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Here’s the original cd from Seven Little Indians with the beautiful red velvet digipack and golden engraved artwork (limitied 500 copies with 4 extra songs and photo’s) Maybe 5 or 6 known copies of this of this demo release (200 made) of a New Jersey band. A Fantastic concept psych beauty. 3 girls and 1 guy. They tried to get attention from big labels but this never happened. They wanted him to sound like Blood Sweat and Tears. But this wasn’t Greg’s idea of music. The music has everything you need, like a wild version of early Moby Grape combined with New Dawn and C.A.

Quintet, sometimes dreamy sometimes totally wild underground-psych, with female vocals and splattering leads, titanic guitars and distorted guitars. Sweet tunes turn into dark psychpower!!!!! Personnel: SHARON BARTON MAUREEN DEIDELBAUM GREG RUBAN CHERYL SIMPSON Produced, arr.Composed by GREG RUBAN Greg Ruban, the composer and front-man of victoria recorded this album just before he had to go to Vietnam. When he returned from War, he took his unreleased album on a 3 month trip to Europe on a motorbike to promote it, but unfortunately that did not work out at all. The album was unreleased until only a few years ago. A very rare live bootleg of Mazzy Star. Mazzy Star was a dream pop/alternative band formed in 1989 from a band called Opal, a collaboration of guitarist David Roback (of the eighties Paisley Underground group Rain Parade) and bassist Kendra Smith (of Dream Syndicate fame).

They were later joined by Smith's friend Hope Sandoval as the vocalist. Kendra Smith soon left the band. Mazzy Star is probably best known for the song 'Fade Into You,' which brought the band some success in the mid-1990s and was dream pop's biggest mainstream hit (it was later sampled by Richard X for his song 'Into You' featuring Jarvis Cocker). Roback and Sandoval were the creative center of the band, with Sandoval writing most of the lyrics and Roback composing most of the music. Listen to dreamful voice of Hope, and feel the spirit of mazzy star live. ALBUMS: 1(A) CYRUS (Elektra 74105) 1971 2(B) ISLANDS (Elektra?) 1973 The former Modern Folk Quintet member and voice of Zodiac Cosmic Sounds recorded these solo albums in 1971 and 1973.

Cyrus was recorded in Los Angeles with the help of the members of the jazz group Oregon, David Crosby, Cass Elliot and various sessionmen. It's mainly composed of introspective folk rock with some oriental influences and very religious lyrics (Softly Through The Darkness, New Beginnings, Kingdom). Springtime Bouquet is an electronic score composed by Alex Hassilev. Recorded in 1973, Islands is presumably in the same style. Faryar can also be found on recordings by Fred Neil, Mama Cass and the Stone Poneys and he sung one track for the soundtrack of 'Last Summer' produced by John Simon. He even produced some albums by the Firesign Theater.

In the early seventies, Faryar moved to Hawaii where he produced some local groups like Country Comfort. (Stephane Rebeschini). An obscure singer/songwriter from Ontario, or maybe a group leader, who signed a solo recording contract to release the above album. His songs in general are overproduced by Roy Dykhof, with orchestral (horn and string) arrangements by Roger Grevel.

Although there are some good guitar leads here and there, the result is an unimpressive pop/rock sound, comparable to the British artist Barry Ryan. There are two longer tracks: Passages and Rays Of The Sun, produced by Sebastian himself, with real rock backing (gtr, bs, drms and piano) by his friends (or his real group?), that are outstanding! The first starts slow and melodic and then quickens in pace; the second is mid-tempo. The mood is psychedelic with piano breaks and excellent guitar leads.

These two tracks really are worth a spin. Ruth Copeland (feat.

Parliament) - Gimme Shelter_The Invictus Sessions Track Listings 01. Prologue: Child Of The North 02. Thanks For The Birthday Card 03. Your Love's Been So Good To Me 04. Music Box 05.

Silent Boatman 06. To William In The Night 07. No Commitment 08.

I Got A Thing For You Daddy 09. Gift Of Me 10. Crying Has Made Me Stronger 12. Hare Krishna 13. Suburban Family Lament 14. Play With Fire 15. Don't You Wish You Had (What You Had When You Had It) 16.

Gimme Shelter Two very rare funk-soul albums (on one disc) which George Clinton's Parliament were the backing band as Ruth Copeland was an integral part of the early 70's band. Copeland effortlessly blends soul, funk,blues, psychedelia and acoustic material onto these albums.

The second album 'I Am What I Am' had an incredible version of the Stones classic 'Gimme Shelter'. ~ Freak Emporium Rare funky work by Ruth Copeland -- a Detroit-based female rock singer, but one who worked with George Clinton on a number of her tracks -- giving her albums a hard funky sound that's right up there with early work by Parliament or Funkadelic! The CD features both Ruth's albums for the Invictus label -- Self Portrait and I Am What I Am -- the former of which has great work by Clinton, who also wrote a number of the songs.

Titles include 'Your Love Been So Good To Me', which starts with a very fuzzy electric break, and 'I Got a Thing For You Daddy', which has some great spacey guitars on the intro! Other cuts include 'Child of the North', 'The Medal', 'Gimme Shelter', 'Play With Fire', 'Hare Krishna', 'Suburban Family Lament', 'No Commitment', 'A Gift of Me', and 'The Music Box'. Midnight Juice 03.

Hellhound 05. Earthlight 06. Sweet Little Angel 07.

Listen to the Walls Here's a hard to find psychedelic free-for-all.a favorite of mine although you need to be in a certain mood to fully appreciate it. Fans of Captain Beefheart would probably like this one! -Lanchester Here's the review from lysergia: Geez, ever heard the phrase something is 'an acquired taste'? Well, it's certainly an applicable description for the Boston-based Far Cry. An early entry to the horn-rock sweepstakes, this seven piece outfit was signed by the short-lived New York-based Vanguard Apostolic Records, and the band's self-titled debut teamed them with producer Daniel Weiss. Imagine Blood, Sweat and Tears locked into a closet with Captain Beefheart and Quicksilver Messenger Service's John Cipollina. Largely original (the lone exception being a cover of Riley King's 'Sweet Little Angel'), the album featured a strange blend of jazz, fusion and psychedelic rock moves.

While it may not have sounded particularly promising, the combination of styles was actually intriguing. Whiting's bizarre and wild voice (on tracks such as 'Shapes' and 'Hellhound' it sounded as if he were about to suffer a terminal stoke), Martin's free form sax (sometime it sounded as if he were reading the charts for a different song) and Lenart's fluid guitar (check out the introduction to 'Earthlight') made for an album we play on a regular basis. Hi mushroom-eaters. This one is more rare than my mother's fotos with bikini. So GET IT!!!! ORACLE: Nataraja Da Nada (Paradise Lost US 1989 ) The Oracle Speaks (24:18) a.

The invocation b. The proclamation c. Don't hold your breath The awakening (24:00) Please walk with me through the tangled web that surrounds this LP, as the rewards that await on the other side are generous. For instance, how many LPs do you own that are made by a 300 pound redneck biker that calls himself 'Rameshwar'? But let's begin at the beginning. Around 1990, a Texan record dealer and occasional impressario named Darryl Menkin distributed this LP among the psych-head underworld. Information on it was limited, but Menkin himself was listed as 'executive producer' on the sleeve, and the recording was stated as having been made in West Virginia.

It appeared to be a modern release of a contemporary psych group. Except that this band didn't look like the Blacklight Chameleons - they looked like they had wandered out of the time-space continuum at a Lynyrd Skynyrd concert in 1975 and hadn't found their way back to earth until 1989. And the record didn't really sound like a modern psych band either - to begin with, it was insane. The potential cloud of confusion was made flesh when Darryl Menkin, and others with him, unexpectedly started referring to the LP as a 'reissue' of an LP from '1976' - the original of which noone had ever seen. This information made its way into various record lists and eventually into Ron Moore's admirable 'Underground Sounds' book, which is where I first spotted it. Fast forward to Spring 2002.

I've just received a tape of Oracle's 'Nataraja da nada' and am listening to it in headphones. I hear it based on the assumption that it is a rare private press from 1976, because I don't yet know what is described above.

The tape has the album sides reversed, beginning with 'The awakening' which is side B. This turns out to be another fortunate mishap, as 'The awakening' is the stronger trip of the two. About 1 minute into the track I'm upright in my chair, having sunk into a couch potato pose after listening to half-ass psych all day.

I mean, this sounds like the real thing; the basement fidelity, the acid guitar, the murky drumming. Then when the vocalist opens his mouth I'm practically on my feet. What the hell IS THIS?

It sounds like the missing link between Sky Saxon & James Brown, with a thick redneck accent to boot. The lyrics are obscure, but what I pick up spells 'L'-'S'-'D'. About halfway through the track the trio takes off for the Andromeda Galaxy, a 10-minute space guitar jam with echoes of Manuel Gottsching and Terry Brooks, before Rameshwar the vocalist reappears to send a final transmission back to the Solar system. No coincidence they called their recording shack 'The Sponge' - there must have been liquid acid running down the walls in there. All must bow before the almighty Rameshwar. Over on the reverse side is 'The oracle speaks', another 24-minute trip which I'm pretty certain was recorded in a lysergic state - there's no other way to explain the strange wave-like in/out-of synch drumming. Beginning with ghostly whispers of Sanskrit the piercing Voice appears again to intone the LP title, before setting off on a bizarre imitation of rootsy garage rock interspersed with crude acid guitar leads.

Less musically appealing than 'The awakening', we are nevertheless treated to some great anti-social lyrics wherein Rameshwar explains, in the way a Hell's Angel might, that noone should even think about changing his way of living, not the Government or even Mr President - Don't hold your breath! That's about it.

A conceptual tribal basement acid space guitar trip that is as good as anything I've heard from a modern - as I believe them to be - psych band. It's not for everyone, but heads who enjoy Ya Ho Wha 13 LPs can find comfort in the fact that there were freaks as flipped out as Yod's guys 15 years later, right in the middle of the Reagan-Bush American heartland. Black Fuzz 02. Crashing Into Amethyst 03.

Intoxicated Red Illusions 04. When A Flower Dies 05. The Last Woman On Earth (lyrics by Del Rivers - music by Dagwood McFadden and Del Rivers) 06. Fall Of The Queen (Destiny's Children) 07.

No Good Without You (Stevenson) 08. We're Nevermore (Coming Home) (cover song) 09. The Other Side (cover song) 10.

Song Of A Baker (cover song) Formed in 1988 by Dagwood McFadden. Members consist of one man - Dagwood. He writes all the material, plays all the instruments, records and mixes all of the songs. Recorded and released 23 full length albums (325 + songs) since 1990. After releasing self-produced albums for 9 years, formed a live version of the band in 1999 with Rick Cona of The Chesterfield Kings and Dave Anderson of The Projectiles and The Riviera Playboys.

Toured the NE US summer of 1999 (Geno's in Portland ME, CBGB'S ijn NYC, The Midway in Boston, The Bug Jar in Rochester))- disbanded in September 1999. Dagwood returned to recording as the 'one man' band and 7 more full length releases followed, and will never stop being made until he croaks.Also played drums on the new album by Sky Sunlight Saxon (of The Seeds) and his new project called Green Forrests. Recorded in Rochester at Saxon Studios with guests Dave Anderson of The Riviera Playboys and The Projectiles, Rick Cona of The Chesterfield Kings and Dave Anderson Jr. Of The Lost Marbles. Mid-60's Garage Punk Rock Spunk Records SP-008 Supernova Spunk Records SP-023 ------------------------------------------------------------------------------------------ 1999 Another Chick Induced Dream Spunk Records SP-11:11. ------------------------------------------------------------------------------------------ 2000 Allison Crow Is Dying Garage-Pop Records GP - 09 ------------------------------------------------------------------------------------------ 2001 McFadden's Parachute Garage Pop Records GP - 13 ------------------------------------------------------------------------------------------ 2002 Paisley Orange Triangle Spunk Records SP - 311.

------------------------------------------------------------------------------------------ 2003 Black Fuzz Jargon Records JAR - CD0301 Far - Out - Fisa Jargon Records JAR - CD031001 Supernova Jargon Records JAR - CD0302 ------------------------------------------------------------------------------------------ 2004 Sweep Out The Brainfog Jargon Records JAR - CD - 0404. ------------------------------------------------------------------------------------------ 2005 McFadden's Parachute Rochester, NY 3 Disc Anthology - No Label Not For Sale - For Promotional Purposes Only ------------------------------------------------------------------------------------------ HAMMERDOWN Promo Copy Only No Label Yet, Shopping For One ------------------------------------------------------------------------------------------ Resources: home.rochester.rr.com/wls1/McFadden.html I would really appreciate it if anyone could share some more of McFadden's material. Thanks in advance. Gary Higgins Personnel: DAVE BEAUJON bs A JAKE BELL gtr, vcls A TERRY FENTON organ, piano A GARY HIGGINS vcls A PAUL TIERNEY flute, mandolin, vcls A MAUREEN WELLS cello, vcls A ALBUM: 1 RED HASH (Nufusmoon WMI 3673) 1973 R1 NB: (1) reissued on CD.

Connecticut electric folk/rock of a very high standard - it even approaches territory at times on tracks like Thicker Than A Smokey, Telegraph Towers and I Can't Sleep At Night. Produced by Higgins and Chico Carillo, the LP came with a lyric sheet. (Clark Faville/Stephane Rebeschini). JOy of cooking Initial release: 1971 Capitol 661 The debut Joy Of Cooking album. Tracks Hush (Traditional arr. Garthwaite and Brown) Too Late, But Not Forgotten (Brown) Down My Dream (Brown) If Some God (Sometimes You Gotta Go Home) (Brown) Did You Go Downtown?

(Garthwaite) Dancing Couple (Brown) Brownsville / Mockingbird (medley) (Lewis / Brown / Garthwaite) Red Wine At Noon (Brown) Only Time Will Tell Me (Brown) Children's House (Brown) Musicians Terry Garthwaite - guitar, clarinet, lead vocals Toni Brown - keyboards, steel guitar, kalimba, lead vocals David Garthwaite - bass, giuitar Fritz Kasten - drums, alto saxophone Ron Wilson - congas, harp, cowbell, tambourine. This late, lamented, early-'70s band from Berkeley exemplifies what sociologists call emergent properties: They combine rock, folk, jazz, Latin, blues and country elements into a whole that exceeds the sum of its parts. In going beyond their musical antecedents in this manner, they would appear to have something in common with a certain upstate New York resident of our acquaintance:-). They enjoy historical as well as musical significance, moreover--their gender-integrated, female-fronted organizational structure is generally considered to have been innovative for its time.

Wanda Lavonne Jackson was born in 1937 in Maud, Oklahoma, a small town about fifty miles southeast of Oklahoma City. Her father played piano in bar bands and worked whatever odd jobs he could find, which weren't many in the Dust Bowl during the Depression. So in 1941 he loaded up the family and headed for California and a better way of life. The family settled in Bakersfield.

Wanda first learned to sing in a church gospel choir. She learned to play the guitar after her father bought her one in 1943. Wanda practiced incessantly. As her mother later said, 'Wanda wasn't like other children after the guitar came into her life.' The Jackson family moved back to Oklahoma City in 1949 when Wanda was 12-years-old. While attending high school, Wanda won a talent show at a local radio station.

Her prize was a daily fifteen-minute radio program. 01 - Time 02 - Children Of Tomorrow 03 - My White Bicycle 04 - Times To Remember 05 - Second Production 06 - The World In My Heart 07 - Flames 08 - Shades Of Autumn 09 - Blue Day 10 - Time (Alternate Version) 11 - The War Machine 12 - Evil Woman Some time ago, this album appeared in the UK via many best-known pstch / prog / beat music outlets. The label hails from Bremen, Germany, and it it was immediately obvious that FJ didn't know much about the band they had 'scooped' for this release. Apart from track listings that made up this album, all that we are told by FJ is that 'tracks 1 - 3 performed by The Shivering Span' (sic), 'tracks 4 - 12 performed by Leviathan' (the compilers of this platter must have seen the 'Psychedelic Dungeon' boxed 7' set which features two songs by the Mike Stuart Span: the booklet which accompanies the package reproduces an old music paper article on the band's appearance in the film 'Better A Widow'. It describes the how the four musicians were performing a number in Hyde Park for the benefit of the cameras - in mid-December, wearing nothing warmer than their paisley shirts! The heading for it was simply 'Shivering Span' which gives you some idea how much research was done for this LP!). What the LP doesn't tell you is that these tracks were culled from the band's singles, a Radio One session and also some unreleased acetates.

This album is a pretty shoddy affair and with a little bit of care and effort they could have turned into a very nice release, but whoever did the cover (and pointless insert) should stick to painting by numbers. Praetorians Download Italy Music. All that aside, the music is excellent; the Span / Leviathan wrote and performed some of the most distinctive progressive / psych sounds of the era and anyone who has a copy will no doubt play it again and again. So, what better way of talking us through the contents of the album can there be other than hearing it from someone who was there at the time?

Gary 'Roscoe' Murphy, the drummer with Mike Stuart Span / Leviathan, will now give us a guided tour: Time (John Peel session version): Not as strong as the single version, technically not so well engineered. Note: complete with Simon & Garfunkel ending!

Simple, pleasant and melodic Children of Tomorrow (John Peel version): Far superior to the ultra-rare 45 version on the Jewel label, however, perhaps lacks the raw excitment of the original My White Bicycle (again from the Peel session): Pleasant, strong melody and a possible commercial re-release. Stands up wellby modern standards, and one of my favourites from the LP Remember The Times: Our first single as Leviathan, comercial, driving music, well engineered with good vocals. This is one that I enjoyed playing live immensely Second Production: One of the strongest songs - very '60's lyrics and strange percussive rhythm. Almost ethereal quality solo - far too short! The unreleased Decca version is far superior - the solo is out of this world, and could be earmarked for private release World In My Head: Fairly simple melody and lyrics which builds up to a good solo.

This was good to play live, but doesn't transfer to vinyl 100% succesfully Flames: My own personal favourite of all time (from our own material that is) - well engineered and played: one of the most 'theatrical' numbers. Brian is at his best and shows excellent guitar skills.

The faded ending, however is not for effect and, sadly, shortened purely to fit on the album. There are several other versions of this and they're all good Shades of Autumn (Peel version): The correct title of this should be 'Through The Looking Glass'. More instrumental than vocal; some excellent guitar passages by Brian, with many rhythm and mood changes. Very enjoyable to play and listen to Blue Day: As the title suggests, very blues-orientated. Whilst it features Roger on a brilliant bass solo, this is not overall the best version around. Musically somewhat mediocre - the alternate version has more drive and harder wah-wah guitar throughout which strengthens the whole performance, and, while the bass solo is omitted, it reaches a much more professional climax Time (Alternate version): Much nicer; better recorded and an altogether fuller sound.

Still lacks, in my opinion, either brass or string accompaniment. Moving, sincere lyrics. Somewhat disappointing ending though The War Machine: Now we're really talking; a very strong number. Very pleasing effect, drums superbly recorded (and played I might add), star vocal appearance by yours truly! A very satisfying production; unusually contrasting guitar solo which works admirably well. Probably the best-recorded and most original song on the whole album Evil Woman: This was an attempt on at putting down a 'live' track, which doesn't fully come off; what might work in a club or a concert venue loses something during the recording - probably atmosphere and a lack of an audience.

Musically quite rewarding but just lacks that magic spark. So there you have Gary's feelings on each of the tracks on this bootleg, but what does Gary think of it as a whole? Gary: Overall, the album is a good representation of Leviathan's collective talents at songwriting and musical ability: where it fails is in presentation and poor quality recordings. By bootleg standards however, the cover is not too bad, but the insert is less pleasing and does nothing to enhance the finished product. I'd liked to have seen some more information and photos of the band included.the track listing hasn't been well thought out either, and could have been divided almost equally into the singles and non-singles on sides A and B. Rather than repeat 'Time' a more obvious choice would have been 'Concerto of Thoughts' (B-side of the Jewel 45) or perhaps 'Just Forget Tomorrow', B-side of the last Leviathan single on Elektra, which is one of the best suited to Stuart's vocals. Summing up, the LP is not all bad, but could've been greatly improved using better quality recordings and other versions of the same tracks which were positively superior.

However, if nothing else, it has made people aware of the band and that if enough interest is shown there are still some gems to be found locked in the 'jewel' casket.! This article originally appeared in 117 magazine issue two. First and last release of this acid-punk outfit from North Hollywood. It was released by the greek label Hitch-Hyke Records in LP (LIFT-003). Who knows the story behind this release. Hidden Peace had previously appeared in the Battle of the Garages vol.III compilation of Bomb/Voxx records. Line-up Paul S.Halbe - gtr, vcls John Gleeson -drms Ricky Hart - rhythm gtr Dez Hernan -bs Deanne - tambourine Don't know anything else about them, didn't find any trace of Paul Halbe who apparently was the leader and wrote all the songs.

As the for the music, if you listen to it between tracks from 60s garage/psyche groups, you would't tell the difference. Fuzzed guitars, Seeds, Standels, Fuzztones influences, and good songwriting and playing make this record worth a listen!

SIDE A Summer Of Love Stop It Peacemaker I Still Send Her Flowers Acid Rain In The Beginning SIDE B You Better Run You Better Hide When The Day Is Coming Tomorrow's Gone Away Hioy Hi Hioy Ho I Don't Know Anymore The Final Detail. 01 Another Country (7.37) 02 Pigs Foots (4.39) 03 Season Of The Witch (8.22) 04 A Place Of Heartbreak (3.00) 05 Where Is My Mind (3.00) 06 Piece Of My Heart (2.50) 07 Dharma For One (4.02) 08 Peace Of Mind (2.19) 09 Born To Be Wild (4.20) -Jim Gannon - Guitar -Jess 'Zoot' Taylor - Organ -Kip Trevor - Vocalist -Clive Jones - Saxophone -Bob Bond - Bass guitar -Clive Box - Drums & percussion -Kay Garret - Vocalist Starting out as a typical U.K. Club soul band, and then turning toward psychedelia and prog rock in the latter half of the '60s, it wasn't until Pesky Gee! Changed their name in 1970 to Black Widow, transformed, and released the satanic Sacrifice that they reached the public eye.

If not singular in any particular way, the prog-edged Pesky Gee! Album, released on Pye in 1969, has enough cool Hammond organ flourishes and late psych-intoned vocals (male and female) to cause interest. Much is aimless, relies too much on the blues-rock boom, or is downright bad ('Born to Be Wild'), but when they got the mix right they were superb, as on their original psych/soul/prog numbers: on 'A Place of Heartbreak' there is a superb male/female vocal, a soulful beat, and some haunting changes; while 'Where Is My Mind' (both songs were released as a 45) has a driving rhythm, a unique use of horns, and sees the beginning of the band's fascination with sinister subject matter and horror vocalization. The covers get a bit much, although the Julie Driscoll-intoned reading of Donovan's 'Season of the Witch' has some fine moments. Not a solid affair but representative of the change in the British music scene of the late '60s. ~ Jon 'Mojo' Mills, All Music Guide.

There is a kind of double irony to the lyrics of the opening track of The Sound's second album. Listening to the excellent new wave classic 'Winning' the lyrics convey becoming triumphant in the face of adversity: 'I was going to drown then I started swimming. I was going down then I started winning'.

Yet these optimistic words are set to a doomy rhythm section that suggests anything but. All of this naturally leads to thinking of frontman Adrian Borland's recent suicide. Rather reflect on that though, it is best to concentrate on an excellent album from the early 80's which ranks alongside The Comsat Angels' early work for being an overlooked classic. 'From The Lion's Mouth' possesses that same air of controlled miserablism and that tangible sense of loneliness that sounds just as poignant now as it did 22 years ago. Unfortunately the group lost their way on subsequent albums in an effort to cross over to a more lucrative market. Remember them instead for exemplars of edgy rock such as the rattling intensity of 'The Fire' and 'Skeletons' or the awesome 'Fatal Flaw' and 'New Dark Age' with its threatening military drum introduction.

Resources: EXCELLENT album guys! 9/10 Download Link.

Portland, ME, garage rock revivalists the Brood consists of members Chris Horne (guitar and vocals), Crystal Light (drums), Betsy Mitchell (bass), and Asch Gregory (organ). Formed in the early '90s, the quartet issued their debut, Vendetta, in 1992, following it up with 1995's Hitsville, and 2000's Beyond the Valley of the Brood, the latter of which was a fictitious soundtrack to a film starring an all-girl band called the Swizzle Chicks.

'The Brood is an all-woman group, but this fact alone does not make them remarkable or notable. The fiery, inspirational 60's punk garage music they create is what sets them apart. Unlike other girl groups which sought to cash in on the novelty of their gender,the Brood is a world-class garage group first, and talanted female musicians second. Each discs contain a consistent rough edge, with guts and fuzz galore - and all of their output is highly recommended. They are the definition of pure teen garage-mania.'

Timothy Gassen (The Knights of Fuzz writer) Singles 7' (Get Hip, 1988, GH-107) Let's Talk About Boys 7' (Primitive Records, 1988, PR-003) 7' (Stanton Park Records, 1990, STP 014) But You're Gone 7' (Get Hip, 1990, GH-131) Knock On My Door 7' (Estrus, 1992, ES 735) first pressing: white vinyl second pressing: black vinyl Albums In Spite Of It All LP/CD (Skyclad Records, 1988, NAKED-21) Download Link: Vendetta! LP/CD (Estrus, 1992, ES 007) Download Link: Hitsville LP/CD (Dionysus Records, 1995, ID 123330) Download Link: Beyond The Valley Of The Brood LP/CD (Dionysus Records, 2000, ID 123366) Download Link: Compilations The Estrus Lunch Bucket 3x7'-box (Estrus, 1990, ESBX1/ES706) Turban Renewal: A Tribute To Sam The Sham & The Pharaohs 2xLP/CD (Norton Records, 1994, ED-234). The Cat Empire is a six-piece band, based in Melbourne, Australia. Their sound is often described as a fusion of jazz, ska, funk and rock with heavy Latin influences. As of 2006, they have released four albums and are signed on the Virgin Records label. Currently, the Cat Empire comprises Ollie McGill (keyboard and backing vocals), Ryan Monro (bass and backing vocals), Felix Riebl (percussion and vocals), Harry James Angus (trumpet and vocals), Will Hull-Brown (drums) and Jamshid 'Jumps' Khadiwhala (decks, percussion). They also have guest musicians, who make guest appearances with the band on a recurring basis.

A strong, recurrent theme of their music is the rejection of materialism, war and intolerance and an enthusiastic embrace of cultural diversity and the simple, carefree life. They are also known for their unusually kind treatment of their fans, doing things like sending out personally messaged and autographed postcards to members of their volunteer promotional teams across Australia. The Cat Empire began as a trio with Oliver McGill on keyboards, Felix Riebl on percussion and vocals and Ryan Monro on double bass in late 1999 and started playing a wide variety of gigs in Melbourne. The band soon expanded in 2001 adding Harry James Angus on trumpet, Will Hull-Brown on drums and Jamshid 'Jumps' Khadiwala as a DJ.

By late 2001, the band was appearing in the Speigeltent at the Melbourne Festival. The band prepared an independent single 'Feline' (plus EP 'Live at Adelphia') at the end of that year. In early 2002, the band played a series of gigs at the Adelaide Festival of Arts. Later that year, they were the headline act at the Melbourne International Comedy Festival and St Kilda Film Festival in March. The band commenced its first overseas tour on the west coast of the United States playing to sellout crowds in the Matrix in San Francisco and playing at the Napa Valley Wine Auction in June 2002.

The band received a Music for the Future to fund the recording of The Sun album at the Adelphia studio in Melbourne before flying out to the Edinburgh Festival where they played sixteen successive shows at the Late'n'Live show between 3am and 5am. The band returned to Melbourne for the 2002 Melbourne Festival and played a series of sell-out performances in Melbourne, with Kate Ceberano appearing as a guest vocalist at their final show of the year. The Cat Empire released their second album, Two Shoes on 19 April 2005. The album, recorded in Havana, Cuba, contains many old favourites for those who followed the Cat Empire from the beginning, as well as some new tunes (the first single, 'Sly', being released on 28 March 2005). A small group of musicians who play with the band and are basically full time members.

Discography Albums Live @ Adelphia (2001) The Sun (2002) The Cat Empire (2003) - #15 Australia Tapes, Breaks and Out-Takes (2003) On the Attack (2004) Two Shoes (2005) - #1 Australia Cities: The Cat Empire Project (2006) - #11 Australia Singles From The Cat Empire 'Hello' (2003) - #12 New Zealand (no commercial Australian release) 'Days Like These' (2004) - #37 Australia 'The Chariot' (2004) - #34 Australia 'One Four Five' (2004) From Two Shoes 'Sly' (2005) - #23 Australia 'The Car Song' (2005) - #46 Australia 'Two Shoes' (2005) - #49 Australia & posted by mafalda. This is the second and last LP from the Leopards. It came out on Voxx records in 1987. That's where 'Psychedelic Boy' (also released as a 7' and included in the 'Be A Caveman' compilation) comes from. Track list Block Party Back On The Track Empty People Last Night Harlean's House Psychedelic Boy Chief Red Scar's Herbal Cure Show It Can Happen To You I'm Drowning Waiting Cryin' Dusty Treasures Maggie Lane Line-up Dennis Pash -gtr, pno, hmca, pcsn, vcls Ross Inden -bs, pcsn, vcls James Bordy - gtr, vcls Dennis Bouch - drms, pcsn Surprisingly enough the record was engineered by Brett Gurewitz of Bad Religion and Epitaph Recs who also lend them instruments and amps! By the time the Leopards got around to releasing another album, more than a decade later than 'Kansas City Slickers', the Kinks had a lower profile than ever, which makes Magic Still Exists a most welcome arrival.

On its opening track, the hyper 'Block Party,' the band threatens to stake out a style of its own; after that, Pash and friends get back to business, sounding as wonderfully Kinky as ever. Here's hoping they do it again in 1999.[Ira Robbins / Scott Schinder] Today Dennis Pash is living in a college town just west of Kansas City, Kansas, playing traditional string music on a Riverboat with another member of the original Kansas City lineup of the Leopards. There is also a demo tape from the same period of the Voxx album. Magic Still Exists is the best Kinks album of the '80s. Initial release: 1968 Mercury 61156 The only Savage Resurrection LP. Track Listing: Thing in 'E' (Palmer) Every Little Song (Hammon) Talking to You (Harper/Palmer) Tahitian Melody (Palmer) Jammin' (Hammon/Palmer) Fox Is Sick (Palmer) Someones's Changing (Hammon/Palmer) Remlap's Cave, Pt.

01 Many Bright Friends 02 East West 03. The silver witch 04 Minor Parade For 18 Strings 05 I Am Not A Collector Potato 06 There Will Be A Slight Delay 'The idea of the 'Supersession' album dates back to 1968 with Al Kooper's LP with Michael Bloomfield and Steve Stills. Fast forward thirty-seven years to the new album by Many Bright Things. It opens with the twenty-second title track, followed by the twenty-minute centerpiece: The Paul Butterfield Band's John Coltrane/Ravi Shankar-inspired masterpiece, 'East West.' Across its twenty minutes and forty-four seconds no fewer that FIVE guitarists step into the center ring with solos that begin with Larry Demyer (Windopane) and include back-to-back fiery electric sermons by Nick Saloman (Bevis Frond) and Al Simones.

'The Silver Witch' is written and performed by Alisha Sufit (Magic Carpet) accompanied by Frank DeFina on a beautiful Stephen Gilchrist F-5 mandolin. We think this song opens the second side of the vinyl as nicely as 'Within You Without You' opened side two of Sgt. Alisha's voice reminds us of our dreams of angels.

A tamboura drone and tabla accompaniment (by Paul Tescher) are the foundation for 'Minor Parade for 18 Strings' and a duet between Stan Denski's acoustic 12-string Guild guitar and Paul Major's lead electric. Stan Denski & Larry Demyer play guitars, David 'Tufty' Clough (Zero Boys) adds bass and Lon Paul (Marmoset) adds percussion, all of which form the ground upon which Jello Biafra (The Dead Kennedys) improvises observations on 'rare psychedelic music' on 'I Am Not a Collector Potato!' We guarantee you've never heard anything quite like this. The CD adds the ambient bonus track 'There Will Be a Slight Delay.'

' Psych fan Stan Denski, in cooperation with Michael Piper, both long time collectorstended to make from Many Bright Things a kind of Supergroup. In reality it is a assemblage of recordings Stan Denski collected over a period of three years with some of his favourite musicians. Never the less he succeeded ino making collector’s items from the two earlier limited edition releases by the collective project, involving all those for who all participated. The longest track is “East West”, based upon John Coltrane’s idea of fusion, bringing the Indian raga into a western bluesrock context. (This I guess refered to the The Paul Butterfield Blues Band and their album 'East West' where possibly one of the first times some electric raga guitar idea appeared into a rock band). This is in fact a bluesrock jam, with various solo’s, starting with Larry Demver (Windopane) who’s solo sounds like a cross between Santana and early Hendrix, followed by a very different personality guitar style, by Nick Saloman (Bevis Front). The next and shorter track, “The Silver Witch” is sung by Alisha Sufit (from former sitar psychfolkrock group Magic Carpet, which had a collector’s item made in 1974).

This is especially nice thanks to the mandolin performance of Frank DeFina, making Alisha sound solo at her best (-and much better compared to her latest album effort in a songfolk style-). Also “Minor Parade For 18 Strings” has again an Indian association, provided by the effect of the electric tambura and tabla combined with quick pickings on 12-string by Stan Denski, combined with the lead guitar by Paul Major. “I am not a collector potato” is a somewhat disturbing-the psychhead-let-go an effect, which was almost created there on the album anyway. Jello Biafra narrates his thoughts with some frustration, with a droning voice -unlike his effective earlier voice, full of fire, in the time from his intellectual punk band Dead Kennedy’s. Even when the track remains in a bluesy psychedelic sphere, it is disturbing hearing him confront blind lovers of psychedelia and money-urging collectors, especially when his thought isn’t really hitting the true essences of things, it surely is less to the point within the context of this musical concept. It then sounds like it's coming from someone who is almost expected to have some comments at hand, and who also acts according to these expectations, even when he isn’t hitting the real essence with his urge.

Last moody track is a kind of additional audio bonus gift by Stan Denski, which is a guitarspin in CGCGCF, associating guitarists like Richard Bishop, with some additional e-bow guitar and some delay as experimental effect. TRACKS: 01 Love Me Down 02 I Want To Love You 03 Lonely Again 04 Goodbye Sunshine 05 Tell Laura I Love Her 06 As I Looked 07 It Doesn't Mean 08 Candleman 09 Norwegian Wood 10 Mother Dear 11 BLPSVC 12 Just Like You 13 Say What You Feel 14 She's The Girl I Love MUSICIANS: Val Rogolino Cheese Sollers Bruce Lapier Brent Buckley and Bob. From Freakemporium: Originally released in a limited edition of 60 hand made copies, this LP has gone virtually unknown for 30 years and has only been whispered about by the heaviest of collectors. The band evolved from the local Maryland 60s band 'Badge' and is heavily influenced by The Beatles. This is a real DIY effort recorded in the home of the bands leader and dedicated to his pet monkey!!!! No, we're not making it up...

This release has most of the original LP cuts and a couple of unreleased songs for good measure. Metallic silver and blue paste over cover is a duplication of the original artwork and the inserts contain band photos and story. One of the few folks who have heard this LP, the Psychedelic High Lama, had this to say about Kath. 'Obscure and impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out' 'Not unlike the best tracks on Rockadrome' ' At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day.' 'Good fuzz throughout, charming amateur vocals'. Only a few hundred made and on ROCKADELIC! ' Kath' 1975 (no label) [60p; gatefold] ' Kath' 2005 (Rockadelic 51) [+bonus tracks; no gatefold; 500p] From Acid Archives: Obscure and quite impressive melodic basement garage/psych excursion with a lo-fi atmosphere that would have most purveyors flip out, hits the Ampex two-track echo & tinny drum sound dead on.

The sound is a bit 'Canadian' to me, with a few French language snips and a typical Maple Leaf sound with lots of keyboard and reverbed vocals, not unlike the best tracks on Rockadrome. As it turns out the band was actually from Maryland, though leader Val Rogolino was part-French. In any event, it's mostly originals with a few covers including a fuzzed-out cough syrup take on 'Norwegian Wood' that could be the best version ever. The selfpenned material is good, with a 60s teenbeat sensibility rather than heavy/hard rock. At times the vibe is almost like Mystery Meat or Index, and that's not something you run across every day. At the same time there are obvious hints that this dates from a later era, and it was in fact recorded over a period of several months in 1974. Good fuzz throughout, charming amateur vocals, and a late-night rehearsal space ambience.

'It doesn't mean' is a highpoint for me. There are also brief snips of aural experiments for the right $15 avantgarde touch. 'Kath' appears to be a reference to the main guy's girlfriend. The band also had a non-LP EP from 1978 under the name Badge, with a more polished version of 'It doesn't mean', and a 45 around the same time. The Rockadelic removes one track from the original, and adds a couple new ones.

[PL] A totally outside garage/psych/private LP that feels as personally projected as alla those Michael Yonkers sides and that was recorded in Maryland in 1974. Nuts lo-fi recording quality and impossible-to-figure production values gives this a nicely zonked almost real-people vibe and I've seen listings that compare the lost, garage feel of this record to revered sides like Mystery Meat and Index. At points the sound is so dosed in lo-fi F/X that it sounds like the tapes are somehow inside out. Buncha originals, some French language, keyboards, fuzz, heap of amateur avant spirit and a cover of 'Norwegian Wood' that ranks up there alongside Bill Comeau's 'Eleanor Rigby' as one of the few listenable Beatles covers ever cut by teens with brains.

Beautiful silver/blue paste-on sleeves and insert with the full saga and pics. Masters of Deceit Personnel: STEVE BLUM gtr, bs A GARY CAMPBELL bs, tenor sax, vcls A STAN GAGE drms A TOM HENSLEY keyb'ds, vcls A ALBUM: 1(A) HENSLEY'S ELECTRIC JAZZ BAND AND SYNTHETIC SYMPHONETTE (Vanguard 6522) 1969 NB: (1) reissued on vinyl (Vanguard/Comet ). The album may interest fans of acid psychedelia with a strong jazzy haze.

The group originated from Indianapolis and was fronted by Tom Hensley, an excellent keyboard player who would become a sought-after studio musician during the seventies, working with Leonard Cohen, Hall & Oates and David Blue to name but a few. Their sole record features some fine guitar work, particularly on Boxes and Long Hard Journey but suffers somewhat from rather weak vocals. Hensley was aware of this problem, as he mentioned in the long, rather intellectual and often funny liner notes that 'I was never able to work out the trick of singing as if I were black. So I compromised. I try to sound like a Jewish singer. I haven't done too well on that one either. So we like to think of ourselves as primarily a playing group.'

An acetate recorded at Ultra Sound Studios in NY with some non LP tracks has recently resurfaced. (Vernon Joynson/Stephane Rebeschini).

1 OCTOBER COUNTRY (Epic BN 26381) 1968 NB: (1) reissued by Quadrant. 45s: 1 October Country/Baby What I Mean (Epic 10252) 1968 2 Just Don't Know/My Girlfriend Is A Witch (Epic 10320) 1968 3 Cowboys and Indians/I Wish I Was A Fire (Epic 10373) 1968 A Los Angeles-based six piece harmony pop group. October Country is a quite delightful piece of orchestrated harmony pop and showcased Michael Lloyd's talents as a producer and composer.

Check it out on Nuggets, Vol. He also worked with the West Coast Pop Art Experimental Band, Smoke, and as an arranger or producer (or both, often with Kim Fowley) with Fire Escape, St. John Green, American Revolution, A.B. Skhy and Grains Of Sand. He was also a member of Laughing Wind, a band who recorded for Tower and masterminded an album called Cream Songbook (GTR 10000) 1969, which was credited to The Rubber Band, as well as Cotton, Lloyd and Christian, before becoming an even more successful producer and songwriter. Scottish folksinger Mary-Anne Paterson made a nice if modest acoustic traditional-oriented album in 1970, Me.

It matched her high, clear vocals, acoustic guitars, and flute with sparse echoed production and very occasional touches of acid folk and pop, though overall the LP had a haunting medieval tone. Most of the songs on the record were traditional folk tunes, though she did write a couple of them herself. Paterson fell into a recording career somewhat by accident in the late '60s, when she was a drama teacher who wrote songs for educational television on the side.

A friend convinced her to go to London to make a demo in late 1969, though she did so primarily in hopes of raising money for a children's art center she hoped to set up. Me was done in one session around the beginning of 1970, Paterson backed by some buskers from a London tube station with whom she barely rehearsed, and never saw again. In fact, not many people ever saw the album itself; as she was interested in starting her arts center rather than establishing a professional career, she didn't promote it with any concerts, and no publicity was done on the LP's behalf. In subsequent decades, Paterson worked as a teacher and wrote songs for TV and radio, with Me getting reissued on CD in 2006.By Richie Unterberger Highly Recommended. The Last Drive were a Greek garage revival rock group which formed in 1983 and broke up in 1995. They are regarded by many as the most important Greek rock group of the 80's and one of the most important and influential groups of Greek rock history. 1983-1986: The beginnings They started playing under the name 'Last Drive' in late 1983 and their first performance was at the 'Rodeo club' on December 27,1983.

They adopted the name 'Last Drive' after noticing a cocktail by that name at a bar menu. During 1984, Yiorgos Karanikolas was added on lead guitar. The group was basically playing garage rock mixed with rockabilly and surf rock.

They started playing in underground joints of that time, while some band members played with Blue light ( group) at their first live performance at Pegasus club. In 1985 they released their first record, the 7' single Midnite Hop, which now is the most sought-after record by collectors in Greece. They also participated with a song in a compilation tape by Dikaioma Diavasis records, Live at the Kyttaro club. Their first very rare 7 inch single including 3 explosive tracks!

1986-1990: Success in Europe In 1986 they released their full-length LP album, called Underworld Shakedown, which caused a sensation both for its content and the quality of production (by the Drive themselves) which was unusually high for the standards of the independent scene of that time. The LP contained covers of garage standards like Misirlou and Night of The Phantom, as well as their own material. Underworld Shakedown ( 1986 ) Me 'n my wings Valley Of Death Poison Misirlou This Fire Inside Blue Moon Sidewalk Stroll The Shade of Fever Every Night The Night of the Phantom Repulsion They continued to appear live in Athens and many other cities in Greece, and in the Spring of 1987 they toured abroad for the first time, in Germany, Italy, France and the Netherlands.

They performed alongside the Fuzztones, the Creeps, the Stomachmouths,the Dizzy Satellites and others. In 1988, having replaced Nick 'Pop Mind' with Panos Kasiaris on rhythm guitar, they released Heatwave, which was produced by Peter Zaremba of the Fleshtones. That was the album that established their name in Europe, where it was re-released (with a new cover) by Music Maniac Records, a German label specializing in garage-rock releases. Heatwave ( 1988 ) I Love Cindy Heatwave '88 Joe Esposito's Gun Devil Make Care Gone Gone Gone It's All Over Now Baby Blue Blue City Shores Whisper Her Name Baby It's Real Their success brought them to Germany, where they participated in the Berlin Independence Days festival and also recorded the Time EP.

By this time the sound of the group had started to somewhat change, becoming harder and speedier and moving towards neo-psychedelia, without however burning the bridges with its garage past. The band also caught the eye of Paul Cutler, of Dream Syndicate fame, who would produce their next two records. 1990-1995: Their LP Blood Nirvana, which was released in 1990, marked the change in their sound, a fact that let down some of their hardcore garage fans and ended their cooperation with Music Maniac.

At this time they were considered a part of the 'explosion' of the hard rock/indie Greek scene that took part during the early 90's. Thus, they started becoming widely popular among rock fans in Greece, and on the same year they were voted 'band of the year' by the readers of the leading music magazine, Pop & Rock.

They played as a support act for the Wipers,Jesus & Mary Chain,The Gun Club and toured Germany with Dead Moon. In 1992 they released the F*head Entropy album, which is their most mature work. Following a tour in Spain, the Last Drive celebrated their 10th anniversary with a live performance (pie fight included) at the 'West Club' on December 23, 1993. In 1994, their contract with their long-time company, Hitch Hyke Records, ended. They signed for the multinational BMG Hellas and released Subliminal, an album in which songs followed a somewhat slower tempo than before, and also was to be their last release. In 1995, Karanikolas left the band and moved to the States.

Some months later the Last Drive disbanded, after twelve years on the road, having created a dedicated following in Greece and abroad, an explosive live act, and a legend that most bands in Greece still envy. After the Last Drive: Yiorgos Karanikolas created Blackmail, who generally picked up from where the Drive had stopped, but with a greater emphasis on neo-psychedelia, and became quite popular at the time.

Alex Kalofolias and Thanos Amorginos created the Earthbound in 1998, a group with a completely different orientation around ethnic/Latin/desert rock. There have been rare instances in which the Earthbound were joined on stage by former Drive members. Kalofolias and Karanikolas also co-wrote the music for the Stratos Tzortzis film Sose Me (Save me). Amorginos also writes music for theatrical plays, while Kalofolias's main profession is now literature translation.

Chris Michalatos played for a while with The Speedballs, a rockabilly act. Members Alexis Kalofolias (Alex K.) - ripper bass, vocals Yiorgos Karanikolas (B.George Bop) - lead guitar, vocals Christos Michalatos (Chris B.I.) - drums Thanos Amorginos (T.H.

This collection of work from the B.B.C. Sessions gives you an overall view of the 'Pretties' career from 1964 to 1976. All the early singles are here. (The Pretty Things had a surge of popularity stateside when David Bowie covered their first two singles 'Rosalyn' and 'Don't Bring Me Down' on his album Pin Ups.

To many Americans this was the first time they ever heard of the 'Pretty Things'.) It all goes a bit pear shaped in their psychedelic era, but then it did for a lot of people (remember the Stones? Or Their Satanic Majesties Request?), but on their return to hard edged rock 'n' roll, like on the Radio One 'In Concert' show to promote 'Freeway Madness', the band is so hot, it is incendiary. Nobody can throw caution to the wind with such abandon and still nail a song down like the 'Pretties' like 'Onion Soup' and especially 'Route 66'. The live sessions for the following two albums are a little more controlled, but equally as exciting.

This album is not only a good overview of the Pretty Things' career, but also a good overview of British rock in this era. If you are not familiar with the Pretty Things, this album would be an excellent way to find out. ~Mott the Dog Album Tracks 01. Big Boss Man 02. Don't Bring Me Down 03. Mama Keep Your Big Mouth Shut 04.

Roadrunner 05. Midnight to Six Man 07. Sitting All Alone 08. Midnight to Six Man 09. Buzz the Jerk 10. Defecting Grey 12. Turn My Head 13.

Walking Through My Dreams 14. Balloon Burning 15. Sorrow Is Born 16. She Says Good Morning 17. Send You With Loving 18. Sickle Clowns 20. She's a Lover 21.

Cries from the Midnight Circus 22. Stone-Hearted Mama 23.

Cold Stone 24. Summer Time 25. Allnight Sailor 27. Religion's Dead 28. Havana Bound 29. Love Is Good 30.

Onion Soup/Another Bowl 32. Peter/Rip Off Train 34. Bridge of God 36. Singapore Silk Torpedo 37. Come Home Momma 38. Dream/Joey 39. Not Only But Also 40.

Belfast Cowboys/Bruise in the Sky. Marnie Webber is an LA performer, collage artist, musician, active from the 80s 'till today.

She was the bass player of the great Party Boys, and after their demise continued as solo artist. Amazingly enough her first two LPs came out from the Greek label Penguin, in 1990 and 1994, and they're long out of print.

You can find more at Discography 1990 Songs Hurt Me, Penguin Ltd. Athens, Greece 1994 Woman with Bass, Penguin Ltd. Athens, Greece 1996 Cry for Happy, Ecstatic Peace! / The End is Here 2005 Songs Forgotten, The Best of Marnie, The End is Here Be careful; I am my song Songs Hurt Me, Marnie's first solo LP recorded in 1988, produced by Philip Drucker (aka Jackson Del Rey) of the Savage Republic & 17 Pygmies fame and came out in 1990. It was a Marnie-Drucker duo, as all songs except one were written by both them, and they played all the instruments (Marnie wrote all lyrics and had the musical and visual direction). This record is the naked emotion of Marnie captured to vinyl by the extraordinary Jackson Del Rey. There is the West Coast and there is Far East here.

In fact I believe this is Marnie's vision of China. Nothing in this record is useless, nothing is fake or pretendius, nothing is too much or too little: the voices, the guitars, the keybords, the minimal orchestration, everything drives you in the heart of mystical world of Marnie. That means that you'll hear the confessions, faint memories, dreams and fears of Marnie augmented with the recording and artistic experience of Philip Drucker. These are handcrafted songs by two unique artists of LA. If someone has the second Greek LP of Marnie (Woman with Bass), please post it. About Leadbelly: Huddie William Ledbetter (January 23, 1888 - December 6, 1949) was an American folk and blues musician, notable for his clear and forceful singing, his virtuosity on the twelve stringguitar, and the rich songbook of folk standards he introduced. He is best known as Leadbelly or Lead Belly.

Although his most commonly-played instrument was the twelve string, he could also play the piano, mandolin, harmonica, violin, concertina, and accordion. In some of his recordings, such as in one of his versions of the folk ballad 'John Hardy', he performs on the accordion instead of the guitar.

The topics of Lead Belly's music covered a wide range of subjects, including gospel songs, blues songs about women, liquor, racism, folk songs about cowboys, prison, work, sailors, cattle herding, dancing, and songs concerning the newsmakers of the day, such as President Franklin Roosevelt, Adolf Hitler, the Scottsboro Boys, and multi-millionaire Howard Hughes. Track List: 1.

All I wanna do 2. I need her so 3. I saw the sun 4. You never told me goodbye 5. Where the pain can't reach 6.

I can cry for yesterday 7. She's my girl 8.

Could it be that i was wrong 9. Never loved you true 10. She's not coming home 11. Blond girl 12.

Let me live my life Amazing garage band. Their first 7' was the reason that the greek Action Records (which printed Purple Overdose and Frantic V among others ) was formed. Their first LP was produced only in vinyl in 750 copies and soon became sold-out.

This record is a must have for all greek collectors nowadays. Highly Recommended!!! Download Link: http://rapidshare.com/files/5499749/cardinals.rar.html. Italian 80's underground. THE BACKWARDS 'Eerie Thoughts Collection pt.

3' (Crazy Mannequin 1990) A quite obscure title and band, which at the time was praised by Italian music journos but largely ignored by buyers. Even in later years the Backwards were still highly regarded by someone (check their enthusiastic entry in Timothy Gassen's The Knights Of Fuzz), and yet unknown anywhere else. So, here's a short history: Born in 1988 as Chapter 24, and soon rechristened as The Backwards, their first demotape 'Real Life Permanent Dream' had excellent reviews ('The best neo-psych band in Italy nowadays' said C. Sorge), but for some reasons their leader P. Rizzo went solo under the same moniker, and in late 1989 proceeded to tape the Backwards' only LP. Rizzo played most instruments, but fellow musicians helped on various tracks (mostly mates fron The Pow and Peter Sellers & The Hollywood Party).

The result was released in spring 1990 on Crazy Mannequin records: the LP sounded reasonably coherent, although a hodgepodge of older and more recent influences: part Beatles/UK psych, part US garage, part Robyn Hitchcock, part Julian Cope, part acid folk, part power pop, part new wave, and so forth. A rather colorful experience, despite the dull b/w sleeve. Of the 500 copies pressed, some were sold, some were given as a gift, and some were lost. The Backwards went on for 3 more years, with some cassette-only releases, one of which was produced by Delerium rec.

In the UK, and called it a day in 1993. Song titles: 01. The Backwards Are Here 03. Travellin' Knight 04.

She Stared At Her Own Feet 05. Out Of Focus 06. Across Your Mind 07. My Advice For You 08. Your Precious Time 10. Happily Ever After 11. In Search For Yourself 13.

Portrait (Of An Unbalanced Mind) 14. Evening Conversation 15. Daily Rites 16.

Point Of View ripped @ 192 kbps Enjoy! Posted by The Man Who Wasn’t There. Hundredth Monkey formed at 1983 by Stephen Jay Morris (vocals), Tim Konspiracy (Kummerow) (drums), Pat Amodeo (bass), Tom Carpenter (keyboards), and Brad Frost (guitar).

The first two came from the LA punk band Benedict Arnold & the Traitors. With this line-up released a 7' (Quicksand/ Rugged Individual, 1983, Veracious Records). Around 1985 they became a trio with Brad Frost, Tim Kummerow and Ian Montgomery (bass) and the next year released their only LP 'Mute Lament', again on Veracious Records, with Frost as main songwriter. The cover was made by the famous Robert Williams.

They lasted 'till 1989. After that Kummerow and Montgomery formed Pendu Femmele, a band with no vinyl or CD output (only an entire album in MP3.com in its glorious days). In the 90s Kummerow worked as a graphics artist, a painter and had the TV show Subterranean Sounds, which featured live performances and interviews with Los Angeles area underground bands, and Frost worked as an assistant animator, writer and actor in movies and television. This LP is another lost treasure of the 80s.

You could call it pop-psyche but it's a lot better than that. Short songs with strong melodies, real good production, along with studio effects, backwards tapes etc that sneak in the backround, not dominating but helping the songs unfold. This is west-coast psychedelia at its best. Too bad that they didn't get any attention.

This is a vinyl rip. Again there's nothing about it in the net, (actually Tim Kummerow on his bio doesn't mention the 100th Monkey, and I only found some facts from a Stephen Jay Morris reply) so I took a photo of the cover, which I post. About the name - from the back cover: The Japanese Monkey, Macaca fuscata, has been observed in the wild for more than 30 years. In 1952, on the island of Koshima, scientists were leaving sweet potatoes in the sand for the monkeys.

A young monkey named Imo begun to wash off the unpleasant tasting sand. She taught her mother and playmates. They taught others. By 1958, all of the young monkeys were washing their sweet potatoes.

When a certain number of monkeys had learned to wash their potatoes, the tide had turned and all the monkeys on Koshima begun to do so. The impetus of that 'Hundredth Monkey' had created an ideological breakthrough! Then a surprising thing happened.

The habit of washing sweet potatoes jumped over the sea! Monkeys on other islands and the mainland, began washing their sweet potatoes too. Thus, when a certain critical number achieves an awareness, this new awareness may be communicated from mind to mind. 01 Rock In The Sky 02 If 03 Touchdown 04 Dream 05 Oceans 06 Remember The Stars 07 Light From Above Players: Gary Paul Van- electric keyboards, vocals Dennis Lee Askew- electric guitars, electronic programming, vocals Walfredo Reyes- percussion 'Universe' 1977 (PBR International 7002) The opening “Rock In The Sky” starts with a little acoustic guitar, then, wham!

Synthesizers come in double barreled, with a loud bass-y one anchoring the song and a higher more unpredictable one soloing over it. THIS is a synthesizer song! It would only be a couple of years before digital synths would rule the world and the instrument would ruin a lot of otherwise good music, so it’s hard to remember how cool the early analogue synths could be. Here it’s as powerful and as mind expanding as any guitars. The mix of space-rock and Christian themes is unique, making this fall into the “I didn’t know Christians made music like that” category.

Ripped By @rcadium at 320kbps 01 San Francisco Parts 1& 2 (original mono version) 02 Mythological Sunday 03 Blow Away 04 Say Goodbye To Yesterday (alternate version) 05 Lets Go Back To San Francisco Parts 1&2 06 Now and Then (alternate version) 07 A Walk In The Sky 08 Cooks of Cake and Kindness (alternate version) 09 White Dove 10 Children Of Tomorrow 11 Lets Go To San Francisco Parts 1& 2 (stereo version) 13 E=MC-Musha Hada (previously unreleased) + Enhaced Cd Track/Film Of The Flowerpot Men On Tv In 1967 performing 'Lets Go To San Francisco'. Personnel: TONY BURROWS vcls A PERRY FORD vcls A NEIL LANDON vcls A PETER LANDON vcls A 45s: 1 Let's Go To San Francisco (Part 1)/(Part 2) (Deram DM 142) 1967 4 2 A Walk In The Sky/Am I Losing You? (Deram DM 160) 1967 3 A Man Without A Woman/You Can Never Be Wrong (Deram DM 183) 1968 4 In A Moment Of Madness/Young Birds Fly (Deram DM 248) 1969 NB: Let's Go To San Francisco (C5 526) 1988 is a good compilation of their material. There's also a later CD compilation, Let's Go To San Francisco (Repertoire REP 4344-WZ) 1993 which adds several previously unreleased cuts to C5's earlier vinyl collection.

Their finer moments are also compiled on The Very Best Of The Flowerpot Men (Sounds & Media SUMCD 411) 199? These three session singers successfully articulated the sentiments of the flower-power movement with Let's Go To San Francisco, which climbed to No 4. The follow-up, A Walk In The Sky, also captured the feel of the flower-power era but didn't sell as well. Their later efforts were more ordinary and even a change of name to Friends late in 1968 failed to revive their fortunes.

Inevitably, perhaps, this act were destined to be one-hit wonders and after their demise in 1969 Burrows went on to join Edison Lighthouse after a brief stab at a solo career, whilst Landon departed to Fat Mattress. All three had previously been involved in The Ivy League.

REVIEW Flowerpot MenA Walk In The Sky: The Very Best Ofrpm229 In true Pokemon style these guys had morphed from Carter Lewis & The Southernaires into the Ivy League and finally The Flowerpot Men. All the while it was really Ken Lewis and John Carters ability to roll with the times changing their sound accordingly that provided the backbone to these groups. And they were successful too with a string of hits along the way.By 1967 the times demanded psychedelic flower pop so that’s what Carter & Lewis delivered though still preserving their own identity through drenching the music in wonderful harmonies. Vocally Carter and Lewis were ably assisted by the ubiquitous Tony Burrows. The songs Lets Go To San Francisco and A Walk In The Sky were massive international hits and the group continued to record up to 1969.

RPM presents a thematic collection of their recordings compiled by band leader John Carter, which fit most perfectly into a Bam Caruso styled genre Harmony Pop Sike. The recordings had strong psychedelic overtones but in a Poppy way not in a Pink Floyd way, and still included the aforementioned trademark vocal harmonies. This compilation also serves as a Best of the groups recordings there being no other compilation on the market at the moment but also provides something for collectors in one previously unreleased track and three previously unreleased alternate versions. A key recording Lets Go Back To San Francisco is included for the first time as one track with Parts 1& 2 united. Swara Samrat - 1993 - The Truth about Suzanne LP.

Limited audiophile 180-gram edition (virgin vinyl) of 450 autographed copies - mystical progedelic krautrock with folky touch, excellent songwriting and stunning guitar solos - A-side including The Progredelic Part Of The Trip, B-side including The Psychosive Part Of The Trip - a psychedelic highlight featuring CAPTAIN ILOR on guitar outbursts, spacy sounds & freaky trippy hippie vibes - comes in great laminated deluxe cover with superb artwork by Atelier Asmodi + very funny gatefold insert (Five Steps To Your Hippylisation)!!! Review by all music guide The fact that Nick Saloman's debut record sounds as good as it does — especially given this was before the era of cheap and easy home recording equipment — is testimony to his abilities to bring an intense, determined focus to his work.

Thankfully his songwriting and playing matches his technical ear, and Miasma still sounds good years after its initial emergence. So much of what would become mainstays of Bevis Frond music — Saloman's hangdog, expressive voice, his tape-melting solos, and overall focus on keeping the psychedelic freak-out spirit alive — was already perfectly in place. There are shorter diversions here and there, such as 'The Earl of Walthanstowe,' a brief, folky snippet which tips its hat to his earlier acoustic incarnation, and the jokey, murky singalong 'Release Yourself.'

As a one-man band he's able to cover all bases quite well — if he was just a drummer, he'd have a considerable reputation for that alone. But it's as a guitarist that he's most well-known, and deservedly so, throwing himself into rock-god riffs and explorations that in lesser hands could easily just be wankery. Nothing sounds extraneous here, though — it's all about creating and setting the mood.

'Wild Mind' demonstrates that well enough, his double-tracked work going all over the place before fading away only to return as 'Wild Afterthought.' There it's nothing but guitar, in this case, it's a single track piece that's flat-out amazing, worthy of comparison to Hendrix's exorcisms without sounding like it.

Elsewhere there's such worthies as the full-on fuzz love of 'The Newgate Wind' and the calmer, keyboard-accompanied grooviness that's 'Ride the Train of Thought.' Download link. Odetta is an African -American singer and guitarist whose repertoire consists largely of American folk music,blues,jazz and spirituals.She was an important figure in the American folk music revival of the1950's and1960's and a formative influence on artists such as Bob Dylan,Joan Baez and Janis Joplin This album was re-released on CD in 2000. 'Blowin' in the Wind' (which first appeared on Odetta Sings Folk Songs,1963) and 'Paths of Victory'(Odetta Sings Of Many Things) were added as bonus tracks. 01 Intro The Veil 02 1000 Dreams Of Love 03 The Psychcosmic Tree 04 Mesozoikum 05 Visions Of The Dinosaurs 06 The Eternal Spirit 07 Like A Dream 08 The Sailor 09 Fire Soul 10 Like A Dream (Reprise) 11 Finale S.T.

MIKAEL: Psychocosmic Songs (XMLP-4 MS-4 1994) ”This album by the Swedish multi-instrumentalist ST Mikael.with a hand painted cover and a colorful booklet filled with drawings, comics and a picture story about Evolution on Earth. It’s impossible to compare him and his music with any other group or artist. On this record he plays guitars, sitars, turkish saz, drums, congas, tablas, organ, moog and does all the vocals.

Some of the best tracks here is in that new, truly original style he has made his own. He will probably be one of the future-legends of the Psychedelic Music.” -Old Man Willow, Norway ”His 4th LP makes new references between the electric and acoustic instruments, which contributes to the new consciousness condensing the moments of insight!” - Rockerilla, Italy. This was made back in the days when it was just the singer, his guitar and his harmonica. Oh yes the comparisons to Bob Dylan were endless and for good reason. Andersen was blessed with the similar talents of Dylan. Just like Dylan's early albums there are plenty of good self penned songs that are sung with the same intensity a lone folksinger would require to succeed. Unlike Dylan, Eric's songs are less political and surreal.

They tend more toward romantical topics. Also Eric is a fingerpicker (pretty much pattern style) which gives a softer backdrop to his songs. (vinyl rip) 01 Road To Jamaica 02 Mind Of My Own 03 Dancing In The Snow 04 57 Chevy 05 Bugle Boy 06 I Wonder If I'll Ever See You Again 07 Recess 08 It Must Be Love 09 I'm On My Way 10 Raggedy Andy Raggedy Ann 11 Summer's Gone 'Kansas City Slickers' 1977 (Moon mlp-300) The Leopards are to the 'Village Green'-era Kinks what the Rutles are to the Beatles, except that they're pure tribute with no sense of mockery.

This album is a blast for Kinks fans, but it's also very nice for fans of 60s pop, as there are great melodies and clever ideas sprinkled throughout. They also released a few excellent non-LP singles. They were around during the Kansas City power pop scene in the late 70s and one has to wonder if Michael Angelo was connected to them or any of the other bands in the area. Promo copies include a printed folder with press clippings.

[AM] Enjoy!!! FRANCE 1971 French guitarist/multi-instrumentalist, very unique. His albums blend multi- layered acoustic guitars with fiery leads, piano, ethereal female voices, throbbing bass and percussion. His guitar style could be described as early Larry Coryell (acoustic) meets Randy California (electric) with a strong middle-eastern influence. Le Desert Noir is a heavier guitar album which features drums on almost every track, overall very hendrix influenced.

With Platock, there is more maturity in his sound, combining delicate acoustic guitars and more piano to his trademark sound, with less reliance on drums. Contemporus attempts to continue in the same vein, but fails to reach the same energy level, except possibly on the sidelong 'Contemporus' suite. Start with Platock, which most will agree is his best. First two releases are very rare.

The Link Enjoy! Fitzgerald - Mouseproof (1971) UK This album was recorded with help from Rod Herman (guitar), Alan Place (guitar), B.J. Cole (pedal steel guitar), Rik Kenton (bass, later in Roxy Music), Ian Andrews (bass), Geoff Leigh (sax, he appears in avant-garde albums by Slap Happy, Henry Cow, Hatfield & The North, etc.), Tony Turnbull (drums). Fitzgerald, G.F. [UK] Mouseproof (70) Influences of Frank Zappa, Captain Beefheart, Bonzo Dog Band, Soft Machine, etc. In addition to Gerry Fitzgerald, album features Sam Gopal and Lemmy (of Hawkwind).

Many years ago, no doubt in the dead of night, some intrepid freak climbed fly-like up the walls of the defunct International Film Theatre in Westbourne Grove and pasted up a poster which read 'Mouseproof Is Music'. Many times did I gaze fixidly from the top of a number 15 bus at the mysterious cat wearing shades, peering through the bars in the poster. And now the mystery is perceived; Mouseproof is an album by ace alchemist and cat-handler Gerry Fitzgerald, featuring some very notable little riffs by such famed performers as Lady June Campbell-Cramer on Etheopian Nose Harmonium and Cochise Brian Cole on Electric Hair slide and coal scuttle. Best track by far is one called 'Factory Sample Not For Resale', obviously written to wobble the frontal lobes and tickle the medulla, it works too. Overall effect of the album is like crashing a car into a ditch on acid and then finding that you're unhurt, except for a broken finger nail, and that needed cutting anyway. The link Enjoy. Finally out on CD is this rare US album recorded in 1973 by a freaked out Vietnam veteran.

Largely a concept album about that great US misadventure it's folky and 'down-home' for playing whilst sitting around a fireside. Main man Bill Homans has a fine voice and also plays some mean slide guitar.

Actually the first post-Vietnam record (recorded 1973). With songs about the Vietnam's point of view. Wonder why this never made it onto a major label. Bill Homans great voice is getting you.

He, his brother Peter plus 4 other musicians recorded this album for a private studio to get attention from a big label. Some songs sound like Cpt. Beefheart doing Vietnam songs, others are fragile and MOST beautiful. We love it forever.' (US psych) In 1972, five young men ranging in ages between 14-17 traveled to Atlanta from very rural Tennessee to record a very outstanding Psychedelic album. Only 500 copies were ever pressed, and most of them were destroyed in a fire in 1975. Maximum use of the fuzz boxes on this one!!

01) Flying 02) Power City 03) Look What You Done To Me 04) Speak Freely 05) Scenic Void 06) Holding On 07) Can't Leave It This Way 08) I'm Calling Chicago Lost in time garage band with a primitive sound and very basic songs; should appeal to fans of Cykle and New Dawn. Prominent use of fuzz bass gives an original edge, while the lead guitarist and drummer work frantically within their limited capabilities. Charming teen vocals and some atypical lyrics about Vietnam and dope legislation. Pretty cool, though mainly for fans of local early 70s amateur sounds. Very short playtime. According to the band, 350 copies were destroyed in a house fire in 1981.

The Neutral Spirits also appear on a gospel LP recorded the same day in 1972 as the Regency album; 'Gospel Songs Old & New' by Dot Henry (Jayla Records 1020). [PL - Acid archives]. 01 - Hang Out 02 - P.S. Come Back 03 - A Hole In My Life 04 - Let Me Try 05 - I Think It's All Right 06 - Colours 07 - Once Upon A Time There Was A World 08 - A New Man 09 - I'm Crazy 10 - I'm Here, He's Gone, She's Crying The Mexican Kaleidoscope's sole, self-titled album is like many American '67-'68 psych-garage obscurities in its morose, frequently minor-keyed blend of ominous organ and fuzz guitars. Yet mucho eccentricity and spontaneity make it more interesting than many such relics.

That organ really vibrates with a menace, sometimes like a distant cousin to the Doors, but with a more adolescent, untutored sensibility. Although the vocals (all in English) are often lovelorn laments, they drip with snarling attitude veering from don't-give-a-damn bluesiness to abject self-pity, mixing in a psychedelic sense of disorientation that sets the songs aside from the more conventional romantic lyrics of earlier mid-'60s garage bands. And some goofy psychedelic touches appear without warning, like the cheap outer space signals in 'Colours'; the Harpo Marx-like horn interjections in the same tune; the atomic explosion that ends 'Hang Out'; the out-of-nowhere distant, cornered-wolf yells of 'A New Man'; the weird, slightly off-key plunks of 'I Think It's All Right,' which ring like a tapped wine glass; and the funk rock guitar of 'I'm Crazy,' which sounds halfway between a chicken-scratch and a drawer being opened and closed, giving way to a harem organ.

Then there's the eight-minute 'Once Upon a Time There Was a World,' which sounds like an unwitting parody of suicidal teenage angst in its over-the-top sorrow for itself, yet backed with a creepy organ-fuzz arrangement of almost funereal grandeur. Review~by Richie Unterberger~AMG Not to be confused with the U.K. Band of the same name or the!!! The story of Crystalaugur is a strange one: the obscure Native American band Crystalaugur recorded this album in Singapore between 1972 and 1973, orginally pressing a mere 200 copies for a private label (Warped Rec) and the ridiculously small pressing made the original album an unbelievable rarity. The fuzz guitar and space rock vocals definitely put this LP in the psychedelic realm with an interesing primitive backdrop.

Dodo Rec.-I) Reissue of recently discovered album, released in 1974 by BMI SINGAPORE of a one-off album done as highschool project by 4 Americans in Singapore, that only has been sold to classmates, family and friends. A weird mix of Kaleidoscope / Velvet. Underground and eastern vibes with fuzz-guitar all over! Sorta prog-folk-garagy vibe, hypnotising and repetitive. A great psych rock fuzz album.

01 - terranaut 02 - i'll remembered 03 - cosmic journey 04 - you've got to rap 05 - uppachit creek 06 - easy term pleasure 07 - pams song 08 - number 4 09 - goodbye. Track List: 01 Psychedelic Rain 02 Glass Keys To Open 03 As Light As A Feather 04 When I See You 05 And Wonder 06 Garden Fair 07 What Remains Of Her 08 Sparkle Plenty 09 Solar Bird Fly 10 Sirius 11 El Strings Discolor is the solo project of Stefan Lienemann alias Limo of Shiny Gnomes and Fit + Limo (supported by friends on moog, cello, violin). Discolor combine new space travelogue with Fit + Limo folk sensibility. Review: Released by the Italian label’s Mizmaze and Lizard, III is essentially a solo album by this prolific musician, who for the last 15 years has been producing Psych, Folk, Electro, Dub, Space, Krautrock in the Shiny Gnomes and other projects like Weltraumservice and Fit & Limo.

On this disc he sings, plays guitars, bass, sitar, keyboards and drums, and with the assistance of Harald Streckor (Micromoog), Lotsi Lapislazuli (additional vocals) and The Nereide Neith Trio (strings), he has created a great new work in the already impressive Limo discography. Highlights include the opening Psychedelic Rain, the gentle and hypnotic neo-folk of Sparkle Plenty and the elegiac Solar Bird Fly, which combines haunting piano with the stings of The Nereide Neith Trio. Different parts of the album evoke Yeti-era Amon Duul II, Nick Drake, Sonic Boom and Melodic Energy Commission. Highly recommended. Electric Night (Baker) 02. Sleep Song (Baker) 03.

Autumn Wine (Smith, St. John, Waters) 04. Rat Race (Smith, St.

John, Waters) 05. Just Wanna Hold You (Baker) 06. Holland (Baker) 07. Nightingale Crescent (Baker) 08.

The Farmer (Baker) 09. In The Gym (Baker) 10. Blue Pine Trees (Baker) 11. Mother (Baker) Tracks 1, 2, 3, 5, 7 & 8 Feature David Gilmour Unicorn - Blue Pine Trees (Capitol, 1974) David Gilmour had a band. A little group, went by the name of Pink Floyd. Anyway, he bought a giant mansion and built a studio inside it and invited unknown UK country rock group Unicorn to record their second album there. The result is a rich, heartfelt song cycle of British folk/country/pop that draws from Fleetwood Mac, Neil Young and (thanks to Gilmour's production) the polish of Pink Floyd.

Features the ultimate 70s drum sound: tight, simple, clear, present and warm. Plus, Gilmour plays pedal steel all over it. A revelation. Voxx Records 01. A Play On Wordsworth 02.

Somebody Waits 03. Holding Up Well 04. Sky Is Falling 05. Make Us Bleed 06.

Cut In Two 07. See You Around 08. Lazy Ol' Son 09. Bigger Than Life 10. Black Forest Friday 11.

More Than This 12. History Hates No Man John Fallon - Vocals, Guitars David Fallon - Vocals, Bass Guitar Tim Gilman - Lead Guitar James Bailey - Drums, Percussion Produced by The Steppes. Engineered by Brett Gurewitz, John Girdler. Executive producer: Greg Shaw. Recorded at Westbeach Studio, Los Angeles, USA.

Were a 1980's Irish Psychedelic Rock band led by the gifted brothers David and John Fallon (whose memorable track Summers End In San Francisco is featured on the Psychedelic Psauna In 4 Parts compilation, which eventually led me to inquire further more about The Steppes). Drop Of The Creature, The Steppes' second musical endeavour, saw their transformation into a darker sound than their first more more acoustic EP. One slightly overwhelmed critic had this to say, Can this be for real? Does this record really have a 1987 datestamp? Can some men wear such ruffled shirtfronts and still walk outside? All these questions are blown away by yet another startling psychedelic-timewarp. The Steppes play the most blissful folk-into-psychedelia music, like the moment when Syd Barrett fronted The Byrds and then Jefferson Airplane, or when Roger McGuinn slung 12 strings over Pink Floyd's first album.

The Steppes even manage to crystallise the essence of beat-pop. Brilliant poetic-hurt wimp visions scatter a field of tripped melodies, as inspired as Rain Parade's debut: occasionally The Steppes go all dopey but otherwise, they're excessive, outrageous, ecstatic--better this than Sergeant Pepper any day. No more questions. (Martin Aston). Outside UK, in the rest of Europe the most important music scenes of 70’s was in German (Kraut Rock) and in Italy (Italian Prog). I think that Italian Prog has some excellent bands and albums a lot of people ignored. I am really deep in this scene maybe cause the island (Corfu) that i live is so close to Italy and the Italian culture remains in the island from ages and especially in music.

But mainly cause i am a progressive rock lover. I am proud to present the best 4 albums (320 kbps with covers) one of the leaders of Italian Prog. Revolutionary Army of the Infant Jesus - 1994 - The Gift Of Tears_Mirror This is a double CD collection of the LPs ' The Gift Of Tears' (1987) and ' Mirror' (1991). The last two tracks on the second disc are grouped together as ' La Liturgie Pour La Fin Du Temps'.

Track Listing: 1.Friday On My Mind 2.River Deep,Mountain High 3.Do You Have A Soul 4.Saturday Night 5.You Me,We Love 6.Pretty Girl 7.Happy Is The Man 8.Women ( Make You Feel Alright ) 9.Who'll Be The One 10.Made My Bed,Gonna Lie In It 11.Remember Sam 12.See Line Woman The Easybeats were a garage band in the 1960s from Australia. They formed in Sydney in late 1964 and split at the end of 1969. They are widely regarded as the greatest Australian pop band of the 60s and were the first Australian rock and roll act to score an international pop hit with their classic 1966 single 'Friday On My Mind' (however the folk-pop group, the Seekers, had international hits in 1965).

Their manager was former Sydney real estate agent, Mike Vaughan. The band's line-up exemplifies the influence of post-war migration on Australian society. All five founding members were from families who had migrated to Australia from Europe; lead singer Stevie Wright was from London, rhytmic guitarist George Young was from Glasgow, lead guitarist Harry Vanda and bassist Dick Diamonde were from the Netherlands, and drummer Gordon Henry Fleet, in Bootle,Liverpool,England. Friday on My Mind, produced by Shel Talmy and recorded in England, captures the Easybeats at just about their peak, combining all of the best elements in the evolution of their sound under one cover. The Easybeats were still one of the most energetic outfits in rock music, with a raw, highly animated guitar attack, but they were trying (and largely succeeding with) ever more complex vocal harmony parts and some staccato guitar harmony as well that was pretty impressive, and at this stage they were working with a brace of gorgeous Vanda/Young originals. Track Listing: 1. Hands On The Clock 2.

Don't Be Denied 5. Far & Near 6. Streetlight 8. She Cries Alone 9.

What Happened? Promised Land The Skeletal Family history:: Formed from the ashes of The Elements (Keighley, West Yorkshire, England). The Skeletal Family began life in December 1982. The initial line-up consisted of: - Anne-Marie Hurst (Vocals) Stan Greenwood (Guitars) Roger 'Trotwood' Nowell (Bass) Steve Crane (Drums) Ian 'Karl Heinz' Taylor (Keyboards) Taking their name from a David Bowie track off the Diamond Dogs album, the band quickly gained a sizeable local following, encouraged by this produced a self funded single 'Trees'/'Just A Friend' released through the Leeds based Luggage label. The single quickly gained the attention of Radio One's John Peel which through regular airings on his late show, saw the single breach the lower regions of the National independent charts.

Due to this radio airplay the band by-passed the usual route of playing the small pub circuit and made their London debut at the Fulham Greyhound to an enthusiastic audience, no doubt bolstered due to the current radio airplay. The gig also received an encouraging reaction from the now defunct national music paper 'Sounds', which secured the band other prestigious support slots with Sex Gang Children and Play Dead. By now with a Radio One session booked for March, the band recorded a second single 'The Night'/'Waiting Here'. For this release drummer Steve Crane was replaced by Manchester based Howard Daniels. Karl Heinz also departed (occasionally resurfacing on various future projects). Due to disappointing sales the single the single fails to make the impression expected, and the band set about recording their third single 'She Cries Alone'. Enlisting the services of the recently defunct Southern Death Cult guitarist Ian 'Buzz' Burrows as co-producer and roadie, now turned drummer Martin Henderson replacing the increasingly unreliable Howard, 'She Cries Alone' gave the band their first major mark in the independent charts, and armed with this success recorded the debut album 'Burning Oil'.

Around this period the band came close to extinction, whilst returning from a Belgium appearance, the tour van rolled over, and after crawling from the van it was discovered to be teetering on the edge of a 10 ft fall over the canal. Miraculously no one was hurt apart from one passenger who lost half his lower ear!!! Whilst recording the album the band learnt that Sisters Of Mercy front man Andrew Eldridge had specifically asked the band to support the Sisters on their Autumn Black October tour.

Now playing to much larger receptive audiences, the reaction ensured that when released 'Burning Oil' reached the top of the UK indie charts, beating The Smiths & New Order in the process. With a now much larger profile and two more Radio One sessions the band played numerous dates around Britain and Europe and proved popular enough to sell out London's then prestigious Marquee club. Despite previously enduring limited recording budgets, the bands success now enabled them to enlist the services of Cult/Gene Loves Jezebel producer John Brand, relocating to Highland studios Inverness and recording the bands second album 'Futile Combat'. Aided by Waterboys saxophonist Anthony Thistlewaite and Graham Pleeth on synths, the band achieved a more polished sound, a marked improvement on the previous offering. Live favourite 'Promised Land' was chosen as the first single off the album and on release reached the top three of the National Indie charts. The band topped the year with special guest appearances with Siouxsie & The Banshees at Brixton Academy plus Spear of Destiny London's Lyceum. By this time tensions within the band were high which culminated in both Anne-Marie and Martin (who joined March Violets vocalist Simon to form The Batfish Boys) leaving.

With a nationwide tour still booked, Anne-Marie rejoined and the band enlisted ex Gene Loves Jezebel drummer Dik on drums. Relationships in the band were still strained and although then tour was a success, Anne-Marie once again departed to form Ghost Dance with Sisters Of Mercy founder Gary Marx, forcing the band to cancel what would have been the band's seventh Radio One session for John Peel. At this point the band, who were at the height of their success decided to carry on. Additional musicians were drafted in, Kevin Hunter from Hull based band Cold Dance and local Keighley guitarist John Clarke joined the ranks while Trotwood and Stan sifted through numerous replies from a Melody Maker advert, intent on finding a replacement vocalist. An initial rehearsal with Look Back In Anger vocalist Mitch Ebbling didn't work out, So the band plumped for ex Colourfield, Manchester vocalist Katrina Phillips. Katrina, who had sang and appeared with Terry Hall (ex Specials lead singer) on The Colourfield single 'Thinking Of You' had a different voice and character to Anne-Marie, but had the added advantage of writing her own tunes and lyrics. A new manager was found in the form of Tony Perrin and the band set about recording the next single 'Restless' at Bradford's newly formed Flexible Response studios.

The single was originally intended for release on the Red Rhino label, but after shooting a video with Pulp's Jarvis Cocker and Russell Senior directing decided, with the aid of the band's publishing company DJM to try for a major label release. After offers from various companies the band decided to sign with Chrysalis Records, as they seemed to be the most enthusiastic regarding promoting the band. 'Restless' was remixed and partially rerecorded in Island Studios London with Smiths producer Steven Street, who whilst giving a more professional mix, deviated it so much from the original master tapes that it was almost unrecognisable as the Skeletal Family sound. Nonetheless the single was released in 7' & 12' format gaining plenty of airplay on Radio One's Janice Long's Evening show which resulted in a further two sessions for the station plus a double page feature in Melody Maker. The second single for Chrysalis 'Just a Minute' recaptured the classic Skeletal Family sound and gave the band their highest success in the National charts at the time. The band completed a highly successful German tour before retuning to Britain to record demo's for their forthcoming album with seventies glam rock Sweet' guitarist Andy Scott at the helm.

Again disruptions occurred within the ranks causing the band to split the day before the bands first pre recorded TV performance was aired. Following a successful gig at the Cockpit Leeds on 5.12.02 the Skels have reformed. And have played several more sucsessful UK gigs with new dates steadily appearing The Skeletal Family Story continues... By association:: John Brand who produced Futile Combat now manages The STEREOPHONICS. The engineer on that session was Brendan Lynch of Paul Weller and OCS fame. Tony Perrin who managed the band briefly went on to success with The MISSION, and then RIGHT SAID FRED.

Spike who did the early Ghost Dance singles now produces for OASIS. Shaun from MANIC STREET PREACHERS fame's first single was Promised Land. Resources: skeletalfamily.com Highly Recommended for all dark wave fans and not only. Watch 'Promised Land' Download Link. Bob Smith Personnel: LARRY CHAPMAN violin JAMES CURTIS hand drm MIKE DEGREVE rhythm gtr STAN KEISER flute CAPTAIN KEYBOARD (DARYL DRAGON) keyb'ds, vibes JOHN LATINI bs A DON PRESTON moog, mellotron SKIP SCHNEIDER drms A BOB SMITH gtr, vcls A ALBUM: THE VISIT (dbl) (Kent KST-551) Sept. 1970 NB: (1) some copies issued with colour poster, which significantly increases the value of the LP. (1) counterfeited on CD (Virgo CD1518) 1996.

Also legitimately reissued (RD Records RD 6) 2000, digitially remastered from the original 1/2' tapes, as a triple vinyl LP set Stop For A Visit Down Electric Avenue. The box set also contains selections from his Stop (1971) and Electric Avenue (1972) albums. Along with the three LP's, the box set includes a re-issue of 'The Visit' poster, and a band history along with several photos. Another significant collectable from the California rock scene that will interest readers. Not really a solo album at all, as Smith is backed by eight very capable musicians.

Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. Interesting and a must for fans of psychedelia. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years; as such, the recent reissue is most welcome. It includes a bonus disc of material recorded by Stop, Bob's later band from the early seventies. Prior to the Kent album, Bob was with Silverskin, and before that, Lid (not to be confused with ), who recorded an album in 1968 which remains unissued.

Don Preston was a member of Frank Zappa's Mothers Of Invention and Daryl Dragon was with The Dragons. Daryl worked on various projects with his brothers Doug and Dennis (Farm, A Sea For Yourself, et. Al.) before finding fame and fortune as the 'Captain' in Captain and Tenille. Bob Smith continues performing locally in Florida and has finished a new recording, The Visit - Destiny 2000 From Bob Smith which he will make available on his own Southern Rose label.

Bob would also appreciate it if the Virgo chaps could contact him about royalties. For more information, check the Bob Smith website: (Vernon Joynson/Clark Faville w/thanks to Bob Smith). [MIRLP 130] 01 Mezmerized 02 Can You Hear The Walls Melting? 03 20 Years Before My Time 04 Mushroom Season 05 Bug Soup (I Will Miss You) 06 Psychedelic Mushroom Cloud Explosion 07 Twice The Speed Of Time 08 She's Alright 09 Roolz Is A Rule 10 Mirror Mind 11 Naked Truth Produced By Brad Warner Engineered By Scott Godwin Recorded July 1986 @ The Island, North Royalton Studios, Ohio Cover By Vince Rancid 1st pressing limited edition of 3000 w/ mirror cover (or 2500 as their record company sais?) A follow up to their, uploaded some time ago, this is the second effort from one of my favourites, Ohio's Dimentia 13. More information about this underlistened band can be found in the featured on their 'fan website' (so it seems, anyway). Happy listening. The '80s Ohio band Dimentia 13 (named after an early movie by Francis Ford Coppola) fused together garage, psychedelic rock, and acoustic folk, issuing a total of six albums during their six-year-long recording career.

Influenced by such artists as the Soft Boys, Kevin Ayers, Syd Barrett, Soft Machine, and the Electric Prunes, the band was secretive about their identities. They issued such albums as 1985's self-titled debut, 1987's Mirror Mind, 1989's Disturb the Air, 1990s T.V. Servicemaxx Keygen Download Free. Screen Head, and 1991's Flat Earth Society on the independent New York label Midnight. ~ Greg Prato, All Music Guide. I Don't Know 02.

Patti's Dream 03. Dancing Doris 04. Goodbye Pamela Ann 05. Monologue 06. Black Sunshine 07. Think For Yourself 08.

The Bug, The Goat, & The Hearse 09. Shapes Of Sleep 10. Cloud Of Lead 11. Mother Of My Children 12. 1001 Twice 13. Sylvan Shores 14.

The Raven Ken Walker (vocals, guitar, zither, melodica, electric piano, organ, effects) Bob Narloch (vocals, guitar, harmonica, tambourine) Tom Gilmore (recorder, bass) Mike Shipp (drums, percussion) ************************** Once upon a midnight dreary, while I pondered weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. `'Tis some visitor,' I muttered, `tapping at my chamber door - Only this, and nothing more.' Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels named Lenore - Nameless here for evermore. 01 - Dreamworld - 4.16 02 - Under The Rainbow - 3.47 03 - Shades Of Orange - 2.39 04 - Bromley Common - 0.49 05 - Cardboard Watch - 2.54 06 - Introspection (Part One) - 4.05 07 - What Does It Feel - 2.49 08 - Linen Draper - 0.13 09 - Don't Take Me - 3.24 10 - Loving, Sacred Loving - 2.59 11 - She Said Yeah - 2.50 12 - Jacob's Bladder - 0.55 13 - Introspection (Part Two) - 2.46 14 - Shades Of Orange (Mono Single Version) (Bonus Track) - 2.41 15 - Loving, Sacred Loving (Mono Single Version) (Bonus Track) - 3.02 British psych with lots of trippy, dreamy passages. -Lanchester Personnel: Colin Giffin (guitar, lead vocals) Dave Brown (bass, vocals) Nicky Graham (keyboards, vocals) Terry Taylor (guitar) Hugh Atwooll (drums) (Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover) Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office.

So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla.

'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it.

1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street. Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist.

Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two: Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies. Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard. 'Shades of Orange' can be found Rubble 6: The Clouds Have Groovy Faces; The Psychededlic Scene and The Great British Psychedelic Scene. Broken Dreams featured two songs, 'Jacob's Bladder' & 'Introspection pt.2' whilst Visions from the Past volume 3 featured 'Why' posted by Lanchester.

Track Listing 1 Out on My Own 2 Just Too Easy 3 Billy's Birthday 4 Going to Neon 5 Six Days and One 6 Girl in Trouble (Is a Temporary Thing) 7 Say No 8 Your Life Is a Lie 9 Instincts Romeo Void was a New Wave band in San Francisco, California from 1979 to 1985. They are best known for the songs 'Never Say Never' (1982) and 'A Girl in Trouble (Is A Temporary Thing)' (1984), which were minor hits, with the latter becoming a Top 40 pop single. Their popularity was primarily in alternative and college radio, and as a dynamic performing act. They recorded for 415/Columbia Records. The original band members met at the San Francisco Art Institute. Most of the band members were also visual artists and did their own album art. Perhaps in reaction against the more commercial sound of Benefactor, Romeo Void returned to producer David Kahne and the sound of their first album, It's a Condition, on their third, Instincts.

Nevertheless, it proved to be their bestselling album. The group's instrumental attack continued to be spearheaded by saxophonist Benjamin Bossi, whose floating lines contrasted with the drive of the rhythm section and guitarist Peter Woods' Morse code leads. And Iyall continued to pour out disappointed reflections on the romantic condition in songs with titles like 'Your Life Is a Lie' and 'Say No.'

One of them, 'A Girl in Trouble (Is a Temporary Thing),' managed to be both provocative and vague enough to inch into the Top 40, such that the album gained greater exposure and sales. But instead of marking a breakthrough for Romeo Void, Instincts marked their breakup, with Iyall going solo. After the demise of Romeo Void, Debora Iyall, the lead singer and lyricist, put together and sang in the groups Knife in Water and Lower East Venus. John Haines played drums for Pearl Harbour and the Explosions. The band was reunited briefly in 2003 for a one-off concert by VH-1's Bands Reunited, although Benjamin Bossi was unable to perform due to hearing loss. The band wrote and recorded four demo tracks in October 1993 (If I Was Your Cat, Stormy Eyes, Two Rivers, and Safe Place), which were sent to Sony Music but never released. Personnel Debora Iyall: vocals Benjamin Bossi: saxophone Peter Woods: guitar Frank Zincavage: bass John Haines: drums (It's a Condition) Larry Carter: drums (Never Say Never (EP) and Benefactor) Aaron Smith: drums (Instincts) Watch 'Say No': Download Links: SendSpace: or RapidShare.

(Rockadelic US 1994) recorded 1970 01 End Of The Page (4:45) 02 Having A Good Time (4:08) 03 Satan (6:05) 04 Fever Machine Man (6:29) 05 Let's Go To The Sea (8:26) 06 Hooked (4:05) 07 Under The Black Sun (2:55) 08 Stormy Monday (2:51) 1970 recordings of great jammy downer hardrock/psych with an intense atmosphere, far-out vocals and only one weak cut. Lyrics deal with smack, 'Nam, satanism and more; a merciless snapshot of the post-flower power era. In my opinion among the very best of all the Cavern Sound Studios stuff (Stoned Circus, Crank/Thump Theatre, Phantasia, Trizo 50) that has appeared. The reissue has the usual Rockadelic sleeve obsession with heroin and death, which is well matched by the sounds inside. The label was unable to locate the band which explains the lack of info. [PL] American psychrock with a doom-metal feel for your enjoyment.

- Lanchester. 01 Autumn Leaves 02 Thank You Very Much Next Week 03 Mirror On The Wall 04 Empty Seed 05 Bowl Of Cherries 06 Nu Spartans 07 Joe Granville 08 Jimmie Sings 09 Women In Uniform 10 Spike The Dike 11 Franco-America Tripod Jimmie 'Long Walk Off a Short Pier' Do Speak do3, 1982. *** Terrific debut from the band led by ex- Pere Ubu guitarist, Tom Hermann.

Great post-punk/funk stuff: agile drumming, meaty basslines, Hermann's lacerating guitar and his Byrne-like voice. Not dissimilar in places to early Talking Heads, but not as mannered. Excellent live-in-studio recording made 'on the shore of Lake Erie.' I became aware of this fantastic lp when avid fan, Steve Albini played it on a local radio show. References: Come On, The Fall, Styrenes, Electric Eels, Mirrors, Couch Flambeau.

*** From Wikipedia, the free encyclopedia Tom Herman is a guitarist and composer. He was a founding member of Pere Ubu, performing and recording with them from 1975 to 1979. He quit the group, then rejoined in 1995. One of his main reasons for leaving Pere Ubu (one among many) was that the band wasn't as interested in spending time on the road as he was.

He left and, ironically, never got back on the road with a band until rejoining Pere Ubu in the nineties. After leaving Ubu, Tom spent some time working on an oil rig in the south as well as playing bass in a hotel band. Eventually he started working as a mechanical technician, repairing equipment in hospitals and occasionally restaurants. In 1980 or 1981 he moved to Erie, PA, where he started Tripod Jimmie with bassist Lenny Bove and drummer Roger Prehoda. The band was named after photographer friend Mick Mellen's three-legged dog and/or the tape deck mounted on a tripod that functioned as the fourth member of the band.

The tape deck was used to play tape loops which the band would then play 'with' rhythmically or 'against' (where the loop served more as a textural element) depending upon the demands of a particular song. While notably different from Pere Ubu, the two bands do have similarities. The band's music bore a relation to R&B, but in a unique sense. One of the things I was thinking about at the time was what it would be like if some alien was exposed to all relevant information about R&B except actually hearing it,' as Tom put it. This thoughtful and conscious approach to the band as a project shows a similar sensibility to Ubu's. Some time after recording the album Long Walk Off a Short Pier (which was in fact recorded on a pier), Tripod Jimmie moved from Erie, PA to Oakland, CA in the mid-eighties, swapping Roger Prehoda for Glenn Reynolds on drums. This lineup released the album A Warning to All Strangers.

The band broke up in 1988 and Tom dropped out of actively playing music for a few years. In 2003, Tom recorded an album called 'Wait For It', which was issued by Return-to-Sender Records in 2004. Highlights include a cover of Blind Lemon Jefferson's 'Jesus' and 'Red Haired Girl'. In early 2005, Tom left Pere Ubu again.

In August of 2006 he played on stage with Oakland rock band Ovipositor. One critic has praised Herman's playing, describing it as 'postmodern Chuck Berry riffing.' (USA /ABC-Probe /1969) Steve Morgen - g, vo Bob Maiman - ds Rennie Genossa - b Barry Stock - g 01 Welcome To The Void 4:47 02 Of Dreams 5:38 03 Beggin' Your Pardon (Miss Joan) 4:49 04 Eternity In Between 5:07 05 Purple 4:12 06 She's The Nitetime 3:31 07 Love 10:54 total time: 39:00 Very little is known of the elusive group Morgen, who recorded a one-off album for ABC's psychedelic subsidiary Probe in 1969 and then apparently vanished. The group's namesake leader was Steve Morgen, and while some reference books actually credit the album to him solely, Morgen was indeed a group, consisting of Steve, Rennie Genossa, Bob Maiman, and Barry Stock, all of whom supposedly hailed from Long Island, New York. Their album made no impact when originally released and has since become rare and sought-after, especially after dealers and collectors began declaring it a 'psychedelic classic' in recent years. While the label 'classic' might be a bit of a stretch, the album does certainly include a few very good tracks. 'Welcome to the Void' is an effective opener that features some nice drumming and lead guitar work, as well as some suitably psychedelic, apocalyptic lyrics.

'Of Dreams', probably the strongest song on the album, is a gorgeous, floating psychedelic excursion highlighted by a captivating, fey vocal and some more strong guitar and drum playing. An edited single version of 'Of Dreams' was featured on Arf! S excellent compilation Beyond the Calico Wall and offers a different mix of the song, but it decidedly sounds best here, in its five-and-a-half-minute, stereo incarnation. 'Beggin' Your Pardon (Miss Joan)' had the potential to be a decent, slightly bluesy tune, but its plodding momentum and comparatively simple arrangement make it a bit of a sleeper, especially after the psychedelic splendor of 'Of Dreams'. It's likely the album's weakest offering. 'Eternity in Between' is more engaging, and it features some guitar work that sounds almost like a tribute to The Who's Pete Townshend, specifically, some chord changes borrowed from Tommy's 'Underture', as well as the guitar pickup switch feedback sound that Townshend used liberally on signature Who tunes like 'Anyway, Anyhow, Anywhere'.

'Purple' is a very nice song propelled by a good drumbeat and underscored by droning guitar leads. It's also perhaps the best showcase for Steve Morgen's soft vocals. 'She's the Nitetime', a catchy tune with good musicianship all around and more nice vocal contributions from Steve, is another major highlight of the album. The eleven-minute closer 'Love' sounds a little reminiscent of The Doors' 'When the Music's Over' in its vocal phrases, and is narrowly rescued from tedium by a rather good guitar solo halfway through. Although Morgen's album might not be a 100%-excellent whole, it does include some very satisfactory ingredients. Taylor, Michigan-based teen rockers the Unrelated Segments formed in late 1966 around the nucleus of singer Ron Stults and lead guitarist Rory Mack, who together previously teamed in the short-lived Village Beaus.

Also including rhythm guitarist John Torok, bassist Barry Van Engelen and drummer Andy Angellotti, the Segments wrote their first original, 'The Story of My Life,' after just their second rehearsal session; they soon entered the local United Sound studio to record the track, issuing it as their SVR label debut single in early 1967. A massive hit on Detroit radio, the song also gained significant airplay in other pockets of the midwest, and that summer the Unrelated Segments returned to the studio to cut their second single, 'Where You Gonna Go?; ' another local smash, it helped the group land live dates at the famed Grande Ballroom opening for acts including Spirit and Jeff Beck Group.

They also opened for the likes of the Who and the MC5. 'Cry, Cry, Cry' followed in the summer of 1968, but failed to match the success of its predecessors; Angellotti was soon dismissed from the line-up, and after Van Engelen was drafted to serve in Vietnam in early 1969 the Segments recruited new guitarist Daryl Gore, with Torock moving to bass. After changing their name to simply the U.S., they recorded a handful of unreleased tracks before disbanding as the decade drew to a close; in 1998, the Cicadelic label released a comprehensive collection of the Segments' music titled Where You Gonna Go? ~ Jason Ankeny, All Music Guide DownloadLink: http://rapidshare.com/files/4148249/segments.rar.html. Formed in 1966 as the Brain Train and managed by Sunset Strip hipster Bud Mathis, Clear Light were signed up by Elektra, and Doors' producer Paul A.

Rothchild took over management of the band. The group included future actor Cliff De Young on vocals and drummer Dallas Taylor (who had played previously with John Sebastian and later with Crosby, Stills and Nash). Rounding out the lineup were Robbie 'the Werewolf' Robison, guitar (later replaced by Ralph Schuckett, organ); Bob Seal, guitar and vocals; occasional Doors sideman Doug Lubahn, bass; and Michael Ney, on, most unusually, another set of drums. The big hit off their only album, Clear Light, was 'Mr. Blue,' a psychedelic folk song written by Tom Paxton.

Lasting over six minutes, the rather sinister, psychedelic song is considered a classic of the genre. Its lyrics, which alternate between spoken word and song, include verses opening with such lines as, 'Good morning, Mister Blue, we've got our eye on you,' 'Step softly, Mister Blue, we know what's best for you,' and 'Be careful, Mister Blue, this phase you're going through.' The album also included some of guitarist Bob Seal's best psychedelic folk-rock songs, namely 'With All in Mind' and 'They Who Have Nothing.'

It had some success in England, but less in the U.S. The group disbanded in 1968. I've Loved Her So Long (Young) 04. Don't Ever Give Up Trying (Baker) 05. Country Road (Taylor) 06. Something To Say (Cocker) 07.

Ain't Got A Lot Of Future (Baker) 08. Never Going Back (Stewart) 09. You, You, You Have (Baker) 10. Please Sing A Song For Us (Rafferty) Personnel: (up to 1976) KEN BAKER gtr, vcls, keyb'ds A B C PAT MARTIN bs, vcls, mandolin A B C TREVOR MEE gtr, vcls, flute A PETER PERRIER drms, vcls A B C KEVIN SMITH gtr B C CHRIS PIDGEON keyb'ds C ALBUMS: (up to 1976) 1(A) UPHILL ALL THE WAY (Transatlantic TRA 238) 1971 2(B) BLUE PINE TREES (Charisma CAS 1092) Aug. 1974 3(C) TOO MANY CROOKS (Harvest SHSP 4054) Mar. 1976 NB: (2) and (3) issued on Capitol in US, with (3) under a different title as Unicorn II.

There was one further album One More Tomorrow (Harvest ) 1977, recorded with Howie Casey (sax) and Billy Livsey (keyb'ds). Previously known as The Late, this was a pleasant country/folk band, who gradually became rockier and perhaps less interesting as a result. The Going Home 45 was a private pressing. The first Big T 45, P.F.

Sloan, was a tribute to the American songwriter and, like flip side, is excellent. Dave Gilmour (of Pink Floyd) played on some of their albums and produced some of their material.

Ferrier later went on to Co-Co and Smith later played in Thumbs. Originally called: The Late. These fine musicians from UK eventually were the backing group for Billy J.Kramer. But here they perform under the name UNICORN. And this is superb country/folk/prog with splendid vocals and superb vocal-arrangements and music ability to perfectly fit the singing! ”Uphill all the way” are a superb album.

No wonder David Gilmour (yes,he of Pink Floyd fame) liked them and joined them on several of their later albums. Ok, not so much progressive as folksy pop, but still very much an album that shines!

In the great vein of Cochise & ronco (remember them?) So when nodding happily to the abowe, you just have to get this fine little period piece of usical history!! My favourite tracks? Well.i kinda love: ”115 bar joy” with its Crosby, Stills And Nash character, beautiful!! Also im very fond of:”I loved her so long”but friends of mellow, soothing, very excellent soft music. With: THE SICK ROSE, THE CAVEMEN + THE SOUND EXPLOSION live! Athens - GR, Friday 24 November 2006 @ UNDERWORLD club Themistokleous & 5, Gamveta str. (tel.: +30 2) Belle Vue in action again!

After the “Weekender” of 2006 and the second edition of “The Athenaeum Cave” a brand new club is ‘blooming’, the “Modernground Express”. In its first appearance, in collaboration with Milano Mods, on 24th of November at Underworld club (Themistokleous & 5, Gamveta str.

Athens - GR) and on 25th of November at B Live club in Larissa, we proudly present, two bands from our neighboring Italy that have left indelible their traces in the RnR way. The Sick Rose from Turin with more than twenty years in the limelight and The Cavemen from Ravenna for the first time in Greece accompanied with the natives, The Sound Explosion! So many things to say for them! It was somewhere in the 1984 when, Luca Re and his band for the first time touched the instruments and went up on stage! From the release of their first e.p.

“Get Along Girl!” on Electric Eye rec. In 1986 up to our days and the release of “Blasting Out” on Teen Sound rec. With Australian producer Dom Mariani, many years passed, many things have changed (maybe some of them a little bit), but still remains an authentic RnR group, with constant values and principals. When The Sick Rose made their debut in Italy their sound was not familiar to the local music statement. Genuine representatives of sixties American garage scene, without losing their Italian character during the time, thanks to the accent of their leader Luca Re. That season were two superior bands, according to Timothy Gassen’s book “Knights of Fuzz 1980-1995”: The Chesterfield Kings and The Sick Rose! On the same stage, The Cavemen, intellectual children of Massimo del Pozzo with the well known in our days “Teen Sound”, mixing with their genius way, the sounds of garage punk groups of the other side of Atlantic ocean with the European RnB and Italian beat of the '60s decade!

Also the same night, the Greeks “The Sound Explosion”, almost fifteen years in action with many appearances in n’ out of the borders, need no introduction as they cause delirium to every garage maniac! The concert follows an all night party with Belle Vue d.j.s behind the decks and special guest, Henry from Milano Mods playing the sounds of the sixties underground on the original labels & hard to find 45’s! Enjoy the ride in “Modernground Express” by booking your tickets on time, in the limited number of 500 tickets and watch when shadows fall!

More info: www.bellevuesituation.com www.myspace.com/belle_vue www.milanomods.itgo.com www.underworldclub.gr The Sick Rose. Pussy - 1969 - Pussy plays 1969 Morgan Blue Town BT 5002 Track listing 1. Come Back June (3:59) 2.

All Of My Life (4:08) 3. We Built The Sun (5:00) 4. Comets (4:16) 5. Tragedy In F Minor (5:02) 6. The Open Ground (3:35) 7. Everybody's Song (4:20) 8. (5:28)Total 35:37 produced and arranged by Danny Beckerman The group Steve Townsend - drums Barry Clark – guitars Peter whiteman – keyboards Dek Boyce – vocals Jez Turner - bass One of the rarest albums of the entire British prog-rock scene, Pussy's Plays is undoubtedly also one of the most obscure and beautiful.

Their line up has always been a mystery as they never revealed their identity. (I finally found it) A must for keyboard lovers and psych- prog fans. “All of my life” is one of my favorite songs of the psych – prog area. Nikos1109 This band was originally known as.

Their album is one of the very best of the British progressive rock ultra-rarities. A five-piece band, whose complete personnel remain unknown. The album's a real gem. It kicks off with Come Back June, a keyboard-driven rock number, which is followed by one of their finest, All Of My Life. With its unusual, melodramatic vocals and fine keyboard arrangements it's well worth getting to hear. In contrast, one of the album's other nuggets, We Built The Sun, is characterised by some lovely melodic guitar work and eerie harmonies. The other highlight is The Open Ground, which is again unusual and quite trippy with partly spoken lyrics.

Comets is a maze of cosmic theramin-filled sound effects and there are also some instrumental cuts (Tragedy In F. Minor (which features a nice mellotron intro.) and G.E.A.B.) which aren't so good.

If progressive rock's your scene, this is definitely an album to check out (Vernon Joynson – The Tapestry of Delights) At last, an official version of this mega rare late '60s UK psych with an early Floyd/Caravan/Arzachel feel. Excellent freaky, fuzz n' wah-wah guitar with swirling keyboards and a classic '60s production loaded with all of the studio effects of the era. A bit of a gem. (The Freak Emporium) This album is one the 100 greatest psychedelic records according to Record Collector Magazine2005 special edition Download link. NB: Line-up 'D' appear as The Icebag Four along with producer John Court on their In My Own Dream album.

ALBUMS: 1(B) PAUL BUTTERFIELD BLUES BAND (Elektra EKS 7294) 1965 123 2(B) EAST/WEST (Elektra EKS 7315) 1966 65 3(C) RESURRECTION OF PIGBOY CRABSHAW (Elektra EKS 74015) 1968 52 4(D) IN MY OWN DREAM (Elektra EKS 74025) 1968 79 5(E) KEEP ON MOVING (Elektra EKS 74053) 1969 102 6(F) LIVE (Elektra 7E 2001) 1970 72 7(F) SOMETIMES I FEEL LIKE SMILIN' (Elektra EKS 75013) 1971 124 8(-) GOLDEN BUTTER - LIVE DOUBLE (Elektra 7E2005) 1972 136 9(A) AN OFFER YOU CAN'T REFUSE (Red Lightnin' R008) 1972 NB: (1) reissued on LP (Sundazed LP 5095). (2) reissued on CD (Winner 447) 1996. (9) reissued in the UK 1982.

There's also a compilation The Paul Butterfield Blues Band (Edsel ED1 50) 1985. 45s: 1 Come On In/I Got A Mind To Give Up Living (Elektra 45609) 1966 2 Run Out Of Time/One More Heartache (Elektra 45620) 1967 3 In My Own Dream/? (Elektra 45643) 1968 4 Where Did My Baby Go/In My Own Dream (Elektra 45658) 1969 5 Love March/? (Elektra 45692) 1970 NB: (3) and (5) credited to Paul Butterfield. There's also an extremely rare French EP with PS: I Got My Mojo Working/Shake Your Money Maker/Born In Chicago/Mystery Train (Vogue INT 18063). Paul Butterfield was born on 17th December 1942 in Chicago where he later formed his racially integrated R&B band in 1964. The original line-up included Jerome Arnold and Sam Lay who had previously comprised the rhythm section of a band fronted by Howlin' Wolf, but shortly afterwards Butterfield's former University of Chicago classmate Elvin Bishop joined and they signed to Elektra.

Mike Bloomfield was brought in on slide guitar and Mark Naftalin joined on keyboards during the recording of their first album. One of their early live gigs was at the July 1965 Newport Folk Festival but it did not go down well with the folk purists among the audience. However, they impressed Bob Dylan who invited them to back him later that day in what was his very first non-acoustic set. The band travelled to New York in January 1966 to record their self-titled debut album which comprised a hard-hitting battery of electric blues numbers.

123 in the Billboard album charts. In June the same year they contributed five tracks to What's Shakin', an Elektra various artists LP which also featured The Lovin' Spoonful, Eric Clapton, Tom Rush and Al Kooper. East/West followed in December 1966. The title track, which was over 13 minutes long, included many Eastern instrumental influences. The album peaked at No. 65 in the Billboard charts.

Mike Bloomfield departed shortly after its release to form Electric Flag. 1967 was a quiet year for the band but Butterfield did cut an EP with John Mayall that was released in the U.K. When Butterfield returned with Resurrection Of Pigboy Crabshaw in February 1968 (Pigboy Crabshaw was Bishop's nickname) it was with a fresh rhythm section and a three piece horn section. Climbing to No.

52 in the Billboard charts this was to be Butterfield's most successful album. Although it followed the usual blues format, it had a distinct soul influence. Compositions included Booker T's Born Under A Bad Sign which Albert King had made famous, and One More Heartache, a Smokey Robinson song which had been a hit for Marvin Gaye.

However, many of Butterfield's fans and some critics yearned for high-powered, white electric blues and regretted the band's latest soulful direction. When In My Own Dream emerged later in 1968 it was also slated in some sections of the music press.

The line-up was basically the same as for the previous album, although producer John Court joined forces with Buggy Maugh, Charles Dinwiddie and Phil Wilson to provide vocal harmonies as The Icebag Four and Al Kooper guested on organ on a couple of tracks (Drunk Again and Just To Be With You). The album was musically diverse ranging from bar-room blues, to folk blues and electric music, and was criticised as being too fragmented.

However, if much of it was uneven, the title track was distinctly innovative with the Icebag Four's backing vocals lending a gospel feel to the song. It reached No.

79 in the U.S. Album charts. Elvin Bishop left in 1968 to form his own band and was replaced by Buzzy Feiton for Keep On Moving, a heavy album with lots of brass, which could only reach No. 102 in the U.S. Album charts.

The band appeared at the Woodstock festival in 1969 and one of their songs, Love March was included on the original Woodstock album. Live recorded with a new line-up live at L.A.' S Troubadour club in 1970, and produced by Todd Rundgren, saw some upturn in their fortunes (albeit temporary) reaching No. It contained a selection of material from their three previous albums, Everything's Going To Be Alright (also featured on the Woodstock 2 LP) and three tracks which do not appear on other Butterfield albums:- The Boxer, Number 9 and Get Together Again. By now Butterfield was tired of touring and he broke up the band in 1971 after a final studio album Sometimes I Feel Like Smilin', which could only manage the 124 spot in the album charts.

Golden Butter Live Double, a double retrospective compilation, peaked to No. 136 the following year. 1972 also saw the release of An Offer You Can't Refuse which featured his earliest recordings back in 1963 with Smokey Smothers' band in Chicago, by specialist U.K.

Blues label Red Lightnin'. They account for one side of the album. The other side features Walter Horton, backed by musicians like Buddy Guy. This album was reissued again in 1982.

More recent still is the Edsel 1985 release which is now the most accessible guide to the music of the Butterfield Blues Band. 1995 also saw the release on CD of The Original Lost Elektra Sessions (Rhino RZ 73505), which compiled material from an abandoned 1965 first album, which is largely dominated by powerful blues covers. It contains 19 tracks in all.

Bugsy Maugh later recorded two interesting albums for Dot. Paul Butterfield died in the nineties. If you're into high powered white electric blues these guys are essential for you, but if you're garage-punkers or into demented psychedelia give them a miss.

Compilation appearances have included: Morning Blues on Kings Of Pop Music Vol. 1 (LP); Born In Chicago on Kings Of Pop Music Vol. 2 (LP); East-West on Elektrock The Sixties (4-LP). (Vernon Joynson/Stephane Rebeschini).