Friday, June 15, 2007
(Anyone have any more info on this band?)
1) Not Foolin' Me
2) His Eye Is On The Sparrow
3) Only For You
4) Blue Bones And Ashes
5) Race With The Devil
6) Mr. Soul
7) What Are Those Things
8) Knock Knock
10) Love Has A Habit
11) Hold Me
Many thanks to Chris41!
02 Psyche Soap (:55)
03 M-23 (1:14)
04 Synesthesia (1:46)
05 Hobbit (1:46)
06 Fewghh (1:02)
07 Green and Gold (2:50)
08 Flash, Bam, Pow (1:31)
09 Home Room (:53)
10 Practice Music (1:27)
11 Fine Jung Thing (7:25)
12 Senior Citizen (2:57)
- Paul Beaver - synthesizer
- Michael Bloomfield - guitar
- Harvey Brooks - bass
- Marcus Doubleday - trumpet, flugelhorn
- Barry Goldberg - organ, piano, harpsichord
- Nick Gravenites - guitar, vocals
- Bobby Notkoff - violin
- Buddy Miles - percussion
- Peter Strazza - saxophone
One of the greatest exploitation movies of all time, The Trip was the "vision" of Peter Fonda and Jack Nicholson (who wrote the original script). The finished film didn't turn out exactly the way Jack and Peter wanted it to, but it certainly had it's moments...all in Psychedelic Color. This, the soundtrack, was pretty cool, too. It contains the first studio recordings of the Electric Flag, Michael Bloomfield's swaggering soul/jazz/rock ensemble. Writing and performing trippy music was a bit removed from this fine ensemble's area (they were, in fact, a serious and funky band), but they succeeded admirably. Considering that it came out on Mike Curb's Sidewalk Records (a Capitol subsidiary) and it was an American International film, one wonders if the Flag saw any dough from this? No matter, as some of the music is excellent. "Fine Jug Thing" and "Peter Gets Off" are wild, jazzy rockers, which perfectly score Fonda's Sunset Strip/trip adventures. The album's closer, "Gettin' Hard," is a variation on "Hoochie Coochie Man" and closes the album out in funky style. Also, there are a few early efforts from synthesizer pioneer Paul Beaver, such as "Synesthesia," which is quite similar to David Bowie's work on the Man Who Fell to Earth/Low projects -- eight years later.
~ Matthew Greenwald, All Music Guide
Thanks audiodrome for the vinyl tracks
(not on the CD version)
Thursday, June 14, 2007
Review from Othermusic.com:
Takashi Nishioka's Manin No Ki is surely one of the finest psych-folk singer-songwriter albums I've heard; if it weren't for the fact that it's sung in Japanese it'd probably already be in your collection. Nishioka has had a long and artistically successful and varied career of enough stature that he's been afforded a five-CD box set in Japan. He first came to public attention in the '60s as a member of Five Red Balloons, a group whose music was indebted in great part to the folk revival taking place in America at the time. Where his career really begins to interest us, however, is around 1970, when he was the nominal leader and songwriter of Tokedashita Garasubako (Melting Glass Box), whose members included notable musicians from Apryl Fool and the Jacks. They made one extraordinary and essential album of dreamy and avant-garde psych-folk that stands on par with any thing else of the era. Unfortunately, that CD is long out of print and vinyl copies sell for exorbitant amounts of money, but they do have a fine song included on the Japanese installment of the Love, Peace and Poetry series. After Tokedashita Garasubako dissolved, Nishioka began work on his first solo LP for URC (Underground Record Club), a label that had been started to document the intriguing folk and pop music that was being made in Japan's early-'70s counter-culture, a good portion of their catalog has been reissued and is well worth tracking down. Manin No Ki is far less amorphous than Tokedashita Garasubako, it begins on a foreign sounding note with a short ditty laden with ethnic string instruments and rattling wood blocks. It's probably the weirdest piece on the album and it barely hints at the songwriting to follow.
Nishioka is a master of the lilting melody and he specializes in those mid-tempo ballads that characterize many of Neil Young's greatest moments. Not that Nishioka just sounds like a Japanese Neil Young, far from it. His writing includes space for complex vocal overdubs and he uses a diverse array of instrumental shading, including marimba and xylophone sounds that would make Tom Waits jealous, and whoever engineered his drums is a complete genius. But now I'm starting to come across like a real nerd, because truly the main strength of the album is simply Nishioka's moving songwriting, that the sounds surrounding his songs are interesting only adds to the appeal. Manin No Ki is the album I've listened to the most this year by far and it won't fail to make it to my top ten. [MK]
2. Manin No Ki
3. Hitori No Onna
4. Owari No Sasetsu
6. Professional Ji-Ji
7. Kimi To Boku, Boku To Kimi
9. Tsuma Ni Naru Onna Ni
10, Minna Ii Hito
posted by J-bag
By Mike Reed
Download It Here :
1969: Here We Are Again
1970: C. J. Fish
Barry Melton: vocals, lead guitar
David Cohen: rhythm guitar, organ, lead guitar
Bruce Barthol: bass, harmonica
Gary "Chicken" Hirsh: drums, background sounds
2. "Hard Coming Love" (Byrd, Dorothy Moskowitz) – 4:41
3. "Cloud Song" (Byrd, Moskowitz) – 3:18
4. "The Garden of Earthly Delights" (Byrd, Moskowitz) – 2:39
5. "I Won't Leave My Wooden Wife for You, Sugar" (Byrd, Moskowitz) – 3:51
6. "Where Is Yesterday" (Gordon Marron, Ed Bogas, Moskowitz) – 3:08
7. "Coming Down" (Byrd, Moskowitz) – 2:37
8. "Love Song for the Dead Ché" (Byrd) – 3:25
9. "Stranded in Time" (Marron, Bogas) – 1:49
10. "The American Way of Love" (Byrd) – 6:38
1. -Metaphor for an Older Man (Byrd)
2. -California Good time Music (Byrd)
3. -Love Is All (Byrd, Moskowitz, Rand Forbes, Craig Woodson, Marron)
11. "Osamu's Birthday" (Byrd) – 2:59
12. "No Love to Give" (Moskowitz) – 2:36
13. "I Won't Leave My Wooden Wife for You, Sugar" (alternate version with Moskowitz singing lead) (Byrd, Moskowitz) – 3:45
14. "You Can Never Come Down" (Byrd) – 2:32
15. "Perry Pier" (Moskowitz) – 2:37
16. "Tailor Man" (Moskowitz) – 3:06
17. "Do You Follow Me" (Kenneth Edwards) – 2:34
18. "The American Metaphysical Circus" (demo version) (Byrd) – 4:01
19. "Mouse (The Garden of Earthly Delights)" (demo version) (Byrd, Moskowitz) – 2:39
20. "Heresy (Coming Down)" (demo version) (Byrd, Moskowitz) – 2:32
A wonderful psychedelic experiment, a nice example of an early experimental electronic music. Formed in 1967 by Joseph Byrd, the band membership consisted of the following: Joseph Byrd (electronic music, electric harpsichord, organ, calliope, piano, and Durrett Electronic Music Synthesizer), Dorothy Moskowitz (lead vocals), Gordon Marron (electric violin, ring modulator), Rand Forbes (an early adopter of the fretless electric bass) and Craig Woodson (electric drums and percussion). Ed Bogas also performed on the record with occasional organ, piano, and calliope; he became a full member of the band on its first and only tour. Note that there was no guitar!
Their only album they released, self-titled from 1968, is a masterpiece, containing blasts as "Hard Coming Love", "The Garden Of Earthly Delights" or "I won't Leave My Wooden Wife For You, Sugar".
It was reissued first in 1992 with two bonus tracks, and in 2004 with 8 more bonus tracks.
Wednesday, June 13, 2007
The first of them, 'Nocturne', opens with the words 'Welcome, sweet death', taken from J. Dowland's 'A Pilgrime's Solace' from 1612 and possibly even inspired by Johann Sebastian Bach's 'Komm Susser Tod'. Regardless, it's most certainly infused with the same Classical spirit and even a wry sense of optimism. To a slight extent these poetic utterances remind me of Elijah's Mantle, but there is a darker edge to them and the words frolic menacingly with the pounding drums in the background. The second track, 'Die letzte Jagd' (The Last Hunt), is a lively mixture of acoustic guitar, bass drum and Axel Frank's stunning German vocals. An infectious chorus helps to convey the thrill of the chase and the whole thing is performed with real confidence and far more enthusiastically than most of the neo-folk dirges I'm used to hearing these days.
'Chanson de la plus haute tour' (Song of the Highest Tower) is based on Arthur Rimbaud's 1872 poem of the same name and, once again, deals with the demise of youth and even life itself. The beautiful vocals, sung here by Antje Hoppenrath, sweep from ear to ear in an arpeggio ballad that wouldn't be out of place on a Simon & Garfunkel album. Both melodic and atmospheric at the same time, this is European folk at it's very best. 'Einsamernie' (Never Lonely) interrupts this vision of late-60s harmony with muffled German vocals and explosions, a low organ swinging back and forth like a mesmeric pendulum across the tree-shattered landscape of No-Man's Land. It's rather like Ostara in one of their more Ambient moments, but perhaps tinged with the stark foreboding of Blood Axis on 'The Gospel of Inhumanity'. Meanwhile, 'Legion' vomits words out backwards like a sick dwarf being hassled by an unintelligible choir at a David Lynch garden party. It's true! Stuttering drums give way to acoustic jangling, measured vocals and crazy King Hammond-style synths that weave their way through the song like a thin brown line in an animated Bisto advert.
A tolling bell marks the onset of 'Steh auf, Nordwind!' (Rise Up, North Wind!) and one of the album's catchier numbers. The impeccable vocals remind me of Belborn's Holger F, but in between the verses the rich musical undercurrent is similar to early-90s Death In June. 'Dignitas Dei' (God's Honour) sees the return of those whirling space-age synths, joined here by dislocated chanting and the distinct feeling that you're listening to Hawkwind perform a Black Mass in Canterbury Cathedral. As a closet [Not anymore. - ML.] fan of Psychedelia, I'm glad to say that this represents a fantastic break with the increasingly dull neo-folk tradition and so perhaps it's time to dust off those liquid wheels and grab yourself a bag of hallucinogenic fungi.
Where was I? Oh yes, the review. 'Ewigland' (Eternal Country) heralds the participation of Jason Thompkins of Harvest Rain and a lilting guitar that makes this track sound like a lament to a distant homeland. All accompanied by sentimental lyrics, a rattling snare, the light blare of passing aircraft and other portentous contributions. With its uplifting chords, synthetic horns and bass guitar, 'Heilige Krieg' (Holy War) is slightly similar to 'Steh auf, Nordwind!', but the vocals are much more powerful and possess an unusual and rhythmic quality. The sampled American drawl [what "drawl", exactly?! - ML], shimmering tambourine and clip-clop percussion makes this a cataclysmic statement on the perils of our age.
The vocals on 'Hohezeit' (High Time) are performed by Antje Hoppenrath in a late-medieval style, her voice rising and falling amid hushed echoes and layers of stridulating Morricone-style effects. Quite enchanting. The final track, 'Civitas Dei' (City of God), is a slow march across an Augustinian plain of urgent voices, hypnotic cantata and the irresistible cry of a whooping electronic maelstrom. Like a heretical theocracy presiding over an inquisition of clinical radiologists, each determined to get their knobs out and have their own say.
To conclude, then, Werkraum's first album is truly remarkable and has exceeded all expectations as far as I'm concerned. It's good to see Justin Mitchell's label continuously branching out into unexplored territory, too. The lad certainly has an eye for innovative and exciting material. For more information about Werkraum go to: http://www.werkraum-heimat.net/
source : http://www.rosenoire.org/reviews/werkraum-unsere.php
Download It Here :
Many thanks to Abra for the share
Help Yourself - 1971
There's no question that Help Yourself's debut album was a product of its times — something about the whole easygoing boogie vibe and gentle psych-inspired trippiness, the way of singing, the production, and more just screams early-'70s non-metal and non-glam rock & roll. Look at it one way and Help Yourself was just a cut above incipient bar band culture but, heard with fresh ears years after its release, it strikes a great balance between entertaining the crowd and exploration. Call the band a more down-to-earth Pink Floyd or Hawkwind set somewhere in the English countryside without specifically owing anything to either band. Morley, who takes vocal lead throughout, shows a fine voice similar to Neil Young's, with just that hint of twang while not sounding quite so cracked and strained. At some points the resemblance is overwhelming — check out the chorus of the wistful "Old Man" (in fact not a cover of Young's own standard, though that would have been perfectly appropriate). As a unit, the four-piece, which finished up the album in a week's time, comes across as seasoned without being overly pro or polished — the curse of "tasty licks" is generally avoided in favor of relaxed understatement, solos smoothly fitting into the songs rather than dominating them. The more immediately singalong numbers, like "I Must See Jesus for Myself" and the lovely "Paper Leaves," as perfect a late summer evening ramble and sigh as one could ask for, still sneak up on a listener, entrancing without trying too hard to do so. There are some darker numbers worthy of note — "To Katherine They Fall" is the most space rock of the bunch, keeping the right head-nodding vibes while not tripping out completely, while "Deborah" is a flat-out lovely piano ballad, Morley's wounded voice the perfect accompaniment.
Download Link :
An excellent second album from a band that, familial comparisons to Man notwithstanding, was always closer to the British pub rock ideal than many of the movement's better-feted icons ever could be. And that despite the best of Help Yourself's bluesy barroom rock predating any but the earliest birds of the beer and sawdust circuit — departing guitarist Ken Whalley's Ducks Deluxe included. Opening with the hefty chimes of the title track, Strange Affair moves on through a kaleidoscope of moves and movements, ranging from the gently and certainly Beatles-ish "Deanna, Call & Scotty," and onto a clutch of songs that would not have sounded out of place on the American West Coast — a touchstone that, again, would soon become a pub rock ideal. The album's peak, however, has to be the nine-minute "The All Electric Fur Trapper," a lush and lovely epic that conjures images of a faintly country-flavored Pink Floyd as it moves through a series of distinct phases that climax with a semi-funky, deeply fuzzy burst of JoJ0 Glemser guitar savagery. Accompanied by a wryly flowery essay from Ducks Deluxe frontman Sean Tyla, "The All Electric Fur Trapper" stands not only among Help Yourself's greatest achievements, but also among the highlights of the entire early-'70s British underground.
Download Link :
Tuesday, June 12, 2007
Well here is the first one
I made this a few months ago for some friends of mine
Hope you like it !
2-Saturnalia - Soul Song
3-Dantalian's Chariot-world war three
4-Ford Theatre - i've got the fever
5-Grace Slick & the Great Society - sally go round the roses
6-Byrds - eight miles high
7-Pretty Things-I See You
8-My Indole Ring- Silk Road
9-Dukes Of Stratosphear- 25 O'Clock
10-Tomorrow - three jolly little dwarves
11-Beatles - Tomorrow Never Knows
12-Six Feet Under - inspiration in my head
13-Golden Dawn- Starvation
14-Orange Alabaster Mushroom Band- Your Face Is In My Mind
15-Seeds- pushin' too hard
16-13th Floor Elevators - slip inside this house
2-Bee Gees - Every Christian Lion Hearted Man Will Show You
3-Savage Ressurection-Tahitian Melody
4-The Beau Brummels - The Wolf of Velvet Fortune
5-Pink Floyd - Set the Controls for the Heart
6- Frantics - her and her mountain
7-Music emporium - Cage
8-Phantom's Divine Comedy - welcome to hell
9-Chocolate Watchband - dark side of the mushroom
10-Brain Police- I'll Be on the Inside, If I Can
11-Neighb'rhood Childr'n-long years in space
12-Jefferson Airplane - white rabbit
13-Misunderstood - i unseen
14-Attack - Strange house
15-Electric Prunes - i had too much to dream
16-Pussy - Comets
Download It Here :
Monday, June 11, 2007
Audubon would kill his birds then he would draw them - capturing their beauty in death. Kryptasthesie has accomplished the same thing. "No Age" is the last dying breath of one of Italy's greatest psychedelic bands. Over all they have done over the years, THIS is the idealized statement by this band. A large part of the success is singing in their native Italian, which is truer to the band than earlier records that employed English. I believe that language just is not a way of communicating ideas but it also shapes your thinking. Thus, when the band previously used English, it seemed forced whereas now the vocals are working with the music (not against it). The band seems to want to put everything into this record. They get atmospheric with "ALH84001" and rock like a modern Pink Floyd (meddle era) in "Il Tao Della Violenza" and get techno with "Tutto Passa". It seems that when you get this good you've got nowhere to go but down like a brilliant asteroid on its way to its eventual breakup. Lets hope that the remnants that have shattered on impact are as brilliant as their source.
Sunday, June 10, 2007
One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and a key member of Pentangle. Also a talented songwriter and affecting (if gruff) vocalist, he wrote dark and sparse material that recalled the folky side of Donovan, though he was much less pop-oriented than the psychedelic pop troubadour. Incorporating elements of blues, American folk, and British Isles traditional music into his playing, his influence was not only immense in the British folk scene, it also extended to the rock world -- Neil Young and Jimmy Page, two electric guitar gonzos who often turn to acoustic picking as well, have acknowledged Jansch as a major influence. Young went as far as to tell Guitar Player that Jansch did for the acoustic guitar what Jimi Hendrix did for the electric. A revered elder statesperson in the U.K., he has escaped widespread notice in the States. He has all the prerequisites for a large cult following on the order of Nick Drake, another musician whose work contains definite echoes of Jansch.
Born in Scotland, Jansch vagabonded around the U.K. and Europe for a while before basing himself in London in the early '60s. He made an impact on the city's folk community not only for his guitar skills, but for his original songwriting, singing his own compositions at a time when Dylan was just beginning to make that practice widespread in folk circles. Friend and fellow folksinger Anne Briggs helped Jansch get a contract with Transatlantic, a small British folky label. Recorded on a single microphone and a borrowed guitar at Jansch's apartment, his first album immediately established him as a major force in British folk. Consisting almost entirely of original compositions, the brooding, plaintive compositions showcased his dextrous fingerpicking. "Needle of Death," inspired by the heroin-related death of a friend, may still be his most famous composition.
Jansch graduated to a real studio for his second album, It Don't Bother Me. That LP featured some contributions from guitarist John Renbourn, and the pair would record a joint effort in the mid-'60s as well, Bert and John. Soon Jansch and Renbourn would be playing together as part of a five-member group, Pentangle, one of the greatest folk acts of the 1960s. Pentangle, also featuring vocalist Jacqui McShee and the rhythm section of Danny Thompson and Terry Cox, was very much a group effort. Of all the group members, however, Jansch was probably the most important, writing the best original material, singing occasional lead vocals, and recording some enthralling guitar tandems with Renbourn.
Jansch's increasing involvement (and eventual commercial success) with Pentangle did not mean an end to his solo career, although Pentangle got first priority in the late '60s and early '70s. Nicola, from 1967, was a pretty good attempt to commercialize his sound somewhat with poppier material and some fuller studio arrangements. 1969's Birthday Blues was an effort more consistent with his early folk recordings, and included instrumental support by some members of Pentangle. Rosemary Lane (1971) is acclaimed by Jansch fans as one of his finest works.
Jansch's first decade of recording attracts the lion's share of interest from listeners, but he continued to record with his instrumental skills intact. For instance, Jancsh played in re-formed versions of Pentangle in the 1980s and '90s, while Drag City released Black Swan in 2006.
by Richie Unterberger AMG
Download It Here :
1. Isis At The Invisible Frontispiece
2. Caesar's Integrated Flaw
4. A Secret Inside Clopedia
5. The Approaching Triptykhon Sunset
6. The Centipede's Tune
7. Later Than The Pinnworm- Era
8. Mushy Shadows From A Lost Caravan
- Rune Forselv / drums (2, 5, 7 & 9)
- Hasse Horrigmoe / bass, acoustic 12 string guitar, moog, string ensemble and ring modulated penny whistle
- Ronald Nygård / electric and acoustic guitar, slide, bow-guitar, moog, bells tom tom and reversed cymbals
TANGLE EDGE is a norwegian music group that plays a kind of music that is purely instrumental and mixes improvisation with written parts. Stylistic they combine rock with elements of jazz, etnic and classical music. Though their style is very personal and unique blend, they have by their audience been categorized as differently as progressive rock, krautrock, free- jazz, space rock, canterbury rock, psychedelia, jazz- rock and experimental rock.
The band was founded around 1980 by Ronald Nygård (guitars and keyboards) and Hasse Horrigmoe (bass guitar and 12-string acoustic guitar). The current lineup including Kjell Oluf Johansen on drums, has been operating since 1988. Since 1989 they have released four CD's, and toured England, Russia, Italy, Denmark, Sweden and Norway.
Saturday, June 09, 2007
1. I'm on my way (11:51)
2. Poor lady (3:59)
3. Walk on the bad side (7:35)
4. Woman of a thousand years (3:39)
5. Change me (4:47)
6. It takes a woman (3:53)
7. Birth, life and death (10:19)
8. Sing my song (4:18)
9. Riding alone (2:48)
- Miguel Sergides: 12-string guitar, vocals
- Graham Best: bass, vocals
- Allan Ellwood: organ, vocals
- Robert Ellwood: lead guitar, vocals
- John Albert Parker: drums
ARCADIUM's ominous, cathedral-like organ, distorted guitar and anguished vocals are clearly derivative of bands such as the DOORS, IRON BUTTERFLY and VANILLA FUDGE - very much in the 'downer-heavy' school of the genre that was popular at the time. Their album is something of a bad-trip soundtrack that relies on minor-key melodies, ghostly harmonies and anguished vocals. What with all its flaws - bad production, sloppy vocals and doomesday atmospherics - its historical significance is immense. The music's intensity and sense of urgency, the blazing acid-drenched guitars, the tortured vocals and heavy nightmarish sounds all perfectly convey the late 60's atmosphere.
Fans of heavy psychedelia in search of a genuine dose of 60's nostalgia will love this band.
RapidShare : Part 1 ~ Part 2
SendSpace : Part 1 ~ Part 2
Friday, June 08, 2007
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.
03 - There Are Things We Used To Do
04 - I Won't Hear You're Gone
Neo psyche masterpiece 1995
Thursday, June 07, 2007
Jodie Cosmo - Staying Power/Blacksand of Love-Real Cool Time (West World WW-05, 1993)
I believe this is the most strange release of the great Jesus Acedo. After the incredibly godlike first releases of Black Sun Ensemble, and in a time when he was just out of psychiatric treatment, Acedo as Jodie Cosmo, with the help of Rich Hopkins, recorded these, uhm.. slightly disoriented songs. The a-side is more pop and Jesus sings "Staying power will see us thru and so I send my love to you", while in the b-side, backed by Hopkins and Co., covers Stooges "Real Cool Time."
Wicked Ones - The Devil's In My Pants/Nightmares/The Boy That Time Forgot(Get Hip GH-104, 1989)
Former members of Oregon's Miracle Workers (Joel Barnett) and Surf Trio (Jeff Martin & Pete Weinberger), and Ron Klein (both in Surf Trio and Marble Orchard) who plays bass on the a-side, under the Wicked Ones moniker are twisting and shaking violently in these three tracks (I think it's their only release).
Jigsaw Seen - Jim Is The Devil/Idol Chatter (Skyclad/Get Hip GH-38, 1989)
Second devil song in this part, this from Jigsaw Seen, a group founded from Dennis Davison (ex-United States of Existence) and Jonathan Lea (ex-Revolver). Begun as Playground, changed to Jigsaw Seen in 1989. Shortly after they released this single and the Shotrcut Through Clown Alley" LP, both on Skyclad Recs. They're still active, (drummer Teddy Freese (ex-Yipes) joined in 1993, and bassist David Nolte (ex-the Last) in 1996. You can visit their site
Herrera & The Hand-Outs - Another Lie/Playin' For Time (Midnight 4519, 1988)
This is the first single of David Herrera (ex-Cheepskate), before his LP (posted here , where there's plenty of info). This 7" is in the usual luxurious cover of the Midnight singles - ie a plain white envelope with a photocopied (?) and obviously cut-with-scissors painting (this is a portrait made by Bobby Belfiore), which covers the front side and half of the back of the vinyl! I'll just add that in David's myspace page there's a very nice photo gallery two 1990 shows at McCarthy's bar on 14th Street, of which the first can be downloaded for free.
New Duncan Imperials - Feelin' Sexy (EP, Pravda PR 4508, 1990)
The NDI saga began in Chicago in the spring of 1989. Bored with the straight-ahead approach of the band they were in, Pigtail Dick (guitar and vocals), Skipper Zwackinov (bass, balloons, and vocal), and Goodtime Dammit (drums, drums, drums) began playing for laughs in the basement of Pigtail's mom's house. "She really, really hated us," Goodtime recalls. "That's when we knew we were onto something." The band focused on laying strange yet sharp lyrics. "Most of our songs were about food, or driving, or how to prepare intricate chicken dishes while driving," says Skipper. "A lot of people didn't get it, but the ones who did loved it." Listen to these 4 tracks and then take a look here
Lithium X-Mas with T. Tex Edwards - Strange Movies/Love Power (SFTRI 136, 1991)
If you think that Jthe Jodie Cosmo single was strange, you got to listen to this: Recorded live Feb 3 1991 at the Texas Tube Room, Ft Worth, Texas, Tex Edwards joins Lithium X-Mas
A-side is a Troggs cover (VERY noisy), while b-side is a superb cover of the Mel Brooks tune (from Vertigo I think), given the famous Tex Edwards treat.
Mooseheart Faith - Bluevolution Pt.1 (7"EP, SFTRI 088, 1990)
This is from the ultra psychedelic Mooseheart Faith, subtitled "A brief history of Blues-Psychedelia as revealed by Mooseheart Faith", where you can listen to the "Remington Electric Razor" solo (in Number One), Lynn Johnston playing baritone saxophone and a version of "Temple Departures" -different than the one in The Magic Square of The Sun LP.
7 more 7-inchers
Schnecke AP 15016
1977 LP Germany
Medusa Calling You
01 - go kids go
02 - the change
03 - hey rock and roll
04 - medusa's calling you
05 - qq 10
Cannot find any info... maybe German friends could help?
I expected that to be progressive stuff, but i think it is mostly rock, psych some moments and pretty good, though not a masterpiece.
Wednesday, June 06, 2007
In fact, the album has been re-released early this year by Zonophone/EMI, so it's available at a reasonable price. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme). - K
1 Skeleton and the Roundabout
2 Happy Birthday
3 The Birthday
4 I Like My Toys
5 Morning Sunshine
6 Follow Me, Follow
7 Sitting in My Tree
8 On With the Show
9 Lucky Man
10 Mrs. Ward
11 Pie in the Sky
12 The Lady Who Said She Could Fly
13 End of the Road
14 Come With Me
15 Sea of Dreams
16 Going Home
17 Reminds Me of You
18 Mr. Crow and Sir Norman
19 Please No More Sad Songs
20 Girl at the Window
21 Big Chief Wooly Bosher
22 Someone Knocking
23 A Better Life (The Weatherman Knows)
24 Hurry up John
PREVIOUSLY UNRELEASED ALTERNATIVE VERSIONS
25 Lucky Man
26 Follow Man
27 Days of the Broken Arrows
1 (Here We Go Round) The Lemon Tree
2 My Father's Son
3 Imposters of Life's Magazine
4 Knocking Nails into My House
5 Days of the Broken Arrows
6 Worn Red Carpet
7 In the Summertime
8 Told You Twice
9 Neanderthal Man
10 Victim of Circumstance
11 Dancing Flower
12 Sad O' Sad
13 The Clock
14 I Will See You
15 By the Sun
17 And the Rain
18 She Sang Hymns Out of Tune
19 Bitter Green
20 We Want It All
Trip-O-Meter: 3 out of 5
I discussed this slab of Curt Boettcher produced sunshine pop in my very first posting. I didn't, however, provide a posting for the tunes. So here it is. Along with a short recap of the review:
This disc presents the Boettcher-led Ballroom's rejected LP. It's a not-bad collection of sunshine pop with a few slight hints of psychedelia. Think of it as a second rate Mamas and Papas. The first two tracks, "Spinning, Spinning, Spinning" and "Love's Fatal Way" are worthwhile am radio style pop, and there is the great tune "Would You Like To Go," which Sagittarius later reused. It's here in a mono mix (as this album is in mono). Another Sagittarius track present here is "Musty Dusty." Unfortunately, this ultra-syrupy ode to childhood was by far my least favorite track on Sgaittarius' Present Tense, and it remains so here.
The Millennium/The Ballroom- Magic Time
Listen To Me:
The Ballroom - The Ballroom
Tuesday, June 05, 2007
1) Intro (Winter) - Carol Batton
2) Balladen Om Belfast - Midsommar
3) A Night In The City - Y Triban
4) Of Broken Links - These Trails
5) Flying - Chuck & Mary Perrin
6) Number 33 - Jan & Lorraine
7) Heksenkring - Elly & Rikkert
8) Paint A Lady - Susan Christie
9) Dialogue Of Wind And Lover - Paul Parrish
10) Apres Londee - Emmanuelle Parrenin
11) How Do? - Naomi
12) Son Of God - Parchment
13) Sunrise - Alexis Korner & CCS
14) Grey Today - Woody Simmons
15) Dime Felix - Vainica Doble
16) The Waters Of Babylon - 11.59
17) Maids And Gentlemen - Midwinter
18) I Saw An Angel - Pentangle
19) Softly - Sibylle Baier
20) Song - Turid
21) På Tredje Dagen Uppståndna - Turid
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Part 2 > http://lix.in/49cf6c
The Bomboras quickly came to the attention of Dionysus Records, who signed the group and issued several albums over the next few years. Their first, 1995's Savage Island, was recorded in two days at a cost of only two hundred dollars. The Burbank-based indie label released several 7-inch singles, two additional full-length studio albums -- 1996's Swingin' Singles and 1997's It Came From Pier 13-- and a live EP, Organ Grinder, which combined tracks from a limited-edition ten-inch with six tracks recorded live at Los Angeles' famed Jabberjaw club. The group also appeared on various artist compilation albums, including a Ventures' tribute CD and Del-Fi's Surf Monsters: Past, Present & Future Surf Classics. In the summer of 1997, the Bomboras signed to Rob Zombie's newly-formed Zombie a Go-Go label, which was distributed by Geffen. The band entered the studio on August 8th, 1997, and emerged seven days later with Head Shrinkin' Fun, but its release was delayed until June 1998, due to the Universal company acquiring Geffen along with several other labels. In the resulting shuffle, the Bomboras, somewhat mysteriously, ended up on Universal's Hippo reissue label. By then, the Bomboras were ready to move on, and called it quits. Drummer Dave Klein and bassist Shane "Showman" Van Dyke focused their full attention on their longtime side project, the Invisible Men; they were eventually joined by guitarist Gregg Hunt. Cavaliere, meanwhile, formed the Lords of Altamont.
~ Bryan Thomas, All Music Guide
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Produced by Tom Wilson (the Velvet Underground, Bob Dylan, Simon & Garfunkel), this sprawling set of Japansese acid pop and folk was originally released in 1968. With contents ranging from Eastern-tinged pop to introverted epics, all featuring a range of Japanese instruments, it's stuffed with possible samples and is sure to delight all fans of mystic psychedelia.
01 Talk About It (4:11)
02 First Impressions (3:11)
03 Don't Know What I'm Gonna Do (3:08)
04 Hello (3:59)
05 Sugar In Your Tea (3:23)
06 I Took A Ride (In Your Caravan) (3:04)
07 Hunters Of Heaven (2:56)
08 Hurry Up Now (3:50)
09 What A Day For Me (2:45)
10 We Love (2:19)
11 Fire By The River (3:31)
12 Twice Told Tales Of The Pomegranate Forest (23:51)
13 Samurai Memories (19:11)
One of the trippiest albums recorded for Verve in the 60s -- a unique 2LP set by Japanese psyche artist Harumi -- and a record that stands proudly next to the best by Zappa or the Velvets at the time! The double-length space of the record really helps give it some shape -- as Harumi starts out sweet, then gets a bit wilder, and increases the sense of experimentation as the set rolls on -- so that the final track is a side-long psychedelic jam that's topped with spoken passages by Harumi's parents and sister! We like the poppier tunes the best, though -- and they feature a mix of orchestrations, fuzzy guitar, and vibes -- all layered with a really beautiful sense of sound, to accompany vocals by Harumi and Rosko. There's a gentle, breezy, and sometimes slightly funky quality to these numbers -- Sunshine Pop with a trace of jazz -- and exactly the kind of psyche album you might imagine from Verve in the 60s!
Harumi – ‘Harumi’ [Verve Forecast, 1968] was a 2-LP set. Harumi was a Japanese guy residing in the US where he recorded and released this. It’s reputedly ‘psych with many native instruments’ and vocals in both Japanese and English. The first LP is apparently more poppy, but the second contains only a lengthy track per side, reputedly “heavily introverted mystical Eastern hippie rambling” according to Fuzz, Acid & Flowers.
From phasey folkrock psych pop to side long tripout tracks, this cool double LP must mark about the first time a Japanese psych artist got a deluxe USA issue. Verve Forecast FT 3030 2X from circa 1968. Fab stuff from the psych era on Verve's 'progressive' subsidiary label.~popsike.com
Monday, June 04, 2007
This debut album is an overlooked precursor to country-rock, echoing the late-'60s Byrds, Stone Poneys, Gene Clark, and most especially, as Brian Hogg points out in his lengthy liner notes, the Dillards. Earnest vocals and conscientious harmonies on this subdued, acoustic, and countrified take on folk-rock, with mild Eastern/psychedelic dabs of autoharp. The songs mix original tunes with covers of Donovan, Tim Hardin, Hoyt Axton, Kaleidoscope, and Carole King. There's little to criticize, but it lacks the innovative spark that characterizes the best folk-rock of the time.
Future Flying Burrito Brother/Eagle Bernie Leadon replaced Rick Cunha for the group's second and final album, which is actually a considerably more L.A. pop-flavored production than their debut. Country-seasoned folk-rock remains at the core of the group's sound, but producer Nik Venet provides occasional tasteful, psychedelic-tinged orchestral arrangements. The material — about half original — is fairly strong, especially their covers of Arlo Guthrie's "Highway in the Wind" and Jesse Lee Kincaid's "She Sang Hymns Out of Tune" (also covered by Harry Nilsson on his first album). The unquestioned highlight is Larry Murray's "Ode to a Tin Angel"; by far the group's most psychedelic slice of folk-rock, with its swimming strings, tripped-out lyrics, and sweet harmonies, it's also their most atypical track. A slicker, but better, album than their first effort.
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Saturday, June 02, 2007
01 - ild rather be a dove
@vbr over 192
Forgotten but not lost..
Many thanks to Aggeliki for this one...
One more from this guy coming soon..
Waiting for your comments..
01. Μεταμορφη (Metamorphic)
02. Σαν λιωσουνε τα χιονια (When The Snow Melts)
03. Ο Ταχυδρομος Του Χωριου (The Village Postman)
04. Ερημια (Wilderness)
05. Του Τρελου η Σαλπιγγα (The Fool's Trumpet)
06. Ο Αγωνας Μας (Our Fight)
07. Απογοητευση (Dissapointed)
08. Παιδικο τραγουδι (Child's Song)
09. Χωρις τιτλο (untitled)
10. Καποια Μερα Στην Αθηνα… (Someday In Athens..)
The 4 Levels Of Existence is a Greek band.I know many of you think Greece is only ouzo souvlaki and sun, but this beuatifull disc says the opposite.
Well, the band story begins somewhere in 1974 -'75 when Thanasis Alatas and Xrhstos Blaxakhs, both ex-members of another Greek Band ''Frog's Eye'' meet Mario Giamalakh and Niko Grapsa. (I'm not sure on that, but i think Grapsas was ex-member of band ''Paralos'')
This four people join forces and create ''The 4 Levels oF Existence''. One year later (1976) release their only, self titled album, in a very small quantity, under the ''Venus'' label. The material of LP is reissued by the good people of the Canadian (!) label of ''Lion Productions'' i think last year or 2005.
Now about the music. The 4 Levels Of Existence is a -stunning- hard edged psychedelic album. A really folk-flavored fuzz monster with superb guitar leads and solos, melancholic lyrics (sung in native Greek) and majestic melodies. The guitar work is exchellent and very fuzzy!!, that gives the album a heavy taste, but after some listenings you realize.. hey, that fits exactly to the band style!
In few, this is a beuatifull and unique album!!!
Do you love Greece ? Proove it...
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The 4 Levels Of Existence - The 4 Levels Of Existence (1976).rar
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Friday, June 01, 2007
YAYS & NAYS: Yays & Nays (Neo US 1968?)
01 - gotta keep travelling
02 - nature is my mother
03 - some do, some don't
04 - contrary mary
05 - easy woman
06 - it's what's happening baby
07 - call me a dog
08 - if
09 -take it easy baby
10 - let it all hang out + what women do
11 - onstage revelations
The majority of LPs that fall into the "incredibly strange" category do so to no fault of their own, but as an effect of a marked disconnect between whatever artistic vision that went into them, and how the work is perceived by a listener in another time and place. A band such as the Kaplan Brothers obviously thought they had created a deep, meaningful statement with "Nightbird", while most people who listen to it hear... something else. This is all fine and doody and a testament to the lasting quality of popular music springing from experience and honesty, no matter if clever, misguided, or just strange.
But then there is a rarer type of bizarre vinyl testaments which we can enjoy because the band knew exactly what they were doing, and what they were doing remains unusual and imaginative to this day. After listening many times to the remarkable LP by Southeastern band the YAYS & NAYS I'm prepared to put them in this upscale category of strangeness. The misleading descriptions you may see on the rare occasions it's offered for sale is another indication of its elusive qualities. I don't know any LP even remotely like it, yet it's highly listenable, even commercial in parts.
This track, and the LP as a whole, is smart and hip on so many levels that it's difficult to sort out, but I'll give it a shot. To begin with the vocals, the guys are typically solo and sing in a tongue-in-cheek, "manly" Johnny Cash/Lee Hazlewood style that works as an ironic deflation of the macho content of their lyrics. The result projects the 1950s family provider husband as an increasingly powerless and slightly neanderthal creature, clueless in the emergence of a modern era of liberated women. The women in turn usually sing ensemble, like the chorus of a Greek play, their high-pitched feminine voices aggregating power when heard together -- and this clever solo <-> ensemble juxtaposition is no accident. The gals can sing pretty and romantic, like they do on a few songs, but they can also be tough and uncouth, thus given a wider range of expression than the guys. The lyrics follow a similar pattern, the guys delivering sentiments and desires from a by-gone era, while the gals usually express a sense of freedom and independence. The whole thing plays like an inspired fratty college musical sendup of the Lee & Nancy and Sonny & Cher duets.
The opening track "Gotta Keep Traveling'" is an uptempo garage ditty sung mixed ensemble that works as a gender-neutral starting point for the album, with typical 60s lyrics about doing your own thing and escaping a dull, conformist society; the 1950s vocals of band leader "Big Daddy" adds an appealing beatnik touch in line with the subject matter. This is followed by "Nature is my mother", a partly-French sung tune that comes closest to "hippie" sounds on what is mostly a raw folkrock album. The gender theme is then introduced in full with the hilarious "Some Do, Some Don't", where-in "Big Daddy" laments the fleeting nature of his ladies' promises with lines like "Down with the ones who say they will/And then later say they won't". The gals back him up with a mocking gleam in their eye. This subject matter is extended into "Contrary Mary" wherein the 1950s macho crooner retroism is put to full use; the male lead asking Johnny Cash-style his girl for a bit more stability in their relationship.
The rest of the album continues in this same convincing manner, each track both an excellent standalone item and a piece in the bigger Yays & Nays puzzle. One reason it works so well, and stands up for repeat plays with no loss of impact, is that the songwriting and arrangements are remarkable, worthy any name release from L A or the Brill Building. The style is an eclectic 60s bag of P F Sloan folkrock, tough upscale r'n'r like the Raiders, Eastcost girl-group sounds and Broadway musical, all held firmly together by the strength of the lyrical content and the idiosynchratic, self-referential vocals. You'd be hard pressed to find another local, unknown item that delivers on all levels like this -- no matter where you press, it's there; the lyrics, the concept, originality, creativity, zeitgeist, even rare attributes such as irony and internal logic.
Here at Lama Reviews we have a tradition of lamenting the unjust lack of success for artists that were in the wrong place or on the wrong label, but that line doesn't really cut it for the Yays & Nays, because even on Vanguard or Elektra I think this would have flopped at the time -- it's such a multilayered, double-edged trip that requires many plays to grasp, and thus probably better fit for our age than the fast and flashy 1960s.
There are many different opinions on this record... i 'd like to hear yours