27-05-07 - 03-06-07
Saturday, June 02, 2007
Booze Hoister Band - Tavern Tales
01 - ild rather be a dove
02 - garry owen
03 - letters
04 - the piper o'dundee
05 - it's a beautiful booze
06 - gay lady say
07 - the lady and the dragoon
08 - the roisin' dubth the wind t
09 - i must and i will get married.
10 - she's false as she's fair
The BOOZE HOISTER BAND is a dutch folk band wich started in 1980 the band grew from the band BOOZE HOISTER FOLKGROUP, wich allready had recorded a album in 1978.
Ine van Beek (then still Ine Swinkels),Henk van Beek and Pierre Koolen started the band because they didnt like the way the band was goin,more towards Folk Rock.
BOOZE HOISTER BAND made one album "Tavern Tales" wich was a album full of irish folk music.
info
@vbr over 192
Panos Savvopoulos - Epeisodio (1971- Folk/ Acid Folk)
Just try this rare greek record...
Forgotten but not lost..
Many thanks to Aggeliki for this one...
One more from this guy coming soon..
Waiting for your comments..
Forgotten but not lost..
Many thanks to Aggeliki for this one...
One more from this guy coming soon..
Waiting for your comments..
The 4 Levels Of Existence - The 4 Levels Of Existence (1976)
Tracklist
01. Μεταμορφη (Metamorphic)
02. Σαν λιωσουνε τα χιονια (When The Snow Melts)
03. Ο Ταχυδρομος Του Χωριου (The Village Postman)
04. Ερημια (Wilderness)
05. Του Τρελου η Σαλπιγγα (The Fool's Trumpet)
06. Ο Αγωνας Μας (Our Fight)
07. Απογοητευση (Dissapointed)
08. Παιδικο τραγουδι (Child's Song)
09. Χωρις τιτλο (untitled)
10. Καποια Μερα Στην Αθηνα… (Someday In Athens..)
The 4 Levels Of Existence is a Greek band.I know many of you think Greece is only ouzo souvlaki and sun, but this beuatifull disc says the opposite.
Well, the band story begins somewhere in 1974 -'75 when Thanasis Alatas and Xrhstos Blaxakhs, both ex-members of another Greek Band ''Frog's Eye'' meet Mario Giamalakh and Niko Grapsa. (I'm not sure on that, but i think Grapsas was ex-member of band ''Paralos'')
This four people join forces and create ''The 4 Levels oF Existence''. One year later (1976) release their only, self titled album, in a very small quantity, under the ''Venus'' label. The material of LP is reissued by the good people of the Canadian (!) label of ''Lion Productions'' i think last year or 2005.
Now about the music. The 4 Levels Of Existence is a -stunning- hard edged psychedelic album. A really folk-flavored fuzz monster with superb guitar leads and solos, melancholic lyrics (sung in native Greek) and majestic melodies. The guitar work is exchellent and very fuzzy!!, that gives the album a heavy taste, but after some listenings you realize.. hey, that fits exactly to the band style!
In few, this is a beuatifull and unique album!!!
Do you love Greece ? Proove it...
Sendspace Link :
The 4 Levels Of Existence - The 4 Levels Of Existence (1976).rar
RapidShare Link :
The_4_Levels_Of_Existence_.rar
01. Μεταμορφη (Metamorphic)
02. Σαν λιωσουνε τα χιονια (When The Snow Melts)
03. Ο Ταχυδρομος Του Χωριου (The Village Postman)
04. Ερημια (Wilderness)
05. Του Τρελου η Σαλπιγγα (The Fool's Trumpet)
06. Ο Αγωνας Μας (Our Fight)
07. Απογοητευση (Dissapointed)
08. Παιδικο τραγουδι (Child's Song)
09. Χωρις τιτλο (untitled)
10. Καποια Μερα Στην Αθηνα… (Someday In Athens..)
The 4 Levels Of Existence is a Greek band.I know many of you think Greece is only ouzo souvlaki and sun, but this beuatifull disc says the opposite.
Well, the band story begins somewhere in 1974 -'75 when Thanasis Alatas and Xrhstos Blaxakhs, both ex-members of another Greek Band ''Frog's Eye'' meet Mario Giamalakh and Niko Grapsa. (I'm not sure on that, but i think Grapsas was ex-member of band ''Paralos'')
This four people join forces and create ''The 4 Levels oF Existence''. One year later (1976) release their only, self titled album, in a very small quantity, under the ''Venus'' label. The material of LP is reissued by the good people of the Canadian (!) label of ''Lion Productions'' i think last year or 2005.
Now about the music. The 4 Levels Of Existence is a -stunning- hard edged psychedelic album. A really folk-flavored fuzz monster with superb guitar leads and solos, melancholic lyrics (sung in native Greek) and majestic melodies. The guitar work is exchellent and very fuzzy!!, that gives the album a heavy taste, but after some listenings you realize.. hey, that fits exactly to the band style!
In few, this is a beuatifull and unique album!!!
Do you love Greece ? Proove it...
Sendspace Link :
The 4 Levels Of Existence - The 4 Levels Of Existence (1976).rar
RapidShare Link :
The_4_Levels_Of_Existence_.rar
Labels: 0-9, F, WeBuilTArks 
Friday, June 01, 2007
Yays & Nays
YAYS & NAYS: Yays & Nays (Neo US 1968?)
01 - gotta keep travelling
02 - nature is my mother
03 - some do, some don't
04 - contrary mary
05 - easy woman
06 - it's what's happening baby
07 - call me a dog
08 - if
09 -take it easy baby
10 - let it all hang out + what women do
11 - onstage revelations
From http://www.lysergia.com/AcidArchives/index.htm
The majority of LPs that fall into the "incredibly strange" category do so to no fault of their own, but as an effect of a marked disconnect between whatever artistic vision that went into them, and how the work is perceived by a listener in another time and place. A band such as the Kaplan Brothers obviously thought they had created a deep, meaningful statement with "Nightbird", while most people who listen to it hear... something else. This is all fine and doody and a testament to the lasting quality of popular music springing from experience and honesty, no matter if clever, misguided, or just strange.
But then there is a rarer type of bizarre vinyl testaments which we can enjoy because the band knew exactly what they were doing, and what they were doing remains unusual and imaginative to this day. After listening many times to the remarkable LP by Southeastern band the YAYS & NAYS I'm prepared to put them in this upscale category of strangeness. The misleading descriptions you may see on the rare occasions it's offered for sale is another indication of its elusive qualities. I don't know any LP even remotely like it, yet it's highly listenable, even commercial in parts.
This track, and the LP as a whole, is smart and hip on so many levels that it's difficult to sort out, but I'll give it a shot. To begin with the vocals, the guys are typically solo and sing in a tongue-in-cheek, "manly" Johnny Cash/Lee Hazlewood style that works as an ironic deflation of the macho content of their lyrics. The result projects the 1950s family provider husband as an increasingly powerless and slightly neanderthal creature, clueless in the emergence of a modern era of liberated women. The women in turn usually sing ensemble, like the chorus of a Greek play, their high-pitched feminine voices aggregating power when heard together -- and this clever solo <-> ensemble juxtaposition is no accident. The gals can sing pretty and romantic, like they do on a few songs, but they can also be tough and uncouth, thus given a wider range of expression than the guys. The lyrics follow a similar pattern, the guys delivering sentiments and desires from a by-gone era, while the gals usually express a sense of freedom and independence. The whole thing plays like an inspired fratty college musical sendup of the Lee & Nancy and Sonny & Cher duets.
The opening track "Gotta Keep Traveling'" is an uptempo garage ditty sung mixed ensemble that works as a gender-neutral starting point for the album, with typical 60s lyrics about doing your own thing and escaping a dull, conformist society; the 1950s vocals of band leader "Big Daddy" adds an appealing beatnik touch in line with the subject matter. This is followed by "Nature is my mother", a partly-French sung tune that comes closest to "hippie" sounds on what is mostly a raw folkrock album. The gender theme is then introduced in full with the hilarious "Some Do, Some Don't", where-in "Big Daddy" laments the fleeting nature of his ladies' promises with lines like "Down with the ones who say they will/And then later say they won't". The gals back him up with a mocking gleam in their eye. This subject matter is extended into "Contrary Mary" wherein the 1950s macho crooner retroism is put to full use; the male lead asking Johnny Cash-style his girl for a bit more stability in their relationship.
The rest of the album continues in this same convincing manner, each track both an excellent standalone item and a piece in the bigger Yays & Nays puzzle. One reason it works so well, and stands up for repeat plays with no loss of impact, is that the songwriting and arrangements are remarkable, worthy any name release from L A or the Brill Building. The style is an eclectic 60s bag of P F Sloan folkrock, tough upscale r'n'r like the Raiders, Eastcost girl-group sounds and Broadway musical, all held firmly together by the strength of the lyrical content and the idiosynchratic, self-referential vocals. You'd be hard pressed to find another local, unknown item that delivers on all levels like this -- no matter where you press, it's there; the lyrics, the concept, originality, creativity, zeitgeist, even rare attributes such as irony and internal logic.
Here at Lama Reviews we have a tradition of lamenting the unjust lack of success for artists that were in the wrong place or on the wrong label, but that line doesn't really cut it for the Yays & Nays, because even on Vanguard or Elektra I think this would have flopped at the time -- it's such a multilayered, double-edged trip that requires many plays to grasp, and thus probably better fit for our age than the fast and flashy 1960s.
@192
Yays___Nays__1968_.rar
There are many different opinions on this record... i 'd like to hear yours
Enjoy!
Thursday, May 31, 2007
Alan Hull - First 2 albums
James Alan Hull (February 20, 1945 — November 17, 1995) was a British singer-songwriter and founding member of the Tyneside folk-rock band Lindisfarne.
Albums
Pipedream (1973)
Squire (1975)
Phantoms (1979)
On The Other Side (1983)
Another Little Adventure (1988)
Back to Basics (1994)
Statues & Liberties (1996)
When War is Over (1998)
We Can Swing Together - Anthology (2005)
The cover artwork is of La Lampe Philosophique by Rene Magritte. 1. Breakfast
2. Justanothersadsong
3. Money Game
4. Std 0632
5. United States Of Mind
6. Country Gentleman's Wife
7. Numbers (Travelling Band)
8. For The Bairns
9. Drug Song
10. Song For A Windmill
11. Blue Murder
12. I Hate To See You Cry
there is also a reissue with +6 tracks
@224
Info and reviews
1. Squire
2. Dan the Plan
3. Picture (A Little Girl)
4. Nothin' Shakin' (But the Leaves on the Trees)
5. One More Bottle of Wine
6. Golden Oldies
7. I'm Dorry Squire
8. Waiting
9. Bad Side of Town
10. Mr. Inbetween
11. End
12. Crazy woman
13. Carousel
Info and reviews
http://www.lindisfarne.de/discography/alanhull/squire.htm
Enjoy
The Millennium - 1968 - Begin
Quality: 5 out of 5
Trip-O-Meter: 4 out of 5
The Millennium was a short lived project headed by sunshine pop producer extrodinaire, Curt Boettcher. Although the Begin album is Boettcher's baby, it is also very much the work of a functioning band. In fact, the members make up a sort of an obscuro 60's supergroup. Ron Edgar and Doug Rhodes joined in from the Music Machine ("Talk Talk"), and Sandy Salisbury was a holdover from the Ballroom project.
Begin is truly a lost classic that has not yet recieved it's due. The basic sound of the disc harkens back to Beach Boy Brian Wilson's 1966-1968 productions. In fact, many moments of Begin stand up well to Pet Sounds and surpass the sunshine pop of later Beach Boys albums. Like Wilson's productions, Boettcher, along with co-producer Keith Olsen, created difficult to pick out instrumental combination, and use potential dissonance to create a wall of sound. The band also uses many other sounds, such as raga singing, steel drums, and sound effects, to create amazing atmospherics.
The opening medley of "Prelude" and "To Claudia On Thursday" (the latter of which makes me think of 90's psych poppers The Olivia Tremor Control) reveal production that was state-of-the-art for its time, including compressed drums and full use of stereo range. The tripped out folk sound is similar to The Byrds The Notorious Byrd Brothers (produced by Usher), but to my ears surpass even that enviable achievement. "I Just Want To Be Your Friend," "5 A.M.," and "It's You" all stand out as should-have-been singles, but the full impact of The Millenium can be found in the tracks "The Island" and "Karmic Dream Sequence #1." Both of these songs have stellar hooks, but are far too weird even for singles. "The Island" creates a tropical lysergic sound. The songs seems as much a threat as an invitation. The band pulls out all of the stops for "Karmic Dream Sequence #1." Starting off as a hazy ballad similar to Crosby's songs for The Byrds and Jefferson Airplane, things start to collapse into a wild sound collage, even sampling "Prelude" from the start of the album.
Unlike most sunshine pop concoctions, the lyrical content of Begin holds up to scrutiny. Many tracks, especially "The Island," "It's You," and "There Is Nothing More To Say" have almost a strange cult-like ambiance. As "There Is Nothing More To Say" admits, "There is something that you hear in so many of our songs, but it's something that we want you to know." The album slowly reveals it's spiritual convictions, but the details of their philosophy is never quite ironed out. It's an interesting precursor to the modern psychedelic cult pop of The Polyphonic Spree.
Just as a fun fact, the cover of this set was designed by Arni Geller. Geller's other album art was for the similarly styled, but more colorful Friends by The Beach Boys.
If you haven't already heard it, I can give The Millennium's Begin my highest recommendation. The version here sports much better sound than the Columbia Records CD from the early 90's. The LP is still occassionally in print (I bought a new copy on vinyl last month) and would be worth seeking out.
Buy me:
The Millennium/The Ballroom- Magic Time
Listen To Me:
The Millennium - Begin
The Millennium - Begin Bonus Tracks
The Millennium was a short lived project headed by sunshine pop producer extrodinaire, Curt Boettcher. Although the Begin album is Boettcher's baby, it is also very much the work of a functioning band. In fact, the members make up a sort of an obscuro 60's supergroup. Ron Edgar and Doug Rhodes joined in from the Music Machine ("Talk Talk"), and Sandy Salisbury was a holdover from the Ballroom project.
Begin is truly a lost classic that has not yet recieved it's due. The basic sound of the disc harkens back to Beach Boy Brian Wilson's 1966-1968 productions. In fact, many moments of Begin stand up well to Pet Sounds and surpass the sunshine pop of later Beach Boys albums. Like Wilson's productions, Boettcher, along with co-producer Keith Olsen, created difficult to pick out instrumental combination, and use potential dissonance to create a wall of sound. The band also uses many other sounds, such as raga singing, steel drums, and sound effects, to create amazing atmospherics.
The opening medley of "Prelude" and "To Claudia On Thursday" (the latter of which makes me think of 90's psych poppers The Olivia Tremor Control) reveal production that was state-of-the-art for its time, including compressed drums and full use of stereo range. The tripped out folk sound is similar to The Byrds The Notorious Byrd Brothers (produced by Usher), but to my ears surpass even that enviable achievement. "I Just Want To Be Your Friend," "5 A.M.," and "It's You" all stand out as should-have-been singles, but the full impact of The Millenium can be found in the tracks "The Island" and "Karmic Dream Sequence #1." Both of these songs have stellar hooks, but are far too weird even for singles. "The Island" creates a tropical lysergic sound. The songs seems as much a threat as an invitation. The band pulls out all of the stops for "Karmic Dream Sequence #1." Starting off as a hazy ballad similar to Crosby's songs for The Byrds and Jefferson Airplane, things start to collapse into a wild sound collage, even sampling "Prelude" from the start of the album.
Unlike most sunshine pop concoctions, the lyrical content of Begin holds up to scrutiny. Many tracks, especially "The Island," "It's You," and "There Is Nothing More To Say" have almost a strange cult-like ambiance. As "There Is Nothing More To Say" admits, "There is something that you hear in so many of our songs, but it's something that we want you to know." The album slowly reveals it's spiritual convictions, but the details of their philosophy is never quite ironed out. It's an interesting precursor to the modern psychedelic cult pop of The Polyphonic Spree.
Just as a fun fact, the cover of this set was designed by Arni Geller. Geller's other album art was for the similarly styled, but more colorful Friends by The Beach Boys.
If you haven't already heard it, I can give The Millennium's Begin my highest recommendation. The version here sports much better sound than the Columbia Records CD from the early 90's. The LP is still occassionally in print (I bought a new copy on vinyl last month) and would be worth seeking out.
Buy me:
The Millennium/The Ballroom- Magic Time
Listen To Me:
The Millennium - Begin
The Millennium - Begin Bonus Tracks
Labels: Dr. Schluss, M
Ronnie Von - Brazil Psych
Ronnie Von was, and still is, a star in Brazil. Although now he conducts television shows of dubious cultural content (reality shows and alike), he started off with music. Let's be honest, most of his stuff was crap, like his first album which is full of Beatles covers and lacks any interest. But later... during the psychedelic era, he released three of my favourite albums. A trilogy which in terms of quality (and not so much in terms of musical style) can be compared to Mutantes. Why they have been overlooked in such way, I don't know. Very nicely produced, with incredible song composition and lyrics, those are three records to be listened carefully.
Originals are kind of rare, and really rare if you look for copies in good shape. They were reissued some time ago on LP (not on CD as far as I know) and I think they are still available, so if you like them you can get them (greeks out there check Anazitisi , and I think Guerssen has them too). Well... please listen to them and I really hope you will like them. If you don't, listen to them again. Oh.. and excuse the poor sound quality.
Originals are kind of rare, and really rare if you look for copies in good shape. They were reissued some time ago on LP (not on CD as far as I know) and I think they are still available, so if you like them you can get them (greeks out there check Anazitisi , and I think Guerssen has them too). Well... please listen to them and I really hope you will like them. If you don't, listen to them again. Oh.. and excuse the poor sound quality.
Ronnie Von - Same (1968)Tracks :
01- Meu novo cantar
02- Chega de tudo
03- Espelhos quebrados
04- Silvia, 20 horas, domingo
05- Menina de tranças
06- Nada de novo
07- Esperança de cantar
08- Anarquia
09- Mil novecentos e alem
10- Tristeza num dia alegre
11- Contudo, todavia
12- Canto de despedida
Get it here: http://rapidshare.com/ronnie_von_-_ronnie_von__1968_.zip
Ronnie Von - A Misteriosa Luta do Reino de Parassempre contra o Imperio de Nuncamais (1969)
Ronnie Von - A Maquina Voadora (1970)
01- Meu novo cantar
02- Chega de tudo
03- Espelhos quebrados
04- Silvia, 20 horas, domingo
05- Menina de tranças
06- Nada de novo
07- Esperança de cantar
08- Anarquia
09- Mil novecentos e alem
10- Tristeza num dia alegre
11- Contudo, todavia
12- Canto de despedida
Get it here: http://rapidshare.com/ronnie_von_-_ronnie_von__1968_.zip
Ronnie Von - A Misteriosa Luta do Reino de Parassempre contra o Imperio de Nuncamais (1969)Tracks :
01- De como meu heroi flash gordon ira me levar de volta a alfa do centauro, meu verdadeiro lar
02- Dindi
03- Pare de sonhar com estrelas distantes
04- Onde foi
05- My charie amor
06- Atlantida
07- Por quem sonha Ana Maria
08- Mares de areia
09- Regina e o mar
10- Foi bom
11- Rose Ann
12- Comecei uma brincadeira
01- De como meu heroi flash gordon ira me levar de volta a alfa do centauro, meu verdadeiro lar
02- Dindi
03- Pare de sonhar com estrelas distantes
04- Onde foi
05- My charie amor
06- Atlantida
07- Por quem sonha Ana Maria
08- Mares de areia
09- Regina e o mar
10- Foi bom
11- Rose Ann
12- Comecei uma brincadeira
Ronnie Von - A Maquina Voadora (1970)Tracks :
01- Minha maquina voadora
02- Baby de tal
03- Verao nos chama
04- Seu olhar no meu
05- Imagem
06- Continentes e Civilizaçoes
07- Viva o chopp escuro
08- Enseada
09- Tema de Alessandra
10- Aguas de sempre
11- Cidade
12- Voce de azul
Get it here: http://rapidshare.com/ronnie_von_-_a_maquina_voadora__1970_.zip
01- Minha maquina voadora
02- Baby de tal
03- Verao nos chama
04- Seu olhar no meu
05- Imagem
06- Continentes e Civilizaçoes
07- Viva o chopp escuro
08- Enseada
09- Tema de Alessandra
10- Aguas de sempre
11- Cidade
12- Voce de azul
Get it here: http://rapidshare.com/ronnie_von_-_a_maquina_voadora__1970_.zip
Tuesday, May 29, 2007
Blessed End - 1971 - Movin' On
US psych, acid rock and garage. Blessed End were from Philadelphia and this debut album was originally recorded in 1971, while still in high school . Sounding like The Doors, thanks mainly to the strong doomy vocals and prominent flowing keyboard sound.
Great organ led psycher LP, private press and borderlining on "real people".....Vocalist sounds like that fucker from The Doors, and the vocals themselves are mixed waaaay to loud.....but, still this is pretty good....the songs seem kind of 'throwaway' at first, but eventually really stick.....I wish the guitars were mixed louder....cheesy lyrics like the above really add to the charm.....
Great organ led psycher LP, private press and borderlining on "real people".....Vocalist sounds like that fucker from The Doors, and the vocals themselves are mixed waaaay to loud.....but, still this is pretty good....the songs seem kind of 'throwaway' at first, but eventually really stick.....I wish the guitars were mixed louder....cheesy lyrics like the above really add to the charm.....
Tracks
1. Nightime Rider
2. Someplace To Hide
3. Is It Time
4. Sometimes You Got To Be Strong
5. Movin' On
6. Day Before Tomorrow
7. Dead Man
8. Can't Be Without Her
9. One Stop Woman
10. Escape Train
11. Can't Be Without Her - (previously unreleased, bonus track)
2. Someplace To Hide
3. Is It Time
4. Sometimes You Got To Be Strong
5. Movin' On
6. Day Before Tomorrow
7. Dead Man
8. Can't Be Without Her
9. One Stop Woman
10. Escape Train
11. Can't Be Without Her - (previously unreleased, bonus track)
One of the few major late-'60s bands who were not often copied (at least well) was the Doors, perhaps because the disparate elements that made up the group were so complex and difficult to assimilate by a group of teenagers, and probably because there weren't too many Jim Morrisons, even in the tumult of the times. No teenager could match Morrison's combination of brilliance and b.s., poetry and pretension, and few bands could match the powerfully-ominous instrumental attack of Ray Manzarek, Robbie Krieger, and John Densmore. One of the best of the Doors understudies was Blessed End. Their only album, Movin' On, may not be as strong as anything the Doors created, but that is an unfair comparison to begin with. What the album is, though, is a solid collection of garage-pop songs with foreboding subject matter, considering the band members' youth. Steve Quinzi's organ lines are not as complex and menacing as Manzarek's, but they are often catchy in their frat-rock (think "96 Tears") way. Mike Petrylak's drumming is not as precise and commanding as Densmore's, but it holds down the music nonetheless. Jim Shugart's guitar work is mostly steady and unobtrusive, and is not really trying to stand up to Krieger's idiosyncratic psychedelic-flamenco-blues. And, of course, Doug Teti is not the Lizard King, but he does possess a booming (in the mold of Bob Mosley or Jack Bruce), tormented baritone that looms over the music. The argument could be made that Tetiwas more Gary Puckett than Jim Morrison, but Puckett never sounded as threatening, and his music never had the exuberant garage amateurishness that Blessed End's showed. Of course, the music is not completely melancholy. Sustaining that type of atmosphere necessitates a certain degree of physical or emotional destructiveness, as Morrison demonstrated. Movin' On shows elements of blues (Teti's Bruce-like wail on "Escape Train"), but there is ultimately a buoyant rather than somber feeling to their music in spite of its fair share of gloom. The opening one-two punch of "Nightime Rider" and "Someplace To Hide" may be constructed out of minor chords, but the music chugs along enthusiastically instead of broodingly. Throughout the album Teti sings about death, being alone, and hateful women, but repeated listening reveals it to be less sinister and more a manifestation of imaginative angst.
Download Link :
Christine McVie - Perfect Album
This Was Christine McVie's First solo album, it was relesed just after she left Chicken Shack but before she joined Fleetwood Mac. The Album Contained the hit single "I'd Rather Go Blind" from Christine's days with Chicken Shack.
Chicken Shack
In 1968 a friend of Christine told her that her ex-bandmate Andy Sylvester and Stan Webb were forming a blues band and were looking for pianist, so she wrote to them asking to join them. A few days later they replied, inviting her to play keyboards/piano and sing background vocals in their band Chicken Shack. Christine stayed with Chicken Shack for 2 albums and together they scored the top 10 British hit "I'd Rather Go Blind" with Christine on lead vocals. She was also given a Melody Maker award for female vocalist of the year, and she was lauded for having one of the "top 10 pairs of legs in all of Britain". Christine left Chicken Shack in 1969 after meeting Fleetwood Mac bassist John McVie.
Fleetwood Mac
Christine was a big fan of Fleetwood Mac at the time and while touring with Chicken Shack the two bands would often run into each other. Encouraged to continue her career, she recorded a solo album, Christine Perfect. As Christine McVie, she joined Fleetwood Mac in 1970, just after marrying Fleetwood Mac bass guitarist John McVie. She had already contributed backup vocals, played keyboards, and painted the cover for Kiln House. The band had just lost founding member Peter Green and its members were nervous about touring without him. McVie had been a huge fan of the Peter Green-era Fleetwood Mac, and since she knew all the lyrics to their songs, she went along. McVie quickly became an essential member of the group and the author of some of its finest songs, a position she would continue to hold for nearly 25 years.
Released Dec 6 1970
Recorded 1969, 1970
Genre Rock, Blues
Label Blue Horizon
1 "Crazy About You Baby" (Williamson) – 3:03
2 "Im On My Way" (Robey) – 3:10
3 "Let Me Go (Leave Me Alone)" (McVie) – 3:35
4 "Wait And See" (McVie) – 3:14
5 "Close To Me" (McVie, Haywood) – 2:40
6 "I'd Rather Go Blind" (Jordan, Foster) – 3:52
7 "When You Say" (Kirwan) – 3:14
8 "And Thats Saying A Lot" (Jackson, Godfrey) – 2:58
9 "No Road Is The Right Road" (McVie) - 2:49
10 "For You" (McVie) – 2:46
11 "I'm Too Far Gone (To Turn Around)" (Hendricks, Otis) - 3:26
12 "I Want You" (White) - 2:23
Full info here
http://en.wikipedia.org/wiki/Christine_McVie
http://www.fmlegacy.com/Bios/biochristine.html
Sorry for the bitrate... can't find it better
@128
christine_perfect_album_1970.rar
Enjoy
Released Dec 6 1970
Recorded 1969, 1970
Genre Rock, Blues
Label Blue Horizon
1 "Crazy About You Baby" (Williamson) – 3:03
2 "Im On My Way" (Robey) – 3:10
3 "Let Me Go (Leave Me Alone)" (McVie) – 3:35
4 "Wait And See" (McVie) – 3:14
5 "Close To Me" (McVie, Haywood) – 2:40
6 "I'd Rather Go Blind" (Jordan, Foster) – 3:52
7 "When You Say" (Kirwan) – 3:14
8 "And Thats Saying A Lot" (Jackson, Godfrey) – 2:58
9 "No Road Is The Right Road" (McVie) - 2:49
10 "For You" (McVie) – 2:46
11 "I'm Too Far Gone (To Turn Around)" (Hendricks, Otis) - 3:26
12 "I Want You" (White) - 2:23
Full info here
http://en.wikipedia.org/wiki/Christine_McVie
http://www.fmlegacy.com/Bios/biochristine.html
Sorry for the bitrate... can't find it better
@128
christine_perfect_album_1970.rar
Enjoy
Phantom (a.k.a. Phantom's Divine Comedy)
1974 - Phantom's Divine Comedy_Part 1Tracks :
01 Tales From A Wizard
02 Devil's Child
03 Calm Before The Storm
04 Half A Life
05 Spiders Will Dance (On You Face While You Sleep)
06 Black Magic/White Magic
07 Merlin
08 Stand Beside My Fire
09 Welcome To Hell
- Phantom -- vocals, guitar, keyboards
- X -- drums, percussion
- Y -- bass
- Z -- keyboards
Bordering on novelty sounds with overblown Lizard King vocals and a goofy fairytale concept, but is somehow well-done enough to be enjoyable. Lots of fuzz and dramatic mood changes plus almost inaudible spoken parts between the songs that few people have discovered (the vinyl re possibly omits these). Their manager claimed it to feature Jim Morrison on vocals which ensured a rapid journey down the cutout trail. In addition to this LP there is a "Lost Album" with recordings that may predate the Capitol album. The tapes have been bootlegged in Italy on vinyl (Ghost, 1989) and CD (Flash, 1997) and display an unexceptional Brit-inspired prog/folk sound. [PL]
~~~
see also -> Happy Dragon Band
~~~
1990 - Phantom's Divine Comedy_Lost Album
Tracks :
01 Your Life
02 Queen Of Air
03 Lone Wolf
04 Storms
05 The Music Rolls On
06 Realese Me
07 Sailin' Away
Get Both Albums Here @192
http://rapidshare.com/files/18426577/Phantom.rar
More info Here :
http://pearlsofrock.republika.pl/PhantomsDivineComedy.html
Labels: as Requested, Lost In Tyme, P
Little Phil & The Nightshadows - Patriarchs of Garage Rock
Little Phil & The Nightshadows - Patriarchs of Garage Rock Track List :
01 So Much
02 60 Seconds Swinger
03 In The Air
04 Plenty Of Trouble
05 I Did My Part
06 The Way It Used To Be
07 The Hot Dog Man
08 Perils Of Pauline
09 The Hot Rod Song
10 I Wish I Could Sing Soul Music
11 Knock On Wood
12 Summertime
The NIGHT SHADOWS
(aka Little Phil & The Night Shadows)
The Night Shadows were originally organized in December 1956 as The Cavaliers. The spelling was changed to The Kavaliers in 1957 to avoid legal problems with another group using that name. After some personnel changes in the summer of 1959 the group became The Barons. In the fall of 1959 the lead guitarist wrote an instrumental he called Night Shadows that the bass player thought was the perfect name for their Blues group. Assuming leadership of the band and against everyone's wishes, he changed their name to The Night Shadows on their business cards and quickly booked several months of gigs to make everyone relent. He also hired a front man for the group. From the fall of 1959 through 1961 The Night Shadows were primarily a Chicago-style Blues band featuring Bobby "Bones" Jones, a rowdy harp playing, skinny James Dean look-alike. Like the old-time blues men of the past, Jones went to prison for an alleged assault on someone with a brick mason's hammer. He later lost three toes to frostbite passing out drunk in ten-degree weather on the bed of a pick-up truck. He still writes blues tunes as Sweet Papa Jones.
In 1962 the group changed to a Rhythm & Blues show band featuring Little Erv (Barocas) & Judy (Argo), an Elizabeth Taylor look-alike, as headliners. For the next two years, the group became one of the one most popular R&B bands for Southern college dances and formals since Black R&B (or "Beach) acts were considered "crude frat party bands" by snobbish southern faculty and alumni. In 1964 the English invasion changed the group's primary direction to Rock relegating R&B, now called (East Coast) Beach Music to secondary importance. Little Erv quit the music business to get married and Judy Argo became a jazz diva appearing on NBC's Tonight Show before a purported suicide attempt in New York derailed her career.
When14-year old Little Phil (Rosenberg) was picked as their replacement to front the group, the other band members thought their leader "had lost it" since they were all in their early twenties. Over their protests of playing "nursemaid to a snot-nosed kid", he knew that Little Phil could do "James Brown type" choreography as well as sing Rock, Blues and Soul songs. His gamble paid off, and 1965 turned into a watershed year for the Night Shadows. Johnny Brooks, a studio engineer and producer Janoulis had worked with on sessions since 1959, had opened his own recording facility and was seeking artists with original material. This gave the group an opportunity to record both the tunes Little Phil had collaborated on and some others that Janoulis had written. The end result was a label deal with Dot Records, a very successful record company owned by Paramount Pictures in Hollywood, California. The single "So Much" featured Little Phil as lead singer. The other band members were Jimmy Callaway (guitar), Bobby Newell (organ), Charles Spinks (drums) and Aleck Janoulis (bass). Everything seemed to be going their way until the "conflict" in Viet Nam suddenly escalated into "war" and all able-bodied, single men between the ages of 18 to 26 were made eligible for the draft. Little Phil was still in high school and Janoulis, Spinks, and Newell were all in college. If the group left school permanently they would all be drafted except for Little Phil who was only 16. This prevented any extensive traveling to promote the record. As the record reached the Top Ten in three states, a corporate decision to make the record company a Country oriented label stopped all pop and rock promotion dead in its tracks. Their follow up single "60 Second Swinger" was permitted to be released on Gaye Records and featured a full color sleeve. Due to contractual obligations the group then recorded for Baja Records under the pseudonym "The Square Root of Two". This became the title of their classic 1968 psychedelic album on Spectrum Stereo which now sells for over $1200 to record collectors. Due to internal conflicts the band split up after their last concert on Memorial Day in 1969. Teen-age guitar prodigy, Barry Bailey, performed with the group in their final months (Ref: "Live At The Spot") and later went on to form the hit-making Atlanta Rhythm Section. Janoulis formed the group Starfoxx in 1974 that had a nationally charted hit "Disco Rock" in 1977 and, as Big Al Jano, released the anti-AIDS cult single, "The Condom Man", in 1987, based on the Night Shadows 1961 blues single, "The Garbage Man". Little Phil was lead singer for Kudzu and Bandit in the 1970's and has recently been recording some new material in the studio. Incredibly, Little Phil and the Night Shadows are still selling records and CDs to collectors all across the globe.
Labels: as Requested, L, Lost In Tyme, N, P
Monday, May 28, 2007
Remember the Wayfairing Strangers collection posted two weeks ago here in Lost-In-Tyme ?
http://echoesinthewind.blogspot.com
check the link above !
http://echoesinthewind.blogspot.com
check the link above !
Thank You whiteray !!!
Simon Finn-Magic Moments (2005)
This is the first new release by Simon Finn after 30 years, and it’s nice to see nothing of his honest slightly open-emotional playing has changed over the years. The songs are more sparsely arranged, but with well played acoustic guitar, and just some flute and violin by Joolie Wood. The songs don’t really need much more to sound good. The emotionality from the early album and songs concerns are the same. The song perspective has matured, while Simon's essential nature remains unchanged. I wish all singer-songwriters had this kind of musical stability, even when it has its own specific tiny human so called "unstable" aspects that make it even better, more human, and which gives it an integral musicality. Just the kind of "raw" "inner struggle" to speak out of an earlier age, is now more tempered. It's not replaced by something like a different vision but by continuity strength in grabbing its own visions. Well done.
Sunday, May 27, 2007
Pete Atkin - 1971 - Driving Through Mythical America
Pete Atkin - 1971 - Driving Through Mythical America
This a beautiful album by english folk singer Pete Atkin. Pete sung and wrote the music and Clive James the words (don't let that put you off, its fantastic). All the songs tell a great story along with some very fine backing by the likes of Herbie Flowers, Barry Morgan, Chris Spedding etc.
Checkout "No Dice" I love this song to bits!
01 Sunlight Gate
02 The Pearl Driller
03 No Dice
04 The Flowers and the Wine
05 Where Have They All Gone
06 The Prince of Aquitaine
07 Thief in the Night
08 Driving Through Mythical
09 Faded Mansion on the Hill
10 Practical Man
11 Lady of a Day
Music and arrangements by Pete Atkin / Lyrics by Clive James
Alan Parker-Guitar trks-2,3,6
Chris Spedding-Guitar trks-1,5,8,11
Herbie Flowers-Bass trks-1,2,3,6,11
Dave Bell-Bass trks-4,5,7,8,9,10
Barry Morgan-Drums trks-2,3,6,7,9
Kenny Clare-Drums trks-1,4,5,8,10,11
Enjoy !!!
This a beautiful album by english folk singer Pete Atkin. Pete sung and wrote the music and Clive James the words (don't let that put you off, its fantastic). All the songs tell a great story along with some very fine backing by the likes of Herbie Flowers, Barry Morgan, Chris Spedding etc.
Checkout "No Dice" I love this song to bits!
01 Sunlight Gate
02 The Pearl Driller
03 No Dice
04 The Flowers and the Wine
05 Where Have They All Gone
06 The Prince of Aquitaine
07 Thief in the Night
08 Driving Through Mythical
09 Faded Mansion on the Hill
10 Practical Man
11 Lady of a Day
Music and arrangements by Pete Atkin / Lyrics by Clive James
Alan Parker-Guitar trks-2,3,6
Chris Spedding-Guitar trks-1,5,8,11
Herbie Flowers-Bass trks-1,2,3,6,11
Dave Bell-Bass trks-4,5,7,8,9,10
Barry Morgan-Drums trks-2,3,6,7,9
Kenny Clare-Drums trks-1,4,5,8,10,11
Enjoy !!!
Thanks Steve for this one !!!
Labels: A, by Friends and Visitors of this Blog, P
Comus - 1970 - First Utterance
http://rapidshare.com/files/33537021/FU2.rar
Allmusic review :
Comus' first album contains an imaginative if elusive brand of experimental folk-rock, with a tense and sometimes distressed vibe. Although there are elements of traditional British folk music, there's an edginess to the songwriting and arrangements that would be entirely alien in a Fairport Convention or Pentangle disc. At times, this straddles the border between folk-rock and the kind of songs you'd expect to be sung at a witches' brew fest, the haunting supernatural atmosphere enhanced by bursts of what sound like a theramin-like violin, hand drums, flute, oboe, ghostly female backup vocals, and detours into almost tribal rhythms. All of this might be making the album sound more attractive than it is; the songs are extremely elongated and fragmented, and the male vocals often have a grating munchkin-like quality, sometimes sounding like a wizened Marc Bolan. The lyrics are impenetrable musings, mixing pastoral scenes of nature with images of gore, torture, madness, and even rape, like particularly disturbing myths being set to music. It's been reissued on CD, but here's one case where you might want to get the LP reissue (on Get Back) instead, as it comes with a bonus 12" of three songs in a similar vein as their rare 1971 EP.
Allmusic review :
Comus' first album contains an imaginative if elusive brand of experimental folk-rock, with a tense and sometimes distressed vibe. Although there are elements of traditional British folk music, there's an edginess to the songwriting and arrangements that would be entirely alien in a Fairport Convention or Pentangle disc. At times, this straddles the border between folk-rock and the kind of songs you'd expect to be sung at a witches' brew fest, the haunting supernatural atmosphere enhanced by bursts of what sound like a theramin-like violin, hand drums, flute, oboe, ghostly female backup vocals, and detours into almost tribal rhythms. All of this might be making the album sound more attractive than it is; the songs are extremely elongated and fragmented, and the male vocals often have a grating munchkin-like quality, sometimes sounding like a wizened Marc Bolan. The lyrics are impenetrable musings, mixing pastoral scenes of nature with images of gore, torture, madness, and even rape, like particularly disturbing myths being set to music. It's been reissued on CD, but here's one case where you might want to get the LP reissue (on Get Back) instead, as it comes with a bonus 12" of three songs in a similar vein as their rare 1971 EP.
Labels: C, Lanchester
