MARK FRY - DREAMIN' WITH ALICE 1972

Recorded in 1972 by teenage Englishman-in-exile (re: British art student in Italy) Mark Fry, Dreaming With Alice has long been a Grail to vintage psych-folk enthusiasts. That’s hardly a unique distinction; it seems like anything tracked between 1966 and ’75 by hirsute dreamers with acoustic guitars inspires big bidding among collectors.

Sunbeam Records is known for their loving reissues of the lost sides of yesteryear, but not all of them deserve such royal treatment. That isn’t the case with Dreaming With Alice, which is a thoroughly enjoyable slice of pastoral psych. Yet the disc’s most attractive quality is also it’s chief flaw — namely, Fry’s cloying credulity in matters metaphysical.

Through all the will o’ the wisp poetics and the fluttery arrangements, Fry maintains an honest likeability, which makes you wonder why he never managed to hitch his Glimmering Chariot to a Morning Star. (The answer to that query is revealed in the voluminous liner notes, which were penned by Fry himself).

The record rests somewhere between Donovan’s erotic mysticism and the woodsy romps of Comus. At the time of the album’s recording, there was a renewed interest in surrealism in Italy, and this influence can be felt throughout the record. Although it pretty much stays within the conventions of psych-folk, trace elements of prog can also be discerned. In fact, it’s not difficult to picture Goblin finding inspiration in Dreaming.

Fry was a handsome and talented lad, and it’s no wonder the Italian art cognoscenti took a shine to him. His boyish croon goes a long way towards selling the fantastical twaddle that makes up his lyrics. It’s gotta be tough to sound earnest while crooning about an albino albatross, but Fry somehow manages.

The finest song on the album comes early. “The Witch” covers all of the psych bases, employing flute, sitar, hand percussion and a minor key modality. “The witch is looking through my window / Her cold breath on the window pane,” Fry sings in what sounds like a hushed invocation to a summer’s eve succubus.

The esoteric musings continue apace. “Did you ever stumble on Satan’s smile or a Catholic saint’s confession / And life is like walking on an endless mile, each step another lesson,” he sings on the title track, which is split into eight sections and spread across the entire album. Each return is framed by gentle fingerpicking that sounds appropriately phantasmal.

It’s debatable whether or not the world needed another psych-folk reissue, but if so, Dreaming With Alice might as well be it. Rumor has it that Fry — who currently lives a painter’s life in rural France — will be recording again soon. Must be the season of the witch.

By Casey Rae-Hunter

Tracks :

Dreaming with Alice (Verse 1)
The Witch
Dreaming with Alice (Verse 2)
Song for Wilde
Dreaming with Alice (Verse 3)
Roses for Columbus
A Norman Soldier
Dreaming with Alice (Verse 4)
Dreaming with Alice (Verse 5)
Lute and Flute
Dreaming with Alice (Verse 6)
Down Narrow Streets
Dreaming with Alice (Verse 7)
Mandolin Man
Dreaming with Alice (Verse 8-9)
Rehtorb Ym No Hcram

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BIRMINGHAM SUNDAY - A MESSAGE FROM 1968

Originally released as a test pressing only, in 1968, on All American Recordings. Coming from Nevada, The Birmingham Sunday play an excellent folk rock with echoes of Jefferson Airplane. 30 years later, the sounds come out fresh as new, and the ten tracks go by fast, leaving a sweet and pure message. Highlighted by the psychedelic cuts You’re Out Of Life”, Egocentric Solitude” and Medieval Journey”. A superb album.

Tracks :

Egocentrick Solitude
Wondering what to Feel
Prevalant Visionaries
Your'e Out Of Line
Medieval Journey
Mr.Waters (The Judge)
Fate and the Magician
Peter Pan Revisited
Time to Land
Don't Turn Around

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MAXWELLS - MAXWELL STREET 1969

At the end of 1969 two things happened that would later trigger the beginning of the end of Maxwells:

All the band members were attending university. Lasse and Jørgen studying Law, Børge and Svend Åge Medicine, Lars Biology, Torben Literature and French, Kjeld Music at the Royal Conservatory and Niels Nuclear Physics at the Ørsted Institute, while Bent, 10 years older than the others, had finished his studies in English and History.
Everything had been going smoothly as they were able to adapt their studies to suit the band's activities but then Niels had to move to the Max Planck Institute for Radiology in Mülheim and stay there for more than a year. Furthermore Kjeld was told to stop his professional work immediately or he would be expelled from the conservatory and miss his degree as a first class solo trombonist.

The band never recovered from the loss of these two versatile members and although they tried with different additional personnel it never really worked as well as it had done before!
In 1970 the rest of Maxwells played a final concert at the Music and Light Festival in Skovlunde, North-West of Copenhagen, joined by Dan Nedergaard (trumpet) and Frankie Jackman (congas).
In these 7 years Maxwells changed from being a very popular pop rock band with all the trappings to a band that experimented with all the new things that appeared in these years. The long cascades of dada poetry mixed with absurd snippets taken out from conversations in daily life were never recorded. Neither were the long collective improvisations of up to 45 minutes as played at the "Montmartre" Mondays.

Reactions to the band ranged from raving, delirious enthusiasm to wrath and anger over psychedelic art, twice resulting in smashed furniture and the band getting beaten up. Being a forerunner always has its price - just think of Stravinsky, who had to escape through a window to flee the threatening mob at the first performance of "Le Sacre de Printemps" in Paris in 1911! But it was worth it!

Today, Jørgen Werner works as a chartered accountant/counsellor of law, Børge Mortensen is a parish clerk at the Royal Church of Holmen, his brother, Svend Åge, is the chief anaesthetist of the heart transplantation centre at Rigshospitalet, Lars Bisgaard is a school teacher, Niels Harit is a professor of Nuclear Physics at the Ørsted institute and still plays in big-bands and occasionally as a soloist on records. Torben Enghoff is a composer and leader of a quartet playing classical and contemporary repertoire. Kjeld Ipsen has been touring the world with various artists such as Gloria Gaynor and still works in big-bands. Since 1970 Lasse Lunderskov has been working as an actor with growing success. He played a strong character as Onkel Leif in the Danish dogma film "The Celebration" and has appeared in many TV programmes. Lunderskov still plays guitar in his own band "Rootbeat" and works as a theatre and film composer and as a songwriter. Bent Hesselmann has toured Europe with Rainbow Band and Midnight Sun and Denmark with various groups and theatres as a band leader and occasionally as an actor. He mainly works as a theatre and film music composer. Together with Lunderskov he has written two books on the electric guitar and electric band equipment: "Beat Guitar" and "The Book on Electric Instruments". Lunderskov and Hesselmann are also both board members of the "Danish Songwriters Guild".
(http://www.longhairmusic.de/maxwellsenglish.htm)

Tracks:

Esther
Free to Be
Make It Brake It
- Beni Riamba
Maxwell Street
What's a Smock
What Did She Do ?
Flower Powder
Memories Of Lorca
Biafra

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JAN & LORRAINE - GYPSY PEOPLE 1969

"If I had my life to live over, I wouldn't be anyone else but me," Jan & Lorraine enthusiastically proclaim on "Break Out the Wine," the opening track on the duo's sole release, 1969's Gypsy People. The pair's origin is obscure, and although the set was recorded in London, slotting neatly into the contemporary British folk-prog scene, their accents tell another tale, with some evidence now suggesting they hailed from Canada. The duo certainly exuded a New World exuberance, particularly on the rollicking "Wine" and the ragtime rave-up of "Old Tyme Movie." The childlike delight that wraps around "Number 33," the soulfulness of "Foolin' Myself," and the intensity with which they deliver both "Life's Parade" and the acid-laced "The Assignment Song-Sequence" are also far removed from the usual fare found at an English fayre. And it's the intensity of the multi-instrumentalist pair's delivery that sets Jan & Lorraine apart, with the women attacking both their vocals and guitars in particular with absolute gusto. There are, however, decidedly British elements leaking into the set as well, notably the orchestral strings that wrap around "Bird of Passage" and the sitar and tablas that shade the title track. Although supported by a clutch of guest musicians, Jan & Lorraine still asserted their independence. In a day when women artists had little control over their music, the pair not only penned the bulk of the set, they arranged it all. And it's here the duo truly excelled, for the use of instrumentation is inspired, each song carefully crafted to create maximum effect. The whistles, kazoo, and jazzy piano that capture Hollywood's yesteryear, the subtle use of organ to build up the excitement of "Song-Sequence," the pulsing bassline that floods "Wine," and the otherworldly atmosphere they create on "Gypsy People" all highlight the strength of the duo's sound and vision. Like the Gypsies themselves, the pair's past was shrouded in mystery, and once they packed up and left, their future destination was equally unknown. But Jan & Lorraine left behind a stunning, fiery album, as thrilling and exotic as a Gypsy dance. ~ Jo-Ann Greene, All Music Guide

Tracks :

Break Out the Wine
Bird of Passage
Gypsy People
Foolin' Myself
Old Tyme Movie
Life's Parade
Snow Roses
Assignment Song-Sequence, The
Number 33
Don't You Feel Fine?

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FLAIRCK - DE GOUDEN EEUW 1996

FLAIRCK are a Dutch ensemble formed by Erik Visser, an Indonesian-born acoustic instrumentalist with classical training and a strong interest in many forms of world music. The band released their first studio album ‘Variaties Op Een Dame’ (Variations on a Lady) in 1978, and has issued more than two dozen studio, live and compilation releases since then.

The band incorporates a number of world influences in their work, which has been described as chamber music but which actually features many styles including classical, folk, jazz and blues, as well as Eastern European and Celtic traditional music. The band primarily performs original compositions, and has worked with a number of renowned world music artists including Georges Moustaki, Nelleke Burg and Dimitri van Toren. The group has also recorded and performed with numerous symphony orchestras and has contributed scores for film, stage and ballet.

Visser and the other band members have a strong interest in obscure and exotic acoustic instruments, and have amassed a collection of more than 150 wind, string and percussion instruments, many of which are used in their studio recordings and live performances.

The band celebrated their 25th anniversary in 2002 with the release of a multi-disciplined DVD dedicated to the Dutch painter Hieronymus Bosch. The video features original scores by the band as well acrobatics, detailed views of Bosch’s work and interviews of various band members. Visser took advantage of a hiatus by the band in 2003 to release a solo work entitled ‘One Man Parade’.

FLAIRCK are a classic example of a progressive musical collective with wide-ranging influences and a constantly evolving sound.

Tracks :

1. Ouverture (5:17)
2. De Heren van Zes Weken (5:17)
3. Adieu (3:12)
4. De Afvaart (3:14)
5. Windstilte (4:43)
6. De Houtenbenendans (2:30)
7. Taveerne van de zeven zeeën (2:31)
8. De Verkrachting (2:07)
9. Zwart was de nacht (3:42)
10. Terra Incognita - Lied van Toeval (6:41)
11. Regen (2:49)
12. Lied van de Wolven (3:25)
13. De Rechtzaken (3:39)
14. Aankomst in Holland (3:14)
15. Finale (2:48)

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DON MCLEAN - TAPESTRY 1971

Famed for -- and ultimately defined by -- his perennial "American Pie," singer/songwriter Don McLean was born October 2, 1945, in New Rochelle, NY. After getting his start in the folk clubs of New York City during the mid-'60s, McLean struggled for a number of years, building a small following through his work with Pete Seeger on the Clearwater, a sloop that sailed up and down the eastern seaboard to promote environmental causes.

Still, McLean was primarily singing in elementary schools and the like when in 1970 he wrote a musical tribute to painter Vincent Van Gogh; the project was roundly rejected by a number of labels, although MediaArts did offer him a contract to record a number of his other songs under the title Tapestry. The album fared poorly, but Perry Como earned a hit with a cover of the track "And I Love Her So," prompting United Artists to pick up McLean's contract. He returned in 1971 with American Pie; the title track, an elegiac eight-and-a-half-minute folk-pop epic inspired by the tragic death of Buddy Holly, became a number one hit, and the LP soon reached the top of the charts as well.

The follow-up, "Vincent," was also a smash, and McLean even became the subject of the Roberta Flack hit "Killing Me Softly With His Song"; however, to his credit -- and to his label's horror -- the singer refused to let the success of "American Pie" straitjacket his career. Subsequent records like 1972's self-titled effort and 1974's Playin' Favorites deliberately avoided any attempts to recreate the "American Pie" flavor; not surprisingly, his sales plummeted, and the latter release even failed to chart. After 1974's Homeless Brother and 1976's Solo, United Artists dropped McLean from his contract; he resurfaced on Arista the next year with Prime Time, but when it too fared poorly, he spent the next several years without a label.

McLean enjoyed a renaissance of sorts with 1980's Chain Lightning; his first Top 30 LP in close to a decade, it spawned a Top Ten smash with its cover of Roy Orbison's classic "Crying," and his originals "Castles in the Air" and "Since I Don't Have You" both also reached the Top 40. However, 1981's Believers failed to sustain the comeback, and after 1983's Dominion he was again left without benefit of label support. McLean spent the remainder of his career primarily on the road, grudglingly restoring "American Pie" to his set list and drawing inspiration from the country market; in addition to a number of live sets and re-recordings of old favorites, he also returned to the studio for projects like 1990's For the Memories (a collection of classic pop, country and jazz covers) and 1995's River of Love (an LP of original material). ~ Jason Ankeny, All Music Guide

Tracks :

1. Castles In The Air
2. General Store
3. Magdalene Lane
4. Tapestry
5. Respectable
6. Orphans Of Wealth
7. Three Flights Up
8. And I Love You So
9. Bad Girl
10. Circus Song
11. No Reason For Your Dreams

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BUCKINGHAM - NICKS 1973

Buckingham Nicks is a 10-track LP by Stevie Nicks and Lindsey Buckingham.The album, produced and engineered by Keith Olsen, was recorded in 1973 for Polydor Records, right after Buckingham and Nicks disbanded theirlong-time band, Fritz. It was released that September and proved to be acommercial failure. The album has since gained cult status. It was reissued in1976 when Buckingham and Nicks hit the big time with Fleetwood Mac. Itshould be noted that Nicks' name is misspelled as "Stevi" on the record.

A short tour through the American south commenced after the release of the album; Buckingham and Nicks had already joined Fleetwood Mac, but the band was still committed to the dates that were scheduled. Bootlegged concert recordings have recently surfaced on fan-sites and on peer-to-peer trading sites of two concerts in Tuscaloosa and Mobile. These tours featured early performances of Rhiannon, Sorcerer, and Monday Morning. The touring band consisted of Tom Moncrieff on bass (who later played bass on Nicks' first solo album Bella Donna), Bob Aguirre (from Fritz) on drums, and Gary
"Hoppy" Hodges who played drums on the album. Moncrieff and Hodges later formed the band Sinai 48 with a new singer-songwriter duo in 2006, marking the first reunion of any members since disbanding, aside from the continued collaboration of Buckingham and Nicks.

Despite the enduring popularity of both of its key contributors, the album was never officially released on CD. Bootlegs dubbed from vinyl have circulated since the late 1980s. It has become one of the most requested titles for CD release. In 2003, Rhino Records announced the album's pending release as a deluxe CD with bonus tracks; however, the CD was never released. Buckingham and Nicks share ownership of the album. Two of the album's ten songs have been issued on CD so far. "Long Distance Winner" was released as part of Nicks' "Enchanted" box set, and "Stephanie" turned up on a promotional only CD release by Buckingham entitled "Words and Music (A Retrospective)." Another song from the album, "Crystal", was recorded by the revamped Fleetwood Mac for the group's 1975 breakthrough LP, Fleetwood Mac, and was also recorded by Stevie herself for the soundtrack to the 1998 film Practical Magic. "Don't Let Me Down Again" was rerecorded by Fleetwood Mac for their live album, and "Frozen Love" was performed several times during the tour to support the Fleetwood Mac album.

On an interview on WRLT 100.1 Nashville (9/11/06), Buckingham has expressed an interest in the album seeing the light of day on CD. He also suggested the possibility of a future joint Lindsey Buckingham-Stevie Nicks tour in the next few years to support the re-release. Buckingham-Nicks backing musicians Tom Moncrieff and Gary Hodges have also expressed interest in reuniting with Buckingham and Nicks in a possible future tour.

Tracks :

1. "Crying in the Night" (Nicks) - 2:48
2. "Stephanie" (Buckingham) - 2:12
3. "Without A Leg To Stand On" (Buckingham) - 2:09
4. "Crystal" (Nicks) - 3:41
5. "Long Distance Winner" (Nicks) - 4:50
6. "Don't Let Me Down Again" (Buckingham) - 3:52
7. "Django" (Lewis) - 1:02
8. "Races Are Run" (Nicks) - 4:14
9. "Lola (My Love)" (Buckingham) - 3:44
10. "Frozen Love" (Nicks, Buckingham) - 7:16

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THE AULD TRIANGLE - THE AULD TRIANGLE 1978

A pearl in the folk, long forgotten but extremely beautiful and rare. Never been issued on cd , this copy is a vinyl rip. It has the same sound as PeterPaul and Mary at their best years... A beautiful female vocal...
Dedicated to our friend copycatkid , I didn't found it on any other blog so, DUDE, please get a copy and keep sharing this one. Enjoy !

Tracks :

The Old Miner
Do You Love an Apple
The Wee Room
No Mans Land
Saturday Cowboys
Ryebuck Shearer
May and Might Never
Now I'm Easy
Coal Black Faces
Leaving Nancy
B.U.D.G.I.E

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[BY REQUEST] SAGA - HOMO SAPIENS 1975

Just a few know this album and this Portuguese band (no it's not a 'various artists' records), commanded by the keyboard player José Luis Tinoco.

01. 6º Dia Synthesizers, the small travel is begun. In a few seconds we have the frantic and intricate rhythm of the base that takes the song that opens the disc. They follow the vocal ones, of abridgement importance to the disc, be able to be strange the Portuguese accent of beginning, but accustom quickly and soon it becomes a delight to the ears. Distinction to a bear Zé Da Ponte (yes, also I found the name strange). The fact of being sung in all is eaten by me in a coral, with many voices, it makes the strong and very melodic track. The vocal feminine ones help in this factor. The letter is an adaptation of José Luis Tinoco for one poem of Peter Tamen. Melodically the track opens divinely the album and shuts José Luis Tinoco in in energetic way with the trio (when) they (were) (keyed), Zé D the Bridge (bass) and Fernando Fallé (battery), the trio base of the whole disc.

02. Filius Domini, Filius Hominis In the face of the frantic final rhythm of the 1st trak ‘ Filius Domini, Filius Hominis comes slow and long-suffering, the vocal serious and strong masculine (unfortunately I am not absolutely sure of the one who is the voice open to question, but suppose to belong of Carlos Rodrigues) gives a morbid and sad tone to track, this complete feeling for the saxophone of Rão Kyao. Again the best the line of bass of Zé Of the Bridge. Excellent song!

03. Hiroxima The third track, according to the name announce, it comes prophetic, with crashes and the distressing and stifling narrative of Sinde Filipe, counting ‘ powders-bombs ‘. The end is an invitation to the thoughts: “ To your side someone asks: My God, whom we did? … ” That's right! …

04. Canção Do Imigo The syncopated rhythm of the 1st track seems the beginning of this one and next it continues with subtlety, bringing vocal feminine similar to that of “ The Great Gig In The Sky ” of the PINK FLOYD, however in different style and in quite short passage. Little after 2:20 the vocal principal sings accompanied only by guitars, and again loaded of sadness and solitude since the whole concept is somewhat sad. The letter was built by parts of poems of Sá De Miranda and Bernardim Brook.

05. Invasão Quick sentence of keyboard, followed the synthesizer and the best bass. While the vocalizations give the melody, narrations intersperse the verses giving the prophetic tone what the disc needs. Again the vocal ones do with what you ready total attention, stopping everything around. Finish so the side A of the disc (be remembered, it the question be a digipack).

06. Guerra The horses of war begin to run and the synthesizer is loaded by them in the introduction when the 2nd part of the album is giving beginning so. The letter is an assembly with the poem War of Nicolau Tolentino, sung on an urgent base ‘ jazz of night club ’.

07. Carta Emotion on the surface of the skin I would say. There is felt the power of the words and of the interpretation here. There is not how not to be terrorized (and even to hear again) the final passage.

08. No 20º Aniversário Da Morte Do Poeta Beautiful symphonic beginning and while beginning the vocal principal to the track becomes a calm, however, for a short period, next the refrain, like if the people were speaking. Again José Luis Tinoco composed a beautiful melody, and of this time for the letter it was based on a poem of B. Brecht.

09. Aprendiz De Feiticeiro Again the vocal multiple ones are very quite arrived, opening way for the quick and urgent verses that insert them. To complete the urgent saxophone of Rão one annexes to the intricate base to close the music in great style.

10. Dunas To close in great style one of the pearls forgotten the Progressive world-wide Rock we have Sinde Filipe reciting a pretty text of Carlos De Oliveira soon followed a pretty subject of piano, bass, saxophone and the already known vocal ones, closing so this masterpiece.

Unfortunately a band of an alone disc (like so many other excellent directions), but I am glad what has been given by the friend Nuno with this reprint, which the distinction not to be obtained that the disc deserves what at least gives a chance for which new listeners discover it.


Review by Diego

http://progshine.com/artistas/letra-s/saga/resenhas-homo-sapiens/

Tracks :

01. 6º Dia [5:51]
02. Filius Domini, Filius Hominis [2:19]
03. Hiroxima [2:37]
04. Cantiga de Imigo [3:52]
05. Invasão [3:55]
06. Guerra [5:43]
07. Carta [1:11]
08. No 20º Aniversário da Morte do Poeta [3:26]
09. Aprendiz de Feiticeiro [4:39]
10. Dunas [4:15]

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ALAN HULL - SQUIRE 1975

Best known as the co-founder, leader, and principal songwriter of the Newcastle folk-based rock band Lindisfarne, Alan Hull also pursued a successful career as a solo performer, specializing in original songs. At one time, amid Lindisfarne's early successes, Hull was being hailed as the most innovative songwriter since Bob Dylan, and although Lindisfarne's subsequent albums didn't remotely achieve this level of promise, his solo material was consistently strong. Hailing from Newcastle, where he was born in 1945, Hull took up the guitar as a boy, and became a member of the band the Chosen Few alongside keyboard player (and future Ian Dury alumnus) Mickey Gallagher, in 1962. That band, which specialized in Tamla-Motown covers, was signed to Pye Records for a time and Hull first emerged as a songwriter of considerable promise within their ranks, generating some very strong original numbers including the single "Today Tonight and Tomorrow." Hull exited the group in 1966 and gravitated toward a more folk-oriented sound in his playing, singing, and songwriting, which brought him into a band called Downtown Faction, who eventually evolved into Lindisfarne; he supported himself one year by working as a nurse at a mental hospital, before Lindisfarne came together. As author of many of their most popular songs as well as one of their principal singers, Hull came to be regarded as the de facto leader of the group, which may have contributed to its splintering in 1973. He recorded solo albums periodically beginning with 1973's Pipedream on the Charisma label, which included the services of second-generation Lindisfarne guitarist/keyboardman Ken Craddock as well as original members Ray Jackson and Ray Laidlaw. His second album, Squire, was released in 1975 by Warner Bros., while his third, Phantoms (1979), was done for Elton John's Rocket Records label.

At its best, Hull's songwriting featured fluid, deceptively catchy, and pleasing melodies, and rich, deeply evocative phrasing and imagery. His "Fog on the Tyne" remains a classic, a Dylanesque account of life in Newcastle in the late '60s, and he has also written in a more popular vein, with songs such as "Run for Home" (which, with its achingly beautiful chorus, ought to have been an international hit), which sounds almost more like Bruce Springsteen than Bruce Springsteen did. In 1994, he recorded Back to Basics, a live all-acoustic survey of the best of his songwriting from 1970 onward. On November 17, 1995, while working on a new album, Hull died suddenly of what was determined to be a heart thrombosis. Lindisfarne has continued to perform in the years since, and recordings of Hull's have continued to surface from various sources, including radio performances going back to the early '70s. ~ Bruce Eder

Tracks :

1. Squire
2. Dan The Plan
3. Picture
4. Nuthin' Shakin'
5. One More Bottle Of Wine
6. Golden Oldies
7. I'm Sorry Squire
8. Waiting
9. Bad Side Of Town
10. Mr. Inbetween
11. The End
12. Crazy Woman (Album Version, UK Single Version)
13. Carousel

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