29-10-06 - 05-11-06

Friday, November 03, 2006

The Meanie Geanies

The Meanie Geanies - 1998 - I'm On My Way [single7'']
01 I'm On My Way
02 You Left Me Blue

The Meanie Geanies - Live [02-02-2004]
01 Won't Be By Your Side
02 Every Night
03 Love Has No Tyme
04 Anglo Girl Desire


The Meanie Geanies , the only New Greek 60's garage girl band, were formed in the Spring of 1996, in Athens/Greece, by girls that shared the same love for the mid 60s spirit, music, styles, movies and philosophy. They got their name from Tony Brook's and The Breakers song named “Meanie Geanie”, when they listen to it played as a cover from their favourite band The Sound Explosion.

A female 60's Garage - Punk band was the dream and Meanie Geanies is the dream came true. Their music was a mixture from the innocent and primitive 60's Garage!!! Back From The Grave style, row surf and moody 60's punk.

The band's sound was the… purest possible, using equipment and recording techniques straight from the 60's. .

Meanie Geanies performed in several live shows with bands like Cardinals , Walking Screams and Outtasites . At the end of 1998, after some necessary changes in formation , they recorded their first 7” 45 rpm single for Action Recs (I'm On My Way / You Left Me Blue ) and in 1999 they stopped playing together . After that , the singer and the Farfisa player made another band ( Six Tin Trash) and the bassist formed the Teardrops. In spring of 2002 they met again (!) deciding to reform M eanie Geanies.

Since then they have performed in several live shows with many international bands like Fuzztones , Electralane , Sky Saxon & The Seeds as well as with main Greek bands like Sound Explosion , Frantic V , Psykicks , Teardrops in the greatest live spaces ( Gagarin , Mylos, An Club… ) and festivals ( Garage Festival , Vavel Comics Festival , Indie Free Festival ...). In the last three years they have visited several cities all over Greece for performing ( Thessaloniki , Komotini, Florina, Agrinio, Kalamata …).

In July 2005, they recorded their first LP ( Bloody Date ), that would be released in late 2006 . Recently they recorded a live bootleg in order to present their favorite covers . The title of this release could not be other than … Cover Ups !.

Their sound is more wild and primitive than ever before, full of swirling farfisa sound, tons of fuzz, pounding drums, screams and tambourines!

The Meanie Geanies are :
Mary Jane : Vocals, screams, tambourine
Eve deVille : swirling Farfisa organ
Angel LoVerde : fuzz Guitar, backing vocals
Nandia Insane : Bass, backing vocals
Rigo Starr : pounding Drums

So, be aware! These Geanies are really Mean!!!

Thursday, November 02, 2006

Dr Z - Three Parts To My Soul - 1971

Dr. Z Three Parts To My Soul(1971)

The basis of the record is the concept of the division of the soul into three - the Spiritus, which represents the inhereent good side of Man, the side of beauty, gentleness and goodness; the Manes or the part of the soul which inhabits the underworld, more benevolent than malevolent but mixing with the damned; and lastly the Umbra, the shade of the soul which refuses to leave the earth, and stays to haunt the world. Only around 80 copies were reputedly sold of this keyboard dominated progressive album, making it one of the most difficult major label (Vertigo) releases to trace. It was, however, better than it's reputation would suggest. The band were the musical vehicle of a North Wales professor called Keith Keyes. They were signed to Vertigo by Patrick Campbell-Lyons after he'd been sent a tape of Keyes' singing accompanied only by a piano. The lyrics are all written by professor Keyes, and his philosophical point of view is strongly reflected in the lyrics. Although this inevitably hanged heavy on the music, the careful approach applied to most of it saved a lot. The parts where the shadow side of the soul plays the cardinal role are full of real despair and get a convincing musical treatment. The sparse instrumentation, virtually without guitar, is skillfully used by this English trio. The cover had been designed by Barney Bubbles, who was better known for designing Hawkwind's sleeves. Sadly, little is know about this recording, which became the only album Dr. Z ever made.. Tracks:

1. Evil Woman's Manly Child (4.47)

2. Spiritus, Manes Et Umbra (11.36)

3. Summer For The Rose (4.28)

4. Burn In Anger (3.26)

5. Too Well Satisfied (5.51)

6. In A Token Of Despair (10.13)

Band Members: Keith Keyes - Piano, harpsichord, organ and vocals Bob Watkins - Drums and percussion Rob Watson - Bass guitar --- Produced by Keith Keyes Executive Producer: Patrick Campbell-Lyons Recording Engineer: Richard Digby Smith Assistant: Trevor Lucas Design: Barney Bubbles/Phil Freaks Compositions published by Chappell and Co Ltd Recorded at Island Studios, London Release info: Released by Vertigo (Vertigo 6360 048) 1971 R3 Reissued on CD (Vertigo/Second Battle SB 012) 1991. Reissued on CD (Si-Wan Records SRMC 0015) 1994. The 1991 CD reissue came in two formats and included both sides of their earlier non album 45:Lady Ladybird/People In The Street (Fontana 6007 023) 1970, which was a fine example of inventive late sixties pop (without any occult matters thus not included at this page). Aside from the straight-forward CD reissue, there's also a lavish 7" sleeve CD package which tries to replicate the original open out sleeve.The 1994 CD reissue also came in the original open out sleeve, with their earlier non album 45 songs as bonus tracks.
Review:This album is quite a concept. I guess you really have to be a professor to write such lyrics and know so much about "the voyage of the soul" and the afterlife. Musically, this record reminds me of early Black Widow stuff, but with some exceptions. The voice of the singer sounds more sinister and pissed off, or evil for that matter, on this record. The voice is sung double on the tracks "Evil Woman's Manly Child" and "Burn In Anger". By double I mean one ordinary voice and one whispering one. The whispering one is quite creepy. Also, the music is of course very harpsichord dominated (since no guitar is used), and that gives this band their own sound in a way. There are actually some flute (may be a keyboard-flute) on the song "Burn In Anger", which is quite a nice touch. The song "Spiritus, Manes Et Umbra" has a cool intro, with a choir (echo) voice singing "Spiritus, Manes Et Umbra" over and over again. Later the track falls apart by a long, uninteresting drumming part, like a drum solo that goes on for 5 minutes...it is far from the best part of this album. The best part is saved to the last track, "In A Token Of Despair", which is a pretty, calm and peaceful song. It also includes some choir parts where the soft choir (echo) sings "Dies Irae, Dies Illa" - my favorite part of the album. Very beautiful.... In all I would recommend this album if you like what you've read here, might be interesting to give it a listen. B. E. Eide

ENJOY PT1 PT2

V.A. - Greasy Truckers Live at the Dingwalls

Greasy Truckers Live at the Dingwalls
Dingwalls Dance Hall, Camden Lock, on October 8th 1973

SIDE 1
CAMEL
God of Light Revisited (Parts One, Two and Three)

SIDE 2
HENRY COW
Off The Map
Cafe Royal
Keeping Warm In Winter
Sweet Heart Of Mine

SIDE 3
GLOBAL VILLAGE TRUCKING CO.
Look Into Me
Earl Stonham (The Gunslinger)
You're A Floozy Madame Karma (But I Love Your Lowdown Ways)
Everybody Needs A Good Friend

SIDE 4
GONG
General Flash Of The United Hallucinations
Floating Anarchy (Part 32)

Part I
Part II

Info Here

Chris Lucey - Song Of Protes And Anti-Protest

Ripped By @rcadium @320kbps from cd.
Chris Lucey
Personnel:
ROBERT PARKER JAMES aka CHRIS LUCEY/BOBBY JAMESON hrmnca, vcls A
ALBUM:
1(A) SONGS OF PROTEST AND ANTI-PROTEST (Surrey SS 1027) c1965/6
NB: Mono and stereo versions exist. There were also two different label colors: red and purple, red being the somewhat rarer one and the purple label crediting "Chris Ducey". Mint copies can fetch upwards to $150-300. (1) also issued in the UK as by Bobby Jameson, but entitled Too Many Mornings. Also issued in Canada, some copies say "Chris Lucey" on cover and labels, some say "Chris Ducey" on cover and labels!
Robert Parker James was born in Tucson, Arizona but took the pseudonym Bob Jameson and was most likely based in California. In the US, this album was released under the alternative pseudonym Chris Lucey, but in the U.K. it was released as Too Many Mornings as by Bob Jameson. Produced by ex-surfer Marshall Lieb and issued in the U.S. on the same budget label as The Leaves debut, no info is given on the cover other than the picture of a Byrd look-alike with his mouthharp(*). The album also includes an excellent version of Girl From The East similarly featured on the Leaves album.
The music is laidback folk/rock with echoes of Byrds, Tim Buckley, Steve Noonan and Lovin' Spoonful. Many of the songs feature charming guitar parts, dreamy arrangements, jazzy even Lee Underwood-ish backing. Some of the highlights are I'll Remember Them and Girl From Vernon Mountain, both of which are excellent introspective pieces. Most of the album is filled with a haunting atmosphere and all the tracks are originals.
Collectors may wish to note that the Mono copies differ considerably to the Stereo ones.
Surrey was a sort-of subsidiary label of VeeJay operated by their West Coast promo team, led by Randy Wood and Steve Clark (the link between BJ and Boettcher). They cut Hoyt Axton and various others on the budding folk-rock club scene in L.A. According to Axton, he went over to the office one day, and everything was gone, even the desks and chairs!
Jameson's records were promoted by Tony Alamo, who also worked with many other artists and John and Bobby Kennedy. L.A. musician Denny Bruce recalls: "To introduce Bobby Jameson to the 'industry' Tony Alamo took out a 7-page fold out ad (four color in Billboard) that showed Bobby standing on top of a limo somewhere on the Pacific Coast Highway. With the ocean in the background, so he was not lit, you just saw this guy with a cowboy hat, with his staff next to the limo: very much like the Village People- wearing the very obvious uniforms of their jobs: chef, nurse, barber, bodyguard, driver, etc. There were at least 10 of them. Tony arranged for Bobby to be the opening act for another new act that had signed to Atlantic and were getting a buzz. The showcase was to be at lunch time, so with food being served, everyone came. The act was Caesar and Cleo, wearing togas with olive wreaths in their hair. They of course, became Sonny and Cher. They went on first. Needless to say, when Tony took the mike and had Bobby backlit, behind some see-through screen and was saying "Ladies and gentlemen, here's an act that can act as well as James Dean, sell as many records as the Beatles, on and on, everybody got up and started walking out while a four-track demo was playing, with Bobby is lip-synching to an almost empty house."
NB: (*) This picture, according to Denny Bruce, was actually a photograph of Brian Jones, pictured at a Hollywood club called 'The Action'.
(Claus Frisenberg Povlsen/John Paul Jones/Michael Johnson/Joe Foster)
Track List
01 That's The Way This World Has Got To Be
02 I'll Remember Them
03 Girl From Vernon Mountain
04 I Got The Blues
05 Saline
06 That's The Way This World Has Got To Be (Part Two)
07 With Pity, It's Too Late
08 You Came, You Saw, But You Didn't Conquer Me
09 Girl From The East
10 Don't Come Looking

Bonus tracks never before released:
11 Metro Man
12 There's a War Going On
13 Insecure Little Person
14 World War 3

Enjoy

Wednesday, November 01, 2006

V.A. - Greasy Truckers Party

Greasy Truckers Party
Chalk Farm, The Roundhouse, London
13th February 1972

SIDE 1
MAN
Spunk Rock

SIDE 2
MAN
Angel Easy

MAN:
Martin Ace--Bass guitar, Vocals
Michael Jones--Guitar, Vocals
Roger Leonard--Guitar, Vocals
Terry Williams--Drums

ANDY DUNKLEY (Speech Only)
POWER CUT

BRINSLEY SCHWARZ
Wonder Woman
It's Just My Way of Saying Thank You
I'm Ahead If I Can Quit While I'm Behind

SIDE 3
BRINSLEY SCHWARZ
Midnight Train
Surrender To the Rhythm

BRINSLEY SCHWARZ
Bob Andrews Keyboards, Vocals
Billy Rankin Drums
Nick Lowe Bass, Vocals
Brinsley Schwarz Guitar, Vocals
Ian Gomm Guitar, Vocals

MAGIC MICHAEL
Music Belongs to the People

SIDE 4
HAWKWIND
Master of the Universe
Born to Go

HAWKWIND
Bob Calvert: vocals
Dave Brock: guitar, vocals
Lemmy: bass guitar, vocals
Nik Turner: saxophone, vocals
Dik Mik: audio generator, electronics
Del Dettmar: synthesisers
Simon King: drums
Stacia: mime & dance

Get It Here !!!
part I
part II

Info Here

Tuesday, October 31, 2006

The Wylde Mammoths - Go Baby Go

"The Wylde Mammoths" -a swedish 80s garageband sounding like an original 60s one- released two albums on the American label, Crypt Records. Crypt, had up to that point in time, solely released different compilations with the obscure sixties-bands, for instance "Back from the Grave". When Tim Warren (from Crypt), heard "The Wylde Mammoths" for the first time, he was totally knocked out and realised he had to help out the band. "The Wylde Mammoths" made two LPs and a handful of singles before they called it a day.

Discography

7”s
Four Wolly Giants EP, Mystery Scene Records, 1986

Tracklist:
All The Birds Are Gone/I’ve Been Hurt (And She Don’t Care)/I Got You/You Gonna Need Me When I’m Gone

Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums


Help That Girl EP, Crypt Records, CR-45-3, 1987

Tracklist:
Help That Girl/Nothing I Can Do/You/In My Lonely Room

Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums


I Can’t Go Without You/Deep Down In Misery, Splendid magazine #3, CH 002, 1988

Before It’s Too Late/I Can’t Win, Unique Records, UNR 45002.3, 1990

Personnel:
Peter Maniette, vocals/guitar
Thomas Sodergran, guitar
Jens Linberg, bass
Patrik Sjorvist, drums


You Gotta Go EP, Misty Lane Records, MISTY 017, 1994

Tracklist:
You Gotta Go/Drivin’/Bloodhound/I Can’t Change

Albums

Go Baby Go!!, Crypt Records, CRYPT 011, 1987

Tracklist:
Hooked/Enough Of your Love/Gone Away/I’m Going Out/Don’t Stop It Baby/Day And Night/Do-Da Do-Da/Pretty Baby/Plane To Chicago/The Night Is Black/Thinkin’ Of Her/I Never Loved Her/Won’t Make Up Her Mind

Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Johan Maniette, drums


Things That Matter, Crypt Records, CRYPT 012, 1988

Tracklist:
Things That Matter/Run From Her/Ain’t No Use/Have You For My Own/Make Up Your Mind/Good Love/It’s The Same All Over The World/C’mon Little Girl/Someone Like Me/Down And Out/Two Kinds Of People/I Need You/I Cried Like A Child

Personnel:
Peter Maniette, vocals/guitar/harp
Per Wannerberg, guitar
Patrick Emt, bass
Stellan Wahlstrom, drums

Your Download-Link :
http://rapidshare.com/files/1436902/mammoths.rar

Bob Mosley - Bob Mosley -1972

Bob Mosley

Personnel:

WOODIE BERRY A

BOB MOSLEY bs, vcls A

FRANK SMITH A

ALLEN WEHR drms A

(ED BLACK pedal steel A)

(MEMPHIS HORNS horns A)

ALBUM: 1(A) BOB MOSLEY (Reprise MS 2068) 1972
45: 1 Gypsy Wedding/Gone Fishin' (Reprise REP 1096) 1972
NB: (1) double headed promos also exist.
Born in December 1942 at Paradise Valley, California, James Robert "Bob" Mosley played bass with the Misfits and The Strangers before joining Moby Grape in 1966. In 1969, Mosley left the group to join the US Marines (one of the very few San Francisco musicians to do this!) but after nine months and a fight with an officer, he had to return to civil life. He rejoined Moby Grape in 1971 for their fifth album and, when the group disbanded again, he went solo and co-produced his first album with Michael O'Connor (a friend of Chris Darrow). The sessions were held in November 1971 in Hollywood with a backing group including Allen Wehr, the former drummer of Morning Glory, and Ed Black (ex-Superfine Dandelion). The Memphis Horns also played on three tracks. The album is interesting overall, with good vocals and strong instrumental parts displayed on various styles: rock, West Coast, country rock and white soul. The best moments are probably The Joker and Gone Fishin. The album included a new version of Gypsy Wedding also recorded on Moby Grape's 20 Granite Creek.
After this, Mosley played for a while with Chris Darrow but nothing was released. In October 1973, he teamed again with the Moby Grape guitarist Jerry Miller to play the Californian bars and clubs circuit under various names (Maby Grope, Original Grape...). The group finally managed to get a contract with Polydor and released a decent album as Fine Wine in 1976. For obscure reasons, the LP was only released in Germany. Miller then left Mosley to play with the other ex-Grape members Lewis and Spence.
In 1977/78, Mosley returned playing the clubs circuit with John Craviotto and Jeff Blackburn (ex-Blackburn and Snow) as The Ducks. During several weeks, they were joined by Neil Young (some tapes and bootlegs exist). Between various Moby Grape reformations, Mosley would later have severe personal problems (he spent several years homeless) and had to wait until the late eighties to release some other solo records: Wine And Roses (Niteshift) 1986, Mosley Grape, Live at Indigo Ranch (San Francisco Sounds) 1989 and Never Dreamed (Taxim) 1999. In recent years, he has played several live dates with Moby Grape.
(Stephane Rebeschini)

Sunday, October 29, 2006

Merseybeats - I Think Of You

Merseybeats - I Think Of You_the complete recordings.

The Merseybeats were one of the better quartets to come out of the British Invasion without ever making a dent on the charts in the United States -- along with the Roulettes, the Chants, and the Undertakers, they represent an undeservedly lost chapter in early-'60s British rock & roll. Although they enjoyed a little less than a year of serious chart success, the Merseybeats were unable to pull together the various facets of their sound into a cohesive, coherent whole in the manner of the Beatles or the Hollies, and into something lasting, in part because of a lack of original songwriting ability in their ranks. The group's roots go back to the early '60s in Liverpool, and a band originally known as "the Mavericks," comprised of Tony Crane (lead guitar, vocals), Billy Kinsley (bass, vocals), David Elias (rhythm guitar, vocals), and Frank Sloane (drums). They were doing well but soon found the name to be a drag on their success, making people think that they were a country & western band. They briefly used the name "the Pacifics," and then became the Merseybeats -- evidently their timing was such that they grabbed the name, previously a local music reference, ahead of anyone else in a city boiling over with musical activity.

By the end of 1962, the Merseybeats lineup had solidified around Crane and Kinsley, with Aaron Williams joining on rhythm guitar in place of Elias and John Banks succeeding Sloane. The group made their recording debut around this time as part of the Oriole label's Liverpool showcase, This Is Merseybeat. With the help of the manager of the Cavern Club, they were formally signed to Fontana Records in mid-1963, and made their debut in August of that year with a single of "It's Love That Really Counts" b/w "Fortune Teller" -- the A-side, a Bacharach/David tune, was a solid piece of British Invasion pop/rock in the best Beatles/Hollies/Searchers mode, with memorable guitar hooks and a memorable chorus, and it reached number 24 on the U.K. charts. They were later signed up by the Beatles' legendary manager, Brian Epstein, but the fit was an awkward one, owing to differences in musical sensibility -- the group was a fairly hard rock & roll outfit, but their singles tended much more to the pop side of rock & roll, and the A-sides never represented their real sound very well. In early 1964, the Merseybeats released a second single, "I Think of You" backed with the pop/rock standard "Mister Moonlight," which reached number five in England. In both of these instances, the B-side was closer to the band's sound than the A-side and, in both instances, the band had latched onto the material first -- but was eclipsed by rival versions by the Rolling Stones and the Beatles.

Though it had come along a little late, "It's Love That Really Counts" turned the group into a major pop/rock act, and the future looked good for them. But there were problems on the horizon, starting with the fact that neither of those singles had made even the slightest impact in the United States, which was where the real fortunes were to be made; and, much more seriously, the decision by Billy Kinsley to leave the band in 1964 in order to form his own group, the Kinsleys. In his place, they got John Gustafson on bass and vocals. formerly of Liverpool's Big Three trio, who also contributed some songwriting. In April of 1963, they released "Don't Turn Around" b/w "Really Mystified," which -- despite a beautifully catchy, harmony-and-hook-laden A-side that was heavily influenced by the work of Roy Orbison, and an original B-side co-authored by Crane and Gustafson -- didn't do quite as well, peaking at number 13. A third single in July, "Wishin' and Hopin'" b/w "Milkman" (the latter another Crane/Gustafson original), also reached number 13. The band released a pair of extended-play singles, including "I Think of You" and "Merseybeats on Stage," the latter capturing their real sound in concert and included "Long Tall Sally" and "You Can't Judge a Book by Its Cover" in early 1964. They also worked their way into two rock & roll featurettes, Swinging UK and UK Swings Again -- one of their clips, "Don't Turn Around," was nicely staged, the band miming to the single on a platform that, on the chorus of the title, starts to rotate.

The Merseybeats were successful enough to get an LP release, and the resulting self-titled album showcased their limitations as well as their virtues. Amid a few inspired moments, mostly on the single-sides (such as "Milkman") picked up for the LP, there were some "originals" that were highly derivative of Bo Diddley and Little Richard, interspersed with some decent Liverpool-style adaptations of American R&B ("Bring It on Home to Me," "He Will Break Your Heart,") and a strange choice of show tunes, one ("Hello Young Lovers") partly successful and the other not. Apart from a lack of originality in their sound, the album pointed to the group's very thin in-house songwriting -- they were almost wholly dependent on Peter Lee Stirling, who had written their three biggest, single A-sides, for success. And to judge from the weak diversity on their album, one couldn't tell if the Merseybeats wanted to sound like the Beatles, the Fortunes, or the Pretty Things, and as a consequence gained very few fans from the release.

Their fall 1964 single "Last Night I Made a Little Girl Cry" b/w "Send Me Back," barely made the British Top 40, peaking at number 40, and it wasn't long after this that Gustafson left the band and was replaced by Kinsley, whose return to the lineup coincided with their last round of success as the Merseybeats. By 1965, the Liverpool sound synonymous with the term "Merseybeat" was considered old-hat, and the name that had helped gain the group some vital recognition was now weighing them down. Following "I Love You, Yes I Do" b/w "Good, Good Lovin'," and "I Stand Accused" (later covered by Elvis Costello) backed with "All My Life," which peaked at numbers 22 and 38, respectively, the group seemed to have run its course for commercial success by early 1966. They were rescued by the interest of the members of the Who, whose members knew Crane and Kinsley, and got them under the management of Chris Stamp and Kit Lambert.

In mid-1966, Crane and Kinsley became the Merseys and scored a huge hit with "Sorrow" later that year, reaching number four in England. They'd still never charted a record in America, however, and their next single, a fine rendition of the Who song "So Sad About Us," never charted. The duo called it quits after the release of their single "Lovely" b/w "Loretta Drifting." Kinsley went on to form Rockin' Horse, while Crane later re-fomed the old band -- after a fashion -- as Tony Crane & the Merseybeats during the '70s and '80s, with Bob Packham on bass and vocals, Alan Cosgrove on drums and vocals, and Colin Drummond on keyboards and vocals. The original group was fondly remembered and the band did well embracing its own past; in the meantime, David Bowie covered "Sorrow" on Pin Ups in 1973, an acknowledgment of the lingering appeal of their best work. By the '90s, Kinsley was working with them again as the Merseybeats, built around that same core lineup except for Dave Goldberg on keyboards. In 2000, Crane's son Adrian joined on keyboards and guitar, and Lou Rosenthal took over on drums. ~ Bruce Eder & Richie Unterberger, All Music Guide

Your Download Link:
http://rapidshare.com/files/1026075/merseybeats.rar.html

22-10-06 - 29-10-06

Saturday, October 28, 2006

Eclection - Eclection - 1968

Eclection

Personnel:
GERRY CONWAY drms A B
GEORGE HULTGREN bs, vcls A B
TREVOR LUCAS gtr, vcls A B KERILEE MALE vcls A
MIKE ROSEN gtr, vcls A B
DORRIS HENDERSON vcls B

POLI PALMER keyb'ds B

ALBUM: 1(A) ECLECTION (Elektra EKS 4023) 1968 R1

45s: 1 Nevertheless/Mark Time (Elektra EKSN 45033) 1968
2 Another Time, Another Place/Betty Brown (Elektra EKSN 45040) 1968
3 Please/Saint George And The Dragon (Elektra EKSN 45042) 1968
4 Please (Mark II)/In The Early Days (Elektra EKSN 45046) 1968
5 Nevertheless/Please (Elektra K 12196) 1976

An interesting folk-rock group from Birmingham who failed to achieve any commercial success despite quite a lot of media attention. When Kerilee Male vanished in October 1968, Dorris Henderson, a vibrant vocalist from LA was drafted in as a replacement. She was an ex-folk club singer who had recorded two albums, There You Go and Watch The Stars with one time partner John Renbourn. The new line-up recorded a strong 45, Please, but success continued to elude them and, even now, their album is only of minor interest to collectors. Eclection split in October 1969, although Dorris Henderson did make an unsuccessful attempt to revive the band in the early 1970s. When they split Poli Palmer later joined Family, George Hultgren changed his name to George Kajanus and later enjoyed a certain amount of fame with Sailor. Australian Trevor Lucas and Gerry Conway later joined Fotheringay and Mike Rosen resurfaced in an outfit called Mogul Thrash.

Eclection can be heard singing Confusion on Elektra's 1969 Begin Here compilation and Nevertheless on Elektrock The Sixties

ENJOY!

Friday, October 27, 2006

The Incredible String Band - God's Holiday

The Incredible String Band

God’s Holiday

The Incredible String Band Broadcasts and other rarities.

Waiting for this stuff to be released is like waiting for God to take a holiday.



CD 01 - The Past and the Future and Similar Tenses

1. Jazz Bo’s Holiday
2. Intro From Mike And Robin
3. Way Back In The 1960’s
4. Perfumed Garden/Chinese White
5. Painting Box
6. Mercy I Cry City
7. Chinese White
8. Nightfall
9. Three Is A Green Crown
10. Geordie
11. See All The People
12. Won't You Come See Me
13. You Get Brighter
14. All Too Much For Me
15. Ducks On A Pond
16. I Bid You Goodnight
17. Intro
18. The Half Remarkable Question
19. Intro
20. Painting Box
21. Noah And The Dove
22. Mercy I Cry City (partial version)
23. Hendrix-Manitas de Platas Comparison
24. Three Is A Green Crown
25. The Head

1 Edinburgh Folk Festival Vol. 1 LP (Decca LK4546)
2 Be Glad For The Song Has No Ending Film
3 Promo Single (Elektra EKSN 45013)
4 John Peel on Radio London with Promo Single (Elektra EKSN 45013)
5-8 Pete Drummond & Tommy Vance 'Top Gear', 10.Oct.67 (Broadcast 15.Oct.67), BBC Radio One
9-11 Julie Felix 'Once More With Felix', 03.Feb.68, BBC 2 television Broadcast
12-16 John Peel's 'Nightride', 4.Mar.68 (Broadcast 6.Mar.68), BBC Radio One
17-20 Julie Felix 'Once More With Felix', 23.Mar.68, BBC 2 television Broadcast
21-25 Royal Festival Hall, London, 30.Mar.68, Be Glad For The Song Has No Ending Film



CD 02 - Exchanging Love Tokens

1. The Head
2. Douglas Traherne Harding
3. Radio Announcement
4. See All The People
5. Tuning
6. You Get Brighter
7. Tuning
8. Maya
9. Intro
10. Waltz Of The New Moon
11. Tuning
12. You Get Brighter
13. A Very Cellular Song

1-8 Bob Fass ‘Radio Unnamable’ WBAI Studios, New York, 13.May.68, Live broadcast WBAI Radio, NYC
9-13 Fillmore East, New York, 5.June.68 (Broadcast June 1969), Benefit Concert for WBAI Radio, NYC



CD 03 - Fiddlehead Ferns and Daffodils

1. Radio Announcement And Tuning
2. October Song
3. Setup
4. Bell Ringing
5. Tuning
6. The Pig Went Walking Over The Hill
7. See All The People
8. Swift As The Wind (cut)
9. Play Music (cuts)
10. Ducks On A Pond
11. Tuning
12. Puppies
13. Tuning
14. Chinese White
15. Tuning
16. Maya
17. The Iron Stone

1-16 Fillmore East, New York, 5.Jun.68 (Broadcast June 1969), Benefit Concert for WBAI Radio, NYC
17 Live In The Studio Recording, Sound Techniques, Chelsea, Early 1969, Be Glad For The Song Has No Ending Film



CD 04 - A Very Small Door

1. All Writ Down
2. Dust Be Diamonds
3. Theta
4. Fine Fingered Hand
5. All Writ Down
6. Fine Fingered Hand
7. Maya
8. Dust Be Diamonds
9. The Letter
10. Come With Me
11. This Moment

1-4 John Peel's 'Nightride', 5.Feb.69 (Broadcast 5.Mar.69), BBC Radio One
5,6 Julie Felix 'Once More With Felix', 15.Feb.69, BBC 2 television broadcast
7-11 Ludlow’s Garage, Cincinnati, May '69, Soundboard recording



CD 05 (partI) (partII) - Love of Love is Very Huge

1. Black Jack Davy
2. The Letter
3. This Moment
4. Gather Round
5. Waiting For You
6. Invocation (partial version)
7. The Letter
8. This Moment (partial version)
9. When You Find Out Who You Are
10. Intro
11. Waiting For You
12. Black Jack David
13. Flowers Of The Forest
14. Beautiful Stranger
15. Won't You Come See Me
16. Dark Eyed Lady
17. Empty Pocket Blues

1-5 John Peel's 'Nightride', 5.Aug.69 (Broadcast 24.Aug.69), BBC Radio One
6-9 Woodstock Festival, Bethel, NY, 15.Aug.69, Woodstock Film outtakes/Audience video tape
10-12 Texas International Pop Festival, Lewisville, TX, 31.Aug.69, Texas Pop bootleg soundboard recording
13-17 John Peel's 'Top Gear', 20.Jul.70 (Broadcast 25.Jul.70), BBC Radio One



CD 06 - Peacocks in the First, Kokilas in the Fifth

1. Everything's Fine Right Now
2. Jigs (Coleman's Fancy/Rakish Paddy/The Wayward Fox/Johnny Grey)
3. Won't You Come See Me
4. Raga Puti
5. Ring Dance
6. The Circle Is Unbroken
7. Raga Puti
8. Everything's Fine Right Now
9. Long Long Road
10. Everything's Fine Right Now
11. Intro
12. Black Jack Davy
13. Tuning
14. Won't You Come See Me
15. Jigs (Coleman's Fancy/Rakish Paddy/The Wayward Fox/Johnny Grey)
16. Intro
17. Flowers Of The Forest
18. Cold Harbour
19. Tuning
20. Long Long Road
21. Lady Wonder

1-5 Stuart Henry's 'Sounds Of The Seventies', 17.Sep.70 (Broadcast 24.Sep.70), BBC Radio One
6-9 John Peel's 'Top Gear', 6.Oct.70 (Broadcast 9.Jan.71), BBC Radio One
10 Beat-Club, German TV, 24.Oct.70, Radio Bremen TV broadcast
11-21 Pacific High Studios, San Francisco, 15.Feb.71, Live simulcast KPFA, KPFB Radio, Berkeley; KSFX Radio, San Francisco, CA



CD 07 - The Sun in the Pale Silence

1. Intro
2. Bright Morning Stars
3. Intro
4. Worlds They Rise And Fall
5. Intro
6. Jigs (Sunday Is My Wedding Day/Drops Of Whisky/Grumbling Old Men/Eyes Like Leaves)
7. Intro
8. Spirit Beautiful
9. Intro
10. Willow Pattern
11. Intro
12. Cosmic Boy
13. Intro
14. Turquoise Blue
15. Intro
16. Whistle Tune
17. Intro
18. Darling Belle
19. Intro
20. Adam And Eve
21. Intro
22. You've Been A Friend To Me

1-22 Paris Theatre, London 18.Mar.71, BBC Radio One In Concert

~~~~~~~~~~
Artwork (covers)

Greenwood, Curlee and Clyde - 1972 - One Time, One Place

Greenwood, Curlee and Clyde - 1972 - One Time, One Place

Personnel:
JOHN CURLEE vcls, hrmnca, trumpet A
DAVE CUSHING drms A
RICHARD GREENWOOD vcls, sitar, gtr, violin A
CHIP HARDING gtr A
REID McLEAN flute A TONY PAUL perc A
JEFF SCHROEDER bs A
CLYDE THOMPSON vcls, keyb'ds, gtr A

ALBUM: 1(A) ONE TIME ONE PLACE (No label GC-72105) 1972 R3

This local Minnesota electric folk album contained a couple of great Eastern - influenced tracks. The privately pressed release included an insert with lyrics and photos.
(Clark Faville)

GREENWOOD, CURLEE & CLYDE (MN)

"One Time, One Place" 1972 (no label gc-72105) [silkscreened cover; lyric insert with photos] [2]
Local communal hippiefolk artefact with a couple of really good psychy tracks and the rest passable singer/songwriter sounds. In general the guitar-based songs are good, while I think the piano tracks drag the album down. On level with the similar-sounding Big Lost Rainbow. Has the entire commune joining in on my favorite track which mixes 1970s "aware" lyrics with raga acoustic and flute, like a politically correct Manson Family. [PL]
---Cool counterculture artifact from well-meaning hippies who spent two years perfecting their craft. Most collectors lament that there΅―s too much piano here but even the overlong ballads are good. This is a great album. The intelligent lyrics are foul-mouthed in a wholly appealing way, and the mellow music is very well-played. Nice little guitar parts come when you least expect them, giving energy to the quieter songs, and the vocals are confident in a laid-back way. [AM]

Enjoy !!

Thursday, October 26, 2006

ST 37 - Down On Us

ST 37 - Down On Us
(Emperor Jones 2002, EJ55CD)

Song Title :
01.The Grain Kings
02.A Huge, Rare Cheese
03.Stack Collision With Heap
04.Daniel Said
05.Curse Of The Strained
06.Sweet Thought
07.Caves Of Ice
08.You'll Die In A Carcrash
09.Hit In The Head
10.Oh My, Goddamn
11.Valentine Alibi

ST 37:
Joel Crutcher (vocals, acoustic guitar, electric guitar)
David Cameron (vocals, guitar, drums, percussion)
SL Telles (vocals, keyboards, synthesizer, bass)
Mark Stone (guitar)

From Aural Innovations #22 (January 2003)

For their follow up to I Love to Talk, If There's Anything to Talk About, Texas space psych demons ST 37 head into somewhat more accessible rock n roll territory, while still retaining enough of their nasty space punk aggression and experimental bits to satisfy long time fans. The biggest change is that Carlton Crutcher is no longer a full-time member, only guesting on four tracks.

The disc opens with a trio of songs that on the surface have elements of straightforward rock. "The Grain Kings" is a power trip-pop song that is catchy and has a definite sense of rock n roll, but still has oodles of that nasty ST 37 space punk aggression. "A Huge, Rare Cheese" is similar but with killer meltdown guitars. "Stack Collision With Heap" is the track that would be ST 37's best shot at a single with college radio play. But don't let that put you off because the whining and winding ST 37 guitars are still much in evidence.

Things change dramatically, however, with "Daniel Said", a chunky slab of balls to the walls holy shit here comes a meteor SPACE PUNK! Phewwwww... not even 4 minutes long and this one wore me out. "Oh My, Goddamn" is a space punk instrumental that I enjoyed. And the band get a little into punk metal with "Caves Of Ice". "Sweet Thought" is a tune that almost has a love song quality, though all around it are ricochet UFO synths and whining trip guitars. "Hit In The Head" is similar but the guitars go far deeper into space. "Curse Of The Strained" is a trancier tune with haunting cello by guest Sara Nelson. But it soon blasts off into space with wall-of-sound chainsaw guitar chords and freakout alien synths. An excellent song. "You'll Die In A Carcrash" is a cool tune with classic ST 37 cosmic aggression. And the closing track, "Valentine Alibi", is a 14 minute psycho acid meltdown that plods along like Godzilla having a stroll through the streets of Tokyo. If you want something meditational you can forget it... this is dark and aggressive stuff that Klingons and Romulons everywhere will love.

In summary, for me this is ST 37 at their very best. The trademark ST 37 space and psychedelic punk sensibility is not only ever present but shows a band well tuned to one another during instrumental workouts and jams. Fans don't want to miss this one.
Reviewed by Jerry Kranitz.

Bio :
ST 37 was formed in January 1987 as a merger of sorts between Austin cult bands Tulum and the Elegant Doormats. Bassist S.L. Telles has been active in the Texas music underground since singing with Houston teen punkers Vast Majority in '79-'80, releasing a single on Wild Dog records that has since been reissued several times, including outtakes. Telles formed the Elegant Doormats in spring 1982 with original ST 37 drummer John Foxworth (who later joined Tulum). The group endured for five years, playing with bands like the Butthole Surfers and the Reivers, and recording with legendary God of Hellfire Arthur Brown.

Guitarist Joel Crutcher and vocalist Carlton Crutcher founded Tulum in 1985, and recorded for Rabid Cat records before that label disintegrated. Jello Biafra wrote, "The bizarre side of Austin is still alive - first the Buttholes, then Scratch Acid, and now Tulum."

After recruiting Jon Torn (son of Rip; from the band Thanatopsis Throne) on keyboards, ST 37 began playing out in April of 1987 at the Cave Club with the Def MFs (still called Def MCs at that point). The stage was set right away when Telles informed the crowd that if they didn't like it they could leave.

The band released the cassette EP "billygoat nothinghead" late in the year, and thus began a string of cassette only releases.

ST 37 made their vinyl debut in 1990 on the Noiseville Records sampler, "From Twisted Minds Come...", and the 7" single, "Look at yr Chair", followed soon afterward. Lance Farley replaced Foxworth on the drum throne at this point and Shane Shelton took over from Torn on the keyboard duties.

Live shows continued unabated, with ST 37 organizing the Noisefests at Waterloo Park featuring bands like Ed Hall, Seemen, Crust, Liquid Mice, Pocket FishRmen, Coz the Shroom, Squat Thrust, etc.

Following the cassette LPs "feature silica vicarious" and "from space w/love" ST 37 finally entered the digital age with Over and Out records of Austin releasing the "Invisible College" CD. The release of a second single, "Taboo/Hoodoo", saw the addition of Craig Johnson from Puffy Brutha Man on rhythm guitar. This expanded six piece lineup traveled to Phoenix for the Arizona Music Conference, but disintegrated soon after that, with Farley leaving first to be replaced by Cisco Ryder G. and Shelton and Johnson bailing shortly thereafter. Carlton Crutcher expanded his musical role in the band to include sequencer (Roland SH 101) and Telles began utilizing occasional keyboards and drones to fill the gap.

ST 37's first tour followed, with the newly trim 4-piece lineup playing two weeks of shows on the west coast in January 1993. A third single, "The Gypsy's Curse" was released on Prospective in 1994, spawning a two week Midwestern jaunt that summer. The band met with Paul Stark of Twin Tone records in Minneapolis, papers were signed, an advance was paid, but alas.. it was not to be. Perhaps ST 37's next project, the sprawling double LP, "Glare", was a bit much for Twin Tone. John Kass of Prospective was soon able to find a home for it with Helter Skelter records of Rome.

After "Glare", ST 37 toured the Midwest again, this time with Prospective lablemates the Green Machine. Further recording projects followed, including appearances on Bowie and Hawkwind tribute records. Finally, after completing the sessions the resulted in the "derobe" split LP with Vocokesh on RRR, Cisco quit the band, but was kind enough to find his own replacement, Dave Cameron of Roky Erickson and Evilhook Wildlife E.T., Glass Eye, Brave Combo, 3-Day Stubble, etc., etc. fame.

1997 saw the addition of Mark Stone on rhythm guitar, allowing Joel to further explore the stratosphere on lead. Another Midwest jaunt was undertaken which saw the band playing their largest and most successful show yet at Weedstock outside of Madison WI. A compilation CD of the event was released featuring a smokin' live version of the band's Neu! cover medley, "Hallohero".

Contacts formed from roadwork enabled the band to fulfill a long-term ambition to play with Hawkwind . This happened on Labor Day weekend at the Strange Daze festival in Sherman, NY. Other space rock luminaries such as Nik Turner's Space Ritual, F/i Farflung, Alien Planetscapes, etc. were also on the bill. A CD compilation of this show has been released on Pangea records.

January 1998: After the release of "Spaceage" on yet another Italian label (Black Widow of Genoa), ST 37 saw their most significant local recognition yet with a major feature in the Austin Chronicle and a string of prime Saturday night shows with the likes of 7% Solution, Ursa Major and 60's psych legends Silver Apples. An original score for the 1926 Fritz Lang classic "Metropolis" was written that summer and has been played three times since then at the Alamo Drafthouse Cinema to ecstatic, ticket-scalping crowds and adoring press. Large portions of the score will emerge on "The Insect Hospital", a forthcoming double LP/single CD from Black Widow Records.

July 1999: After the release of the vinyl-only limited edition LP "The Secret Society", ST 37 played five dates in the Bay Area with some great bands like 3-Day Stubble, Liquorball, Beyond-O-Matic and the amazing Rubber O Cement.

1999 also saw the release of "I love to talk...if there's anything to talk about..." on Emperor Jones. Finally the ST 37 virus can spread to all corners of the globe through the massive veins of the Touch and Go/ADA/Southern Studios distribution/global conspiracy network. Along with Alastair Galbraith and Adam Wiltzie of Stars of the Lid, ST 37 accompanied Pip Proud on his Emperor Jones CD, "Oncer", released 2/00. No less than six different compilations appeared featuring ST 37 contributions.

Summer 2000: ST 37 journeys to the East Coast to make their NYC debut at Tonic. Shows are also played with Bardo Pond in Philadelphia and at Strange Daze 2000 with Daevid Allen's University of Errors and many more. A live broadcast is recorded at WFMU studios. A good time is had by all.

KFJC releases the extended 3-guitar version of "Nicht Jetzt" on their excellent 2xCD compilation "Live from the Devil's Triangle Vol. 2". The band finishes work on "The Insect Hospital" CD and double LP in the spring of 2001, and begins a series of limited edition CDR releases with the improvisational "Frantic Search for Zero". After a stellar Roky Erickson benefit show the band enters Sweatbox Studios to record their ninth LP. Midway through the recordings Carlton Crutcher leaves the band. Although a founding member, Carlton's musical role in the band was changing and he needed to devote more time to his project with his wife Sharon, Book of Shadows...Nonetheless, the as yet untitled album is rushing towards completion as the band awaits the proposed February 2002 release of "The Insect Hospital". Work has also begun on a new score for another Fritz Lang silent film, "Destiny" (Der Mude Tod), which will debut at the Alamo Drafthouse Cinema on 4/27/02...

Wednesday, October 25, 2006

Tim Buckley - Song To The Siren (Video)

(at the Monkees TV Show)


Song To The Siren

Long afloat on shipless oceans
I did all my best to smile
'Til your singing eyes and fingers
Drew me loving to your isle
And you sang
Sail to me
Sail to me
Let me enfold you
Here I am
Here I am
Waiting to hold you

Did I dream you dreamed about me?
Were you hare when I was fox?
Now my foolish boat is leaning
Broken lovelorn on your rocks,
For you sing, "Touch me not, touch me not, come back tomorrow:
O my heart, O my heart shies from the sorrow"

I am puzzled as the newborn child
I am troubled at the tide:
Should I stand amid the breakers?
Should I lie with Death my bride?
Hear me sing, "Swim to me, Swim to me, Let me enfold you:
Here I am, Here I am, Waiting to hold you.

Tuesday, October 24, 2006

The Trees - Unreleased "3rd Album" (Demos) 1970/71

1.Forest Fire
2. Prince of Heathens
3. Tom of Bedlam
4. Cry of morning
5. Berben Polka
6. Friar Tuck Bets His
7. Innocent Hare
8. Van Daemon's Land
9. Polly on the Shore*
* alternate studio version

Lineup:
Celia Humphries - Vocals
Barry Clarke - Guitar
Barry Lyons - Bass Guitar
Alan Eden - Drums; percussion
Chuck Fleming - Violin.

Unreleased Third Album Demos 1970-1971. "Another great UK folk-rock band here, The Trees, an amazing but largely underrated band; their two albums are among the finest offerings in the folk rock world; they have been released on CD by BGO and CBS and are well worth checking out!"

1 of the 5 best folk rock bands in a unknown (to me) masterpiece (almost).

Enjoy

Lamp of the Universe - 2005 - Earth, Spirit & Sky

Lamp of the Universe - 2005 - Earth, Spirit & Sky
(September Gurls LP)

01 As We Unfold in the Skies
02 Enlighten
03 My Princess
04 Mystic Soul of Heaven
05 Earth, Spirit & Sky
06 Call of the Ancient
07 Existence
08 Zion

3rd album by Lamp of The Universe, the acid folk/psychedelic project of Craig Williamson from Hamilton, New Zealand (known also from heavy/stoner rock band Datura). The sitar-driven, mantraesque songs on Earth Spirit & Sky mark another step forward on Craig's way to conveying a meditative, mind-expanding musical experience. Earth Spirit & Sky appears to be an epic unit made up of 8 songs. Craig uses sitar, acoustic/electric guitar, tablas, flute, blissed out voice and blends elements of space/folk/blues with sounds from the Eastern shore for hippiesque psychedelia. Imagine an exotic incarnation of Ethereal Counterbalance's Rod Goodway jamming with Spacemen 3, Holy River Family Band, Saddar Bazaar and reaching/producing a trancelike phantasmagoric state...


The album"Earth, Spirit & Sky" is now availible on CD at the Lotusof1000petals mailorder, go HERE to order a copy. Thanks!!!!


You can Also Listen to :
Lamp of the Universe - 2001 - The Cosmic Union
here

Denny Gerrard - Sinister Morning - 1970

01 Native Sun
02 True Believer
03 Hole In My Shadow
04 Last But One
05 Rough Stuff
06 Stop Or Drop It
07 Autum Blewn
08 Eye For Eye
09 Atmosphere

Very Reccomended! Enjoy!

RS Link

15-10-06 - 22-10-06

Saturday, October 21, 2006

Turquoise - The Further Adventures Of Flossie Fillett

01 Tales Of Flossie Fillett

02 Flying Machine (Second Version)
03 Sister Saxophone
04 53 Summer Street
05 The Sea Shines
06 Village Green
07 Saynia
08 Sunday Best
09 Woodstock
10 Stand Up And Be Judged
11 Woodstock (First Reduction)
12 Flying Machine (First Version)
13 Leana (backing Track)
14 What's Your Name
15 Mindless Child Of Motherhood
16 You're Just Another Girl (As The Brood)
17 Wrong Way (As The Brood)
18 The Turquoise 1968 Christmas Record

Turquoise
Personnel:
VIC JANSEN bs A B
GUS PETERS ld gtr, piano A B
EWAN STEPHENS drms A B
GEOFF SYRETT gtr A B

BARRY HART B

45s:
1 53 Summer Street/Tales Of Flossie Fillet (Decca F 12756) 1968
2 Woodstock/Saynia (Decca F 12842) 1968

This Muswell Hill outfit was closely linked to Ray Davies - hence the strong Kinks' influence in some of their songs. Keith Moon and John Entwistle took a keen interest in them and they were produced and managed by Tom Keylock, The Rolling Stones' tour manager.
Both of their 45s are now quite sought-after and collectable, but aside from 53 Summer Street, the other three sides have been compiled. The Kinks' influence circa Autumn Almanac is evident on Tales Of Flossie Fillet, which is full of jangling acoustic guitars and appealing melodies and harmonies. Woodstock was similar in style, although with the addition of a fifth member, Barry Hartby their sound had been filled with some punchier guitar work and a Hammond organ. (Incidentally Woodstock was not the Joni Mitchell song that Matthews Southern Comfort took to No 1.) The flip side, Saynia, was every bit as good - a melancholic ballad about a lost love with strong vocals and ideally suited harmonies and instrumentation.
The group deserved more success.
Compilation appearances include: Woodstock on The Psychedelic Scene (CD), Rubble, Vol. 11 - Adventures In The Mist (LP), Rubble, Vol. 6 (CD), British Psychedelic Trip, Vol. 3 (LP) and Great British Psychedelic Trip, Vol. 2 (CD); Tales Of Flossie Fillet on Rubble, Vol. 6 - The Clouds Have Groovy Faces (LP) and Rubble, Vol. 4 (CD); Tales Of Flossie Fillett and Saynia on The British Psychedelic Trip, Vol. 1 (LP) and Great British Psychedelic Trip, Vol. 1 (CD).

(from the liner notes...)

Cult UK pop-psych heroes Turquoise burst forth from Muswell Hill with two of the most perfectly formed pop singles of 1968 then went the way of so many of their contemporaries and vanished back to the building sites and tax offices of north London. But this story goes a lot deeper than that... Friends and neighbours of Ray and Dave Davies, Ewan Stephens, Vic Jansen and Jeff Peters would watch with envy as The Kinks rose to global fame during the mid-1960s, eventually forming a band of their own. A little of the brothers' influence inevitably rubbed off on The Brood (for 'twas they) with Dave producing demo sessions for them and touting the results round the labels to no avail. Through Dave, they were soon being managed by John Mason, the infamous 'car dealer to the stars', who had his clients Keith Moon and John Entwistle produce another session for them in 1967. Mason then hooked The Brood up with another of Mason's clients, Tom Keylock, The Rolling Stones' tour manager, who, along with Kirk Duncan of the Spencer Davis agency, secured them a recording contract with Decca, a publishing deal with Apple and a name change to Turquoise. The next few months were spent rehearsing at the Stones' space in London's Docklands, visiting various London recording studios, running with The Who and The Kinks and generally having a ball being young pop stars in swinging London. Although only two singles appeared - "53 Summer Street"/"Tales Of Flossie Fillett" and "Woodstock"/Saynia", now much-loved classics of the psychedelic pop genre - the band cut several tracks during this time which remained unreleased until now. However, the lack of a hit single and the fickle nature of the pop business inevitably resulted in Turquoise's premature demise in 1969. Ewan Stephens forged a solo career, cutting further singles for Decca while Jeff Peters and latter day Turquoise member Barry Hart formed the hard-rockin' Slowbone who cut the album "Tales Of A Crooked Man" in 1974. "The Further Adventures Of Flossie Fillet" brings together every surviving recording made by The Brood and Turquoise between 1966 and 1969, including a virtual album's worth of prime 1968 pop in a Kinks/Who/Small Faces/Move style as well as alternate versions and demos. It features liner notes by noted psych/Apple authority Stefan Granados and brand new in-depth interview material with Turquoise main man Jeff Peters. The complete surviving recordings by this cult north London pop-psych act, most of which have never been heard before! Features the much-loved singles "53 Summer Street", "Tales Of Flossie Fillett", "Woodstock" and "Saynia"! Mates of The Kinks, The Who, Apple and the Spencer Davis agency. Ultra-hip credentials! Beautifully re-mastered in the usual Rev-Ola style! In-depth liner notes by Stefan Granados featuring brand new interview material with Turquoise main man Jeff Peters. Stuffed to the gills with fantastic original photos and memorabilia from the band's own archives !A landmark release and a MUST for all fans of quality UK '60s pop, pop-psych, The Kinks, The Who, Small Faces, The Beatles.Hell, everybody really!

Rapidshare Link part 1
Rapidshare Link part 2
Rapidshare Link part 3

LINK 3 FIXED ChAmaCos!

ENJOY!

Edgar Broughton Band - 1973 - Oora

Edgar Broughton Band - 1973 - Oora

1. a) Hurricane Man 2) Rock 'N' Roller
2. Roccococooler
3. Eviction
4. Oh You Crazy Boy
5. Things On My Mind
6. a) Exhibits From A New Museum b) Green Lights
7. a) Face From A Window b) Pretty c) Hi-Jack-Boogie d) Slow Down
8. Capers

Edgar Broughton : Lead Vocals, Electric & Acoustic Guitar.
Victor Unitt : Electric & Acoustic Guitar, Vocals, Piano, Harmonica.
Art Grant : Bass Guitar.
Steve Broughton : Drums, Percussion, Vocals.
guests:
David Bedford : Piano.
Madeline Bell, Doris Troy, Lisa Strike : Backing Vocals.

The five albums The Edgar Broughton band recorded for EMI’s “progressive” label, Harvest between 1969 and 1973 were full-on sonic attacks that took no prisoners. They also contained some truly thoughtful and beautiful music of great originality.

By the time Oora was released The Edgar Broughton Band had been in Morgan studios in Willesden since mid-June recording material for what would become their final album for Harvest. Like their previous vinyl effort, sessions also took place in Olympic Studios in Barnes. It was here that the band resumed their relationship with arranger David Bedford, who wrote and conducted orchestral arrangements for Hurricane Man / Rock n’ Roller and Things on My Mind.

The tracks Rock n’ Roller, Oh! You Crazy Boy, Things on My Mind, Exhibits From a New Museum and Face From a Window all featured the backing vocals of Doris Troy, Madeline Bell and Lisa Strike.

Oora was released in May 1973, in an elaborate sleeve designed by artist Barney Bubbles (noted for his work with fellow musical anarchists Hawkwind), the album was perhaps the most sophisticated of all The Edgar Broughton Band’s releases for Harvest, notably on the track Face From a Window / Pretty / Hi-Jack Boogie / Slow Down.

The Edgar Broughton Band left EMI Records after the release of “Oora” and Victor Unitt departed the fold.

Biography:
Formed in Warwick, England, the Edgar Broughton Band arrived on the London underground music scene in 1968. Led by the Broughton brothers, vocalist/guitarist Edgar and drummer Steve, and fleshed out by bassist Arthur Grant and guitarist Victor Unitt (who also briefly served with the Pretty Things), they soon signed with the Harvest label, and issued their debut Wasa Wasa -- a collection of underground electric blues jams anchored by Edgar's Captain Beefheart-like vocals -- in late 1969. The Edgar Broughton Band returned in 1970 with Sing Brother Sing, which reached the U.K. Top 20 and spawned a pair of minor hit singles, "Out Demons Out" and "Apache Drop-Out" (a fusion of Beefheart's "Dropout Boogie" and the Shadows' "Apache"). The group seemed poised for a major commercial breakthrough, but even as their brand of heavy rock was flourishing thanks to groups like Black Sabbath and Deep Purple, the Broughton Band made an about-face, and their music became considerably more quiet and politically-charged. Their chart momentum stalled, and a 1971 self-titled effort failed to catch on.

After both 1972's Inside Out and 1973's Oora met a similar fate, the group left Harvest for NEMS. Legal wrangles locked them out of the studio for a number of months, but they finally resurfaced in 1975 -- minus Unitt, who'd been replaced by guitarist John Thomas -- with Bandages. A brief break-up followed, but in 1978 they returned with Live Hits Harder. By the release of 1979's Parlez Vous English?, the group had expanded to a six-piece, and was now going under the name the Broughtons. The record was their last, but they continued on, eventually returning to the Edgar Broughton Band moniker and touring throughout the 1980s and 1990s. ~ Jason Ankeny, All Music Guide

Friday, October 20, 2006

The Petals

The Petals - 1993 - Parahelion

Parahelion is The Petals' first album, released by November Rain. The songs here are essentially psych-pop, with additional folk and occasional rock elements, and are all ultra-melodic. This CD is totally fantastic, packed full of completely brilliant songs. It's an album I want to play all the way through; there are no specific favourites and no duffers here, all songs are superb. I can't praise this album enough, it's a real classic. I've been listening to this a lot of late and I'm sure I'll be listening to it for a long time to come as well.
by Kim Harten @ Bliss Aquamarine

01 Imaginations Daughter 2:30
02 Castle Days 2:47
03 If I Open 3:00
04 Panciflight 2:29
05 Wrong Side of the Looking Glass 2:10
06 Rule of Three 3:16
07 Fade Away Eliza 2:15
08 Parahelion 4:47
09 Eight Swords 2:56
10 Boats 2:36
11 Step Out Today 2:21
12 Ground Sloth 2:14
13 Cedric Stone 2:53
14 Bird House 2:26
15 Come and Stay 2:06



The Petals - 1994 - Cadis Center

Cadis Center also on November Rain. This is yet another psych-pop masterpiece! The songs vary from delicate folky tracks (such as Silver) to music with a strong rock influence (such as Old Blue Dress and Tim's Song) as well as a whole host of more poppy tracks, such as Project Magnet, a supremely catchy song about flying saucers, which comes complete with UFO sound effects, and which makes me grin from ear to ear whenever I listen to it! I've had this song on the brain so much lately! Once again, there's not a duff track to be heard on this album. I've come to the conclusion this band can do no wrong!
by Kim Harten @ Bliss Aquamarine

01 Everett Reuss 3:34
02 Unicorns 3:27
03 High Pants 1:54
04 Silver 2:20
05 Wood Sorrel [instrumental] 1:49
06 Old George 2:26
07 Cadis Valley Tinker 3:01
08 Howdy Wowdy Vine 1:55
09 Potato Bug 2:33
10 Goddess 1:58
11 Project Magnet 2:20
12 Sheldon's Cavern 3:35
13 Old Blue Dress 4:44
14 The Years Have Come to Pass 2:56
15 Tim's Song 2:30
16 Colors of My Mind 3:53



The Petals - 2003 - Butterfly Mountain

01 Brown Cow 2:53
02 Seed Separator 2:57
03 Daydream Stash 3:20
04 Pallid Mask 3:55
05 A Place in the Shade 2:52
06 Autumn Latch 3:43
07 Living Room 4:45
08 Sarsaparilla 3:26
09 Rex, Sandra and Jasper 3:23
10 Stone Circle Dancers 2:25
11 Butterfly Mountain 4:52
12 Neutron Star 4:17

Nine years after their second album, Cadis Center, the Petals reconvened for another round of vintage psychedelic pop songs. Butterfly Mountain is so faithful to staples of the genre that it gains an ironic or meta-musical dimension. Are these songs genuine or do they hide a commentary on their own nature? The fact that the lyrics often play on double entendres while referencing every possible psychedelic symbol only enhances the feeling that the Petals aim for something between vintage flower power and Weird Al Yankovic's twisted sense of irony. Verses like "And I see by your handle you're a saucepan/You fry up all of my old spam/On a lonely mushroom day" (from "Brown Cow") or "Counting the freckles on your face/They stand in pretty contrast/And I often play connect the dots/In my secret daydream stash" (from "Daydream Stash") have that kind of strangeness that may not hit you on first listen, but will eventually bring you back just to make you understand correctly. And what about the excellent "Seed Separator," where the agricultural machine is an object of desire and dream, a symbol for the "gates of time"? If the lyrics hold so many gems, the music also features a lot of pleasant items: sitar in "Brown Cow," banjo, dulcimer, and recorder. The quartet of Cary Wolf, Laurie Kern, Tim Kern, and J.D. Tessier is joined by a dozen guests who blend seamlessly into the polished sound of the group. More playful than the Green Pajamas' Northern Gothic and more overtly pop than the Lazily Spun's debut album, Butterfly Mountain scores another point for the Camera Obscura label.
by François Couture~AMG


and here you can listen,
the Petals cover to Hawkwind's "Hurry On Sundown"
from "Assassins of Silence_A Tribute to Hawkwind"

Thursday, October 19, 2006

Heron - 1972 - Twice as Nice & Half the Price

Heron - 1972 - Twice as Nice & Half the Price
part I part II

Track List
1. Madman
2. Take Me Back Home
3. Love 13 (Lone)
4. Something Inside
5. Miss Kiss
6. John Brown
7. Big A
8. Winter Harlequin
9. Sound Of The Music
10. Your Love & Mine
11. You Really Got A Hold On Me
12. Great Dust Storm
13. My Turn To Cry
14. This Old Heart Of Mine
15. Minstrel & A King
16. Getting 'Em Down
17. I Wouldn't Mind
18. He's A Poor Boy
19. Devil
20. Wanderer
21. Harlequin

This second Heron album from 1972 was originally released as a double album at the price of one; hence the title.

The album shows a greater variety of musical styles than the 1970 debut album. Still it's the acoustic folk-style that's predominant, mixed with some more rocking tunes. Most of the album was recorded out in the open outside a Devon country cottage, which gives the album an unique atmosphere.

Their songwriting is even more convincing here than on their debut. Their have 2 excellent songwriters in Gerald T. Moore and Roy Apps ( who is still with the band ).

Here on their early records it's Moore who is shining the most. His songs "My Turn to Cry", "Minstrel and the King", "The Devil" and "Big A" are simply outstanding. Roy Apps' strongest contributions here are probably "Take Me back Home" and "Your Love and Mine". Another favourite out mine is their charming version of Woody Guthrie's "The Great Dust Storm".

A shame that a lot of people are not aware that the band is still together and recording fine new material from time to time, released on their own Relaxx label.

Roy Apps has once stated that the album probably ought to have been cut down to a single album; maybe . . but it would have been extremely hard to pick out the tracks that would have to go!

This album is highly recommendable!!

Wednesday, October 18, 2006

V.A. - Glastonbury Fair Festival 1971

Note that it was Glastonbury Fair, not Fayre.

The costs were picked up by rich hippies such as Arabella Churchill (who is still involved - running the Theatre/Circus areas) and Andrew Kerr. There was no alcohol for sale on site, and all food was vegetarian.
The first (temporary) Pyramid Stage was built of scaffolding and plastic sheets.
About 12,000 attend, to see David Bowie, Joan Baez, Traffic, Hawkwind, Pink Fairies, Fairport Convention, Edgar Broughton Band, Melanie, Quintessence, Family, Arthur Brown & Brinsley Schwarz.
A triple album is released, which includes a side from the Grateful Dead, who were meant to play but didn't.
There's some fantastic photos of the festival online here.
(This was the last "proper" festival at Worthy Farm until 1979, although groups of upto about 1,000 turned up most years anyway for an unschedualed festival).

"The front cover, it's just the wonderful pyramid pictured above. In fact the whole sleeve unfolds into one big poster. The track list is on a separate sheet ("The Electric Score") which was slipped into the back of the plastic protective sleeve. This LP also included a photo booklet of the event with weird hippy stuff and a cut-and-fold miniature silver pyramid."

01 Grateful Dead - Dark Star [23.59]
02 Brinsley Schwartz - Love Song [4.03]
03 Mighty Baby - A Blanket In My Meusli [15.53]
04 Marc Bolan - Sunken Rags [2.26]
05 Pete Townshend - Classified [3.48]
06 David Bowie - Supermen [2.40]
07 Hawkwind - Silver Machine & Welcome [7.20]
05 Skin Alley - Sun Music [4.46]
09-12 Daevid Allen and Gong - Glad Stoned Buried Fielding Flash And Fresh Fest Footprints In My Memory [22.56]
13 Pink Fairies - Do It [4.06]
14 Pink Fairies - Uncle Harry's Last Freak-Out [19.34]
15 Edgar Broughton Band - Out Demons Out [20.19]

Glastonbury Fair - 1971
"Imagine, we're going to concentrate the celestial fire and pump it into the planet to stimulate growth." - Andrew Kerr. Andrew Kerr was what you might call an intellectual hippy. Former director of the research team which had worked on Randolph Churchill's biography of his father, Sir Winston, his interests now lay in the area of the earth's spiritual energies. This included ley lines, numerology, and the geometry used for ancient buildings such as Stonehenge and the Great Pyramids. Together with Randolph's daughter Arabella, he now wanted to organise a 'fair in the medieval tradition' at the Summer Solstice, when the earth's energies are at their peak. Michael Eavis' farm was the obvious choice: it was in the Vale of Avalon, close to Glastonbury Abbey, a building and location of great power; and Eavis had shown his willingness to host an event by the previous year's festival. The centrepiece of the Fair was a pyramid, doubling as a stage, one tenth the size of the Great Pyramid at Giza, which was built over a 'blind spring', a place where the earth releases and absorbs energy. The festival, which was free, attracted about 12,000 people. It was described at the time by Somerset's medical officer as having conditions like those in a refugee camp, and recalled recently by Michael Eavis as 'very pretty, very romantic'. The bands who played read like a Who's Who of the British hippy underground, plus some who had already gone overground: David Bowie, Traffic, Pink Fairies, Hawkwind, Fairport Convention, Edgar Broughton Band, Quintessence, Brinsley Schwartz, Family, Arthur Brown. And Melanie. The Grateful Dead famously did not show up, having to satisfy themselves with playing the real Great Pyramids five years later. The Fair attracted local and national media coverage, mostly of an incredulous nature. The Observer, calling it 'one of the weirdest events ever staged in modern Britain', was more interested in Andrew Kerr's ideas. The Sun concentrated on orgies in the mud, naked hippies dancing on stage, and beetroot-dyed junior asprin being sold as LSD. The local press was more concerned with noise and damaged fields. Michael Eavis went back to being a dairy farmer for the next eight years. Arabella Churchill is still involved with the festival, organising the theatre and circus events. If anybody knows what happened to Andrew Kerr, who will be 63 by now, I'd be fascinated to know.

Glastonbury Fayre Festival 1971
(Note: this is the 2 CD-Boot released on 'Buccaneer Records'.)
The sound quality, I must add, is not that fantastic, but for a collector, it's fine!!!

part I
part II
part III

Hello to All.
We have a lot of requests and a lot of deleted previous posts.
We're doing our best to complete all requests and re-uploads....
Have patience. And enjoy the music !!!

Lighthouse - 1969 - Lighthouse

Lighthouse - 1969 - Lighthouse

01 Mountain Man (Prokop-Devereux-Cole) (4:18)
02 If There Ever Was A Time (Prokop) (5:01)
03 No Opportunity Necessary (Havens-Williams-Price) (3:00)
04 Never Say Goodbye (P. Hoffert-B.Hoffert) (3:00)
05 Follow the Stars (Prokop) (4:00)
06 Whatever Forever (Hoffert-Prokop) (4:59)
07 Eight Miles High (McGuinn-Crosby-Clark) (5:08)
08 Marsha Marsha (Prokop) (3:22)
09 Ah I Can Feel It (Prokop) (4:49)
10 Life Can Be So Simple (Prokop-Devereux) (4:57)
Recorded in 1969 at Eastern Sound Studios.

Lighthouse
Personnel: DICK ARMIN cello A
RALPH COLE gtr A
DON DINOVO violin A
PAUL HOFFERT keyb'ds, vibes A
KEITH JOLLIMORE sax, flute A
BOB McBRIDE vcls A
PETER PANTALUK tpt A
SKIP PROKOP drms A
HOWARD SHORE sax, flute A
LARRY SMITH trombone A
LOUIS YACKNIW bs A
VICTOR CAUVIN

ALBUMS: (up to 1975)
1( ) LIGHTHOUSE (RCA Victor 4173) 1969
2( ) SUITE FEELING (RCA Victor 4241) 1969
3( ) PEACING IT ALL TOGETHER (RCA Victor 4325) 1970
4( ) ONE FINE MORNING (GRT 1002) 1971
5( ) THOUGHTS OF MOVIN' ON (GRT 1010) 1971
6( ) LIGHTHOUSE LIVE! (GRT 1014) 1972
7( ) SUNNY DAYS (GRT 1016) 1972
8( ) CAN YOU FEEL IT (GRT 1039) 1973
9( ) GOOD DAY (Polydor 6028) 1974
10( )THE BEST OF LIGHTHOUSE ( ) 1975

NB: (4) also issued on Evolution (3007) 1971.
(5) also issued on Evolution (3010) 1971.
(6) also issued on Evolution (3014) 1972.
(7) also issued on Evolution (3016) 1972.
(8) also issued on Polydor (5056) 1973.

45s: 1 Eight Miles High/Got A Feeling (GRT 1230-90) 1969 -
2 Eight Miles High/If There Ever Was A Time (RCA Victor 0224) 1969 -
3 Feel So Good/ (RCA Victor 0285) 1969 55
4 The Chant/ (RCA Victor 479808) 1970 38
5 Fiction Of 26 Million/Just A Little More Time (RCA Victor 1059) 1971 -
6 Hats Off (To The Stranger)/Sing Sing Sing (GRT 1230-04) 1971 9
7 One Fine Morning/Little Kind Words (GRT 1230-10) 1971 2
8 Take It Slow/Sweet Lullaby (GRT 1230-19) 1971 12
9 I Just Wanna Be Your Friend/1849 (GRT 1230-25) 1972 54
10 Sunny Days/Lonely Places (GRT 1230-39) 1972 4
11 You Girl/Merlin (GRT 1230-46) 1972 17
12 Broken Guitar Blues/Letter Home (GRT 1230-52) 1972 34
13 Pretty Lady/Bright Side (GRT 1230-63) 1973 9
14 Can You Feel It/Is Love The Answer (GRT 1230-61) 1974 19
15 Good Day/Going Downtown (GRT 1230-77) 1974 66

NB: (6) also issued on Evolution (1041) 1971.
(7) also issued on Evolution (1048) 1971.
(8) also issued on Evolution (1052) 1971.
(9) also issued on Evolution (1058) 1972.
(10) also issued on Evolution (1059) 1972.
(13) also issued on Polydor (14198) 1973.
(15) also issued on Polydor (14246) 1974.

This was one of the most significant groups to come out of Canada in this era and was put together by drummer Skip Prokop in 1968. A horn rock band, they are often considered to be Canada's answer to Chicago and Blood, Sweat and Tears. Prokop earlier played in Toronto bands Riverside Three and later The Paupers. Also featured in the band was guitarist Ralph Cole, who'd been in several Michigan-based bands and it was also notable for an ambitious string and horn section, including Grant Fullerton and Victor Pinky Dauvin from Toronto-based Stitch In Tyme and saxophonist Howard Shore. Dauvin later went solo as Pinky. Their first big break came when they were drafted in as last minute replacements for Al Kooper and Mike Bloomfield, who'd cancelled a show at Toronto's Rockpile. After this they went on to play at the Newport, Monterey and Boston Globe jazz festivals, the Atlantic City Pop Festival and the Isle Of Wight Festival. They were competent musicians but their early albums for RCA lack drive and are mostly disappointing. On their first eponymous album there are two good tracks:- Whatever Forever with nice melodies, few horns and fine swirling organ and trumpet solos, and the cover version of The Byrds' Eight Milers High, which features lots of excellent fuzz guitar leads. On Suite Feeling there's the long instrumental track Places On Faces Four Blue Carpet Traces, where the band manages to achieve some musical coherance. The result is a good piece of jazz-rock (comparable to Blood, Sweat and Tears' work), featuring longish solo excursions using organ, drums, vibrophone, trumpet and fuzz guitar. Interesting too is their cover of The Beatles' A Day In The Life, which closes with Richard Strauss' Also Sprach Zarathustra. Suite Feeling included also a bad cover of The Band's Chest Fever and plagiarism of The Weight entitled Eight Leaves. Peacing It All Together was recorded in New York instead of Toronto, like the previous albums. Here the outstanding track is On My Way To L.A., which is basically a psychedelic song of the Jefferson Airplane school, with a catchy melody line, violin licks, guitar leads and horn extravaganzas in the end. A gem that needs a new (and better) cover version. Also Little People is strong enough, and of lesser interest are: Mr. Candleman, in The Band vein, the mellow tracks Sausalito and Daughters And Sons, and The Country Song, which must be the first and only country rocker with brass arrangements!

After a change in personnel and label, Lighthouse recorded, again in Toronto, One Fine Morning, which was much better than the previous albums, and at last they had a hit with the eponymous song. One Fine Morning has strident guitar chords, a horn section which blends in perfectly, catchy melody, strong vocals by their new singer Bob McBride, jazzy piano and guitar solos. A gem of the horn rock genre! This along with Love Of A Woman, a soulful jazz-rocker featuring great solo sax work, are the best tracks of the album. The rest, except the soul/gospel influenced Hats Off (To The Stranger), Show Me The Way and Sing Sing Sing are more mellow, but on Step Out On To Sea and Old Man there are segments of strong Chicago-like horn instrumentation. Of interest also is the peaceful Little Kind Words, which has a very good melody, ideal for late night audition. The following album, Thoughts Of Movin' On, was a step back. The material consists of mediocre, undistinctive and ordinary compositions, also lacking the band's previous occasional imaginative instrumentation and solo excursions. Although the more rocking tracks are What Gives You The Right, Insane and Rockin' Chair (the latter comparable to Rod Stewart's material), the most interesting is the soft and melodic song You And Me, which closes with a flute solo. In 1972 they made further personnel changes. With their new bassist Al Wilmot from SRC (he had also played previously, along with Ralph Cole, in Thyme), they recorded Sunny Days, probably their best album. Although there's nothing very catchy, with commercial potential, like One Fine Morning, the album as a whole achieves a high standard and contains some excellent tracks. At last, Ralph Cole's guitar, which was pushed aside or buried under the horns on the two previous albums, resumes a leading role. The outstanding tracks are: You Give To Me, which begins as a slow song with wonderful melody, and then becomes very fast with adventurous improvisations by guitar, sax and something sounding like an organ, although it is probably L. Smith's mellophonium; the tight and energetic Lonely Places, and the slow bluesy Beneath My Woman, featuring sax, imposing viola and guitar solos. The personnel changes had continued in 1973, and the band went again to New York, to record Can You Feel It. This was an attempt to attain commercial status, and tracks like Set The Stage, Pretty Lady and Is Love The Answer are more mainstream and poppy (the latter with some Steely Dan influence). However, most of the compositions are well crafted and good enough, making this album as a whole more satisfying than Thoughts Of Moving On. Same Train has a fine Beatlesque, sixties psych melody line (if only there was a sitar here!); Magic's In The Dancing and Disagreeable Man are in the horn rock genre direction, the former with electric viola solos, the latter with an impressive, gypsy sounding violin intro, and Can You Feel It is a very catchy dance number, featuring good guitar work. Of lesser interest are the slow and mellow Lonely Hours, with trombone solos and trumpet fillings and No More Searching, which is comparable to Joe Cocker's material. In 1974, when Skip Prokop left the band, Ralph Cole became the central figure for a while, but the group disbanded in 1976. The original members reformed in September 1982, playing four shows at the Ontario Place Forum. The following year there was another reformation involving Hoffert, Prokop and Cole from the original line-up, Danny Clancy as lead singer and Donald Quan on keyboards. The occasion was a concert in Toronto's City Hall Square. In the nineties Prokop got into Christianity and hosted his own weekly radio programme of Christian rock and gospel music called 'Rock In The Hard Place'. (CA/Vernon Joynson)

ENJOY!

Tuesday, October 17, 2006

St. John Green - 1968 - St. John Green

St. John Green - 1968 - St. John Green

01 - 7th Generation Mutation - 3.19
02 - Canyon Women - 3.01
03 - Devil And The Sea - 2.18
04 - Do You Believe - 2.11
05 - Help Me Close The Door - 1.02
06 - Messages From The Dead - 4.09
07 - Goddess Of Death - 2.25
08 - St. John Green - 3.05
09 - Spirit Of Now - 2.33
10 - Love Of Hate - 2.11
11 - One Room Cemetary - 3.43
12 - Shivers Of Pleasure - 3.19

“‘St. John Green’ is one of the great lost records…Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It’s a great record. There’s only a handful of records that I’ve made that are great.”
-Kim Fowley to Mike Stax (“Ugly Things” magazine issue #19, 2001)

Through mutual associations in Topanga Canyon, St. John Green connected with Fowley sometime in 1968, and he in turn spurred them on to outdo or to die all over what would be their sole album…So they wound up doing both.

“St. John Green” is by turns frightening, dark, funny and stupid as it reeks of bad trip freak outs in matte black painted rooms with no furniture lit only by a single red bulb and burning cigarette ends. What emanates forth immediately from this darkness are the mystic incantations of vocalist/bassist Ed Bissot who is mean, moody, magnificent AND for his sins is stuck in a garage of sick creep psychedelia for all eternity. His delivery is so full of promises -- not threats -- you begin to feel that this guy who exists precariously balanced over a yawning chasm between Jim Morrison and Arthur Brown without trying at all really MEANS IT. And he is shored up all the way by a fine-tuned band in total sync with his visions of the four D’s --death, doom, damnation and dread -- in a weirdly accomplished album that runs a gamut of styles -- from supernatural ruminations to the cheapest of goofball novelties.

Bissot’s massive intonations open the apocalyptic “7th Generation Mutation”, where his early death god in a garage vibe bears more than a passing resemblance to Robert Calvert’s space age narratives that threaded Hawkwind’s “Space Ritual Alive.” A total lack of drums makes his hypnotic bass line the only percussion as it sways pendulum-like above the restrained and gagged music which has already cut out from one speaker and lurks behind his initial intonation of “In the darkness of my empty cage, a being from Venus speaks to me” which then switches to a massively echoed snotty sneer:

”I have seen your planet suffer seven nuclear wars…
I’ve seen your civilisation rise from its ruin
Only to crumble once more to ash.

Noah’s Ark was a period of time, and not a boat.
It is through such misconceptions
Your beliefs are weakened and your faith lost…
WHY CAN YOU NOT SEE…?

Earth is born of molten lava
Torn from the breast of a violent star.
Man is created
And rises from the dust-fringed edges of the cooling mud
To love...To conquer…To kill...
AND HE WILL!”

Tape speed wind chases this insistently freaky track into the fading gloom and late night Booker T & The MG’s outtake from “Gris-Gris” vibe of the Fowley-penned “Canyon Women”, a place where sexually rhythmically percussion hangs in the background like swamp gas silhouetting the band as they respond to Bissot’s vocals with low, bullfrog refraining as over-recorded organ and casual grunts pass by in the shadows. “Devil And The Sea” is the psychic link between The Doors’ “When The Music’s Over” and Alice Cooper’s “Black Juju” as those familiar prominent organ swells cut in, out and all around Bissot’s vocals of truly beacon-in-the-wilderness qualities. “Do You Believe” is all corn-fed and howling harp as Bissot starts vocally delivering in down home, religious revival tones against distinctly Fraternity of Man/Holy Modal Rounders backing. “Go!” commands Fowley from behind the glass for the next gross-out, “Help Me Close The Door” signaling commencement of a somber Bissot narration painting a portrait of a broken man with the paint roller. It’s cheap pathos galore over a lullaby piano rock-a-bye-ing as several species of small furry animals chirp continually along with little girls’ persistent calls of “Daddy?” Tears well up until the surprise final set up line of “If you have any heart at all…You’ll help me close the door!” that causes all studio denizens to erupt in cackling glee at the egg on your face. “Messages From The Dead” follows with a mid-tempo “Mystic Eyes” beat and prominent 2-fingered bass. Bissot has just hooked himself a one-way ticket onto that down bound train to Sheol with ol’ Satan hisself, and with each passing level the flames shoot higher and higher: here represented by hugely recorded organ smears all up and down the keyboard against a backwards hi-hat pattern. After seven levels of Hell have been traversed, Bissot’s finally had enough of those flames licking up his body so he’s now down on his knees pleading right before the organ-led coda, “No, God….don’t burn me down in hea-uh! Please don’t burn me down, God!” So they tightly burn down the track instead -- in a way Fowley would later describe as “Vanilla Fudge minus the fucking bubblegum.”

Side two is just as diverse, great and fucked up. “Goddess of Death” is a sleep-walking creep-out supreme with all the eeriness of “You’re Lost Little Girl” by The Doors. Descending organ quietly curls like smoke in the background as electric guitar piano-type notes are plucked as Bissot intones from a waking dream: ”And we walked into the endless valley…Looking back in tears while the echoes of life faded from our ears…We walked into the cold silence, being careful not to step on those who had passed out there in previous times…and I ask, ‘Why are we here? Why are we here? Why are we here?” The band responds only with the swaying chant, “Why? Why? Why? Why?”…and neither are graced with an answer. Spook-eh!
Leave it to Fowley to compose St. John Green’s own signature tune, entitled (naturally) “St. John Green” and of course sounds like nothing else on the album. Bissot’s vocals now switch to Dylanesque overtones as they spread over a dum-dum re-vamp “A Whiter Shade Of Pale” filling the background with a clutch of piano, tuba-tone bass and heavily sustained organ that clump around great lyrics like ”Just because we’re so young and deadly/Why did we have to lose our light?” Next up is the quicker paces of “Spirit Of Now”, akin to the later basement psychedelia of The C.A. Quintet. Here, guitarist Bill Kirkland is finally allowed a solo for the first time on the record, and it’s fantastic -- followed by a sprinting organ solo by Mike Baxter, whose arrangements throughout are strong, fine-tuned and as consistently weird as his neatly-placed organ fills. “Love Of Hate” is an elegiac vocal (what else?) intonation accompanied by organ alone, with Bissot channeling words from and about the world beyond the grave. The Fowley-penned “One Room Cemetery” is the terrifying highlight of side two as elements of free form freak outs scatter behind Bissot’s intonations from a dark and lonely place as tom-tom rolls, solidly plucked bass lines and random, skittering guitar all conspire to creep you out. Over ominously building drums, Bissot hurls out echoed grunts, calls for bo-weevils to meet him in his one room cemetery and calmly free associating all over the place with “We’re playing with the world… We’re playing with the world…When a love song has gone wrong…where does a sad girl go? Where does the sad girl go when her love song is over? We’re playing with the world…We’re playing with the world…” right before all fades to black with a single, jerked musical curtain pull.

But as weirdly dark and epic that “St. John Green” well and truly is, where can it go but sign off but with “Shivers Of Pleasure”, a bouncy showbiz coda: all jaunty piano, lounge hi-hats and vocal A-Z alphabetical dedications like: ”F is for Fowley: is he putting us on?”, “T is for Teenage girls” (accented by a non-too subtle pelvic thrust grunt, “Uuhhh!”) and so on, cracking sophomoric jokes in a manner altogether out of context with the rest of the album. It’s kinda disconcerting in its clean cut kid delivery, but then again, it may be an intentional move in case if too many people got the wrong idea whilst hanging onto each of Bissot’s every word, taking them too far upon the album’s termination by offing themselves outright…

For maximum effect, play in absolute darkness.

~ Reviewed by The Seth Man ~

Laughing Soup Dish - we are the dish

Laughing Soup Dish's tongue-in-cheek garage/psyche is so raw, wild and authentic- you'll never believe they aren't a "real" '60s band worthy of inclusion on Pebbles Volume 1!

members:
Wayne Larsen
Dave DeSantes
Kile Zimmermen
Curtis Leyhe
Jon Davies

Laughing Soup Dish was a psychedelic band from Long Branch,New Jersey. They achieved some notoriety in Greece. Some claim their name was a play on "LSD" (Laughing Soup Dish). They had several albums, most notably "Underthrow the Overground." . The band released two LPs, two 45s, and have been featured on numerous compilation albums. Their single Teenage Lima Bean only recently went out of print, as a vinyl 45 was still available for purchase (from the indie label Bomp Records) until recently.
The band never achieved mainstream success, but are regarded in cult status in the underground psychedelic/garage music world. Their music is still played on various radio stations.
Like most of the 1980s Jersey psych bands, you won't find LSD albums in the cut-out bin, as they are regarded as collector's items, and usually fetch a large price.

Trivia
Jon Davies fronted the Laughing Soup Dish when he opened for The Dead Kennedys in Dover. The band performed under the name The Secret Syde.
Their albums are infamous for their tongue-in-cheek, humorous covers, which usually depict a cartoon Soup Dish, either laughing, dancing, or both.
The insert to the X-men's debut album "X-Men" features several pictures of the band, including a photo of a van, on which there is an advertisement for a Laughing Soup Dish show. This may have something to do with the fact Dave DeSantis was, at one time, a member of both bands, and he designed the insert.

Discography
We Are The Dish

Teenage Lima Bean (45)

Underthrow The Overground(1990)

Be A Caveman: The Best of the Vox Garage Revival

References:

answers.com/topic/laughing-soupdish

Label:VOXX Release Number:200047

A1 "Acidland"
A2 "Seven seas"
A3 "Plant life"
A4 "Flowering"
A5 "Now you know"
A6 "Your so plastic"

B1 "Princess"
B2 "Black River"
B3 "Last impressions"
B4 "For the yesterdays"
B5 "No one home"
B6 "Sunrise"

Unfortunately i have only their "underthrow the overground!"album in vinyl(don't ask me to rip it) and i don't know the mp3 titles of this one.i've contacted Wayne Larsen in order to get some info about the tracks and the album cause unfortunately it's very hard to find the titles and the cover of the LP.

i hope that he will correspond...

anyway grab it and enjoy it ! great and rare band

Your Download-Link :
http://rapidshare.com/files/4807834/lsd.rar

"Hello to all my Friends! the Laughing Soup Dish also can be heard on Voxx " the Secret Team" with the track "No ones home" , the Shadowmouth Record with "Walking By the Sea" and the "Liquid Salad Dinner" bootleg containing Live and rehersal versions of many early LSD songs. I am hoping that George Markou will re release this on his Gew Gaw Lablel. Anyone wishing to contact me can at:

www.myspace.cpm/bluemaryguitar
or:
waynealarsen@msn.com

Thank You,
Wayne Larsen"

Monday, October 16, 2006

Everyone Involved - 1972 - Either Or

Everyone Involved - 1972 - Either Or

EITHER
Fragments of a Vision
Chant Song
A Sad Song
Motor Car Madness
The Master Man
A Song for the System

OR
An Anti-Social Multi-Person Song
Leaves and Paper
A Gay Song
A Liberated Man
Hallo Morning Sun
Music of the Spheres

Either/Or was the name of the (only) album performed and recorded by Everyone Involved.
I wrote all the lyrics and produced the album. I suspect the track you probably want to put on your website is "A Gay Song" but please feel free to use as many tracks as you like. The whole point of the album was not to produce a consumer item so we all contributed what we could afford which produced a print run of 1000 copies which was divided equally between the sixteen contributors. The only rule was that they were not to be sold and to this end it actually says on the disk label: "This record is free. If you paid for it you were conned."
Because we were trying to make as many copies as we could for as little money as we could, we used plain white albums (before the Beatles!) and embossed them with the title. So the only way I can send you the "design" is to use an image I produced for my own CD copies. (Above.) Hope this is all helpful.

All the best.
Alan Wakeman

*********************************
Above, an email I received from Alan Wakeman, the producer and co-writer of the 1972 "Either/Or" album. This UK band's entire album is available for free downloads at the link below. It was one of the earliest albums containing openly gay material.

Everyone Involved website

Sunday, October 15, 2006

Six Feet Under - In Retrospect 1969-70

01. Inspiration in My Head
02. Freedom
03. What Would You Do?
04. Baby I Want to Love You
05. In Retrospect
06. Fields
07. Running Around in the Sun [Reference Mix]
08. Black Movies[Instrumental]
09. Six Feet Under Theme
10. Suzy Q
11. City Blues
12. In-A-Gadda-Da-Vida
13. Basement Jam
14. Sonix Commercial
15. Inspiration in My Head [Alternate Take][Instrumental]
16. Freedom [Live]
17. What Would You Do?
18. Fields [45 Version]
19. Boogie Man Bash

A great psychedelic band featuring a prominent organ, female vocalist and distorted hard rock guitar, Six Feet Under released a couple of 1970 singles on Scepter before disbanding. Influenced by the Doors, Iron Butterfly and Jefferson Airplane, they favored gloomy melodies and songs reflecting the state of social unrest and psychedelic exploration in the counterculture circa 1969-70. Their legacy was greatly expanded by a CD reissue on Arf! Arf! in 1998 that included previously unreleased material that approximated what their debut album might have sounded like, along with some unissued home, live and rehearsal recordings.

Jerry Dobb and Scott Julian formed the Marc 5 in 1966 in Colonia, New Jersey. Later known as the Sonix, they decided to change musical direction in 1968 and new personnel were secured to form Six Feet Under. The first drummer didn't last long, his seat being taken by Hector Torres. By 1970, seeking a recording contract, another shake-up resulted in the exit of Torres and the acquisition of a young female vocalist to strengthen that department.

The CD retrospective comprises nineteen tracks - eight studio, five home recordings plus live and radio spots. It showcases the width of the bands hippie-acid-psych repertoire, sounding like Ill Wind one minute and Iron Butterfly the next. An excellent and welcome release with a fascinating history and track-by-track breakdown from Jerry Dobbs. And as Jerry points out, ironically it was only ousted drummer Torres who found real success and fame. After returning home to Sayerville, he'd bounce back after teaming up with a promising youngster called Jon Bon Jovi...

Six Feet Under Theme, an unreleased '68 effort, resurfaced on 30 Seconds Before The Calico Wall (CD) and their unreleased cover of Iron Butterfly's In-A-Gadda-Da-Vida on Beyond The Calico Wall (CD). Their first 45 occupies similar territory - heavy acid-rock with hippie undertones..

Your Download-Links

part 1:

http://rapidshare.com/files/13783103/sfu_1.rar.html

part 2:

http://rapidshare.com/files/13800750/sfu_2.rar.html

En Plo - 1989 - En plo

80s greek band . Unique band for the greek standards for that period of time .They certainly influenced a lot of greek bands .
En Plo were a band with a completely personal sound, drawing their musical influences not only from the likes of Savage Republic or 17 Pygmies but also from Greek ethnic folk music. Their first album ("En Plo", 1989, now deleted) is considered to be one of the best Greek underground records ever made. Swirling guitars, a very tight rhythm section and mind-blowing clarinet (!) give it an aura of melancholic research and the class of a real work of art.
Unfortunately they didn't last long and their members continued contributing to the greek underground scene with their own projects.


Your download link :
http://rapidshare.com/files/2976124/EnPlo1989EnPlo.rar

Perth County Conspiracy - 1970 - Does Not Exist

The Perth County Conspiracy - 1970 - Does Not Exist
part I part II

01 Midnight Hour
02 Epistle of the Borderliner
03 Easy Rider
04 Truth & Fantasy
05 Don't You Feel Fine
06 You Have The Power
07 Keeper of the Keys
08 Lady of the Country
09 Listen to the Kids
10 Trouble on the Farm
11 Excerpt form "As You Like It"
12 The Dancer
13 Crucifixation Cartoon

Cedric Smith (vocals, guitar)
Richard Keelan (guitar, vocals)
Michael Butler (bass)
Terry Jones (guitar, vocals)
George Taros (piano, vocals)

While the disadvantages of major labels, their questionable output and oft-myopic philosophy has been lamented in these pages over and over, the advantages of these maligned oligarchies should not be denied. If the cogs are allowed to interlock as desired it's obviously preferable for all people involved to have a record created with a big, powerful corporation backing it, rather than just what available money could afford. OK, so these cases are rare, but they do exist.

Such generous thoughts cross my mind while listening to the debut LP by Canada's PERTH COUNTY CONSPIRACY. This is because the album is a triumph of realization, more than anything else. I don't know what the PCC guys think of it now -- maybe they hate it, a lot of musicians hate their old records -- but it seems to me that whatever their ambitions were back in 1970, they couldn't have been far removed from the sounds rising from the finished grooves. This is an expensive production, with one of the most attractive soundscapes I have ever come across within the genre, which could be described as Progessive Hippie Folkpsych. Whatever studio time the PCC requested they had it, and other resources at Toronto Sound were obviously provided as needed. Even the artwork, a greatlooking gatefold with booklet insert, shows a good-natured record company at work. Of course, this isn't just any major label we're talking about but Columbia Canada, whose batting average in the early 1970s is rivaled only by that of the 1992 Toronto Blue Jays; It's All Meat, Jarvis St Revue, Ptarmigan are just a few examples of the label's remarkable output at the time (see Fraser & Debolt review below for yet another).

However, "Does Not Exist" differs from these LPs in not being a 3-figure rarity, and looking around it appears that Perth County Conspiracy were a near-household name in Canada back in the daze. Maybe this is also the reason why they haven't quite entered the psychedelic pantheon yet, especially outside their homeland. I haven't heard anything from their subsequent and rather confused discography, but this first outing alone should warrant a chair at a table within shouting distance from the musical gods.
Tuning up for the recording session

The Perth County Conspiracy band was formed in Stratford, Ontario as a typical hippie-era art/folk music commune; plenty of people involved, wives, brothers, kids and maybe a couple of shaggy dogs too. Other than contemporary folk their inclination was towards poetry and the theatre, and indeed one of the key guys ended up as a famous actor later on. Doesn't take an oracle to see that coming as literary references and ambitions are all over this LP, including recitations of Dylan Thomas and Shakespeare, the latter being a particular obsession of the band and the area they came from (as the name Stratford implies). Now if this sounds just a wee bit scary, I'm prepared to deliver the first of a handful testimonies where my opinion may differ from that of the typical 1960s/70s psych admirer. This is it: the PCC recitations are daring and pretentious, but I think they work. Yep. Two reasons why: the readings are done in a skillful manner by guys who obviously understand the difficulties involved. They don't play it safe like the sherry-sipping gentleman heard on the Moody Blues albums, but dive head first into the alliterations, rhythms and turns of classic poetry. The opening Dylan Thomas incantation is especially successful, establishing a self-assured, literary tone for the album that thousands of progressive bands could only dream of. The other reason it works is just this; that the band is able to carry that tone into the actual music, which is neither classical nor pretentious, but highly appealing folkpsych and singer/songwriter with a definite 1970 stamp.

So initially we're thrown between the exhilarating poetry of Thomas and an equally exhilarating tune right out of the CSNY/Incredible String Band intersection where Perth County resides. As with many Canadian bands there is an explicit (and physical -- ex-Spikedrivers member Richard Keelan was from Michigan and had moved up North to escape the draft) connection to the USA, linking the perceived wrongs of their own country (war, violence, pollution, etc) with those of the yankees. This makes for a rather complex trip that perhaps could only be understood then and there; in any event we are told that it is the "Americanadian way". But again like many of their maple leaf peers, there is also a strong presence of the British music scene, messieurs Heron & Williamson in particular. While I think the PCC are a bit more successful than the ISB in their cross-cultural ambitions, mainly because they don't automatically assume themselves to be geniuses, one can't deny that the avant-literary folk path that the String Band carved out from 1966 onwards was followed by thousands of bands around the world. I've also seen "Does not exist" compared to Pearls Before Swine, and it's a useful reference that captures the delicate and atmospheric nature of its best tracks.

The opening mix of half-sung poetry and hippie anthem is followed by a Brit-sounding piano-led downer trip, recalling Nick Drake and Isolation but given a nice edge by Cedric Smith, whose acidic vocals is one of the album's many strengths. We are then transported halfway across the world, out into the Californian desert where a deftly understated tribute to "Easy Rider" -- the movie -- rises from the ground like an evening campfire. Richard Keelan's vocals are more of a Steven Stills type introspection, and the difference in style between the two main guys is cleverly juxtaposed throughout the LP. The redneck gunshot at the end of "Easy Rider" is used as a bridge into a highly theatrical spoken bit, full of convoluted anti-war propaganda; graphic and unpleasant but also ironic and multilayered. This in turn works as an introduction to "Truth and fantasy", a suite of superb folkpsych mixed with short theatrical interludes. Labyrinthine? Confusing? Well, that's what the LP is like -- trips opening within trips, yet constantly moving forward. This is also why I consider this a more genuinely psychedelic album than most of the artifacts of its genre. Hey, there's nothing wrong with being pretentious as long as you pull it off. Of course, almost none of the prog-folkers do, but on this LP the Perth County Conspiracy do with flying colors, God bless 'em.

I won't detail the other tracks that round out the whopping 26 minutes of side 1, except to say that they're marvels of production value, vocal harmonies and elaborate arrangements. Over on side 2 we are first treated to the beautiful folkpsych of "Keeper of the keys" which is a good pick to play for a friend you want to convince of the album's greatness; in fact you have to be dead from the neck up not to worship this tune. This is followed by the album's one spot of weakness, the well-intended, charming, and ultimately hopeless "Listen to the kids". A merger of children's poems and a nice little CSN:ish tune, it's not the sugary Graham Nash nightmare you might envision but it's not terribly successful either; the contrast with the very grownup recitation that follows is just too sharp. As the LP as a whole clocks in at no less than 53 minutes this track could have been removed, leaving you still with an unusually generous playtime. Ah, what the hell. Flaws are part of the psychedelic world too. The Orwellian uptempo excursion of "Trouble on the farm" provides a welcome change of mood, before the Conspiracy gears up for the grand finale. First there's a bit of Shakespeare with an unexpected loungey backing, then we are treated to the "The Dancer" which parallels the introspective Albion mood of the second track on side 1, creating a neat arch-like structure for the album as a whole.

These are just preparations for the awesome acid folk epic that closes the LP in a way better than anyone could hope for. "Crucifixation cartoon" is simply stunning, a trip deep into the cranium that reminds me of that long monster track on the Search Party LP, and proof that guilt trip loner anthems are not exclusively the domain of local mid-70s private press albums; at least not if your record label is Columbia Canada. This is where it's at, daddy-o: There's a cross on every tree
When you're learning to be free which may recall the Poet's immortal: The trees in our gaze
Will show us the love that we bring them A C.O.B-like mood emerges with the inventive use of a "ukelin" to provide the lead as this masterpiece of melancholy draws to its inevitable close. The album's end signals the end of an almost physical experience, and I must admit that there really aren't that many LPs around that leave me in such a state of involvement as "Does not exist"; not just once, but pretty much every time I hear it. Helped in no small part by the Toronto money behind them it seems the Perth County Conspiracy, on their first album no less, managed to provide us with a glimpse of an absolute music beyond the veil, something not many groups have done. I realize that to an avid fan of "crude garage fuzz" or "screaming basement psych" this LP may come off as pretentious and foppish, but to anyone with at least half an ear for transcendental folkpsych it is certain to delight, and maybe surprise too, given its non-rare nature.

I was tempted to take a point off for these high-fallooting Canucks referring to their lyric booklet as a "libretto" but hell, I'll give them some leeway on that one too. Best folkpsych LP outta Canada so far! As mentioned before their discography is a bit confusing, and there is in fact another LP by them also titled "Does not exist", due to the band's strange idea to make these words part of their moniker -- as if it wasn't unwieldy enough already. So be sure to check that the label is Columbia before adding "Does not exist" to your collection. The band followed this with a live LP, also on Columbia, before moving on to private labels where they made a handful more LPs during the 1970s. I hear they recently reformed for local gigs.

Madden & Harris - 1975 - Fools Paradise

Madden & Harris (Australia) - 1975 - Fools Paradise

01 Wishes
02 Fool's Paradise pt
03 The Wind At Eve
04 Margaret O'Grady
05 I Heard A Man Say
06 O'Weary bBrain
07 Cool September
08 Fools Paradise
09 Remember Me
10 A Simple Song

"This Australian duo is responsible for an exceptional fusion of progressive rock and folk, as the grooves of this album, originally released in a limited edition of 500 copies, prove. Published by Jasmine Records in 1975, Fool's Paradise manages to raise from its folkish background to a fuller rock experience, with the addition of mellotron and vintage keyboards. Dave Madden and Peter Harris are here backed up by a great rhythm section composed by Paul Baker (bass) and Doug Gallagher (drums) for an amazing session that reaches its apex in the suite that gives the name to the album. Impeccable."