Lost In Tyme

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September 2006 pt.1

Sunday, September 17, 2006


Joel  Vandroogenbroeck (ex Brainticket)

1978 Images of Flute in  Nature

track list :

01 Great Valley

02 Magic Adventure

03  Plaine Du Jura

04 Forest Spirit

05 Hobbits

06 Minor

07 Magnetic  Blues

08 Electronic Jungle

This LP issued in Italy only on Cenacolo  M721, is a different music from usual Brainticket. Idilliac landscapes with lots  of keys, synths and the voice of Carole Muriel.

Swiss Joel  Vandroogenbroeck has been especially confessed thanks to its link Brainticket.  Beginning years seventy delivered this group three particularly vaporous albums,  with as spectacular figure the intriguing ' Celestial ocean ' from 1974 - I  wrote already earlier. After falling apart Brainticket Vandroogenbroeck occupied  themselves with the most divergent matter. He composed music for ballet shows,  learned sitar play in India, lived some years on bali (where he qualified  himself in gamelanmuziek), wrote composities for several corn, went for a ride  as a jazz musician the world concerning and was artistic Leader of an  experimental dansgezelschap in San Francisco. The last years Vandroogenbroeck  have paid themselves on new media and Internet (to see being site  brainticket-art.com) and consider he technology as dé new manner yourself to  develop as an artist. Were its albums vervreemdende trips psyhedelic with  Brainticket, with it's solo-album stocked Vandroogenbroeck complete other. '  Images or flute in nature ' from 1978, of its first solo-albums, a rural,  thoughtful album has been interlarded, with a head role for the flute, with  electronic sounds, mellotron and indian rhythms. In contrast to many new  age-albums that a decade later as mushrooms from the ground shoot,  Vandroogenbroeck will go varied and capriciously work; ' Hobbits ' and ' Minor '  characterise themselves by a stubborn electronic rhythm and it almost 13 minutes  lasting ' Magic adventure ' swings himself by almost extraterrestrial striking  as, feeërieke[?] landscapes. On clincher ' Magnetic blues ' moreover Brainticket  singer Carole Muriel emerges still  even.


Michael  Angelo - 1977 - Michael Angelo

track Listing :

01 - oceans of fantasy

02 - the world to  be

03 - lost in the pain

04 - check it out

05 - flight of pegasus

06  - bon jour mr. v.i.p.

07 - journey

08 - inner reflections

09 - field of  lonely eyes

10 - future


"Michael Angelo" 1977 (Guinn 1050)  [1000p] 

"Michael Angelo" 1997 (Guinn, Germany) [bootleg; 450#d]

"Michael Angelo" 2005 (Void 036) [+1 track]

Fabulous dreamy psych-flavored folkrock and  anglo-pop shrouded in the early hippie vibe despite the vintage. Light and  melodic in an L.A '67 & Donovan direction, while the lyrics hint at darker  dimensions beneath the seductive surface. Possible points of reference are Bobb  Trimble and the 2nd side of Marcus-House Of Trax, and don't doubt for a minute  this is just as good. Use of piano on some tracks bring in a singer/songwriter  sound, while retaining the 60s feel. Very solid and well-written LP that is  loved by many, one of the classics of the local/private press field, and one  that may also appeal to fans of the Shoes and similar melodic mid-70s pop  sounds. Sespite its deluxe profile the German reissue is somewhat inferior in  sound. An album of previously unreleased material titled "Sorcerer's Dream"  (Void, 1999) may be worth checking out for fans of the Guinn album.  [PL]


Side one of this album is as good  as anything, a truly lovely blend of pop, folk-rock and light psychedelia. Like  the best music, it's of its time but evokes many great artists from before its  time. He has a terrific voice too. Like Anonymous this is just plain great  songwriting and performance, and whatever may or may not be psychedelic is  secondary. Side two is pretty great too, but repeats a few of the ideas from the  first side, and overall this maybe ends up being a notch below Zerfas or  Anonymous, which still makes it in the top 10 or so for private press LPs. It's  something everyone should hear. [AM]



Swans  - 1991 - White Light from the Mouth of Infinity


Swans -  1991 - White Light from the Mouth of Infinity


Michael Gira -  voice, acoustic guitar, sounds, samples, keyboards, arrangements

Jarboe -  voice, keyboards, background vocals, choral / orchestral  arrangements

Christoph Hahn - acoustic and electric guitar

Clinton Steele  - acoustic and electric guitar

Jenny Wade - bass guitar

Anton Fier -  drums, drum programming

Nicky Skopelitis - acoustic and electric guitar,  baglama, bazouki, banjo

Vincent Signorelli -percussion

Hahn Rowe -  violin

Steve Burgh - mandolin, 12-string guitar

Norman Westberg - electric  guitar


Better Than You

Power And Sacrifice

You  Know Nothing

Song For Dead Time

Will We Survive

Love Will Save  You


Song For The Sun

Miracle Of Love

When She  Breathes

Why Are We Alive?

The Most Unfortunate Lie


Crawling out of the same  noisy, arty New York underground , Swans created a dark, abrasive, murky,  slowed-down noise rock that served as a starting point for their ruminations  about alienation, depression, depravity, and the disturbing side of human  nature. Singers Michael Gira and Jarboe have been the group's only constants  over the years.

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The opening track "Better Than  You" almost says it all: Starting with the wail of an infant, then suddenly  crashing into surging music that mixes quick, energetic drums with bells and  other instruments, the song turns into a dramatic acoustic guitar/percussion  piece with Gira's brooding voice and Jarboe's haunting backing; after some  re-developments of the themes, it ends with a beautiful restatement of the sung  section with additional guitar and bell sounds. At once incredibly destructive  and astoundingly life-affirming — and worth the entire Burning World album  several times over — "Better Than You" demonstrates that Swans had emerged even  more powerful and artistic than before, aiming for an awesome, all-encompassing  majesty in their music that the admittedly hypnotic earlier versions of the  band, in their brute forcefulness, simply could not have achieved.  Interestingly, a number of players from Burning World and other Bill Laswell  associates participate on White Light, but hereas sole producer marshals  everyone's collective efforts to heights that Laswell either was unwilling or  unable to do. Also notably, Westberg is all but absent on guitar, with new  arrival Clinton Steele taking the fore as the major instrumentalist after Gira  and Jarboe themselves. Picking out all the highlights from such a stunning disc  is practically impossible, but three of the flat-out classic marvels here are:  "You Know Nothing," with its simply lovely introduction and Gira's commanding  singing; "Song for Dead Time," a gentle Jarboe-sung number filled out by a  simple but effective string-synth arrangement; and "Failure," carried by a  buried guitar strum, Gira's Sisyphean lyric, and brief, lush choruses. Simply  put, this is out and out brilliant as the clear starting point for the second  half of Swans' unique career.

Your Download-Links :




Muddy Waters -  1968 - Electric Mud

track listing :

1 I Just Want to Make Love to You (4:19)

2 (I'm Your) Hoochie Coochie Man (4:53)

3 Let's Spend the Night Together  (3:12)

4 She's Alright (6:36)

5 Mannish Boy (3:50)

6 Herbert  Harper's Free Press News (4:40)

7 Tom Cat (3:42)

8 Same Thing (5:42)

In an  attempt to make Muddy Waters more sellable to his newly-found White audience,  Chess lumbered him with Hendrix-influenced psychedelic blues arrangements for  Electric Mud. Commercially, actually, the results weren't bad; Marshall Chess  claims it sold between 150,000 and 200,000 copies. Musically, it was as  ill-advised as putting Dustin Hoffman into a Star Wars epic. Guitarists Pete  Cosey and Phil Upchurch are very talented players, but Muddy's brand of downhome  electric blues suffered greatly at the hands of extended fuzzy solos. Muddy and  band overhaul classics like "I Just Want to Make Love to You" and "Hoochie  Coochie Man," and do a ludicrous cover of "Let's Spend the Night Together";  wah-wah guitars and occasional wailing soprano sax bounce around like loose  basketballs. It's a classically wrongheaded, crass update of the blues for a  modern audience. ~ Richie Unterberger, All Music  Guide.


MUDDY WATERS -- Electric Mud (MCA/Chess)

MCA  recently reissued the album hailed by some blues purists as the worst blues  album ever recorded--Muddy Waters' Electric Mud. Originally released in the  spring of 1968, Electric Mud was Waters' first excursion into the world of  'psychedelia.' Since they were marketing Waters (at the time) primarily to the  white hippies, it made sense to Marshall Chess (son of Leonard Chess, founder of  Chess Records) that Waters should do an album like this. Unfortunately, it  presented a problem when Waters tried to play the songs live. He didn't like  having to perform in front of a huge stack of amplifiers to achieve the sound of  the album. 

Is Electric Mud really as bad as they say? It depends on the context in which  you listen to it. As a blues/rock album, it's not that bad. As with most albums  from the psychedelic era, there's a lot of channel fading (vocals in one  channel, music in the other, then vice versa, etc.). However, there are still  some great guitar licks being thrown around, especially on "I Just Want to Make  Love to You," "She's Alright" (which segues into a "My Girl" jam), and "Mannish  Boy." The interesting thing here is that, according to the liner notes, none of  the guitar work is by Waters himself.

As a straight blues album, it's a joke. The majority of the players on  Electric Mud were actually avant-garde jazz musicians, and most of them were not  able to adequately span the two genres. Gene Barge's wailing tenor sax on the  album is out of place and annoying. It just doesn't work. The cover of "Let's  Spend the Night Together" is probably more noteworthy than any other cut on the  album. It's been called 'unintentionally hilarious,' among other  less-than-flattering remarks. I'll just call it . . . different. Imagine Waters  trying to sing the lyrics to the music of "Get Ready." You get the idea.

So what's the bottom line -- is this CD worth picking up or not? It depends  on what type of blues you're into. If you're a purist, you probably already know  to skip this one. If blues/rock is more your style, or you're just discovering  the master, it's worth a listen, but check out some of Muddy's more traditional  work first.

© 1997 Steve Marshall


Markos  Vamvakaris - Fragkosyriani


MARKOS  VAMVAKARIS - Fragkosyriani
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Track  List :
2.Imouna magkas mia  fora
3.Mia  mikropantremeni
4.Pseftikos einai o  ntounias
5.Dyo  gyftopoules
6. Ta matoklada sou  lampoun
8.Mauri zoi mikroula  mou
10.Ti me ofeloun oi  anoixes
11.Fora ta maura fora  ta
12.Ta omorfa ta galana sou  matia


Markos was born to a poor  working family on the island of Syros in 1905. His father played the greek  bagpipes called Gaida and Markos would accompany him on the dog-skinned drum.  When Markos was eight years old he left school to work with his mother in a  cotton thread factory, which he promptly ditched and started picking up odd jobs  like newspaper boy, butchers assistant, eventually getting mixed up with the  underworld of the streets.

When he was fifteen years  old he stowed away on a ship to Piraeus and got a job loading coals on the  docks. This was tough, low-down work, but the nights were all about hashish and  women. He was kept in fine clothes by an older whore and hung out at the  tekes((place where underground people gathered to listen to rembetiko music and  smoke hasish) every night. In 1925, Markos heard Old Nikos play bouzouki and was  immediately hooked. Six months later he was playing at a teke when Old Nikos  stopped by, he couldn't believe it was the same kid who'd never even played a  few months earlier. Nikos said they'd show Markos something i the morning and  he'd come back and play it better than them in the evening.

Because the bouzouki was  considered a low-class instrument, it had not been recorded until 1932 when  Yiannis Halikias (aka Jack Gregory), a greek-american, recorded his "Minor Tou  Deke". The record was very popular, so Spyros Peristeris, who was working as a  record producer, composer and instrumentalist for Odeon records in Greece,  convinced Odeon to record Vamvakaris. In 1933, Peristeris supervised, and played  guitar on Markos' first recording session (although he had recorded two songs in  1932 for Columbia, they were not released until later). Markos recorded one  zebekiko, O Dervises, and one Hassapiko, O Harmanes. Markos hadn't considered  himself a singer but ended up doing the vocals on these records. They were very  successful and Markos' rough and powerful singing became fashionable.

Markos eventually teamed  up with singer Stratos Pagioumitzis, baglamatzis Jiorgos Batis, and bouzouki  player Anestis Delias to form his famous Piraeus Quartet. His popularity was  sustained throughout the 1930's, despite growing political turmoil. Eventually  the style of rebetika that Markos had pioneered became more mainstream, and by  the 1940's Tsitsanis had started changing the subject matter to be about love  and less about hashish, prison and other rebetika topics. Likewise, Hiotis  started changing the sound of the music, adding strings to the bouzouki in 1956  and moving towards a more flashy, electric and westernized sound. Markos  continued to record in his older style through this period. He passed away in  1972.


Vamvarakis,  Markos. Autobiogrphia. Ed. Ageliki-Bellou-Keil. Athens, Greece: Ekdoseis  Papazisi, 1978.

Emery, Ed; Petropoulos, Elias. Songs of the Greek Underworld:  The Rebetika Tradition. London: Saqi,2000.

Holst, Gail. Road to Rembetika:  Music from a Greek Sub-Culture; Songs of love, sorrow and Hashish.


Anglo-Hellenic  Publishing, 1975.


1000 Travels of  Jawaharlal

1000 Travels of  Jawaharlal was formed in Kita-Kyushu in the west of Japan in January 1999.  Line-up was Koichiro Shimoda [Vocals, Guitar], Shinichi Iwata [Bass], Kenji  Yoshida [Drum, Vocals]. This line up released a CD EP [October 1999] as well as  a split CD with Minority Blues Band [November 2000]. Both records were released  on the Japanese record label ImoMuShi Records, and a split with Bowfura we  released ourselves [May 2000]. Among those records were released 1000 Travels of  Jawaharlal had toured Japan several times. In April 2001 Kenji left the band.  After half a year of looking out for a new drummer Yasuaki Nakazono was finally added  in October 2001. In 2002 1000 Travels toured Japan extensively with the new line  up. The band expresses the musical taste of its members. Emotive punk rock bands  such as Rites Of Spring, Jawbreaker, Hüsker Dü, Leatherface were named. In early  2003 they recorded their first full length LP/CD which was released on ImoMuShi  again for Japan as well as on Day After from Czech Republic for Europe. After  the release of the record 1000 Travels of Jawaharlal toured Japan extensively  throughout the spring, followed by a three weeks European tour with Light The  Fuse And Run from the US.

(bio nicked from the band’s  website =])


demo - CT

Letter  - CDS

split with Minority Blues  Band - CD

split with Bowfura -  CD

Owari Wa Konai -  CD/LP

Light Your Way  (Compilation) - CD

split with  Aghast - CD

split with Aghast - 10"

split with  Pear Of The West –  CT

1000 Travels of  Jawaharlal Owari Wa  Konai

Nothing else  here other than totally cheese-free, übertight, emotive and heartfelt hardcore,  delivered by these jap punks. Pretty much in the vein of early DC emocore  pioneers such as Rites of Spring, Dag Nasty or Ignition, with more than a  passing nod to latter bands like Torches to Rome. Which means, really, really  ace stuff.

Cheers!  K. (curse ye all kidz!)
Band Website:
You can order this album and  other punk/indie thingies from this really great distro:

Saturday, September 16, 2006


Hello Guys,

We've decided that it would be a good idea if everyone

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will help our blog grow and will contribute in

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You will make the post in a privete blog

and after you've post it we will re-post it, in the related blog.

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something add and his/hers nickname in case to get the credits for the post.

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I hope you'll embrace our idea and post great albums


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RADIO BIRDMAN - the  essential Radio Birdman 1974-1978


Although the  best-known band of the early Australian punk scene of the late '70s was the  Saints, the first band to wave the punk rock flag in the land down under was  Radio Birdman. Formed by Australian émigré Deniz Tek (originally from Ann Arbor,  MI) and Aussie surfer-turned-vocalist Rob Younger in 1974, Radio Birdman's  approach to rock & roll was rooted in the high-energy, apocalyptic guitar  rant of the Stooges and MC5, sprinkled liberally with a little East Coast  underground hard rock courtesy of Blue Oyster Cult. Their first EP,Burn My  Eye released in 1976, was a great  record and still remains a seminal chunk of Aussie punk. Loud and snotty, with  Younger bellowing his guts out and Tek on a search-and-destroy mission with his  guitar, this was a great debut that set the stage for the impending deluge of  Aussie punk bands waiting in the wings. After the release of their debut  LP,Radios Appear (the title comes from a lyric in the Blue Oyster  Cult song "Dominance and Submission"), in Australia a year later, Radio Birdman  seemed poised to break Aussie punk worldwide. And although the American label  Sire (then the home of the Ramones) was quick to sign them and distribute  Radios Appear internationally in 1978, there was a gap of three  years before they released a second album, Living Eyes. During that time, dozens of other Aussie punk  bands stole their thunder, and Radio Birdman split up almost immediately  after Living Eyes was released. Sire never released the record  outside of Australia, and Radio Birdman, who should have been the biggest band  in Aussie punk, was now a highly regarded punk forefather. After the band split  in 1978, various members were busy forming other bands:TEK formed the New Race  with Younger,ex-Stooges guitarist Ron Asheton and ex-MC5 drummer Dennis  Thompson, released a handful of solo singles and EPs, and became a  surgeon;Younger started his own band, the New Christs, and produced records by  the second generation of Aussie punk bands influenced by Radio Birdman, most  notablythe Celibate Rifles; other Radio Birdman alumni ended up in assorted  Aussie bands such as the Lime Spiders, Hoodoo Gurus, and Screaming Tribesmen.  Now the grand old man of Aussie punk, Tek formed a part-time project with  Celibate Rifles guitarist Kent Steedman that rocks with the same reckless  abandon Radio Birdman did when they were changing the course of Australian rock  forever. 2001 saw a renewal of interest in Radio Birdman thanks to an excellent  compilation, The Essential Radio  Birdman 1974-1978 released by Sub Pop  in the States. Murder city Nights :  live arrived in 2003, followed by the  all-new Zeno Beach in 2006.


Nik Turner's Fantastic Allstars

Kubano Kickasso 2003

Track listing:

01  - LDZ (Guacho Guara) 4:40 - Dizzy Gillespie (arr. Rick Welsh / Nik Turner) -  2:00

02 - Dangle from the Angle 9:13 - Nick Danger / Nik Turner - 3:31

03 - So What 4:26 - Miles Davis

04 - Skatrane (Last Train to Skaville)  6:06 - Ethiopians

05 - Watermelon Man 6:00 - Mongo Santamaria / Herbie  Hancock

06 - Grooveyard 4:19 - Rick Welsh

07 - Gibraltar 6:16 - Freddie  Hubbard

08 - Sidewinder 7:05 - Lee Morgan

09 - Phat Man 6:06 - Rick Welsh

10 - J.B. 7:35 - Nick Danger / Nik Turner

11 - Cantaloupe Island 5:19 -  Herbie Hancock

12 - Jive Samba 6:08 - Nat Adderly


Nik “Thunder Rider” Turner - sax, flute and  vocals

Ricky “Baby Face” Welsh - trumpet, flugelhorn and vocals

Mike  “Black Notes” Jones - Hammond organ, piano

Gary “Hot Shot” Smart -  bass

Meurig “D.W.” Griffiths - drums

Ben “Bad Ass” Baddoo -  percussion

Simon “Samba Gales"” Preston - percussion

Raul “Rico Mambo”  Speek - percussion

Christopher “Pixie” May - electric guitar

Kubano Kickasso is the long awaited studio album from  Nik Turner's “Fantastic Allstars” ensemble, augmented by familiar guest  percussionists. This is zoot cool jazz that begs you to dance, shaken (and  occasionally stirred) with latin grooves, Afro-Cuban rave, and a healthy dose of  boogie. Featuring some flash original tunes as well as several of the Allstars'  own particular flavour of cherished standards, its outstanding clarity delivers  all the customary sensation of their club presence. A must-have soundtrack for  your next party.

Nik Turner

From Wikipedia, the free encyclopedia

Nik Turner is a British  musician, probably best known as a founder of space rock pioneers Hawkwind.  Turner plays saxophones, flute, sings and is a composer. While with Hawkwind  Turner was known for his experimental free jazz stylizations and outrageous  stage presence, often donning full makeup and Ancient Egypt-inspired costumes.  Days with Hawkwind and personality  conflicts

Despite his seemingly Pleasant personality, Turner battled  frequently with bandleader/guitarist Dave Brock, who felt that the former  overplayed in a distracting fashion and used musical pretenses to disguise his  poor playing. Turner's relationship with bassist Lemmy Kilmister gradually  disintegrated throughout the early 1970s, spurned on by a feature in New Musical  Express that seemed to portray Kilmister as the sole frontman of the group.  Fundamentally, Turner's "quintessential hippie" persona clashed with Kilmister's  identification with bikers and use of amphetamines.

After Kilmister was  arrested for illegal posession of amphetamines during a 1975 North American  tour, Turner instigated the bassist's dismissal from Hawkwind. Other band  members, namely Brock, came to regret the reluctant decision, and Turner began  to be perceived as something of a manipulator. After 1976's Amazing Sounds,  Astounding Music, a poorly received fusion-oriented release heavily influenced  by Turner, he ceased playing with the group. This too was a bone of contention:  while Brock and lead singer Robert Calvert claimed they had dismissed Turner  (with two other members), the saxophonist characterized it as more of a band  mutiny against the twosome.

Later Years

Over the years  Turner has played with many musicians and collaborations. Much of his output  continued in the Hawkwind vein, but Turner has also explored other genres.  Directly after leaving Hawkwind in the mid 1970's, Turner formed the band Sphinx  with Steve Hillage of Gong.

In the late 1970s when Steve Took's Horns  broke up he formed Inner City Unit (ICU) from the key Horns members: Judge Trev  Thoms and Dino Ferari although Steve Peregrin Took (ex-T Rex) continued to work  with his former band members and guested with ICU at a number of  gigs.

Turner eventually resolved his differences with Brock and rejoined  various reconstituted Hawkwind line-ups throughout the 1980s. He performed at  the final Stonehenge Free Festival in 1984.

Turner also worked with Twink  under the name PinkWind, a group named by combining the monikers of the  musicians' former groups: Turner's Hawkwind, and Twink and Steve Took's Pink  Fairies. Mick Farren was also a member. PinkWind released two albums. Some  line-ups also featured Judge Trev Thoms.

In 2000 Turner apologized to  Kilmister and organized a one-off reunion of the seminal [[Space Ritual]]  line-up of Hawkwind (excluding Stacia and Calvert). Although lofty plans  included further apperances and a live album extracted from the show, as of 2006  nothing has materialized due to renewed animosity between Turner and  Brock.

Recently, his two main bands have been SpaceRitual and Nik  Turner's Allstars with flexible and overlapping line-ups (as was the case in the  early 1970s with Hawkwind and the Pink Fairies.) At some of his gigs former  Hawkwind members have guested including Ron Tree and, until his death, Robert  Calvert.

Turner regularly plays with new and experimental musicians and  also busks with his roadie Erv near his home in Wales.

His current  musical endevours include the jazz/funk quintet Galaktikos and an album &  tour with American space rockers Spaceseed.


Thursday, September 14, 2006

Attila  Kollar


Attila Kollar - 1998 - Musical  Witchcraft

Tracks :

1. Musical witchcraft suite (19:16)

2. Music from the spheres (3:36)

3. Soleriade (4:57)

4. Morning dance in the garden of Chenonceau  castle (2:03)

5. Silent man´s  prayer (7:22)

6. Rocks and waves from Saint-Malo (4:32)

7.  Alchemy (4:32)


- Attila Kollar /  flute, recorder, whitsle, tambourine, ketboards

- Casaba Bogdan / acoustic & electric  guitar

- Gabor Naszadi / acoustic  guitar

- Zsolt Vamos / guitar

Robert Erdesz / keyboads

- Laszlo Gomor / conga, percussion

- Gabor Kisszabo / bass

- Tamas Pocs / bass

Fernc Gerdesits / vocals

- Szilvia Attila / vocals

- Zsuzsa Ullmann / vocals

Get It Here :

RapidShare  or SendSpace

Attila  Kollar - 2003 - Musical Witchcraft II_Utopia

Tracks :

1. Suite Utopia  - Utopia (3:33)

2. Suite Utopia -  Prophets And Daydreamers (6:42)

3) Suite Utopia - Worlds Closed Into The Stone  (4:25)

4. Suite Utopia - The Light Of The  Stake's Fire (5:13)

5. In The Hiding  Place Of Castles (2:51)

6. Secrets Of  Morus (3:52)

7. Feast On The  Tournament (2:23)

8. Inquisition (4:44)

9. The Tower's Room Lost In The Fog...  (4:57)

10. Utopia From The City  (5:07)

11. Fairy Tale Along The Loire  (3:32)


- Attila Kollar  / flute, recorder, tambourine

- Gyorgy  Bokor / bassoon

- Laszlo Gomor  / drums

- Ferenc Kornis /  percussion

- Gabor Naszadi / acoustic  guitar

- Tamas Pocs / bass

- Peter Sarik / piano, organ, synth

- Edina Szirtes / violin, vocals

- Zsolt Vamos / electric and acoustic  guitars

- Laszlo Vermes /  drums

Get It Here :

RapidShare  or SendSpace


Attila Kollar

[Hungarian  flutist of Solaris]

Attila Kollár is the flute player in the seminal Hungarian  progressive rock band Solaris. His first solo album Musical Witchcraft  (Periferic Records BGCD 016) bears strong resemblance to Solaris' music, and  actually most of the band's late-nineties line-up appear on it. The music is  largely constructed around Kollár's simple enough but beautiful flute melodies,  which draw from Hungarian folk music but also strongly from baroque and  renaissance themes. While the melodies are not really developed to any large  degree, their splendour and the strength of the arrangements surrounding them  provide more than enough interest and variation to make for an enjoyable  45-minute musical work without any unnecessary padding or stretching (most songs  stay below the 5-minute mark). The supporting instrumentation can range from  simple acoustic guitar and tambourine to full-blown band backing. In keeping  with Solaris' style, there are also a more rocking songs with chunky guitar  riffs and shredding solos, and this is where Kollár can add some Ian  Anderson-styled flutter and wheeze to his playing. The main difference to  Solaris is the lesser attention given to keyboards which are now reduced to  accompainement. Without analog synth solos and with the occasional use of  programmed rhythms, the album sound is pushed slightly more towards "modern"  than with Solaris who always seem to strike a delicate balance between the retro  and contemporary aspects of their sound. Three songs rise above the rest:  "Boleriade" carries the album's most memorable, lambent melody over martial  drumming; "Silent Man's Prayer" is a full-blown symphonic rock track with  various tempo and rhythm shifts and solos; and "Ba'rock'" a spirited adaptation  of a few J.S. Bach themes, with guitar, keyboards and flute racing through  scales in amusing unison. In many ways this is comparable to Solaris' 1999  release Nostradamus - Book of Prophecies, though exhibiting a narrower and  perhaps brighter palette, and should be enjoyable to all those who like that  album. ~Kai  Karmanheimo


Book  of Am -1978 Gong related diamond

Download  Links:

Part  I

Part  II

Golly gosh, here's rare one! Pure Deya. Dedicated to Daevid and  Gilli and worked on at the Bananamoon Observatory in Deya. This release will be  extremely limited, less than 500 copies for sale worldwide. So the only  absolutely certain way of getting a copy is by pre-ordering. But as the company  are still getting quotes we don't know what the final retail price will be, I  guess between £20.00 - £30.00, and the postage will be quite high due to the  weight. However I will let all who pre-order this release know a total price  before debiting any cards and give you a chance to confirm, or decline your  order. I've recently been told to expect a release date sometime later this year  (2006).

2LP set in a gatefold sleeve that is actually a book with more than  100 pages, more than half of them in full colour. Plans are to print/press 500  copies only 250 of which will be for distribution. Originally projected as a 2LP  + Book set, this is the first time ever this great work is released as it was  conceived, since the mega rare french release from the mid-70's only included  one of the LPs and was missing the great book with the beautiful engravings by  Juan Arkotxa.

The reissue of the legendary Book Of Am, a unique combination  of recordings and artwork which stands up as an enduring testament of the  fertile hippie scene which flourished in the Baleric islands during the  seventies. Known to record collectors and psych/folk/prog music aficionados  alike, this multi cultural band formed in the island of Mallorca in the mid 70's  recorded a beautiful (and outrageously scarce) album which has gained cult  status as years passed by.


Buy "the Book of  Am" here


Tuesday, September 12, 2006


SPACEHEAD - In Space We  Trust ...'95-'98

Mr. Dibs was a founder  member of legendary space-rock outfit Krel, who gigged extensively in the early  nineties, famously supporting Hawkwind on the Electric Teepee Tour in 1992.  Spacehead formed in 1994, originally as a solo project, but with great interest  in the first cassette release, Mr.Dibs was inspired to put a full band together,  and four more cassettes followed. Mr. Dibs and Phil Howard (Cellular Structure,  and now PXR-1) gigged the early material as a two-piece with drum loops,  eventually recruiting drummer Paul Boers from Holland to record an album for  Hawkwind's Emergency Broadcast System, "...Of Star and Time."
Phil left the project  soon after this, and Dibs, Paul, and new boys, Will Brazier-Smith (guitar), and  Gavin Maelstrom (keyboards) recorded the "Anasazi" cassette. A deal with Dead  Earnest resulted in the release of a second CD, "In Space We Trust", featuring  most of that cassette, and live material recorded supporting Hawkwind in  1997.
1999 saw another line-up  change, when Dibs was joined by Craig Dewberry on drums, and Fran Halsall on  keyboards, who gigged with Graham for a while before being joined by Martyn  Needham from Derby space-rockers Dr. Hasbeen on guitar duties. This line-up  recorded an EP, "Escape Velocity Preview", with Neil Mycock from Craig's old  band Flaw on extra guitar. (Neil had, in-fact, played a couple of gigs with the  band in between Graham's departure and Martyn joining).
2001 saw the band  releasing another compilation "Explode Into Space- Inhalations 1998-2000", and  work began on a proper studio album, tentatively titled "Escape Velocity". Of  course, all things change, and yet another line-up shuffle in 2002 brought Keef  Barton in on guitar and keyboards to play the Sonic Rock Solstice near Garstang,  with Graham on guitar, and Neil Mycock (the same!) on drum duties. This gig  revitalised the band, and waiting in the wings at SRS having done the  soundcheck, Robin Julian joined as permanent drummer, performing his first gig  at the inaugural Hawkfest in Devon. Some very successful gigs followed, and in  early 2003, Mr. Floyd, originally a Krellian, joined on keyboards.
Switched on tuned out tuned in space rock from  some inner city unit somewhere on the edge of time. Spacehead are very very  Hawkwind indeed, Hawkwind with a slightly punky Mournblade/Underground  Zero/Tubulah Dog D.I.Y vibe. Classic Festi space-punk earfood, a Krel offshoot  who now seem to haveGong's Graham Clark on board their throbbing forward moving  space ship. The second track here is called "Brockstomp" I think that gives you  a big enough clue. If you're in to the Hawkwind/Gong oscillating space rock  fest-jam wind synth sound then Spacehead do it extremely well.Spacehead aren't  quite the same moulds as the mighty Hawks though. Whilst the chanted vocals may  seem familiar and the synth effects (come on, there are limits to the sound FX  you can make with old analogue synths!), ya gets much heavier drumming and  EXTREMELY dirty guitar.

Suitably trippy (not  that we're suggesting anything illegal, you understand), psyched submerged  guitar work, clips and samples, dirt and heaviness. Violin comes courtesy of  Graham Clark (ex-Gong), who's more in he vein of Jean-Luc Ponty than Simon  House, bit jazzier. Noisy buggers!

Pretty damn good, as live stuff goes. but  I'll bet it sounded much better if you were there, it always does. Must search  out the EBS release, if just for my private collection. Recommended for space  heads everywhere






1995- ...of STARS and TIME (EBSCD121)









I done my best  for you in order to have those brilliant songs that not included in Art Gallery  LP.

I hope to really enjoy this great group !!

ARTWOODS-Jazz In Jeans EP (Decca DFE 8654,  1966)

ARTWOODS-Sweet  Mary/If I Ever Get My Hands On You (Decca F 12015) 1st 7''  (1964)

ARTWOODS-Oh My Love/Big City (Decca F  12091)

2nd 7''  (1965)

ARTWOODS-Goodbye Sisters/She Knows What To Do  (Decca F 12206) 3rd 7'' (1965)

ARTWOODS-I  Take What I Want/ I'm Looking For A Saxophonist Doubling French Horn Wearing  Size 37 Boots (Decca F 12384)

4th 7''  (1966)

ARTWOODS-I  Feel Good/Molly Anderson's Cookery Book

(Decca F 12465) 5th 7''  (1966)

ARTWOODS-What Shall I Do/In The  Deep End (Parlophone R 5590)

6th 7'' (1967)

All the above stuff you could get them in a single  folder. So,

grab and enjoy it  !!!


ARTWOODS-Art  Gallery LP (1966) (Decca LK 4830)

UK R&B /Blues/Garage blaster with Jon Lord(Deep  Purple) Keef  Hartley(John Mayall) Mac Poole(Bakerloo) with all the right sounds!! 

It's really a legendary LP that  was an enjoyable mixture of club-oriented soul, R&B, and jazz with a strong  organ spice, although it found them falling seriously behindtheir contemporaries  in the British R&B scene in a crucial respect. 

Artwoods  were:

Arthur  Wood-vocals,

Derek  Griffiths-guitar,

Malcolm  Pool-bass

Keef  Hartley-drums

John  Lord-organ

Formed in  London in 1964. Arthur Wood is the elder brother of Ronnie Wood. 

Red Bludd's Blusicians had been  formed in 163 and the Artwoods were formed following the departure of Don "Red  Bludd" Wilson who played bass and Red Dunnage the drummer. Jon Lord came from  the Bill Ashton Combo while Art Wood has sung with Alexis Korner's Blues  Incorporated. Keef had previously played with Rory Storm & the Hurricanes,  replacing a certain Ringo Starr, and Freddie Starr and the  Midnighters.

The Artwoods gained  a reputation as the hardest working R & B band on the circuit. The live set  consisted of both Chicago Blues standards and original material. Many  appearances were made on the top UK pop TV show Ready, Steady Go. Originally the  groups mimed to songs but, over time, more and more live performances were  allowed. The Artwoods performed on the first Ready Steady Goes Live. Tom Jones  mimed to It's Not Unusual on the show. The Kinks and

Donovan played live and the Artwoods promoted  their first single ''Sweet Mary''.

The group was very popular in the clubs around  London but they never equaled this on record despite releasing an LP, an EP and  a string of singles. The only chart single was the 1966 ''I Take What I Want''  although this is not corroborated by The Guinness Book of British Hit Singles.  This was a cover of a Sam & Dave song.

There was also one EP called ''Jazz in Jeans''  and an album Art Gallery. There were successful tours of Europe and Poland. Eel  Pie Island was a regular gig with the band playing there about once a month.  This is an island in the Thames which had to be reached over a small bridge,  the

equipment requiring three  trips. It was everybody's dream to walk into the Blue Boar just as their hit of  the moment was playing on the jukebox."

The Artwoods were chosen to represent the 20th  Century at the centenary celebrations of the State of Monte Carlo. The ball was  held in the Casino. After this, the band traveled to Paris and played next door  to the Moulin Rouge at The Locomotive.

The band split in 1967 and, at a time of  psychedelia, there was a name change to St Valentine's Day Massacre. This was  intended to "cash in" on the thirties-style gangsters craze which had been  started by the film Bonnie & Clyde. Brother Can You Spare a Dime was a cover  of an old Bing Crosby song. Keef Hartley left the band in 1967 to join John  Mayall's Bluesbreakers and

later  formed the Keef Hartley Band. Jon Lord joined the Flowerpot Men and later moved  to Deep Purple. Derek Griffiths became a session player. Quiet Melon was formed  in July 1969 when the Jeff Beck Group folded. Lead singer Rod Stewart was left  without a band and started hanging out with Ronnie Wood, his brother Art Wood  and Ronnie Lane, Kenney Jones and Ian

McLagan. Art Wood got them a recording session  at the Fontana studios, where he had a contract and, according to Art, recorded  four songs - Diamond Joe, Engine 4444, Right Around The Thumb, and Two Steps To  Mother. They delivered the tapes to Fontana who said the tracks weren't good  enough and canceled Art's contract. The group then got a promoter called Rufus  Manning to try and get them a deal but nobody wanted to know. The group played  quite a few gigs but the project soon folded and Art retired from the music  business to

become a Graphic  Designer. The remaining members - Ronnie Wood, Rod Stewart, Ronnie Lane, Kenney  Jones and Ian McLagan then inherited the name the Small Faces which was soon  shortened to the Faces.

Ultra  Strongly Recommended !!

Vinyl  ripped by Optical Sound @ 224 Klbps bitrate

grab  and enjoy it !!


Monday, September 11, 2006

Aphrodites  Child - 1968 - End of the World


Aphrodites Child - 1968 - End of the  World

Yes, that's exactly how you'd think British psychedelic music  recorded by Greek musicians in France would sound. Provided you'd ever think  about it.

Track  listing:

1) End Of The  World;

2) Don't Try To Catch A River;

3) Mister  Thomas;

4) Rain And Tears;

5) The Grass Is No Green;

6) Valley Of  Sadness;

7) You Always Stand In My Way;

8) The Shepherd And The  Moon;

9) Day Of The Fool;

The best way to explain a particularly unusual sound is, of course, try and  do it through comparison. Like "The Flaming Lips sound like the Beach Boys  trying to sound like the Beatles if Brian Wilson tried to sound like John Lennon  and not like Paul McCartney". Or "Pearl Jam sound like shit". Yes, despite the  numerous annoying yelps of people who contend that every piece of music should  be listened to based on its own individual rules, comparison is nevertheless a  mighty weapon in the hands of a reviewer. So here's to comparison.

Now then,  we were going to talk Aphrodite's Child and their debut album here. And the  first and foremost comparison I would offer are none other than the Moody Blues.  Yes, by all means, as Vangelis and his compatriot, croonster  extraordinaire Demis Roussos (let's just forget his solo career ever  existed, shall we?) ponder over the artistic path to take, they certainly take  the Moody Blues into account. Well, maybe a little Bee Gees, too. But given  their background (Greece) and their working environment (France), they couldn't  just emulate any of these bands. No, they had their own private  ambitions, more expansive indeed than the soon-to-be tummy of Roussos, and the  ones that are responsible for both the positive and negative aspects of the  record.

From a purely serious (logical, mathematical, rational, cold-hearted,  snobby, sarcastic, nihilistic, post-modern, politically correct - or politically  incorrect, not that there's much difference) point of view, this album  sucks notoriously. Cheesy syrupy vocals that make you think better of Ted Nugent  on atmospheric pretentious ballads that make you think better of Billy Joel.  "Epic" numbers with big bombastic production exploiting psychedelic cliches that  scream "1968!" at you as if they really want to make you believe that was the  most important year in history or something. (Actually, I can't prove that it  wasn't, but I wouldn't include Aphrodite's Child into its top ten events all the  same). Whitebread soul excourses. No truly independent vision. A bunch of kids  who want to be stern and artsy and actual but don't have the least idea of what  they'd actually like to tell the world - and why is it that it's Aphrodite's  Child the world needs to tell these things and not Neil Diamond, for  instance.

But strange as it is, it all works. It's one of those crazy  paradoxes I like to discover - the sound is technically not "original", yet it's  definitely unique in its own way. And, of course, it's all due to the astute  Greek mind of Vangelis. There are some guitars on here theoretically, but I  hardly hear them (and as far as I know, these guys weren't too hot on guitars  themselves, with Roussos and an uncredited guy called Silver Kolouris handling  them alternatively); all the record is thoroughly based on Vangelis' keyboards.  And boy, does he revel on here: there's nothing even closely resembling the  stern minimalism of his solo work. Pianos, organs, Mellotrons, overdubbed to  hysterical level, all played in a vicious, aggressive manner. That doesn't mean  he sounds anywhere near Emerson, as throughout the entire record he evades  show-off-ey finger-flashing warp-speed solos and the like. But he shows himself  to be an apt user of all kinds of sonic gimmicks, with echoey production,  reverb, distortion, etc., and thus compensates for the lack of guitar  perfectly.

It all really comes together on raving tracks like 'You Always  Stand In My Way', which might have passed for a stupid take on "soul", with  Roussos almost throwing a fit in the studio, if not for an absolutely incredible  keyboards arrangement. A moody, but sharp organ pattern in one speaker - a  majestic heavenly Mellotron part in the other speaker, plus occasional distorted  harpsichord notes added to achieve further perfection. Same goes with 'Don't Try  To Catch A River', whose title brings on strange associations with 'River Deep  Mountain High' (indeed, there are melodic similarities as well) - the main  harpsichord pattern that drives it is pretty funny, while the occasional  whooshing Mellotron outbursts and organ 'insertions' attract your attention as  fine as anything.

This magnificent keyboard sound is, like I said, the main  attraction and distinguishing sign of the entire record - in 1968, few people  would dare to bring keyboard experimentation to such complex levels, not even  the Nice. But I won't deny that the melodies themselves are also pretty fun. For  instance, I quite enjoy the three "corny" ballads - heck, if I enjoy the Moody  Blues and ELO, nothing can prevent me from praising a ballad by Aphrodite's  Child when it's really well-written. 'End Of The World' is my favourite, with a  few well-placed hooks, a few adrenaline-raising powerful piano chords and a few  chillin' 'AIIIEEEYAH' by Roussos that are probably meant to signify the  protagonist approaching said 'end of the world' (yeah, the song's simply a love  ballad, but "metaphysically loaded", if you know what I mean). The European  megahit 'Rain And Tears' is pretty nice as well, graced with luvingly gentle  harpsichord playing... and say what you will, but Roussos' tremblin' oh-so-Greek  vocals are indeed beautiful in their own way. 'Valley Of Sadness' is also good,  if a bit repetitive.

The two 'epics' of the album are a bit more dubious -  'The Grass Is No Green', in particular, sounds exactly like what you'd expect of  two intelligent well-bred kids having inhaled for the first time and describing  the results. But Roussos' Eastern influenced chanting is catchy and, well  you know, authentic. It's really a triviality, but I'd still like to remind that  these Greek guys really knew what 'Eastern motives' are better than anybody in  the Western world, as popular Greek music is infested with Turkish influences -  which means that, experienced potheads or not, they could be pretty good at  capturing the 'pothead world' as it is. And turns out they were pretty good at  capturing the world of paranoia, as well, as 'Day Of The Fool', the  album-closing number where Roussos impersonates a poor romantic madman (quite a  thrilling story, too).

About the only misfire, I'd say, is 'Mister Thomas' -  a rather lame Britpop imitation a la Ray Davies which naturally comes  across as nothing but a manneristic number, too carnivalesque for its own good.  Well, I'd be surprised if they did succeed in this genre, so it's simply  a bit strange they'd want to try the style out at all. Maybe they were big Kinks  fans? Whatever.

It's interesting to speculate on the subject of what could  have happened if the band were allowed to work in Britain (they weren't)  and recorded and released End Of The World in London instead of Paris,  consequently reaching the "progressive" Anglo-Saxon part of the population  instead of the "uncool" continental European part. At the very least, this could  have seriously cost the Moody Blues a big part of their fanbase. On the other  hand, maybe it was only logical to have stayed on the continent, as Vangelis'  heavy use of interweaving keyboard and orchestration parts certainly ties in far  better with the European symphonic practice than with the far more restrained  British tradition. It's fun to compare this "catchy", "commercial" sound that  Aphrodite's Child have with some of the "inaccessible", "elitist" music of  Britain's most renowned prog bands and eventually discover that in certain ways,  Vangelis wrote music that was far more complex and multi-layered. You just don't  notice it at first, but it's right there. Cool album, in short - if a bit too  eccentric for its own good.


Iowaska  - 2001 - Vine of Souls


IOWASKA  - Vine Of Souls
(UK/2001/Alternative  Tentacles Records)

the band
Sam  Skraeling: guitar, vocals and LSD
Jock  Peaequana: bass and LSD
G Campbell of Cawdor: guitar, backing vocals and  LSD
Martin H: drums and LSD

Combining the DIY punk ethos of CRASS,  DISCHARGE, and AMEBIX, with the psychedelic  LSD energy of HAWKWIND  and OZRIC TENTACLES, and a dash of SIOUXSIE & THE BANSHEES and THE SLITS,  IOWASKA create their own unique blend of space-rock, punk, and cosmic thrash.  This British band offers a potent cocktail of LSD driving guitars, haunting melodies, throbbing bass  lines, and a thundering beat. With lyrics to put a thought in your mind and a  chill up your spine, IOWASKA's sheer seething power and irrepressible passion  combine for an ecstatic LSD  ride. They  have played with CAPTAIN SENSIBLE, CHUMBAWUMBA, CITIZEN FISH and DIRT,  as well as many other punk and space-rock veterans, and LSD frequently command the stage at huge UK  festivals. IOWASKA’s performances feature a memorable light show, dubbed  "Medicine Lights", which combines a LSD fractal sea of oil  slides and psychedelia, with cinema footage of momentous, radical political  events(obviously they are anarchists-neo paganists!!! LSD), tailored to fit their  lyrics.

Guitar player/vocalist Sam Skraeling began  her LSD musical career by lending her distinctive voice  to AMEBIX for the "No Sanctuary" EP. She began playing guitar with the  SKRAELINGS in 1991. The following year, Sam and bandmate Graham performed  LSD an impromptu festival show with Martin, their  current drummer. Excited by the LSD chemistry, they vowed to collaborate again  whenever their paths crossed. As luck would have it, they finally got their  chance in 1994.

Originally called "Ayahuasca", from an Arthur  Brown LSD song about a South American hallucinogen, they  later altered the spelling to match the pronunciation. IOWASKA played their  first show in August 1994, three weeks after their LSD formation. The band soon had the opportunity to  support fire-helmeted, psyche-screamer Arthur Brown in London, and embarked on  their first major UK tour in July 1995 with R.D.F. (Radical Dance Faction), a  popular punk/ska/dub band. IOWASKA  gained an immediate following and a sizable mailing LSD list, for which the band  crafted a free fanzine shortly after. In true rock & roll LSD spirit, a new bass player had to learn the  entire set in the tour van, when the original bassist suddenly dropped  the LSD ball.  He pulled it off with style and the crowd was none the wiser. The band continued  to tour heavily between 1996-1999, playing festivals, squat parties, warehouse  LSD shows, political demonstrations, and many of the  major U.K. venues.

In 1999, JELLO BIAFRA  caught LSD an IOWASKA performance in London, and was  allegedly spotted LSD dancing in the pit! He enthusiastically likened  the band to "the Cambodia side of the Dead Kennedys". In November 2000, the band  entered the LSD  studio to record "Vine of Souls"CD/LP for  Alternative Tentacles (release: April 2001). The stunning cover art and booklet  are both handpainted by Sam, and feature her distinctive LSD calligraphy. She declares, "Although computers  would be quicker, I still prefer the human touch when it comes to  LSD art and music!" Old school LSD indeed!

Discography(Alternative Tentacles Records)  :

2001: Vine Of  Souls
2002: Apocalypse Always 
take a trip inside your mind
take a trip inside your mind
take a trip inside your mind
never know what you mind  find...

Your  Download-Link


Aphrodites  Child - 1969 - It's Five O'Clock


Aphrodites Child - 1969  - It's Five O'Clock

Greek musicians doing American country-rock (among a million other things)  - this alone makes the record worth owning.

Track listing:

1) It's Five O'Clock;

2) Wake Up;

3)  Take Your Time;

4) Annabella;

5) Let Me Love Let Me Live;

6) Funky  Mary;

7) Good Times So Fine;

8) Marie Jolie;

9) Such A Funny  Night;

Once again, I'm impressed. The band's ability to present themselves as a  historical curio/novelty act second time in a row, with a whole bunch of  unpredictable twists and classy songwriting-a-plenty, is certainly worth  admiring. "Novelty" - I'm not hesitating to use that word, because in this  particular context I'm peeling off its negative connotations. Certainly the idea  of, for instance, having the President of the United States whacking his  Secretary of State with a golf club is "novel" (not to mention rather crude),  but this would certainly immortalize the name of the President with far more  success than any amount of tax cuts or Operation Freedoms. Likewise, the idea of  raffinated, classically-educated Greek young men take on genres like funk,  country, and music hall may seem grotesque - and it is, and that's what's so  unbelievably cool about it.

The band's second album is thus even more diverse  than the first one. Vangelis, Roussos and Sideras are all over the place again,  only this time, true to the "back to the roots" spirit of 1969, they take it a  little easier on the psychedelic vibe and instead, get a bit harder and heavier  in some spots and a bit "rootsier" in others. Which doesn't actually prevent  them from ending the record on one of the silliest notes that ever came out of  Mr Evangelos Papathanassiou's pocket. But that's the gist!

Oddly enough,  though, the experimentation is even more "solidly" counterbalanced with Roussos'  trademark croonster ballads - ballads that are getting dippier all the time and  give some serious hints at the San Remo-targeted, sugar-coated mush that would  constitute his solo career. (Actually, it's no coincidence that I mention San  Remo here: in between this and the preceding album, Aphrodite's Child did  record a couple ballads expressly for the San Remo festival. I have them on the  2-disc Collection which also comprises both studio albums, but haven't  yet dared to listen - and I doubt I will unless somebody provides me with a  priori evidence that could convince me to try them out. For Heaven's sake -  one of them is called 'Quando L'Amore Divente Poesia'!!) Luckily, Vangelis is  always there to save the day with a visionary organ/Mellotron landscape or two;  his participation is what rescues 'Annabella', in particular, apart from the  odd, almost proto-ambient, background, merely an atmospheric love chant bathed  in sounds of the ocean, the kind of thing that Bryan Ferry would do with much  more class anyway but a few years later. Same goes for the European hit 'Marie  Jolie' - originally released as the B-side to the far more interesting 'Let Me  Love Let Me Live', but since the latter raised too many questions (see below),  it was naturally the former that the people were going for.

On the other  hand, complaints do not apply to the gorgeous title track, where the main  inspiration certainly was 'A Whiter Shade Of Pale' (naturally! who  wouldn't want to make history with a stately mid-tempo organ-based  anthem? The easy way to achieve demi-god status at least in some  people's eyes); yet this doesn't prevent the song from having hooklines of its  own, as well as building up to a series of climaxes so overblown and yet so  adequate - all thanks to Roussos' undeniable vocal power - that they almost  manage to beat Procol Harum at their own game. It's hard to tell whether it's  this track or 'End Of The World' that better epitomizes the "lonely romantic"  spirit of the age, but in the end it all depends on whether you're preferring to  imagine yourself astride the top of a moonlit cliff or a-walking down that  moonlit forest path. (And don't tell me you've never tried to imagine either.  The only people that don't are those that sue fast food chains over extra  calories).

If you do happen to like these ballads, though, and would like to  challenge me to an ICQ duel for daring to criticize 'Annabella', chances are you  might not like the rest of the album - which is a fine illustration for  the term "eclecticism" if there ever was one. Let's list some of the candidates,  shall we? 'Wake Up' is essentially a bluesy jam with some hard rock overtones,  yet the verses of the song actually are more in the psycho-folk vein, again  drawing on comparisons with the early Bee Gees. (It's also the first - and the  last? - song to quote the band's name, albeit within a rather strange line:  'Aphrodite's Child will tell you on the back'. WAY back? WHOSE back? Back of  WHAT? Back of their tattered old English manual?).

'Take Your Time' has the  audacity to introduce country-westernish guitars and harmonicas - again,  there is no mistaking the non-authenticity of this stuff, just like you can  always tell a Bee Gees song from a John Fogerty tune, because whenever Europeans  are doing country arrangements, they seem to be always crossing them with music  hall. That doesn't mean the song isn't professionally and quirkily (in  the good sense of the word) produced, and I do love it for the catchiness and  fun alone. That is, until the moment it ends in the obligatory "fun in the  studio" part; for some reason, every band at the time had to include some 'goofy  drunken fun' at the end of one of their songs. Does it belong there? Damned  experimentation.

The main single from the album, 'Let Me Love Let Me Live'  starts out pretty decently, with a ferocious beat, tasty wah-wah licks and one  of those, you know, one of those attempts at "teenage declarations" that all the  garage bands were competing in a few years ago to see who beats out whom in the  sincerity and sharpness department. Well, I don't know anything about sincerity  here (not to mention the band members were anything but teenagers at the time),  but the melody sure rules. The jam at the end of the song is a bit overlong - I  feel that they were just trying to push up the album's running time here (and  it's still pretty short at that) - but it gives a great glimpse at their methods  of constructing a wall-of-sound, and has a fun rush to the end,  too.

Meanwhile, 'Funky Mary' shows the band's interest in weird percussive  effects. Yep, formally it belongs to funk, I guess, but there's next to no  guitar, just layers of totally wild percussion and a thoroughly restrained vocal  that just lets you concentrate on all the drums, phased drums, backwards drums,  marimbas, and (finally) electric piano that also prefers to function in a  percussive way. On 'Good Times So Fine' the band abandons experimentation and  goes for some catchy cheesy pop - the irony of the song is how its slow part,  with Roussos doing a (rather flaky) Armstrong imitation, totally doesn't fit  with its fast bubblegummy part, where the vocals sound like a goofy parody on  Micky Dolenz of the Monkees. And 'Such A Funny Night' ends the day with a slice  of (presumably Greek-influenced) pop, thoroughly irresistible guitar melodies  and lots of the corniest-ever-sounding 'la-la-la's that effectively eliminate  any hopes Aphrodite's Child could have garnered of being respected as a serious  art-rock band. And looks like we have to thank them for that.

The closest  analogy among the records the average music fan may have heard is  presumably the Bee Gees' 1st - which I actually rated higher than these  two records because of its being more "authentic" sounding; there's little doubt  in my mind that the Bee Gees had a better understanding of both traditional  British and American music than Aphrodite's Child. (Plus, there's simply  more songs on that album; make that the decisive factor if you will). However,  what the Bee Gees had always lacked themselves was a first-rate  musician/composer/arranger/experimentalist, which is why their material can  often be considered just plain boring beside Vangelis' goofy, but nearly always  eyebrow-raising ideas. Both End Of The World and It's Five O'Clock  may suffer from cheesiness and lack of experience, but they always make it up  with a one-of-a-kind approach. Granted, this can be witnessed much better on  Aphrodite's Child's last - and decisive - recording.


Sunday, September 10, 2006


The Dovers - We're Not Just Anybody


BRUCE CLASWON ld gtr, backing vcls  A B C

TIMMY GRANADA ld vcls, gtr A B C


TONY "GOOSEY" RIVAS sax, tamb, backing vcls A



ALBUM: 1(A/B) WE'RE NOT JUST ANYBODY (Misty Lane  057) 2001

NB: (1) 10" with insert.

45s: 1(A) She's  Gone/What Am I Going To Do? (Miramar 118) Sep. 1965

2(A) I Could Be  Happy/People Ask Me Why (Miramar 121) Nov. 1965

3(A) I Could Be Happy/People  Ask Me Why (Reprise 0439) Dec. 1965

4 The Third Eye/Your Love (Miramar 123)  Apr. 1966

4 She's Not Just Anybody/About Me (Miramar 124) May  1966

A Beatles-influenced combo from Santa Barbara,  who started life as The Vandells. Their compilation appearances have given them  a cult following making it impossible to acquire any of their 45s at realistic  prices. Their first 45 consists of two folk rock ballads, whilst the second  charted locally. Shortly afterwards Rick Morinini left the band, being replaced  by the drummer from Ernie and The Emperors, in time for The Third Eye - a  stand-out raga piece. Their fourth and final 45 also includes some great guitar  work.

Compilation appearances have included: What Am I Going To Do on Nuggets  Box (4-CD); She's Gone and What Am I Going To Do on Pebbles Vol. 2 (CD) and  Pebbles, Vol. 2 (LP); She's Not Just Anybody on Pebbles, Vol. 7 (LP) and Pebbles  Vol. 8 (CD); Your Love on Sixties Rebellion, Vol. 6 (LP & CD); The Third Eye  on Highs In The Mid Sixties, Vol. 20 (LP) and 30 Seconds Before The Calico Wall  (CD); People Ask Me Why and I Could Be Happy on The Cicadelic 60's, Vol. 2  (LP).

The great news is that you can have their complete recorded output on  one disc. After many years seeking out and talking to many of the band members,  Mike Markesich has been able to piece together their story on this absolutely  essential release.

Few modern bands have been brave enough to attempt to  cover Dovers' songs, given the very high esteem in which they're held. So hats  off to Buffalo, New York's Mystic Eyes for attempting She's Gone (1997 45 on Get  Hip GH-188). Buy it yourself so you can judge whether they've succeeded in doing  it justice.

(Max Waller / Craig Morrison)


03/09/06 - 10/09/06

Saturday, September 09, 2006


CHAD AND JEREMY - The Ark  (1968)

Released in 1968 The Ark Is A Trippy, Post Sgt  Pepper romp that can still rearrange the cerebral cortex of the  innocent...

About Chad And Jeremy:


JEREMY CLYDE vcls, gtr

A  CHAD STUART vcls, gtr, banjo, keyboards, sitar A


1 YESTERDAY'S GONE (World Artists  2002) Aug. 1964

2 CHAD AND JEREMY SING FOR YOU (World Artists 2005) Feb.  1965

3 BEFORE AND AFTER (Columbia 9174) Apr. 1965

4 I DON'T WANT TO LOSE  YOU BABY (Columbia 9198) Sept. 1965

5 THE BEST OF CHAD AND JEREMY (Capitol  2470) Mar. 1966

6 MORE CHAD AND JEREMY (Capitol 2546) Jun. 1966

7 DISTANT  SHORES (Columbia 2564) Aug. 1966

8 OF CABBAGES AND KINGS (Columbia 2671) Sep.  1967

9 THE ARK (Columbia 2899) Aug. 1968

NB: (1), (4), (7), (8) and (9)  reissued on CD. The World Artists recordings have been compiled on a number of  CD's, the best of which is The Best Of Chad And Jeremy (One Way 31380) which has  twenty tracks including all the World Artist singles. Perhaps of more interest  to psych fans however is the twenty tracck compilation CD Painted Dayglow Smile  (Columbia Legacy 47719) from their Columbia years.


1 Yesterday's Gone/Lemon Tree (World  Artists 1021) Mar. 1964

2 A Summer Song/No Tears For Johnny (World Artists  1027) Jul. 1964

3 Willow Weep For Me/If She Was Mine (World Artists 1034)  Oct. 1964

4 If I Loved You/Donna, Donna (World Artists 1041) Jan. 1965

5  What Do You Want With Me/A Very Good Year (World Artists 1052) Mar. 1965

6  Before And After/Fare Thee Well (Columbia 43277) Apr. 1965

7 From A Window/My  Coloring Book (World Artists 1056) May 1965

8 I Don't Want To Lose You  Baby/Pennies (Columbia 43339) Jul. 1965

9 September In The Rain/Only For The  Young (World Artists 1060) Jul. 1965

10 I Have Dreamed/Should I? (Columbia  43414) Oct. 1965

11 Teenage Failure/Early Morning Rain (Columbia 43490) Dec.  1965

12 Distant Shores/Last Night (Columbia 43682) Apr. 1966

13 You Are  She/I Won't Cry (Columbia 43807) Sep. 1966

14 Rest In Peace/Family Way  (Columbia 44131) May 1967

15 Painted Dayglow Smile/Editorial (Columbia 44379)  Nov. 1967

16 Sister Marie/Rest In Peace (Columbia 44525) May 1968

17  Paxton Quigley's Had The Course/You Need Feet (Columbia 44660) Aug.  1968

Ex-public schoolboys Chad Stuart and Jeremy Clyde were regarded by  Americans as examplars of that pinnacle of Western civilization, the Archetypal  Englishman, and were hence far more popular stateside than at home - the English  being less infatuated with Englishness than Americans. Realizing early on that  their appeal lay in the States, they moved their base of operations to Los  Angeles and can be regarded as an American act for the purposes of this book.  The two met in 1962 while studying at the Central School of Speech and Drama in  London and formed a duo, performing folk-based pop material. They signed with  Ember Records and had a minor U.K. hit (No. 37) in late 1963 with their debut  single, Yesterday's Gone. U.S. label World Artists picked up the U.S. rights to  the duo and Yesterday's Gone reached No. 21 in the States in June 1964 followed  three months later by their biggest hit, A Summer Song. Willow Weep For Me and  If I Loved You (from the musical "Carousel") were also sizable hits but when  World Artists failed to pay the pair any royalties, they teamed up with Allen  Klein who quickly signed them to Columbia Records in March 1965. Their musical  style remained the same, a softly melodic but rather cloying harmony-pop, except  for a foray into Righteous Brothers-territory with I Don't Wanna Lose You Baby  and a comedy single (Teenage Failure), but they were frequently on TV - not only  performing their hits but also demonstrating their acting skills on Batman, the  Patty Duke Show, and the Dick Van Dyke Show. In late 1965, while on tour in the  mid-West, they discovered future Chicago and Blood, Sweat and Tears manager  James William Guercio, who was then playing in a Chicago group called the Mob.  They employed him as their bassist and he wrote several songs for them including  their final top-40 hit, Distant Shores, and later became their manager. Wearied  by the insubstantial nature of their musical output so far, the pair decided to  go for something more ambitious and joined up with Byrds and  Sagittarius-producer Gary Usher in 1967 for the concept album, Of Cabbages And  Kings. The entire second side was devoted to the five-movement Progress Suite  which told the story of man from Creation to Nuclear Holocaust. The album  however is better remembered by psyche-holics for the 6'46" opening track, Rest  in Peace, a gently satirical number inspired by Tony Richardson's film  adaptation of the Evelyn Waugh novel, "The Loved One". Their musical swansong,  The Ark (spelt Arc on some pressings), was easily their best album with a number  of highly evocative tunes like Pipe Dream, Pantheistic Study For Guitar And  Large Bird, and Transatlantic Trauma 1966. Gary Usher spent $75,000 in making it  a production tour-de-force but was sacked by Columbia for his pains when it  failed to chart. The duo also wrote the music for the movie "Three In The Attic"  around this time. By this time, Jeremy had decided to devote his flagging  energies to acting and the pair split up. Since then, Jeremy has become a  well-known actor in England on TV and in the movies while Chad remained in the  U.S. writing music for television and stage. The two reunited in 1983 for an  album, Chad Stuart & Jeremy Clyde, and also in 1986 for an oldies tour.  Compilation appearances have included: Progress Suite Movement on First  Vibration (LP). For more information, check out the following  websites:





Thursday, September 07, 2006


( garage rock  revival)

The  Witchdoctors EXPLODE out of your stereo like a viscious blast from the past.  Lead singer Paul Carey (who earlier sang lead with The Untold Fables) has a raw,  ratchety voice that makes no apologies for its sound! Their simple (and  simple-minded) early-60's-style rock & roll reminds me more than ANYTHING of  the earliest recordings by The Kinks. This may explain their eventual  name-change to The Finks (see FILL'ER UP AND GO!). While Steve Hill (and Carey's  replacement, Chris Barfield) eventually split off to form The Huntington Cads,  the remaining core or Gregg Hunt, Dave Klein & Jake Cavaliere went on to  greater success as The Bomboras. With one of the WILDEST live acts confined to  bar stages (in some ways a band better SEEN than actually HEARD), it was at  their appearance in Philly a couple years ago I first discovered their long  legacy. By whatever name, these guys clearly aren't going away. Lucky  us!

Your  Download-Link


Saturday, September 02, 2006

The  Robbs - 1967 - Same


Your  Download-Link :



DINO VALENTE-Same  (1968)

Producer: Bob Johnston.  Reissue producers: Barry Feldman, Dave Nives.Recorded at Columbia Record  Studios, Los Angeles, California from November1967-April 1968. Originally  released on Epic (26335). Includes liner notesby Ralph J. Gleason & Arthur  Levy.

The 1968 solo album  from the Quicksilver Messenger Service lead singer.Moving away from the  trademark QMS guitar pyrotechnics, this is a reflective album with a country  folky feel that includes a fine version of "Me And My Uncle".Produced by Bob  Johnston (the man who oversaw much of Dylan's classic 60's output) it's sound is  stripped down to haunting minor acoustic chordsswelled by wads of studio reverb.  Chemically deranged b ut incredibly

charming. Fully detailed sleevenotes round off  the package with some great shots of Dino busking.

This album typifies the hippie-folk-troubadour  syndrome with strumming, everb-laden 12-string guitar and romantic odes of  passion and heartbreak. Valente's pliant warble practically floats alone on  these 12 strange songs. While this music is folkish in nature, Valente's vocals  display an offbeat, almost jazzy inflection reminiscent of the late Tim  Buckley.

One  of my favourite voices in 60's in an amazing solo effort, with hippy psychedelic  touch !

I  really enjoy this album !!

Chester William Powers, Jr. (7 August 1943–16  November 1994), better known as Dino Valente, and credited sometimes as Jesse  Oris Farrow, was an American singer/songwriter.

He was born in New York City,  and died in Santa Rosa, California. In the early 1960s, while a member of the  Greenwich Village folk scene, he wrote "Get Together", a quintessential 1960s  love-and-peace anthem, later recorded by Jefferson Airplane, The Youngbloods,  and many others. While in Greenwich Village, he played often with  singer-songwriter Fred Neil. He was

an original member of the Quicksilver Messenger  Service, but his career was blighted by frequent drug busts. Powers (or one of  his pseudonyms) is sometimes erroneously credited as the author of the rock  standard "Hey Joe".

Dino Valenti started out as  part of the bi-coastal early '60s folk scene. He befriended and briefly shared a  houseboat with David Crosby, and let Mike Clarke accompany him on bongos. During  those years, Valenti recorded some songs with Byrds manager Jim Dickson, which  led to Dickson recording Crosby.

Around this time, Valenti wrote the folk-rock  classic "Get Together," the first song published by Tickson Music, Jim Dickson  and Eddie Tickner's music publishing company. The song was a monster hit for the  Youngbloods in 1967 and the theme song for the National Conference of Christians  and Jews in 1969.

Valenti also  copyrighted a version of the song "Hey Joe" under his real name, Chester Powers.  Crosby often sang the song with the Byrds, well before they recorded it on Fifth  Dimension, and is responsible for popularizing it on the West Coast. In 1964  Valenti helped found the San Francisco band Quicksilver Messenger Service, but  he got thrown in jail on a drug bust before they ever recorded.He rejoined them  in 1970, just in time for their one big hit, "Fresh  Air."

Dino Valente  journeyed ahead on Wednesday, November 16, 1994 at home in Santa Rosa,  California. He was 57.

PS: If you would like to find out everything  about Dino Valente, you could try at this link


grab and enjoy  !!!



"The home base for My Indole Ring was The  Retinal Circus in Vancouver B.C. An album planned for Vanguard Records is now  released for the first time. Acid Westcoast rock with trippy guitars,  soundeffects and vocals with soul. With bonus tracks. In 1966 a rock band  whimsically named The Jabberwock was formed in Vancouver, British Columbia. This  group evolved into the unique acid/blues/rock phenomenon My Indole Ring. Most of  the songs on this LP are original Ring compositions and soon became signature  tunes for the band, such as Orange Float Petals. This is a selection of raw cuts  recorded in just one or two takes in the studio -- giving them a spontaneous  feel, reminiscent of the era. The exception is the last three songs -- 'Wake Me  Shake Me', 'Come See Me in the Morning', and 'Orange Float Petals -- all  recorded live at the Retinal Circus. You can sit back and imagine yourself in  the midst of the sunken dance floor with the pulsating light show swirling about  your head and the floors and walls literally vibrating with the movement and  sound. This is a unique insight into the unbridled energy and excitement of the  Retinal Circus, a venue that became legendary in the West Coast music scene. A  glimpse into a piece of music history."



Friday, September 01, 2006


BIGROUP-Big  Hammer (1971)

This is a repressing of the  legendary Big Hammer by The Bigroup,

a library record from a group made  up of UK studio musicians, originally released by Peer International  in 1971 and licensed to Olympo in Spain.

The original pressing of Big  Hammer by The Bigroup has been very much

in demand by crate diggers and  progressive rock collectors and one listen to it will tell why -  pretty much every track is a killer!

One of the strongest albums in  it’s field, choked  with goodies: great psych organ mayhem on "Big Hammer", burning acid leads on  "Burnilation", sitar action on "Annapurna" plus the ill drum-break of "What’s  Coming?" or the dope, stoned ,

beat-heavy "Devil’s Stronghold"  & "Heavy Lift"...

I love this LP! 

You have  just got to hear this LP, it's bloody great!

Highly recommended. 

While in the US  there were many movie soundtracks, in the UK and much

of Europe most of the film and TV industry used music  library LPs. These LPs - which were not on  sale to the general public - were madeby  experienced studio musicians, often recording an album's worth of material in one session, and the music was later matched  to the relevant programme.

This remains  a rich source of good funky music with  albums being made by artists such as Herbie Flowers, Keith Mansfield, Alan Hawkshaw, John Cameron and Eddie  Warner.

There are also many useful  records for people looking for samples with breaks, percussion tracks and many stripped down versions of  tunes with just bass and drums or bass and  piano. Often the music was created for a movie; commercial and so on, but when published it was  not specifiedon the record. Now often it  can't even be traced back.

Apart from  the many library LPs which are considered obsolete, some have gained quite a status amongst collectors.  Specifically those LPs that were made in  specific genres such as the "jazzy groovy beat", the "progressive rock", "the psychedelic folk"... 

The Bigroup is one of these bands that  did do only 2 albums. Actually 1 album, with two

different titles and labels but the same music. The most  collectible one (we leave finding details  on the alternative up to you as this is quite a challenge) is the original release on "Peer  International" from 1971  (presumably).

This library label  actually does have some more collectible releases. Always the details on the  release are very scarce and little is known on the musicians. We know the LP was made

by Johnny Scott, aka Patrick J. O'Hara Scott, and some  personnel. We

also know is that this LP  has nothing but pearls of "Progressive" tracks included with as best track amongst only good  tracks : "Heavy Lift".

Peer, as said, is known to be one of these collectible  classy library labels but a problem is that  all LPs only got very limited pressings.

This LP really has it all : a lot of mistery around the  artists, great

music with  multi-instruments, heavy rock and fuzz, incredible drum

breaks,... Most prominent instruments are the bass, the  hammond and

the drums. It is the bridge  between 60's beat and 70's progressive and  psychedelic rock.

grab  and enjoy it !!!