The Sun Also Rises - The Sun Also Rises (1970 uk acid folk rock - 2009 Lions Productions edition with 01 bonus track - FLAC)

The Sun Also Rises' only album is extremely reminiscent of the Incredible String Band's brand of mystical acid folk.

Where the Incredible String Band could mix jovial, introspective, and even menacing moods, however, the Sun Also Rises' range is more limited.

While their blend of guitar, dulcimer, glockenspiel, bells, and more can be pleasing, the mood is about as twee as it ever got for British acid folk.

Much of that's due to how Graham Hemingway and Anne Hemingway's twisting high harmonies have a cutesy flutter at their high end.

But the precious melodies and lyrics do their part as well, giving off the air of a too-genteel Renaissance Faire.

There are some nice wistful melodies and harmonies, though the mood is occasionally shattered (as on "Until I Do") by some way-too-farcical kazoo. At their tweest, they can sound as if they're trapped in a toy music box.

They're better when they get a shred more serious and explore minor melodies, as on ballads like "Part of the Room" and their reworking of the folk standard "O Death" (here simply titled "Death").

This rarity was reissued on CD in the U.S. , with the addition of the bonus track "Fafnir and the Knights," which originally appeared on the 1972 various-artists compilation Us on the Village Thing label (by Richie Unterberger).


Fafnir and the Knights:


Track List:
01.I Really Wanted You
02.Wizard Shep
03.Part of the Room
04.Green Lane
05.Tales of Jasmine and Suicide
06.Flowers
07.Song of Consolation
08.Suddenly It’s Evening
09.Death
10.Fafnir and the Knights

The Sun Also Rises:
*Graham Hemingway: vocals, guitars
*Anne Hemingway: vocals, dulcimer, glockenspiel, vibes, percussion


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CODE: 60253

The Byrds - The Byrds (1970 us folk rock - 2000 Legacy remaster edition 2 cds - Wave audio format)

"Untitled" is by far my favorite Byrds lp, regardless of what era of the band it was. There are many reasons for this- mainly being that the countrified Byrds of McGuinn/White/Battin/Parsons was the most stable lineup of the band, and with it produced numbers that ROCKED harder than anything they had ever done.
.
Disc one opens with live material, with obligitory Dylan numbers, the country/rocked out glory of "Nashville West," showcasing the late Clarence White's amazing guitar work, and the blissful 16 minute workout of "Eight Miles High"- proving that when they were inspired, the Byrds could flex their solo muscles and go with it. The studio material offer many wonderful nuggets, such as the McGuinn classic "Chestnut Mare," the Parsons/Battin's religiously based "Yesterday's Train," Leadbelly's "Take a Whiff on Me," sung by White, and White's wonderful take on Lowell George's beautiful "Truck Stop Girl.".
The beauty of a whole cd worth of unissued material is more than enough reason to get this gem of a re-release. It showcases the wonderful democracy (or as close as McGuinn would allow it to be) of the band at this point, and with it, the immense talents of all 4 members. Highlights include the studio version of McGuinn's "Lover of the Bayou," Parson's cover of Lowell George's "Willin," and White's "White's Lightning Pt.2," part of a studio jam. Also included are more live tracks including "Jesus Is Just Alright," soon to be the Doobie Brothers' breakout hit..
Many people regard this lp as the last great Byrds lp. This is debatable, of course (I feel "Last Time Around" is a brilliant, if tired, effort), but what is clear is the absolute brillaince of this lineup. Their chops are in top form, and it shows throughout the 2 cds. they never sounded tighter and more at ease with themselves.
This re-issue is absolutly indispensible listening and a gem of the highest calibre.(By Sean M. Kelly - Portland, Oregon)
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As a long-time admirer of the Byrds' Untitled, I have to admit I was a bit skeptical when I heard that another CD was being added to the re-release, with studio and concert outtakes. Forgive me for doubting. The added studio tracks are a revelation. "All the Things" seems like a completely different song, with a brilliant arrangement that features complex vocal harmonies and a prominent McGuinn guitar--one of his most heavenly 12-string riffs. "Lover of the Bayou" features a heavily echoed McGuinn vocal and a strong harmonica backing, plus great guitar interplay between McGuinn and Clarence White--ferocious! Then there are two quiet, acoustic songs with Gene Parsons's vocals that are the real sleepers here--"Willin'" and "Yesterday's Train." The latter has an understated vocal so achingly beautiful that all the song's wistful longing comes through. And the acoustic version of "Kathleen's Song" has a similar fragile beauty. All in all, 22 minutes of unreleased studio cuts than are as strong as anything on the original album. As for the live performances, a great "Jesus is Just Alright"--it's about time a live version is now available. And the arrangement of "Ballad of Easy Rider" is far superior to the studio version, with lovely bitter-sweet harmonies at the end. From a double album to a double CD--and every bit worthy of the name. One of the greatest Byrds albums, now even more awe-inspiring.

The Byrds - 8 Miles High

THE BYRDS: 8 MILES HIGH AVEC Clarence White GUITAR par mrjyn

Tracks Listing

Disc: 1
01. Lover Of The Bayou
02. Positively 4th Street
03. Nashville West
04. So You Want To Be A Rock 'N Roll Star
05. Mr. Tambourine Man
06. Mr. Spaceman
07. Eight Miles High
08. Chestnut Mare
09. Truck Stop Girl
10. All The Things
11. Yesterday's Train
12. Hungry Planet
13. Just A Season
14. Take A Whiff On Me
15. You All Look Alike
16. Well Come Back Home

Disc: 2
01. All The Things - (alternate take)
02. Yesterday's Train - (alternate take)
03. Lover Of The Bayou - (alternate take)
04. Kathleen's Song - (alternate take)
05. White's Lightning Pt. 2
06. Willin'
07. You Ain't Goin' Nowhere - (live)
08. Old Blue - (live)It's Alright Ma (I'm Only Bleeding) - (live)
09. It's Alright Ma (I'm Only Bleeding) - (live)
10. Ballad Of Easy Rider - (live)
11. My Back Pages - (live)
12. Take A Whiff On Me - (live)
13. Jesus Is Just Alright - (live)
14. Wheels On Fire - (live)

Credits
Roger McGuinn - Guitar, Vocals
Gene Parsons - Drums, Percussions, Banjo, Vocals
Skip Battin - Bass, Piano, Vocals
Clarence White - Guitar, Vocals

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Morning - Morning (1970 us, trippy country folk rock, 2009 edition - FLAC)

Based in Los Angeles and originally known as The Morning and The Evening (wisely shortened to The Morning), this short-lived outfit featured the talents of guitarists Barry Brown and Terry Johnson, keyboardist Jim Hobson, drummer Jim Kehn, singer/guitarist Jay Lewis and bassist Bruce Wallace.

Signed by Vault Records, the band's cleverly titled 1970 debut "Morning" was produced by Brown, Hobson and Lewis. With most of the band contributing material, the collection offered up a variety of genres including Poco-styled country-rockers ('Tell Me a Story' and 'Roll 'em Down') and slower-paced folk-rock numbers ('Early Morning' and 'Time').

Lewis had a nifty voice, the rest of the band capable of contributing some nice CSN&Y-styled harmonies ('Easy Keeper' and 'Dirt Road'). Sure, it may not have been the year's most original offering, but the set was never less than pleasant and tracks such as 'And I'm Gone' and the trippy 'Sleepy Eyes' were miles ahead of the competition. (The album was originally released with a gatefold sleeve.)
by BadCat

Tracks
1. Angelena (Barry Brown, R. Dinsmore) - 3:27
2. Early Morning (Jay Lewis) - 2:40
3. Tell Me a Story (Jim Hobson) - 3:13
4. Easy Keeper (Jay Lewis) - 2:09
5. Roll 'em Down (Barry Brown) - 3:05
6. Sleepy Eyes (Jim Hobson) - 3:25
7. New Day (Jim Hobson, Jay Lewis, Barry Brown) - 1:35
8. As It Was (instrumental) (Jay Lewis, Barry Brown) - 2:50
9. Time (Jim Hobson) - 3:32
10.It'll Take Time (Barry Brown) - 2:30
11.And I'm Gone (Jay Lewis) - 5:23
12.Dirt Roads (Jim Kehn) - 1:30

Morning
*Barry Brown - Guitar, Drums, Vocals
*Jim Hobson - Piano, Organ, Vocals
*Jim Kehn - Drums, Guitar, Vocals
*Jay Lewis - Guitar, Banjo, Vocals
*Terry Johnson - Guitar
*Bruce Wallace - Electric, String Bass

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The Sixth Station - Deep Night (1982 us psychedelic soft and folk rock - 2010 erebus edition - FLAC)

Stunning soft rock set of dreamy celestial moods carried by a steady beat and rife with phased electric rhythm guitar for a wonderful unfiltered slightly out-of-tune quality. Lead vocalist sounds a lot like Neil Young with his fragile shaky delivery.



Deep creative lyrics to match, with all original songwriting and titles like ‘I See’, ‘Ways You’ve Never Known’, ‘Over And Over’, ‘Sunrise’ and ‘Remember The Pilgrim’.



Plenty of solo leads on top of the rhythm guitar, sometimes two in tandem, sometimes with light fuzz or other effects, reaching some hard-hitting moments on tracks like ‘Scar Of Love’ or the powerful ‘Before The Snowfall’.



The only other instruments are bass and drums (no keyboards or even acoustic guitars from what I can tell).



Some of the most beautiful selections are the ballads, like ‘Make A Way For Me’ or the delicate title track. Catholic I’m guessing – the back cover has references to “nihil obstat” and “imprimatur”, plus a thanks to the Bishop of Peoria.



Simple sunset cover photo. One of the most impressive post-80 custom recordings I’ve heard (Ken Scott - Archivist).



Before The Snowfall:





Track List:

01.I See

02.Ways You've Never Known

03.Scar Of Love

04.Over & Over

05.Make A Way For Me

06.Before The Snowfall

07.Deep Night

08.Sunrise

09.Remember The Pilgrim



The Sixth Station:

*Tony Trosley: rhythm guitars, vocals

*Tom Ruble: guitar, mandolim, banjo, vocals

*Rob Williams: percussion

*Player Shatto: upright bass





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Crash Coffin - Crash Coffin (1970 us rural acid psychedelic - Radioactive edition - FLAC)

The self-titled debut album by this Ohio based songwriter was released privately on the Mus-i-Col label in 1970 backed by a full band.

All copies that exist have unique sleeves made by Crash himself. The actual finished sleeves he claimed were destroyed by fire, but he likes a tale to tell!

Truth is, the cost of producing finished sleeves proved to be too expensive! Reviews claim the music to be rural acid psychedelia.

Well maybe… really, he's a living history of American popular music!

It's easy to hear how much he admires Elvis. Several of the songs, particularly the tender ballad 'Lilly,' show the King is an influence, but there's also Dylan too, with his humorous take on the issues of the time.

Women's Liberation, space travel, and religion all get the 'Crash' treatment, with the confident support of rock 'n'roll, blues, country and jug band styles.

Each of the ten tracks exhibit a fine grasp of song craft, are very musical, and certainly entertaining listening. The man himself remains an enigma."

Crash Coffin is a fellow from Ohio who put together a band and recorded ten of his songs on a local label back in 1970.

Crash had a good grasp on singing, storytelling and songwriting as well as a working knowledge of various musical genres.

This CD contains "Masochist Blues" and "the Looney Polka" as well as eight others that are not as readily pegged as belonging to a particular musical style.

One song, "Freedom Cake," could have given the Lovin' Spoonful some serious competition in the jug band pop field.

Crash had a strong and smooth voice with plenty of Elvis that crept in around the edges.

This is actually a pretty good record that I've gone back to more than once.

I especially like the closing track, a rambling folk pop ditty about Jesus stealing his "Blue Kazoo."

Mr. Coffin did individual artwork for the covers of the few copies of the LP that actually made it into the hands of the public because he couldn't afford to have the covers printed.

It's a shame because this could have been a popular record with a little support from a label. (P. Edwin Letcher)


God Loves the Loser:


Track List:
01.Massochist Blues
02.Lilly
03.Amazon Jungle
04.God Loves the Loser
05.Get Back in the Kitchen
06.Alone Together
07.Freedom Cake
08.Electric Dog
09.Looney Polka
10.Blue Kazoo
11.Silent Ladies
12.Swing


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Tir Na Nog - Tir Na Nog (1971 ireland folk rock with progressive rock touches - APE lossless audio format)

Although they only lasted five years, Tir Na Nog managed to make their brief time in existence count, and fans of ’70s folk still sing their praises warmly.

Formed in Dublin in 1969, the duo of Sonny Condell and Leo O’Kelly were making the right music at the right time.

Although influenced by traditional music, their compositions followed the singer/songwriter bent of the time, and the blend of two voices and two guitars did their material justice, light, airy, and thoroughly engaging, with bits of tabla and exotica.

Tir Na Nog, whose name translates from the Gaelic as “Land of Eternal Youth,” hit a Zeitgeist with their first album.

The pairing of Sonny Condell and Leo O’Kelly caught the same softness as, say, Nick Drake, but more open and engaging, with just enough lilting Celtic influence to offer plenty of charm (although, it must be said, very little of the Irish tradition is evident in their music).

The acoustic duo could be sweetly romantic, as on “Time Is Like a Promise” and “Our Love Will Not Decay,” but they could also offer a crowd-pleaser like the singalong “Aberdeen Angus.” “Picadilly” is especially poignant, a touching tale.

Condell brings a few exotic touches to the disc, adding tabla, Moroccan drum, and jew’s harp, but that hardly turns them into a version of the Incredible String Band — their writing simply isn’t quirky enough.

That’s not to imply there isn’t a strength to it; there is. They can pen a good, memorable tune with an affecting chorus, and the relatively straightforward arrangements, fleshed out by Barry Dransfield’s fiddle and Nick Harrison’s arrangements, are never overdone.

Pleasant without ever being startling, this is ’70s folk-rock, with the emphasis on the folk more than the rock (by AMG).


Time Is Like A Promise:


Track List:
01.Time Is Like A Promise (2:56)
02.Mariner Blues (4:12)
03.Daisy Lady (2:21)
04.Tír Na Nóg (5:20)
05.Aberdeen Angus (1:50)
06.Looking Up (4:51)
07.Boat Song (3:24)
08.Our Love Will Not Decay (3:04)
09.Hey Friend (3:01)
10.Dance Of Years (3:50)
11.Live A Day (3:04)
12.Piccadilly (5:35)
13.Dante (2:56)

Tir Na Nog:
*Sonny Condell / vocals, guitar, moroccan pottery drums, tablas, jews harp
*Leo O'Kelly / vocals, guitar, dulcimer, electric bass, tin whistle

Guests:
*Barry Dransfield / fiddle (4)
*Annie Crozier - psaltery (1)



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The Freedom Highway - Made In '68 (1968 us psychedelic, folk rock west coast - MP3 320K and FLAC)

The Freedom Highway at first set out with electric guitars to play a combination of ragtime, American folk music, with few original compositions.

The tall thin blonde-haired lead singer Mike Lamb was the focal point and he had a modest following who loved his Lonnie Johnson-styled blues shouting.

My slide guitar on the Dylan song "Oxford Town" was also a hit with audiences. Filling out the sound on a Farfisa organ was Howie Lazzarini, Kurt Eichstaedt on drums and Scott Inglis on bass.

It was Scott and I in 1967 that set the group on a completely different path by firing everyone else and hiring the very talented lead singer and drummer, Bruce Brymer.

Playing strictly as a trio, we wrote our own music which was both influenced by the Who and emphasized singing.

The following year Gary Philippet joined and gave us a tremendous boost with his fine singing and imaginative guitar work.

The day that Scott Inglis decided to enlist in military service our jaws hit the floor, but we soon found a more than satisfactory volunteer on bass, guitar and vocals in Dave Schallock.

Seasoned as he was from various groups (the Pullice where both he and Bruce had previously played together) Dave completed what would be the final and best line-up of the Freedom Highway.

We moved into a house together so we could eat, practice, live or die with our music.

While the unpopular Viet Nam war raged on, and then assassinations devastated entire political movements it became a symbol for almost every band to openly smoke illegal drugs.

Ours was certainly no exception. In that sense, never before or since has it mattered so little that we weren't yet of legal age and couldn't drink in a bar. We lived to roll, smoke, gig and rehearse.

It was our way of keeping our minds occupied while we waited for something, anything to happen in our career as band. That something never happened.

Adding to my despair was my military draft notice. Managing to thoroughly convince the induction officials of my inability to follow any kind of orders, I was relieved to be told I wasn't "army material".

There seemed to be no work or record label interest. We'd been managed for years by a team at West Pole Agency who had overseen the careers of Quicksilver Messenger Service and Big Brother.

Oddly, as the group improved musically, the amount of high profile shows decreased to the point where we had to take a hotel gig, work better suited to a "cover" band.

In 1970, when I turned twenty, the Freedom Highway ended forever as did that kind of hopeful, euphoric "love can save the world" philosophy that had spiked the party juice in San Francisco for five years (earofablankplanet.com).

Track List:
01.Chico (Smoke El Ropo) (5:33)
02.Give (7:56)
03.Don't Look Back (4:55)
04.The Waltz For Prime Tunas (4:45)
05.New Connections (6:33)
06.Heaven Train (2:32
07.Loretta (5:54)
08.Real Eyes (5:04)
09.Head In The Fire (4:29)
10.Be My Friend (4:46)
11.lack And White (3:34)
12.Reese Returns (3:41)
13.Spirit Passing 'Round (2:30)


The Freedom Highway:
*Bruce Drymer: Drums, Vocals
*Richi Ray Harris: Guitar, Vocals
*Dave Schallock: Bass, Vocals
*Gary Philippet: Guitar, Vocals
*Scott Inglis: Bass, Vocals


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Neil Young and the International Harvesters – A Treasure (1984-1985 us folk rock, country rock and rock'n'roll - 2011 HDCD edition - MP3 320K and FLAC

Are you ready for the country? So sings Neil Young on the song of the same name, the second track of his new live release, A Treasure.

But this should probably be the first track on the album, since it’s more than just a fast, raunchy, countrified blues number; it’s something like an aesthetic standpoint.

Young asks us if we can handle this side of him. Are you ready for the country? If you are, then you need to get this album.

This ain’t your father’s Neil Young, unless of course your dad listens to Waylon Jennings, Townes Van Zandt, and/or once owned a confederate flag.

Neil was a musical shapeshifter in the 1980s, after a decade and a half of establishing himself as classic rock royalty in bands like Buffalo Springfield, CSN&Y, and Crazy Horse. As part of the burgeoning acid folk/folk rock/psychedelic scene of late ’60s Los Angeles, he brought an edge to the soft vocal harmonies of Crosby, Stills, and Nash, and his biting guitar rocks your inner core on songs like “Ohio” and “Southern Man”.

In 1982, Young released Trans, a synth-heavy rock album that could almost be the soundtrack to the original Tron. 1983 saw the release of Everybody’s Rockin’, an album of rockabilly-flavored 1950s rock and roll. And in 1985, Neil dropped Old Ways, an album that his label didn’t want to release, saying that it was too country.

In the midst of that creative period, Young toured with the International Harvesters, a group of musicians who could revel in the country twang of the Old Ways material.

Their concerts, in 1984 and 1985, are captured here for the first time on A Treasure. Of course, Neil Young is no stranger to southern music; “Are You Ready for the Country?” was first recorded on the 1972 gem Harvest, and the country sound has always been integral to this singer-songwriter’s world.

The live version of “Are You Ready…” brings out the country stomp, played at a much faster and more aggressive clip than the original studio version. Rufus Thibodeaux’s fiddle flies out in front, with Young’s phlanged guitar substituting for the Hank Williams twang of honky-tonk.

A Treasure was cobbled together from various recordings made during Neil’s fall 1984 and 1985 tours, but it arcs like a real show, coming to a frenzied peak with the most rocking selection on here, the album-closing “Grey Riders”. Never before released, and long considered a fan favorite, “Grey Riders” is a monster of Young’s “Cinnamon Girl” classic rock sound.

Thibodeaux’s crying fiddle is still there, and the fast country backbeat dominates the verses and chorus, but it’s all about the heavily distorted, syncopated guitar riff in between verses, and Young’s wailing, over-driven guitar solo.

Along the way, A Treasure visits a variety of Southern styles. “It Might Have Been” is fast Nashville sound, dominated by fiddle and Young’s nasally voice, with longtime Young collaborator Ben Keith on pedal steel guitar. “Bound for Glory” is a dramatic narrative ballad, a sad country love story.

The soulful country ballad “Nothing Is Perfect” features gospel backing vocals, which lend strong and commanding support to Neil’s reedy tenor, while bowed bass and barrel-house piano contribute that old-time homey sound. Banjo adds a frolicky bluegrass feel to “Get Back to the Country”, as Young sings, “Back where it all began.” It’s high-powered, über fast rock bluegrass, with electric guitars and drums commingling with the fiddle, banjo, and pedal steel.

There’s plenty of harder stuff on here, too. “Motor City” has gritty guitars, and the working class ethos of ’80s rockers like George Thorogood or John Mellencamp lurks in the background. Except that Neil Young brings more humor, more artistry, and more rawness to the sound than either of those commercial rockers.

“Soul of a Woman” is a 12-bar blues, hearkening back to a ’50s rock and roll sound. It’s the country tinge that Elvis, Carl Perkins, and Buddy Holly had, but with more grit, more drive, more overdrive on the guitars (and a totally bad-ass blues fiddle solo).

The nearly eight-minute “Southern Pacific”–a chugging lament on train culture–is the centerpiece of the second half of the album. The train screams into your headphones with a fast rock backbeat and lyrics full of melancholy and nostalgia.

Anthony Crawford’s totally raw banjo solo, complete with noisy fret scratching, sounds like the sound of rusty train brakes. Young’s voice soars with urgency, delivering a commanding performance of this socially conscious tune, channeling the plight of the American worker into song.

The album is being released in a variety of media, including a deluxe CD/Blu-ray combo pack featuring live footage of the ’84-’85 Harvesters when available. Longtime Neil Young fans and completists will salivate that this incredibly fruitful collaboration is finally an official release and that songs like “Grey Riders”, which previously existed only as grainy bootlegs, have been lovingly remastered.

This was Young’s offering on Record Store Day, telling something of the affection he has for this time period. Yes, it’s a live album, but not “this is what he’s been doing recently.”

If anything, this feels more like a vault release of a new band with familiar faces. Above all, you can feel the exuberance that comes from playing raw, unbridled live music, and there are few from that generation who excel at this better than Neil Young. Old man, take a look at your life, indeed (by Jaken Cohen).

Powderfinger:


Track List:
01.Amber Jean* (9/20/84) Nashville Now TV – Nashville, TN
02.Are You Ready for the Country? (9/21/84) Riverbend Music Center – Cincinnati, OH
03.It Might Have Been (9/25/84) Austin City Limits TV – Austin, Texas
04.Bound for Glory (9/29/84) Gilleys’ Rodeo Arena – Pasadena, TX
05.Let Your Fingers Do the Walking* (10/22/84) Universal Amphitheatre – Universal City, CA
06.Flying on the Ground is Wrong (10/26/84) Greek Theater – Berkeley, CA
07.Motor City (10/26/84) Greek Theater – Berkeley, CA
08.Soul of a Woman* (10/26/84) Greek Theater – Berkeley, CA
09.Get Back to the Country (10/26/84) Greek Theater – Berkeley, CA
10.Southern Pacific (9/1/85) Minnesota State Fair – St. Paul, MN
11.Nothing is Perfect* (9/1/85) Minnesota State Fair – St. Paul, MN
12.Grey Riders* (9/10/85) Pier 84 – New York, NY


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The Association - Just The Right Sound Antology (1965-1972+1981 us folk and pop rock - compilation with 2 CDs and 51 tracks - MP3 320K and FLAC)

The Association turned the pop world on its ear with spine-tingling harmonies, a big California folk-pop sound, and top-notch original material.

Founded in 1965 by Russ Giguere, Jules Gary Alexander, Ted Bluechel, Terry Kirkman, Jim Yester, and Brian Cole, the band broke into the national spotlight in 1966 with “Along Comes Mary” and “Cherish.”

The follow-up album was a hit later that year, prompting Warner Bros. to sign them and release their third album, 1967’s Insight Out, which featured another #1 hit in “Windy.”

Though The Association’s glory days were the late ’60s and early ’70s, they continued to record and perform sporadically throughout the ’80s. Back on the scene during the ’90s, a revamped band once again hit the road for the benefit of its worldwide legion of fans.

Just The Right Sound: The Association Anthology is the definitive collection of hits, album tracks, and rarities.

It features 51 tracks (33 on CD for the first time!) on two CDs, including the previously unreleased “The Machine” and “Better Times,” plus hard-to-find single mixes of their greatest hits. Booklet includes liner notes, rare photos, and track notes from the band members (Rhino).


Along Comes Mary:


Disc: 1
01.The Machine
02.Babe I'm Gonna Leave You
03.One Too Many Mornings
04.Forty Times
05.Along Comes Mary
06.Your Own Love
07.Don't Blame It On Me
08.Cherish
09.Standing Still
10.I'll Be Your Man
11.Remember
12.Enter The Young (Original Version)
13.Better Times
14.It'll Take A Litlle Time - Larry Ramos
15.You Hear Me Call Your Name
16.Memories Of You
17.Pandora's Golden Heebie Jeebies
18.Looking For Glass (Single Version)
19.No Fair At All
20.Windy
21.On A Quiet Night
22.We Love Us
23.When Love Comes To Me
24.Never My Love (Single version)
25.Happiness Is
26.Requiem For The Masses

Disc: 2
01.Come On In
02.Everything That Touches You
03.Barefoot Gentleman
04.Time For Livin'
05.Birthday Morning
06.Like Always
07.The Time It Is Today
08.Six Man Band (Single Version)
09.Goodbye, Columbus
10.Under Branches
11.Yes, I Will
12.Look At Me, Look At You (Single Version)
13.Goodbye Forever
14.What Were The Words
15.Just About The Same
16.Along The Way (Single Version)
17.P.F. Sloan
18.Pegasus - Russ Giguere
19.Darling Be Home Soon
20.Names, Tags, Numbers & Labels
21.Carry On - Bijou
22.One Sunday Morning
23.Dreamer
24.Small Town Lovers
25.Across the Persian Gulf


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Skybird - The Summer of 73 (1974 rare uk folk rock tinged psychedelic and progressive - FLAC)

Another Holyground UK folk rarity dusted off and given the polished CD treatment courtesy of those nice Kissing Spell people.

Originally released in 1974, and ltd to just 250 copies, original copies are nigh on impossible to find.

Featuring acoustic gtrs, dobro, etc. this duo play a mellow easy going kind of contemporary folk. Contains different cover artwork to the original

Tracklisting:

01. Queen Magdalena

02. Snowcloud

03. A Thousand Miles away

04. Remembering

05. I Can't take no more

06. Lately I dream

07. Legend

08. Someone ought to tell her

09. Who Killed whom

10.So Long Ago

11.Summer of '73

Skybird:

*Gifford Rolfe: vocals, guitar, 12 string guitar

*Andrew Muillins: guitar, dobro, electric guitar, bass, piano, organ, percussion, vocals, synthesiser

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CODE: 57661 or click here (password is cod_number+phrockblog)

Country Joe and the Fish - The First Three E.P's (1965-1971 us, protest folk, psychedelic rock, collectors items - MP3 320k and FLAC)

This collection of songs represents the very first successful American attempt to use a record propaganda and promotion. In 1965 Joe McDonald was to have performed a a demontration to protest the draft in Oakland, California, to politicized his audience, he and his then (and sometimes current) associate Barry Melton and Ed Denson (Kicking Mule Records) decide to form a jug band to accompany them at this event.

They asked along some musicians they knew through Chris Strachwitz (Arhoolie Records) to record two songs for this record, as he had recording equipment and a way to get the records pressed. They recorded two songs, "Superbird" and "I Feel Like I'm Fixing To Die Rag", a young songwriter from the Bay Area, Peter Krug recorded "Fire IN The City" and "Johnny's Gone Th The War" which were added as b-side.

This record was conceived as a "talking" edition of Joe's magazine RAG BABY. They called themselves Country Joe And The Fish, a name which was arrived at as compromise to Country Mao and the Fish (as in the Mao saying regading the "fish that swims in the sea of the people") since they were in effect to conceived as agit-prop group.

This "record" and the appereance in Oakland led to requests for them to appear as a band and their emphasis slowly shifted from an acoustic jug band to an electric "Rock" band playing a brand of what later came to be called :Psychedelic Music".

To promote themselves as an "Electric Band" and maybe make some money, they again formulated and recorded another EP. This was recorded at Sierra Sound Studios in Berkeley, California and formally astablished the existence of the RAG BABY Label. This EP numbered 1002 with its distinctive cover (by Berkeley artist Tom Weller) became one of the most identiflable of the many locally produced items from the San Francisco Bay Area, in the late 1960's. It was released in June of 1966, sold for $1.00.

It certainly achieved notably as a collector's item, for established the band in New York long before they ever appeared ther and was available in record and "head shops" as far away as London. It contained three songs "Section 43", "Thing Called Love" and "Bass Strings".

In 1971, Country Joe again decided to mix commerce with politics and EP's. Then working with Jane Fonda and Donald Sutherland in a political musical revue they did shows for GI's to draw attention to the war in Vietnam. This FTA (Free The Army) Show was presented at "alternative" coffee houses (with names such as "Oleo Strut") that became centers for ant-war activism.

One of these in Mountain Home, Idaho was burned to the ground after their appereance there. Joe made another record that would contain material relevant to this period and songs that performed in the show. The third EP (RAG 1003) contains "Tricky Dicky", "Free Some Day" and "Kiss My Ass". They were recorded at Jack Leahy's Funky Features Recording Studiuo in San Francisco. The record was to have sold for $1.50 to raise money for the show and the VVAW (Vietnam Veterans Against The War), but some were burned, some were lost in transit and others dissappeard.

It was probably more political than the first one as it went directly to the point, it received considerable airplay, however on what were then known as "progressive" FM radio stations.

Section 43:


Tracks
EP-1 10/1965
1. Who Am I? - 5:40
2. Dirty Claus Rag - 2:00
3. I Feel Like I'm Fixin' To Die Rag (All Takes) - 8:02
4. Superbird - 3:33
5. Fire In The City (Peter Krug) - 4:43
6. Johnny's Gone To War (Peter Krug) - 2:00
EP-2 06/1966
7. (Thing Called) Love - 2:33
8. Bass Strings - 3:57
9. Section 43 - 6:43
EP-3 05/1971 (Cover design by Jane Fonda)
10.Kiss My Ass - 3:00
11.Tricky Dicky - 3:54
12.Free Some Day - 5:29

Musicians
EP-1 10/1965
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*Carl Shrager - Washboard, Kazoo
*Bill Steele - Washtub Bass
*Mike Beardsleee - Vocal
EP-2 06/1966
*Joe McDonald - Vocals, Acoustic Guitar, Harmonica
*Barry Melton - Vocals, Electric Guitar
*David Cohen - Electric Guitar, Farfisa Organ
*Bruce Barthol - Bass, Harmonica
*John Francis Gunning - Drums
*Paul Armstrong - Tambourine, Maracas
EP-3 05/1971 (Free the Army Show)
*Joe McDonald - Vocals, Acoustic Guitar, Electric Guitar
*Anna Rizzo - Vocals
*John Rewind - Electric Guitar
*Richard Sussman - Piano
*Nacho Dewey - Harmonica
*Vic Smith - Bass
*Greg Dewey - Drums

[ Thank you HOTRODER for sending this post]
CODE: 56851 or click here (password is code_number+phrockblog)

Neil Young - Four First Albums (1969-1972 us folk rock and classic rock - 2009 remastered HDCD edition - FLAC audio lossless by courtesy of COR )

[ Classic Albuns Series ]

Neil Young (1969)

Everybody Knows This Is Nowhere (1969)

After the Gold Rush (1970)

Harvest (1972)

[ Rip and Scans by COR ]
Previous posted at PHROCK on Sunday, September 06, 2009
CODE: 53635 or click here (password is code_number+phrockblog)

Tim Buckley - Tim Buckley ( 1966 us classic psychedelic folk rock - double CD Rhino handmade release - MP3 320K and FLAC)

The strength and character of Tim Buckley's tenor - soaring yet delicate - was already a force to be reckoned with in 1966 when he recorded his self-titled debut for Elektra Records at the tender age of 19.

It was also to be the only constant during the evolution that marked the singer-songwriter's career before his untimely death nine years later.

Rhino Handmade retraces the first steps of Buckley's uncompromising musical journey with a two-disc set that includes both the stereo and mono versions of his debut.

The second disc contains nearly two dozen unreleased recordings Buckley made in 1965 with The Bohemians and in 1966 with frequent songwriting partner Larry Beckett.

Buckley recorded the album's twelve songs in Los Angeles with the team behind The Doors - producer Paul Rothchild and engineer Bruce Botnick.

He was backed in the studio by guitarist and longtime collaborator Lee Underwood, bassist James Fielder, and Mothers Of Invention drummer Billy Mundi.

Van Dyke Parks, who had spent much of that summer collaborating with Beach Boy Brian Wilson on the legendary Smile album, was brought in to overdub keyboards, and frequent Phil Spector sidekick Jack Nitzsche contributed string arrangements.

The DELUXE EDITION features both the stereo and mono mixes of the album, which contains several of Buckley’s early classics, including the singles Wings and Arent You The Girl.

The music on the second disc has remained unreleased until now and provides an unparalleled insight into Buckley’s early development.

It opens with twelve songs he recorded in November 1965 with The Bohemians, a group he formed in high school with Fielder, Beckett, and guitarist Brian Hartzler.

Recorded live in an Anaheim studio, the originals include early versions of She Is and It Happens Every Time - two tracks that later appeared on Buckley’s debut.

The session also yielded rockers like Put You Down and Come On Over and the ballads Call Me If You Do and No More.

The nine songs that make up the second half of the disc were recorded shortly before the sessions for Tim Buckley and feature Buckley singing and playing acoustic guitar with Beckett, who recites poetry to Buckley’s guitar on two tracks: Found At The Scene Of A Rendezvous That Failed and Birth Day.

The home recording captures versions of the album tracks: She Is, Arent You The Girl, Wings, Song Slowly Song, and I Cant See You.

The two remaining songs are the Buckley original My Love Is For You and the Beckett/Buckley collaboration Long Tide (Rhino).


I Cant See You :


Disc 1:
Album in Stereo and Mono

01.I Cant See You
02.Wings
03.Song Of The Magician
04.Strange Street Affair Under Blue
05.Valentine Melody
06.Arent You The Girl
07.Song Slowly Song
08.It Happens Every Time
09.Song For Jainie
10.Grief In My Soul
11.She Is
12.Understand Your Man


Disc 2:

The Bohemians Demos
01.Put You Down
02.It Happens Every Time
03.Let Me Love You
04.Ive Played That Game Before
05.She Is
06.Here I Am
07.Dont Look Back
08.Call Me If You Do
09.You Today
10.No More
11.Wont You Please Be My Woman
12.Come On Over

Acoustic Demos:
13. She Is
14. Arent You The Girl
15. Found At The Scene Of A Rendezvous That Failed
16. Wings
17. My Love Is For You
18. Song Slowly Song
19. Song Introductions by Larry Beckett
20. I Cant See You
21. Birth Day
22. Long Tide

Tim Buckley:
*Tim Buckley – Guitar, Vocals
*Lee Underwood – Guitar, Keyboards
*Jim Fielder – Bass
*Van Dyke Parks – Piano, Celesta, Harpsichord
*Billy Mundi – Percussion, Drums


To avoid discussions about the quality of CD2 like being this a real CDA source or not, Rhino wrote in the Booklet that the tapes were 40 years stored somewhere and not under the best conditions so this may influence the quality of the music recorded but these are unique recordings for sure.

Recordings with his first band The Bohemians from 8 november 1965!


[ Thank you COR for sending this post ]
CODE: 53229 or click here (password is cod_number+phrockblog)

Magenta - Canterbury Moon (1978 uk acid folk rock - Kissing Spell records edition - MP3 320K and FLAC)

Magenta first appeared as a four piece folk act in 1974, playing clubs and concerts in and around Weston-Super-Mare, and specialising in vocal harmony based around three female voices.

With the departure of two of the founding members in 1975, Janet and Arthur Brown carried on as a brother and sister team until the summer of 1976 when they were joined by Mervyn Brown who broadened the scope of the band to include some powerful vocals and a touch of humour.

They were finally brought back up to strength with the arrival of multi-instrumentalist Pete Thompson in August 1977, following the demise of the popular traditional duo Broken Spectre.

Recorded in 1978 this is a fine and rare slice of UK folk rock with great interchange male/female vocals over lilting acoustic tracks that use a selection of instruments such as dulcimers, mandolins, guitars, flutes etc (Kissing Speel).

Foxtrot:


Track List:
01.Foxtrot (A. Brown)
02.Riding High (A. Brown)
03.Marion (A. Brown)
04.I'll Never Trouble You Again (A. Brown)
05.Thornaby Woods / The Hare in the Corn (Trad. arr. Magenta)
06.Brother, Can You Spare a Dime (E. Y. Harburg & Jay Gorney)
07.Gypsy (A. Brown / P. Thompson)
08.Even the Guiding Light (I. Matthews)
09.Canterbury Moon (A. Brown)
10.Rocks of Bawn (trad. arr. Magenta)

Magenta:
*Janet Brown – vocals, guitar, glockenspiel, whistle, electric piano
*Arthur Brown – vocals, guitar, mandolin, harmonica
*Mervyn Brown – vocals, guitar, whistle, dulcimer
*Peter Thompson – vocals, guitar, mandolin, bouzouki
*Jenny White – flute


[ Thank you COR for sending this post ]
CODE: 52689

Zakarrias - Zakarrias (1971 uk mix of hard rock, blues and folk rock - MP3 320K and FLAC)

Recorded in London in the summer of 1971 by Austrian singer/songwriter Bobby Haumer and an English pick-up band, Zakarrias was issued on the highly collectable Deram label.

However, Deram withdrew the album almost immediately when they discovered that Haumer didn't have a work permit and therefore had to return to Austria.

The result is one of the rarest slabs of early Seventies vinyl, original copies having sold for in excess of $1000 on the rare occasions that they surface.

Full of unexpected melodic shifts, and with an over-whelming sense of space and unresolved tension, the album skilfully blends singer/songwriter introversion with elements of folk, blues, psychedelia and progressive rock.

The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work (amazon.co.uk)



Who Gave You Love:


Track List:
01."Country Out Of Reach" 4:03
02."Who Gave You Love" 3:58
03."Never Reachin´" 4:56
04."The Unknown Years" 7:00
05."Sunny Side" 3:40
06."Spring Of Fate" 3:17
07."Let Us Change" 3:50
08."Don´t Cry" 4:11
09."Cosmic Bridge" 5:59

Zakarrias:
*Zakarrias (vocals, guitar, bass, kazoo)
*Geoff Leigh (flute, saxophone)
*Pete Robinson (keyboards)
*Don Gould (piano on 6, string arrangements)
*Martin Harrison (drums)
*Samy Birnbach (Lyrics)


[ Thank you SILVERADO for sending this post ]
CODE: 51636

Clinic - Now We're Even (1972 france folk rock with classic rock touches - excellent Silverado vinyl rip - MP3 320K and FLAC)

Beginnings:
At the end of his junior year in high school, Philip moved with his family to Paris, France, and from 1969–1970 attended The American School of Paris.

It was in Paris that Philip met Phil Steele, then known as Phil Trainer. He was a 22- or 23-year-old bass player and vocalist, and he "raided" Philip's high school rock band, taking Phil on guitar, Gerry Murphy on drums, and flute player Chris Hayward.

Steele had previously played in Japan and Italy and knew British keyboard player Alan Reeves, then 25 or 26, because Reeves had played in a band called Clinic in both countries, and Phil Steele did some Clinic gigs in Italy.

They put together a five-piece band, and because they were British-American, and had some music industry connections, they immediately got signed to a production company, and subsequently were signed to EMI in France.


The Road To Salina:
After signing with EMI France, Reeves' fashion model wife, Albane Navizet, took a bit part in a French film by director Georges Lautner called Road to Salina.

Lautner already had French pop singer Christophe on board for a few songs, and some orchestral stuff, but wanted some rock music for his film.

He originally wanted Pink Floyd, then popular in Europe though virtually unknown in the U.S., but they were not available, so Clinic got a demo tape together and Albane gave it to Georges Lautner.

He liked what he heard. By mostly luck, Clinic were in the right place at the right time, and got the nod to work on the soundtrack.

Since the songs were being written individually by Steele, Reeves, or Brigham, or in some combination, they decided to say that all songs were Brigham-Reeves-Steele, to avoid arguments over which songs got shown to the film people.


Early Recordings:
Some of the seven songs used in the film were written before they saw the sections of film the director wanted music for, but luckily they fit.

In a few cases, such as for example "The Chase," they were brand new compositions and really was a collaborative effort between the writers.

They were very young when they got the chance to write music for Road to Salina, mostly in their late teens, or early 20s, and young, as in the band had not been together very long.

By the time they got to do their own album, Now We're Even (recorded in 1971, released in 1972 in France), they had more of a style, similar to Santana on instruments meeting Crosby, Stills and Nash on vocals.

When they were either writing new tunes specifically for the movie, or trying to find songs that fit from songs various Clinic members had written before, they were still trying to find a sound.


Forming A Sound:
Phil Steele was more of a pop guy, influenced by The Hollies, or The Turtles or The Zombies.

Alan Reeves had learned jazz piano by his father's side when he was a boy, and had become quite the Hammond organ player, à la Jon Lord from Deep Purple, or Keith Emerson of The Nice and Emerson Lake and Palmer. Chris Hayward had studied classical music for flute and recorder.

Gerry Murphy was a jazz fan but was also the kind of guy that turned everybody on to The Band.

Phil Brigham was coming at music like a singer-songwriter, like Donovan or James Taylor or Neil Young, although since Clinic, other musicians think of him more as a rock lead guitarist.

Bringing all of those influences together was exciting for the young band, but it took them a long time to figure out how it might all fit (from Wikipedia).



Track List:
01.Tell Me What You See 4:05
02.My Love Is East 4:25
03.Gypsy 5:00
04.Know My Mind 5:00
05.Prelude 1:51
06.Here I Stand 5:00
07.Country Ways 3:00
08.Now We're Even 7:58

Clinic:
*Alan Reeves - Organ, Harpsichord, Piano, Synthesizer, Vocals
*Phil Brigham - Acoustic & Electric Guitars, Vocals
*Phil Trainer - Bass, Vocals
*Gerry Murphy - Drums, Timpani


[ Thank you SILVERADO for sending this post ]
Rip and scans made by Silverado
CODE: 51231