Sunday, September 30, 2007
01-I'll be home
02-Baby I'm yours
03-Jesus was a cross maker
05-When it doesn't work out
06-I'll be there
08-I think it's going to rain today
10-It's all in the game
Saturday, September 29, 2007
1. My World
2. Lighter Than Air
3. Sung At Harvest Time
4. Two Poems
5. Flying Up Through The Sky
6. Always Something There
7. Come On 'Round
8. Young Girl's Lament
9. Trix Rabbit
10. Good Night
11. Time And Place
12. Sun Flower Sun
13. Come On Back To Beer
14. Say It Your Own Way
15. The City
16. Flute Thing
17. Cuttin' You Loose
18. Sweet Lover Man
19. Those Winds
20. Tornado Baby
Review (by Stanton Swihart, All Music Guide)
This compilation is a lovely surprise. The fourth installment in Gear Fab's Louisville music series is the absolute last word on the Oxfords. Starting off with all but one cut from the sole 1970 LP and filling out the story with the two pre-Jill DeMarco 45s, the band's one post-album single, and five previously unreleased cuts from its final incarnation, Flying Up Through the Sky constitutes the Oxfords' entire recorded legacy.
The material from the original LP tends toward the lighter side of the '60s pop spectrum. The melodies are largely Technicolor bright and the sentiments have a paisley-eyed optimism that seems endemic to the late '60s alone. The harmonies of leader Jay Petach and DeMarco approach the sort of oxygenated buoyancy of the 5th Dimension or the Free Design, but with an earthier charm along the lines of Spanky & Our Gang.
The music may strike some as a tad naïve, but it fits the insouciant mood of the period perfectly and 30 years after the fact still sounds fresh. At times ("Come on 'Round," the wah-wah laced "Young Girl's Lament") the band flashes more substantive hints, sounding something like the Jefferson Airplane's tough but yet deflowered younger sister, unsettled but still unspoiled. The rearrangement of the Quechua Indian song, "Sung at Harvest Time," is beautifully, eerily psychedelic, and the avant-orchestral experiment of "Two Poems by e.e. cummings," while not really successful as a pure listening experience, is bizarrely appealing. The tracks from the initial unit are much more derivative (specifically of the Beatles, Kinks, and Monkees) but they are a great window into Petach's developing sense of songcraft, especially the Bandstand-thumbed "Sun Flower Sun," which sounds terribly quaint but is still infectious. It is the last version of the band, circa 1972, that most impresses. The band had obviously found a quite exciting -- perhaps even forward-looking -- niche, very much enthralled with sophisticated jazz and blues. On songs like the whirlwind "Those Winds" and "Tornado Baby," it is consistently in the pocket, while "Sweet Lover Man" even predicts the loose, laid-back, and country-funky songs that Essra Mohawk sang for Bob Dorough's Schoolhouse Rock series several years later.
Flying Up Through the Sky is a time capsule, to be sure, but it is a superb one that transcends its era on sheer exuberance alone.
Full Bio Here :
Get it here @ 192
T. Rex - 1968 - My People Were Fair And Had Sky In Their Hair, But Now They Are Content To Wear Stars On Their Brows [192k]
Until he joined John's Children, in March, 1967, Marc Bolan had never even owned an electric guitar. And once he quit the band, it is said, he abandoned it as quickly as everything else which that band represented — freakbeat pop, adrenalined psych, electric soup. In fact, Bolan never lost sight of his electric destiny, even as Tyrannosaurus Rex sawed away on their acoustic toys, a point which producer Tony Visconti cottoned onto the first time he ever saw the duo play, "Marc sitting crosslegged on stage playing his strange little songs in a wobbly voice, while Steve Took was banging on his bongos." Visconti himself was a novice producer, "holding out for something really different and unusual. I thought Marc was perhaps that." He was, and the album which he and Took delivered emphasized all the qualities which Visconti had spotted that night at the UFO club. My People Were Fair approaches the listener from a totally unique angle. The Bolan voice, hardened from the slight warble which carried through his early solo material (still noticeable on the backups he performed for John's Children), remains uncompromising, but it blends so perfectly with the bizarre, almost Eastern-sounding instrumentation that the most lasting impression is of a medieval caravansary whose demented Bedouin cast has suddenly been let loose in a recording studio. It is an irresistible affair, if absolutely a child of its psychedelically-inclined time — "Frowning Atahuallpa" even recruits DJ John Peel to read a Tolkien-esque fairy tale. But one of Bolan's loveliest compositions is here — the gentle and deceptively melodic "Child Star," layered by harmonies which hit you sideways and are all the more mighty for it; one of his weirdest, too, is included, the mutant fairy dance of "Strange Orchestras," which sounds like it was recorded by one. Together with fellow highlights "Chateau in Virginia Waters" and "Graceful Fat Sheba," both are so far ahead of the material Bolan had been composing just a year earlier (subsequently made available on the Hard on Love/Beginning of Doves retrospective), that the inclusion of the "oldies" "Hot Rod Mama" and "Mustang Ford" is almost disappointing. They are, however, the only sour notes sounded on an album whose magic is discernible from so many different angles that it is hard to say which is its most astonishing factor. But it's hard not to be drawn to the actual dynamics of My People Were Fair, the uncanny way Tyrannosaurus Rex take the slightest musical instruments, pixie phones, glockenspiels and a Chinese gong included, to make them sound like the heaviest rock & roll band on the planet. Anyone could play power chords, after all. But who else would play them on acoustic guitar? [Allmusic.com]
01 - Hot Rod Mama
02 - Scenescof
03 - Child Star
04 - Strange Orchestras
05 - Chateau in Virginia Waters
06 - Dwarfish Trumpet Blues
07 - Mustang Ford
08 - Afghan Woman
09 - Knight
10 - Graceful Fat Sheba
11 - Wielder of Words
12 - Frowning Atahuallpa
I discovered the group in 2003 when Wha Wha records released this gem on vinyl. I often returned back to this and became one of favorite listens from the psych/prog area. I still enjoy it and new elements comes out every time.
This is a CD rip from 1993 with two bonus singles from 1969 which are very different from the album.
Máquina! is maybe the very first underground rock group to have recorded in Franco’s Spain, their first single dating back to early 69, and the following year, their first Lp was out with a striking artwork depicting a clock coming out from a croissant meaning that it was time to wake-up (and have breakfast) in Spain: The album was called Why? Máquina! and it was clearly so rebellious under a dictature that fellow group Tapiman (and Barcelona crosstown rivals/friends) answered them with a track Don’t Ask Why. The five-piece group developed a high-energy Hammond-driven psych/prog rock with two lead guitarists, with many extraordinary musical moments given the context of those years. It is not known if Guitarist Paris is related to Pan & Regaliz’s singer Guillem Paris.
1. I Believe (4 :11)
2. Why? (11:52)
3. Why? (continuacio) (12:58)
4. Let Me Be Born (3:03)
5. Earth’s Daughter (4:37)
6. Look Away Our Hapiness (4:09)
- JM Paris / guitars
- Luis Cabanach / guitars, bass
- JM Vilaseca / drums
- Enrique Herrera / keyboards
- Jordi Batiste / vocals, flute, bass
With this stunning debut, Máquina! scored heavily for posterity as this is the first known ROCK album to come from Spain and what an astounding one it is!!! Really these guys made one hell of rebellious record given the context in which Spain was being submitted to Franco’s dictature. A stunning artwork depicting a clock rising from a croissant was clearly a call for Spanish youth to wake-up (and have a good breakfast) and get ready for a new day. Quite a revolution knowing the ultra conservateur nature of El Caudillo, even if by that time Spain was letting loose things as European tourist money was flowing in but although the end was near, it was incredibly risky.
Stylistically, we are dealing with a psych/prog rock with extended and excellent interplay, somewhere in between live Cream (with KBs) and early Floyd or even a live Grateful Dead. The twin guitars are one of the features but one of them played bass when the bassist was busy with the flute or singing. The opening track is simply a superb atmospheric instrumental with organ-piano KB attack doubled by a superb and orgasmic guitar, a pure delight! Then comes the 25 min title track (broken over the two sides of the vinyl) with superb organs, twin guitar attack and rather enjoyable but muffled-in vocals, the whole thing going on an not too extended jam and evolving to one of the more entertaining drum solo I have ever been given to listen – maybe because it is not a pure solo as the KB outlines a few phase here and there. The second part of Why? opens the second side of the vinyl and picks up where the first part had left: a superb mostly instrumental enthusiastic prog-tinged rock jam. Quite enjoyable, especially when discovering this in 05, some 35 years after it was recorded. There are some particularly exhilarating moments in this track! The last track is yet another great tune
The two bonus tracks are the afore-mentioned single tracks and although a bit different than the album (especially in the vocal dept but the Earth’s Daughter track sounds like some David Bowie spin-off), they do not interfere in the continuous ambiance of the album and they add to the album’s incredibly short duration.
This album is a relative minor gem for progheads but is a 24-carat nugget for the psych-jam group fans!!
Get it here
Friday, September 28, 2007
But chatboard it's quite small for answers to all of you...
I'm also quite busy to post everything that you have upload there.
(I'll do that the next days)
Lets take the it from the start.
@ Feint Operation Rising Storm- Calm Before...
@ radioshoes Don Agrati - Home Grown
@ THULL Goblin - Dawn Of The Dead [soundtrack]
@ mister shabbaddoo
Kali Bahlu - Takes the Forest Children on a Journey of Cosmic Remembrance
Just released a Monster Heavypsych compilation that will rock ya boat!
Ben Elephant :
Inspired by the main post of Brainticket, Her are 3 more Brain Melters for all the Psychonauts out there. Remember to play 'em loud...........
Can be found also Here (with bonus tracks)
Can be found also Here
Savage Republic - 1982 - Tragic Figures US
rar Size: 77.28 MB
The download link is:
Just a small request :
Roy Harper - Stormcock
Reply by Kundalini :
Well KaiBailey if you are patient and THE GOOD FOLKS at LOST IN TYME don't beat me to it I will have your request uploaded to Rapidshare in "TWO SHAKES OF A LAMBS TAIL" and will post it here in this very enjoyable CHATBOX so there!!!!!!!!!!!!!! We are lucky that The TYME give us this kind of FREEDOM, lets enjoy it while we can.
Anyone who enjoyed the Nits - In The Dutch Mountains,
here's their most psychedelic album from 1990, Giant Normal Dwarf http://rapidshare.com/files/49571883/NGND.rar
Ben Elephant : I'm quite new to the ways of The Blog but if this Chatbox is like a Request and Upload board then I thank all who sail in her. I have been looking for this for a while now and think there must be a few more of us swampy southern souls who luv da voodoo funk. Duane and some other Allmans on the sessions for this Capricorn/Atco lost gem
by Johnny Jenkins - Ton Ton Macoute
Thank You Lost In Tyme. http://rapidshare.com/files/58696687/Johnny_Jenkins_-_Ton_Ton_Macoute.rar
@ yehaskel Harvey Mandel - Cristo Redentor
Link 1 ~ Link 2
@ dave Love - 1966 - Love can be found Here
@ angelab23 Man From Missuri can be found Here
You can find also some links Here & Here
Thank You All for the Support !!!
P.S. A small request from me....
Please do not uploading albums that we have already post....
It's better for all if you uploading albums that we don't have here....
And try to upload albums in good quality (192kbps or higher)
2 Horses On A Stick0
4 St. Nicholas Hall
5 Three Ravens
7 Mrs. Connor
10 Farewell Aldebaran
Farewell Aldebaran by Judy Henske and Jerry Yester is a remarkable album of folk rock and psychedelic songs issued in 1969.
Larry Beckett - drums (track 1)
John Forsha - 12 string guitar (2,5,9)
Toxie French - drums (6,7,10)
Judy Henske - vocals
Eddie Hoh - drums (2,9)
Bernie Krause - Moog synthesizer programming (10)
David Lindley - bowed banjo (6)
"David's friend" (Solomon Feldthouse ?) - hammer dulcimer (6)
Joe Osborne - bass (2,9)
Dick Rossmini - guitar (2,9)
Jerry Scheff - bass (6)
Ry Cooder - mandolin ? (6? - credited in Unterberger's book but not by Yester)
Zal Yanovsky - bass (1,10), guitar (1,10)
Jerry Yester - vocals, guitar (1,2,8,10), piano (2,3,4,5,6,7,8,9,10), harmonium (2), toy zither (3), Marxophone (3), Chamberlain Tape Organ (4), orchestra (5,10), organ (7,8), banjo (8), bass (10), Moog synthesizer (10)
Some Info from Wikipedia :
Henske and Yester met while both were working in the West Coast folk scene in the early 1960s, Henske as an uncategorizable solo singer recording folk, blues, jazz and comedy, and Yester as a member of the Modern Folk Quartet. They married in 1963. A few years later, Henske's career was faltering as a result of ill-advised forays into the cabaret market, while Yester had produced albums by Tim Buckley and The Association, and had also replaced Zal Yanovsky in The Lovin' Spoonful.
The pair, with their new-born daughter, moved to Los Angeles in 1968. Henske shared a manager, Herb Cohen, with Frank Zappa, and it was Zappa who suggested to her that she should put to music some of the verse she was writing. Yester, at this point, was working with Yanovsky on the latter's first solo album, and experimenting wildly with new electronic and other sound effects. The trio combined to put together "Farewell Aldebaran", drawing on a varied selection of their musician friends, and it was issued on Zappa and Cohen's new Straight label.
The album contains a wild mixture of late 1960s styles, as though recorded by ten different bands, but all featuring Henske's almost gothic lyrics and remarkable vocal range. The opener, "Snowblind", is a Janis Joplin style belter which was issued as a single, but is immediately followed by "Horses on a Stick", almost a parody of "sunshine pop". Next is the quasi-classical "Lullaby", and then a melodramatic hymn with strong anti-clerical lyrics, "St. Nicholas Hall". From here, the album picks up even higher in quality. "Three Ravens" is a sublime slice of baroque pop; "Raider" has been described as an acid sea shanty; "Rapture" is a folk-rock waltz; and the upbeat "Charity" is possibly the best track of all. Finally, the title track is the most overtly "psychedelic" track on the album, featuring electronically treated vocals and Bernie Krause's Moog synthesizer.
Although the album got some good reviews, it failed to sell, purchasers possibly driven away by its sheer eclecticism. Henske and Yester went on to form a more conventional band, Rosebud, before they went their separate ways at the start of the 1970s.
Get it here :
Thursday, September 27, 2007
David Hemmings; boy opera star, young British character actor, star of the iconic 1960's movies "Blow Up" and "Barbarella", film and TV director and producer, and latterly again a character actor and star in such films as "Gladiator" "Gangs Of New York" and the elegaic British movie "Last Orders". An impressive resume for any man, one might think, but there's more, he made a record too! But not the usual actor-makes-an-album camp artifact ....oh no....our David was quite serious. In fact, "Happens!" was actually produced in Los Angeles by none other than Byrds manager and producer Jim Dickson, AND features The Byrds as well as a session crew (led by legendary bassist James Bond Jnr.) drawn from Dickson's years producing folk and jazz for the World Pacific label. The fact that it was done somewhat in a rush due to David's film commitments actually worked in it's favour as the Columbia-rejected and otherwise unheard Gene Clark song "Back Street Mirror" opens the album with a full-on gorgeous orchestral Folk Rock rush.
Largely improvised collaborations with The Byrds and Mr. Bond's crack crew of jazzers follow, allowing David to express his love of folk music against a background of prime Byrds at their Raga Rock peak, and the cream of LA's jazz fraternity! David's friend, Monkees songwriter Bill Martin provides a couple of songs, and we are on course for an album of rare beauty.
In keeping with the Byrds connection, the opening track Back Street Mirror is a Gene Clark song that was written and recorded subsequent to his departure from the group. However, it was never released and David Hemmings recorded his vocals over the existing backing track. This is really something to thank David Hemmings for, otherwise this Gene Clark song would have remained unreleased.
Reason to Believe is the Tim Hardin classic and Hemmings' version stands up with the best of them. The guitar style of this track reminds the listener of the Incredible String Band, a likeness that appears in later tracks.
Good King James starts with some clearly recognisable Roger McGuinn guitar. Like many of the other tracks, this was improvised in the studio. This was done in one take! Bell Birds is an old song but the lyrics had "disappeared" over time so the new lyrics are from Hemmings. Like Good King James, the following track Talkin' LA another studio improvisation where McGuinn and Hillmann provide the backing to Hemmings' semi-spoken vocals. The backing track is less free-form and this allows Hemmings to improvise with his thoughts about Los Angeles. He had recently moved to the area and seems happy. As he says, "this is where it all happens."
Anathea is another traditional folk song where David Hemmings lays down a beautiful vocal on tops of the Byrds' backing. While some of the tracks feature spoken, improvised vocals Hemmings shows here that he has a fine singing voice. After the Rain is another beautiful song.
Another improvisation is War's Mystery which has the unmistakable Roger McGuinn guitar sound but with the addition of Indian instruments it has the air of a Robin Williamson song, even if the lyric subject is quite different. The track is a long improvisation. This is more than just a curio from a 1960s actor. Hemmings shows that not only does he has a fine singing voice but also that he can improvise his lyrics on top of a backing track. You could say that it is folk-rap! The album stands up on its own and the fact that Hemmings is an actor is quickly forgotten. The album is easily accessible to fans of the Byrds or the Incredible String Band and will be of interest to others with more of a leaning towards folk psychedelia.
Thanks Justin Thyme for this
Tuesday, September 25, 2007
1 Someday 4:24
2 Flying Above Myself 4:21
3 My Kind Of Music 4:08
4 Lion - Away From It All 9:26
5 1849 4:58
6 Satan Got A Hold On Thee 4:18
7 Money Hungry Blues 2:56
8 Then Came The Light (Alt. Stereo Version) 3:55
9 Something You Say 3:33
10 Our Last Song 1:15
the band :
Mal Robinson (vocals, guitar)
Fredy Baumgart (guitar, organ, background vocals)
Dave Howell (piano, organ)
Blair Honeyman (bass, background vocals)
Don Sligar (drums)
The Morning Dew were formed from the remains of a collapsed folk-rock band called The Toads. Two early single releases, "No More" and "Be a Friend," were local successes in 1967, and the group was signed to Morris Levy's Roulette label in early 1969, for which they cut an entire album of material before disbanding later that year. Collectables has reissued a CD collection, and Gear Fab has released the folk-like "Sing Out" from their unissued late 1968 sessions.
~ Bruce Eder, All Music Guide
Get it here @ 128
Morning Dew - Second Album
Sunday, September 23, 2007
Saturday, September 22, 2007
Agemo's Trip to Mother Earth was one of the most ambitious psychedelic albums to emerge from continental Europe in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth. Musically, the record owes a lot to late-'60s British psychedelia (particularly of the Pink Floyd school), with hints of the onset of progressive rock in its less-conventional passages. Although plenty of melodic shifts, celestial organ, wiggling distorted guitar, harmony vocals, Gregorian chant-like singing, Mothers of Invention-like horns, beatific respites (on "Reborn"), and general freakiness entertainingly convey the exploration of new psychic territory, it ultimately lacks the lyrical and musical cogency of, say, late-'60s Pink Floyd. At times the bold weirdness gets self-indulgent, throwing in phased drum soloing, solemnly intoned spoken female romantic exclamations, and multilingual murmuring. The album was reissued, in its original sequence and its entirety, as part of the Group 1850 CD compilation 1967-1968 [Allmusic.com]
This download only contains all 7 tracks from the LP, later on the 1997 CD release contained 16 tracks…
01 - Steel sings
02 - Little fly
03 – I put my hands on your shoulder
04 - You did it too hard
05 - The point in this life
06 – Refound
07 – Reborn
01 - Another Time - Pearls Before Swine
02 - Spring ' 69 - Cressida
03 - Widow With A Shawl - Donovan
04 - I've Been Wrong Before - Hp Lovecraft
05 - I Watch The Moon - Gandalf
06 - Heartbreaker - Grand Funk Railroad
07 - Try A Little Bit - Lovin' Spoonful
08 - Sandcastles - 31st Of February
09 - Before The Beggining - Fleetwood Mac
10 - In Retrospect - Six Feet Under
11 - Death Sound Blues - Country Joe & The Fish
12 - A Touch Of Sunshine - Taste Of Blues
13 - Dreams Of Dreams - Smoke
14 - Love Is Here - Blue Mountain Eagle
15 - The Golden Hour III - Electronic Hole
16 - Plastic Horizon - Gods
* This is a compilation of some of my favorite tracks
hope you like it!!
Friday, September 21, 2007
The two Salvation LPs on one CD.
01 Love Comes In Funny Packages
03 More Than It Seems
04 Getting My Hat
05 G.I. Joe
06 Think Twice
07 She Said Yeah
08 The Village Shuck
09 What Does An Indian Look Like
10 Hollywood 1923
11 Handles of Care
12 Yuk Yuk
13 In the Evening
14 Salvation Jam
15 Come on over Here
16 What'll I Do #42
* Al Linde - vocals
* Artie McLean - bass
* Joe Tate - guitar
* U.S. of Arthur (Art Resnick) - keyboards
* Teddy Stewart - drums
* Rick Levin - drums
The following may also have contributed;
* Tom Scott
* Bill Plummer
* Mike Wofford
* Paul Beaver
* Jim Gordon
* Hal Blaine
* Jay Lewis
* Original producer - Bob Thiele
Tracks 1 to 9 were originally released on;
* Salvation , Salvation, 1968
Tracks 10 to 16 were originally released on;
* Gypsy Carnival Caravan , Salvation, 1968
San Francisco psychedelic band Salvation was formed in 1967 by singer Al Linde and guitarist Joe Tate, who first met while students at the University of Washington. Bassist Artie McLean, keyboardist Art Resnick, and drummer Teddy Stewart later completed the original lineup, which at first called itself the New Salvation Army Banned. After earning featured spots in a series of concerts in Golden Gate Park, the band signed to ABC Records, albeit on the condition they abbreviate their name for fear of legal action from the actual Salvation Army. Salvation's self-titled debut LP followed in 1968, boasting an expansive, eclectic sound highlighted by the first single, "Think Twice." Opening slots for bands including the Doors, Big Brother & the Holding Company, and Canned Heat followed, and around the time of their second album, 1969's Gypsy Carnival Caravan, Salvation traveled to New York City to headline the Fillmore East and the Village Gate. But their future was jeopardized after the group's management reputedly ran off with their ABC advance, and in 1970 Salvation dissolved; Resnick later resurfaced in jazz circles with a handful of solo recordings as well as sideman dates behind Nat Adderley, Freddie Hubbard, and others. ~ Jason Ankeny, All Music Guide
Get it here @ vbr
Thursday, September 20, 2007
1 Rockin and Rollin
3 I Love You (Yes I Do)
6 Sweetest Girl
8 Ballad of Herby Jenkins
9 Purple Personality
One of the Icelandic psychedelic masterpieces from 1973.
One and only album by yet another "Icecross" related band from Iceland.
Stoned Icelandic private Press Hard Prog Psych with wild Acid Guitar and English vocals.
Issued in a tiny edition of 500 copies.
Including the marvelous doomy-psychedelic jewel "Himalaya".
Highly recommended !
Get it here :
Andrew (Iceland) - 1973 - Woops @256 Vinyl Rip
Wednesday, September 19, 2007
Group was also known by several other names including The Rainy Day People.
rest is AM radio history -- Hallinan is also among the musicians credited on the first Bread album, and later enjoyed a career as a mystery novelist. ~ Jason Ankeny, All Music Guide
01 - stay around for the good times
2. I'll Be Late For Tea
3. The Remarkable Saga Of The Frozen Dog
4. Telegram Tuesday
5. Love Is
6. What's It For?
7. People Of The Royal Parks
8. What On Earth
9. Mrs. Murphy's Budgerigar
10. I Will Bring You This And That
11. Mister Watchmaker
12. When The Alarm Clock Rings
13. The Intrepid Balloonist's Handbook, Volume 1
Rumoured to have been played largely by session musicians and masterminded by a psych-pop Svengali, nevertheless this is, IMHO, the finest piece of Beatles' influenced psychedelia ever released. As English as warm beer on a sunny day, it's a rip roaring, delightful, good natured, free-wheeling romp through tape-sliced psychedelia, Victorian chamber music, Revolver-ised chiming guitars, delicious Penny Lane brass and bizarre and totally endearing observations on English life and LSD soaked internal monologues, from old lady's pet budgies ( Mrs Murphy's Budgerigar) to the nature of self ( Look At Me I'm You) to a day in the park ( The People of the Royal Parks).
Despite it's inherent oddness, it remains one of the most accessible albums of its kind and is positively laden with glorious pop songs and beautiful playing. I simply can't praise it highly enough. Its sheer naive joyousness is totally irresistible - never could such fun have been had making a record. It's incredible to think this was being made at the same time as Sgt Pepper but died without a trace.
Sadly, it's hard to find, but I'd urge you to try and get hold of it, because once you fall under its spell, it'll have you for life
Imagine the late-'60s Kinks crossed with a touch of the absurdist British wit of the Bonzo Dog Band, and you have an idea of the droll charm of Blossom Toes' debut album. Songwriters Brian Godding and Jim Cregan were the chief architects of the Toes' whimsical and melodic vision, which conjured images of a sun-drenched Summer of Love, London style. With its references to royal parks, tea time, watchmakers, intrepid balloon makers, "Mrs. Murphy's Budgerigar," and the like, it's a distinctly British brand of whimsy. It has since been revealed that sessionmen performed a lot of these orchestral arrangements, which embellished the band's sparkling harmonies and (semi-buried) guitars. But the cello, brass, flute, and tinkling piano have a delicate beauty that serves as an effective counterpoint. The group sings and plays as though they have wide grins on their faces, and the result is one of the happiest, most underappreciated relics of British psychedelia.
Get it here
Tuesday, September 18, 2007
01 - April Anne
02 - Topanga Canyon
03 - Malibu People
04 - Someone's Sleeping
05 - Drum
06 - Captain
07 - Let It Bleed, Genevieve
08 - Down The Beach
09 - Mississippi
10 - Holland Tunnel
Style; Folk-Rock, Soft-Rock, Singer/Songwriter
Release Date: 1973
Label: Wea International
1 Sail Around the World Gates 3:19
2 Sunday Rider Gates 3:22
3 Soap (I Use The) Gates 2:28
4 Suite: Clouds, Rain Gates 8:55
5 Help Is on the Way Gates 2:56
6 Ann Gates 3:53
7 Do You Believe He's Comin' Gates 4:56
8 Sight and Sound Gates 2:56
9 Lorilee Gates 4:43
1994 Love is Always Seventeen
1981 Take Me Now
1980 Falling in Love Again Songbook
1978 Goodbye Girl
1975 Never Let Her Go
David Gates Biography:
A member of the popular group Bread, David Gates is also a songwriter, keyboardist, vocalist and producer. His first hit as a songwriter came with the popular Murmaids song "Popsicles and Icicles."
David Gates was born in Tulsa, OK. to a band director and a piano teacher. Surrounded by music from birth, he was proficient in piano, bass and guitar by the time he was in high school. In 1957, he received a musical break when Chuck Berry came to Tulsa; Gates had his first hit, "Jo-Baby," with Chuck Berry. The song was written for Gates' high school sweetheart Jo Rita, whom he married and had children with while enrolled at the university of Oklahoma.
In 1961, the family moved to Los Angeles, and Gates embarked on a career of songwriting and producing. By the end of the '60s, he had worked with Elvis Presley, Bobby Darin and Merle Haggard, and produced the 1965 Glenn Yarbrough hit "Baby the Rain Must Fall."
Realizing that the only way his songs were sure to be recorded was to sing them himself, Gates founded Bread in 1968; the group consisted of Gates, James Griffin, Robb Royer, and later, drummer Michael Botts and keyboardist Larry Krechtel. The group's first album, Bread, was released in 1969 with hits "It Don't Matter to Me," "Dismal Day" and "Make It with You." Soft rock hits became the band's trademark and made them legends. Greater success and recognition came with the 1971 album, Manna, with the smash hit "If."
With the popular albums Guitar Man and Baby, I'm a Want You, the band's success led the members in different directions. The group disbanded in 1973 to pursue their own solo interests and careers, but regrouped in 1977 to produce the album Lost Without Your Love. David Gates produced albums of his own, First Album and Never Let Her Go in 1975; his songs landed him on the contemporary music charts every time, including "The Goodbye Girl," from Neil Simon's play of the same name. Several of his songs have been recorded by artists such as Julio Iglesias and Boy George. "Everything I Own," a tribute to his father as his greatest influence, was recorded by Nashville artists the Kendalls and Joe Stempley and then by pop rocker Boy George. His incredible songwriting ability offers versatility and a crossing over of musical genres. With a recording studio on his California ranch, David Gates continues to write and produce. Kim Summers, All Music Guide
More Gates and Bread stuff soon !
1 Black Sand 4.03
2. Places Of Light 4.03
3 Brainticket (Part One) 8.18
4 Brainticket (Part One - Conclusion) 4.35
5 Brainticket (Part Two) 13.12
the band :
- Joël Vandroogenbroeck: Organ, Flute
- Ron Bryer: Guitar
- Werni Frohlich: Bass Guitar
- Cosimo Lampis: Drums
- Wolfgang Paap: Tabla
- Dawn Muir: Voice
- Hellmuth Kolbe: Potentiometers, Generators and Aound Effects
Review by HeadHeritage :
Next time you feel like getting fried, listen to this! But never mind the first two songs on Cottonwoodhill; they are both a rather ho-hum affair. The real brillance on this disc is to be found throughout their 26 minute acid-fueled masterpiece, "Brainticket", the basis of which is a slightly varrying guitar/keyboard lock groove, kinda like Can at their most repetitive. Over this groove pulses all sorts of sound effects, such as machine guns, screams, gargeling, etc. Mostly, though, the overriding sound is their synthesizer, who, although not in the league of Klaus Sculze, nonetheless provides some very entertaining squawks, squeeks, beeps and drones, resulting is a very high-powered burst of aphetimene driven psychosis, dancable and meditative (but meditative in a disturbing, scary way).
But Brainticket the band doesn't stop there, and what really makes "brainticket" the song transcend ordinary greatness in pursuit of nutty brilliance is the voice of Dawn Muir. Sounding very Engish, she freaks out over the whole thing, recounting a very bad acid trip, doubting her exsistence, screaming her LSD-fueled insights, and just generally making a complete mess of herself.
...Suddenly you realize that the insanity is contageous, as the song stops, revealing a weird computer voice going "Brainticket Brainticket Brainticket" and you are left wondering just what the fuck is going on,just what is this I'm listening to? But then the song fades back in, and it's back to where we started...
Poor Dawn Muir, she sounds like a girl being dragged off towards a mental institution, and I wouldn't be surprised if she was still there. Because after this album, everyone in Brainticket freaked out, and only their keyboard player remained. While other Brainticket albums are interesting, none have the sheer grab you by the balls lunancy as witnessed all over Cottonwoodhill, the cover of which carries the helpful warning :
"Don't listen to this record more than once a day or your brain will be destroyed!"
Get it Here @ 256
Brainticket - 1971 - Cottonwoodhill
Sunday, September 16, 2007
The most underrated of Tyrannosaurus Rex's four albums, Prophets, Seers & Sages was recorded just six months after their debut and adds little to the landscapes which that set mapped out. There is the same reliance on the jarring juxtaposition of rock rhythms in a folky discipline; the same abundance of obscure, private mythologies; the same skewed look at the latest studio dynamics, fed through the convoluted wringer of the duo's imagination — the already classic pop of the opening "Deboraarobed" is further dignified by its segue into the same performance played backwards, a fairly groundbreaking move at a time when even the Beatles were still burying such experiments deep in the mix. But if the album itself found the duo rooted to the musical spot, still it delivered some of Marc Bolan's most resonant songs. The nostalgia-flavored "Stacey Grove" and the contrarily high-energy "Conesuela" were as peerless as any of Bolan's more feted compositions. Equally intriguing is the confidence which exudes from "Scenes of Dynasty," a successor of sorts to the last album's "Scenesof," but presented with just percussion and some strange vocal noises to accompany Bolan's singing — at a time when "singing" was maybe not the term a lot of listeners would employ for his vocals. The excited "one-two-three-four" count-in only adds to the dislocation, of course. Finally, the owlishly contagious "Salamanda Palaganda" offers a first-hand peek into the very mechanics of Bolan's songwriting. Other composers stuck for a rhyme either reach for the thesaurus or abandon the lyric altogether. Bolan simply made one up, and in the process created a whole new language — half nonsense, half mystery, but wholly intoxicating. Just like the rest of the album, in fact [Allmusic]
02. Stacey Grove
1 Sukoon 5:16
2 Arc of Ascent (Part One) 5:20
3 Kiff Riff 6:26
4 Garden of Essence 8:04
1 Sukoon (Reflection) 2:13
2 Shamsa (Sunburst) 3:24
3 Baraka 2:19
4 Arc of Ascent (Part Two) 3:50
5 Freedom Rider 4:19
6 Neelum Blue 4:52
Saddar Bazaar are:
Rehan Matthew Hyder: Guitars, Percussion, Kubing, Dholak & Agoual on "Shamsa"
Shaun Hyder: Sitar, Percussion, Kubing
Duff Dave Spencer: Dholak, Agoual, Tablas, Percussion
Terry Banx: Keyboards
Recorded at The Bunker, Bristol during the Summer of 1994.
Engineered by Bob Pierce.
Produced by Bob Pierce and Saddar Bazaar.
Artwork by Harvey Woodward
Stick two psych-crazed kids from Bristol in the studio with Bob Pierce, ex of '60s freak beat legends The Mirror, and the result is a haunting hybrid of transcendental ragas and psyched-out slide guitar. No syrupy tea'n'crumpets English whimsy here, no shimmering digital trickery, just the droning narcotic detachment of the Spacemen 3, the dynamic overdriven fuzz slide of Ry Cooder circa Ceyleib People and some sublime electric sitar. Third Ear Band for the 90s? Blues for Ghandi? Who the hell cares? Just keep taking the tablas boys. (Cliff Jones)
An unusual combo this new band from Bristol, with sitars, slide-guitar, tablas and all sorts of unpronounceable Indian instruments. Really, could you imagine Ry Cooder jamming in wth George Harrison's Wonderwall, or the sitar ragas of Popol Vuh combined with Rustic Hinge or Cul De Sac? Heady, far-out, totally instrumental. you'd never guess it was recorded summer last year! Nothing much more I can say really as I got spell-bound by it, and before I knew it the album was finished. Superb! (Alan Freeman)
Last time I heard Saddar Bazaar was when they played a support slot for the Bevis Frond in home-town Bristol some four or five years ago, and I must confess that at the time the only thing I remembered was how forgettable they were. And yet now, with all the grace and favour of the intake of a butterfly's breath, Saddar Bazaar have blossomed into an exotic and breathtakingly diverse instrumental outfit who successfully encompass mythology, restaurants and bean-bags in their search for the ultimate tabla d'hote. Far from being another of Dlerium's novelty acts, Saddar Bazaar are one of their most exciting, original and potential-filled signings to date. What's special about this band is the way they mix Western-styled slide guitar licks with their obviously Eastern instrumentaion, your sitars and dholaks and agouals and other assorted hot side dishes, together making for a heady mixture that's as textured as a tufed rug and just as comfortable to roll around on. "Arc of Ascent (parts 1 and 2)" and "Garden Of Essence" are probably the strongest tracks on here, the latter building to a hearty throb like a BSA at full throttle and splashing just as much oil around in the process, but Saddar Bazaar are right on target throughout and I'm more than happy to admit that I was entirely wrong about the band all along. I have no idea at all what kind of market this album will appeal to, but I like to think a large number of Terrascope readers will be intrigued enough to investigate it. Leave your preconceptions on you bedpost overnight and you won't be disappointed. (Phil McMullen)
British psychedelia at its most innovative!
Get it here @256
Saddar Bazaar - 1998 - The Conference of the Birds