Monday 21 April 2008

December 2007 pt.1

Saturday, December 15, 2007

V.A. - Autumn Records_Someone To Love

V.A. - Nuggets from the Golden State_Someone To Love
[The Birth of the San Francisco Sound]

Tracks :
1 The Mojo Men - She's My Baby (San Francisco, CA, U.S.A.)
2 The Mojo Men - Fire In My Heart (San Francisco, CA, U.S.A.)
3 The Mojo Men - Why Can't You Stay (San Francisco, CA, U.S.A.) *
4 The Mojo Men - Girl Won't You Go (San Francisco, CA, U.S.A.) *
5 The Great Society - Girl (San Francisco, CA, U.S.A.) *
6 The Great Society - Father Bruce (San Francisco, CA, U.S.A.) *
7 The Great Society - You Can't Cry (San Francisco, CA, U.S.A.) *
8 The Great Society - Born To Be Burned (San Francisco, CA, U.S.A.) *
9 The Great Society - Daydream Nightmare Love (San Francisco, CA, U.S.A.) *
10 The Great Society - Heads Up (San Francisco, CA, U.S.A.) *
11 The Great Society - Double Triptamine Superautomatic Everlove' Man (San Francisco, CA, U.S.A.) *
12 Charity Shayne - Ain't It Babe (San Francisco, CA, U.S.A.)
13 The Vejtables - The Last Thing On My Mind (San Mateo, CA, U.S.A.)
14 The Vejtables - Mansion Of Tears (San Mateo, CA, U.S.A.)
15 Dino Valenti - Let's Get Together (San Francisco, CA, U.S.A.)
16 The Great Society - That's How It Is (San Francisco, CA, U.S.A.) */**
17 The Great Society - Right To Me (San Francisco, CA, U.S.A.) *
18 The Great Society - Where (San Francisco, CA, U.S.A.) */**
19 Jan Ashton - Cold Dreary Morning (San Francisco, CA, U.S.A.)
20 Butch Engle & The Styx - I'm A Fool (Mill Valley, CA, U.S.A.) *
21 Butch Engle & The Styx - Smile Smile Smile (Mill Valley, CA, U.S.A.) *
22 The Great Society - Somebody To Love (San Francisco, CA, U.S.A.)
23 The Great Society - Free Advice (San Francisco, CA, U.S.A.)
24 The Tikis - Bye Bye Bye (Santa Cruz, CA, U.S.A.)
25 The Tikis - Lost My Love Today (Santa Cruz, CA, U.S.A.)
26 The Tikis - More & More & More (Santa Cruz, CA, U.S.A.) *
27 The Tikis - True Love Is Hard To Find (Santa Cruz, CA, U.S.A.) *
28 The Tikis - Happy With You (Santa Cruz, CA, U.S.A.) *
29 The Tikis - Mad (Santa Cruz, CA, U.S.A.) *
30 Jan Ashton - About My Tears (San Francisco, CA, U.S.A.) *

* indicates that the track only appears on this compilation

Note :
/** indicates that those 3 tracks are tagged as Dino Valenti on the mp3 files

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Enjoy !!!

Thursday, December 13, 2007

Lollipop Shoppe - Just Colour [1968, Vinyl]

Led by singer Fred Cole, who had formerly been in the Northwest punk band the Weeds, the Lollipop Shoppe's sole album (from 1968) ranks as one of the better psych-punk LPs, and also as one of the better one-shot rock records of the late '60s. Featuring Cole's choked, bitter phrasing, the group staked out the middle ground between the Seeds (who shared the same manager) and Love, with a bit of fellow L.A. psych-punkers the Music Machine thrown in. If comparisons must be made, they were definitely closer in tone to Love than the Seeds, with a mixture of raunch and reflection in the spirit of Arthur Lee. Cole was one of the few psychedelic performers to make a contribution during the punk era, surfacing in the Portland punk band the Rats in the late '70s. []

The Lollipop Shoppe were a 1960s psychedelic garage rock band.
They were originally known as The Weeds and featured Fred Cole, now of Dead Moon. After The Weeds signed to UNI Records (a now-defunct subsidiary of MCA), their new manager, "Lord" Tim Hudson, insisted they change their name to The Lollipop Shoppe to fit in with the current trend of bubblegum music. The band's actual recordings, including the 1968 LP Just Colour, are hardly bubblegum, but instead a mix of garage rock and psychedelia. The album and its single, "You Must Be a Witch," are regarded as period classics and still prized by collectors, though neither made the charts. The band opened for stars such as Janis Joplin and The Doors, and appeared in the biker movie Angels from Hell. The album has been bootlegged; the Music Maniac label has announced a reissue but it has not appeared. The Lollipop Shoppe released one more single, "Someone I Knew" b/w "Through My Window", before breaking up in 1969. They reunited as The Weeds for a 1971 single [Wikipedia]

Track list;
01 - You Must Be A Witch
02 - Underground Railroad
03 - Baby Don't Go
04 - Who'll Read The Will
05 - It's Only A Reflection
06 - Don't Look Back
07 - Don't Close The Door On Me
08 - It Ain't How Long
09 - It's Makin' It
10 - I'm Gonna Be There
11 - You Don't Give Me No More
12 - Sin


Style; Psychedelic, Garage Punk

Wednesday, December 12, 2007

Dennis the Fox - 1975 - Mother Trucker

"DENNIS THE FOX Mother Trucker (MusArt US '7?)
Only a handful of heads have encountered this mad beast of an LP, and it's top 40 at least of all US LP's for me: utterly dark and sleazy lowlife nirvana! Like seeing God in a burst condom stuck to the tailpipe of a rusty pimpmobile, finding out Jesus stole your mama, looking for the meaning of life in a puke pile by a truckstop motel .... kinda scary how real this dude is! The cover is awesome and the music ranges from seedy bluesy loser zones into fucker up dive bar epiphanies. I can't think of any other record more at the end of the road seeking salvation in the tawdry. Wicked sense of humor. Twilight Zone. One of those smart literate guys attracted to funky situations. Like so many obscure LP's, the names of people on it seem too weird to be real .... Alfie Van, Audie Bridges ... backup vocals by Mary Bliss & the Bixens. Blows Damon & Fraction out of the water as far as my own need for kicks goes. "

all i can say is YES and YES
and how about some lyrics:

well you talk about your whiskey
and you talk about your wine
so i'm here to tell ya people
that that kind of thing is fine
you go chasin' after women
but you sure ain't got one yet
that knows somethin' about somethin'
and that's one thing i can bet
when it comes to really livin'
or just somewhere in between
there's a high steppin' side steppin'
life outside you ain't never seen

she's the lady
they refer to when they cut the ace of spades
she's the lady
that they think of when the night pulls down its shades
she's the lady
with the action if you think you've got the nerve
to put your money where your mouth is
and find out what she can serve
she's a lady
with the answers that can teach you about the world
she's a truck drivin' piledrivin' mean mothertrucker of a girl

pile driver
don't you worry she treats every man the same
pile driver
don't you worry that's the way she plays the game
pile driver
don't you worry cause when everything goes wrong
just call her name
call her name
call her name
and she'll come lookin'

[guitar solo]

[repeat above]

she'll come bookin'
she'll come cookin'
(review by Joaquim_Peso @

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Aorta - 1969 - Aorta (LP)

Hi everybody,
Here is an essential addition to Lost-in-Tyme.
Some straight from the LP 320 kbs hi quality MP3s for your enjoyment of discovering or rediscovering a great album!

Aorta is the name... For the album and for the band.
1969 was the year...

Tracks :
1 Main Vein I
2 Heart Attack
3 What's In My Mind's Eye
4 Magic Bed
5 Main Vein II
6 Sleep Tight
7 Catalyptic
8 Main Vein III
9 Sprinkle Road To Cork Street
10 Ode To Missy Mxyzosptlk
11 Strange
12 A Thousand Thoughts
13 Thoughts and Feelings
14 Main Vein IV

May you find your main vein (or at least one of the four suggested on that LP) and have a nice trip. Some of you may reply that the aorta is not a vein but an artery... Who cares? the effects you get are the same... A complex cocktail indeed. Some passages may suffer the test of time (but not the one of Tyme) The whole remains a flowing suite of very satisfying tracks both for the ear and the mind :) Enjoy!

Here is what Bryan Thomas from Allmusic have to say about this one :

"During the mid-'60s, the members of Aorta -- originally hailing from Rockford, IL -- had previously been in a group called the Exceptions. Early members of this group included Kal David (later of Illinois Speed Press and H.P. Lovecraft), Marty Grebb (the Buckinghams), and Peter Cetera (Chicago). The Exceptions were a soulful, if unremarkable, Top 40s cover group who were nevertheless acclaimed for their "exceptional" musicianship. They were one of the more popular acts on the greater Chicago local scene, and released a handful of singles on numerous Midwest labels -- Tollie, Cameo, Quill -- and for L.A.-based Capitol. For the last of these releases, the band dropped the "s" from their name and began calling themselves the Exception (a compilation for the Collectables label, The Quill Records Story, collects two of their singles). They also recorded an EP called "A Rock & Roll Mass for the Flair label; it featured six different rock songs with words taken from various religious prayers. As each member of the group -- with the exception of bassist Peter Cetera -- already had an eye toward expanding their original material to include a more "psychedelic" sound, they soon reconfigured themselves as Aorta, and, in late 1968, recorded a single for Atlantic. Eventually, producer Bill Traut (American Breed) approached them on behalf of Dunwich Productions, Inc., and -- with Bobby Jones taking over on bass after Cetera's departure -- they accepted his offer to record their debut album for Columbia in 1969. They recorded two albums under the name Aorta. The first of these, the self-titled Aorta, is today highly acclaimed as a lite-psych album of some minor renown, and though it managed to chart on Billboard's album charts, it failed to do what was expected. A revised version of the group -- still led by Jim Donlinger and now featuring Michael Been on bass/guitar/vocals -- recorded the drastically different second album, Aorta 2, for the Happy Tiger label. Jim Donlinger -- who along with his brother and Jim Nyeholt (during a brief period between the two albums), had all played in the Rotary Connection -- later left Aorta to join Lovecraft (formerly H.P. Lovecraft, who were signed to Reprise at the time), while Billy Herman would eventually move on to join New Colony Six. Michael Been later played with Moby Grape members Jerry Millerand Bob Mosley in Fine Wine, and ultimately achieved his biggest success with the Call. Been is also the father of Robert Turner of Black Rebel Motorcycle Club. The original Aorta later re-formed (joining another great Chicago-area group, the Cryan' Shames) to do promo spots for the U.S. Armed Forces on a very rare promotional LP. They've appeared on numerous compilations over the years. Aorta was re-issued on CD in 1996."

Sounds good to me... Thanks Bryan ;)

I've never heard that CD reissue but some reviewers say that the sound is so so... Here is the occasion to hear it in all its glorious LP version!

May Lost-in-Tyme never find the way home! (Another way of saying Keep on Rockin'!)

By the way, thanks to Pat Lego for that awesome LP!

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Posted by J.P. the 60s Junkie

Tuesday, December 11, 2007

Love - 1974 - Reel to Real

Love - 1974 - Reel to Real

Tracks :
  1. Time Is Like A River (Arthur Lee)
  2. Stop the Music (Arthur Lee)
  3. Who Are You (Arthur Lee)
  4. Good Old Fashion Dream (Arthur Lee)
  5. Which Witch is Which? (Arthur Lee)
  6. With A Little Energy (Arthur Lee)
  7. Singing Cowboy (Arthur Lee-Jay Donnellan)
  8. Be Thankful For What You Got (William DeVaughn)
  9. You Said You Would (Arthur Lee)
  10. Busted Feet (Arthur Lee-Charles Karp)
  11. Everybody's Gotta Live (Arthur Lee)
Personnel :
  • Arthur Lee: rhythm guitar, acoustic guitar, vocal
  • Melvin Whittington: guitar
  • John Sterling: guitar
  • Sherwood Akuna: bass
  • Joe Blocker: drums
  • Bobby Lyle: keyboards
  • Gary Bell: synthesizer
  • Wilber Brown, Fred Carter, John Clauder, Alan DeVille, Clifford Solomon and Billy Sprague: horns
  • Vanetta Fields, Jessica Smith and Carlena Williams: vocal
  • Robert Rozelle: bass (6, 7, 10)
  • Buzzy Feiton: lead guitar (3)
  • Art Fox: acoustic guitar (5)
  • Harvey "The Snake" Mandel: electric guitars (5)
  • Joe Deaguro: vocal, vibes (8)

Reel To Real turned out to be Arthur hitting it right on the nail again. For on it, he is returning to the Rhythm and Blues music he did before he heard the Byrds. On this album he had an entirely new band, with two exceptional guitarists. Melvan Whittington on lead and John Sterling on slide. (The latter had previously played with Eric Burdon.) On bass, Sherwood Akuna (a meaty Fatback bassist) and Joey Blocker on drums, providing an able pounding punchy backbeat. Among the guest musicians, Arthur had Buzzy Feiten on guitar and Bobby Lyle on keyboards (well known session men), and among the people he thanked for helping him with the album was Keith Moon of the Who. Arthur Lee was always able to find great new musicians to play with. And maybe this is his secret. Why he has been able to survive so long. Because like Miles Davis, he is always changing. Lee, who at this time had the clean shaven headed Isaac Hayes look and a Fu Manchu mustache (which looked surprisingly good on him), seems to have developed an interest in Eastern Religion and Vegetarianism; as evidenced by the photographs on the album jacket and inside record sleeve.

With the opening number, ‘Time Is Like A River’, Arthur hits us with something entirely outrageously new. A perfectly blended, smoky Rhythm and Blues sound. Horns, background chorus (with a molten groove) added to the band (a deep New Orleans Funk if you will, just hinted at contextually in Rock form in ‘Feel Daddy Feel Good’ on False Start.) And with each succeeding song, ‘Stop The Music’ (where Lee plays burning Harmonica and Melvan Whittington a stuttering guitar solo while John Sterling plays a lean threatening slide) the stop/start arrangement hanging you on the edge, ‘Who Are You’ (a really silky devil of a vocal) with guest guitarist Buzzy Feiten smoking furiously on guitar, ‘Good Old Fashion Dream’ (Arthur cooking and boiling with the background chorus); this is a startlingly different Arthur Lee. ‘Which Witch is Which’, a merging of acoustic and electric Blues, with Lee adding just a touch of Harmonica to a mix of backwards guitar (that Beatles/Hendrix influence) and John Sterling’s slide solo. ‘With A Little Energy’, another smoking R&B number with the added twist of a solo on Moog Synthesizer by second guest keyboardist, Gary Bell.

On side two Arthur revisits ‘Singing Cowboy’ from Four Sail. A more restrained and relaxed smooth vocal this time, with Melvan Whittington and John Sterling cutting two musical swathes across on guitars, behind his vocal. A very different take on the song, with Arthur having developed a completely new singing style (which he first attempted on Vindicator and perfected on the title song for the film ‘Tomasine and Bushrod’). Next is William Devaughn’s popular ‘Be Thankful For What You Got’. And Lee does one hell of a reading; as good as the original. This is Arthur Lee, very Black and very Funky. Besides using his own regular vocals and voicings on the album, he also uses occasional inflections of Sly Stone and Al Green; which are very good. The following song, ‘You Said You Would’, is a humorous Country Rock affair with Arthur singing the tale of the ‘woman who done him wrong’. Whittington and Sterling trading licks, and the song ending with an explosion worthy of ‘Seven and Seven Is’. Next, a remake of ‘Busted Feet’ from the Vindicator album, that is much better than the original. Whereas on Vindicator it was just an average Rock song, here, the song is shorter and the arrangement is much tighter and threatening. Gary Bell provides a great atmospheric background with Moog Synthesizer, as Melvan Whittington really cuts loose on guitar and Arthur abruptly cuts off the song; as he sings about not quite being able to let go of the past. The final song, ‘Everybody’s Gotta Live’ (also from Vindicator) is an acoustic reworking and a very poignant statement; as Lee leads the group of backup singers into the chorus, singing smoothly and finally doing justice to a very good song. An album worth having and cherishing.

At last a positive review from a Real Arthur Lee Fan

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Saturday, December 08, 2007

V.A. - WorldBeaters Vols 1-8

Can things get any crazier? As we scour the planet looking for the wildest and most obscure 60's punk on the planet we become more and more amazed at what we are uncovering.
From Italy, to Chile, Poland to Singapore the kids were going crazy over fuzzed out guitars, primitive drum beats and wild tambourines. It is with great pleasure that we give you the instalments of theworld beaters series.

As far as international 60s garage compilations go,
Get it before it's gone, these bands ALL rock like crazy - and there's even some groups here from PAPUA NEW GUNIEA - i don't get no more obscuro than that, freak fanz!!!
Submitted by elroy (Wallingford, CT, USA)

We are dealing with a very good collection of later 60’s beat, freakbeat, punk and 60’s psych from various places from all over theworld (Latin America, Europe, Australia and New Zealand, Canada, the East). The compilation is well done also because the styles and songs fit well together.

An excellent approach to beat music from outside the Anglofile countries,is what this compilation is all about !

Track Lists & Links Here

Enjoy !!!

Neighb'rhood Childr'n - Long Years In Space 1967-1968

Neighb'rhood Childr'n

RICK BOLZ 12 string gtr, tamb, hrmnca, vcls A B
DYAN HOFFMANN vcls, organ, tamb A B
W. A. FARRENS drms, hrmnca, tamb, vcls B
RON RASCHDORF gtr, tamb, vcls, hrmnca B

1( ) THE NEIGHB'RHOOD CHILDR'N (Golden State Recorders acetate) 1967 R5
2( ) THE BOOK OF CHANGES (Golden State Recorders acetate) 1968 R5
3(B) NEIGHB'RHOOD CHILDR'N (Acta A-38005) 1968
4(-) LONG YEARS IN SPACE (dbl) (Sundazed 5023) 1997

(1) is a 12" metal acetate album. Some tracks appear on the Acta album, most don't.
(2) is a one-sided 12" metal album acetate of Acta album tracks with different mixes. Chocolate Angel has a longer intro.
(3) pirated in 1989 and also on CD.
(4) is an essential retrospective collection, also issued on CD (SC 11041).

1 THE NEIGHB'RHOOD CHILDR'N (Vegas Productions 863) 1967

(1) issued with press kit by the group's booking agency. This promo-only 7" EP was not issued in a sleeve. It contained non-album cuts/versions of Up, Down, Turned Around World, Maggie's Farm, That's What's Happening and Please, Please Leave Me Alone.

1 Little Black Egg/Louie Louie (Golden State Recorders) 1967
2 Maintain/Just No Way (as 'The Neighborhood') (Acta 813) 1967
3 Please Leave Me Alone/Happy Child (Acta 823) 1968
4 Behold The Lilies/I Want Action (Acta 828) 1968
5 Woman Think/On Our Way (Dot 17238) 1969

(1) is a One-sided 8" metal acetate. Only
(3) is from the Acta album.

One of the many forgotten bands gigging in the 'Frisco area, Neighb'rhood Childr'n's sole album on Acta is a psychedelic 'gem'. But, alas, after its release they simply vanished from the scene. Back in '68 with comparatively crude instrumentation available they created some very spacey sounds on tracks like Long Years In Space, while Chocolate Angel is something of a psychedelic jam. Feeling Zero appears to have been specially written to bring you down after another trip, while tracks like Happy Child and Patterns feature Dyan Hoffmann's crystal clear vocals. lndeed on Long Years In Space she complements the other vocalists to give the band a Jefferson Airplane-type sound. They even perform a re-creation of Over The Rainbow from Wizard of Oz.
Neighb'rhood Childr'n also recorded a couple of acetate albums in addition to the album on Acta. Much of this material has been compiled on the excellent Long Years In Space retrospective on Sundazed, and this together with the 'Acta' album is strongly recommended to connoisseurs of psychedelia.

The band evolved out of Oregon's Navarros, when their original drummer John Morrison was drafted. After about a year Campbell, Gleim and Ryan quit too and Bolz and Hoffman were then joined by central California musicians W.A. Farrens on drums and Ron Raschdorf on lead guitar.
Collectors should note that a DJ 45, with Dancing In The Street on both sides (N.A.M.l. 2014) 1974, is actually by a different Neighborhood Children, and sounds similar to early Jackson brothers.

Compilation appearances include:
Changes Brought To Me on Turds On A Bum Ride Vol. 1 & 2 (Dble CD)
and Turds On A Bum Ride, Vol. 2 (Dble LP).

(Vernon Joynson / Clark Faville / Darryl F. Riffero / Stephane Rebeschini)

Disfruten el estofado!
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Friday, December 07, 2007

"The Holy Modal Rounders... Bound to Lose"

"The Holy Modal Rounders... Bound to Lose"
Anthology Film Archives, Friday December 7th - Thursday December 13th.

The Theatrical and DVD release of the
documentary film "The Holy Modal Rounders...Bound To Lose". The film chronicles the bizarre forty year history of The Holy Modal Rounders, a 1960's Greenwich Village psychedelic folk duo (sort of like "A Mighty Wind on Amphetamines"). Featured in the film are Dennis Hopper, former band member Sam Shepard, Peter Tork of The Monkees, Wavy Gravy, Ira Kaplan of Yo La Tengo, Dave Van Ronk, The Fugs, Loudon Wainwright III, among many others. Read More...

Roky Erickson- I Have Always Been Here Before

Roky Erickson; Tommy Hall, Clementine Hall (vocals); Stacy Sutherland (guitar); John Shropshire (bass guitar, background vocals); Bennie Thurman, Ronnie Leatherman (bass guitar); Danny Thomas, John Kearney (drums).

Given the influence Roky Erickson has had throughout a career dating back to his work with the psychedelic garage rockers The 13th Floor Elevators, it is amazing that it took until 2005 for an anthology as comprehensive as I HAVE ALWAYS BEEN HERE BEFORE to appear. Kicking off with "We Sell Soul," a 1965 lo-fi nugget Erickson cut with his pre-Elevators band The Spades, this wild ride spans over three decades. In addition to the seminal Elevators classic "You're Gonna Miss Me" (with its gravelly vocals and rubbery twang), there's his mid-'70s solo comeback featuring the Doug Sahm-produced, wah-wah-drenched dirge "Red Temple Prayer (Two Headed Dog)" and its hook-filled sibling "Starry Eyes."

Marred by frequent bouts with mental illness throughout his career, it is frightening to hear the enormous talent that Erickson displayed during moments of clarity. His raw, mercurial skills shine throughout, whether on the late '70s sessions with the Aliens (including the faux skinny-tie twang of "I Think Up Demons" and "Don't Shake Me Lucifer") or the forlorn, autobiographical chamber pop of "Please Judge" from 1995's ALL THAT MAY DO MY RHYME.


After the suggestion of a friend...
and some more mature thinking about this release...
we decided to remove the links...

Wednesday, December 05, 2007

Johnny Lunchbreak - Acetate (1974 / 1975)

"Found circa 2004 while digging through Connecticut, a mysterious nine-track 12-inch acetate housed in a stickered jacket. No real info, other than the aforementioned sticker giving the band a name, a photo giving the band a face and a psychedelic style drawing pulled from a notebook tucked inside. The label on the record gave a general idea of location...the Gallery Recording Studios in CT. The 'detective work' was started by calling the recording studio. They didn't remember anything. With no names, I posted a pic of the acetate and two MP3s up on the Yahoo psychedelic web board to see if anybody knew anything. Some unknown Swede noticed the drawing was signed by a chick and managed to track her down right away. She, in turn, got a hold of an original member who in turn got a hold of me. All within a day or two of my original post. Amazing how that works out sometimes! The acetate was impressive...all originals showing healthy influences of their heroes the Kinks, Bee Gees (Odessa era) and the Stones. Yet the band retained an identity much of their own. Since the acetate went unreleased, I thought it fit to press up 300 copies to share with the world. Had these sessions been pressed up on a private label back in the day, the resulting album would surely be on many a want list now. This reissue is a real gem for fans of early/mid-'70s underground rock. Strict pressing of 300 numbered copies with minimalist hand assembled packaging. Also includes liner notes (um...kinda) by an original member. The reissue is mastered from the original found acetate (and is by no means of 'audiophile' quality)."

1) Tinsel Days
2) The Same Could Happen To You
3) Take Me Baby
4) The Best That I Had
5) Never Found
6) It's Got a Hold On You
7) A Very Papal State
8) Amazing Pain
9) Not a Dry Eye in America


The Voyage Limpid Sound - 2000 - Electronically Enhanced Dream

Soundflat writes :
Behind the Voyage Limpid Sound stands a 19 year old Greek -an original
psychedelic talent- who writes, plays and records his songs in his father's studio. Musically he is close to the British psychedelic groups of the 60's and mostly to the first records of Pink Floyd, while the accords of his vocals are influenced by the psych/pop era of the Beach Boys. I know the artist personally but I'm not lying when I say that this album is disturbingly good! As other reviewers have said, Pink Floyd and the Beach Boys can be heard in his music, but I'd like to add David Bowie to that list!

Here's a young man who's doing with ease all the things that others try to do for years:sophisticated arrangements,strong melodies and songs,stunning voice and original 60's sound as none 80's psychedelic outfit ever did!Find this album-then you'll know why!The song "Shades of the sky" is a fave!! Benjamin Roses

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Monday, December 03, 2007

Collective Tools - St

"Collective Tools" 197 (Silver Crest Custom nt-5272) [insert; blank back]

Dialater blues
Two of us
40 & 20 years [actually 4 & 20 years]
Get together
Sunny days
Long tall Sally
S ail to Maine
Someone's here
Clear silver
Run past my window
If I were carpenter
Just the same

Circa 1970 upstate New York collaboration on a NYC label. Features the groups Eon, Silverwood, and other musicians from a drug rehabilitation clinic. Moody basement folkrock and fuzz sounds. On the surface this is a terrible record, but amateur fans will go nuts over the loose playing, warbling female vocals, no-fi production, and downer vibe throughout. Similar to "Tool Shed" and the Earlham College comps but murkier. Highlights: the murky take on "40 & 20 Years" (sic), the thud fuzz instro "Clear Silver", and the mournful "Sail to Maine" which is about scoring cocaine. Real people with real damage. [RM]~~~

This mix of rock, folk and jazz is a lot more interesting when you discover the background behind it. Knowing that it was made by people in a drug rehabilitation clinic/mental hospital, it just plain creeps me out, starting with the mournful trumpet and out of tune harmonica on the opening instrumental, moving through the chilling “Sail To Maine” (in which the singer seems to have the attitude that she can’t beat drugs so she’ll just snort cocaine until she dies) and some really stark loner folk. About half of the songs are covers. “Two of Us” is especially chilling, with the heavily echoed vocals and abrupt ending making my own mind turn this hopeful song into something completely different, where the “home” they seek is the clinic... or death. I’m probably reading too much into it, but given the feel of the rest of this album I might be on the right track. Despite the basement production and a certain kind of sloppiness, most of this is reasonably well played and sung. The ones that aren’t (i.e: “Get Together”) have a weird urgency that’s compelling. Every song here sounds like a last gasp. Very interesting stuff. [AM]

From Acid Archives...

My opinion --- i did like it a lot. Not best played but sounds true and worm to me. Original

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Sunday, December 02, 2007

The Tea Company - 1968 - Come And Have Some Tea With The Tea Company

The Tea Company from New York City was one of the early birds from the US psychedelic underground scene with an LP on the market by 1968 originally released on Smash Records. This album marks the evolution of the 45 rpm teen-psych-garage band market to the upcoming LP-generation with extended improvisational parts. “The Naturals” formed in 1963 with Joe Meek influence and evolved into the Tea Company which showcased a more psychedelic sound. Opening up big ballrooms for such acts as; The Mamas and the Papas, The Lovin’ Spoonful, Bob Dylan, Ritchie Havens, and many others, the Tea Company became popular in the US underground, also in San Francisco for spectacular live shows and lyrical hippie statements.

Influenced by and using the same equipment as the Beatles, the controversial and intense “East-Indo Sound” reflects “an assemblage of possessed rock performers; retinue preparing the unusual; alternating with the roots of soul…whose purpose is to cause sensation, due to stimulation of the auditory centers of the brain!” Played with lots of freaked-out-echo-organ/-guitar noises on a 12-string Rickenbacker and various-stereo madness, reminds strongly of Syd Barrett´s spirit but more driven by hard hittin´ drums. You will find an outrageous 9 min. cover version of Vanilla Fudge “You Keep Me Hangin’ On”, which is celebrated among 60s collectors as a true milestone. The album is a mindblowing and freaky production (LP includes 3 bonus tracks by the NATURALS). This LP-release (remastered) captures the end 60s stereo sound-experiments in a fresh and intense way! The insert contains a nice bio and photos. A must for those who wanna feed their minds with unusual heavy-psychedelic Rock-ROOTS!

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Jim & Jean - 1966 - Changes

Some time without sharing anything, so I thought, hey, before the year ends, let's post at least another album. I recently upped this for a friend, so you can have it too :-)

I'll borrow some comments found on the net (from Madhaiku , credit to him! ) for it, so no need to give my poor opinion about it. My opinion is: I love it! Specially their cover of Cruxifixion... such beautiful voices!

I'm guessing that you've never heard of Jim & Jean who had the misfortune of releasing their first album just as the folk revival was being crushed by the weight of the British Invasion and its own pretentiousness. (And the dopes at the Newport Folk Festival booed Dylan when he plugged in and went a electrified. Sheesh.)

Anyway, Jim Glover and Jean Ray recorded a couple of albums on the Verve Folkways label in the mid-1960s, then seemingly vanished off the face of the earth. Their first album, Changes, was released in 1966 and covered songs by Phil Ochs, David Blue, Eric Anderson and Dylan. The rest were penned by Glover himself who is said to have introduced Ochs to the music of Woody Guthrie and taught Ochs guitar when they were roommates at Ohio State. It was Ochs who wrote the liner notes on the Changes album.

"The folk boom has come and gone like a plague," Ochs wrote ruefully. "As the scene came to its inevitable shift, some resigned and officially became salesmen, others became ethnic defenders of Mother Earth tradition even though there were no attackers.

"Many grew their hair down to their wallets and jumped on the Beatle bandwagon in true hands-across-the-sea spirit. Palms upward as usual.

"Myself, I also planned to form a new group of former folkies. We would expand our hair, be backed by an electronic symphony orchestra, we would play sitars and various other eastern instruments we learned of by reading record jackets, and we would talk about the free-form ultra-Zen music on television. The group would be called the Pretensions."

Of Jim & Jean, Ochs said, "Into this melange of ultra hip and ultra hyped scenes leap Jim & Jean, a true blend of Americana, the kind of couple who might well persuade people from Iowa to buy U.S. Savings Bonds.

"Can they sing? Are they worth listening to? I think so, because unlike many of the people you have come to know and love in the folk and folk-rock scenes, they actually have voices with timbre and tone, control and intelligence."

OK, Ochs was a bit overwrought, but it was the 60s, and he would later kill himself (hanged himself in 1976), and there would be big tributes to him (I remember reading how Allan Ginsberg wore Ochs' gold lamè jumpsuit on stage at one event). But he had a point when he wrote, "There has been a vacuum of decent interpreters of the new wealth of songs pouring out of the New York decadence. These lyrics demand sensitive treatments, and don't necessarily need the overwhelming blare of drugged speakers. They demand phrasing, harmonies, counterpoint and higher wages."

I first bought this album right after it came out; found it in a store downtown. Or rather it found me. It's not the greatest album in the world. I didn't think so then and I don't think so now. On some harmonies Jean's full, high-pitch warble can get downright irritating. But Jim & Jean do a killer version of Ochs' song Crucifixion, which is like a postmodern, pre-psychedelic interpretation of the New Testament. And the title track, Changes, which Ochs also wrote, has that snap and pop of quintessential hippie dippy Sixties. He wrote some damn good songs, Ochs did, and Jim & Jean did them justice after all.

Hope you like it folks ;-)

Saturday, December 01, 2007

Cat Stevens - Matthew & Son [1967]

Cat Stevens' Matthew & Son was among the handful of releases that introduced Decca Records' "offbeat"-oriented (but ultimately largely psychedelic/progressive) Deram label in England. Actually, Stevens' "I Love My Dog" launched the label in fine style by climbing to Number 27 on the U.K. charts, and its follow-up, "Matthew & Son," hit Number Two, resulting in the release of the original album of the same name. The latter was not only a fine account of Stevens' early folk-influenced pop/rock sound, but was also a beautiful, candid audio "snapshot" of one side of Swinging London's musical ambience in late 1966 and early 1967. It melds tinkling harpsichords ("Matthew & Son") and moderately ambitious orchestrations (mostly horns and strings) on some songs ("I Love My Dog") with folky acoustic guitar on others ("Portabello Road"), a lot of it carrying highly expressive, weirdly personal lyrics. Though it was like pulling teeth to get some of those early records out from Decca, this album sounds today like the record that should have accompanied the American version of the Beatles' Rubber Soul onto millions of turntables. It's very distant from the sound that Stevens was ultimately known for, and in many ways, it's more dated than what he did for Island/A&M, but it's much more self-consciously accessible, arranged in different styles, ranging from vaudeville-style band accompaniment ("I See a Road") to trippy Donovan-esque ballads ("Baby Get Your Head Screwed On," "When I Speak to the Flowers," "Hummingbird"). Some of it, such as the sax-driven "Come on and Dance," is a little awkward as efforts at a soul sound, but all of it is fun, even the slightly too Engelbert Humperdinck-esque "Lady." []

Track list;
01 - Matthew And Son
02 - I Love My Dog
03 - Here Comes My Baby
04 - Bring Another Bottle Baby
05 - Portobello Road
06 - I Ve Found A Love
07 - I See A Road
08 - Baby Get Your Head Screwed On
09 - Granny
10 - When I Speak To The Flower
11 - The Tramp
12 - Come On And Dance
13 - Hummingbird
14 - Lady
15 - School Is Out
16 - I'm Gonna Get Me A Gun


Style; Folk-Rock, Singer/Songwriter, Pop-Rock

V.A. - Nightmares From The Underworld_Canadian Punk Vols 1 & 2

Nightmares From The Underworld #1 - LP

Side 1
1 The Power Of Beckett - Lost Soul In Disillusion (Montreal, Canada)
2 M.G. & The Escorts - A Someday Fool (Montreal, Canada)
3 Les Bohemians - I Need You Baby (Montreal, Canada)
4 Mike Jones Group - Funny Feeling (Montreal, Canada)
5 The Midnight Angels - I'm Sufferin' (Le Pas, Canada)
6 Underworld - Go Away (Toronto, Canada)
7 Witness Inc. - Not You Girl (Saskatoon, Canada)
8 Mainline - Don't Wait Around (Winnipeg, Canada)
9 The Munks - Long Time Waiting (Montreal, Canada)
10 The King-Beezz - Gloria (Edmonton, Canada)

Side 2
1 Great Scots - Give Me Lovin' (Halifax, Canada)
2 The Heart - Treat Me Bad (Almonte, Canada)
3 The Checkerlads - You Just Can't Hide (Regina, Canada)
4 Dee & The Yeomen - Baby It's All Worthwhile (Toronto, Canada)
5 Simple Simon & The Piemen - People Of Tyme (Montreal, Canada)
6 Great Scots - That's My Girl (Halifax, Canada)
7 Our Generation - Cool Summer (Montreal, Canada)
8 The Jury - Who Dat? (Winnipeg, Canada)
9 The Esquires - It's A Dirty Shame (Ottawa, Canada)
10 Skaliwags - Turn Him Down (Ottawa, Canada)

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Nightmares From The Underworld #2 - LP

Side 1
1 The Quiet Jungle - Everything (Toronto, Canada)
2 Eight Point Five - Casey's Mail Order Bride (Bathurst, Canada)
3 The Purple Haze - Love Is Fine (Montreal, Canada)
4 Berries - Night Winds (Toronto, Canada)
5 Naughty Boys - Baby (Ottawa, Canada)
6 Please Feed The Animals - I'm Crying (Toronto, Canada)
7 The Power Of Beckett - Shake Me, Wake Me (Montreal, Canada)
8 Underworld - Bound (Toronto, Canada)
9 Skaliwags - 365 Days (Ottawa, Canada)
10 Expedition To Earth - Time Time Time (Winnipeg, Canada)

Side 2
1 Don Norman & The Other 4 - Low Man (Ottawa, Canada)
2 The Quid - Crazy Things (Winnipeg, Canada)
3 Satan & The D-Men - She'll Lie (Kenora, Canada)
4 Naughty Boys - Heart (Ottawa, Canada)
5 Les 409 - They Say (Montreal, Canada)
6 The Northwest Company - She's A Woman (Vancouver, Canada)
7 Expedition To Earth - Expedition To Earth (Winnipeg, Canada)
8 Just Us - I Don't Love You (Toronto, Canada)
9 Sound Box - Warm Your Mind And Soul (Montreal, Canada)
10 Royal Family - Solitude (Edmonton, Canada)

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Reviews :
In the overcrowded field of '60s garage reissues, a compilation exclusively devoted to Canadian bands sticks out as something of a novelty. But the Canadian garage sound was virtually identical to the U.S. one; it just emanated from a more northerly direction. So this 20-track anthology sounds like just another American garage comp, albeit a rather below average one. The Quid's "Crazy Things" is a good take on the Pretty Things' approach, and the Berries' "Night Winds" distinguishes itself with some flute trills (quite uncommon to find in garage records). Otherwise there's little to detain you, unless you're one of the thousand or so collectors who's determined to own every damned last garage compilation that's ever come out.
~ Richie Unterberger, All Music Guide

These are both 20-track LP compilations [which have been reissued as a 2-CD set] of Canadian rock ("punk" or "garage") from 1965 to 1969, featuring 34 groups from Vancouver to Bathurst, New Brunswick. Actual cities represented are (from west to east): Vancouver (The Northwest Company); Edmonton (Royal Family, King Beezz); Regina (Checkerlads); Saskatoon (Witness Inc.); Le Pas, Manitoba (Midnight Angels); Winnipeg (Expedition To Earth, Quid, Satan & the D Men, Mainline, Jury); Ottawa (Naughty Boys, Skaliwags, Don Norman & the Other Four, Heart, Esquires); Toronto (Quiet Jungle, Berries, Please Feed the Animals, Underworld, Just Us, Dee & the Yeomen); Montreal (Purple Haze, Power of Beckett, 409, Sound Box, M.G. & the Escorts, Bohemians, Mike Jones Group, Munks, Simple Simon & the Pieman, Our Generation); Halifax (Great Scots); and Bathurst, New Brunswick (Eight Point Five).

The majority of these groups produced only one 45; of the others, only two groups produced more than one more single: The Northwest Company (four more) and Don Norman & the Other 4 (six more). None made albums except the Esquires in 1964, and Please Feed the Animals, who made just one album but no single releases. That album contained only cover songs, seven of them by the Animals (hence the group’s name), one by the Yardbirds, one by Cream, and one by the Small Faces.

So you can be sure that these are rare, with the book value from $25 to $85+. Rarity often also means low budget production and that usually equals low fidelity, and here, with the sources (as usual with rare stuff) being the 45s and not the master tapes, the sound is compressed, but so what? We’re lucky that it’s been made available. But is the music any good? Well yes it is, although much of it is derivative with influences by the Animals, Beatles, and various ’60s-isms like snarling vocals, tambourines, organ, lots of background singing in harmony, and fuzz guitar. All but four are originals, as far as I know, except the covers of Beatles ("She’s A Woman"), Them ("Gloria"), Blues Project ("Wake Me, Shake Me"), Animals ("I’m Crying"). Rating: 8/10

Nightmares From The Underworld Vol 1 AGNC 100 Can 1983
One of the most sought-after comps and proof positive that Canada had the best 60's scene outside the US. Several awesome classics here though the number of tracks and crappy vinyl make the sound quality less than satisfactory. Compiled by Andre G of Canadian discography fame, released back in '83 in a ltd ed of 300. Haven't seen this offered for years.

Nightmares From The Underworld Vol 2 Underworld Rec 1205 Can 1985
Perhaps fewer classics here but a great consistency makes it just as enjoyable. Slightly psychier and with some unusually
well-chosen covers. Not as rare as vol 1 and with better sound quality.
~from :

Some more info can be found here :
Nightmares From The Underworld_Canadian 60's Punk
from Canadian Records Obscurities & Rarities by Andre Gibeault
Link :

Enjoy !!!

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