Lost In Tyme

Lost-In-Tyme (Main Page) : Psych - Acid - Folk - Garage.....
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Lost-In-Tyme : Funk - Soul - Jazz - World.....
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Announcement :
From now on, Lost-In-Tyme will be devided into 4 different blogs depending on genre.
All new albums will be posted to the related Lost-In-Tyme blog.
We hope that you will find our effort interesting and worthy enough.

Enjoy !!!
(And Leave Comments)

July 2006 pt.2

Monday, July 31, 2006

Can  Am Des Puig - 1978 - The Book of AM (Pts. I & II)


THE BOOK OF AM  (1978)

This is  without any doubt one of this year’s most stunning and spectacular  releases!!!

Book Of Am were a  communal hippie-folk outfit consisting  of musicians from various countries (England, France & Spain) who lived  on the Balearic Islands.

Their  initial plan was to release four LP’s in combination with a beautifully illustrated book, full of mind  expanding art, focussing on world folklore and various  traditions.

In the end  however (we’re talking mid 70’s here)  the costs of realisation were too high, and –though the music for all 4 records  already was put to tape- the eventual  release got stripped down to ‘just’ one LP, coming with a gatefold sleeve i.s.o.  the complete book. Which obviously didn’t keep this unbelievable album from becoming a major  collector’s idem. Now, some 30 years later, Wah Wah Records at last present the  book (over 100 pages!) in its full glory, together with 2 LP’s/CD’s. (A reissue  of the original LP, plus a record/disc featuring many highlights of  the unreleased  material.)

Musically this is  superb, extremely psychedelic and mystic folk with haunting melodies full of  exotic instrumentation and trippy  elements. This 2006 Book Of Am edition is a (soaking wet) dream come true for  all connoisseurs of acid-, psych- and freakfolk.

Recommendable  reissue !

Grab And Enjoy  It !

Part  I

Part  II

PS: If you like, make a comment(s) for any theme in  this blog !


Sunday, July 30, 2006

Omnibus  - 1970 - Omnibus


Omnibus - 1970 - Omnibus

01 - The Man Song - 3.26

02 - It´s All In Your Heart - 6.03

03 - Shake It Off - 3.58

04 - Understand - 3.52

05 - Above Me - 2.45

06 - Den Of Sin - 2.10

07 - Boogus Black And Blues - 5.08

08 - Spring - 3.02

09 - Winding Thru Your Heart - 2.30

10 - Harmony - 2.32

11 - Big Daddy Slave - 2.37

12 - Tired Of Screaming - 2.45

1970 United  Artists release by Boston based band combining moody Westcoast style organ sound  with fuzzy psych guitar. This trio hailed from Boston. The album, which was  recorded in New York and produced by Steve and Eric Nathanson (who were the  producers of Boffalongo).

Sounding a lot  like a FUZZED-OUT DOORS!!!


Tir  Na Nog - 1971 - Tir Na Nog


Tir Na Nog - 1971 - Tir Na Nog

Tir Na Nog, whose name  translates from the Gaelic as "Land of Eternal Youth," hit a Zeitgeist with  their first album. The pairing of Sonny Condell and Leo O'Kelly caught the same  softness as, say, Nick Drake, but more open and engaging, with just enough  lilting Celtic influence to offer plenty of charm (although, it must be said,  very little of the Irish tradition is evident in their music). The acoustic duo  could be sweetly romantic, as on "Time Is Like a Promise" and "Our Love Will Not  Decay," but they could also offer a crowd-pleaser like the singalong "Aberdeen  Angus." "Picadilly" is especially poignant, a touching tale. Condell brings a  few exotic touches to the disc, adding tabla, Moroccan drum, and jew's harp, but  that hardly turns them into a version of the Incredible String Band -- their  writing simply isn't quirky enough. That's not to imply there isn't a strength  to it; there is. They can pen a good, memorable tune with an affecting chorus,  and the relatively straightforward arrangements, fleshed out by Barry  Dransfield's fiddle and Nick Harrison's arrangements, are never overdone.  Pleasant without ever being startling, this is '70s folk-rock, with the emphasis  on the folk more than the rock.

~Chris  Nickson, All Music Guide

Tir Na  Nog - album credits :

Leo  O'Kelly Dulcimer, Guitar, Bass (Electric), Vocals, Violin, Tin  Whistle

Sonny Condell Guitar, Vocals,  Moroccan Drum, Tabla, Jew's-Harp, Percussion

Barry Dransfield Fiddle

Tir Na Nog - tracks :

01 Time Is Like a Promise (2:56)

02 Mariner Blues (4:12)

03 Daisy Lady (2:21)

04 Tir Na Nog (5:20)

05 Aberdeen Angus (1:50)

06 Looking Up (4:51)

07 Boat Song (3:24)

08 Our Love Will Not Decay (3:04)

09 Hey Friend (3:01)

10 Dance of Years (3:50)

11 Live a Day (3:04)

12 Piccadilly (5:35)

13 Dante (2:56)

Enjoy !!!


Psi  Vojaci & Jachym Topol - 1994 - Sestra


Tracks  :

01 Vlčí  sen, Do města, Jiný příběh

02 Ohnivá voda

03 Cestou

04 Ráno,  pořád

05 Kdykoli

06 "Teď jděte v pokoji"

07 Starý slova

08 Je  tam

09 Já, to mně a B. a obrana

Hudba: Psí vojáci

Text: Jáchym  Topol

Jáchym Topol – čtení [1a]

Filip Topol – zpěv, Casiotone  MT-68

David Skála – bicí nástroje

Jiří Jelínek – saxofon

Luděk Horký –  basová kytara, kytara  

a host

Monika Načeva –  zpěv [2]

Review :

Sestra (Sister) is Psi Vojaci's  first album for the post-Velvet revolution Czech label Indies. For this occasion, Filip Topol's group reunited with  his brother, writer Jachym Topol, to create their strangest CD of the 1990s.  Many unusual elements single it out, but the most obvious remains the singer's  use of a synthesizer (and a cheap one: a Casiotone MT-88) instead of the piano.  He manages to do incredible things with the machine, from post-new wave melodic  lines to vaguely avant-gardist ambient sounds. Nevertheless, anyone familiar  with his later albums (either with Psi Vojaci or solo) will have to reset their  expectations. The music establishes a bridge with the group's material of the  early '80s, blending poetry recitation over experimental backgrounds ("Vlcí Sen,  Do Mestra, Jiny Príbeh," "Je Tam"), warped rock-in-opposition songs ("Ráno,  Porád"), and more straightforward rock numbers ("Ohnivá Voda" recalls J.J.  Neduha's music of the same period). The absence of Topol's hammered piano chords  opens up the sound spectrum for the other musicians, resulting in more room for  saxophonist Jirí Jelínek and guitarist Ludek Horky. Unlike some of Psi Vojaci's  other albums from that period, Sestra truly sounds like a group effort, thanks  to the rock drive running through it. Listeners looking for Filip Topol the  singer/songwriter could feel disoriented here. Fans of Plastic People of the  Universe, Extempore, or even Uz Jsme Doma might consider Sestra to be the  group's best effort of the decade.

~François  Couture, All Music Guide

Bio :

The Czech rock group Psí Vojáci is one  of the major acts that started in the underground during the Communist regime  and became successful after its fall in 1989. The group is dominated by  songwriter, singer and pianist Filip Topol, a charismatic character who shares  similarities with English singer Peter Hammill, both in his writing of literate  yet powerful art songs and in his stage delivery. Drummer David Skála and  bassist Jan Hazuka formed the core of the group from its beginnings up to the  early ‘90s, when the latter left and was replaced by Ludek Horky. Guitarists and  saxophonists came and went.

The name Psí Vojáci means “Dog Soldiers." Two  explanations, both of a literary nature, circulate about its origins. Some say  it comes from the title of Robert Stone's 1974 novel. Others attribute it to the  name of a Cheyenne  tribe in Thomas Berger's book Little Big Men. In any case, there is a connection  to Native American history, a favorite source of inspiration for the singer.  Topol, born 1965, made his first professional appearance at a concert by The  Plastic People of the Universe in 1978. Soon after he formed Psí Vojáci with  schoolmates Skála and Hazuka. Big brother Jáchym Topol, who would become an  important Czech poet, fuelled the group with lyrics. They gave their first  performance at the ninth Prague Jazz Days the following year. At first, the  group's sound had something of a punk attitude, even though the repertoire  consisted of complex pieces steeped in the romantic music of latter-half 18th  century. Its name and its harsh lyrics against the State (sung with conviction  by a 14-year old) soon earned the group an interdiction to perform — it gave its  last authorized concert on June 23, 1980.

For the next few years Psí Vojáci laid low,  recording three albums (Psí a Vojáci, Baroko v Cechách, Studio 1983-85, all  reissued in 2000) that circulated as illegal cassettes. In 1986, the group was  allowed to break out of the private underground parties circuit and perform  publicly under the name Psí Vojáci Osobne, building a strong cult following in  Prague. By then  though, Jáchym had joined the group Narodní Trída, so Filip began to write his  own lyrics. Following the Velvet Revolution of 1989 the group began to release  albums at a quick pace, starting with the EP P.V.O. (Panton, 1989) and the  full-length Nalej Cistého Vína (Globus, 1991). In 1993, Filip Topol starred in  Zdenek Tyce's film Ziletky. A year later he reunited with his brother to write  Sestra and in 1995 released his first solo album, Sakramilácku. In 1996 the  group re-recorded its classic songs for Národ Psích Vojáku. After the release of  the disheartened Horící Holubi that year, the singer had to take a break, his  health problems overtaking him. Years of alcohol abuse led him to the operation  table, putting the band on hiatus. Back to a trio version, Topol, Skála, and  Horky came back in 1999 with the album Mysi v Poli a Jiné Príbehy and have since  found some international acclaim, performing in Belgium, France, and the US.

~François  Couture, All Music Guide.


Saturday, July 29, 2006

The  Poppy Family - A Good Thing Lost


The Poppy Family - A Good Thing  Lost

Tracks :

01 Beyond the Clouds 02:37

02 Free from the City 02:18

03 What Can the Matter Be ? 02:16

04 Which Way You Goin' Billy ? 03:23

05 Happy Island 02:53

06 There's No Blood in Bone 03:01

07 A Good Thing Lost 02:03

08 You Took My Moonlight Away 02:43

09 Shadows on My Wall 02:30

10 That's Where I Went Wrong 02:32

11 Where Evil Grows 02:51

12 I Was Wondering 03:02

13 Tryin' 03:02

14 Winter Milk 03:24

15 Good Friends 02:39

16 I'll See You There 03:20

17 You Don't Know What Love Is 02:49

18 I Thought of You Again 02:27

19 Another Year, Another Day 02:35

20 Evil Overshadows Joe 02:29

21 That's Where I Went Wrong [US Version]  02:33

Susan Pesklevits and Terry Jacks met in the band Powerline. They  later married and formed the Poppy Family in 1968. With guitarist Craig McCaw  and percussionist Satwan Singh, the duo's third single, "Which Way You Goin'  Billy," became a hit in the U.S. and their native Canada, selling over two  million copies. The group recorded three albums in the early '70s: That's Where  I Went Wrong and Which  Way You Goin' Billy in 1970 and Poppy Seeds in 1971. Terry and Susan were  divorced by 1973, however, and both began solo careers. Susan released Dream  (1976), Ghosts (1980) and Forever (1982), but Terry became more successful when  his "Seasons in the Sun" single went platinum in Canada (more than 150,000  units). His albums include Seasons in the Sun (1974), Y'Don't Fight the Sea  (1976), Pulse (1983) and Into the Past (1989).

~John Bush, All Music Guide

get it  here

part  II


Eilrahc  Elddewt (Charlie Tweddle) - 1974 - Fantastic Greatest Hits


Tracklist :

1. Untitled

2. Untitled

3.  Untitled

4. Untitled

5. Untitled

6. Untitled

7. Untitled

8. Untitled

Extra Tracks :

9. Untitled

10. Four Empty Bottles

11. Untitled

12. What's Happening ?

13. Jesus and the Devil

14. Untitled

Eccentric folk artist Charlie Tweddle's  self-released 1974 LP Fantastic Greatest Hits,

a unique blend of psychedelic  country and tape experiments.

Charlie felt sure his new style of music  would take the world by storm – it didn't work out that way.

Recorded in  1971, 500 copies of Fantastic Greatest Hits were pressed in 1974 under the name  Eilrahc Elddewt with extravagant packaging.

The LP was hand-distributed and  received only minimal positive feedback; sales were poor.

Why? Well for one, side two of the album is  25 minutes of chirping crickets and sound fragments.

The abrupt patches of  dead air on side one probably didn't help much either.

More than a few of  these albums were returned as "defective".

Of course, all of these production  moves were intentional.

The CD was transferred from a copy of the  original album.

It includes six unreleased tracks from the same period as  well as all of the original artwork in a fold-out digipak.

We hope you find  it as nice and as interesting as we do.


Last  Thing On My Mind - Holyground The Works Volume One


side  one

* Last Thing On My Mind (Levon-Coombs)

*  Hangman (traditional) *

* Greenland Whale  (traditional)

* Factory Sparrow (Hart)

* Geordie (traditional)

* It  Ain't Me Babe (Dylan)

* Mountain Dew  (traditional)

* Daddy You Been On My Mind  (Dylan)

* Part Two Blues (Piff  Parfitt)

* One Too Many Mornings  (Dylan)

side two

* Bells of Rhymney  (Seeger-Davies)

* Sean South of Garryowen (traditional)

* Just A Little Rain (Reynolds)

* La La Girl (Hart)

* Stagnation (Piff Parfitt)

* In the  Early Morning Rain (Lightfoot)

* Blue (Seeger)  *

* Cushie Butterfield (traditional) *

* The  First Time Ever I Saw Your Face *

* When the Ship Comes In (Dylan)

* Baby  Don't Drag Me Down (Hart)


tracks marked * are not on the  Works re-release due to technical reasons.

Sold mainly in Bretton Hall  College, Yorkshire, England. Copies pressed 99

Re-release : Volume 1 of  Holyground the Works series.

* Additional tracks on the Works issue  are:

from the EP Cross-section

* Wild Mountain Thyme  (traditional)

* With God On My Side (Dylan)

* Lowlands  (traditional)


* London (Coombs-Blake)

* The Gold Of The  Long Girls


Compilation of period '60's UK folk from the  Bretton Hall collective.

Recorded in 1966, and in perfect quality, this  contains plenty of traditional tunes done in a variety of styles and includes :  Dave Nuttall, Chris Coombs, Terry McCann, Kev Slater, Bob Hart and many  more.

LAST THING ON MY MIND has never been released since the original 99  vinyl copies made by Mike Levon when he recorded it in 1966. It is an album of  folk and early folk rock - the roots from which Holyground grew. There are  standout performances from Chris Coombs and others.

It's an album of great  beauty: if you close your eyes you can see the candles, and feel the dark . .  .

There are also several out-takes and contemporary recordings never  previously released at all!

Holyground used  to be a record label that released a bunch of albums that are very hard to find.  Well, that's the info I could derive from the not so very clear website.

The  first releases are two compilation albums called The Works Vol. 1 - Last Thing  On My Mind and The Works Vol. 5 - Gagalactica.

As far as I could find  out, the Holyground label, or at least the idea behind it, was led by Mike  Levon. He recorded musicians, most of which weren't professional musicians. The  music is folk, with a touch of folk rock. That's what the booklet says. It's a  lot of Bob Dylan (five Bob Dylan songs on Vol. 1) and a load of traditional folk  songs. However, what I think of when I hear the term "folk" is Planxty. This is  mostly acoustic guitar and vocals, style and atmosphere of scout  campfires.

Vol. 5 contains more musicians per recorded song. A full band  on most of them, actually.

The songs are definitely more interesting because  of this, especially when you're listening to all the songs on the CD. The  playing is more interesting (guitar and organ and flute), and the songs have  some instrumental bits as well. The songs remain short stories of folk and a bit  of blues structures. Overall, again it's boredom creeping up after a couple of  minutes.

The musicians and singers are not bad, though. Especially the  Dylan songs - no one sings worse than good ol' Bob. And I must say the  recordings sound very good.

Amazing that recordings done on a mono track of a  two-track recorder can sound so clear.

A job well done! Also the booklets;  they contain many old photos, most lyrics and some info.


Friday, July 28, 2006

Zerfas  - 1973 - Zerfas


Zerfas - 1973 -  Zerfas

The structure of the album is impeccable.  From the opening moment, it’s obvious you’re in for something truly special.  “You Never Win” fades in with a backwards loop, over which a lovely melody  appears. It goes on for a while, but could continue for hours more without  becoming tiresome. It’s as great and true a musical moment as there has ever  been. Rudely, the drums disrupt the calm to begin the body of the song, an  updated 60s garage punker with powerful organ. As the song nears the end, the  opening melody recurs, only this time it’s played forwards. It’s at this moment  that you realize that this album is a true work of art, not just a bunch of  great moments but a perfectly conceived synthesis of ideas. If only to prove the  point, within a few seconds of the next song, “The Sweetest Part,” we are  treated to the most beautiful fuzz guitar riff in history. As the album moves  along, all of the eight songs have moments that, while unlikely to match the  perfection of the backwards bit or the searing fuzz riff, should send shivers  down the most jaded spine.

The  songs are enlivened by psychedelic experiments that range from the slowed-down  laughter of a tickled child to someone belching the words “mushroom soup.” Not  just each song, but each verse is arranged with intricate care, and surprises  like the stunning percussion that ends the quiet “I Need It Higher” keep the  listener guessing. The two songs that begin side two show a bit of the spirit of  1973. The bouncy “Stoney Wellitz (and its almost trendy moog solo), and “Hope”,  with its ocean sound effects and long, layered keyboard solo, are longer and  more likely to appeal to, say, prog fans, than the pop-oriented songs on side  one. That’s not to say the seem out of place or don’t work, because they do, in  spades. And in no time at all, we’re back to massive walls of 60s-inspired  psychedelia. The introduction to “Fool’s Parade” is interrupted by a stunning  backwards vocal (don’t listen to people who claim it says something; it’s  gibberish in both directions.) The body of the song ends after only two minutes,  only to be followed by two further minutes of sped-up guitar, slowed-down  guitar, space sounds and the aforementioned “mushroom soup” reference.

This  is all set-up, though, for the album’s finest moment, the closing “The Piper.” A  more ideal pop song is unlikely to exist. From the opening piano trills to  gorgeous verses to gorgeous bridge to gorgeous chorus to stunning keyboard solo  to the most perfect of the album’s many perfect guitar solos, in just four  minutes they’ve done the impossible. They top what came before. The album ends  on the final moment of genius; the piano trill returns and then is abruptly cut  off, leaving the listener with his or her mouth hanging wide open. Not only has  the song itself been framed by the piano, so has the album as a whole; the first  and last song share the framing device, and the abrupt end is as compelling as  the backwards fade-in.

No, this album isn’t completely perfect. I’m not  entirely convinced that the speak-singing on “You Never Win” really works, and  perhaps the plethora of clever arrangement ideas push both “Stoney Wellitz” and  “You Don’t Understand” a verse too long. Oh, and this will never be my own  personal favorite album because the lyrics don’t hit home with me in the way  something has to in order to be a #1 desert island pick. But musically, there’s  no album on this universe I enjoy more than ZERFAS, and no album from which I  can discover more new joys after hundreds of listens. The first reissue of this  album contains several pages of notes about the band, and presumably gives some  idea why they never released any more music. I’ve never found this issue of the  record; I’m not sure I even want to know the answer to the many questions I have  about these guys. And, oddly, the fact that it was never followed is almost a  plus, a way of making sure that this album’s greatness will never be tarnished  by the company it keeps. Obviously my view on this album is full of bias; only a  few people will love it quite as much as I do. But most will love it almost as  much.



Thursday, July 27, 2006

Gagalactyca  - Gagalactyca


Gagalactyca  - Gagalactyca

[Holyground, the Works,  vol. 5]



1  GAGALACTYCA (Holyground HG 1135/Magic Mixture MM 3) 1990 SC

NB: (1)  reissued on CD (Kissing Spell LSG 007) with bonus tracks from Thundermother.

Only 425 copies of this  album were pressed and it came with a free booklet.

Despite its late release  date it's actually comprised of previously unreleased early seventies material  by the two bands, Lightyears Away and  Thundermother, who were responsible for  the Astral Navigations  album.

GAGALACTYCA has only been released on vinyl. It is a sister album  to Astral Navigations.

There are two "sets" of music : Chris Coombs and others (Lightyears Away), and  Thundermother. Chris and Mike Levon wrote songs for the Light Years Away  "side" of the album. Standout tracks are the short though beautiful "That Is  What We Need", and "Cold Tired and Hungry" a storming track featuring Bill Nelson on guitar.

This is  mainly the follow-up album to the highly collectable "Astral Navigations" album  from 1973. Rare early '70's privately pressed spacey folky prog mostly recorded  with a similar line-up to the Astral Navigations album. The music continues the  same vein of spacey progressive folk music, and now comes with half a dozen  bonus tracks from Thundermother - some of which are also quite trippy. Cosmic  and rare as hell.

get it here


Tim  Hollier - 1968 - Message To A Harlequin


Tim Hollier - 1968 - Message To A  Harlequin

side one:

Message To A Harlequin

Bird Of Paradise



Do You  Remember When

Streets Of  Gold

side two:

And Where Were  You That Morning Mr. Carroll

Full  Fathoms Five

And I

In The Light Of Sadness

In Silence



Wednesday, July 26, 2006

Chico  Magnetic Band (France) - 1969 - Chico Magnetic Band


Chico Magnetic Band (France) - 1969 - Chico Magnetic  Band

Tracks :

01 - Explosion

02 - Pop Full Hair

03 - Lot Of Things


05 - To Where I  Belong

06 - My Sorrow

07 -  Cross Town Traffic

08 - Pop Orbite

EVEN THOUGH THIS ABSOLUTELY BRILLIANT and  overwhelming album is but a half an hour in length, it is so chock full o’ balls  and amazing riffs that consistently making all the right moves at the right  times it’s downright scary and seems twice the length due to its raging density  of vision. Given that (and that fact it seems almost entirely culled from  moments from only the top tier fab waxings in my collection) it also seems far  longer than THAT because everything on it counts SO BAD it lights a fire in my  head, creates a fevered dickswell and comes close to bursting my heart every  time I spin it.

Why?  Put it simply, this freakin’ album has EVERYTHING. And by that I mean it draws  from elements of approaches set down by “Phallus Dei”-era Amon Düül Zwei, The  Jimi Hendrix Experience, Silberbart, Straight-era Alice Cooper, Can, Guru Guru,  Groundhogs, Speed Glue & Shinki, Led Zeppelin, Captain Beefheart & The  Magic Band, Tiger B. Smith and “Free Your Mind”-period Funkadelic (so help me  Eddie) and are seamlessly wedged into one album.

Chico IS...The Man. And  he is immersed in an ocean of non-verbal language ranging from expressions of  spittle-speak to larynx yank projected over a cranked up to fuck-off level trio  projecting unbridled heaviosity heaved onto an LP with all the intimacy of a  band that lives, breathes, farts, cries, bleeds, sweats, shits, pisses, vomits,  cums, eats, buys pot and gets high together. And as if by some process of  psychotropic osmosis all are locked into the same psychic force field that  alternatively is searching in the wilderness, crying to the sky, crawling just  beyond Damascus with their flies and minds undone and their heads on fire with  all their passion directed into a funneled pummel that is undying energy the  same way life itself is. And its raging power and whirlwind qualities are caught  as they claw at the double iron gates of reality to get buzzed into the realm of  the beyond with their stinky package of love special delivery, looking for the  big old rock’n’roll godhead to sign for it and they wind up shoving it under his  nose and promptly fucking off to parts unknown forever after the bittiest output  of one album and 3 singles for three separate labels (whose chronology is  probably determined by the lessening obscurity of the companies with “Girls Of  Ocean”/“Phantasm” on Tuba; Disques Vogue’s issue of two album tracks as “My  Sorrow”/“We All Come And Go” and one single on CBS, “Pop Or Not”/”Inverse  Pop”.)

Formed  in Lyon in 1969 as Chico & The Slow Death because they meant it (man), the  following year they renamed themselves Chico Magnetic Band, comprised of: Chico  on death throttle vocals, Patrick Garel on pounding dunderhead drums, Alain  Mazet on Richter scale raising bass and Bernard Monneri on howlingly fierce  shred guitar with attached fuzz/wah hardwired directly into his frontal lobes.  And what this crew laid down was a freewheeling and loose mess that created its  own language, cycling as it does through a back catalogue of the collective id,  the rejected odd and the accepted stinky -- as though every emotion every  uttered for generations and every symbolic thrust of the battering ram against  the gates of nothingness have touched down all on one album with an overdose of  ESP.

Released on the tiny Disques Vogue subsidiary label Box Office,  “Chico Magnetic Band” was recorded at two different Parisian studios: Europa  Sonor (where Magma recorded their first album and Aphrodite’s Child laid down  their classic “666” double album) and Wagram Studios. And judging the results of  those last two named records, Europa Sonor had some uniquely sounding rooms on  their premises, which carried over with the widest sonic spectrum onto “Chico  Magnetic Band”. Producer Jean-Pierre Rawson boisterously captured the group’s  thunder live in the studio as clear as an unmuddied lake while also resounding  with an unstoppable fury. These sounds are everything I search for in  rock’n’roll -- it’s tripped out. It’s psychedelic. It’s heavy. It’s very heavy.  It roots me to the ground AND it’s got experimental electronic freak outs as  well as moments of chilling acoustic introspection that can only portend heavy  shit raining down and they never made an umbrella THIS strong to withstand such  a torrent. It’s heavy to the soul as well as to the ears, and its not only as  bold as love but it’s bolder than fuck and although it only lasts for a half an  hour look out because there’s a fire in the hole cause Chico and The Magnetic  hommes are not only coming through, but coming through in the biggest way  possible.

“Explosion” begins the album not with a whimper nor even a bang  but Chico’s entire reason for existence, laid out in one glorious collision  after another with Chico yammering, barking, guffawing and channeling consonants  in a way irrespective of enunciation and rarely with a literal clue as to what  he is freaking out so badly over as his ever-heaving, pulsating soul forces out  a welter of incomprehensible sounds in such a riveting and demonstrative manner,  they almost make even Damo Suzuki’s English/Japanese/neither  dreamtime-to-Samurai-rage vocals seem like the Queen’s English by comparison.  Sometimes Chico isn’t singing so much as speaks, whispers or just freaking out  at the open air around him as the Magnetic Band furry-freak to it all with total  free-rock heaviness. The middle section is somewhat related to Deep Purple’s  “Mandrake Root” instrumental break, but minus the Hammond, plus a full-on  percussion section and a million times crazier as Chico goes gaga -- at one  point whispering then choking out wave after wave of larynx attack in a  spittle-spraying frenzy. The percussion line of franticness hangs so long and  hollowly behind Chico’s half-spoken, half-muttered, half-laughed and near  incomprehensible pronouncements that only point to certain meanings that are  instinctively grasped, but cannot be explained, only felt. He’s dropping  consonants and vowels left, right and centre and I can only make out “My sweat  tastes like a river!” until it’s directed into a 4-lane highway of vocal gibber  along the lines of: “Nuuuaaarrgugug!”, “Nene waundah orf zarebbb!” and even  “Anmyne cloth iss fallin dawn!!” And the guitar playing is exemplary -- the fuzz  wah-wah is used only to shattering degrees for maximum effect --and often. Then  Chico’s hairy freak-speak re-enters, translating everything into a random  free-form gear stripping speech that abides to no known patterns of human  language as behind him the band pump out and wrestle up storm up with each  perfectly timed drum fill, each burnt fuzz-o-delic guitar lick accented to  perfection and those low grunting Tiger B. Smith vocals getting it all on at  once is just crazy... especially for this long. Somehow, the piece finally ends  with a deluxe CLANG!-HONK!-TWEET! And you don’t really know if it all really  happened out loud or what.

Is it heavy?


Are they  French?


The entire album could just be this first track, and it  would STILL be a killer.


The instrumental “Pop Pull  Hair” sees the entry of electronic technical effects let loose by the French  experimentalist Jean-Pierre Massiera, and it is far spacier and heavier than the  collages he assembled on his previous Les Maledictus Sound LP. The entire track  runs backwards with UFO landings, creeping, sucking sounds and an aural casting  of long shadows getting longer that threaten to absorb the mental landscape with  successive, ominous strides. The quiet entry of “Lot Of Things” and a descending  bass begins watchfully like “Sleeping Village” and/or “Brain Brain” by  Silberbart with overall “Careful With That Axe” eugenics, as cymbals tap in the  darkness. This quickly rises into a shattering display of lurching, blazing  guitar accompanied with deeper toned Hendrixian quiver-speak as Chico’s words  only SOUND as if they’re run backwards as they dribble out from his mouth like  blood. Another tempest hammers out by the band at top volume, and then falls  away to another simmering comedown. But when THAT guitar solo ensues so  unbelievably heavy, before you fully recover from it it’s onto riffing off the  “Beck’s Bolero” section of ‘How Many More Times” with the band in tow and Chico  probably flailing on the studio floor and speaking of which: HOW many more times  can this record continue to outdo itself?!! Chico then starts freaking in the  echoed darkness with pronouncements like Don Van Vliet and Damo Suzuki in a  self-strangulation contest ala Vliet’s palsied “Neon Meate Dream of An Octafish”  tongue flapping drool-o-thon, “Tra la, tra la, tra la, tra la…tra LA” choking  and sputtering well into the fadeout. With strident, thundering drums “We All  Come And Go” cracks open and all is blistering Rock once more and nothing else.  The middle section sees Chico’s hastily rushed out vocals crazily falling out  into a pile of letters that only assemble in time against a distinctly  Biergarten schlager for swingin’ steins-accented melody when he (nearly) sings  the title “We all come and go...” Swiftly, the band is already locked in  together and promptly off across the instrumental section highlighted by a  stunningly blistering guitar solo as Patrick Garel’s double time drumming swings  between the legs while simultaneously nails down every virgin space in sight and  the whole band is giving each other so much damn space to blast off that they  never miss a beat with all those quick, vertiginous stops and  starts...

Side two is just as excellent. “To Where I Belong” opens with a  brief electronic swizzle into hyperspace that parts to reveal Chico plus his  ever-Magnetic Band playing bongos with cross-stitched acoustic guitars like  1970-period Can jamming in the back garden of Schloss Norvenich. Returning  electronic tones whoosh by and vacuum the whole mess up and replace it with  cyclical riffs peeled offa Amon Düül Zwei’s creeping, nightmarish “Dem Guten,  Schönen, Wahren” as acoustic and electric guitars pull together to construct an  epic mystery dance. Then it’s a brutal shift into the furious paces of the  electric intro/break-out of Zep’s “Bring It On Home”, continuing to hammer it  all home all and drape it with downer wah-wah action to make it all the more  explosive...to return directly back to the Düül death dance scene, which then  rears its screeching head back to the previous fury. Somehow, it’s left a stoned  trail of mental breadcrumbs and finds itself back to the earlier acoustic  passage and a final fade. Things slow down with the ooze away funk of “My  Sorrow” all furrowed by Chico’s backward-masked-but-not-really drawl vocal that  drags through the primeval soup of creation over clattering percussion accented  by searing wah-wah and adorned with a fantastically screeching run-on sentence  of a wah-wah’ed guitar solo. It’s so in the pocket, it’s hung like Iommi’s  engorged stash pouch on the gatefold of “Paranoid”. Damn -- this has got to be  the closest thing to 1970 period Funkadelic outside of “Chains And Black  Exhaust” and, er “Free Your Mind And Your Ass Will Follow” itself, come to think  of it.

“Cross Town Traffic” is a RIDICULOUS cover and not because it’s inept.  It only roughly approximates the Jimi Hendrix Experience track in its  shorthanded tongues and soulful misappropriatin’ and the way first verse is sang  with the music resigned way to the background all dub-like and no guitar doing  the “doo doo doo l’doo” ‘backing vocal’ call and response... Dammit -- it is SO  fucking loose I betcha Jimi hisself woulda dug how Chico slit it up such a  furious treat (maybe even more than Dylan did when Jimi ran rampant all over  “All Along The Watch Tower” and/or “Drifter’s Escape”) especially as Chico  amends the line “And with you/I can see a traffic jam straight up ahead”  speedily into “And I guess there’s no chance/sit on my head!” thus shattering  another blues metaphor in the process. This is ridiculous, all right: Chico’s  version of “Cross Town Traffic” is an example of getting “it” effortlessly by  just going for it whichever way you can and making it all fall together  seemingly by sheer force of will and soul alone. “Pop Orbite” finishes the album  as Chico and His Mag(net)ic Band get a full-on interstellar send off via the  “effets techniques” of Jean-Pierre Massiera as burbles, squeaks and Martian  effects surround the band together on its final trudge into the abyss with  accompanying Hammond organ and French screaming... All the album lacks is one  big explosion FX to end it all.

Do I need ANTHING else from a record?  Fuck, man: “Chico Magnetic Band” stands tall as the spiritual column of that  burnt pantheon of heavy truth seeking alongside the Vertigo pressing of “Black  Sabbath”, Alice Cooper’s “Pretties For You”, Guru Guru’s “Hinten”, Silberbart’s  “4 Times Sound Razing” and Speed Glue & Shinki’s self-titled double  LP.

(BEWARE: Although ‘Chico Magnetic Band’ appears printed on Lizard  Records’ CD reissue, some have been discovered to be accidentally pressed with  an entirely different album altogether. Needless to say, it’ll help to look for  it in a shop where you can preview before purchasing and remember that the real  deal album contains 8 tracks and does NOT begin with an skimpy acoustic folk  ballad by Methvseleh! There is also a vinyl re-issue available, which probably  circumvents this problem entirely.)


Rale  - 2000 - Soumrak (Twilight)


01. Twilight

02.  Záblesk 1

03. Amenoyuki

04. Záblesk 2

05. V Plameni

06. Záblesk 3

07. Biale Mrozy

08. Záblesk 4

09. Moondance

10. Záblesk 5

11. Bludiste

12. Záblesk 6

13. Nedojdes

14. Záblesk 7

Josef Ostransky Accordion,  Darbouka, Group Member, Bass, Guitar (Acoustic), Percussion, Vocals, Guitar  (Electric)

Cynthia PhungNgoc Dancer, Viola, Vocals

Vladimír Václavek  Bass, Liner Notes, Vocals, Percussion, Guitar (Acoustic), Djembe, Group  Member

Petr Vavrik Mastering

Klement Jochymek Engineer, Mixing

Ivo  Viktorín Engineer, Mixing

Andrea Konstankiewicz Cello, Vocals, Group  Member

Takumi Fukushima Viola, Vocals, Violin

Milos Dvoracek Drums,  Percussion

This truly is the most beautiful album the Czech label Indies  has released, in every way.

First, the music: The result of a group effort,  the songs are filled with haunting melodies, refined string arrangements  (violin, viola, cello) counterbalanced by a visceral approach to rhythm (only  hand percussion and shouts), and intricate vocal interplay among the five  members, all singers.

This is somewhere between Czech folk-pop and  progressive rock, although these terms lose all meaning on such fertile soil.  Lyrics span many languages, each sung by a different musician:

Czech  (Vladimír Václavek and Josef Ostransky), French (Takumi Fukushima), English  (most of them), Polish (Andrea Konstankiewicz), Vietnamese (Cynthia Phung-Ngoc),  Japanese (Fukushima), and Spanish (guest Frank Micheletti, as if the others  weren't enough).

They shift from one to another naturally, often combining  three languages at the same time, three voices humming lines from different  directions.

The album was recorded in June 2000, only three weeks after  the death of friend and collaborator Laurent Letourneur (he was 29). "Twilight"  begins with a recording of him singing the main text of the piece. The rest of  the ten-minute suite builds on this quiet opening, reaching a very emotional  climax, exorcising the emotions to let the other pieces open on something more  positive. The production is excellent and the lavish booklet makes clever use of  the group's multilingual talents. For anyone interested in Iva Bittová (with  whom Václavek recorded Bilé Inferno), Tara Fuki, or even the feminine grace of  After Dinner ("Amenoyuki" could fit on Haco's first solo album), this CD is  essential listening.

Highly  recommended.

~François Couture, All  Music Guide


Tuesday, July 25, 2006

Focal  Point - First Bite of the Apple


Focal Point - First Bite of the  Apple

The Complete Recordings 1967-68,

(Kissing Spell) KSCD 953, 20

Tracks :

1 Miss Sinclair

2 Sycamore Sid

3 Hassle Castle

4 Never Never

5 Lonely Woman

6 Far Away From Forever

7 Love You Forever

8 Tales From the GPO Files

9 McKinley Morgan The Deep Sea Diver

10 Falling Out of Friends

11 Girl on the Corner

12 Goodbye Forever

13 This Time She's Leaving

14 'Cept Me

15 Miss Sinclair (demo)

16 Miss Sinclair (Alternate version)

17 Hassle Castle (Demo)

18 Never Never (Alternate version)

19 Reflections (Demo)

20 Reflections

This band is great, they're also  included in several compilations, they're in a pop/psych way like Grapefruit or  The Iveys and sometimes more poppy than psych. If you want a complete info and history check this  out.

I have worked a lot to find this album, so grab it and  do not make me cry :O

See you  soon!

Get  Part_1

Get  Part_2

CT  1,3&4


Liz  Damon's Orient Express - 1971 - Liz Damon's Orient Express


Liz Damon's Orient Express - 1971 - Liz Damon's Orient  Express

Tracks :

01. 1900  Yesterday

02. Something

03.  But for Love

04. You Make Me Feel Like Someone

05. Bring Me Sunshine

06. You're Falling in Love

07. Everything Is Beautiful

08. That Same Old Feeling

09. (They Long to Be) Close to You

10. Let It Be

11. Heaven in My Heart

12. Quando, Quando Quando

13. Canadian Sunset

14. Wave

15. Danny Boy

Liz Damon's Orient Express

Liz Damon's Orient Express was a 1970s band from Hawaii,  featuring lead singer Liz Damon, two female backup singers and a rotating backup  band. The name apparently derived from the original  backup band being entirely Asian. Their only song  to make the Billboard Top 40 was "1900 Yesterday" which made it to #33 on the US and #16 on the Canadian  charts in early 1971.

The band was the house band at the Hilton Hawaiian  Village's Garden Bar for 18 months and recorded its  first album, At the Garden Bar, Hilton Hawaiian Village in 1970. Originally released on Makaha Records, it was then picked  up by White Whale Records, who released it as a  eponymous album and also released "1900 Yesterday" as a single.

Damon's backup singers on this album were her sister  Edda Damon and Sydette Sakauye. In the early 1970s, Sakauye left and was  replaced by Meri Pherson. While the Damon sisters and Pherson appeared to be  constants, their backup band appeared to undergo numerous personnel  changes.

The group released three more  albums during the 1970s consisting mostly of covers. In 1979, the group released a comedy album. During the  late 1970s, the band moved to Las Vegas where they  performed until their breakup in the mid 1980s.

Only Liz Damon's Orient  Express is available in print today, and "1900  Yesterday" appears on some compilations of 1970s mellow music.



* Liz Damon's Orient Express (1970) (also At the Garden  Bar, Hilton Hawaiian Village)

* Try a Little  Tenderness (1970)

* Me Japanese Boy (I Love  You) (1973)

* Heaven in My Heart (1978)

* WARNING: This Album Could be HAZARDOUS to Your Ego!  (1979)


* 1900 Yesterday (1971) from Liz Damon's  Orient Express


Galaxy  - 1978 - Nature's Clear Well


Tracks :

1. Nature's Clear Well (10:50)

2. Warning Walls (5:14)

3. I've Come from a World (4:19)

4. You've Really Got it Fixed (4:22)

5. Dreams Out in the Rain (6:22)

6. Wish I Were Happy (6:14)

Norbert Abels : Keyboards, Vocals

Hermann Beckert : Bass

Victor Bergmann : Percussion, Drums

Richard Kersten : Guitar (Acoustic),  Vocals

Heinz Kuhne : Guitar,  Vocals

Dieter Dierks : Producer,  Photography

Galaxy is another mystery band that had received a  number of positive reviews elsewhere,

so being the naturally inquisitive  type, it was only natural that I would investigate this a little further.

If  you have played a disc at least eight times and it doesn't jump up and grab you  by the agates,

then there is little chance that paying further attention in  repeated listens will alter your perceptions.

Sure, the title track has a  great melodious hook to die for, and being over ten minutes long, the players  have some time to stretch out,

but in all reality, they only just flex their  muscles a tad on what should have been the piece de resistance of this whole  album.

The players assembled are certainly adept at their respective  instruments,

but the main problem I have detected is the general lack of  anything too memorable in the song-writing department.

A brief highlight also  appears on the third track called "Warning Walls",

which has a killer section  that really works for me, but I'm still looking for more!

The eighth track,  "Anais", reminded me very much of the sort of thing that Jan Akkerman was doing  with Focus on their Mother Focus album way back in the 70s,

but suffers  slightly as it has all been done before, and to a better degree.

Considering  there is so much great progressive music that has been made  available,

through obscure classics having been re-issued and the bands of  today having picked up from where the originators left off,

music of Galaxy's  caliber does tend to be ignored.

Listening to an album like this is very  similar to driving in the great outback of Australia.

You have to drive a  hell of a long way before you come across some decent scenery.

In a similar  way, there is a lot of filler and mediocre music to wade through before you  stumble across the highlights,

which while they are admittedly worthwhile  when they appear, are far too infrequent and annoyingly short.

- Greg  Cummins [November 2001]


Circus  Maximus - Circus Maximus + Neverland Revisited


Circus Maximus

Circus Maximus and Neverland  Revisited

Circus Maximus (With Jerry  Jeff Walker) - Circus Maximus.

It's that 1967 Summer of  Love vibe, with this Texas band that included Jerry Jeff Walker. Solid  harmonies, nice guitar (with some cool raga touches) combine with a goodtime  feeling and complete this fine slice of US '60s psychy  folk/rock.

Circus Maximus - Neverland  Revisited.

From 1968, the second album from this Jerry Jeff  Walker led Texas quintet. A bit more psychedelic this time round with a strange  mixture of swirling Keyboard and fuzz psike-pop imbued with a summery West Coast  vibe.

Part  I

Part  II


Sunday, July 23, 2006

5  videos from The Fuzztones


5 videos from The Fuzztones ....Enjoy

Although never  having attained commercial success, The Fuzztones have certainly achieved  legendary status as cult faves during their 26 year career. Their fiery brand of  Garage-Psych Punk pre-dated the entire "Garage Revival" of the 1980's and has  influenced hundreds of groups, some quite famous. Born in the summer of 1980 in  the bowels of NYC's Lower East side, The Fuzztones were soon regulars at  legendary NYC hotspots such as CBGB, and the Mudd Club. By utilizing the fuzzbox  (an antiquated effects pedal used by many 60's groups to achieve overly  distorted "psychedelic" guitar sounds), the band created a raunchy sound they  referred to as "Grunge"...(On their 1984 debut single, "Bad News Travels Fast",  lead guitarist Elan Portnoy is credited as playing "lead grunge", at least a  decade before the Seattle Grunge Invasion)! Complete with paisley and leather  attire, genuine human bone necklaces, The Fuzztones influenced the fashions of  bands as diverse as the Hoodoo Gurus (who also modified the Fuzztones infamous  skull and crossed Vox Phantom guitars logo for use on one of their album covers)  to Marc Almond (who aped The Fuzztones by wearing black turtlenecks with bone  necklaces) to the X-rated Dwarves logo, which was stolen from the Fuzztones  "Lysergic Ejaculations" cover. The band's classic video for "Ward 81" even  inspired the legendary Ramones, whose "Psychotherapy" video copies several  scenes directly from the Fuzztones' masterpiece, as did the glitter-rock  docu-film "Velvet Goldmine"! The band's first European tour in 1985, a 3 month  onslaught of England, Wales, Scotland, Germany and Italy, firmly established the  band with a dedicated, and avid following that continues to this day! Their 1985  debut studio LP, "Lysergic Emanations" has achieved major cult status, and has  been released by 3 different labels over the last 16 years, the combined sales  of which has assured gold record status! The Fuzztones have toured Europe  fervently since 1985, and have headlined major venues in Italy, Spain, Greece,  France, Norway, Sweden, Belgium, Wales, Scotland, Austria, Germany, Czech  Republic, Denmark and Finland, as well as Canada, Israel, and Mexico. During  their illustrious 26 year career they have appeared on 62 vinyl and CD releases,  including at least 13 albums, countless singles, and compilations, not to  mention 5 videos, several television and radio appearances, and countless major  press articles (NME, Sounds, Melody Maker, Rockerilla, Hit Parade, US,and more).  They were the only band involved in the 80's "Garage Revival" to obtain a major  label record deal (RCA). Since then they have released 3 singles, "Help Murder  Police"(on Italy's Misty Lane label), "Idol Chatter" (Italy's Beard of Stars),  and "Hallucination Generation" (Mexico's Dark Zone). In 2003, the band released  it's first studio album in 13 years, entitled "SALT FOR ZOMBIES," on Protrudi's  Sin label. A double disc CD/DVD "Best Of" set, entitled "LSD25," has just been  released on Italy's Get Back label to commemorate the band's 25th year  anniversary. Finally, their track "Bad News Travels Fast" is featured on Rhino's  brand new "Children of Nuggets" box set. Finally, the double disc Fuzztones  Tribute album, "Illegitimate Spawn," was released in March 2006. Now on their  10th incarnation, The Fuzztones will invade Europe again in October, with dates  in England, Holland, Greece and Scandinavia.


Twink  - The Lost Experimental Recordings


Twink - The Lost Experimental Recordings  1970

Tracks :

01. Within (:54)

02. Ice Cool (2:20)

03. Unexpected Party (2:19)

04. Witches Brew (2:58)

05. Psychedelic Electrician (Scene 1) (4:24)

06.  You Reached For The Stars (2:22)

07.  Moon Dog (1:46)

8. You Have Been Chosen (:53)

09. Drum Crazy (5:36)

10. Angel (3:38)

11. King Tin Tagel (1:10)

12. Peter The Pill (2:44)

13. Psychedelic Electrician (Scene 2) (9:54)

14.  Psychedelic Electrician (Scene 3)  (1:07)

15. Duel At Dawn (4:32)

16.  Psychedelic Electrician (Scene 4)  (6:09)

This astonishing release from the Pink Fairies, Pretty Things, and  Deviants drummer Twink will be a welcome addition to any psychedelic collection.  A legendary figure of the U.K. psychedelic scene, he recorded these rock  experiments in London's Wizzard Studios in the late '60s to early '70s. Legend  has it that Twink had all but forgotten about these sessions until engineer  Julian Briggs presented him with tapes in 1999. A remix and remastering session  in Los Angeles ensued, and, suspiciously modern as it sounds, one wonders if the  session involved a few late-'90s stylistic updates as well. Regardless, the  degree of invention and experimentation is astounding, and The Lost Experimental  Recordings is an electronic / rock hybrid that predated similar tranced out  excursions from German groups such as Can and Faust, and even proto-  post-rockers This Heat. In these improvisational sessions, Twink assembled tape  loops of noise and electronic collages, over which he would beat out circular  trance-like rhythms. Excessive tape manipulation and studio effects are to the  fore, and his J.R. Tolkien infatuation provided a conceptual bed for some of the  more psychedelic indulgences. An absolute career highlight -- it is ironic that  this material was ignored for so long.

~Skip  Jansen, All Music Guide


Τhe  Shangri-Las - Myrmidons Of Melodrama


Τhe  Shangri-Las - Myrmidons Of Melodrama

Τhe Shangri-Las were among the greatest girl  groups; if judged solely on the basis of attitude, they were the greatest of  them all. They combined an innocent adolescent charm with more than a hint of  darkness, singing about dead bikers, teenage runaways, and doomed love affairs  as well as ebullient high-school crushes. Originally the Shangri-Las were  comprised of two pairs of sisters from Queens, NY (identical twins Marge and Mary Anne Ganser and siblings Mary and Betty Weiss). They had already recorded a couple of obscure  singles when they were hired by George "Shadow" Morton to demo a song he had recently written,  "Remember (Walkin' in the Sand)." The haunting ballad, with its doomy "Moonlight  Sonata"-like piano riffs, wailing lead vocal, and thunderous background  harmonies, seguing into an a cappella chorus backed by nothing except handclaps  and seagull cries, made the Top Five in late 1964. It also began their  association with Jerry Leiber and Mike Stoller's Red Bird label, which would handle the group  for the bulk of their career.Unlike some girl groups, the Shangri-Las were  dynamic on-stage performers, choreographing their dance steps to their lyrics  and wearing skin-tight leather pants and boots that were quite daring for the  time.

Their real  lives, however, were not without elements of drama themselves. Their constant  personnel changes baffle historians; sometimes they are pictured as a trio, and  sometimes one of the members in the photos is clearly not one of the Weiss or  Ganser sisters. Worse, the Red Bird label ran into serious organizational  difficulties in the mid-'60s, and wound down its operations in 1966. The group  moved to Mercury for a couple of dispirited singles, but had split by the end of  the 1960s. Even today, the Shangri-Las' history remains somewhat murky and  mysterious; the original members have rarely reunited for oldies shows or talked  to the press. The situation was exacerbated by frustratingly substandard  reissues of their Red Bird work, which made it impossible to collect all of  their fine sides without buying numerous packages, many of which boasted  shockingly shoddy sound quality. Happily, the situation was rectified in the  mid-'90s with excellent, comprehensive compilations of the Red Bird material in  both the U.K. and U.S.

This 33-track  production finally sets the record straight, including all of the significant  A-sides, B-sides, and album tracks they recorded for Red Bird between 1964 and  1966, as well as an earlier single for a different label, and four radio  commercials.

Tracks  :

01. Remember (Walking In The Sand) 2:15 

02. It's Easier To Cry 2:30

03. Leader Of The  Pack 2:52

04. What Is Love 2:23

05. Give Him A  Great Big Kiss 2:08

06.  Maybe 2:33

07. Out In The  Streets 2:49

08. The Boy 2:42

09. Give Us Your  Blessings 3:16

10. Heaven Only Knows 2:09

11. Right Now And  Not Later 2:37

12. The Train From Kanses City 3:20 

13. Never Again 2:22

14. I'm  Blue 3:30

15. What's A Girl Supposed To Do 3:05 

16. The Dum Dum Ditty 2:24

17. You Cheated,  You Lied 2:24

18. I Can Never Go Home Anymore 3:16 

19. Bull Dog 2:38

20. Long Live Our  Love 3:08

21. Sophisticated Boom Boom 2:10

22. He  Cried 3:07

23. Dressed In Black 2:51

24. Past, Present  And Future 2:41

25. Paradise 3:14

26. Love You More  Than Yesterday 2:39

27.  Wishing Well 2:05

28. Hate To Say I  Told You So 1:36

29.  Give Him A Great Big Kiss 2:14 

30. How Pretty Can You Get 0:11

31. Revlon  Endorsement 0:14

32.  Good Taste Tip 0:52

33. Dating  Courtesy Tip 0:56

Your Download-Link:



V.A. - Trap Door  Mix


V.A. Trap Door  Mix

(An  International 60's Psychedelic Mystery Mix)

This new compilation from Dis-Joint (record label  from the folks over at San Fancisco's world famous Groove Merchant record store)  has been receiving some heavy pre-release hype. The subtitle here is "an  international psychedelic mystery mix" and they've collected a batch of super  rare, funky psychedelic rock from the late 60s/early 70s from all over the  world. Keeping with that "mystery" theme, there is no tracklisting, no real info  and a whole heap of undercover yap yap going on (awesome cover too by the way).  We heard they sent out test presses to some of the top funk/psych collectros out  there, all with individually unique covers, and the response has been  overwhelmingly thumbs up (check out the soulstrut boards for the proof). It's  billed as a "mix" but these tracks can really be taken on their own- there is no  real "mixing" to speak of here, no 15 second drum break wind-downs or any of  that- which is just how we like it. You'll still want to search out the full  tracks in some places, but you get more than enough of the real thing to hold  you over.

This  is a pastiche of 60s and 70s ultra rare funky psyche songs from all over the  world (Korea (San Ul Lim), Italy, Israel, Spain,Canada (J.K & Co), etc.) that is fused together with bizarro  samples.

Gathered together  from over 44 contries, Internet DJ's and Bedroom Composers gathered to create a  tribute to the Intergalactic Bump King's, Trap Door. 16 Dyn-o-mite Tracks pay  homage to the album Conscious. Featuring tracks by such international stars of  trance like Poe-Pete, King Skeleton, The Apple and On the Money to name a  few.

Fans of  Andy Votel need this in their life. A mind blowing mix of international  Psychedelic mysteries compiled and mix by the great San Fran label Di  Joint

With no tracklisting only the most obsessive collectors could probably  name some of the tracks on this comp, but that does not mean you will get hooked  from the first minute. Tight fresh drum breaks, great pych vocals and fuzzy  electronics makes this a compelling listen.

Trap Door is available on both CD and LP formats,  and yes, the vinyl is also mixed.

Please, do a  comment if you already digg the whole track list of this comp. 

Those who can guess the track list wins a pirate's  treasure!

Highly  recommended!!!

PS:  My ultra favourite track of this amazing compilation is No.2 !!

Please, I have to know to whom belongs this gem  !

grab and enjoy it  !!


Erkin  Koray


Erkin Koray -  1976 - Erkin Koray II







6.Arap  Saçı

7.Hayat Bir Teselli

8.Komşu Kızı

9.Gönül  Salıncağı


bonus tracks

11.Ask Oyunu

12.Hop Hop  Gelsin

13.Senden Ayri


15.Yalnizar  Rihtimi

Third album of advanced Eastern and  ethnic music fusion from Turkish psychedelic master ERKIN KORAY. Recorded  between 1972-1976, the tracks on the album were originally released as singles.  Includes five bonus tracks from 1967, 1968, and 1971, as well as an undocumented  acoustic version of "Yalnizar Rihtimi" from the great "Turkuler"  album.

Erkin Koray II 1976

bonus  tracks


Erkin Koray - 1977 -  Tutkusu


01.Allah Aşkına

02.Mağarada düğün


04.My  Delight

05.Bir Olsılık

06.Cümbür Cemaat


08.Suskunluğun  Ötesi

09.Blind Man

10 - Geliyor

11.Yalnız Sen  Varsın

Tutkusu is the fourth full  length album by Turkish rock star Erkin Koray and was released  the year after he did "2", his most ethnic record. With Tutkusu he went back to  psych rock and he made it with another masterpiece. Eleven original tracks (two  sung in English, the rest in Turkish) that will delight your ears.

Erkin Koray Tutkusu 1977


Erkin Koray

From  Wikipedia, the free encyclopedia

Erkin Koray has been in the Turkish rock music scene since the late  1950s and early 1960s. He is widely acclaimed as being the first person to ever  play rock and roll in Turkey; in 1957, he and his band gained notoriety by  playing covers of Elvis Presley and Fats Domino. He was also one of the first  Turkish musicians to embrace the electric guitar and modern amplification.

By the late 1960s, he was already a major figure in Turkish psychedelic music  (also known as Anatolian Rock), beginning with his first psychedelic single  Anma Arkadaş in 1967. Koray followed this with a number of singles, both  by himself and in collaboration with others, that established him as a force to  be reckoned with on the Turkish rock scene. Koray became a controversial figure  in Turkey during the 1960s and 1970s; he was actually assaulted in Istanbul, and  on one occasion stabbed, for having long hair.

In the early 1970s, he formed the group Ter with the former members of  Grup Bunalim (Turkish for "Group Depression"), a power trio styled group.  Although they only recorded one single before breaking up, Hor Görme  Garibi (a cover of the major Arabesque music hit by Orhan Gencebay) was a  smash hit, furthering Koray's career. However, Istanbul Records, unhappy with  Koray and Ter's musical direction, withdrew all support and refused to let the  group record, thus ending the group's career. The music of Ter was influenced by  glam rock and psychedelia, and featured extended guitar solos and progressive  arrangements - something that the record company was not prepared to accept.

The Turkish public remained interested in Koray's solo work nonetheless, and  in 1973 his first album, Erkin Koray, was released. It is interesting to  note that up to this point, all of Koray's work had been issued only on 45 rpm  records, although he had been recording for the past 10 years and was a very  popular artist in Turkey. The album consists of a collection of singles from  1967 to 1973. Koray left Istanbul Records after the release of the album.

In 1974, Erkin Koray signed to Doglan Records and released what is probably  his best-known and best-selling single, Şaşkın(Dabke). Set to a  traditional Egyptian tune, the single proved Koray to be an ingenious musician  and arranger.

1974 also saw the release of his groundbreaking album, Elektronik  Türküler ("Electronic Ballads"). Finally given the freedom to record an  album instead of being limited to 45 rpm singles, Koray and his band created an  album that reflected both his Turkish roots and his love of psychedelic and  progressive rock. The album's popularity continues to the present day, with  several legitimate and non-legitimate releases on both album and CD.  Elektronik Türküler is widely considered to be Koray's masterpiece by  many critics, and many of his subsequent releases followed in this vein, with  progressive and psychedelic influences balanced by Turkish folk forms.

Koray continues to record and perform in Turkey to this day, and in Turkish  music circles is often referred to as Baba Koray ("Father Koray") for his  pioneering influence on Turkish popular music.

Other major hits by Koray are Fesuphanallah, IstememSevince, Öyle Bir Geçer Zaman ki , Estarabim, Arap  Saçı, Yalnızlar Rıhtımı, Akrebin Gözleri and  Çöpçüler.

In the late 1990s and early 2000s, a flowering of interest in psychedelic  music made outside of the UK and the US brought Koray to the attention of  listeners in the West. Subsequently, both legitimate, semi-legitimate, and  bootleg versions of Koray's albums can be found in the West.

It is interesting to note that Koray is also the inventor of the electric  bağlama, a traditional Turkish musical instrument related to the lute, and its  unique sound can be heard on many of his  albums.


Saturday, July 22, 2006

MAL  - 1983 - The Preacher From The Black Lagoon


MAL [= Michael A.  LUCAS]

West Coast  goth/psych/new wave Ca. 1983. Rare & obscure !!!

A must have !!!

I  would apreciate it ,if you could find any information about this  group.

Thanks in advance

RapidShare or SendSpace


V.A.  - Ya Gotta Have Moxie! vols 1 & 2


As you know in 60's

there  were a million of music diamonds,

so get them to have some of them !!

Must  for all 60's garage maniacs !!!

Ya  Gotta Have Moxie! vol. 1

CD 1

1 The Avengers - Open Your Eyes

2 The  Badd Boys - Never Going Back To Georgia

3 The Basooties - You Didn't Try To  Call Me

4 The Bassmen - The Last Laugh

5 The Bassmen - I Need You

6 The  Beatin' Path - Original Nothing People

7 Beau Hannon - Who's Got The Right Of  Way

8 The Beaver Patrol - E.S.P.

9 Beer - Some Kinda Rich Girl

10 Bees  - Leave Me Be

11 The Big Town Boys - August 32nd

12 The Birdwatchers - I'm  Gonna Love You Anyway

13 The Black Sheep - It's My Mind

14 Boo Boo &  Bunky - Turn Around

15 The Boy Blues - Coming Down To You

16 Brand "X" -  She Lied

17 The Brave New World - It's Tomorrow

18 The Bruthers - Bad  Love

19 The Bush - Don't You Fret

20 Cave Dwellers - Meditation

21 The  Centurys - Hard Times

22 Les Chantels - Shaggy Baggy Joe

23 Les Chantels -  Have You Ever Felt Blue

24 The Chayns - Why Did You Hurt Me

25 The  Checkerlads - Baby Send For Me

26 The Checkerlads - Shake Yourself Down

27  Cheques - To Stone

CD 2

1 Cherry Slush - I Cannot Stop You

2  Children - This Sportin' Life

3 Chocolate Balloon Company - Gotta Get  This

4 The Outcasts - 1523 Blair

5 The Chosen Few - Asian Chrome

6  Chris Morgan & The Togas - Would You Believe (Love Is Dead)

7 The Chylds  - Hay Girl

8 The Cindermen - Don't Knock It

9 The Claytons - Puttin' Me  On

10 The Cobras - If I Can't Believe Her

11 The Collectors - Make It  Easy

12 The Communication Aggregation - Freakout USA

13 Country Classic  Esquires - Nashville Blues

14 The Country Gentlemen - Saturday Night

15  Dan Atello - Questions I Cannot Answer

16 The Deepest Blue - Pretty Little  Thing

17 The Deepest Blue - Somebody's Girl

18 The Defiant 4 - Away From  Home

19 Destiny's Children - For Me

20 Destiny's Children - The  Collectors

21 Dewayne & The Beldettas - Hurtin

22 The Distant Cousins  - She Ain't Lovin' You

23 Don & The Agitators - Going Back Home

24 The  Down 5 - I'm Takin' It Home

grab and enjoy it !

Disc  1

Disc 2


You Gotta Have Moxie! vol. 2

CD 1

1 Ebb Tides - Seance

2 Eddie &  The Showmen - Come On Babe

3 Eddie & The Showmen - Danny Boy

4 Eddie  & The Showmen - Sheila

5 The Edge Of Darkness - Mean Town

6 Eggheads -  (Why Don't You Stop) Foolin' Around

7 Electric Train - Try Harder

8  Electric Train - Through Winter & Sunshine

9 The Emergency Exit - Why  Girl

10 Enchanted Forist - It Don't Mean A Thing Anymore

11 The Escapades  - Mad Mad Mad

12 The Ethics - (A Whole Lot Of) Confusion

13 Evergreen  Blues - Three's A Crowd

14 The Fifth Order - Goin' Too Far

15 Five Cards  Stud - Everybody Needs Somebody

16 The Five Of Us - Hey You

17 49th  Parallel - You Do Things

18 The Fountain Of Youth - Don't Blame Me (For  Trying)

19 The Gentlemen Wild - You Gotta Leave

20 H.B. & The  Checkmates - Louise, Louise

21 Heart Attacks - Babba Diddy Baby

22 Huns -  Long Way Around

23 Huns - The World You Cannot Hide From

24 Huns - I've  Got You On My Mind

25 Huns - I Gotta Move

26 The Individuals - Monkey On  My Back

27 J. Michael & The Bushmen - I Need Love

28 The Jackasses -  Sugaree

CD 2

1 Jerry & The Landslides - Get Off Of My Roof

2  Jimmy Solley - I Just Gotta Get A Little More Sleep

3 The Laymen - Practice  What You Preach

4 The Legend - Portrait Of Youth

5 Limey & The Yanks -  Gather My Things And Go

6 The Little Boy Blues - It's Only You

7 The  Liv'in End - The Orange Rooftop Of My Baby's Mind

8 The Liv'in End - She's A  Teaser

9 Livin' End - You're My Woman

10 The Love Affair - Let Me  Know

11 The Magic Mushrooms - Never Let Go

12 Man-Dells - Bonnie

13  Meddy's People - Sha La La La Lee

14 The Mersey Men - I Can Tell

15 Michel  & The French Canadians - 'Cause I Believe

16 The Mops - Blind Bird

17  The Mystic Number National Bank - I Put A Spell On You

18 New Wing - I Need  Love

19 Nikita The K - Go Go Radio Moscow

20 One Eyed Jacks - Love

21  Other Side - Streetcar

22 The Perils - Hate

23 Petrified Forest - So  Mystifying

24 The Prodigal - You've Got Me

25 R. Rogues - The Sound

26  Rain - E.S.P.

27 Rain - Outta My Life

28 Randy & The Radiants - My Way  Of Thinking

grab and enjoy it !

Disc 1

Disc 2

In the late 1970s and 1980s,  the Moxie label was famous, or infamous, for its Boulders compilations of  obscure 1960s garage rock. Boulders was to Pebbles what Pebbles was to  Nuggets; an even rawer, more obscure approach to unearthing 1960s garage  music, in both the rarities unearthed and the fidelity and graphics of the  packages. More than a decade after Boulders' demise, AIP (which handles  the Pebbles series) is anthologizing its one-time rival, this first volume  presenting a whopping 52 songs (including one, the Checklads' "Shake  Yourself Down," that did not appear on the original Moxie series) on its  two CDs. The pressings of Boulders were notorious for their poor fidelity,  and to its credit AIP (not exactly a bastion of digitized sound itself)  have remastered from cleaner copies of these rarities when possible. This  is one of the better bulky garage anthologies, as it is more flexible  in its scope than many '60s punk comps (such as the later Pebbles  volumes), which usually stick to standard snotty rants. There are plenty  of those here, actually, but there are also some good folk-rockers, a  Sonny and Cher soundalike (Boo Boo and Bunky), a cover of a song from the  Mothers' Freak Out (the Basooties' "You Didn't Try to Call Me"), and a  single that sounds like a Freak Out wannabe (Communication Aggregation's  "Freakout USA"). There are also some touches of pop and soul, a in the  Cherry Slush's outstanding "I Cannot Stop You," and the Down 5's "I'm  Takin' It Home," produced by Jeff  Barry and Ellie  Greenwich. And there are a surprising number of entries recorded by  major labels. For pure '60s punk dementia, it doesn't get much hotter than  the Chocolate Moose's "Chocolate Moose Theme." The Avengers' "Open  Your Eyes," which affixes some hypnotic psychedelia to the Byrds'  jangle-folk-rock, is one of the great outstanding obscure mid-'60s singles  of all; the Birdwatchers' "I'm Gonna Love You Anyway," with its

neat  alternation of stomping verse and light British Invasion harmonies on the  chorus, had (unlike most of the stuff on Boulders) actual hit  potential.

~Richie Unterberger, All Music  Guide


The  Crystals - Best of the Crystals


The  Crystals - Best of the Crystals

Among  aficionados of the girl group sound, there can't be five acts more beloved than  the Crystals. Their best-known songs, which include "He's a Rebel," "Uptown,"  "Da Doo Ron Ron," "Then He Kissed Me," and "There's No Other Like My Baby," are  among the finest examples of the best that American rock & roll had to offer  in the period before the British Invasion; and decades into the CD era, the  group's records are still prized in their original vinyl pressings even by  non-collectors, who seem to recognize that there was something special about the  Crystals' work. The group was originally a quintet consisting of Barbara Alston (born 1945), Dee Dee Kennibrew (born 1945), Mary Thomas (born 1946), Patricia Wright, and Myrna Gerrard, organized by Benny Wells while they were still in high school. All of  whom had started out singing in churches; Barbara Alston was Wells' niece, and although she later became known as  their lead singer on many of their records, Alston was actually recruited as a backup singer by  her uncle. Under Wells' guidance, they began performing in more of a  pop vein, and one of the gigs that they got was cutting demos for the publisher  Hill & Range, which brought them to the Brill Building in midtown Manhattan.  It was there, while they were rehearsing, that they chanced to be heard by  Phil Spector, who at that time was just starting up his own  label, Philles Records. He was in the market for new talent and the Crystals —  who, by that time, had lost Gerrard and added La La Brooks to their lineup as lead singer — were just what  he was looking for, sort of. He liked their sound and their range, but he didn't  initially like Brooks' voice and insisted on Alston taking the lead, somewhat reluctantly on her  part. In September of 1961, the slightly reconfigured group cut their first hit,  "There's No Other Like My Baby," which rose to number 20 nationally. It was a  promising beginning, putting the group, Spector, and his new label on the map; although another  song cut at about the same time, "Oh, Yeah, Maybe, Baby" (which featured  Patricia Wright on lead), pointed the way to the group's  future, with its understated yet boldly played string accompaniment. In early  1962, the Crystals recorded a Barry  Mann/Cynthia Weil song called "Uptown," using an arrangement that  was a tiny bit lighter on the percussion (except for castanets, of which it had  many) but pushed the guitar and the strings out in front more than "Oh Yeah,  Maybe, Baby" had. Barbara  Alston's strong-yet-sensuous vocals  enunciated lyrics that were as steeped in topical subject matter, especially  about the frustrations of life in the ghetto, as they were in romance. This gave  "Uptown" a subtly two-pronged appeall; it was a gorgeous pop record, but also a  new kind of pop record, eminently listenable yet serious in its subtext. No, it  wasn't "Blowin' in the Wind," but it seemed to evoke a social realism that  heretofore eluded the pop charts. "Uptown" reached number 13 nationally. Its  production marked a major step forward in the making of rock & roll singles  in its production, and heralded a newer, bolder era in pop music and R&B,  very much of a piece with such hits as the Drifters' "Up On the Roof," but with an undercurrent of  frustration that the latter song lacked; it all pointed the way toward the more  sophisticated and socially conscious kind of songs that Sam Cooke would soon be generating. It was at this point,  in the wake of "Uptown," that the history of the Crystals gets a little more  complicated. It wasn't until June of 1962 that they had another single ready to  go, and it engendered all kinds of problems that "Uptown" had avoided. If that  song had gotten a serious lyric across with an elegant and quietly passionate  setting, "He Hit Me (It Felt Like a Kiss)" (co-authored by Carole King and Gerry Goffin, no less) was the reverse, presenting a  disturbing lyric about infidelity and the physical abuse of a woman by a man, in  a dark, ominous manner. Barbara  Alston and company gave it  everything they had, and Spector came up with a surprisingly subtle, bolero-like  arrangement, but it was a lost cause. Radio stations simply wouldn't play it,  and the public didn't like the song, period; according to Barbara Alston, the group didn't like it either, and to this  day nobody understands exactly what was in Spector's mind when he cajoled them into cutting it.  The following month, Spector was back in the studio running another Crystals  session, except that this time it wasn't really the Crystals that he was  recording, but Darlene  Love. As the owner of the Crystals'  name and, as their producer, possessing the right to record anyone he wanted (or  anything he wanted) and label it as being from "the Crystals," he decided to  forego any further battles over who should sing lead, and forego using the group  entirely for "He's a Rebel." A celebration of street-level machismo like no  other, it was an upbeat number with gorgeous hooks and, with none of the baggage  of its failed predecessor, became a number one hit, as well as engraining itself  in pop culture history as a quintessential girl group classic. Darlene Love was the lead singer on the next hit by "the  Crystals," "He's Sure the Boy I Love," as well. It wasn't until early 1963 that  the group again sang on one of their own records, "Da Doo Ron Ron," and by that  time, Spector had accepted La La Brooks in lieu of Alston as lead singer. That record rose to number  three in America and became their second biggest British hit, reaching the  number five spot in the U.K. That placement, along with the U.K. number two  position for "Then He Kissed Me" (which also got to number six in America), was  very important, because at the time a lot of major British bands were about to  break onto the charts at home, before coming to dominate American music a year  later. "Da Doo Ron Ron" and "Then He Kissed Me" became among the most popular  American rock & roll songs of the period in England, covered by all manner  of acts on-stage and on-record. The Crystals were in a seemingly enviable  position, except for the fact that they and Spector were increasingly at odds over what he was  doing with them. They'd been unhappy from the time when Spector began using their name on behalf of records  made by Darlene Love, and every time they were obliged to perform  those songs on-stage it grated against them, and in 1963 they were almost  constantly touring and performing. By 1964, they also perceived Spector's growing inattention; he had lately discovered  a girl trio called the  Ronettes on whose music and lead  singer, Veronica  Bennett, he was lavishing ever more  of his time and energy. Meanwhile, the Crystals were making good and interesting  songs, such as the beautiful "Another Country, Another World," "Please Hurt Me,"  and "Look in My Eyes," the latter a bluesy ballad that showed a side of their  sound that Spector seldom tried to explore. The group had released  two LPs hooked around their major hits, Twist Uptown and He's a Rebel, in 1962 and 1963, respectively, that had some  good songs on them, but Spector's attention and enthusiasm was increasingly  directed elsewhere. Spector's seeming dismissive attitude toward the group  may have been best illustrated by the most bizarre record with which he, the  group, his label, or almost anyone else in the music business had ever been  associated: "(Let's Dance) The Screw." Spector had never been one to keep business partners  very long — in that regard, he was a lot like the movie mogul Samuel Goldwyn — and in 1964, he'd settled a lawsuit against  Lester Sill, the man with whom he'd started the Philles  label. As a parting shot at Sill — and, it is rumored, to fulfill the terms of a  settlement that required him to pay a share of the proceeds from the next  Crystals single — he devised an otherwise un-releasable single that Philles  pressed, called "(Let's Dance) The Screw." On it, Spector talked the lyrics while the Crystals sang  backup, in a five-minute musical joke that is also one of the rarest records of  the 1960s (supposedly only a handful were ever produced, one of which was sent  to Sill). Personal jokes by their producer were all  well and good, but by 1964, following the failure of two consecutive genuine  Crystals singles, the group — with Frances Collins replacing Patricia Wright — was no longer interested in working with  Spector. The following year they bought out their  contract and headed to the seemingly greener pastures of the Imperial label,  where they found no success; by that time, the only girl groups that were still  competitive in the music marketplace were associated with Motown. By 1966, the  Crystals had disbanded, and for five years no one heard anything about the group  except in airplay on oldies stations. Spector had even closed down Philles Records, and the  resulting unavailability of their records except on the radio only raised the  value of the old copies that were out there, and made his periodic reissues of  the group's work that much more prized by fans. Then, in 1971, with the rock  & roll revival in full swing, the groupmembers reunited and spent a few  years delighting audiences on the oldies circuit. Various incarnations of the  group resurfaced every so often in the late '70s and 1980s, but at the dawn of  the 21st century, Dee Dee  Kennibrew was still leading a  version of the group and had even managed to get them  recorded.

Your Download-Link:



Dragonmilk  - 1973 - Lion And The Unicorn


Tracks  :

01 The  Unicorn

02 Dragon  Introduction

03 Dragon

04  Werewolf

05 Salamander Introduction

06 Salamander

07 Gorgon Introduction

08 The Gorgon

09 Chiron Introduction

10 Chiron

11 Sphinx Introduction

12 Sphinx

13 Phoenix Introduction

14 Phoenix

After the demonise of post-FLIES band INFINITY in  1971.

Ian Baldwin & Clive Richards  teamed up with a new progressive, Hammond & Drumm duo already named DRAGON  MILK.

Four strong, the band's  distinctive English PROGRESSIVE edge quickly made the popular on the London Pub  scene in 1973.

The legendary album  'Lion & The Unicorn' was recorded around this  time!


Flaviola  e o Bando do Sol - 1974 - Flaviola e o Bando do Sol


Flaviola e o Bando do Sol - 1974 - Flaviola e o Bando  do Sol

Another great example of Brasilian  psychedelia from the collective of underground musicians in Recife, featuring  Flávio Lira in the lead role, along with Lula Côrtes, Pablo Raphael, Robertinho  of Recife, and Zé of the Flute. Of the crazy albums from this period, this is  one of the rarest jewels. Although it was recorded the same year (1974) as Lula  Côrtes and Zé Ramalho’s 'Paêbiru' album, and with most of the same musicians,  this is mainly an acoustic album, rife with poetic language and regional  instruments, but also demonstrating the abundant energy of people involved in  making something fresh and new. The cauldron of influence in Recife resulted in  some very intriguing music, and the Flaviola album is no exception it’s more  intimate a trip than 'Paêbirú', and more accessible an experience than 'Satwa';  this is a brilliant album, full of strange moments (cellophane crinkled into the  microphone as percussion), some deft acoustic guitar, and some of the prettiest  songs this side of Vashti Bunyan.


Friday, July 21, 2006

Pinnacle  - 1974 - Cyborg Assasin


Pinnacle - 1974 - Cyborg Assasin

Tracks  :

01 - Assasin

02 - Time  Slips By

03 - Cyborg

04 -  Astral Traveller

05 - The Chase

06 - Thumbscrew

07 - The Ripper

08 - Bad Omen

09 - Forest

10 - Pendulum

11 - Parlour Maid

12 - Love Is Lost

Rare privately-pressed  album by a Liverpool heavy rock band.

The spelling of the title is theirs.  Musically,

this is a sonic assault with pounding drums and bass and frenzied  keyboards.

Powerful stuff indeed.

A sort of prototype heavy metal album  that was originally only available as a demo.

Clearly of interest to heavy rock/metal fans .


Thursday, July 20, 2006

Philamore  Lincoln - The North Wind Blew South


Philamore Lincoln - "The North Wind  Blew South"

Tracks :

1. The North Wind Blew South

2. You're The One

3. Lazy Good For Nothin'

4. Early Sherwood

5. Rainy Day

6. Temma Harbour

7. The Plains of Delight

8. The County Jail Band

9. When You Were Looking My Way

10. Blew Through

The sole 1970 album from a British  singer-songwriter that was also only released in the US on Epic. Good songs and  there are some very nice bursts of garage type guitar which perhaps confirm  rumors of Yardbirds involvement. Kitchen sink production with lush strings by  Glyn Johns and 2 tracks by Philamore have turned up on the Rubble series. For  all you completists out there, this album includes the Mary Hopkin hit "Temma  Harbour.".

Look 4 Philamore Here


Infinity  - Collected Works 1969-1970


Infinity - Collected Works  1969-1970

Side One:

Venetian Glass

Space Shanty

Same Girl


(I'm  In Love With) A Girl Like You (stereo)

I've Got You Under My Skin (instrumental)

Side Two:

Time Keeper

Venetain Glass (instrumental)

Pattern People

(I'm In Love With) A Girl Like You  (Mono)

I've Got You Under My  Skin

Taxman (instrumental)

Unissued studio material recorded by  members of the legendary UK bands THE FLIES and CYMBALINE! Killer psych/prog  with hammond organ


Blow Your Mind Here


Lodovico  Ellena - Good Morning Mr. Barrett


Lodovico Ellena - Good Morning Mr.  Barrett

Italy Psych Out 2001 14-track tribute

A tribute to Syd Barrett from  the leader of ex Effervescent Elephants. Some tracks are taken from the Syd solo  albums, others from the floydian "The piper at the gates of down". A guitar and  a voice except in "Interstellar Overdrive" where Mr. Ellena is accompanied by  the complete band Astral Weeks. For all fans of the crazy  diamond.

Tracks :

01 - Golden Hair

02 - Baby Lemonade

03 - It Is Obvious

04 - Dominoes

05 - See Emily Play

06 - Terrapin

07 - Lucifer Sam

08 - Arnold Layne

09 - Julia Dream

10 - The Gnome

11 - Astronomy Domine

12 - Mathilda Mother

13 - Take Up Thy Sthetoscope And Walk <[*Is that  a Barrett's song ?] 14 - Interstellar  Overdrive


The  Gitanes - 2005 - Cloudy Draw


The Gitanes - 2005 - Cloudy  Draw

Everyone can be misled  after the decades of counterfeits, imitations, plagiarisms, edulcorated ersats  and livestock products sold for savages. The Gitanes offers a traceability  without fault, the insurance that the chain of (very) hot was never  broken.

They were , Vietnam Veterans only psychedelic French band of the  80's, always object of worship in 2005. Six albums of legend are there to  punctuate this period and, in spite of the pressures, the name will not be taken  again any more.

Lucas Trouble and Mark Embatta always changed name for  each one of their projects or not. The Gitanes is the last adventure of the  lysergic duet, the most complementary to all times. Their new album, « Cloudy  Draw », is that whose Vernom Joyson told about the Vietnam Veterans in his bible  of the du Rock'n'Roll Garage : « the Punk psychedelique at his Top  ».

Might be that someone “sold souls for this result” ((Bucketful of  brains) but the fact will be there before long. The Gitanes ' album will  probably be regarded as a new Vietnam Veterans album, especiallyas Music maniac  republishes four albums of the band in the next months. It does not matter if  Trouble & Embatta are subject to influence of Embatta & Trouble. It will  change usual references to Seeds, 13th Floor Elevators, Love etc.

Lucas  Trouble became Kaiser, a large producer of Rock'n'Roll. Mark Embatta is more  skinned that never and alchemy goes at the first of the album.

The legend is again on the way…


Dave  Waite & Marianne Segal - 1968 - Paper Flowers


Dave Waite & Marianne Segal - 1968 - Paper  Flowers

Tracks :

1 Paper Flowers

2 It's Really Quite Alright

3 I Can't Love You More

4 Safe In Your Castle

5 It's Not Really Fair

6 Miranda In The Sun

7 Percy's Song

8 Tom Thumb's Blues

9 Dawn Song

10 Milkwood Dragon

11 September Song

12 All The Reasons

13 Rainbow

14 I  Think It's Going To Rain Today

15 Miranda In The Sun (version 2)

16 I Can't Love You More (version 2)

17 Shine A Candle Light

18 Circles

19 Paper Flowers (version 2)

Dave Waite  and Marianne Segal - 'Paper Flowers'

Released 21st November  2004

Before the legendary '70's UK Folk Rock band Jade, there was a folk  duo - Dave Waite and Marianne Segal. Well known on the live circuit of the mid  to late '60's Dave and Marianne slung guitars in the boot of their Triumph and  travelled the University and Folk Clubs of England at a time when folk was  groovy and Carnaby street was still swinging. Their music was a fusion of  English and American contemporary folk artists such as John Renbourne, Bert  Jansch Joni Mitchell, Bob Dylan, The Mamas and The Papas and Peter Paul and Mary  but it also contained a spark of ever-so-English vocal purity that gave the duo  a sound more suited to the label "folk pop".

Whilst searching Marianne's  archives for the re-issue of Jade's "Fly On Strangewings" album a whole batch of  tapes were uncovered that contained recordings by Dave and Marianne recorded  whilst they were a duo between 1967 and 1969. Further searching revealed three  fully arranged and orchestrated tracks in the vaults of Jade Producer Jon  Miller. Together these tapes revealed a whole previously unreleased collection  by Dave and Marianne. This collection of songs is now being issued by Lightning  Tree under the title "Paper Flowers" and as such is it a glimpse at one of the  great lost UK folk albums of the 1960's. In part comparable to Sandy Denny and  the Strawbs and with the folk pop sensibilities of US West Coast contemporaries  such as The Mamas and Papas "Paper Flowers" is a rare acoustic snapshot of an  era known more for it's volume and wild theatrics than for it's gentle rustic  melodies. "Paper Flowers" is the sound of summer days in Hampstead, beautiful  people, beautiful clothes, incense, innocence and mythic '60's  mystery.

Marianne and Dave weave magical harmonies on original and  contemporary '60's folk material and fans of '60's psychedelia, pop or folk will  find much to enjoy on this timeless release.

Remastered from the only  surviving tapes.

More info > http://www.spincds.com/old/paperflowers.html


Wednesday, July 19, 2006


The Fuzztones - Ward 81

This actually is from the  CD-ROM version of Knights of Fuzz book. You can see a full-resoultion version on  the new Knights of Fuzz DVD, available from www.purple-cactus.tv FUZZ ON!


V.A. - Hippie  Goddesses


V.A. - Hippie Goddesses

(U.S. Female  Hippie Folk-Psych 1970's)

1. SALLY EATON: "Flowers In the Air"

2.  COLLEEN LOVETT: "Birds with Broken Wings Pt 1"

3. CHERYL DILCHER: "All  Woman"

4. COLLEEN LOVETT: "Women Liberation Blues"


6. CAROLYN HESTER: "I'm Magic, Man"

7. LILLY & MARIA:  "EveryBody Knows"

8. MICHELE: "Smilin'"


10.  TOBIE COLUMBUS: "Come In My Mouth"

11. RUTH COPELAND: "Your Love Been So Good  To Me"

12. COLLEEN LOVETT: "Asleep In His Arms (part)"

13. COLLEEN  LOVETT: "Love Man"

14. MICHELE: "Believe You"

15. LINDA PERHACS:  "Parallelograms"

16. COLLEEN LOVETT: "Birds with Broken Wings Pt 2"

17.  XAVIERA HOLLANDER: "The Hippie"

Wow -- they don't make 'em like this  anymore. A semi-legitimate compilation at best and mastered from vinyl, Hippie  Goddesses is a collection of psych-pop tunes from the late '60s and early '70s,  all fronted by women. The women's liberation movement and the sexual revolution  were in full swing, and this collection is sort of a distillation of those  newfound attitudes. Of course, attitudes toward women have undergone many  changes since that time, and most of these tunes are dated to the point that  they would probably horrify any self-respecting riot grrrl at the end of the  20th century. That's a big part of the reason why this is such a great  collection. Things kick off with Sally singing "Super Psychedelic Trippy Acid  Technicolor," one of the most over-the-top tunes ever, on a number of levels.  Sitar, super-fuzz guitar leads, tabla, and Sally's overdone vocals really do  justice to the ridiculous psychedelic lyrics. And that's just the first track;  they're all funky, excessively soulful, sometimes very psychedelic bits of fluff  with a come-hither attitude that screams early '70s. "Come in My Mouth" by  Tobie, replete with musical orgasm, truly has to be heard to be believed, as  does Xaviera's (the Happy Hooker) encounter with "The Hippie." This collection  is almost certain to ruffle the feathers of more politically correct listeners,  but it could also prove to be the perfect antidote to the angry chick rockers of  the '90s and beyond.

~Sean Westergaard, All  Music Guide