MILES MARTIN FOLK GROUP 1971

One of the rarest UK folk private pressings new on CD. Recorded in '71 this ultra rare album was originally issued in minute quantity on the privately commisioned Amber label. This remastered CD edition enhances the trio's haunting sound of a mix of original and traditional tunes with beautifull flowing male / female vocals. Recommended to those apreciative of OBERON, MARIE CELESTE, etc.

Tracks :

01 Leaves that are green
02 Polly von
03 Kilfanora jig
04 Ye jacobites by name
05 Once i had a sweetheart
06 Fast freight
07 October song
08 I never will marry
09 Grandfather's clock
10 Geordie
11 Gone the rainbow
12 Sunday rainbow

DONOVAN - MELLOW YELLOW 1966

Mellow Yellow is the fourth album from Scottish singer-songwriter Donovan. It was released in the United States in March 1967 (Epic Records LN 24239 (monaural) / BN 26239 (rechanneled stereo)[1], but was not released in the UK because of a continuing contractual dispute that also prevented Sunshine Superman from a UK release. In June 1967, a cross-section of both albums was released as Sunshine Superman (Pye Records NPL 18181) in the UK. "Mellow Yellow" was the name of Donovan's hit single released the previous November.
The songs on Mellow Yellow represent a transition in Donovan's writing. Donovan's songs had previously illustrated his infatuation with an ability to define the mid-sixties pop music scene. On Mellow Yellow this is still evident in "Sunny South Kensington", "Museum" (originally recorded for the Sunshine Superman album and rerecorded for Mellow Yellow) and the title track, but is also tempered with world-weary observations of that scene ("Young Girl Blues"). The contractual problems that prevented the release of Donovan's music in the UK led him to write such songs as the resigned "Writer in the Sun", where he contemplates the possibility of his own forced retirement from the music business at age 20.

Mickie Most's production and the arrangements of John Paul Jones accommodate these two divergent traits of Donovan's songwriting throughout Mellow Yellow. The peppier songs feature a diverse selection of instruments similar to Sunshine Superman and helped make a top 10 hit out of the title track on both sides of the Atlantic. The introspective ruminations feature sparse instrumentation that highlights Donovan's guitar playing, singing, and lyrics.

On Mellow Yellow, Donovan gave a nod to his friend Bert Jansch on "House of Jansch", marking the third Donovan album in a row that paid tribute to the British folk personage.

It has been rumored that Donovan's friend Paul McCartney whispers the "quite rightly" part of "Mellow Yellow", but this is actually whispered by Donovan. It is possible that Paul was in the studio crowd heard cheering at the end of the song but it has been contested whether or not Paul was there at all.

Tracks :

1. Mellow Yellow (3:45)
2. Writer In The Sun (4:32)
3. Sand And Foam (3:21)
4. The Observation (2:25)
5. Bleak City Woman (2:26)
6. House Of Jansch (2:45)
7. Young Girl Blues (3:47)
8. Museum (2:55)
9. Hampstead Incident (4:44)
10. Sunny South Kensington (3:51)

LARRY NORMAN - SOMETHING NEW UNDER THE SON 1981

Although released in 1981, "Something New Under The Son" was recorded in 1976 and/or 1977. It was Larry Norman's intention to release this as a double album with "The Tune" on the second album (and a blank fourth side or a side with a lengthy version of "Watch What You're Doing"). "Something New Under The Son" is a very blues-related album; Larry Norman took lots of musical & lyrical parts from old blues songs and from Bob Dylan songs. The inner sleeve of the original album gives rather exact remakes of most of the pictures on Dylan's album "Bringing It All Back Home" (or "Subterranean Homesick Blues" as the album was called in several other countries).


The album comes with a printed inner sleeve. On this inner sleeve there's mention of a free record; this is the "Barking At The Ants" single.


The song order on the 8-track tape is very different.


The cassette re-release on Phydeaux includes (much) longer versions of "Hard Luck Bad News," "Feeling So Bad," "Leaving The Past Behind," and "Put Your Life Into His Hands." The intro of "Larry Norman's 97th Nightmare" is longer (Larry Norman doesn't start singing immediately after the second turnaround). "Watch What You're Doing" has a short spoken intro and an extra verse about Little Joe Billy. The extra track "Twelve Good Men" is a raw version which is rather different from the CD version.


On CD "Larry Normans 97th Nightmare" is called "Nightmare #97" and "Let The Tape Keep Rolling" is called "Let The Tape Keep Rolling ('69 bio version)." Apart from the titles, there are no differences. The piano intro of "Leaving The Past Behind" and the "bababa" intro of "Born To Be Unlucky" are missing. "Watch What You're Doing" has the "Little Joe Billy" verse but is without the spoken intro.


"Deep Blue" is basically the same song as on "Barking At The Ants" but it is longer and the ending is a bit different.


The second CD has all tracks re-balanced, re-equalized, etc. according to information on the Larry Norman website. Larry Norman's website shows the front cover with 1977 erased and 2003 added.


The Rough Mix cassette (there might be two slightly different versions) features (variations on) songs from "Something New Under The Son" plus some additional tracks. The cassette has been titled "Something New Under The Sun" (yes, with a 'u'), but "Rough Mix" is a more well known title. The song listing is given above, see Part II for some additional information ("Rough Mix #1, #2").


The UK albums have the "Little Joe Billy" version of "Watch What You're Doing" and there is no intro to "Larry Normans 97th Nightmare." "I Feel Like Dying" is listed but it's not there (it has been released on single in the UK). The piano intro of "Leaving The Past Behind" and the "bababa" intro of "Born To Be Unlucky" are missing. I have seen a discography which lists the SRA 1 version as having nine songs; I guess this must be a mistake.


The first UK release has green labels with handwritten song titles, the second UK release has the common Solid Rock labels (open mouth) and typeset letters. The covers of the UK albums are the same but they are a little different from the US version. There are no catalogue numbers shown; only the words "A Solid Rock Ruff Mix" are given. Both albums came with an insert which is almost the same as the US inner sleeve (but it doesn't include the "free record" offer; this was meant for US citizens only).


The LP from New Zealand features the US version except that it has the "Little Joe Billy" version of "Watch What You're Doing" with spoken intro and there's no piano intro to "Leaving The Past Behind" (the drum roll is shorter). "I Feel Like Dying" is not listed. The spine and the yellow labels show "Something New Under The Sun" instead of "..Son."

There's a 7" EP called "Radio Disc VII" (released on Word AD-6568T) with radio spots to promote LPs, including a 60-second spot for "Something New Under The Son."

This album was number eight in a series of fourteen albums, mentioned on the inner sleeve of "Something New Under The Son" (albums number nine through fourteen have not been released, see part II).


Tracks :

Hard Luck Bad News
Feeling So Bad
I Feel Like Dying
Born To Be Unlucky
Watch What You're Doing
Leaving The Past Behind
Put Your Life Into His Hands
Larry Norman's 97th Nightmare
Let That Tape Keep Rolling
Twelve Good Men (demo)
Deep Blue (rough mix)
It's Only Today That Counts (rough mix)

SMITH - A GROUP CALLED SMITH 1969

Basically a mainstream pop/rock band with hard rock and soul-influenced arrangements, Smith hit the Top Ten in 1969 with their drastically revised cover of the Shirelles' "Baby It's You." Featuring three lead singers and a B-3 Hammond organ, their strongest asset was their most frequent vocalist, Gayle McCormick, an accomplished female blue-eyed soul belter. Most of their material consisted of covers of popular rock and R&B tunes, and they broke up after a couple of albums, though the singles "What Am I Gonna Do" (co-written by Carole King) and "Take a Look Around" made the middle of the charts. McCormick had a couple small hits in 1971, and made a few albums in the early '70s as a soloist.

The 1995 CD reissue on the Varese Saranbande label of their 1969 debut album (LP Dunhill 50056) A Group Called Smith, adds five significant bonus tracks: the singles "Take A Look Around" and "What Am I Gonna Do," Gayle McCormick's solo singles "Gonna Be Alright Now" and "It's A Cryin' Shame," and Smith's version of "The Weight," which orginally was included on the Easy Rider 1969 soundtrack album, even though the Band's original version was the one used in the film.

Tracks :

1. Let's Get Together
2. I Don't Believe
3. Tell Him No
4. Who Do You Love
5. Baby It's You
6. Last Time
7. I Just Wanna Make Love to You
8. Mojaleskey Ridge
9. Let's Spend the Night Together
10. I'll Hold out My Hand
11. The Weight (Robertson,Robbie)
12. Take a Look Around
13. What Am I Gonna Do
14. Gonna Be Alright Now
15. It's a Cryin' Shame

LARRY NORMAN - ONLY VISITING THIS PLANET 1972

When Larry Norman recorded Only Visiting This Planet in 1972 for MGM at George Martin’s studio in London, there wasn’t place in the music industry for "Jesus Rock." MGM had no idea what to do with it. This meld of rootsy pop, gospel, and rock & roll songs sung about Christ had less than nothing to do with hymns, and was rejected by the Christian church at large at the time. In the 21st century, Norman is regarded as the “father of CCM” and that $450 million dollar a year industry, and this album is regarded by -CCM Magazine as "the greatest Christian rock record of all time." It’s ironic. Norman died largely broke in 2008. Only Visiting This Planet is the second part of a trilogy that included Upon This Rock (Capitol, 1969), that dealt with the theme of creation, and So Long Ago the Garden (MGM, 1973) about the world's redemption. This set (which ironically was the first one to be reissued) concerns itself with the Fall. All three albums have been remastered and reissued by Solid Rock Records, a label Norman founded -- he was well-known for his fiercely independent streak. The album is a masterpiece; one needn’t believe in God to enjoy it; it stands on its own as an enduring work of popular art.

Norman's studio band included bassist John Wetton, drummer Keith Smart from Wizzard, keyboardist Rod Edwards, and percussionist Roger Hand. These songs were expertly written and arranged, they spill across the rock, pop, and gospel spectrum, and were gorgeously produced. “I Wish We’d All Been Ready,” with its wash of strings and a backing choir, adds to the drama of Norman’s topic: the Rapture, when all Christians, living or dead, are prophesied to be reunited with Christ before the end of the world. Belief in this premise is not necessary: the song is delivered with such understated conviction and produced for maximum dramatic effect, that it’s deeply moving. The hard-rocking “Why Don’t You Look into Jesus” addresses addictive behavior amid snarling guitars, punchy drums, and popping pianos. The opening track is a mysterious broken love song called “I’ve Got to Learn to Live Without You” that drips with longing. “I Am the Six O’Clock News” is a straight-out rocker that reflects the irony in the media’s coverage of the Vietnam war. The acoustic ballad “The Outlaw” is a poetic narrative pondering Christ's life and death. There is biting social commentary in “The Great American Novel” that reflects Bob Dylan’s early work but, “Righteous Rocker #1” is payback: it’s a lyrical precursor to -- and was perhaps inspiration for -- “You Gotta Serve Somebody.” The album contains two bonus tracks, and is well worth checking out by anyone interested in genuine rock & roll classics. ~ Thom Jurek, All Music Guide

Tracks :

"I've Got To Learn To Live Without You"
"The Outlaw"
"Why Don't You Look Into Jesus"
"Righteous Rocker #1"
"I Wish We'd All Been Ready"
"I Am Six O'clock News"
"The Great American Novel"
"Pardon Me"
"Why Should The Devil Have All The Good Music"
"Reader's Digest"
"Oh, How I Love You"

LARRY NORMAN - UPON THIS ROCK 1969

In 1969 Norman returned to Capitol Records, now headed by Mike Curb, to honor his original 1966 contract with the understanding that he would have complete artistic control. Believing that "Kids just don't want to listen to God's empty songs anymore",in December 1969 Capitol released Norman's first solo rock album, Upon This Rock, "the first major label record to marry rock music with the gospel", "the Sergeant Pepper of Christianity",[3] widely regarded as "the album that first recruited rock in the service of salvation", later cited as being "one of the roots of the current Contemporary Christian Music"; and now considered to be the first full-blown Christian rock album". Upon This Rock, whose music was "a blend of folk, psychedelic, and rock influences", combined "street language and gritty imagery". In August 1970 he described the album as "simply ... twelve love songs to Jesus",[ whereas Don Cusic believes that "these songs tended to be darker than the early Christian cheerleader type of songs coming from other early Jesus music artists". In this album, "Norman brought a mixture of reverence and rebellion ... spreading word of an impending Judgment Day in the midst of war and moral decadence ... speak to the psychedelic generation without sacrificing their spiritual gravity". Believing that "Christian music could be powerful in its message yet relevant to the times", Norman explained his thinking behind the album in 1969:

"Upon This Rock" was written to stand outside the Christian culture. I tried to create songs for which there was no anticipated acceptance. I wanted to display the flexibility of the gospel and that there was no limitation to how God could be presented. I used abrasive humor and sarcasm as much as possible, which was also not a traditional aspect of Christian music. I chose negative imagery to attempt to deliver a positive message, like "I Don't Believe in Miracles" is actually about faith. "I Wish We'd All Been Ready" talked about something I had never heard preached from a pulpit as I grew up. "The Last Supper" and "Ha Ha World" used very surreal imagery which drug users could assimilate. My songs weren't written for Christians. No, it was not a Christian album for those believers who wanted everything spelled out. It was more like a street fight. I was saying to Christians, "I'm going to present the gospel, and I'm not going to say it like you want. This album is not for you."

Speaking to the magazine Contemporary Musicians, Norman later expressed his intentions and feelings about the record:

I wanted to push aside the traditional gospel quartet music, break down the church doors and let the hippies and the prostitutes and other unwashed rabble into the sanctuary, ... I wanted to talk about feeding the poor, going into the world.... I wanted the church to get active and go out and do what Jesus told us to do. I felt that while the hymns had great theology soaked into their lyrics, that most of the modern music was anemic and needed a transfusion".

Tracks :

"You Can't Take Away The Lord"
"I Don't Believe In Miracles"
"Moses In The Wilderness"
"Walking Backwards Down The Stairs"
"Ha Ha World"
"Sweet Sweet Song Of Salvation"
"Forget Your Hexagram"
"The Last Supper"
"I Wish We'd All Been Ready"
"Nothing Really Changes"
"Postlude"

BLUE - LIFE IN THE NAVY 1974

As the album cover well represents its band name "Blue", Life in the Navy is a nice returning album, which perfectly matches with it visual images; four members reflecting on the water. Indeed, it is more than just their 2nd effort, but the overall sound has noticeably changed. With help of Elliot Mazer, a well known producer for Neil Young, Blue recorded 2nd album in San Francisco and the result was fantastic-Scottish power pop meets Neil Young. Average White Band plays funk. Why not Neil Young? Life in the Navy can be regarded as a matured version of 1st album. Blue has released six regular albums, one compilation and a single so far.












Tracks :

01 Sweet Memories
02 Lonesome
03 Sad Sunday
04 Atlantic Ocean
05 Love
06 Max Bygraves
07 You Give Me Love
08 Big Bold Love
09 Mr Moon
10 Let's Talk It Over

THE HOLY MODAL ROUNDERS - VOL. 1 & 2 1964-1965

The Holy Modal Rounders were almost the very definition of a cult act. This isn't a case of a group that would be described by such cliches as "if only they got more exposure, they would certainly reach a much wider audience." Their audience was small because their music was too strange, idiosyncratic, and at times downright dissonant for mainstream listeners to abide. What makes the Rounders unusual in this regard is that they owed primary allegiance to the world of acoustic folk -- not one that generates many difficult, arty, and abrasive performers.
The Holy Modal Rounders were not so much a group as a changing aggregation centered around the two principals, Peter Stampfel and Steve Weber. When the pair got together in 1961, the intention was to update old-time folk music with a contemporary spirit. As Stampfel told Folk Roots in 1995, "The Rounders were the first really bent traditional band. And the first traditionally based band that was not trying to sound like an old record." They weren't the only musicians in New York thinking along these lines, and Stampfel and Weber contributed heavily to the first recordings by a similar, more rock-oriented group, the Fugs.
The Rounders began recording in the mid-'60s for Prestige as an acoustic duo. Even at this early stage, they were not for everybody. Although clearly accomplished musicians, and well-versed in folk traditions, they were determined to subvert these with off-kilter execution and strange lyrics that could be surreal, whimsical, or just silly. They outraged folk purists by simply changing melodies and words to suit their tastes on some of their cover versions of old standards; Stampfel once wrote in the liner notes that "I made up new words to it because it was easier than listening to the tape and writing words down."

THE HOLY MODAL ROUNDERS (1964) / THE HOLY MODAL ROUNDERS 2 (1965).

Both of the Rounders' first two Prestige albums are combined onto one disc on this CD reissue, with the addition of new historical liner notes by Larry Kelp. Even if you already have the records, this might be of interest for the inclusion of two previously unreleased 1964 outtakes, "Sugar in the Gourd" and "Soldier's Joy." Also, the second album has been resequenced by Stampfel, who was always dissatisfied with how the tracks were sequenced on the LP, to conform to running order that the band originally had in mind. Altogether, this is the prime document of the Rounders in their early folk days, simultaneously paying homage to and sending up traditional folk with guitar, fiddle, banjo, and slightly zany vocals. ~ Richie Unterberger, All Music Guide

This is a reissue of the first two Holy Modal Rounders records, resequenced according to the artists' original intent and including two unreleased songs from the time of the recording (1963-64). Perhaps the most earsplittingly original duo of the entire folk revival, the Holy Modal Rounders (fiddler-banjoist Peter Stampfel with guitarist Steve Weber) merged the raw energies of rock, traditional American folk, and blues in a weird, whimsical manner (later dunderheadedly termed "acid folk"). The Holy Modal Rounders performed screeching yet subtle versions of old numbers by the likes of Clarence Ashley, Vernon Dalhart, and Uncle Dave Macon, updating tunes like "Hesitation Blues" with a countercultural reference or two (their version of that song contains the first recorded usage of "psychedelic"). This is one of the coolest things about the Rounders--as Stampfel writes in the liner notes, their basic approach to an old tune was to "hear song, forget song, try to remember song while adding your personal wrinkles, bingo!" An irreverent wit pervades the disc, from pop-tune parodies such as "Mr. Spaceman" to their original folk-based songs (which were neither preachy nor ham-fisted--a true rarity in '63) such as "Blues in the Bottle" and "Hey, Hey Baby." The result not only sounds way less corny than anything else from the era, but hews much closer to the raggedly strange, sublime Americana sounds of Charlie Poole, Dock Boggs, and Charley Patton. --Mike McGonigal


Originally released on Prestige/Folklore (14031) and Prestige (7410). Includes liner notes by Peter Stampfel and Larry Kelp.

Out of lockstep with most of the early '60s folk revival, the Holy Modal Rounders remain one of the era's true treasures. Like their friends the Fugs and Michael Hurley--all less Greenwich and more East Village--they were intent on blowing up accepted notions of folk, and scoffed at their contemporaries' rarified treatment of traditional material. They often rewrote lyrics and melodies to reflect their own modern, proto-stoner outlook and sang everything in a nasal harmony that at times came nerve-rattlingly close to atonal. Indeed, the duo--originally banjoist-fiddler Peter Stampfel and guitarist Steve Weber--achieved infamy by being the first band to use the word "psychedelic" in a recorded song--in this case, their gonzo cover of the Charlie Poole standard "Hesitation Blues."
The Rounders could back up the outrageousness with impeccable chops--both instrumental and vocal--and an obvious love for hillbilly songs and spirit. HOLY MODAL ROUNDERS, VOL. 1 + 2 compiles their first two albums in one place, resequenced to reflect the band's original plan. The collection is a classic of freak Americana and features entertaining liner notes by Stampfel himself, as well as two unreleased tunes: "Soldier's Joy" and "Sugar in the Gourd."

Tracks :

1. Blues in the Bottle
2. Give the Fiddler a Dram
3. Cuckoo
4. Euphoria
5. Long John
6. Sugar in the Gourd (previously unreleased)
7. Hesitation Blues
8. Hey, Hey Baby
9. Reuben's Train
10. Mr. Spaceman
11. Moving Day
12. Better Things for You
13. Same Old Man
14. Hop High Ladies
15. Bound to Lose
16. Bully of the Town
17. Sail Away Ladies
18. Statesboro Blues
19. Clinch Mountain Backstep
20. Down the Old Plank Road
21. Black Eyed Suzie
22. Hot Corn, Cold Corn
23. Crowley Waltz
24. Fishin' Blues
25. Junko Partner
26. Soldier's Joy (previously unreleased)
27. Mole in the Ground
28. Chevrolet 6
29. Flop Eared Mule

FLEETWOOD MAC - THE ORIGINAL FLEETWOOD MAC 1971

THE ORIGINAL FLEETWOOD MAC comprises previously unissued material by the Peter Green-led late-'60s incarnation of Fleetwood Mac. (The band would go on to great commercial success in the 1970s with a different line-up). Though Green's Fleetwood Mac was rooted in the tradition of electric Chicago blues on the order of Muddy Waters and Howlin' Wolf, the group developed a fiery sound that also featured a solid dose of '60s psychedelic rock. Green's fleet-fingered leads soar through his distortion-heavy amp and are complemented by the slide guitar of Jeremy Spencer, and the gut-punch rhythms of Mick Fleetwood (drums) and John McVie (bass).

The material on THE ORIGINAL includes a number of cuts from the sessions for the band's first album, false starts, alternate versions, between-song chatting, and remixes. But the set is far from a fans-only collector's item; the material is uniformly strong, displaying the ensemble's usual blend of exacting musicianship (especially on the part of Green) and edgy, ragged energy. Trivia fact: The tune "Worried Dream," included here, is one of the band's earliest recordings with pianist Christine Perfect, who would marry bassist McVie and become one of Fleetwood Mac's primary singer/songwriters.

Tracks :

1. Drifting (Green)
2. Leaving Town Blues (Green)
3. Watch Out (Green)
4. A Fool No More (Green)
5. Mean Old Fireman (Crudup)
6. Can't Afford to Do It (Williamson)
7. Fleetwood Mac (Green)
8. Worried Dream (King)
9. Love That Woman (Leake)
10. Allow Me One More Show (Spencer)
11. First Train Home (Green)
12. Ramblin' Pony #2 (Green)

BANGO - BANGO 1970

This reissue of the lone 1970 album by some Brazilian Cream wannabes comes from the same good people who brought us the Love Peace & Poetry compilations of international garage and psych -- solid collections, but notable primarily for their peculiar cover art, vintage-looking photos of the same smiling, sensual blonde woman, equally pleased to be cavorting on sofas and on beaches. That an image of her grooming herself and making bedroom eyes at the photographer has no real connection with psychedelic Asian noise rock doesn't prevent it from being extremely effective at conjuring a specific and alluring nostalgia for a time that never was, a time when pretty girls rather than merely balding record-store habitués were totally into impossibly obscure garage-rock songs from the far East -- that such gems as Mogollar's "Katip Arzvhalim Yaz Yare Boyle" filled girls with an irresistible urge to shag wildly on the beach in their bikinis.

Bango is allegedly a much-sought-after rarity on the psych collector's market; presumably Brazilian psych-rock records didn't have as wide a distribution as, say, the Quicksilver Messenger Service, whose records provide one with a very similar sonic experience. The collector's aura and the international pedigree of this album shouldn't mislead anyone into thinking it's anything other than a run-of-the-mill psych record, however. Give the band credit for some creepy cover art -- four bleeding heads on a platter resting on the wings of an enormous vulture -- and for having mastered some rudimentary English, which they brandish on the "Proud Mary" knockoff "Rolling like a Boat." But don't expect anything revolutionary or surprising: Bango fulfills any expectations one has of the psychedelic-rock genre without ever transcending them. Os Mutantes this is not. That groundbreaking Brazilian band presented a dazzling mélange of stylistic influences held together by an irreverent and unpredictable sense of humor, impeccable and inventive musicianship, and memorable melodies. Whereas Bango's album consists of spirited but slightly inept recastings of familiar songs like Los Bravos' "Black Is Black" or the Outsiders' "Time Won't Let Me" into a different idiom. If you prefer "Motor Maravilha" to "Black Is Black," it's only because you've heard "Black Is Black" ten thousand times.

"Inferno no Mundo", which was included on one of the Love Peace & Poetry comps, is the best track here -- clumsy but searing blues licks played through overworked fuzz box while an organ churns relentlessly in the background. If it was sung in Swedish rather than Portuguese, you might think it was Dungen. The only other track approaching that level of inspired chaos is the sublimely titled "Rock Dream," which features Shaggsian drumming, an oozing guitar howl and some agitated shrieking from the lead singer (something about "music forward" instead of "plastic flowers" maybe?) over a monotonous lick that sounds like "Communication Breakdown" played at molasses-drip speed. Much of the rest is tame but pleasant: mid-tempo sunshine pop complete with tuneful harmonies. "Geninha" wouldn't be out of place on a Ripples compilation. "Marta, Zeca, O Padre, O Prefesi O Doutor e Eu" might be an engaging piece of whimsy, but it's impossible to know without a lyric sheet.

Aside from the humble pleasures of genre listening, of hearing unknowns execute a cherished musical formula, the only pleasures owning a disc like this can provide stem from it's rarity (you might impress other collectors with having found something like this out) and its exoticness (you might convince yourself something profound is happening because you can't really understand what it is). Both these pleasures are threatened by the eventual re-release of everything and the capacity the Internet furnishes to distribute everything everywhere. Collectors have their vinyl fetish to cling to but they can no longer pretend that it's the quality of the music that licenses their madness. With once-rare music like Bango demystified, those interested in music for the sake of music and not the sake of amassing artifacts will perhaps be less tempted to waste their time trying to imagine what some impossibly obscure curio sounds like and will put more effort into appreciating the brilliant music that is in plain view.

Tracks :

01. Inferno No Mundo (Hell In The world)
02. Mas Senti (But I Felt)
03. Rolling Like A Boat
04. Motor Maravilha
05. Marta, Z?ca, O Padre, O Prefeito o Doutor e Eu (Martha, Z?ca, The Priest, The Mayor, The Doctor and me)
06. Rock Dream
07. Geninha
08. Only
09. Vou Caminhar (Walking)10. Ode to Billy