Lost In Tyme

Lost-In-Tyme (Main Page) : Psych - Acid - Folk - Garage.....
Lost-In-Tyme : Prog - Kraut - Classic Rock - Blues.....Out of service....Don't Ask for permission....
Lost-In-Tyme : Alternative - Punk - New Wave.....
Lost-In-Tyme : Funk - Soul - Jazz - World.....
Lost-In-Tyme : Index/Archives Page....

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)

August 2006 pt.2

Thursday, August 31, 2006


NOVA  LOCAL-Nova 1  (1967)


Nova Local's  Personnel:



JOE  MENDYK ld gtr




ALBUM: 1(A) NOVA I (Decca DL 74977) 1967

NB: (1) issued on MCA (MUPS 377) 1969 in the  UK.

45s: 1 Games/If You Only Had The Time (Decca 32138) 1967 2 Other  Girls/John Knight's Body (I Wanna Get Out) (Decca 32194) 1967

This band were students at University of North  Carolina in Chapel Hill. Their album, which was recorded in New York in December  1966, is definitely worth investigating and is a minor collectable. Its very  Anglophile sound garnered it a U.K. release, although the band had split by  April 1967.

Bassist Jim Opton told U-Spaces:- "We were a band  that was making a pretty good living playing fraternity parties around the  campus, and a few cellar clubs in Chapel Hill. My fraternity, Phi Mu Alpha, was  sponsoring a charity concert for our scholarship fund, and we decided to go for  broke that year and book a big name. We contacted William Morris Agency in New  York, and booked Chad and Jeremy. We needed an opening act, so I booked my own  band... got us real cheap. The deal was that Rob Heller, who was with the Morris  Agency would come and hear us play. He signed us immedately after the concert. A  week later he hooked us up with Elliot Mazer, who became our producer. Elliot  also worked as a song peddler for E.B. Marks Music, who published the music. We  got a recording contract with Decca, I don't know how, but Rob put that deal  together with Elliot, and the next thing I know, we are in the studio with all  kinds of famous people that had us in awe for the first 35 seconds or so. I do  know that somebody thought we were kind of special, because the studio was  absolutely closed to visitors while we were there, and we were not allowed to  take home raw tape to play for anyone. We did a lot of things that were pretty  advanced for our time. Listen carefully to Morning Dew for example. The strange  vocal effects were done by feeding the vocals through a Leslie Tone Cabinet from  a Hammond B3. Also, the bass lead is the first bass feedback lead I think I can  remember in a rock song. I blew up the amp doing it!! Cost me $750 (a LOT of  money I didn't have in 1966)!! But, it was a hell of a lick. The album was  essentially recorded by five of us: Randy, Bill, Joe, Cam and me. Phil had  departed for law school. I believe he is alive and well, and practicing law in  Charlotte, N.C."

"Actually, there is one little piece or two of  rock and roll history that goes with that album. It was the first ever recorded  using the very new, and relatively unknown, Dolby NR System. It took up a good  size room at the time. The engineer for the album, Fred Catero, was also the  engineer for Simon and Garfunkel."

Joe Mendyk had earlier played in Tri-Power, The  Better Days and The Warlocks (with an excellent 45 on Decca). The 'A' side of  their first 45, excellent harmony pop-punk, can be heard on Echoes In Time, Vol.  2 (LP) and Echoes In Time Vol's 1 & 2 (CD), the flip is on the album.  Forgotten Man, also from the album, has resurfaced on Baubles - Down To Middle  Earth (LP).

(Vernon Joynson / Max Waller)



Wednesday, August 30, 2006


ANANDA SHANKAR-And His Music (1975)

What a marvellous exotic album! 

This is an classic 1975 LP  Ananda

Shankar and his  Music, by - you guessed it - Ananda Shankar.

Ananda Shankar was Ravi Shankar's Nephew and was  one of the first

musicians to mix  Indian music with western pop styles back in the


Ananda Shankar and his Music expertly mixes 70s  funky grooves with

Sitar and Indian  instruments. Along with  the

fantastic up-tempo  numbers, we also get treated to a few lovely  tracks

that are more on  the chilled side.

Ananda Shankar  & his Music became legendary in the 1990s  simply

because Capitol  picked "Streets of Calcutta" and "Dancing Drums"

for a  Blue Note  break-beat compilation.

But there is plenty more material of  the same caliber,  even on that album.

Ananda Sankar (1942 –  1999)

In the late 1960s Shankar  travelled to Los Angeles, where he played

with many contemporary musicians  including Jimi Hendrix. There he was

signed to Reprise Records and  released his first self-titled album in

1970, featuring original Indian  classical material alongside

sitar-based cover versions of  popular hits such as The Rolling Stones'

Jumpin' Jack Flash and The  Doors' Light My Fire. This album has become

an enduring cult  classic.

After working in India during  the late 1970s and 1980s, Shankar's

profile in the West began to  rise again in the mid-1990s as his music

found its way into club DJ sets,  particularly in London. His music was

brought to a wider audience with  the release of Blue Note Records'

popular 1996 rare groove  compilation album, Blue Juice Vol. 1.,

featuring the two standout  tracks from Ananda Shankar And His Music,

"Dancing Drums" and "Streets Of  Calcutta".

In the late 1990s Shankar worked  and toured in the United Kingdom with

London DJ State Of Bengal and  others, a collaboration that would

result in the Walking On album,  featuring Shankar's trademark sitar

soundscapes mixed with breakbeat  and hip hop. Walking On was released

in 2000 after Shankar's sudden  death from heart failure the year


To most people, "India's  greatest musician" means Pandit Ravi Shankar,

whose ragas briefly pacified the  world in the tumultuous 1960s. And

there are those who say Ravi's  wife was better than he. But it was

Ravi's nephew Ananda who became  the voice of modern India in all its

contrasting elements. In ways  never previously imagined --much less

executed even by other master  musicians-- he alone merged Indian and

western, classical and rock,  lyrical and funky, exotic and commercial,

traditional and progressive.  Given the enormity of the task and the

sharp contrast between his  success and the failures of so many "raga

rock" practitioners, Ananda  Shankar can be seen as one of the greatest

musical figures of the twentieth  century.

The son of famous  arranger-choreographer Uday Shankar & dancer Amala,

Ananda had all of the expertise,  talent, and perfectionists'

dedication of the previous  generation. He studied five years under Dr.

Lalmani Misra, head of the  Department of Music at Benaras Hindu

University; following his  intense tutelage, he spent two years abroad,

where he studied western  classical and pop as well as multi-media.

While his ability to perform and  compose rivalled that of his famous

father and uncle, he identified  more with his own generation.

His 1970 debut album on Reprise  featured covers of tunes by the

Rolling Stones and the Doors as  well as his own (better) music. The

album's success led to an  expansion of his orchestra including dancers

and multi-media effects. His  wife Tanusree choreographed. After his

first Indian LP was released,  Ananda's music became a fixture on

radio, television, and in  theatre. Airlines, fashion shows, and the

film industry recognized his as  the modern sound of India. Even years

after his death, his music can  be heard at least on U.S. radio and in

fashion shows, thanks largely to  a reissue and a compilation.

Ananda was the great modernizer  of Indian music, as influential as

Mighty Sparrow and Kui Lee were  in updating and promoting their

respective traditions. He won  the Indian equivalent of a Grammy Award

for the score of "Chorus" in  1974. Other soundtracks featuring his

work may have been released in  India. Throughout his career, his sound

remained fairly consistent, and  his vision never flagged until his

untimely death. Yet India and  the world still have not completely

caught on to his talent and  significance.

Ananda Shankar & his Music  became legendary in the 1990s simply

because Capitol picked "Streets  of Calcutta" and "Dancing Drums" for a

Blue Note break-beat  compilation. But there is plenty more material of

the same caliber, even on that  album. Later, rarer albums yield even

more impressive music, and there  are plenty of tracks waiting to be

discovered and played by  adventurous DJs. Sa-Re-Ga Machan, a funky,

strange, and exotic madhouse  ("Jungle King" even reprises "Streets of

Calcutta" a bit), may be the  true masterpiece.

The beat of the tabla is as  vital to Indian music as the conga to

African and Latin. While the  Moog, sitar, and Western themes

distinguish Shankar's music as  fresh and original, the cacaphony of

tabla beats grounds the music in  simmering Bombay, timeless ragas, and

the splendor of Shankar musical  royalty. In other places, such as the

Missing You tribute to Uday,  Ananda uses vibes and flute to great

effect. And still elsewhere the  elements of Indian soundtracks, such

as occasional female voice and  strings, add power and excitement.

Call it futuristic exoticism or  Indian soul music. Like other examples

of the best revolutionary music,  the wonders of Ananda Shankar will

sound forever ahead of their  time: definitely far out, and yet as

familiar and comforting as Mom's  cooking.

grab  and enjoy it !!!


Monday, August 28, 2006


IT'S ALL MEAT - Same (1970) 

(Canadian  psychedelia)

It's All Meat came from Toronto, Ontario and  released a superb, but little known album on the Columbia label in 1970  .

The  band consisted of :

RICK ASTON (bass),

JED MacKAY (organ, piano),

RICK McKIM (drums),


NORM WHITE  (guitar)

MacKay and  McKim both previously played together with Toronto's Underworld, whose lone  single, "Go Away", released in 1968, is considered one of Canada's most sought  after garage bands songs.

This package  is an excellent example of early 70's keyboard-dominated psychedelia, garage  punk, and haunting keyboard sounds.The sound of this reissue has been digitally  remastered and for the most part it appears to have been taken from a vinyl  source as there is an occasional vinyl static in places. Overall the sound  quality is fairly good. Considering the rarity of the original "It's All Meat"  album this release is welcomed by any fan of the early 70's garage and  psychedelic sounds.


Sunday, August 27, 2006


MOTIONS-Introduction To The Motions  (1965)

(Havoc records,HJH  2)

SIDE 1 :

1. Love Won't Stop (R.Van  Leeuwen)

2. I've  Waited So Long (R.Van Leeuwen)

3. I'll Follow The Sun (R.Van  Leeuwen)

4. The  Girl From New York City (J.Taylor)

5. You Bother Me (R.Van  Leeuwen)

6. I  Want Someone Love (R.Van Leeuwen)


1. It's Gone (R.Van  Leeuwen)

2. No  matter Where You Run (R.Van Leeuwen)

3. Be The Woman I Need (R.Van  Leeuwen)

4. I've  Got Misery (R.Van Leeuwen)

5. Who'll Save My Soul (R.Van  Leeuwen)

6. For  Another Man (R.Van Leeuwen)

In 1965  released this classic monster beat/garage album !!

Great debut  LP of the dutch Motions featuring future Shocking Blue guy Robbie van  Leeuwen.

Included mix  of beat, garage and moody tunes that consist of one of the superb albums in all  over the world 60's music area !

The Motions from  The Hague were one of the bigger groups of the 1960s Dutch beat explosion. They  were formed out of the remnants of Ritchie Clark and the Ricochets in 1964 and  went on to become hitmakers for the next several years in the '60s. The Motions  were much loved abroad, even in the USA. The Walker Brothers even recorded a  song The Motions had written and helped in the production of the group's second  LP; The Motions were also brought to the USA in 1968 and presented to the public  as one of the world's top hit-making pop groups! The single, "Freedom", reached  high in the American charts.

Although the group disbanded in 1971, the  most imporant members have met each other again and again in new groups such as  Crossroad, Greenhorn, Jupiter and Galaxy Lin.

From 1964 till 1967, the  line-up remained the same: Rudy Bennett (i.r.l. Ruud van de Berg - vocals,  earlier as Ritchie Clark and the Ricochets), Robbie van Leeuwen (guitar,  ex-Atmospheres & Ricochets, later the founder of both Shocking Blue and  Galaxy Lin), Henk Smitskamp (bass, ex-Willy & Giants, later to Livin' Blues)  & Sieb Warner (drums, ex-Ricochets, later to Golden Earrings).

In  1967, Robbie left to form Shocking Blue and was replaced by Leo Bennink  (ex-Mack); Henk was replaced by Gerard Romeyn (ex-Tee-Set, later with Nico Haak,  Image), who, in turn, was replaced by Paul van Melzen (ex-Haigs, later in the  Mailer McKenzie Band) after just six months. The last line-up of the group (up  'til 1971) was: Rudy, Leo, Jan Vennik (sax, flute & organ, ex-Jayjays, later  to Rob Hoeke & Ekseption), Han Cooper (organ, bass & vocals, ex-Bobby  Green Selection, later with Leo, to Fisher & Friends) and Bobby Green  (drums, ex-Bobby Green Selection, also to Fisher & Friends).

After  the breakup, Rudy Bennett, Bobby Green & Gerard Romeyn all released solo  singles.

This vinyl ripped by Optical Sound in bitrate of  256

grab and enjoy it  !!!


LOS PEYOTES- Cavernvcolas  (2006)

( Argentinian  garage rock )

David Lider:  voz, guitarra rνtmica y maracas

Oscar Hechomierda: bajo y coros

Pablo Peyote: baterνa y coros

Quique Melena: teclados

Rolando Bruno: guitarra y  coros

Track  List :

1.I caverman and  you?


3.Cry baby


5.Satanic rite

6.El humo te hace mal

7.When I arrive

8.Jack the ripper

9.Te pegaré

10.The brotherhood

11.I don't mind

12.The Witch + bonus track  Scream


Psychotic Reaction, 2002

Sudamerican Garage Punk (EP),  2003

Cavernvcolas,  2006

Influences : Fuzztones, Chesterfield Kings, ? & The  Mysterians...

Your Download-Link:

Get It  !!


Saturday, August 26, 2006



(80's UK Synth Pop)

Originally  a cult UK electronic indie band in the early 80s, Indians In Moscow had a No.1  indie hit in 1983 with "Naughty Miranda", followed by "Jack Pelter and his  Sex-Change Chicken" and the "Big Wheel e.p.". The original band split after  acrimonious management arguments just as their first album was  released.

On a grim Friday  evening in November 1983 the weekend is once more beginning with Channel Four's  legendary Tube. Jools Holland pauses on the threshold of a public lavatory and  says "...and now Indians in Moscow." Is this some hip new expression along the  lines of "Once in a blue moon"? Well, no. A music video explodes onto the screen  - a psychotic blonde singing a gruesome ditty about killing and eating her  father to the backing of a crazed synth-punk calypso. Indians in Moscow have  entered the building...

Over the  next nine months this Hull band would repeatedly mug the music business,  culminating in a storming gig at the Camden Palace in August 1984, before  abruptly splitting up on the brink of fame and fortune. If they had continued,  who knows what shape mid-to-late eighties music would have had?

Get It Here


BIRDMEN OF ALKATRAZ - From The  Birdcage (1989)

(Neopsych Italian  Group)


Track List :

1. puzzle of a downfall child

2.beggar girl


4.April dancer

5.lord of flies

6.harshness day

7.jack o' diamonds


9.anxious colour

10.sea of shadows

11.a musical tribute


Group Members:

Stefano Magni -  g

Daniele Caputo - voc, dr, perc

(Standarte, London Underground) Francesco  Bocciardi - g

Gianfranco Migliaccio - b

Discography : 

Glidin' Off (1987 EP)

From The Birdcage (1989  LP)

Excellent Italian 80s  neo psychedelia. They create a very full sound with vibrant guitar buzzing,  stinging and generally pervading every inch of precious vinyl. This record could  easily be mistaken for the out-pourings of some time-shrouded acid crazed combo  of the late 60's although some songs like "sea of shadows" betray their 80s  roots...

Your Download-Link


Edip  Akbayram (Great 2CD Compilation )


First readily available reissue/compilation of  material by this famous Turkish psych musician from the early '70s. Edip  Akbayram is the top of the BIG three of Turkish delights (Erkin Koray, Baris  Mancho & Edip).

This release includes the best psych tracks from his  first two albums and many singles -- 22 tracks, 90 minutes of music.

His band  Dostlar formed the songs into something which takes you on an Eastern trip, full  of fuzz guitar, electric sax and great percussions.

Edip's dark voice makes  you shiver and you feel like dancing right away. This is as good as Erkin Koray  -- deeply spiritual and charged with politically powerful lyrics.

This  release stands as one of the Shadoks reissue classics.

Track Listings

Disc : 1

1. Ince Ince  Bir Kar Yagar (Little Snowflakes Falling)

2. Deniz Üstü Kopürür (Spraying  Ocean)

3. Gam Üstüne Gam Yapilir (Sorrow and More Sorrow)

4. Degmen Benim  Gamli Yasli Gönlüme (Don't Touch My Sad Soul)

5. Anam Aglar Bas Ucumda Oturur  (Mother Cries About Me at the Head of My B)

6. Bosu Bosuna (In Vain)

7.  Garip (Miserable)

8. Yakar Inceden Inceden (It Burns)

9. Daglar Dagladi  Beni (The Mountains Made Me Sad)

10. Dumanli Dumanli Oy Bizim Eller (Our  Village Is Full of Smoke)

11. Sev Beni Beni (Love Me)

12. Kükredi Cimenler  (Roaring Grasses)

Disc: 2

1. Kolum Nerden Aldin Zinciri (My Arm, Where  Do You Got the Bracelet From)

2. Aldirma Gönül (Don't Bother My Soul)

3.  Kaslarin Karasina [Your Black Eyebrows]

4. Arabam Kaldi Yolda (My Car Broke  Down)

5. Affetmen Seni (I Will Not Forgive You)

6. Adam Olmak Dile Kolay  (To Be a Man Is Easy to Speak)

7. Dar Agaci (Gallows Pole)

8. Mehmet Emmi  (Uncle Mehmet)

9. Haberin Varmi (Do You Know?)

10. Zalim (Tyrant)

11.  Ayrilik (Separation)

12. Birak Beno (Let Go of Me)

Glad tidings for  Turkish psych freaks, or those soon to become Turkish psych freaks (just give  this a listen!): here's a new must-have collection crammed full of swirling,  fuzzed-out electric saz, impassioned vocals, and traditional Turkish folk gone  funk! If you are indeed into the groovy East-meets-West psychedelia that  flourished in Istanbul back in the '60s and '70s, artists like Mogollar, 3  Hur-el, Baris Manco, and Erkin Koray, chances are you may already be familiar  with Edip Akbayram and his band Dostlar (formed in '73). This new Edip Akbayram  double disc on the Shadoks label contains 24 tracks, including ten of the 14  cuts found on that previous reissue (meaning, if you already have that cd, you  still will want this for the whole disc and then some of songs you don't have...  and you can't get rid of the Nedir reissue either if you want those four songs  that don't overlap). So this is definitely the Edip set to get at any  rate.

The colorful music of Edip Akbayram and Dostlar is pretty much the  hardest-rockin' all the Turkish psych acts of the era I've heard...darn heavy in  spots. The Anatolian folk-rock of the sixties is blended with a polyester '70s  wah-wah funked-up progginess here. It's vibrant and colorful music to make you  feel like you're in some smoky, swinging nightclub on one of the warren of  narrow, twisting side-streets off of the hip main drag Istiklal in the Beyoglu  neighborhood of Istanbul, back in the day, sweating on the dance floor or  sitting back, sucking on a hookah.

The cd booklet is full of cool photos,  and a page of liner notes, giving Edip's bio but no info on the tracks  themselves, I'm just told that they're from his first two albums and singles.  However, they do include English translations of the song titles, which should  give some idea of Edip's seemingly dire outlook on life (or the outlook shared  by his Turkish folk sources), with such songs as "Sorrow And More Sorrow",  "Miserable", "In Vain", "Our Village Is Full Of Smoke", "Don't Touch My Sad  Soul", "Tyrant", "Gallows Pole" and even "My Car Broke Down"! Sounds like a  bummer, yet many of these tracks are amazingly upbeat musically!

Edip  definitely belongs high up in the reissued ranks of all the incredible, obscure,  groovy sixties/seventies psych sounds from all around the world that I can't get  enough of: Os Mutantes, San Ul Lim, Mogollar, Blo, Bango, Brincos, Krysztof  Klenzon, Juan de la Cruz, Los Dug Dugs, He 6, the stuff on comps like  Cherrystones Rocks, Welsh Rare Beat, Prog Is Not A Four Letter Word, Studio One  Funk, etc. etc. etc.

Enjoy ! 




Friday, August 25, 2006


HUMAN EXPRESSION-Love At Psychedelic  Velocity


Because of their masterpiece track  that called "Optical Sound",

I choose my user name.

Of course included it  in this album (CD), as all their fantastic singles that issued in decate of 60's  (4 singles in total).

All Humans Expression's singles (a & b sides) are  great garage/psychedelic tunes !!

However, in 1994 the Collectables records,  released an CD ''Love At Psychedelic Velocity'', which compiles all the band's  singles, plus demos and four post-Human Expression solo tracks cut by Jim  Quarles. The CD also includes excellent liner notes, from which this entry has  largely been taken, and is recommended to fans of the band.

Unfortunately for  me, till now there is any vynil re-issue and even if I don't like to buy Cds, I  have done for this lovely obscure and most desirable 60's garage psych groups  !

Human  Expression's story and discography:

Singles (45's):

1 Readin' Your Will / Everynight (Acetate Demo)  Summer 1966 Singles

2 Love At  Psychedelic Velocity/Everynight (Accent 1214) Summer 1966

3 Optical Sound / Calm Me Down (Acetate Demo)  Winter 1966

4 Optical Sound/Calm  Me Down (Accent 1226) Winter 1966

5 Sweet Child Of Nothingness / I Don't Need  Nobody (Accent 1252) Summer 1967

The band was formed in 1966 by Jim Quarles (lead  vocals), Jim Foster (rhythm guitar), Martin Eshleman (lead guitar), Tom Hamilton  (bass), and Armand Poulin (drums), with Quarles providing the name and Foster's  father as their manager.

Hailing from Westminster and Tustin, California,  this psychedelic punk band were formed early in 1966 and played around the L.A.  area, at clubs such as Gazzari's and USO clubs.

They good deliver on stage what most groups  scarcely achieved on record, an intensely virtuoso musicality coupled with punk  defiance and a charismatic projection of all of these elements. In a different  reality, they might've been a more mature and serious competitor to the Seeds,  perhaps even succeeding at doing what the Doors did, only without the literary  pretentions or personal excesses--equally impressive was the fact that most of  the songs that the Human Expression played were originals by Quarles and Foster,  who were entirely self-taught songwriters; Quarles later admitted that he wrote  from his heart and instinct, without over-intellectualizing any of it, and the  results seemed to pay off when coupled with the band's musicianship--their demos  were as good as many contemporary groups' released singles

An acetate Readin' Your Will / Everynight cut in  the Summer of '66 got them a deal with Accent, who released two awesome  acid-punk singles in the shape of Love At Psychedelic Velocity and Optical  Sound. Both singles were mixed by Wally Heider who also worked for the Grateful  Dead, and are now extremely sought-after and impossibly hard to  find.

"Optical Sound" b/w  "Calm Me Down," released in 1967, showed the group becoming more experimental,  utilizing studio electronic effects. "Optical Sound" itself, as a title, was  extremely clever, carrying with it connotations out of both psychedelia and  film. It was impressive, but that single wasn't the breakthrough that the band  had hoped for.

After Optical  Sound proved too far-out for the Charts, the band's manager offered them the  opportunity to record two tracks by what he described as "an up-and coming  songwriter".

The first demo  Sweet Child Of Nothingness would become their third single, and the other track  was turned down because Jim Quarles' didn't think lyrics like "Get your motor  running / Head out on the highway" were any good. The song was of course Mars  Bonfire's Born To Be Wild which Steppenwolf would later  cover!!

The Human  Expression's downfall came with the decision over what was to be their third  single. Offered a pair of songs to choose from, they selected a number called  "Sweet Child of Nothingness." The one they rejected was a song authored by Mars  Bonfire called "Born To Be Wild," because Quarles had some doubts about the  lyrics.

By the time the Sweet  Child Of Nothingness / I Don't Need Nobody single was recorded, both Jim Quarles  and Martin Eshleman had left the band.

This decision, which proved disastrous when  Steppenwolf took their version of the song to the top of the charts, coincided  with a major personnel shake-up--lead guitarist Martin Eschleman was injured and  had to be replaced, and Quarles didn't like the new line-up and  exited.

The Human Expression's  history ended.

Jim Quarles  is still active in the music business, working in a studio as a technical  engineer, and writing and recording songs.

grab and enjoy it !!!


Thursday, August 24, 2006


THE KNACKS  (1966-1970)

The Great Obscure Argentinian  Band

Before a time ago, I bought this  issue in vinyl and I realized that

THE KNACKS  was an excellent obscure  60's garage/ beat band from Argentina, who released a handfull of singles,all  included here,

and who had a pile of unreleased tracks, also all included  here.

Some songs sung in english and I would like to present this marvellous  band that wrote some brilliant tracks with a flavour of garage/beat and  psychedelic tunes !!

So, I if you don't aware on them, it will be very  great chance for you, to be familiar with them.

This vinyl ripped by Optical Sound  in mp3  (Bitrate 320)

Strongly Recommended !!

grab and enjoy it  !


Bo  Grumpus - 1968 - Before The War


Bo Grumpus - Before The War (1968)

Bo Grumpu's Personnel:





This band's album was produced by the late Felix Pappalardi and  includes N.D. Smart (of The Remains) on drums. Sparrow Time and Think Twice have  good fuzz guitar but it's predominantly a soft folk-rock LP. Mottau, Colegrove  and Blake went on to form the rockier Jolliver Arkansaw.

Jim Colegrove was  originally from Springfield, Ohio, and was co-founder of Teddy and The Rough  Riders, a rock'n'roll outfit who made three singles and an album for  Tilt/Huron/Mega City labels in the early sixties. In '66 he was with the  intrigingly named Thee Rubber Band, and the same year moved to New York to play  with The Hobbitts (whether the same act as The Hobbits... is unknown). In '67 he  switched from guitar to bass, and joined Bo Grumpus. Subsequently, he's recorded  with Hungry Chuck, and The Juke Jumpers,. Jim's story also sees him play  alongside Canadian act Ian and Sylvia, as part of their backing group Great  Speckled Bird (also with N.D. Smart), Todd Rundgren, Paul Butterfield and Allen  Ginsberg amongst many others. Anyone remotely interested, should check out his  website, for more info:


Ed Mottau later played with  Elliot Murphy, David Peel and John Lennon on his Walls And Bridges and Rock  & Roll albums.



Wednesday, August 23, 2006



"Summerhill" 1969  (Tetragrammaton t-114) This album goes for the kitchen sink approach, kind of  like the Sundowners and Condello albums. It mixes over-orchestrated popsike with  semi-heavy rock and sparkling guitar rock. The combination of styles is a bit  off-putting, and by the time you get used to it you'll realize that only two or  three songs really rise above, though those (especially the killer guitar pop  tune "It's Gonna Rain") are very good indeed. I don't expect anyone to like the  whole thing, but if you prefer a spotty album with a few great songs to a  consistent one with no standouts, this is worth picking up. [AM]  w*w.lysergia.com


01.  Soft Voice

02. Friday Morning's Paper

03. Bring Me Around

04. The Last  Day

05. Follow Us

06. The Bird

07. My Way (Hard for You )

08. What  Can I Say

09. It's Gonna Rain

10. Summer Days

Larry Hickman -  Rhythm Guitar, Banjo

Alan Parker - Lead + Rhythm Guitar, Banjo

Del Ramos -  Bass , Doug Burger - Drums

D. Briggs, D. Blumberg, C.Tugg -  Keyboards

Phoote, S. Butterfly, Portebo - percussion

Rusty Young - Steel  Guitar,

One and only album by late '60's USA psych band Summerhill, which  was originally released in 1969. Often compared to HP Lovecraft and sometimes  Euphoria (Texas) this is a lush orchestrated, melodic and dynamic album  featuring atmospheric 60's psychedelic-pop/rock with diverse influences. The  sound get's heavy in places with a dash of acid drenched 60's guitar based rock  and weird backward effects whilst elsewhere such as during "The Last Time" there  is a laid back country rock vibe. A great undiscovered album!


Tuesday, August 22, 2006

Skip  Bifferty - The Story Of Skip Bifferty



WHERE JOHN LENNON lead the way, with his  books like "In His Own Write", here comes Colin Gibson, 17-year-old bass  guitarist with SKIP BIFFERTY, with two collections of fantasy due for  publication at the end of the year.Colin's literacy---chiefly poetry, stories  and drawings and entitled "Bananas and Society" and "The Last of the Fake  Women"---all stem from the character after which the group is named---Skip  Bifferty. He explains: "I was just doodling one day and out came this little man  called Skip. I drew some cartoons of him, aimed at kids, but it seems that  30-year-old kids like him the most. Anyway, the idea caught on, and here we  are---Skip Bifferty!"While Skip the cartoon soldiers on, and so do Skip the  group. Watch for them on television and on disc shortly.

About the  Album:

Skip Bifferty (RCA RD/SF 7941)

Skip Bifferty (album) : Well, well,  well.....isn't this a goodie! A true psychedelic treasure. For fans of the  poppier side of the psych sound this is must-own long player! Skip Bifferty grew  out of another Newcastle group called the Chosen Few, but changed their name  when trippier times arrived. They started recording the album in 1967 and  finished by the end of the year, but apparantly RCA was reluctant to release it  due to the poor chart action of the groups 45 releases. As I said before, an  undisputed psych classic with a whole range of sounds, effects, and gimmicks,  but never overdone. The songs range from the social commentary Kinks type track,  "Jeremy Carabine" to the heady , ultra - psych drum-laden sound of "Guru" and  back again to the pop sound of "Money Man". Almost all the songs feature a  complicated mix with guitars and voices switching back and forth, coming and  going, etc. Throw in some good harmonies, imaginative arrangements and a good  measure of hipness and you've got a great record.

Skip Bifferty--The  Story Of Skip Bifferty (Sanctuary/ Castle CMEDD 518) 2003 2CD


Graham Bell: vocals (all)

Mickey Gallagher: keys  (1-37)

Tommy Jackman: drums (1-35)

Colin Gibson: bass (all)

John  Turnbull: guitar, vocals (1-37)

Alan Hull: vocals (21, 22)

Paul Nicholls:  drums (36, 37)

Pete Kirtley: guitar (38-40)

Kenny Craddock: organ  (38-40)

Alan White: drums (38-40)

Produced by Vic Smith (a.k.a. Vic Coppersmith-Heaven) (1-14, 16, 17),  Ronnie Lane (15), Guy Stevens (36, 37), Alan Price (38, 39)

Engineered by Roy  Thomas Baker (16, 17)

Compiled by John Reed and David Wells


Disc 1 - The Album

1. Money Man  [Bell/Turnbull/Gallagher/Gibson/Jackson]

2. Jeremy Carabine  [Bell/Turnbull/Gibson]

3. When She Comes to Stay [Turnbull/Bell]

4. Guru  [Bell/Gallagher]

5. Come Around [Bell/Gallagher/Turnbull]

6. Time Track  [Bell/Turnbull]

7. Gas Board Under Dog (Part 1)  [Bell/Turnbull/Gallagher]

8. Inside the Secret [Bell]

9. Orange Lace  [Bell/Turnbull]

10. Planting Bad Seeds [Smith/Gallagher/Turnbull/Bell]

11.  Yours for at Least 24 [Bell/Turnbull/Gallagher]

12. Follow the Path of the  Stars [Smith/Bell/Gallagher]

13. Prince of Germany the First  [Gibson/Turnbull]

14. Clearway 51 [Bell/Gibson/Gallagher]

Bonus tracks

15. Man in Black [Gibson/Bell/Turnbull/Gallagher; arr.  Steve Marriott]

16. On Love [Gibson/Bell/Turnbull/Gallagher]

17. Cover  Girl [Gibson/Bell/Turnbull/Gallagher]

18. Happy Land  [Gibson/Bell/Turnbull/Gallagher]

19. Reason to Live  [Gibson/Bell/Turnbull/Gallagher]

20. Round and Round  [Gibson/Bell/Turnbull/Gallagher]

Alan Hull/Skip Bifferty

21. This We Shall Explore  [Gibson/Bell/Turnbull/Gallagher]

22. Schizoid Revolution  [Gibson/Bell/Turnbull/Gallagher]

Disc 2 - BBC Sessions

23. The Hobbit [Turnbull]

24. Man in Black  [Gibson/Turnbull/Gallagher/Bell]

25. Once  [Gibson/Bell/Turnbull/Gallagher]

26. Aged Aged Man  [Gibson/Bell/Turnbull/Gallagher]

27. Higher Than the Clouds  [Gibson/Bell/Turnbull/Gallagher]

28. The Lion & the Unicorn  [Gibson/Bell/Turnbull/Gallagher]

29. Disappointing Day  [Gibson/Bell/Turnbull/Gallagher]

30. Money Man  [Gibson/Bell/Turnbull/Gallagher]

31. I Don't Understand It  [Gibson/Bell/Turnbull/Gallagher]

32. Don't Let Me Be Understood  [Benjamin/C/M]

33. In the Morning [Gibson/Bell/Turnbull/Gallagher]

34.  Follow the Path of the Stars [Gibson/Bell/Turnbull/Gallagher]

35. When She  Comes to Stay [Gibson/Bell/Turnbull/Gallagher]

Heavy Jelly

36. I Keep Singing the Same Old Song [Gibson]

37.  Blue [Bell]


38. I am the Noise in Your Head  [Kirtley/Gibson/Craddock]

39. Don't You Know [Kirtley]

40. Shine (BBC  Session) [Bell/Gibson/Craddock]

Notes: (***) Tracks (20)-(22) and (40) are previously unreleased. I presume  the writing credit on track (1) is in error and should be Jackman rather than  Jackson.


CD1  CD2


Thursday, August 17, 2006


OMAR KORSHID & HIS GUITAR- Rythms From The  Orient (1974)

Take a mid  eastern trip with great psych guitar and crazy moog...

Grab It!


Wednesday, August 16, 2006

The  Mystic Tide (US) - Solid Sound (1965-1967)



Formed 1965

Disbanded 1967

Styles Garage  Rock, Psychedelic

Of the many garage bands who released unrecognized and  obscure singles in the mid-'60s, the Mystic Tide were one of the very best. The  Long Island group released four singles on their own labels in 1966 and 1967,  mostly for distribution at their own gigs (and apparently they didn't sell too  well there, either). While the production on these is fairly raw, the group had  genuine original talent, pursuing a dark, psychedelic vision with overloaded  distorted guitar breaks. Their tunes (all written by guitarist Joe Docko)  combined the minor-key melodies of British Invasion groups like the Zombies with  the raunch of acts like Them. Unlike most other American groups following this  path, however, they added a mysterioso (at times vaguely Middle Eastern) element  that echoed the innovations of groups like the Doors, the Velvet Underground,  and the very early Pink Floyd and Soft Machine, though the Mystic Tide most  likely didn't hear any of these groups. Their sound and outlook were perhaps too  foreboding for even local success, and the group disbanded in 1967, ironically  finding a much greater audience when their singles were reissued for  psych/garage collectors in the '80s. — Richie Unterberger


(posted by Arcadium)


Get  it here (thanks to jhlee69)

Part 1 ~ Part 2


Tuesday, August 15, 2006


AKRITAS-Same (1973,  Polydor 521 197-2)

(Greek Prog  Monster)

Freak Emporium in the UK had this to say:

”  Amongst the most ambitious and best Greek progressive albums, this 1973 release  is a tremendous concoction of dynamic and effortlessly shifting complex rhythm  changes, multi-instrumental layers and musical textures. With individual  segments ranging from Garcia-like guitar, pomp chuch organ, jazz, baroque, piano  recital, thundering drums, soaring melodic vocals... And probably a kitchen  sink, it is somewhat comparable with the finest ELP, Gentle Giant and Zappa, but  at the same time totally unique! A mega prog killer!!”

…while Dutch prog specialists Hemispheres stumbled  through this pretty lofty praise:

” The album that outshone all  others in 1973(A huge call, but this album has attracted this sort of praise  from MANY other prog fanatics, and reviewers.), was without any doubt the only  one by AKRITAS, which moves within an unpredictable experimental progressive  direction. The many elements from the Greek traditional folk music, especially  in guitar playing, the unusual and excellent compositions, and the intense  improvisation put the record in the first line of importance.(They’re not wrong  there!) The principal composer of the group was Stavros Logaridis while the few  lyrics were signed by the director Kostas Ferris, who had also written the  lyrics for Aphrodite’s Child’s “666” concept double album.

The Akritas line-up  was

Giorgos Tsoupakis - drums,

Stavros Logaridis - vocal, bass, acoustic  guitar,

Aris Tasoulis - piano, organ,  VSC 3 synthesizer,

and Dimos  Papachristou - electric guitar”

…and  our Crohinga Well buddies expounded thus:

” Akritas must surely  rank among the best groups ever to have hit the Greek scene, if one is to judge  by their - admittedly very rare - eponymous debut album. The LP is chock-full of  underground progressive rock akin to the sounds that can be found on albums by  Aardvark, Arcadium and even Emerson Lake & Palmer. Apart from Logarides,  other people in the band were keyboards player Aris Tasoulis (ex-Despina  Glezou), guitarist Dimis Papachristou, drummer Giorgos Tsoupakis (who in the  eighties went on to play with Panos Dracos) and organist John Papadopoulos).  Sadly, apart from a single, this 1973 release was to be their only re-corded  output, for soon after this excellent band split up due to general indifference.  A part of that era's rock press is on record as describing Akritas' music as  "music for Chinese people", because of the intrinsically difficult and complex  rhythmic patterns they wove.”

A mega prog killer!!


Second  Hand - 1971 - Death May Be Your Santa Claus


SECOND HAND - Death May Be Your  Santa Claus  (1971)

Second Hand  have been described as 'cult psychedelic heroes'; I can't find out anything  about the core members before the band's formation, but keys man Ken Elliott and  drummer Kieran O'Connor kept the band alive through several years and three  albums, although the last of these, Chillum, was released under that name, for  reasons now lost in the mists of time.

1968's Reality (Second Hand Reality, I  suppose), is a typical late-ish period psych album, with all the usual  influences, including the music-hall of Denis James The Clown and the rather  overwrought balladry of The Bath Song (which reminds me of Simon Dupree, for  some reason), amongst others. The album appears to be as good as dedicated to a  gentleman by the name of Denis James (a friend? A fictional character?), with no  fewer than three songs referencing him, including the sad tale of his untimely  passing. Elliott gets plenty of MkII 'Tron onto the album, with flutes, strings  and brass on opener A Fairy Tale, fairly heavy string use on Steam Tugs and a  very upfront flute melody on Denis James (Ode To D.J.), distinctly different to  the real flute to be heard in places. More strings and flutes in The Bath Song,  including a 'Psycho'-style discordant string chord at one point, and finally  more strings in the closing A Fairy Tale, a heavily-rearranged version of the  album's opener. All in all, this is an excellent, rather overlooked psych gem  from an undeservedly obscure outfit, with plenty of 'Tron to boot.

It  took the band another three years to come up with the strangely-titled Death May  Be Your Santa Claus, by which time, of course, the world (music and otherwise)  had moved on noticeably. Second Hand's answer to this was to produce an odd  little album of shortish material, not exactly psych, or prog, or mainstream  pop/rock; not exactly anything, really, and all the better for it if you ask me.  Saying that, it's not that fantastic an album, but it definitely has its moments  (Revelations stands out particularly), despite being slightly uncohesive. I've  no idea if Elliott had a new M400, or whether the old MkII was still in use, but  he gets some strings in on all the highlighted tracks above, with some excellent  pitchbend work on Hangin' On An Eyelid, and an odd, choppy flute part on Death  May Be Your Santa Claus (Reprise), along with some brass (so is that the MkII?).  Unfortunately, the two bonus tracks Elliott (presumably) has elected to add to  the disc are largely a waste of time, and to add insult to injury, are stuck in  the middle of the running order, rather than at the end, where you'd expect, and  could easily flick the 'off' switch.

After splitting up acrimoniously  after the Chillum album, Elliott and O'Connor eventually got back together as  Seventh Wave, recording another two albums with minor 'Tron action in the  mid-'70s before a final parting of the ways. Sadly, O'Connor has subsequently  died, but Elliott continues to work in the business, playing sessions, as he did  in the early' 70s. So; Reality is probably the better of the two albums,  although if late-'60s psych isn't your bag, you're not going to like it, simple  as that. Death May Be Your Santa Claus is odder, and possibly more adventurous,  though I suspect it'll take rather more work to get into. Better 'Tron on the  former than the latter, but not bad throughout.



Demis  Roussos - 1971 - On The Greek Side Of My Mind


After your demand, here is the requsted  album.....

DEMIS  ROUSSOS  - On The Greek Side Of My Mind (1971)


  1. On the Greek Side of My Mind 
  2. She Came Up from the North 
  3. Good Days Have Gone 
  4. We Shall Dance 
  5. I Know I'll Do It Again 
  6. Fire and Ice 
  7. End of the Line 
  8. My Blue Ship's A-Sailin' 
  9. Mountains Beyond 
  10. O My Friends You've Been Untrue to Me 
  11. Lord of the Flies 
  12. Without You

The Roussos had been in Egypt for two generations and on 15 June 1946  Artemios Venturis Roussos was born in Alexandria. His mother, Olga, and his  father, George, both of Greek extraction, had also been born in the country  their parents had come to in the 1920s. Following the Greek custom, the baby was  named after his paternal grandfather, Demis being a pet name for Artemios. In  the heart of an orthodox community, he lived in the middle of a Muslim city.  From his early childhood he was immersed in folk music, exposed to Byzantine and  Arabic influences. Attracted to singing, he joined the choir of the Greek  Byzantine Church with which he sang for five years as a soloist. At the same  time he studied musical theory and learnt how to play the guitar and the  trumpet. Everything was going well when the Suez crisis blew up in 1961.  Residents in Egypt had to leave the country and the Roussos – Mr Roussos was an  engineer with a property construction company – returned to their native land,  Greece. At the age of 17, with only music in his head and to the great  disappointment of his mother who was hoping to send him to the best school in  Athens, Demis formed his first band, ‘The Idols’, in which he played guitar and  bass. At that time the band members were his cousin Jo, Natis Lalaitis, Nikos  Tsiloyan and Anthony. A chance happening meant that one day Demis had to replace  the group’s singer for a short time and he sang an Afro-American spiritual, ‘The  house of the rising sun’, and another popular success of the time, ‘When a man  loves a woman’. The public was immediately won over by his voice. Overcome by a  great desire for independence, he began to feel the need to take control of his  own life. Henceforth, bands and clubs became part of his daily life. Meeting  Lucas Sideras and Argyris Koulouris lead him to play the international successes  of the moment in clubs and night- clubs. The great turning point of his musical  career was his meeting with Vangelis Papathanassiou in the summer of 1966. One  particular song introduced Vangelis to Demis’ unique voice. Within his group he  began to sing more and more often, frequently as a soloist. However, a few  meetings with Vangelis did take place. These young musicians, cut off from the  international music scene, soon realised that an interesting career could only  be accomplished outside their country.

Demis left his group and began to practice new songs with Vangelis.  At the end of March 1968, Lucas and Demis took the train to London. Vangelis was  supposed to join them a few days later. Fate decided otherwise. When they  arrived in Dover, at the English border, with no work permits, customs officers  discovered photos and tapes in their luggage and quickly realised what their  true intentions were. The young musicians cut short their journey. Back in  Paris, trapped by the circumstances, their savings melted away day by day.  Unable to leave Paris where unrest was brewing, only a recording could get them  out of a tight spot. They learnt that Phonogram was holding an international  conference and, plucking up all the courage they could find, they went to meet  with the executives and explained their situation. A draconian contract, which  promised exclusivity for six years, was drawn up. Confronted by the necessity to  get by, they signed the contract and were able to begin recording. Their dream  was at last coming true. It was in the 4m² cellar near the Porte d’Italie where  they practised that ‘Rain and tears’, composed by Vangelis, was born. The lyrics  were written by Boris Bergman, a young song-write introduced to them by the  record company. The recording of the single took place in extremis in rather  unusual circumstances. The following day the studio closed due to the general  strike. A few weeks later ‘Rain and Tears’ was number one in the charts. They  had made a hit! They themselves saw very little difference in what they were  doing but they began to receive proposals for concerts and they were swept up in  success. In June a week of performing at Olympia as Sylvie Vartan’s opening act  was a real success. They spent the summer in the clubs of the South of France.  Their success continued to grow. Hundreds of thousands of copies of their first  album were sold and Demis’ fantastic voice brought them a great many more  successes with ‘It’s five o’clock’, ‘I want to live’, ‘End of the world’ and  ‘Spring, summer, winter and fall’. These five hit singles were accompanied by  two albums, one of which became number one. The group climbed to number one in  Germany, Holland, Belgium, France and Italy… ‘Aphrodite’s Child’ lasted for two  years. They made 239 television appearances over this period. Demis married  Monique with whom he had a daughter, Emilie. Vangelis however was dissatisfied.  He wanted a more serious music, more like the music he composed alone. He wished  to confront the English and American markets, to stop touring and devote his  time to studio work. The recording of the double album ‘666’, based on the texts  of Saint John’s Apocalypse, was the materialisation of this desire for change.  It was a critical moment for the group: after three months of costly recording,  the record company panicked. The break-up of the group became inevitable after a  heated argument between Vangelis and Lucas. In the end it was Vangelis alone  who, one year later, finished the album which was seen at the time as a  classical masterpiece. Supported by the record company Phonogram, Demis began a  solo career.

Inspired by the  numerous folk themes in his head and using the sounds and instruments of pop  music Demis fulfilled his dream. Two months in the studio were required to  complete this first LP. He composed some of the melodies and conceived some of  the arrangements. Named ‘Fire and Ice’, love, life and death are its major  components. This twelve track album was released in 1971. Demis was already no  longer totally unknown, his first single, ‘We shall dance’, having been one of  the biggest hits of summer 1971 not only in France, but all over Europe. His  international career took off straightaway. 1972 was a year of travelling.  Spain, Italy, the Netherlands, Greece and Germany welcomed him. In June ‘My  Reason’ was released and for several weeks Demis was once again at the top of  the singles’ charts in France. In September he achieved national consecration  with a performance at Olympia that revealed his talent. His vocal potential was  fantastic and his stage presence extraordinary. In front of 30 000 people he  performed ‘Velvet Morning’, a song composed specially for the occasion by Lakis  Vlavianos, a Greek born in Athens on 7 July 1947. He composed most of Demis’  songs, ‘My friend the wind’, ‘Someday, somewhere’… Accompanist and conductor, he  played the organ, Melotron and Moog Synthesizer. A trip to South America lead to  a big tour in 1973, the year which saw the release of his second album, ‘Forever  and ever’ comprising songs that would nearly all become great hits just like  ‘Forever and ever’, ‘My friend the wind’, ‘Lovely sunny days’, ‘My reason’,  ‘When I was a kid’, ‘Goodbye my love, goodbye’… Two million records had already  been sold in one year of solo career and the Demis Roussos phenomenon was only  just beginning. That year I heard a lot about him on the radio and I often  listened to old Aphrodite’s Child records and to my great surprise I learnt that  he was going to give a recital in my home town as the opening act for Joe  Dassin. That was my first meeting with Demis. Until then I had never seen him on  stage but he was in my imagination, omnipresent, all-powerful. His entrance was  announced by an instrumental from his orchestra, a mixture of Wagnerian and  Byzantine music added to by an impressive sound system. Demis appeared on stage.  His stature was impressive, his long tousled beard flowing like a prophet’s,  lightning in his eyes, his smile confident and satisfied. Demis, the Pope of  pop, with the physique, the majestic gestures, the lofty allure, appeared  shrouded in a cloud of smoke. That night he mixed a harmonious cocktail of both  Greek and Byzantine music with sublime nuances. Steeped in this music, the  public was captivated by his technical perfection. Demis Roussos had a musical  style without improvisation, full of finesse and beauty. On stage the colours  were perfectly matched to the music: tender, gentle, nothing aggressive. One of  the songs, the unknown ‘Thousand years of wondering’, lasted six minutes.  Composed by Lakis Vlavianos, it fluctuated between Bach, Led Zeppelin and the  Yardbirds. This fantastic recital ended with a journey through Greece with ‘My  reason’. His music moved the public, stirring in peoples’ hearts the strange  charm procured by religious chants and the aggressive rhythm of Arabic chants.  People let themselves be overcome by his extraordinary  voice.

Really amazing voice !!

In Future we are gonna  upload the first two marvellous albums of Aphrodite's Child that  that constituting from more well international  psychedelic records of 60's !!

grab and  enjoy it !!!


Magical  Power Mako (Japan) - 1975 - Super Record


MAGICAL POWER  MAKO - Super Record (1975)


1. Andromeda

2. Tundra

3. Silk Road

4. Woman in South  Island

5.  Pink Butch (Lalala)

6. Sound 3

7. Rock Baby in  Meadow

8.  Sound 3

9.  Majorica Resistance Song

10. Sound 3

11. Cosmos  Sandglass

12.  Sound 3

13.  Sound, Mother Earth

14. Sound  3

Magical Power Mako is  the Japanese underground legend who made a batch of

amazingly dusted psych  LPs for the Japanese Polydor label in the 70s,

sometimes referred to in terms  of "the Japanese Faust". His first 2 records

in particular, the Magical Power  debut from 1973 & Super Record from 1975

are as excellent as it  gets.

This specific album, ''Super Record'', the  second of magical power mako's 20-plus recordings, is considered by those that  know to be his finest, combining as it does strong elements of japanese folk  music alongside innovative psychedelic sounds and broad musical vistas of  extraordinary imagination.

Realized in Mako's private studio on a  quadraphonic tape machine, the eccentric

multi-instrumentalist created the  definitive document of mid-'70s far

eastern rock exploration.

Mako was  born in Shuzeni Izu in Japan in 1956, and after commencing his musical education  at a young age, making his first public performance in 1973 at the age of 16  with his band genge in the famous Shibuya club.

Based on these impressive  public performances, the precocious Mako was invited to play with one of Japan's  foremost contemporary composers, Toru Takemistu, playing alongside the composer  in 3 film scores, inheritance for the future, petrified forest and himiko. The  response to his performances was overwhelmingly enthusiastic, elevating Mako to  almost god-like status in his native country.

Mako's music has often baffled  pundits keen to place him in a particular musical slot.

As one perplexed  scribe opined "Mako's music possesses a certain strange kind of texture.

It  is certainly what they call rock, but contains elements we can't describe so  succinctly.

It clearly goes beyond the various genres of music and while full  of them all, it sends forth a fierce glow".

Another critic wrote "adding to  the variety of folk music from India, Turkey and Russia, his mandolin or taisho  koto, and especially his marvellously-performed guitar, expresses fully the  odour of the soil and mankind's universality".

PS: Make a comment(s), to not feel lonely at all  !!


Kaleidoscope  (USA) - Pulsating Dream 1967-1970


Kaleidoscope (USA) - Pulsating  Dream [3cd's] (1967-1970)

Jimmy Page himself calls Kaleidoscope  “my favorite band of all time,” and no wonder—with the multi-instrumental  wizardry of David Lindley leading the way, Kaleidoscope weaved ethnic music  exotica into rock songs better than anybody before or since (including Led  Zep—where do you think they got the idea for 'Kashmir'?!). This 3-CD set  presents their COMPLETE recordings, including all four albums—'Side Trips,  Beacon from Mars, Incredible Kaleidoscope' and 'Bernice'—they recorded for Epic,  plus a bunch of hard-to-find singles and B-sides. 45 mind-and string-bending  tracks!

Song's Titles

Disc: 1

01. Egyptian Garden

02. If the  Night

03. Hesitation Blues

04. Please

05. Keep Your Mind Open

06.  Pulsating Dream

07. Oh Death

08. Come on In

09. Why Try

10. Minnie  the Moocher

11. Elevator Man

12. Little Orphan Nannie

13. I Found  Out

14. Greenwood Sidee

15. Life Will Pass You By

16. Taxim

17.  Baldhead End of a Broom

18. Louisiana Man

19. You Don't Love  Me

Disc: 2

01. Beacon from  Mars

02. Rampι, Rampι

03. Nobody

04. Love Games

05. Egyptian  Candy

06. Hello, Trouble

07. Just a Taste

08. Lie to Me

09. Let the  Good Love Flow

10. Killing Floor (AKA Tempe Arizona)

11. Petit  Fleur

12. Banjo

13. Cuckoo

14. Seven-Ate Sweet

Disc: 3

01. Sefan

02. Chocolate  Whale

03. Another Lover

04. Sneakin' Thru the Ghetto

05. To Know Is Not  to Be

06. Lulu Arfin Nanny

07. Lie and Hide

08. Ballad of Tommy  Udo

09. Bernice

10. Soft and Easy

11. New Blue Ooze

12. Why Try  [Single Version]


It's a little surprising that  a cult band like Kaleidoscope would get honored with an all-out three-CD set,  considering the limited market. But here it is, and it certainly leaves no stone  unturned, including the entire recorded output of the band while they were on  Epic. That essentially covers the entire period of interest to most fans,  spanning the band's formation to their breakup in the early '70s (though they  subsequently reunited for some albums that aren't represented here). In addition  to everything from their albums Side Trips, A Beacon from Mars, Incredible, and  Bernice, it has quite a few tracks that only showed up on non-LP singles or as  outtakes on posthumous compilations. And some of those extras aren't even easily  found on Kaleidoscope compilations, namely the old-timey psychedelia of the  early B-side "Little Orphan Nannie" and the less impressive, heavily bluesy 1968  B-side "Just a Taste." The problem with this compilation is not so much to do  with the music as whether it might be suitable for either the completist or  neophyte. The completist might well already have virtually all of this on the  albums and scattered comps, and resent having to fork out for a three-CD set  just to get those two B-sides; the neophyte might find it way too much to start  (and end) with, both in length and expense. But — if you want the complete works  of Kaleidoscope in their first and best incarnation, it's all here, down to the  crazy psychedelic soul single they did with Larry Williams and Johnny "Guitar"  Watson, "Nobody." It's also well annotated, and contains plenty of exhilarating  psychedelic world fusion highs, though the band's incredibly eclectic scope  means there are some turkeys as well. Plus, some of those non-LP items aren't  mere frivolities — the B-side "Rampe, Rampe," for instance, is a superb  Greek-like instrumental that winds itself up into a frenzy.~AMG

Part 1 Part 2  Part 3 Part  4


Monday, August 14, 2006

Orient  Express - 1969 - Orient Express



Classic Middle Eastern US 60's psych in a similar  vein to the American Kaleidoscope, John Berberian etc.

Loads of exotic instruments including lashings of  oud and clay drum percussion. A trippy mixture of European rock and Middle  Eastern promise.

Real Trippy  Album!

My fave track from  this album is ''Cobra Fever''

(Do you agree  ?)

Stongly recommended  !

Members of Orient Express are: 

GUY  DURIS sitar, electric oud, vocals

BRUNO GIET electric minitar,  vocals

FARSHID  GOLESORKHI electric melodica, dumbek, tympani, vcls

Originally from  Europe this band moved to the States. Guy Duris was actually born on the Left  Bank and later met Golesorkhi, who had been decorated by the Shah of Iran for  his drumming and was interested in applying Eastern rhythms to Western music, in  Iran. They met Bruno Giet, a Belgian pilot and guitarist, in Paris while  travelling around Europe. Soon the three members headed for America and settled  in New York's East Village initially but ended up in California where their  album was recorded. It's powerful Eastern-influenced psychedelia. Particularly  fine examples of their marriage of Eastern and Western music are Train To Bombay  and For A Moment. This album is highly recommended. They did not release any  singles on Mainstream.


This act should not be confused with Liz Damon's  Orient Express, who were from Hawaii and played cabaret music. They issued one  album Liz Damon And The Orient Express (Anthem) 1970, and at least three  singles.

PS: Make  comment(s), if you feel it !!


The  Peep Show - Maze 1967-1968


The Peep Show - Maze  1967-1968

bitrate: 256 size: 79 mb

Personnel  incl:



1 Mazy/Your Servant, Steven (Polydor BM  56196) 1967

2 Esprit De Corps/Mino In A Mix-Up (Polydor BM  52226)


This obscure London-based four-piece group is best  remembered for Mazy, a dreamy, rather haunting slice of flower power.  Apparently, their 45s were jointly produced by Peter Meadon, who'd helped mould  The Who in their early days as The High Numbers, and Norman Jopling, who worked  at 'Record Mirror'. Your Servent, Steven was also recorded by The Blues  Magoos.

Compilation coverage has included:

Mazy on Rubble Vol. 13:  Freakbeat Fantoms (LP), Rubble Vol. 7 (CD),

Visions Of The Past, Vol. 2 (LP  & CD),

We Can Fly (CD)

and The Best Of Rubble Collection Vol. 1  (CD).

Tracks :

01 - Your Servant  Stephen

02 - Maze

03 - Big Giant Man

04 - Lost My Lover

05 - Lovey Dovey Feeling

06 - Silver Queen Of The Screen

07 - When You're Getting Tired

08 - Rum Sensation

09 - Called And Chosen

10 - Esprit De Corps

11 - The Hovercraft Song

12 - Goodbye Child

13 - Morning

14 - Do Not Wait For Better Times

15 - Maze # 2

16 - My Friends And I

Tenth Planet  TP043