigt Äkta/Lonely Land, mainly with 'Tron parts intact, although strangely, neither Pray For Me Now or Song From Kallsedet have any Mellotron at all, with the band presumably preferring Nordberg's Hammond drones. Whether or not Unaffected is 'official' isn't that relevant, really, especially with the band having gone the way of all things, so, generally recommended.
Review taked from Planet Mellotron.
1. Afterwards (4:42)
2. Waltz of the dark riddle (5:05)
3. You & I (6:22)
4. The tree 9:35)
5. Rememberence (8:28)
6. Pray for me now (8:50)
7. Song from Kallsedet (5:38)
8. Undrar om ni ser (10:59)
Patric Helje / Vocals
Reine Fiske / Guitar
Stefan Dimle / Bass
Simon Nordberg / Keyboards
Jonas Lidholm / Drums

Thursday, November 08, 2007

Fit & Limo 1998 "The Serpent Unrolled"

A slice of German Folk Psych for you as per request.

With 2 cover tracks Grateful Dead's Dark Star and Pearls Before Swine Images Of April.

This is a great album with Sitar blissfully coating your ears in a psychedelic manner. I'm glad this was requested as it reminded me of how good it is. Sends you back to the days when Psych was Psych.


01 Morgenroroe (Limo)
02 Born In The Eleventh Month (Limo)
03 Dark Star (Hunter / Garcia)
04 Walking The Labyrinth (Limo)
05 Song Of The Basilisk (Limo)
06 Florence's Birthday (Limo)
07 Images Of April (Rapp)
08 Salad Day (Limo)
09 Marry Me (Limo)
10 I'll Be Clay (Limo)
11 Mondisch (Fit / Limo)
12 Traumtür (Fit / Limo)
13 The Dew (Limo)
14 Her Ancient Theme (Limo)

Fit - autoharp, glockenspiel, whistle, percussion, jew's harp, paino strings, gopichand, kazoo, handy organ, violin, metallophone, toy piano, harmonium, tubular bells, bass, noises, vocals

Limo - church organ, bass, acoustic guitar, mandolin, veeh harp, shenai, piano, bongos, sitar, clay drums, tabla, xylophone, handy organ, banjo, dulcimer, bouzouki, whistle, kalimba, clarinet, percussion, electric guitar, vocals

3 years after Fit & Limo's last real album ("Autre Monde") the public is permitted another earful of their sound alchemy. Numerous well-known and strange instruments (new ones like church organ, Veeh harp and xylophone complement the usual F&L suspects such as violin, autoharp, sitar, mandolin, glockenspiel, piano, clay drums, bongos etc) pair up with nursery rhymes and cryptic messages. Beyond the "Traumtür" lies a medieval fairytale world of cranes and toads, basilisks and lions, spirals and stones, dew and cauldrons. A labyrinth of sounds, noises and harmonies unfolds. Fit & Limo playfully celebrate their unique mystic folk- incorporating elements of American acid/Middle Eastern/Celtic/British (Incredible String Band, Caedmon) folk- on the way to the 3rd millennium. Beside 12 originals "The Serpent Unrolled" contains 2 cover versions: Grateful Dead's "Dark Star" and "Images of April" by Tom Rapp/Pearls Before Swine.

Mastering - Wilfried Zahn, Bremen
Sleeve design, artwork - Eva Kohler
Serpent painting - Mrs. Fit
Photography of Fit & Limo - Therry
Produced and mixed at the Party Shrine, 1997/98 except Images Of April, 1996
Thanks, love and respect to everyone who supported us once, now and then

The Serpent Unrolled (@192 Sorry, no covers).

Wednesday, November 07, 2007

CD Catalogue Expert

This is a useful little utility that scans hard drtives and CD/DVDs for media and catalogue it all for you. It is the full release.

Included I have scanned my On Line media and will accept requests should anyone want any of that posted.

I will be away in Singapore for up to 2 weeks, so will respond to any requests when I rerturn.

This will also be posted to the PNF blog.

CD Catalog Expert

Tuesday, November 06, 2007


Cyrkle - 1966 - Red Rubber Ball

Tracks :
1. Red Rubber Ball
2. Why Can't You Give Me What I Want
3. Baby, You're Free
4. Big, Little Woman
5. Cloudy
6. Cry
7. Turn-Down Day
8. There's A Fire In The Fireplace
9. Bony Moronie
10. How Can I Leave Her
11. Money To Burn
12. Straighten Out My Messed Up Life
13. Dwontown Blues
14. How Can I Leave Her (demo)
15. Money To Burn (demo)
16. We Had A Good Thing Goin'
17. Reading Her Paper
18. Penny Arcade
19. The Words

The Cyrkle 'Red Rubber Ball' & 'Neon', 1966 was a good year for The Cyrkle, they scored a #2 hit with Paul Simon's 'Red Rubber Ball', joined The Beatles on their final U.S. tour, and recorded 'Red Rubber Ball' and 'Neon', albums with some of the most soaring three-part harmonies and intricate arrangements that 60s pop music had to offer. Link
SendSpace Link

Cyrkle - 1967 - Neon

Tracks :
1. Don't Cry, No Fears, No Tears Comin' Your Way
2. The Visit (She Was Here)
3. Weight Of Your Words
4. I Wish I Could Be Here
5. It Doesn't Matter Anymore
6. Two Rooms
7. Our Love Affair's In Question
8. I'm Happy Just To Dance With You
9. Problem Child
10. Please Don't Ever Leave Me
11. I'm Not Sure What I Wanna Do
12. Don't Cry, No Fears, No Tears Comin' Your Way (alt. version)
13. You Can't Go Home Again
14. Terry's Theme
15. We Said Goodbye (And Went Our Separate Ways Or So We Thought)
16. Turn Of The Century
17. Friends
18. Where Are You Going
19. Red Chair Fade Away
20. Camaro

1966 was a good year for the Cyrkle in rapid succession, they inked a contract with Columbia Records, scored a #2 hit with Paul Simon's 'Red Rubber Ball', gained a coveted spot on the Beatles' final U.S. tour, and recorded Red Rubber Ball and Neon, two longplayers with some of the most soaring three-part harmonies and intricate arrangements that '60s pop music had to offer.

RapidShare Link
SendSpace Link

Cyrkle - 1968 - The Minx [OST]

Tracks :
1. Squeeze Play
2. Minx [Vocal Version]
3. Murray the Why
4. Rigging
5. Party
6. Nicole [Stereo]
7. It's a Lovely Game Louise
8. Minx [Instrumental]
9. Something Special
10. On the Road
11. Walter's Riff
12. Chase
13. Terry's Theme
14. Something Special [Alternative Instrumental]
15. Kites
16. Squeeze Play [Film Version]
17. Murray the Why [Film Version]
18. Nicole [Film Version]
19. Baxter's Dangerous Game
20. Terry's Escape

Plush '60s pop-sike! In 1967, fresh from the Top Ten with 'Red Rubber Ball' & 'Turn Down Day,' the Cyrkle recorded The Minx, an intriguing soundtrack laden with three-part harmonies & breezily intricate arrangements.

RapidShare Link
SendSpace Link

Bio from Wiki :
The band was formed by guitarists and lead singers Don Dannemann and Tom Dawes (bass guitar), who met while studying at Lafayette College in Easton, Pennsylvania. The other members were Earl Pickens on keyboards and Marty Fried on drums. They were originally a "frat rock" band called The Rhondells, but were later discovered and managed by Brian Epstein, who was better known as manager of The Beatles. Epstein's partner was New York attorney Nathan Weiss. Weiss heard the band in Atlantic City, New Jersey on Labor Day in 1965. He became their manager and renamed them. John Lennon provided the unique spelling of their new name. They were produced by John Simon.

In the summer of 1966, they opened on fourteen dates for the Beatles during their U.S. tour. On August 28 they headed the opening acts performing prior to The Beatles at Dodger Stadium. The remaining artists who appeared were Bobby Hebb, The Ronettes, and The Remains. Before touring with The Beatles, The Cyrkle had a successful engagement at the Downtown Discotheque in New York City.

The Cyrkle is best known for their 1966 song "Red Rubber Ball", which went to #2 in the Billboard Hot 100 chart. It was co-written by Paul Simon of Simon and Garfunkel and Bruce Woodley of The Seekers. It was released on the Columbia record label. The band had one more Top 20 hit, "Turn-Down Day" later in 1966. After the release of the debut album, Red Rubber Ball, they recorded a second album, Neon, in late 1966, and a movie soundtrack, The Minx, in 1967. They followed that with various singles, then disbanded in late 1967.

Both Dawes and Danneman became professional jingle writers following the demise of The Cyrkle. Dawes later wrote the famous "plop plop fizz fizz" jingle for Alka-Seltzer. Danneman wrote jingles for Continental Airlines and Swanson Foods. He penned the original 7-Up Uncola song. In 1977 Dawes produced for Foghat.

Mondo Topless - 2006 - Take It Slow

Mondo Topless - 2006 - Take It Slow
(Get Hip Recordings GH1132)

Tracks :
1. Take It Slow 3:17
2. Louise 2:35
3. It Hurts Me 2:43
4. Beer 2:09
5. Can't Dig It 3:49
6. Conundrum 2:20
7. Powerglide 2:01
8. Stupidity 2:15
9. Just One Thrill 2:47
10. Crawl 4:41

After titling their second album Go Fast!, Philadelphia garage rock mavens Mondo Topless might seem to be making a creative about-face on their third disc, Take It Slow. But don't let that title fool you -- this is Mondo Topless as fans have always known and loved them, cranking out primitive ' 60s style rawk with lots of Farfisa organ from keyboard man Sam Steinig, plenty of raunchy guitar leads from Kris Alutius, and all manner of crashing and bashing courtesy bassist Scott Rodgers and drummer Alex Beisker. The guys in Mondo Topless would doubtless agree that they're not exactly reinventing the wheel with this stuff, but they do a really good job of blending an authentic garage sounds with enough buzz-off attitude on numbers like "Beer" and "Can't Dig It" to give the Mummies a run for their money, and the group writes songs that move and groove with the best of 'em. And at less than thirty minutes in length, you can't say that Mondo Topless wear out their welcome with this disc. Put Take It Slow on your stereo, crank it up, open a case or two of the malt beverage of your choice, and you'll have a party of lease-breaking proportions in no time; Mondo Topless are a band spoiling for a good time, and they'll let you have one too if you give them half a chance.
~Review by Mark Deming (AMG)

Download Links :
(ogg VBR 320-500kbps + artwork)

Enjoy !!!

posted by Stratos

Monday, November 05, 2007

Bob Ray - 1970 - Initation Of A Mystic

Excellent California Mystical Folk Psych LP with a mellow trippy vibe and some Donovan influences by Bob Ray who previously played with Thorinshield.

Los Angeles psych-folkie Bob Ray first earned attention as a session player, contributing bass to Donovan's now-legendary May 1966 sessions that yielded the classic "Season of the Witch." The following year he teamed with singer/guitarist James Smith and drummer Terry Hand in the sunshine pop trio Thorinshield, signing to Phillips to record their debut single, "The Best of It," produced by famed session saxophonist Teenage Steve Douglas and arranged by the great Perry Botkin, Jr. A self-titled LP soon followed, but after just one more single, 1968's "Family of Man," Thorinshield splintered, and Ray signed to Johnny Rivers' Soul City label. With Rivers assuming production duties, veteran Hal Paich handling the string arrangements, and the famed Wrecking Crew (studio virtuosos including Hal Blaine on drums, Joe Osborne on bass, and Larry Knechtel on keyboards) providing support, he cut his lone solo LP, Initiation of a Mystic, recalling Donovan with his lush, ambitious psych-pop. Ray essentially dropped from sight soon after the record's 1968 release, although Initiation of a Mystic remains a collector's item.

Get it here

Fushitsusha - Double Live (PSF3/4) + Double Live (PSF15/16)

KEIJI HEINO!!! Here are BOTH unbelievable double live Fushitsusha albums. Cosmic guitar monstrosities in that fascinating, hypnotic, and inimitable Japanese style. These are really something else: Four full hours of squeals; squalls; moans; screams; blasts; explosions; long, meandering lyrical passages; and Ur-rock jams. Ripped at extreme VBR for your listening pleasure.

Sunday, November 04, 2007

Joan Baez - 1975 - Diamonds & Rust

  1. "Diamonds & Rust" (Joan Baez)
  2. "Fountain Of Sorrow" (Jackson Browne)
  3. "Never Dreamed You'd Leave In Summer" (Stevie Wonder/Syreeta Wright)
  4. "Children And All That Jazz" (Joan Baez)
  5. "Simple Twist Of Fate" (Bob Dylan)
  6. "Blue Sky" (Dickey Betts)
  7. "Hello In There" (John Prine)
  8. "Jesse" (Janis Ian)
  9. "Winds Of The Old Days" (Joan Baez)
  10. "Dida" (duet with Joni Mitchell) (Joan Baez)
  11. Medley: "I Dream Of Jeannie" (Stephen Foster) / "Danny Boy" (Frederick Weatherly)
With the Vietnam War winding down, Joan Baez, who had devoted one side of her last album to her trip to Hanoi, delivered the kind of commercial album A&M Records must have wanted when it signed her three years earlier. But she did it on her own terms, putting together a session band of contemporary jazz veterans like Larry Carlton, Wilton Felder, and Joe Sample, and mixing a wise selection from the work of current singer-songwriters like Jackson BrowneJohn Prine with pop covers of Stevie Wonder and the Allman Brothers Band, and an unusually high complement of her own writing. A&M, no doubt recalling the success of her cover of the Band's "The Night They Drove Old Dixie Down," released her version of the Allmans' "Blue Sky" as a single, and it got halfway up the charts. But the real hit was the title track, a self-penned masterpiece on the singer's favorite subject, her relationship with Bob Dylan. Outdoing the current crop of confessional singer/songwriters at soul baring, Baez sang to Dylan, reminiscing about her '60s love affair with him intensely, affectionately, and unsentimentally. It was her finest moment as a songwriter and one of her finest performances, period, and when A&M finally released it on 45, it made the Top 40, propelling the album to gold status. But those who bought the disc for "Diamonds & Rust" also got to hear "Winds of the Old Days," in which Baez forgave Dylan for abandoning the protest movement, as well as the jazzy "Children and All That Jazz," a delightful song about motherhood, and the wordless vocals of "Dida," a duet with Joni Mitchell accompanied by Mitchell's backup band, Tom Scott and the L.A. Express. The cover songs were typically accomplished, making this the strongest album of Baez's post-folk career.

by William Ruhlmann AMG

view Diamonds & Rust live :

Download It Here :

High Rise - Live (1994)

The Squealer website says: "High Rise is an explosive power trio comprising the core of Asahito Nanjo on bass and vocals and Munehiro Narita on guitar, joined by a succession of drummers (including Yuro Ujiie, Pill and free-jazz veteran Shoji Hano in the past, and Koji Shimura currently). High Rise mix the jazz-influenced improvising of live Cream with the often brutal amphetamine-inspired rock of Blue Cheer. Narita is one of rock's unsung guitar players, and his dexterous fingering causes eruptions of pure electric joy. The other players are equally stunning in their total commitment to this high energy music that features the freedom of jazz and the power of rock."

There's a lot of understatement in that paragraph. People, this is the real deal. These three guys will take your head off, nail it to the wall, and then knock that wall down with their guitars. Incredible lightspeed psychedelic guitar mayhem. The songs are just flimsy garage-rock excuses for quite possibly the greatest freakout jamming you have ever heard. This is not an exaggeration. The jams on this "double" live album (3 sides, with a gorgeous laser-etched design for side 4) just might be the Apotheosis.
Get it HERE.
Read what the Drude has to say about it HERE.

Mamas & the Papas - Deliver [1967]

By the time the Mamas and the Papas recorded and released their third album, the group was continuing, in the words of singer Denny Doherty, "on its own momentum." Acrimonious personnel changes, rock stardom, fame, money, and drugs (among other factors) were taking their toll on the group's chemistry. Fortunately, this momentum is precisely the reason that the album succeeds. Buttressed by the singles "Creeque Alley" (the sometimes hilarious story of how the group came together), "Look Through My Window," and the stupendous remake of "Dedicated to the One I Love," the album has some exquisite moments. "Look Through My Window" also is one of the group's most realized recordings, and the cover of "Twist and Shout" is an absolute killer. Much of the record, frankly, doesn't sound too different than the group's first two albums, but with the songwriting, vocal, and production excellence, why tamper with genius? The group felt so too, which is why this album is Michelle Phillips' personal favorite. It's not too hard to see why. [Allmusic]

Track list;
01 - Dedicated To The One I Love
02 - My Girl.
03 - Creeque Alley
04 - Sing For Your Supper
05 - Twist And Shout
06 - Free Advice
07 - Look Through My Window
08 - Boys And Girls Together
09 - String Man
10 - Frustration
11 - Did You Ever Want To Cry
12 - John's Music Box


Style; Folk-Rock

Thursday, November 01, 2007

Kousokuya - 1st (1991)

Brutal, time-dilating, pitch-perfect Japanese guitar skronk. Horrible, wonderful, exhausting, exhilarating, baffling, meaningless, profound power-trio noise. Like trying to do meditation exercises in an industrial meat grinder. And quite different from the live album posted below.

Get it
HERE (@192)

The Stems - Terminal Cool (Anthology 1983-1986)

The Stems - Terminal Cool (Anthology 1983-1986)
Get Hip Records GH-1130

Tracks :
1. She's A Monster
2. Make You Mine
3. Tears Me In Two
4. No Heart
5. Can't Resist
6. Love Will Grow
7. Under Your Mushroom
8. Just Ain't Enough
9. Jumping To Conclusions
10. On & On
11. For Always
12. Terminal Cool
13. Don't Let Me
14. All You Want Me For
15. Mr. Misery
16. Sad Girl
17. She's Fine
18. Can't Forget That Girl
19. Lon Chaney Juniors Daughter
20. Spaceship
21. Let Your Head Rest

Very cool, 21-track retrospective of Dom Mariani + the boys very cool garage-pop outfit! Features 4 previously unreleased tracks and 1 track making it's CD debut! Captures a confident, self-assured band recorded during those halcyon years of 1983 - 1986 proving that they were indeed an extremely varied animal and effectively showcases their versatility from the Fuzztone hits “She's a Monster” and "Tears Me In Two", to the bluesy garage bop of “On and On", Byrdsian jangle of “Love Will Grow”, the pure pop of “Can't Forget that Girl” and the psychedelic snarl of “Jumping to Conclusions”.

Read A Review Here

Download Links :

(ogg VBR 320-500kbps + artwork)

Thanks Stratos for this one !!!

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