TOUCH - STREET SUITE 1969

A local St. Louis, Missouri band. Only 100 copies of their album were pressed and the above two non-LP 45s were often given away free with it. We're talking an ultra rarity of the highest order here. There are a couple of pseudo-country tracks (Happy Face and Got To Keep Travelling On) but the rest is for the most part mindblowing psychedelia. The best of these are Catfish, with some bluesy psychedelic guitar work, andtwo social commentary songs, Get A Gun and Let's Keep The Children On The Streets, a song about the riotsof the sixties. Tiring of the pop and R&B scene, Touch were formed in mid-67, to create a more powerful fusion of psychedelic blues, and they quickly picked up support slots for acts such as Steppenwolf, Cream and Iron Butterfly, also playing at a Free festival with Big Brother & The Holding Co. and The Allman Bros in '68. (Fuzz Acid & Flowers)



Tracks :

1. Stormy Monday Blues
2. Round Trip
3. Day To Day Man
4. Light My Fire not rated
5. Lady Of The Universe (Unreleased)
6. The Magic Inside You (Unreleased)
7. Rainbow (Unreleased)
8. Happy Face
9. Beginnings
10. Get A Gun
11. Catfish
12. Got To Keep Travelin' On
13. Let's Keep The Children On The Streets
14. Motor City's Burning not rated
15. Gettin' Off

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DIAMONDHEAD - S/T 1972/73

Bob Yeazel played in the West Coast Pop Art Experimental Band in the 60, the Beast in 1970 and then went onto Sugarloaf. In 1972, Bob went into the studio with members of Diamondhead and Brother Son, two local Denver bands. The result was an unreleased album of material very much in the vein of Sugarloaf,Steely Dan and early Doobie Brothers.













Tracks :

01. When the Blues Come Walking
02. In the City
03. Crazy Man
04. Let's Have Some Fun
05. Love in the Morning
06. Strange Lady
07. Lady of the Night
08. No Name Singer
09. Poor Man
10. My Ship Is Coming In
11. This Laid Back Life
12. One That Got Away
13. This Is a Love Song

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TIDEWATER - WILD HORSE PLAINS 1976

An old vinyl LP called Tidewater by a country rock outfit called Wild Horse.
Plains. An 'Australian rarity' and quite pricy. Private press, Highly recommended.















Tracks :

A friend of mine
Ridin'
Wild horse plains
When I'm gone
Old Jo Lunch
I'm a dreamer
Ride the wagon
Freewheelin'
Jail train
Solitary rider
The sky fell down
You're tired
Wild horse plains reprise

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OTIS WAYGOOD BAND - SIMPLY OTIS WAYGOOD 1970

'Simply Otis Waygood' is a complex record. For starters the title is a paradox. Those of us who already had the first album with the famous black sleeve, and the accompanying hit single 'Fever' were used to a band with the full-length name The Otis Waygood Blues Band. On reading the title of the eagerly awaited second album, fans are invited to simplify the group name to "simply" Otis Waygood. Yet both the album sleeve and the record label credit the music to the long name of the band. Later on, the band finally managed to achieve the simpler name. The European singles on Decca from 1976/7 had nothing to do with blues anyway (see the Otis Waygood Band).

The record features exclusively the band's own compositions, with the minor exception of the closing song which is a traditional blues lament. It is interesting to speculate on the band's influences at the time. It seems almost certain that the band members' record cabinets held the works of Ten Years After, the Free and the Rolling Stones. This allows us to pinpoint the style of the album, which could fairly be named derivative English blues-rock. But by using unusual instrumental arrangements, such as acoustic and electric guitars with sax, harmonica and flute, the band nevertheless manages to achieve a personal identity, setting them clearly apart from their contemporaries.

LP Back Cover - click for bigger picture The black-and-white sleeve shows group members in various off-duty poses, amidst a random collection of press clippings, some of which can be indentified as coming from Salisbury, the band's home town (now Harare, in Zimbabwe). The photographer seems to have wanted to make the band look as ugly as possible, in keeping with similar marketing ploys by England's the Rolling Stones and the Pretty Things.

The album has a big heavy sound with awesome deep bass, but due to the lack of higher frequencies (treble) on instruments like the acoustic guitar and the drums, normal wear and tear becomes very audible and this makes the record oddly delicate. Even slightly worn copies will sound bad with the treble turned all the way up to compensate for the dull mix. This is a fair warning to collectors who are offered less than mint-condition copies. Further, the mixing is uneven and variable. The last song on side one is far louder than the other tunes, coming as a complete surprise. These level differences are easy to correct for when the album is transferred to a CD-R as a safety copy. The closing song on the album is markedly quieter and therefore also highly susceptible to wear and tear. This reviewer has not heard an unscathed copy, and digital restoration for private CD transfer proved a special challenge on this tune.

The music is amazing, the first long song 'In The Sun' having a relaxed feel, almost putting the listener into a trance right away. The weird pushing and pulling rhythm of the opening gives way to a easy going rhythmic backing allowing extended solos. There are not one but two false endings before the final finish.

The third tune on side one 'Feel It In Me' is a straight copy of a song from the Free's 'Fire and Water' album, with a similar slow groove under some relaxed singing with a wonderful girl chorus (We'd love to know who the girls are!). After the final verse the band seems to be in such a good mood they are unable to stop, continuing the riff seemingly forever. This piece shows how well these musicians are attuned to each other. It is extraordinarily difficult to play slow rock music that holds the listeners attention and Otis Waygood succeed admirably.

Autographs Standout track on side two is 'The Messenger', a six minute extravagaza allowing plenty of space for a wonderful flute solo, underpinned by a backing track of bass, drums and acoustic guitar. Finally a saxophone joins in the musical riot before a return of the closing verse and chorus, with the acoustic guitar dramatically switching speakers in the middle of the riff.

After this song the listener gets the feeling the album has ended. But then very quietly the final song starts off with a drone acoustic guitar and lamenting vocal. This is 'Sometimes I Feel Like A Motherless Child' which is superbly sung and delicately coloured by eerie distant flute playing. Free form drums come in about half way and change the mood from melancholic to threatening.

After so many years I can still listen to 'Simply Otis Waygood' for pure pleasure. There are short instrumental tunes and long solos for flute and guitar. The singing is soulful and honest. None of the band members are necessarily virtuosos on their instruments but together they grab the listeners attention.

'Simply Otis Waygood' is a fine record that I would not be without.
-- Bas Möllenkramer, 2000

Tracks:

1. In The Sun (L Sagar, R Zipper) [8.00]
2. Feelin' The Good (L Sagar, R Zipper, A Zipper) [3.20]
3. Feel It In Me (L Sagar, R Zipper) [5.30]
4. Have Some Fun (R Zipper, A Zipper) [2.56]
5. No Time People (Otis Waygood Blues Band) [5.56]
6. In Alan's Car (L Sagar) [2.52]
7. The Messenger (R Zipper) [6.34]
8. Sometimes I Feel Like A Motherless Child (Trad arranged R Zipper M Jackson) [4.08]

Bonus tracks on 2003 CD re-issue (from Ten Light Claps And A Scream):
9. A Madman's Cry (Otis Waygood)
10. Straight Ahead (Harry Poulos)
11. I Left My Skull In San Francisco (Otis Waygood)
12. Easy Way (Otis Waygood)
13. The Higher I Go (Rob Zipper)
14. S.H.a.K. (Otis Waygood)

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OTIS WAYGOOD BLUES BAND - S/T 1970

Excellent album from one of South Africa's best kept secrets, this is slow acid blues with amazing fuzz guitars and gentle passages with flute playing to die for. Long extended jams on certain tracks get heavier and heavier much like the way Grand Funk built on slower tracks like 'I'm Your Captain'. Co-incidently the album was produced by Clive Calder who also played keyboards with the band after working with said band. Tracks 1-9 are from the self titled debut while 10-12 are from the dark 1971 album 'Ten Light Claps and a Scream'. Highly recommended.









Tracks :

1. You're Late Miss Kate (Deefore/Hitzfield) [2.08]
2. Watch an' Chain (Trad arr. R Zipper/A Zipper/
M Jackson/I Rubenstein/L Sager) [4.33]
3. So Many Ways (R Zipper) [3.48]
4. I Can't Keep From Crying (Blind Willie Johnson) [6.03]
5. Fever (Davenport/Cooley) [4.21]
6. Wee Wee Baby (Trad arr. R Zipper/A Zipper/
M Jackson/I Rubenstein/L Sager) [2.50]
7. Better Off On My Own (R Zipper/A Zipper) [2.59]
8. Help Me (Willie Dixon/Ralph Bass) [5.01]
9. I'm Happy (R Zipper) [2.42]

Bonus tracks on CD re-issue (from Ten Light Claps And A Scream):
10. Devil Bones (Otis Waygood/Harry Poulos) [3.15]
11. You Can Do (part 1) (Otis Waygood) [4.20]
12. You Can Do (part 2) (Otis Waygood) [4.30]

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RAINBOW - AFTER THE STORM 1968

A rare psychedelic record from the 60s, in which this band called Rainbow pulls out all the stops. Part “Sgt. Pepper,” part San Francisco, part Mothers, “After the Storm” displays an exuberance and confidence that befits an era where even lesser talents felt they change the world. From the whimsical, carnivalesque “Debby’s Party” and “The Ballad of Captain Bob and The Good Ship Venus,” through the prog soul of “Love Allusion” and “Milk and Honey Lovin’.” There is also a game stab at “I Just Want To Make Love to You,” that kind of works, but maybe wasn’t such a good idea. So “After the Storm” is a mixed bag that was intended to be mixed. With its erratic variety of styles and sunny disposition, Rainbow ought to win over some fans, some 40 years too late. Relics like this are cool when they can deliver both nostalgia and some surprisingly good tunes.

Tracks :

Debby's Party
Ballad of Captain Bob & The Good Ship Venus, The
Love Allusions
Milk & Honey Lovin'
I Just Want to Make Love to You
Leaf Clover
Prelude to the Music Makers Concerto
Does Your Head Straightening?
Midnight Candle
Mary Lou
Everything's Cool
After the Storm

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[BY REQUEST] STONE THE CROWS - TEENAGE LICKS 1971

1971's 'Teenage Licks' (RIVERCD046 ***) was voted one of that year's best albums by several music papers and also consolidated Maggie Bell's status as one of the best female rock vocalists.

Ronnie Leahy replaced McGinnis on keyboards whilst Steve Thompson came in for the departed Dewar. Essentially this was a different band, but the funky blues rock continued.

If anything, there was a touch more rock 'n' roll on this album, and in places it has the feel of The Faces with a female vocalist.

'Mr Wizard' and 'One Five Eight' shows their ability to produce punchy riff-driven tunes within a five to six minute time frame whilst 'Seven Lakes' veers towards jazzy prog with more than a nod to Traffic.

These two albums are straight reissues of the originals, and it's a pity they couldn't have been bolstered with some bonus material or outtakes. This is, though, a minor gripe. These reissues will be a welcome replacement for dusty vinyl.
Review by David Randall


Tracks :

Big Jim Salter
Faces
Mr.Wizard
Don't Think Twice
Keep on Rollin'
Ailen Mochree
One Five Eight
I May Be Right I May Be W
Seven Lakes

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JARVIS STREET REVUE - MR. OIL MAN 1970

Official reissue of killer super rare Canadian progressive psych monster from 1970 with fuzzed out mayhem, weird effects, trippy songs and an ecology meets psych vibe. Kinda like a more intense and weirder Iron Butterfly. This Canadian reissue comes complete with eight bonus tracks from their unreleased second album !!

Tracks :

Mr. Business Man
Mr. Oil Man
20 Years
Sally's Hymn (Smoker's Funeral Song)
300-South
Heidi-Ho (Let Her Go)
Sweet Susan
Angela
Mr. Rock
Uncle Benny
I believe in freedom
Sweet Eyed Satin Lady
Better Thing To Do

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BOKAJ RETSIEM - PSYCHEDELIC UNDERGROUND 1968

Psychedelic Underground is an eccentric, soulful acid fuzzy rokin' essay that cearly prefigures a part of the krautrock movement. The freaked out instrumental sections get the highest interest here, nicely inspired and furiously savage with e-guitar crescendos, amusing keyboard arrangements. However these exciting, improvised moments are punctuated by silly vocals and a certain naivity. So bad introduces the album with a catchy, infectious, amazing psych-rock improvisation. It's over figures among the best pieces, providing a captivating, emotional buesy-rockin' effervescence. I'm so afraid is a druggy heavy rock piece with psych effects / interactions , always dominated by solid Hammond organ sequences. We can also feel the distinctive influence from classic 60's US psych-garage bands. Not a strong musical identity but an enthusiastic and energized psych-kraut trip that can easily ravish fans of the genre.
Review by philippe (Philippe Blache)

Tracks :

1.So Bad
2.Classic Bokaj
3.It's Over
4.Only a Child
5.Sad Bokaj
6.I'm So Afraid
7.Bokaj Retsiem
8.Bossa Bokaj
9.Pill
10.Something's Wrong With Bokaj
11.Drifting

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VAN ZANT - BROTHER TO BROTHER 1998

The group known as Van Zant consists of latter-day Lynyrd Skynyrd singer Johnny Van Zant and his ... Full Descriptionbrother Donnie, who, with their emotive, gritty blend of rock, blues, and earnest Southern boogie, pay tribute to their late brother, Ronnie. Featuring a tight, seasoned backing band and soulful harmony singers, BROTHER TO BROTHER proudly carries on the tradition of Southern rock.

Principally recorded at Quad Studios, Nashville, Tennessee.

Personnel: Johnny Van Zant, Donnie Van Zant (vocals); Jerry McPherson (acoustic & electric guitar, bazukie); Shane Fontayne (acoustic & electric guitar); Jim Peterik (acoustic guitar); Pat Buchanan (guitar); Chris Carmichael, Chris Pelcer (strings); Bill Cuomo (piano, Hammond B-3 organ); Mike Brignardello (bass); Greg Morrow (drums); Robert White Johnson (percussion, background vocals); Eric Darken (percussion); Chris Eddy, Tabitha Fair (background vocals).

Tracks :

Rage
Can't Say It Loud Enough
Show Me
I'm a Want You Kinda Man
Right Side Up
Brother to Brother
Livin' a Lie
That Was Yesterday
Downright and Dangerous
Black Bottom Road
Friend

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AARDVARK - S/T 1970

As far as heavy, vintage 1970 proto is concerned, Aardvark is just a few notches below the brilliance of likeminded contemporaries such as Atomic Rooster. I love that ominous Vincent Crane-like tonality that flavors many of the organ passages, and how the drumming sometimes threatens to dismantle the structures as things get wound up. Also tasty are the vibe sprinklings (ala Samurai) that color the more diffuse stretches on cuts like “Outing”. And it’s a pretty diverse offering, too, throwing in skewed boogie workouts (“I Can’t Stop”) amidst rockers like “Copper Sunset“, where they nail that raunchy guitar-tonality with their organ, evoking Quatermass. True, the vocals are somewhat less powerful than those of said colleagues, and the material isn’t always up to par. But tracks like “Many Things to Do” and “The Greencap” are eminently compelling, making this an album of considerable virtue in the annals of proto-prog.


Tracks :

1. Copper Sunset
2. Very Nice Of You To Call
3. Many Things To Do
4. The Greencap
5. I Can´t Stop
6. The Outing-Yes
7. Once Upon A Hill
8. Put That In Your Pipe And Smoke It

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TIN HOUSE - S/T 1971

It's difficult for me to be totally objective in reviewing this CD, as I was the recording engineer on the project. However, I do believe the "album" (that's what we called them back then) offers eome very interesing original songwriting and excellent guitar work by then-17-year-old Floyd Radford. There are a couple of lighter weight cuts - "I Want Your Body" and "30-Weight Blues" - but even these are well-played and have fine guitar solos. As for the production values, I guess it's even more difficult to be objective about those. But the recording was done in 1971, on 16-track analog tape and mixed to 2-track analog. There are very few special effects on the recordings - other than Floyd's pedal effects - as there were no "boxes" like phasers, flangers, digital delays, etc., available in "studio grade." But given those limitations, there are some interesting guitar and vocal effects, most produced by multiple-tracking of voices and guitars. Some delay echo effects were created using additional tape machines and commercial "plate" echo chambers. Overall, this CD is an example of a progressive rock trio from the early 70s that showed a lot of promise, but unfortunately, like so many others from that era, broke up and disappeared from the scene.
pweiss45 (Plainview, NY USA)

Tracks :

1.	I Want Your Body
2.	30 Weight Blues
3.	Be Good and Be Kind
4.	You've Gone Too Far
5.	Silver Star
6.	Personal Gain
7.	Jezebel, Give Me Your Lovin'
8.	Tomorrow
9.	Endamus Finallamus
10.	Lady of the Silent Opera

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KENNELMUS - BEYOND FOLKSTONE PRISM 1995

Unreleased material from 1969-74. It does contain the 45-only version of "Black Sunshine" with vocals, and this is a psych killer that must be heard. More unreleased material exists that has yet to appear.







Tracks :

A song for her
Alligator
Black Sunshine
Come sit next to me
Ice woman
I'll be your baby tonight
No reply
No way to treat your man
On the road again
Picken in a guitar
Plastic Shadow
The fool
What a way to end

Link : @

No Artwork...

PETER BARDENS - S/T 1971

Pete Bardens (June 19, 1944 - January 22, 2002) was one of the founding members of the British progressive rock group Camel, playing keyboards. Born in Westminster, South London, England, he often played the mellotron and synthesizer while working with the band, and wrote the majority of the songs while he was there (usually along with guitarist Andrew Latimer).

In 1965 he was the keyboard player with Them. Between 1966 and 1967 he was with the Shotgun Express, a group featuring Rod Stewart, Peter Green and Mick Fleetwood. His band Pete B's Looners (or the Pete B's) also included Green and Fleetwood.

He left Camel in 1978, and joined Van Morrison's band for the 1978 album Wavelength and the following tour, before he had a solo career that led him into electronica. In 1984 he was a member of Keats. During the late 80s and early 90s, he released a number of solo electronic albums including the moderately successful Seen One Earth in 1986. His first single from that album, "In Dreams", enjoyed heavy airplay on FM rock stations in the USA and Australia. In 1988 he followed this with Speed of Light, on which his long time friend Mick Fleetwood guest featured on several tracks on drums. "Whisper in the Wind" and "Gold" were released as singles in the U.S.

Bardens was diagnosed with a brain tumour in 2001. His last concert, subsequent to this diagnosis, was in Los Angeles in the summer of 2001. On stage with Bardens were John Mayall, Mick Fleetwood, John McVie, Sheila E. and Ben Harper. [1] Bardens died from lung cancer in Malibu, California at the age of 57.

Tracks:

1. North End Road 1:25
2. Write My Name in the Dust 6:34
3. Down So Long 7:00
4. Sweet Honey Wine 4:26
5. Tear Down the Wall 7:21
6. Simple Song 2:20
7. My House 6:17
8. Feeling High 5:08
9. Blueser 2:15

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RICHARD THOMPSON - BEFORE JOE COULD PULL THE TRIGGER

Richard John Thompson was born in Ladbroke Crescent, Notting Hill, West London, England. His father, a Scot, was by profession a Scotland Yard detective, and an amateur guitar player; several other family members had played music professionally. Whilst still attending William Ellis School in Highgate, he formed his first band "Emil and the Detectives" (named after a book and a movie by the same name) with classmate Hugh Cornwell, later lead singer and guitarist of The Stranglers, on bass guitar.

Although, like so many musicians of his generation, Thompson was exposed to and embraced rock and roll music at an early age, he was also exposed to his father’s collection of jazz and traditional Scottish music.[7] All these various styles were to colour Thompson’s playing in the years to come.

Joe Boyd: "He can imitate almost any style, and often does, but is instantly identifiable. In his playing you can hear the evocation of the Scottish piper's drone and the melody of the chanter as well as echoes of Barney Kessell's and James Burton's guitars and Jerry Lee Lewis's piano. But no blues clichés." [8]

By the age of 18 Thompson was playing with the newly formed Fairport Convention. It was Thompson’s guitar playing that caught the ear of American producer Joe Boyd. Largely on the strength of Thompson’s playing Boyd took them under his wing and signed them to his Witchseason production and management company. [8] [7]

Boyd: "And there was this group of very nice Muswell Hill grammar school boys and a girl playing American music. Leonard Cohen songs, and Richard Farina songs, and Bob Dylan songs, all being done in a kind of West-Coasty rock style. And then came the guitar solo, and Richard just played the most amazing solo. He played a solo which quotes from Django, from Charlie Christian, you know, an incredibly sophisticated little solo. And that really amazed me, the breadth of his sophistication... and so, you know, at the end of the gig I was in the dressing room saying 'would you guys like to make a record?'" [9]

Shortly thereafter Thompson, already acquiring a reputation as an outstanding guitar player, started writing songs seriously. This seems to have been out of necessity — Fairport Convention were essentially a cover band at first.

"I remember saying to Ashley after a gig, that I was kind of embarrassed about doing the material we were doing, because it seemed that we should have outgrown doing covers — even though it was only 1967 — it somehow wasn’t good enough and other bands were writing their own stuff and we should too. I remember being angry and saying to Ashley this isn’t good enough, we’ve got to get some original material... and stuff started to trickle through." [7]

By the time of Fairport’s second album, recorded and released in early 1969, Thompson was starting to emerge as a songwriter of distinction. As Fairport’s lineup and their sound evolved, Thompson continued to grow in stature as a player and as a songwriter with compositions like "Meet On The Ledge", "Genesis Hall" and "Crazy Man Michael".

In January 1971 Thompson announced that he was leaving Fairport Convention. His decision seems to have been instinctive, rather than a calculated career move.

"I left Fairport as a gut reaction and didn't really know what I was doing, except writing. I was writing stuff and it seemed interesting and I thought it would be fun to make a record. And at the same time — 70-71 — I was doing a lot of session work as a way of avoiding any serious ideas about a career." [7]

In April 1972 he released his first solo album Henry the Human Fly. The album sold poorly and was panned by the press, especially the influential Melody Maker magazine.[7] With time Henry has come to be more highly regarded, but at the time the critics' response hurt both Thompson and his career.[7]

By this time Thompson had struck up a relationship with the singer Linda Peters, who had sung on Henry the Human Fly. In October 1972 the couple were married, and Thompson, with Linda now effectively his front woman, regrouped for his next album and the next phase of his career.

Tracks :


Don't Renege On Our Love (R Thompson) 5:19
Back Street Slide (R Thompson) 4:26
Walking On A Wire (R Thompson) 5:14
The Wrong Heartbeat (R Thompson) 3:09
Shoot Out The Lights (R Thompson) 4:58
For Shame Of Doing Wrong (R Thompson) 4:15
I'm A Dreamer (S Denny) 4:09
Modern Woman (R Thompson) 3:09
Just The Motion (R Thompson) 6:14
Wall Of Death (R Thompson) 3:26
Jealousy (R Thompson) 2:25
Love Is Bad For Business (R Thompson) 2:46
How I Wanted To (R Thompson) 4:33
Small Town Romance (R Thompson) 3:36
The Wrong Heartbeat (R Thompson) 3:15
Wall Of Death (R Thompson) 3:21
Modern Woman (R Thompson) 3:24
Walking On A Wire (R Thompson) 4:46
You Need Someone (R Thompson) 2:40

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BETWEEN - AND THE WATERS OPENED 1973

In the liner notes guitarist Roberto Detree says that their ambition in making And The Waters Opened was not that different from that of the debut.The big difference was that band leader Peter Hamel had been to India many times and practically showered the band with the Indian approach to music and spiritual ideas.The first album Einstieg was occupied with experimental sound research as it were,while this album was occupied with the Arabic-Indian tradition.Peter Hamel said After the LP came out,we were told we were making music that did a lot of people good,that they used it to meditate,to relax,to heal themselves.Naturally we thought that was great!We were making New Age music before the concept existed.By the time it(New Age) did,we didn't want to have anything to do with it,because it often concealed an exremely low musical level,shallowness in a culture of purity. What i love about this record besides how spiritual it is,is how dark and haunting it often is. Journey To The Ixtland is very ominous with spooky sounds and percussion. 2 1/2 minutes in we get some flute-like melodies along with what sounds like violin screeches and pounding kettle drums. And The Waters Opened offers up more haunting music and humming sounds.After 2 minutes ethnic sounds take over.It comes to a dramatic head 4 minutes in as it gets very loud and experimental.As it settles down percussion comes in, and the tempo picks up a minute later.Congas 7 minutes in before what sounds like water a minute later over-runs the soundscape.Vocal melodies as percussion continues to beat.Strummed guitar and flute 9 1/2 minutes in. Uroboros opens with more ethnic sounds with this hum in the background.It gets kind of crazy 2 minutes in as all kinds of sounds can be heard.A melody then comes out of it with percussion.Vocal melodies followed by aboe as it gets an Indian flavour. Syn opens with waves of sounds as it feels like we are floating in deep,dark space.Yet i can see why this might be healing music.There is something about this that is moving my inner soul. Devotion is a catchy but soothing song with vocals.I was reminded of POPOL VUH.Percussion and ethnic sounds are joined by keys 1 1/2 minutes in.This is great! Happy Stage opens with aboe as flute,strummed guitar and percussion eventually join in.Some keys come and go.Strummed guitar and percussion dominate 9 minutes in. Samum opens with acoustic guitar that lasts a minute then percussion and aboe join in.It sounds like wind blowing before 3 minutes until it dominates the sound a minute later.This creates a very eerie soundscape.The final 2 tracks are bonus songs(as was the opening track).Kalenda Maya features aboe and percussion,while Former Times features some excellent flute with piano and percussion. Well i much prefer this to the experimental Einstieg, even if it's not nearly as adventerous as that one.This record just flows like the waters were opened.

Tracks :

1. And The Waters Opened (10:51)
2. Uroboros (5:33)
3. Syn (5:52)
4. Devotion (3:43)
5. Happy Stage (11:14)
6. Samum (5:36)

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HEAD & THE HARES - S/T 1992

The Origins of Head and the Hares date back to the fall of 1988 when Massimo di Gianfracesco, Andrea Roberti and Alessandro Cozzi Lepri decided to form a band. Along with two other members who have since been replaced, the Spookies were born.Originally inspired by compilations like Back from the Grave and 80s garage bands such as the Chesterfield Kings and Wylde Mammoths they began work on a set of originals and covers.
As time went on, they became more influenced by mid-60s garage bands from the US. Many bands from New England area were particular favorites and it was those bands which prompted a change in their sound, and name. In 1991 the Spookies became Head and the Hares in honor of the Massachusetts band of the same name who released one 45 in 1966. By this time Roberto Sarais and Diego Filippi had replaced the original Spookies members.
In early 1992 they made and inexpensive demo tape which included a cover version of a song by the original Head and the Hares "I Won't Come Back" as well as some original songs. A copy of this tape was sent to Dave Brown of Distortions Records(and Sandoz Lome!)fame for his opinion. Dave surprised the band by offering to release an EP of the material. Shortly thereafter , he decided that an entire LP would be more appropriate, and in the fall of 1992 the debut LP Head and the Hares was released on Moulty Records. This record was a brilliant blend of garage and folk-rock that captured the classic New England sound of the 60s.Mixing obscure covers with original material, this record is quite easily the best garage album to have come out in years! This record received many favorable reviews on both sides of the Atlantic.

Tracks :

Try To Forget
Tommorrow Never Ends
Get You
Love If You Can
A Message To Pretty
How She Was Good For Me
I Saw Erica
I Don't Know
From My Window
One Against The World
I've Been Told
Sorry
Feel A Whole Lot Better (bonus) (The Byrds)

Link : @

Artwork Included

There has been a mistake in the rar archive , i have mistakenly put a song by john denver in there ( It's a good song though ) , just delete the song and carry on...

STACKRIDGE - FRIENDLINESS 1972

Often billed as the West Country Beatles, this Bristol sextet started out of the local folk scene from there and developed quickly a strange presence on stage with the group using rhubarb leaves and dustbin lids as stage props and their strange cartoon-like characters described in their songs, a bit reminiscent of Gong’s Planet Gong. The debut album (recorded only as a quintet) is full of those very bizarre heroes, but let’s some real space for instrumental interplay often mixing their folk rock with symphonic instrumentation. By the second album, the again-sextet was building a healthy following in the club and university circuit.

Their fixation with the Beatles pushed them to require Sir George Martin’s services for their third album Bowler Hat, but although the group gained a better visibility, it was at the expense of the humour and group soul. This will cause such a rift in the band that even before the album got a release, only two members were left in the band. Having to rebuild the group, they got transferred to Elton John’s private label Rocket Records (still distributed by MCA) and in came Rod Bowkett (who will write most tunes on the new album) and Audience’s Keith Gemmel, which will change the sound of the band since they now have two wind players. The ensuing album Extravaganza returns to the madness of their first two albums with the second side simply mind-blowing. The group will again disintegrate and will reform with original bassist Crun Walter back in the fold and Dave Lawson (ex-Web/Samurai and then-Greenslade) as a guest. Their album will a full-blown concept album describing Mr Mick’s daily life and dreams.
Stackridge has reformed and released a few live album around the turn of the century.

:::: Bio written by Hugues Chantraine, Belgium ::::

Tracks :

1. Lummy Days (3:22)
2. Friendliness, Pt. 1 (2:30)
3. Anyone for Tennis (2:32)
4. There Is Not Refuge (3:24)
5. Syracuse the Elephant (8:47)
6. Amazingly Agnes (3:31)
7. Father Frankenstein Is Behind Your Pillow (3:36)
8. Keep on Clucking (4:04)
9. Story of My Heart (2:04)
10. Friendliness, Pt. 2 (1:55)
11. Teatime (5:49)
12. Slark* (4:46)
13. Everyman* (4:27)
14. Purple Spaceships Over Yatton* (6:39)

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Artwork Included

HARD MEAT - HARD MEAT 1970/THROUGH A WINDOW 1971

Hard Meat - Hard Meat / Through a Window CD. Reissue of both unsung early 70s psychedelic acid hard rock albums from this classic UK group. Both are solid albums from 1970 and 1971 that haven't suffered from crazed hyping over the years because the original album prices didn't shoot into the stratosphere. Good stuff! 16 songs here!

Tracks :

1. Through a Window
2. Yesterday, Today, Tomorrow
3. Space Between
4. Time Shows No Face
5. Run Shaker Life
6. Universal Joint
7. Most Likely You Go Your Way I'll Go Mine
8. On The Road
9. New Day
10. Free Wheel
11. Smile As You Go Under
12. I Want You
13. From The Prison
14. A Song of Summer
15. Love
16. The Ballad of Marmalade Emma and Teddy Grimes

Link : @

Artwork Included

EDEN ROSE - ON THE WAY TO EDEN 1970

Rare & Great French lp "On the Way to Eden" 1970. This album was made in a very spontaneous way, most of the time live in the studio located 10, Washington Street, Paris. The music performed here is close to a kind of instrumental blues-rock, quite typical of the period, and based on long developments mainly centred on Hammond organ sounds, influenced by Progressive rock. It was then issued in 1970 on the Katema label.

The album was recorded in Paris (Seine, France) at the studio located at 10 Washington Street in March 1970. Produced by Katema.

Tracks :

On the way to eden
Faster and faster
Sad dream
Obsession
Feeling in the living
Travelling
Walking in the sea
Reinyet number

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Artwork Included

GANDALF - GANDALF 2 (1968-1971)

Gandalf 2 never existed in its own time. Sundazed cobbled it together from strays when collector interest in their reissue of the psych band's '68 LP proved high. Smart idea: the sequel is the better record. For one thing, guitar/ vox Peter Sando was adept at crafting ornate, breezy pop gems, but only a couple of them made it onto the band's sole album, which was stuffed instead with covers. Eight of Sando's leftovers find their way 2, among them a folk inspired solo acoustic guitar/ harmonica mood piece, the spare and graceful Smokey Topaz. An elongated demo of Golden Earrings, which led off the official album, is of historical interest, as are three tracks recorded by Sando with the Barracuda, all written by Bonner & Gordon of Happy Together fame.

Tracks :

Bird In The Hand
Days Are Only Here And Gone
Smokey Topaz
Ladyfingers
No Earth Can Be Won
Bad Dream
I Won't Cry No More
The Dance At St. Francis
Julie (the Song I Sing Is You)
Over This Table
Golden Earrings
Tears Of Ages
Downbound Train

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Artwork included

KAYAK - SEE SEE THE SUN 1972

This is the first album (1973) from a great Dutch band. Wonderful music, one might call it symphonic rock. It has some resemblances with the first albums of Genesis and Yes. But the group certainly has his own style: a bit baroque, wonderful melodies and nice arrangements. Especially the voice of Max Werner (passionate and a bit "mean"), the high-pitched voice of drummer Ton Koopman and the wonderful melodies from the keyboards of Ton Scherpenzeel, (also the leader of the band and composer of most songs), are from a great quality and an outstanding beauty. "Lyrics", "Forever is a lonely thought" and the titlesong are the highlights from the highlights.

(fredgon)





Tracks :

Reason for It All
Lyrics
Mouldy Wood
Lovely Luna
Hope for a Life
Ballet of the Cripple
Forever Is a Lonely Thought
Mammoth
See See the Sun
Still Try to Write a Book
Give It a Name

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Artwork Included

LOST NATION - PARADISE LOST 1970

Don't let the cover of this obscure Detroit album put you off - it depicts the band behind a balustrade on whose lower wall is graffiti on a predominantly ecological theme, but this is no hippie-rock, or back-to-nature concept album. This is serious progressive rock, soundwise somewhere between Uriah Heep and Rare Bird - busy keyboards, strong vocals, neoclassical movements, and some excellent heavy guitar. Not strictly within the main thrust of this book, this quintet merit an entry for including Ron Stults, formerly of revered heavy garage kings The Unrelated Segments. Craig Webb also had a spell in Frijid Pink.
(info taken from http://orexisofdeath.blogspot.com/2008/06/lost-nation-paradise-lost-1970-us-heavy.html







Tracks :

Tall Ivory Castle
Rome
Little Boy
Images
Seven Minute Woman
Shadows Within You
She'll Take You
Falling Inside My Mind

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[BY REQUEST] ANDY BOWN - GONE TO MY HEAD 1972

Multi-instrumentalist Andy Bown has displayed tremendous versatility as a sessionman as well as strength and loyalty as a bandmember in several much-loved British combos. Yet on an existential level, his greatest importance might turn out to be as a sort of Achilles' heel for warriors whose battleground is the confusing mass of data concerning recording sessions and performing ensembles. Nobody would blame Bown, who no doubt came by his surname quite honestly. The real culprits are a series of British bassists named Andy Brown, one of whom played for a bandleader named Alan Bown, whose presence in the story is an additional irritant. Discographies that list Andy Bown as playing with Alan Bown are not correct; that was Andy Brown. But scan the discography of Andy Bown and there will always be a few titles that remain in debate. The Tim Hardin album Nine, for example, is one in which Andy Brown is credited with playing bass on some copies, against the wishes of scholars who believe it is really Andy Bown. Hardin's recording label, which sometimes required proofreaders to don blindfolds, has also given the credit to Bown on some editions, arousing a faction that believes it is really Andy Brown, although nobody can agree which one.

This, however, is not Bown's problem, and he deserves a biography free of brown-outs. He began piano lessons at the age of six, and throughout his career would return to the keyboards as the bedrock of his music. While he has been a full-time musician since 1964 and in a combo called the Preachers, Bown also has a background as an artist. He created advertisements for a circus, and worked as an assistant to an editorial cartoonist. Only one year after the Preachers began sermonizing, Bown was in the Herd, and playing alongside no less a rock-star-to-be than guitarist Peter Frampton.

The Herd was active through 1969, creating its masterpiece Paradise Lost the year before calling it quits. Bown's next venture was a seven-piece band that settled on the name Judas Jump, with some members betraying their previous allegiance to groups such as the Mindbenders to join up. The group had very little commercial success, which is not something that could be said of Bown's later gigs with the ear-shattering Status Quo and mind-boggling Pink Floyd. While the latter term is often applied to Pink Floyd's music, it is even more appropriate in terms of the extravagance with which the group was able to conceive projects, leading to opportunities such as Bown had. The same Pink Floyd that is able to ship four separate sound systems around during a tour came up with The Wall production, in which the efforts of a surrogate (or alter-ego) band was required. The job went to Bown, playing alongside guitarist Snowy White, drummer Willie Wilson, and keyboardist Peter Wood. This was one of Bown's bass gigs. He has appeared on many records as both a guitarist and keyboardist, as well as a producer. "Pictures of Matchstick Men," the Status Quo single considered by many listeners to be one of the great psychedelic rock recordings of all time, remains his most-played side. ~ Eugene Chadbourne, All Music Guide

Tracks :

Pale Shadow
Gone To My Head
And If My Love Wants To Know
P.S Get Lost
The Mourning Leaves
Open Your Eyes
Oh, James
Eventually
Etc...Etc
If It's All the Same To You
Please Remember Me

Link : @

Front cover only, sorry...

THE ILLUSION - TOGETHER ( AS A WAY OF LIFE ) 1969

By some standards, the Illusion were one of the most successful unknown psychedelic bands of their generation -- unknown, yes, but with three LPs to their credit on the Steed label. Their personnel included Michael Ricciardella (drums), Richie Cerniglia (guitar), Chuck Alder (bass), Mike Maniscalco (guitar, keyboards), and John Vinci (vocals). The Steed label released Illusion, Together, and If It's So between 1969 and 1970. Illusion was interesting enough to observers to merit a release in England in 1969. By 1971, the Illusion's albums were being sought by kids who'd never heard the band play. One of their songs, "I Love You," has made it on to compact disc. ~ Bruce Eder, All Music Guide






Tracks :

# 01 - How Does It Feel
# 02 - Happy Days
# 03 - Bright Eyes
# 04 - Don't Push It
# 05 - Once In A Lifetime
# 06 - Love Me Girl
# 07 - Lila
# 08 - Angel
# 09 - Peace Pipe
# 10 - Naked Blues
# 11 - Little Boy
# 12 - Together

Link : @

Artwork Included

JOHN DENVER - WINDSONG 1975

You can hear wind scraping over bare rocks and miniature plants of the alpine tundra, violently bifurcating through forests of coniferous trees, and you can feel wind swirling over the churning waters of a river, and you can see wind ripple and flow in waves through the deciduous leaves of aspen.

How would someone translate this invisible warmth into a song? John Denver begins by metaphorically expounding upon the strengths and human-like emotions and cries of the wind, announcing that the wind offers wisdom and to listen to her, finally culminating into an aural humming, representing the wind itself. It is a beautiful testament to the shifting and settling of air.

This is the original recording of the song, and John Denver re-recorded it twice in his later years (e.g. on the Very Best of album), taking advantage of newer and better recording materials. While these versions are like listening to Denver in surround-sound-super-stereo, and are almost more passionate in verse, the original track on the Windsong album will always be the first way original fans heard it. It commands more respect with its age.

Windsong, as an album, is filled with Denver's trademark layered-hums and drawn out singing styles that, I feel, make the songs more atmospheric and spiritual. This includes Cowboy's Delight, an almost haunting approach to mountains and the (to me) light that strikes them during different hours of the day. From the darkness of the Hour of the Wolf, to the dim outlines of the zodiacal light; the golden-pink bathing from the sunrise, and the noon sun sparkling off gold and muscovite, and biotite and garnets in granite, to fiery rocks in the sunset and purplish-pink lulls of alpenglow, to the silvery-blue moonshine or red-blue-silvers of starlight...

Also spiritual are Looking for Space, I'm Sorry, the pseudo-minimalist Spirit, and Fly Away (to a lesser degree). Your heart will soar at Calypso's plein-aire oceans and Love is Everywhere's upbeat folk/bluegrass fiddlin'! Shipmates and Cheyenne is a slower song with a beautiful chorus, Song of Wyoming is a calm end to the album (so calm, I can never recall the tune), and Late Nite Radio is a fun quirky truck-drivin' tune. As others have pointed out, Two Shots doesn't really belong here, but it's grown on me and I appreciate it for what it is. The song just starts off a bit too loudly.

Windsong is an immediate classic, with tracks that have unfortunately been released on many other albums...ones I got to first, so I feel this album isn't entirely new to me. But I sure wish I had been around when it was released. I would've done exactly what I do today: pop it in the tape-deck of my car, and drive off into the sunshine.
By Christopher S. Loucks "piano macabre" (Colorado Front Range)

Tracks :

Windsong 4:03
Cowboy's Delight 3:06
Spirit 3:37
Looking for Space 4:02
Shipmates and Cheyenne 3:29
Late Nite Radio 2:47
Love Is Everywhere 3:35
Two Shots 3:34
I'm Sorry 3:26
Fly Away 4:09
Calypso 3:39
Song of Wyoming 3:17

Link : @

Artwork Included

JOHN DENVER - HOME AGAIN 1974

This album was released when John was at the apex of his popularity, and the songs on this album served to propel him firmly into the stratosphere. From the comical "Thank God I'm A Country Boy' to the incredible smash hit "Annie's Song", John Denver showcases his incredible talents here. Denver almost single-handedly began the outdoor backpacking, hiking, and orienteering movements by popularizing the idea of nature as an important element in modern life, and more than a few of the young babyboomers, like John, were more than ready for the kind of unconventional intimacy with nature he sang about so effortlessly and so elegantly. From "Sweet Surrender" to "This Old Guitar'", Denver's songs soar in their description of the beauties of a simple and natural life and in being close to the "great wide-open'.

Denver also does an unusually good cover of "Grandma's Feather Bed", written by a friend by usually identified with Denver himself. Indeed, the simple and well arranged acoustic blast of infectious energy and sweet simplicity that was John Denver is here in spades, whether it be in original songs like "Matthew" or with covers of others' work, the kid who had adopted the majesty of Colorado for his setting and his inspiration sings simply, sentimentally, and superbly about the simple pleasures and undying verities of a homespun and simple life well lived. My special favorite here is "Back Home Again", and I always wondered why it (and also "Matthew") wasn't a bigger hit for John. Hearing John sing in his youthful enthusiasm about what turns him on is still a rare treat.

Tracks :

1. Back Home Again
2. On The Road
3. Grandma's Feather Bed
4. Matthew
5. Thank God I'm A Country Boy
6. The Music Is You
7. Annie's Song
8. It's Up To You
9. Cool An' Green An' Shady
10. Eclipse
11. Sweet Surrender
12. This Old Guitar

Link : @

Artwork Included