Thursday, April 30, 2009

The Byrds- Mr. Tambourine Man (1965)

Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a short time in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their ... Read More...

1 Mr. Tambourine Man Dylan 2:21 2 I'll Feel a Whole Lot Better Clark 2:34 3 Spanish Harlem Incident Dylan 2:00 4 You Won't Have to Cry Clark, McGuinn 2:09 5 Here Without You Clark 2:38 6 The Bells of Rhymney Davies, Seeger 3:33 7 All I Really Want to Do Dylan 2:05 8 I Knew I'd Want You Clark 2:16 9 I'ts No Use Clark, McGuinn 2:25 10 Don't Doubt Yourself, Babe DeShannon 2:57 11 Chimes of Freedom Dylan 3:53 12 We'll Meet Again Charles, Parker 2:10
13 She Has a Way Clark 2:27 14 I'll Feel a Whole Lot Better Clark 2:30 15 It's No Use Clark, McGuinn 2:26 16 You Won't Have to Cry Clark, McGuinn 2:10 17 All I Really Want to Do Dylan 2:05 18 You and Me [instrumental] Clark, Crosby, McGuinn 2:12
One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe"). The originals were lyrically less challenging, but equally powerful musically, especially Gene Clark's "I Knew I'd Want You," "I'll Feel a Whole Lot Better," and "Here Without You"; "It's No Use" showed a tougher, harder-rocking side and a guitar solo with hints of psychedelia. [The CD reissue adds six less impressive (but still satisfying) bonus tracks and alternate takes from the same era.]

The Vivisectors - Gulag Tunes - And Other Good Songs (2006) Russia


The Vivisectors produce what surf rock should be. Rhythm, beat , energy and "..Кузькина мать..."
01. Submariner Song02. Urchins03. Horses Walking Over River04. The Sea Spreads Widely05. Grey Smoke06. Murka07. Doves Are Kissing On The Roof08. Raggamufin09. On Kolyma10. Rosamunda11. Cigarette12. Blue Scarf13. When I Met You14. Cigarette Stub

Jelly Bean Bandits - Jelly Bean Bandits(1967)

Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Singer Billy Donald, guitarist Jack Dougherty, bassist Fred Buck, keyboardist Michael "Mr. Addams" Raab, and drummer Joe "Laredo London" Scalfari originally operated as "the Mirror", regularly packing area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog. In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records — however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material ... Read More...
01.Country Woman02.Generation03.Poor Precious Dreams04.Another August Revisited05.Going Nowhere06.Happiness Girl07.September Rain08.Neon River09.Plastic Soldiers10.Say Mann11.Tapestries
Thanks ChrisGoesRock and sava (

Grail - Grail (1969)

Obscure British psychedelic quartet based in London who played the Marquee, among other clubs, in 1969. Their only album, released around 1970 on the German Metronome label, is rumored to have been produced by Rod Stewart.
1 Power 2 Bleek Wind High 3 Day After Day 4 Grail 5 Camel Dung 6 Sunday Morning 7 Czechers 8 The Square
Thanks Oyster Brand (batzbatz)

The Who - Who's Next (1971)

***Few bands in the history of rock & roll were riddled with as many contradictions as the Who. All four members had wildly different personalities, as their notoriously intense live performances demonstrated. The group was a whirlwind of activity, as the wild Keith Moon fell over his drum kit and Pete Townshend leaped into the air with his guitar, spinning his right hand in exaggerated windmills. Vocalist Roger Daltrey strutted across the stage with a thuggish menace, as bassist John Entwistle stood silent, functioning as the eye of the hurricane. These divergent personalities frequently clashed, but these frictions also resulted in a decade's worth of remarkable music — it took some five years to find their audience, but at the tail end of ... Read More...
1 Baba O'Riley Townshend 5:08 2 Bargain Townshend 5:34 3 Love Ain't for Keeping Townshend 2:10 4 My Wife Entwistle 3:41 5 The Song is Over Townshend 6:14 6 Getting in Tune Townshend 4:50 7 Going Mobile Townshend 3:43 8 Behind Blue Eyes Townshend 3:42 9 Won't Get Fooled Again Townshend 8:33

by Stephen Thomas Erlewine
Much of Who's Next derives from Lifehouse, an ambitious sci-fi rock opera Pete Townshend abandoned after suffering a nervous breakdown, caused in part from working on the sequel to Tommy. There's no discernable theme behind these songs, yet this album is stronger than Tommy, falling just behind Who Sell Out as the finest record the Who ever cut. Townshend developed an infatuation with synthesizers during the recording of the album, and they're all over this album, adding texture where needed and amplifying the force, which is already at a fever pitch. Apart from Live at Leeds, the Who have never sounded as LOUD and unhinged as they do here, yet that's balanced by ballads, both lovely ("The Song Is Over") and scathing ("Behind Blue Eyes"). That's the key to Who's Next — there's anger and sorrow, humor and regret, passion and tumult, all wrapped up in a blistering package where the rage is as affecting as the heartbreak. This is a retreat from the '60s, as Townshend declares the "Song Is Over," scorns the teenage wasteland, and bitterly declares that we "Won't Get Fooled Again." For all the sorrow and heartbreak that runs beneath the surface, this is an invigorating record, not just because Keith Moon runs rampant or because Roger Daltrey has never sung better or because John Entwistle spins out manic basslines that are as captivating as his "My Wife" is funny. This is invigorating because it has all of that, plus Townshend laying his soul bare in ways that are funny, painful, and utterly life-affirming. That is what the Who was about, not the rock operas, and that's why Who's Next is truer than Tommy or the abandoned Lifehouse. Those were art — this, even with its pretensions, is rock & roll.

Inna Zhelannaya - Inozemets (1998) Russia

INNA ZHELANNAYA Musicians of the fabulous rock-band “Alliance” which was popular in Russia in 80-s and early 90-s made up a core of a band, created by Inna Zhelannaya in 1994. Music produced by the band couldn’t be defined by familiar genres’ peculiarities – it combined the elements of different rock streams, Russian folklore and other ethnic practices. Rock rhythm-section with strong drums, energetic electric guitar and transcendent sound of unique fretless 6-string bass, the usage of electronic devices, vivid wind-instruments range – all these indicated special band’s sound. In 1989 Inna begun her co-operation with a rock-band “Alliance”. Read more...

01. Naberu travy (Gathering Grass) [5:00]02. Letay (Fly) [4:09]03. Iz-pod svet zarya (Twilight) [4:13]04. Pesnya bez slov (Song Without Words) [4:49]05. Molchi (Keep Silent) [2:58]06. Obryadovaya (Easter Song) [5:48]07. Blok (Blok) [4:47]08. Severnye tantsy (Northern Dances) [2:57]09. Zerkalo (Mirror) [6:53]10. Cherez sadik (Through The Orchard) [4:27]11. Seroglazyj (Grey Eyes) [3:20]12. Kolybel'naya (Lullaby) [4:30]13. Mak (Poppy) [6:42]

Baba Yaga - Kuda ty poydesh' (1993) Russia\Hungary\ Ireland

Baba Yaga, as well as being a witch from Russian folklore, is the name of a unique international group consisting of Irish and Hungarian rock musicians, and 4 Russian folk singers. This highly unusual formation combines British pop music with Russian folk. The band has written music which blends authentic Russian folk tunes and instruments seamlessly with rock/pop sounds and harmonies.
The members first met on a starry night in Agrigento, Sicily in 1989. Jamie Winchester, (the Irish singer/guitarist), was living in Budapest at the time, and had travelled to Sicily with the members of the Hungarian rock group KFT, amongst them Tibor Bornai. Also performing at the festival that year was the Russian folklore group Karagod, and by pure chance Jamie and Tibor heard four members of that group singing spontaneously at a late night party in the courtyard of their hotel. Neither will ever forget the effect this soulful music had on them. Without a moments hesitation they asked the Russians whether they would be interested in creating a band, and Baba Yaga was born.
Their first album was recorded and released independently in Hungary, and this, in addition to some early showcase concerts in Budapest and Berlin, was enough to gain the interest of international record producer Leslie Mandoki, and the German record company DSB. The result of this collaboration was the album Baba Yaga, which was recorded in Munich and Budapest, and released throughout Europe.
The success of the album helped the group to tour extensively in Europe, performing solo gigs as well as festivals, including Glastonbury (GB), Arezzo Wave(I), Rudolstadt, Kцln, Open Ohr Mainz (G), D'Ete Nantes (FR), Tilburg, Terschelling(NL), Kalбka Festival (HU) and tours in Germany. The power of the music, as well as the infectious fun which the members are obviously having when they play together, ensure that Baba Yaga are favourites wherever they play, and almost always recieve invitations to return.
The latest album, Secret Combination, contains songs and recordings dating from 1995 until the present day, and was recorded in Budapest and Moscow. It shows how the combination has matured, and how the members' understanding and respect of eachother's music has developed over years of travelling and performing together. But above all it demonstrates how the members feel the same excitement and sense of fun which has characterized the band since that first night in Sicily. Baba Yaga pairs together folk music from the depths of the russian soul with some serious rock 'n' roll.
01. Where Will You Go (Куда ты пойдешь) (4:13)02. So Ends Another Day (Так заканчивается день) (7:22)03. Side To Side (Бок о бок) (4:49)04. Red Bird (Красная птица) (4:43)05. Time To Try (Пора попробовать) (4:40)06. Back In The USSR (Возвращение в СССР) (1:43)07. All Work And No Play (Работа без отдыха) (5:06)08. It`s Me (Это я) (5:40)09. Days Of Old (Дни старости) (4:39)10. Beating My Dreams Away (Разрушение мечты) (5:08)11. All The Lights (Все огни) (4:13)
"Odd combination" is also appropriate: Russian singers, Hungarian and Irish musicians, a taste for mainstream rock (The Beatles and the Stones pay a dominating role) and an equally strong sense of roots (Russian, Celtic and otherwise). If you like folk-rock in its many guises, this might be for you.

BABA YAGA - Collage LP 1974 (Germany)

Nemat Darman: santur, sitar, tables, congas, cymbals, gongs, kettledrums, drums, vibes
Ingo Werner: EMS-synthesizer, davoli-synthesizer, solina string ensemble, clavinet, electric piano, grand piano
Not to be confused with the much later neo-progressive band Baba Jaga, this obscure mid-70's duo were quite aptly named after the fabled fictional magician, being multi-instrumentalists of great invention. Ingo Werner is also known for his earlier work with My Solid Ground and nowadays as a session musician/synthesist. In Baba Yaga, the mixture of ethnic instruments, percussives and multi-keyboards, makes for a music that steps beyond early Between or Deuter, steering clear of any pretty or melodic noodling, moving to darker more abstract realms like the most mysterious Third Ear Band. Largely, this also adds up to a sound close to the later Brainticket albums ADVENTURE and VOYAGE. (Quelle: A crack in the cosmic egg)
Track list:
1. Mokscha
2. Wadia
Baba Yaga is the name given to the one-album collaboration between Ingo Werner and Nemat Darman (the previous Baba Yaga album does not feature Darman) with the latter handling percussion, santoor and setar and the former on synth, clavinet and pianos. Collage contains two long spacey kraut tracks, the first of which contains a strong Persian presence that resembles Dariush Dolat-Shahi et al but is considerably less refined and complex…which can of course be nice too…great stuff.
Thanks: Mutant Sounds and

Wednesday, April 29, 2009

Bachman-Turner Overdrive - BTO I & BTO II

****Following his 1970 departure from the Guess Who, guitarist Randy Bachman recorded a solo album (Axe )nd planned a project with ex-Nice keyboardist Keith Emerson (later canceled due to illness) before forming Bachman-Turner Overdrive in 1972. Originally called "Brave Belt," the metal group was comprised of singer/guitarist Bachman, fellow Guess Who alum Chad Allan, bassist C.F. "Fred" Turner, and Randy's brother, drummer Robbie; after a pair of LPs (Brave Belt I and Brave Belt II), Allan was replaced by another Bachman brother, guitarist Tim... Read More...***

Bachman-Turner Overdrive - BTO I & BTO II (1973)
01. Gimme Your Money Please [0:04:45.27]
02. Hold Back The Water [0:05:09.48]
03. Blue Collar [0:06:12.67]
04. Little Candy Dancer [0:04:25.08]
05. Stayed Awake All Night [0:04:10.52]
06. Doun And Out Man [0:03:15.33]
07. Don't Get Yourself In Trouble [0:04:56.52]
08. Thank You For The Feeling [0:04:10.18]
09. Blown [0:04:20.25]
10. Welcome Home [0:05:33.35]
11. Stonegates [0:05:37.32]
12. Let It Ride [0:04:27.05]
13. Give It Time [0:05:46.00]
14. Tramp [0:04:06.03]
15. I Don't Have To Ride [0:04:25.57]
16. Takin' Care Of Business [0:04:51.13]

Randy Bachman & Burton Cummings - Bachman Cummings Songbook


Mp3 256\143 Mb
First time on CD for this 1970 solo album from the former guitaristfor The Guess Who, who would later form the ultra-successfulBachman-Turner-Overdrive. Engineered by long-time Guess Whoassociate Brian Christian and featuring GW drummer Garry Peterson,this album remains the perfect musical bridge between his two classicrock bands. Also features musical assistance from Dominic Troiano,who would replace Bachman in The Guess Who
Released April 2006: The Bachman Cummings Songbook marks the first time that Randy bachman and Burton Cummings' career highlights have been gathered into one package. From their initial hits with the Guess Who; through Randy’s incredible run with BTO; to Burton Cummings solo career - the Bachman Cummings Songbook is the definitive collection of these songwriting giants. "Who would have known that this guy I met back when we were teenagers... that all these years later, decades later we would still be standing, and standing together?” Randy Bachman Randy Bachman and Burton Cummings are inarguably Canada’s most successful songwriting partnership. After exploding onto the charts with the Guess Who, the pair continued a reign of chart dominance by penning some of the most memorable songs in the history of rock.
Randy Bachman left following '71's SHARE THE LAND, but Cummings carried on with The Guess Who for another five years, going through a number of guitarists, including Greg Leskiw, Kurt Winter and Domenic Troiano, but still pumped out the gold hits, including "Running Back To Saskatoon", "Orly", "Albert Flasher" and "Clap For The Wolfman", an ode to the late Wofman Jack. Though The Guess Who name carried on after Kale bought the rights to it, it was evident their time had passed, with the exception of the reunion tour here and there.Cummings released his first solo record in the fall of 1976 on CBS Records. Now in complete control of his career, he quickly made his mark as a solo artist. A basic piano-driven pop sound with a predominantly laid back feel, the singles "Stand Tall" and "I'm Scared" pushed the self-titled debut gold (50, 000 copies in Canada). Other noteable mentions included the cover of Ray Charles' "That's Enough", Gilbert O'Sullivan's "Nothing Rhymed" and his version of BTO's "You Ain't Seen Nothin' Yet". Cummings was honoured with two Junos that year, single of the year for "Stand Tall" as well as album of the year. He took up residence full time in LA that year and also contributed to other projects by Bette Midler, Leo Sayer ... and also Randy Bachman, apparently mending the wounds caused from his leaving The Guess Who.
01 - Laughing
02 - These Eyes
03 - Undun
04 - American Woman
05 - Albert Flasher
06 - No Sugar Tonight - New Mother Nature
07 - No Time
08 - Share The Land
09 - Sour Suite
10 - Let It Ride
11 - Takin' Care Of Business
12 - You Ain't Seen Nothing Yet
13 - Hey You
14 - Lookin' Out For No. 1
15 - Stand Tall
16 - My Own Way To Rock
17 - I'm Scared
18 - Break It To Them Gently
19 - I Will Play A Rhapsody

Sunday, April 26, 2009

Paper Garden - Paper Garden (1968)

***This New York group recorded an accomplished album of psychedelic pop in 1968, drawing liberally from the Lovin' Spoonful and Magical Mystery Tour-era Beatles, as well as the block harmonies of the 1967-era Zombies. Bassist, 12-string guitarist, and singer Joe Arduino; rhythm guitarist, keyboard player, and singer Sandy Napoli (who also played sitar); lead guitarist and singer Paul LoGrande; drummer Jimmy Tirella; and keyboard man John Reich had been playing together all through 1967, building up a solid live show that used the sounds of the Beatles' Revolver and ... Read More...
1 Gypsy Wine 2 Sunshine People 3 Way Up High 4 Lady's Man 5 Mr. Mortimer 6 Man Do You 7 Raining 8 I Hide 9 Raven 10 A Day
A decent if somewhat candy-coated effort in the pop-psychedelic vein, combining cheerful sunshine pop sensibilities with some hard-edged psychedelic playing. It all falls somewhere between the Beatles' Revolver album and the Zombies' Odessey & Oracle (the latter especially on "Man Do You" and "Raven"), with some Sgt. Pepper-type layered choruses and overdubbed strings and other instruments. The question is how well it represents the sound of the Paper Garden — and that begs the larger question behind the purpose of recording an LP; The Paper Garden dates from a period when the answer to that question was starting to change. According to the account of singer/guitarist Joe Arduino, the New York City-based quintet had a solid stage repertory established from performances at colleges in the Northeastern United States in 1967 and 1968, when they got the chance to cut this album under the auspices of British producer Geoff Turner, who was working at Musicor in New York at the time — presented with that opportunity, the members ended up writing a whole new body of songs for the occasion; thus, the album become a new, self-contained artistic statement rather than a representation of the music by which they'd first attracted attention and defined themselves. The songs are filled with catchy tunes played on a mix of virtuoso electric lead and acoustic guitars — with the occasional sitar, courtesy of rhythm guitarist Sandy Napoli — and violin, string orchestra, trumpet, and trombone embellishment, and the lead singing coming down somewhere between Paul McCartney and Colin Blunstone with the backing usually very Lennon-esque. The group had three talented songwriters in their ranks whose work was worth hearing and the 27-minute running time isn't even a problem — the content is substantial enough to make this a nicely full sonic meal and one of the most enjoyable albums of the psychedelic era. The 2002 Gear Fab CD reissue offers glittering sound and includes full annotation and credits, and is recommended to those who enjoy the Zombies' Odessey & Oracle album, or the Merry-Go-Round Emitt Rhodes' releases.

Saturday, April 25, 2009

Fifty Foot Hose - Cauldron... plus (1967)

Mp3 170Mb
Fifty Foot Hose were one of the most unusual '60s San Francisco psychedelic bands, in part because they weren't really that psychedelic. Like a few other acts of the time (most notably the United States of America), they were trying to fuse the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. Only one album resulted from the ambitious enterprise, and that record (Cauldron, 1968) still remains unknown to all but hardcore collectors. Although an erratic work, it was intriguing for its mix of jazzy psychedelic rock tunes with electronic sound effects that anticipated future models of synthesizers, but sounded fiercer and more primitive.Fifty Foot Hose were founded by bassist Cork Marcheschi... Read More...
1* And After (Marcheschi)2* If Not This Time (Blossom)3* Opus 777 (Marcheschi)4* The Things That Concern You (Evans/Evans)5* Opus 11 (Marcheschi)6* Red the Sign Post (Blossom/Roswicky)7* For Paula (Marcheschi)8* Rose (Blossom)9* Fantasy (Blossom)10* God Bless the Child (Herzog/Holiday)11* Cauldron (Blossom/Kimsey/Marcheschi)12* If Not This Time (demo) (Blossom)13* Red the Sign Post (demo) (Blossom/Roswicky)14* Fly Free (demo) (Blossom)15* Desire (demo) (Evans)16* Bad Trip (Marcheschi)17* Skins (Marcheschi)18* Bad Trip (Marcheschi)

Tracks 1 to 15 were recorded by Fifty Foot Hose;

* David Blossom - guitar, piano

* Nancy Blossom - vocals

* Larry Evans - guitar, vocals

* Terry Hansley - bass

* Kim Kimsey - drums

* Cork Marcheschi - electronics, sound effects

Tracks 16 to 18 were recorded by The Ethix. The line-up was possibly;

* Cork Marcheschi - bass

* Bob Noto - guitar

* Bob Gibson - vocals

* Gary Doos - drums



Joe Byrd and the Field Hippies - The American Metaphysical Circus (1969)

As a "conductor" and organ/electronic synthesizer player, Byrd is very much the leader of this circus. With a couple drummers, a half dozen horn players (including a young Tom Scott), three female vocalists, and a half dozen or so other musicians popping up over the course of the album, there are a lot more people involved in this project than there were in the (relatively) stable lineup of the United States of the America. Despite the ambition of this LP, it ultimately serves to illustrate just how Byrd benefited from the unique synergy provided by the other members of the U.S.A. There are all kinds of adventurous electronics and eclectic ideas bouncing back and forth, but the songwriting is simply not nearly as strong as Byrd's previous group. The best songs are the ones which most strongly recall the U.S.A. in their spacy melodicism ("Moonsong: Pelog") and driving psychedelic pulse ("You Can't Ever Come Down"). Unfortunately, the female singers on these tracks are no match for The U.S.A.'s Dorothy Moscowitz, although they seem to be aspiring to the same dreamy, icy quality. Byrd himself is quite a mediocre singer, as his attempts at taking the lead on straightforward rock material prove. Otherwise, there are some bad takeoffs on gospel and old-time music, haphazard primitive early synthesizer, and dated social commentary/satire. As ambitious in its scope as Byrd's first rock project, this album is not nearly as successful.
1 Kalyani Byrd 3:51 2 You Can't Ever Come Down Byrd 3:01 3 Moonsong: Pelog Byrd 3:46 4 Four Dreams for a Departing President: Patriot's Lullabye Byrd 2:49 5 Four Dreams for a Departing President: Nightmare Train Byrd 3:19 6 Four Dreams for a Departing President: Invisible Man Byrd, Pot 3:32 7 Four Dreams for a Departing President: Mister 4th of July Byrd, Kindred 1:47 8 Gospel Music Byrd 4:29 9 The Sing-Along Song Byrd 4:04 10 The Elephant at the Door Byrd 5:13 11 Leisure World Byrd 2:35 12 The Sing-Along Song (Reprise) Byrd

Aguaturbia - Complete Tracks (1969-73) Chile



Official CD issue of both albums their two LP's from 1969 and 1970, a 1973 7" and one solo track by the guitarist, 75 minutes playing time in total. This is Chilean psych-rock with powerful female vocals and scandalous LP covers, some very heavy jams, fuzzed Hendrixy guitar work, spaced out vocals and acid madness with a Jefferson airplane feel. Artwork includes original cover artwork from both albums and a booklet that features live pictures and a brief history of the band. Essential for psych freaks.

01 - Baby (Aguaturbia 1969) - 3.0302 - Erotica (Aguaturbia 1969) - 3.5003 - Alguiem Para Amar (Aguaturbia 1969) - 3.0104 - Ah Ah Ah Ay (Aguaturbia 1969) - 2.1305 - Rollin And Tumblin (Aguaturbia 1969) - 3.0806 - Uno De Estos Dias (Aguaturbia 1969) - 5.3107 - Carmesi Y Trebol (Aguaturbia 1969) - 7.0708 - Eres Tu (Aguaturbia 1969) - 2.5009 - I Wonder Who (Volume 2 - 1970) - 2.5810 - Heartbreaker (Volume 2 - 1970) - 4.3311 - Blues On The West Side (Volume 2 - 1970) - 6.1712 - Waterfall (Volume 2 - 1970) - 3.4513 - Well All Right (Volume 2 - 1970) - 3.4714 - Jailhouse Rock (Volume 2 - 1970) - 2.4415 - E.V.O.L. (Volume 2 - 1970) - 8.4516 - Aguaturbia (Volume 2 - 1970) - 2.2417 - El Hombre De La Guittarra (Bonus 1973) - 3.3418 - Hermoso Domingo (Bonus 1973) - 3.1819 - Flaco (Bonus 1973) - 3.29

HP Lovecraft - Two Classic Albums


Featuring two strong singers (who often sang dual leads), hauntingly hazy arrangements, and imaginative songwriting that drew from pop and folk influences, H.P. Lovecraft was one of the better psychedelic groups of the late '60s. The band was formed by ex-folky George Edwards in Chicago in 1967. Edwards and keyboardist Dave Michaels, a classically trained singer with a four-octave range, handled the vocals, which echoed Jefferson Airplane's in their depth and blend of high and low parts. Their self-titled 1967 LP was an impressive debut, featuring strong originals and covers of early compositions by Randy Newman and Fred Neil, as well as one of the first underground FM radio favorites, "White Ship." The band moved to California the following year; their second and last album, H.P. Lovecraft II, was a much more sprawling and unfocused work, despite some strong moments. A spin-off group, Lovecraft, released a couple LPs in the '70s that bore little relation to the first incarnation of the band.

1.Wayfaring Stranger2.Let's Get Together3.I've Been Wrong Before4.The Drifter5.That's the Bag I'm In6.The White Ship7.Country Boy & Bleeker Street8.The Time Machine9.That's How Much I Love You, Baby (More or Less)10.Gloria Patria

11.Spin, Spin, Spin12.It's About Time13.Blue Jack Of Diamonds14.Electrollentando15.At the Mountains of Madness16.Mobius Trip17.High Flying Bird18.Nothing's Boy19.Keeper of the Keys20.Anyway that You Want Me21.It's All Over for You

H.P. Lovecraft

With the exception of a couple of badly dated tracks, this is one of the best second-division psychedelic albums, with strong material that shows the immediately identifiable Edwards-Michaels vocal tandem at its best. According to the LP notes, the songs were largely inspired by novelist H.P. Lovecraft's "macabre tales and poems of Earth populated by another race." It's more haunting than gloomy, though, with deft touches of folk, jazz, and horns.

H.P. Lovecraft II

Much more progressive than their first effort, the album also showed the band losing touch with some of their most obvious strengths, most notably their disciplined arrangements and incisive songwriting. The arrangements are more swirling and far denser on this follow-up. Unsurprisingly, the more concise, dual harmony numbers that bear the closest resemblance to the first album work best, especially "At the Mountains of Madness."


The Human Beinz - Evolution (1968 )


Best-known for its version of "Nobody but Me," Youngstown, OH's frat rock quartet the Human Beinz featured rhythm guitarist Ting Markulin, lead guitarist Richard Belley, bassist Mel Pachuta, and drummer Mike Tatman. Originally known as the Human Beings, the group was a local favorite and was discovered playing at a Youngstown bar. Their early releases include covers of Bob Dylan's "Times They Are A-Changin'" and Thems "Gloria," as well as renditions of the Who and Yardbirds songs; they released their first singles on the local Gateway imprint. In 1967, the group signed to Capitol Records and scored a Top Ten hit with their cover of the Isley Brothers' "Nobody but Me." On their debut album, which was also named Nobody but Me, the band found their name changed to the Human Beinz, a play on the hippie phrase "be-in." The following year, the group issued Evolutions, which showcased a more original side to the Human Beinz' music, but the album did little and the band ultimately broke up.

1 Face DeAzevedo 2:33 2 My Animal DeAzevedo 2:44 3 Every Time Woman DeAzevedo 2:06 4 Close Your Syes Murray 2:26 5 If You Don't Mind, Mrs. Applebee DeAzevedo 2:08 6 I've Got to Keep on Pushing DeAzevedo, Youshock 2:35 7 Cement Belley 2:10 8 Two of a Kind Kruck, Murray 5:05 9 April 15th Belley, DeAzevedo 7:05


In 1967, the Human Beinz scored a hit single with their feeback-laced cover of The Isley Brothers' "Nobody But Me", and for a brief and fleeting moment the boys from Youngstown, Ohio were bone fide rock stars. While their first album wasn't anything out of the ordinary, when they went into the studio to record their second LP, they were determined to create something unusual, and you can't argue that they succeeded with Evolutions. An amusing pastiche of neo-psychedelic excess, Evolutions is a far cry from the slightly trippy frat rock of their hit; "The Face" is a tale of lost love drenched with horns and strings, "Close Your Eyes" is a delicate mostly-acoustic plea for hippie-era togetherness, "My Animal" is an oblique pseudo-protest number leavened with sound effects, and "I've Got To Keep On Pushing" is a showcase for Richard Belley's snarling guitar leads. But the real descent into the maelstrom comes with the album's last two tracks; the country rock workout "Two Of A Kind" concludes with the sound of someone tearing apart a piano for several minutes, and the seven-minute "April 15th" gives Belley room for all the guitar freak-out-age he ever dreamed of, which may be a bit more than most fans actually wanted to hear. The Human Beinz are a better and more imaginative band than one might expect on Evolutions; Mel Pachuta, Ting Markulin and Mike Tatman are a solid rhythm section, the songs (mostly written by Lex De Azevedo, who also produced and arranged the album) are pretty good, and even when the album's pretensions seem silly, they don't quite sink into embarrassment. But a cloud of Nehru folly hangs over this album, and while the Human Beinz pull it off (just barely), Evolutions is still the work of a band struggling desperately to chew what they've bitten off.


Junior's Eyes - Battersea Power Station (1967-69)


Junior's Eyes are one of the more well-known unknowns — if such an oxymoron can be applied — of the late-'60s British psychedelic scene. Most people who have seen any reference to them at all are apt to know them only as an act that served as David Bowie's backup group briefly in the late '60s. Mick Wayne, Junior's Eyes' lead guitarist and songwriter, played guitar on Bowie's "Space Oddity" and some of Bowie's other recordings. Prior to forming Junior's Eyes, he had briefly been in the Hullaballoos, a lightweight British Invasion band that had a bit of success in the States. He had also been in the Bunch of Fives with ex-Pretty Things drummer Viv Prince. As part of ... Read More...
Mick Wayne - guitar, vocal
Tim Renwick - guitar
John Lodge - bass
Graham Kelly - guitar
John Cambridge - drums
1 Total Power 1:11 2 Circus Days 3:42 3 Imagination 6:09 4 My Ship 2:47 5 Miss Lizzie 2:53 6 So Embarrassed 3:18 7 Freakin' 1:51 8 Playtime 3:55 9 I'm Drowning 1:25 10 White Light 6:38 11 By the Tree 5:02 12 Mr. Golden Trumpet Player 2:25 13 Blake Snake 2:39 14 Woman Love 2:39 15 Starchild 3:57 16 Sink or Swim 3:24 17 Circus Days (Single Version) 2:56 18 White Light (DEMO) 5:14 19 By The Tree (DEMO) 3:52 20 Imagination (DEMO) 3:46 21 Playtime (DEMO) 3:57 22 Subway (Smokey Pokey World) 2:39 23 Good Evening 2:37


Mick Wayne undoubtedly tried hard to be significant and progressive with his songs on Junior's Eyes' sole album. There were meter changes, skilled psychedelic hard rock guitar riffs, and moods both whimsical and cynical throughout. Although the predominant vibe was bluesy psych-prog, there were also quieter, more acoustic interludes. It doesn't add up to much without memorable hooks or vision, though, and the record fails to stick as a noteworthy effort, even by the standards of obscure late-'60s British psychedelia. If you disagree with that assessment, or in any case are still curious enough to track down this collectable release, the 2000 CD reissue on Castle couldn't possibly be a more thoughtful package. In addition to the songs from the original LP, it contains both sides of their three non-LP 1968-1969 singles, four demos of songs from Battersea Power Station, and both sides of the 1967 psych-pop single by the Tickle, Mick Wayne's previous band, along with very extensive historical liner notes. Aside from that Tickle single, the extra material doesn't contain anything too interesting, though a few of the 45 tracks are rather poppier in approach than most of the album. Unintentionally, no doubt, the Tickle gem "Subway (Smokey Pokey World)" blows everything else on the disc to smoke.

Part 1
спасибо Вадим !!

Pazop - Psychillis of a Lunatic Genius (1972) Belgium



Pazop from Belgium were an early '70s progressive rock group with some jazz-fusion tendencies. Though their music was beyond the ordinary, they were never able to release an album during their short lifetime.



- Dirk Bogaert / lead vocals, flute

- Frank Wuyts / keyboards, vocals

- Kuba Szczepansky / violin

- Patrick Cogneaux / bass

- Jacky Mauer / percussions


1. Le la Loo Loo le La (2:29) 2. Harlequin of Love (2:50) 3. Crying for Disaster's Hand (4:08) 4. What Is the Further Purpose (3:10) 5. Swaying Fire (3:32) 6. Mirela (2:10) 7. Freedom Dance (3:28) 8. Lovelight (4:06) 9. Bami, Lychee, Si (5:26) 10. Harlequin of Love [Second Version] (3:08) 11. Can It Be Sin (6:54) 12. And the Hermit Will Be the Master (5:18) 13. M.M.M. (5:50) 14. In the Army (Devil Likes Smoke) (1:37) 15. Airport Formalities and Taking Off... (6:18) 16. It's the End (0:44)

The Belgian progressive rock group Pazop had the misfortune of never being able to release the two albums they recorded in the early '70s, and this CD gathers up most of those tracks, excluding four tracks that were far more commercial than the group's normal sound. As might be expected from a group of musicians who are equally adept at jazz, rock, and classical music, Pazop's sound is a highly complex mix of King Crimson, Canterbury, and even RIO styles filtered through a more continental Europe sensibility, with lots of flute, keyboard, and violin soloing, and fast change-ups. Fortunately they play with enough energy that one doesn't even notice the lack of an electric guitar. There are also some other little touches: sounds of breaking glass on the first version of "Harlequin of Love," lunatic laughter followed by a brief campy riff of Offenbach in "And the Hermit Will Be a Master," whereas "Bami, Lychee, Si" has a humorous and jazzy lightness that recalls everything from early Frank Zappa to Moving Gelatin Plates, and the very short "In the Army" is even more quirky and hilarious. Most pieces have vocals sung by flutist Dirk Bogaert in a gruff voice in a strangely accented English that matches the angular edges of many of the compositions. Excellent stuff throughout; Pazop has the chops of the best early-'70s prog rockers, but without the bombast.



Thursday, April 23, 2009

LES BAROQUES - The Complete Collection Singles A's & B's and All Album Tracks\ Holland


by Richie Unterberger
One of the strangest and best Dutch bands of the mid-'60s, Les Baroques always seemed out of synch with the real world. They had a French name, a lead singer with an obviously anglicized pseudonym (Gary O'Shannon, real name Gerard Schoenaker), and played R&B-tinged pop-rock with odd streaks of European folk tunes and corny orchestral arrangements. Their reputation hinges chiefly upon their first four singles and self-titled 1966 LP, all recorded with O'Shannon before the singer left the group at the end of 1966. At his best, O'Shannon could sound like a less polished, neurotic version of Van Morrison, delivering songs that, like much Dutch beat of the mid-'60s, were sullen and minor-keyed. ... Read More...

Disc 1
1. Silky 2. My Lost Love 3. Such a Cad 4. Summerbeach 5. I Know 6. She's Mine 7. I'll Send You to the Moon 8. I Was Wrong 9. Real Love 10. Frankie's Blues 11. Troubles 12. Too Long 13. O, o Baby Give Me That Show 14. My Destiny 15. Cascard 16. Why Did She Go 17. Too Shy to Say Hello 18. Girls Enough 19. Silky 20. I Know
Disc 2
1. Working on a Tsjing-Tsjang 2. Dreammaker 3. Bottle Party 4. Bread 5. Love Is the Sun 6. I Dreamed My Dreams Away 7. New Girl 'Cross the Street 8. For You 9. We're Both to Blame 10. Barbarians With Love 11. Hold on to Me 12. Oh, Look How Sweet 13. Way You Do the Things You Do 14. I'm Coming Home Baby 15. I Want to Tell You 16. Indication 17. When You're Feeling Good 18. Without Feeling Without Mind
The Delvins - The Delvins (1966)
First time ever 4-tracks release of this Dutch beat group from Dordrecht. Very much inspired by the likes of The Kinks and The Motions. Recorded 1966. Comes in very nice PS, designed after the legendary Dutch Fontana sleeves from the 60s.

01 - When You See02 - You Know You're Losing Me03 - There Are Things We Used To Do04 - I Won't Hear You're Gone

Wednesday, April 22, 2009

Epsilon - Move On (1971) Germany


Michael Winzkowski: vocals, guitars, percussion
Michael Ertl: bass
Hartmut Pfannmüller: drums, percussion
Walter Ortel: organ, pianos, vocals, percussion
Formed by members of Orange Peel and Nosferatu (the vocalist / guitarist Michael Winzkowski), the band Epsilon published three LPs between 1971 and 1974. Their self title can be considered as their best, a nicely varied and achieved combination between heavy blues rockin’ sections and coherent progressive skills. Their second "Move on" (1971) represents a more mainstream rock album with a few enjoyable moments.
FIRST ALBUM Epsilon - Epsilon (1971) (PHROCK post)
1 Walkin'on My Way 3:21 2 She Belongs to Me 5:34 3 Feelings 3:53 4 What About Future 2:39 5 Move On 2:26 6 Reichelsheim 5:01 7 Hear Me Cryin' 5:29 8 Waiting 4:22 9 Don't Know Why 4:31

Influence - Influence (1968)


1 Overture - I Admire 4:252 I Donґt Know Why 4:073 I Met Her At The County Fair 3:594 Pieces Of Me 2:395 Baby Thatґs My Bag 2:456 Sir Archibald 3:227 We Are Here 3:348 Natural Impulse 3:139 Dream Woman 3:3610 Mad Birds Of Prey 5:43

Bassist Jack Geisinger, organist Bobo Island, guitarists Louis Campbell McKelvey and Walter Rosi, vocalist Andrew Keiler and drummer Dave Wynne formed Influence in the late '60s. Released in 1968, the band's self-titled debut was their last album, since Influence split up the same year. Rossi later played with the Buddy Miles Express, Luke and the Apostles and Charlee.

My Indole Ring - My Indole Ring (1966-1969) Canada


is eponymous album is the first (and probably only) to document the music of the late-'60s psychedelic rock group My Indole Ring. A local legend in Vancouver, Canada, back in 1967-1969, the quartet did not even release a single but, 25 years after the fact, this CD presents demos and live recordings that were all previously unavailable. Judging from this hour's worth of material, My Indole Ring definitely had something going. The set kicks off with "Orange Float Petals," an impressive acid rock song that became the group's signature tune. Full of instrumental quirks and imaginative vocal harmonies, this one is anthology material. "Love People Everywhere," "Blue Wax," and the instrumental "Silk Road" are satisfying but more generic numbers.The influences of West Coast (Jefferson Airplane) and Vancouver groups (Papa Bear's Medicine Show) are detectable. The group rounded up its sets with blues standards, and its take on "Another Man Done Gone" and "Early in the Morning" follow the developing crossovers between blues-rock and pop at the time. The CD concludes with 20 minutes of live material. The sound quality takes a severe drop: The demos have been well restored but these recordings from the Retinal Circus in Vancouver remain murky. Besides nostalgic Vancouver residents, this album will be of interest only for psychedelic rock collectors. A limited-edition LP with fewer tracks has also been released.
John Cluff ~ Hammond Organ
Chris Dahl ~ Drums
David Jordan Knox ~ Bass
John King ~ Guitar
1 Orange Float Petals 2 Love People Everywhere 3 Another Man Done Gone/Troubles 4 Blue Wax 5 Silk Road [Instrumental] 6 Morning Breaks 7 Big City 8 Two Trains a Running 9 Early in the Morning 10 Maryjane 11 Wake Me Shake Me [Live] 12 Come See Me in the Morning/Orange Float Petals [Live] 13 Instrumental Medley: Nursery Rhymes, Crescent Beach, Four-Ring Circus

Papa Bear's Medicine Show - At the Retinal Circus (1968) Canada

Papa Bears Medicine Show
Vancouver, British Columbia 1966 - 1970
"Den Gyldne Stemme" Henry Bilde ~ Accordion, Vocals
Kat Hendrikse ~ Drums
Robbie King ~ Piano, Organ
John Murray ~ Guitar
Vic Stewart ~ Vocals
Toni Still ~ Drums
Lee Taylor ~ Bass
Craig Wood ~ Guitar, Banjo
First time on CD (in 2003) for this legendary band that existed from 1967-1969. Their only album was actually a bootleg, made in 1970 in an edition of 105 copies. This is different material entirely from that original album, recorded in 1968 in Vancouver's main psychedelic venue, the Retinal Circus. Good soundboard sound and music in the vein of the Doors, Lovin' Spoonful with a touch of old timely music thrown in.
Papa Bear's Medicine Show - At the Retinal Circus - LIVE
01 - Slow Moshun - 3.5402 - Vic's Song - 4.0803 - Georgie - 3.5804 - All Day Long - 2.2505 - Damage - 4.0206 - Love is Somewhere - 4.1807 - I'll Never Forget Bill Johnson - 1.3808 - I Guess That's O.K - 4.0009 - Wait and See - 4.5610 - The Reason Why - 13.0211 - Here Come the Medicine Show - 3.5412 - Miles High - 9.0513 - Baroque - 2.3414 - Alabama Song - 3.30
+ 15 - Hall of the Mountain King - 0.31

Monday, April 20, 2009

Ola & The Janglers - Lime Light (1966) Sweden


(original CD front cover)
Ola Hakansson (vocals, tambourine, maraccas)
Johannes Ohlsson (organ, piano)
Christer Idering (guitar)
Ake Eldsater (bass)
Leif Johansson (drums)

Swedish popgroup from Sollentuna, formed in 1962 by;Ola Hеkansson (vocals), Christer Idering (guitar) - replaced byClaes "Clabbe" af Geijerstam, Johannes Olsson (organ),Еke Eldsдter (bass) and Leif Johansson (drums).Clabbe was a very successful songwriter/composer for the band.In May 1969 Ola & Janglers got the first swedish entry everon American Billboard top 100, with the song "Let's Dance".

1. Light Of Lime2. Mary Come Home3. Now I Like Her4. No One Knows What Happens 'Round The Corner5. How Come6. Poetry In Motion7. Alex Is The Man8. Chained And Bound9. Our Love10. Bird's Eye View Of You11. Heart12. We've Got A Groovy Thing Goin'


Elessar - Polnolunie (2007) RUSSIA

Элессар - Полнолуние (2007)
Elessar - Full Moon (2007)
Fantasy,Folk,Psych Rock

Кир Воронкин – вокал, гитара, флейта, вистлы, перкуссия, программинг
Анна Коростелева – флейта, перкуссия
Илья Михайлов – гитарасессионный музыкант
Мария Северская - бэк-вокал
Записано и сведено в студии К. Воронкина в августе 2006-октябре 2007 г.Оформление и дизайн - И. Михайлов, Л. и А. Сметанины.Музыка и тексты - К. Воронкин.Аранжировки
01 - Mag02 - Kartonnoe solntse03 - Posledniy shag04 - Sgoraet vse05 - Sokol rassveta06 - Printsessa07 - Luzhayka fey08 - Dobrye vetry09 - Uchit'sya letat'10 - Epilog

Mel'nitsa - Pereval (2005) RUSSIA


Melnitsa (Мельница, the Russian for windmill) - is a Russian folk rock band. It was founded in 1999 by Natalia "Hellawes" O'Shea and Alexey "Chus" Sapkov around the remnants of a local folk band 'Till Eulenspiegel'.
The band fuses Russian, Irish and other North European folk influences with guitar pop/rock. Natalia "Hellawes" O'Shea, the lead singer and primary songwriter, is an academic and a specialist in medieval European languages and cultures by day. Her expertise lends the typically complex fantasy-laden lyrics a degree of authenticity.
For the first several years the band had worked the club and festival circuit, earned a bona fide cult status in the folk-n-fantasy teenage sub-culture and released an acoustic album Doroga Sna (Дорога Сна, The Road of Dream) featuring the underground hit Gorets (Горец, Highlander) set to the Russian translation of Robert Burns' Highland Harry Back Again.
Luck struck in 2005, when the lead single Nochnaya Kobyla (Ночная Кобыла, Night mare) off their second, more pop-infused album Pereval (Перевал, Mountain Pass) had been sneaked into rotation on Nashe Radio (the name and lyrics of the song are a complex allusion to Mara, a Norse mythical entity that caused nightmares). A grass-roots chart effort by fans propelled the song to #1 position in the "Best Of Year" chart, and the band to the small arena circuit (sparsely populated in Russia).
Current History
Their latest album Zov Krovi (Зов Крови, Call of Blood) features the same lyrical and melody themes underscored by more rhythm section support from the band. The band is currently winding up the associated tour of Russia, and working on their fourth, as yet untitled studio album to be released in the fall of 2008 or early 2009.
Natalia "Hellawes" O'Shea - vocals Alexey "Chus" Sapkov - guitar, vocals Sergey Zaslavsky - flute Alexey Orlov - cello Alexey Kozhanov - bass Dmitry Frolov - drums
Former members include:
Alevtina Leontyeva - vocals Alexander "Grendel" Stepanov - guitar Natalia Filatova - flute Natalia Kotlova - cello Evgeny Chesalov - bass Alexander Leer - drums Inessa Klubochkina - violin
01 - Nochnaya kobyla02 - Gospodin gornyh dorog03 - Vesna04 - Fuga05 - Chuzhoy06 - Voron07 - Golem08 - Mertvets09 - Veresk10 - Pryalka

Zhar Ptitsa - V Gorode Zhelaniy, pod Radugoy Mechty \ USSR (RUSSIA)

The Fire Bird - In City of the Desires, under Rainbow of the Daydream

The Group "Firebird" was formed at May 1975 in g.Dubna Moscow area.
The history begins in 1975 when experienced Dubna rock star Sergei Popov(ex-Fobos)decide make new group with young musicians.Career of the band resemble a partisan detective - they be able to adjust underground production of self-made tapes.In the country where rock bands cant make official records and vinil discs,band from little city become a really stars,who's tapes be found everywhere from Japan to England...And come fatal 1983,a lot of rock musicians find oneself in prisons...KGB begins criminal case but... Dubna's militiamen dont arrest the man,who's songs they know's from childhood,Popov stay free but must stop activity of the band.

01. V Gorode Zhelaniy, pod Radugoy Mechty02. Slon03. Okna04. Kto-nibud'05. I grust' moya proshla…06. Bud' moim mirom07. Nekrasivaya08. Masha09. Esli10. Vodovoz11. Da budet narod gosudarem12. Ya podozhdu13. Da i net14. Esli ty uydesh'15. Zhar-ptitsa16. Pust' budet tak

The First call" groups "Firebird" consisted of 17-18- year boys, hardly having instrument: place of the drummer has occupied Sergey Pestle, bass - Alexander Kapitonov, but the second guitarist - Alexander Vasilichenko. Itself Sergey has for the first time changed the bass, with which at one time began, on solo-guitar. Already in 2 weeks group played on dance: compositions "Beatles","Deep Purple", "Grand Funk", "Slade" become base of the repertoire. Parallel work began with study classicists genre on own canto. This was nerve-racking and complex process, considering youth and inexperience musician. But ed concert and dance record of that time witness that boys not only have well possessed the instrument, but also that their beautifully took the public.


Friday, April 17, 2009

Andwella - People's People (1971)

Andwellas Dream released one album, Love and Poetry, on CBS in the UK in the late 1960s that is highly regarded by some psychedelic collectors. It is an eclectic but unmemorable affair that touches upon a number of approaches—heavy progressive rock-tinged psychedelia with keyboards, fruity pop-psych with strings and fairytale-type lyrics, folk- and blues-informed material bridging psych and prog—common to British rock of the period. The group changed their name to Andwella and subsequently released a couple of albums under that name. In 1970 they switched to Reflection for whom they recorded two albums, neither of which matched their first effort and two 45s. The World's End album was also comprised entirely of Dave Lewis compositions, but most of the tracks were more mainstream with string orchestrations, brass arrangements and background vocals. The best tracks are the mid-tempo R&B influenced I Got A Woman with flute solo, jazzy piano and guitar; two tracks (Reason For Living and Shadow Of The Night), which sound similar to Traffic and the slow instrumental Michael Fitzhenry which featured some good guitar work and flute. On the down side Back On The Road was pale imitation of The Band's The Weight. The flip side of their first 45 was an instrumental credited to Andwella. A Mike Fitzhenry appears on the credits of the first album as one of the recording engineers.Lewis was a multi-instrumentalist and an acclaimed songwriter who also recorded a privately-pressed album in 1970. He also made further solo albums. McCulloch had previously played with One In A Million, Thunderclap Newman and with Struthers had been with short-lived group 'McCullochs, Struthers and Patterson' (the other members being Jimmy McCulloch and Robbie Patterson). After Andwella he went on to a group called 'White Line', with his brother Jimmy. McDougall went on to work with Speedy Keen (ex-Thunderclap Newman), while Smith joined Khan.

DAVE LEWIS (guitar, piano, organ, vocals)
NIGEL SMITH (bass, vocals)
DAVE McDOUGALL (keybords)

01.She Taught Me To Love02.Saint Bartholomew03.The World Of Angelique04.Mississipi Water05.I've Got My Own06.Are You Ready07.Four Days In Septembery08.Lazy Days09.People's People10.Behind The Painted Screen11.All For You



White Witch - White Witch (1972)


White Witch was a glam rock/psychedelic/hard rock band from Tampa, Florida that made two albums with Capricorn Records in the early 1970s. Their name was a paean to "white magic", contrary to the "black magic" of groups like Black Sabbath. As the band announced before their shows: "To bring good where there once was evil, to bring love where there once was hate, to bring wisdom where there once was ignorance; this is the power of White Witch" Read more...

01 Parabraham Greeting / Dwellers of the Threshold02 Help Me Lord03 Don't Close Your Mind04 You're the One05 Sleepwalk06 Home Grown Girl07 And I'm Leaving08 Illusion09 It's So Nice to Be Stoned10 Have You Ever Thought of Changing? / Jackson Slade11 The Gift


Blossom Toes - We Are Ever So Clean (1967) [Expanded]

Mp3\168Mb \Wav\421Mb


Imagine the late-'60s Kinks crossed with a touch of the absurdist British wit of the Bonzo Dog Band, and you have an idea of the droll charm of Blossom Toes' debut album. Songwriters Brian Godding and Jim Cregan were the chief architects of the Toes' whimsical and melodic vision, which conjured images of a sun-drenched Summer of Love, London style. With its references to royal parks, tea time, watchmakers, intrepid balloon makers, "Mrs. Murphy's Budgerigar," and the like, it's a distinctly British brand of whimsy. It has since been revealed that sessionmen performed a lot of these orchestral arrangements, which embellished the band's sparkling harmonies and (semi-buried) guitars. But the cello, brass, flute, and tinkling piano have a delicate beauty that serves as an effective counterpoint. The group sings and plays as though they have wide grins on their faces, and the result is one of the happiest, most underappreciated relics of British psychedelia. [Ten bonus tracks were added to the 2007 Sunbeam edition.]


01.Look At Me I'm You (Godding, Gomelsky)02.I'll Be Late For Tea (Godding)03.The Remarkable Saga Of The Frozen Dog (Westlake)04.Telegram Tuesday (Godding)05.Love Is (Godding)06.What's It For (Cregan)07.People Of The Royal Parks (Westlake)Side 208.What On Earth (Godding)09.Mrs Murphy's Budgerigar (Cregan, Westlake)10.I Will Bring You This and That (Godding)11.Mister Watchmaker (Godding)12.When The Alarm Clock Rings (Cregan)13.The Intrepid Balloonist's Handbook, Volume One (Cregan)14.You (Godding)15.Track For Speedy Freaks (or Instant LP Digest) (Godding, Gomelsky, Cregan, Westlake)
16.Everybody’s Talking (LP out-take)17.Look At Me I’m You (instrumental track)18.I’ll Be Late For Tea (instrumental track)19.Mister Watchmaker (live)20I’ll Be Your Baby Tonight (45 A-side)21.Jim Cregan interview22.Love Is (live)23.Collects Little Girls (demo)24.Hometime (demo)25.Looking Up & Looking Back (demo)


Blossom Toes - If Only For a Moment (1969)

They never had any commercial success in the U.K. or the U.S., but Blossom Toes were one of the more interesting British psychedelic groups of the late '60s. Starting as the Ingoes, just another of thousands of British R&B/beat bands of the mid-'60s, the group hooked up with legendary impresario Giorgio Gomelsky (early mentor of the Stones and manager of the Yardbirds and Soft Machine, among others) in 1966. Gomelsky changed their name and put them on his Marmalade label. Their 1967 debut LP was miles away from R&B, reflecting an extremely British whimsy and skilled, idiosyncratic songwriting more in line with Ray Davies. After some personnel changes, the group released their second (and final) album a couple years later. Another extremely accomplished work, it was markedly different in character than their first effort, showing a far more sober tone and heavier, guitar-oriented approach. The group broke up at the end of the decade; members Brian Godding and Brian Belshaw formed the equally obscure B.B. Blunder, and Godding became active on the fringes of the British experimental rock scene.

1 Peace Loving Man 4:50 2 Kiss Of Confusion 4:37 3 Listen To The Silence 3:424 Love Bomb 8:345 Billy Boo The Gunman 7:026 Indian Summer 5:507 Just Above My Hobby Horse's Head 8 Wait AMinute 5:38
Brian Belshaw: Bass, Vocals
Jim Cregan: Lead, rhythm guitars, Vocals
Brian Godding: Lead and rythm guitars, Piano, Organ, Vocals
Poli Palmer: Drums on "Peace Loving Man"
Barry Reeves: Percussion & Drums on all tracks except "Peace Loving Man"
Brian Godding and Jim Cregan were still Blossom Toes' chief songwriters on their second album, but the LP stands in bold contrast to their debut in sound and attitude. Having scuttled the orchestras and developed their chops in the two-year interlude, the record bears the influence of heavy California psychedelia and Captain Beefheart with its intricate, interwoven guitar lines and occasional gruff dissonance. The more serious instrumental approach spills over to the lyrics, which are somber and at times even gloomy, occasionally reflecting the social turbulence of the late '60s, with their uncertain tenor and references to ominous "peace loving men" and "love bombs." Far less uplifting than their debut, the weighty approach is leavened by the close harmonies and sparkling guitar interplay. While not as memorable as the first album, it's above-average late-'60s psychedelia that almost acts as the downer flip side to the stoned, happy-face ambience of their early work.

Terry Reid - Bang, Bang You're Terry Reid (1968)


Bill Bonham - keyboards
Terry Reid - Guitar and vocals
Keith Webb -drums
A minor but interesting late-'60s British rock singer, Terry Reid could have been a lot more famous if he hadn't turned down the slot of lead singer for the New Yardbirds in 1968. That slot, of course, went to Robert Plant, and the New Yardbirds became Led Zeppelin. Unlike Plant, Reid was also a guitarist, and the opportunity to head his own group no doubt played a part in his decision to gun for a solo career. Leading a guitar-organ-drums power trio, he recorded a couple of respectable, though erratic, hard rock albums while still a teenager in the late '60s. Some bad breaks and creative stagnation combined to virtually bring his career to a halt, and he never cashed in on the momentum of his promising start.<... Read More...

1. Bang, Bang (My Baby Shot Me Down)2. Tinker Taylor3. Erica4. Without Expression5. Sweater6. Somethings Gotten Hold Of My Heart7. Season Of The Witch8. Writing On The Wall / Summertome Blues9. When I Get Home10. Loving Time
Bang, Bang introduced a hard rocker whose eclecticism was both impressive and unnervingly inconsistent. The covers of "Season of the Witch" and "Summertime Blues" are overlong and dated, but the frenetic version of Cher's "Bang, Bang" is inspired, and the rendition of Gene Pitney's "Something's Gotten Hold of My Heart" shows his poppier roots. Over half of the material was penned by Reid, and while these compositions are sometimes generic, late-'60s hard rockers, he also shows a facility for Donavonesque folk-rock "("Sweater"") and impressive soul-rock vocalizing ("When I Get Home"). Originally not released in the U.K., it's ironically only available now as a U.K. import.

The Ides Of March - Ideology (1965-68)

Chicago's Ides of March burst onto the national scene in 1970 with the million-selling single "Vehicle," a tune that bore more than a passing resemblance to the then mega-selling Blood, Sweat & Tears. But the band's pedigree went back further than BS&T's, and with a much different origin. Formed in the mid-1960s in the Windy City, founding member Jim Peterik put the original Ides together as a teen band, strong on original material and British pop harmonies. Soon the band was recording for London's Parrot Records subsidiary, releasing five singles between 1966 and 1967, including the local hit "You Wouldn't Listen." By the late 1960s, however, Peterik had reconfigured the band to include a full horn section, and a new sound and style for the band was born. Ever the crafty commercial songwriter, Peterik fashioned a new single, "Vehicle," to showcase this sound, which mirrored the success of horn rock bands like Chase and Blood, Sweat & Tears. The record was a huge hit, spawning the soundalike follow-up "Superman." The other chart hit for the group (and a complete about-face from the horn-dominated sound of "Vehicle") was the wistful "L.A. Goodbye." Personnel problems and a label shift to RCA-Victor spelled the end of the band as Peterik eased into the 1980s in the role of producer/songwriter, penning several hits for the likes of .38 Special and others. The group re-formed in 1993 to record an album of new material and recuts of their hits going all the way back to "You Wouldn't Listen," and Peterik remains quite active both as a tunesmith and producer.
1. You Wouldn't Listen 2:33 Not Available 2. Girls Don't Grow On Trees 2:58 Not Available 3. You Need Love 2:47 Not Available 4. Roller Coaster 2:33 Not Available 5. I'll Keep Searching 2:24 Not Available 6. One & One Does Not Make Three (previously Unissued) 2:23 Not Available 7. Give Your Mind Wings 2:54 Not Available 8. Things Aren't Always What They Seem 2:29 Not Available 9. The Sun Ain't Gonna Shine Anymore 2:21 Not Available 10. Hole In My Soul 2:54 Not Available 11. I'm Gonna Say My Prayers 3:02 Not Available 12. Sha-la-la-la-lee 2:58 Not Available 13. My Foolish Pride 2:19 Not Available 14. I'll Take You Back (previously Unissued) 2:05 Not Available 15. Like It Or Lump It (the Shondells) 3:28 Not Available 16. No Two Ways About It (the Shondells) 2:13 Not Available 17. Hole In My Soul (stereo Version) 2:52 Not Available 18. Girls Don't Grow On Trees (stereo Version
ALL SONGS WRITTEN BY JIM PETERIK EXCEPT:"You Wouldn't Listen" -- Peterik/Millas/Borch, --- I'll Keep Searching", - Millas/Peterik"The Sun Ain't Gonna Shine Anymore", - Crewe/Gaudio, --- " Sha-La-La-La-Lee", - Lynch/Shuman"Like It or Lump it", -- Peterik/Millas, -- "No Two Ways About It", -- Peterik/Millas
All tracks recorded 1965-1968.
This collection of 1965-1968 material, taken from rare regional singles along with a couple of previously unreleased tracks, is far removed from the Ides of March's horn-rock era (as heard on their 1970 hit "Vehicle"), both chronologically and stylistically. When they started, the Ides were a Chicago teen band, recording mostly original songs heavily influenced by folk-rock and the British Invasion, although a few of these cuts do use brass. In general that's good news (and preferable to the horn-rock of their later career), but the harmony-heavy pop/rock of this early work isn't too exciting. In common with several other groups from the Chicago and Midwest areas, the group favored a rather clean-cut, Americanized take on British Invasion bands like the Beatles and the Hollies, though the folk-rock of the Byrds is heard in the guitar arrangements especially. The local Chicago hits "You Wouldn't Listen" (which made number 42 nationally) and "Roller Coaster" are here, but to be tough about it, there's not enough light and shade here to put the Ides on the level of good British Invasion bands, or even of good British Invasion-influenced bands from the same region, such as the New Colony Six. More to the point, there's too much light and not enough shade; although the harmonies are fairly impressive and the execution polished, the material is too often sunnily bland. The great exception to that is the riveting, raw folk-rocker "I'll Keep Searching," buried on a B-side, which has great bittersweet melodic hooks, melancholy harmonies, and dramatic stop-start tempos. The disc includes two 1965 songs that they recorded as the Shondels on a super-rare self-released 45, as well as the previously unreleased originals "One and One Does Not Make Three" and "I'll Take You Back." The latter of these, an uncommonly moody tune, is actually a highlight of the collection.

Thursday, April 16, 2009

The Hollies - Russian Roulette (1976)



One of the best and most commercially successful pop/rock acts of the British Invasion, when the Hollies began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style of three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a ... Read More...
1. Wiggle That Wotsit 2. Forty-Eight Hour Patrol 3. Thanks for the Memories 4. My Love 5. Lady of the Night 6. Russian Roulette 7. Draggin' My Heels 8. Louise 9. Be With You 10. Daddy Don't Mind