Los Dug Dug's - Smog (1972 mexico psychedelic and hard rock with progressive touches sung in Spanish - FLAC)

The second album (1972) from psychedelic guru Armando Nava and his band is in Spanish this time, as all other Mexican bands were by now singing in English.

The recording sessions were tumultuous: after the band now stripped down to a power trio had recorded just three songs, Nava stormed out of the sessions and locked himself in his house for fifteen days.

Everyone on the outside worried about his safety, but Armando was fine: he kept himself busy reconfiguring the entire album, including penning the punishing riffs that form the central motif of the mesmerizing twelve-minute medley that explodes over the album s entire first side.

So again, as with the genesis of the Dug Dug s debut album (also available from Lion Productions), the end result of all the tumult surrounding the band was a great album.

There s no doubt that the Dug Dug s toughened up their sound on Smog : to some people they sound like a crazy Mexican version of Jethro Tull, and to others like a Spanish speaking incarnation of MC5.

No matter how you look at it, this is tremendous progressive-influenced hard rock, with a new chunky sound. It is clearly among a small group of elite recordings from the psychedelic age; it is also possibly the best Mexican hard rock album of all.


Hagбmoslo Ahora:


Track List:
01. Smog 3:18
02. Buscalo 1:31
03. Hagбmoslo Ahora 11:42
04. Yo No Se 3:46
05. Cual es tu Nombre? 3:07
06. Meditacion 1:12
07. No Somos Malos 3:08
08. Voy Hacia el Cielo (Voy Hacia el Sol) 6:17


Los Dug Dug's:
*Armando Nava - Guitar, Lead Vocals, Flute, Keyboards
*Jorge Torres - Bass, Percussions, Keyboards
*Daniel Tello - Drums
*Enrique Nava - Vocal Harmonies

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The Fool - The Fool (1968 uk psychedelic "hippy trippy" folk rock produced by Graham Nash - original version with 10 tracks - FLAC)

The Fool (1969) is an obscure piece of music history centering around a quartet of Dutch multimedia artists, Simon Kooer, Marijke Kooer, Josje Leeger, and Barry Finch.

Their earliest clientele included model Patti Boyd Harrison Clapton (aka "Layla"), whose psychedelic gear caught the eye of Daily Mirror fashion editor Felicity Green.

One of their more high-profile gigs involved decorating for the Beatles, including the entire side of the Fab Four's short-lived Apple boutique on Baker Street in London, as well as a Rolls-Royce and grand piano for John Lennon.

They also designed some of the era's most notable LP jackets, including the Incredible String Band's 5000 Spirits or the Layers of the Onion (1967), the Move's self-titled debut album (1968), and the Hollies' Evolution (1967).

Undoubtedly, it was the connection with the latter that resulted in Graham Nash's involvement as producer on this collection.

Musically, the Fool often resemble the far-out folk of the aforementioned Incredible String Band. This is especially the case with the choral lead vocals on "Fly" and "Reincarnation," blending Eastern philosophy with a distinct delivery style similar to that of an English ballad.

"Rainbow Man" is an edgier rocker driven by a solid Bo Diddley rhythm, while the acoustic guitars give the number a rural and freewheelin' feeling.

"No One Will Ever Know" stands out with its interminably catchy uptempo melody, while the trippy vocals from Marijke and Josje have an oddly hypnotic effect.

The slinky soulful "Keep On Pushin'" is an extended instrumental that may include an uncredited Nash, whose harmonica blows are challenged by an equally impassioned bagpipe solo.

While hopelessly dated, The Fool is fun for inclined parties and worth searching for (by Lindsay Planer).

Keep on Pushin':


Track List:
01.Fly 2:25
02.Voice on the Wind 5:23
03.Rainbow Man 2:21
04.Cry for Me 3:51
05.No One Will Ever Know 2:52
06.Reincarnation 4:07
07.Hello Little Sister 1:59
08.Keep on Pushin' 5:59
09.Inside Your Mind 2:42
10.Lay It Down 4:47

The Fool:
*Simon Posthuma
*Marijke Koger
*Barry Finch
*Josje Leeger


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Sweet Marie - Stuck in Paradise (1971 us mix of psychedelic, rock and soul-tinged hard rock - FLAC)

The early '70s were intriguing times to be plying your trade amid the fauna and flora of Hawaii, if you happened to be a rock band.

It might've had something to do with the exotic climes and locales of the islands melding perfectly with the chemically enhanced strangeness and surreal vibes of the era (or maybe there was just something in the water?), but Hawaii played home to fiercely unique bands like Mu and expatriate psychedelic trailblazers like John Cippolina, as well as serving as an important pit-stop for Jimi Hendrix and other heavy, heady artists.

Sweet Marie was yet another Hollywood combo who emigrated to the isle, and they quickly became one of the hottest bands on Oahu after having a nationally successful first album, buying a nightclub there, and packing it nightly.

The trio continued their popularity and success with a second album, Sweet Marie, reissued here on Gear Fab in its original form. And it's not a bad album at all; in fact, it's a pretty strong, occasionally exciting effort.

Sweet Marie's music was close in many ways to the bottom-heavy, groove-laden blues and rock amalgam of Buddy Miles Express (even Band of Gypsys on the version of Phil Ochs' "Changes") but with a cooler, more languid pace and darkly mystical undertones that closely recall their contemporary, Spirit, particularly in the harmonies.

The album features some really superb melodic moments, as with "It Ain't Easy" and "I Want Your Woman," while "Do Do (Find Me a Way)" is fine, soul-tinged hard rock and "Stella's Candy Store" amusingly innuendo-laden and jazzy.

But Sweet Marie didn't have that distinctive spark that allowed their music to stand out or that ultimately separates them from their era. It certainly suffers in comparison to the extravagant, alien hybrid arrived at by Merrell Fankhauser and Jeff Cotton.

And some of the ideas -- "Hortense the Hippie" (a rewrite of "Octopus' Garden"), in particular, and "Drum Solo" -- have aged less than gracefully.

Nevertheless, it's a fine recording, and one that would be well worth grabbing for fans of off-the-beaten path '70s hard rock (by Stanton Swihart).



Stella's Candy Store:


Track List:
01.Stuck in Paradise
02.It Ain't Easy
03.My Little Angel
04.Hortense the Hippie
05.Do Do (Find Me a Way)
06.Stella's Candy Store
07.I Got That Feelin'
08.Another Feelin'
09.I Want Your Woman
10.Drum Solo
11.Changes

Sweet Marie:
*Prince Teddy (vocals, bass)
*Sonny Lathrop (vocals, guitar)
*Willy Bims (drums)


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CODE: 60280

The Aggregation - Mind Odyssey (1968 us psychedelic - Erebus CD reissue - mp3-320 & FLAC)

This group of talented and diverse musicians played Disneyland in the late '60s and was picked up for this one excellent Concept album by Lee Hazlewood on his LHI label in 1968. 'Unusual and atmospheric early art-rock/psych item based on an acid trip amusement park concept from classically trained band who held a residency at Disneyland! This LP could be seen as a precursor to those extraordinary 1970s private press artefacts, and reveals its classiness and coherence over time. Worth investigating

~ (Internet Source).



At the time the Aggregation recorded "Mind Odyssey" five of us were playing as one of the house bands at Disneyland in Southern California. Leo Potts, Lemoyne Taylor, Dale Burt, LeWayne Braun and I (Bayard Gregory) had been playing together for about two years. We all had degrees from Long Beach State (now California State University at Long Beach). Dale and I had earned Master's degrees in Sociology. All the others had earned Bachelor degrees in music (having matriculated with the soon to be famous Karen and Richard Carpenter). So, we were a rather well educated band with a large proportion of unusual names.



We had played at Disneyland on a New Year's Eve - one of many bands recruited for a large gathering of high schools. That summer we were hired to play full-time at the Park. Leo Potts, our leader, took advantage of this situation and spent a good deal of time contacting music industry folks in the Hollywood area. (His labors were largely unappreciated by the rest of us at the time.)



He offered them free passes to Disneyland and encouraged them to catch one of the six shows we played each day. It was a great way to audition.Among the people who took advantage of Leo's invitation was Lee Hazlewood.



Lee produced both Frank and Nancy Sinatra and had his own small record label. He liked us and we recorded a single that he produced. On one side was an original instrumental by Dale Burt that Lee titled "Maharishi." (A different version appears on the album titled "Change.")



The flip side was our instrumental arrangement of Donovan's "Sunshine Superman." Maharishi enjoyed some modest success on the East Coast, especially, we were told, in Boston. Based on this success (I presume) Hazlewood encouraged us to record an album.



Lee put up the money for time at a small recording studio, and told us to record whatever we wanted to. We would be our own producers. We, ambitiously, decided to record a "concept" album with an overriding theme. We knew that we needed help to shore up some weaknesses for this project: We were primarily an instrumental group, lacking a strong vocalist. Our keyboard player, Dale Burt, played a keyboard bass at Disneyland.



We wanted to free him up for the recording. Additionally, we were going to need help with lyrics.My spouse (at the time), Linda O'Hara had talents in both poetry and composing, and agreed to participate in the project. We recruited Bill Sissoev, another Long Beach State alumnus, who played excellent bass (and trombone on one cut).



Also recruited was an excellent drummer, who's name escapes me, who plays on the album's first song. Leo and Lemoyne observed a number of bands and auditioned a number of vocalists. Richard Jones was not (amazingly) the primary lead singer in the band he was with when Leo and Lemoyne discovered him. But, he suited our purposes very, very well.I recall that recording "Mind Odyssey" was creative, rewarding and arduous. I think the others felt the same way.



After giving the process our best, we presented the final result to Lee Hazlewood. He liked it, but thought it might appeal to his generation as much or more to people our age. He promoted the album as best he could, but the company that distributed recordings from his label did not think the album warranted any significant distribution.



I don't know how many records were actually cut, but it was a very limited release.Writing this takes me back almost 40 years. I'd give you an update about the other members, but I've not contacted any of them for decades. I hope, however, that you find my recollections useful for your review. Thanks for your patience (by Bayard Gregory - member of the group - http://www.lysergia.com/LamaWorkshop/Aggregation/lamaAggregation.htm

~ interview taken by Patrick, Editor, Lysergia.com)







Formed: Los Angeles, CA, United States



Members:

* LeWayne Braun (guitar, vocals),

* Dale Burt (organ, piano, vocals),

* Bayard Gregory (drums, timpani, bongos, tambourine, vocals),

* Richard Jones (rhythm guitar, vocals),

* Leo Potts (flute, clarinet, saxophone, recorder, kazoo, vocals),

* Bill Sissoev (bass, trombone, vocals),

* Lemoyne Taylor (flute, clarinet, saxophone, recorder, slide whistle, vocals).



Tracks:

A1. The Lady at the Gate 4:45

A2. Looking for the Tour Guide 2:13

A3. The Long Windy Tunnel 6:15

A4. Flying Free 3:05

A5. White Light 2:00

B1. In the Garden 3:05

B2. Reflections 2:55

B3. The City of Toys and Games 3:23

B4. Change 2:50

B5. Life's Light 6:00



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Crow - The Best Of Crow (1969-72 us mix of hard, blues and psychedelic rock - MP3 320K and Wave audio format)

Crow is a Minneapolis-based blues rock band, that was first active from 1967 to 1972.



They are best known for the song "Evil Woman (Don’t Play Your Games With Me)", later covered by Black Sabbath.



Crow was formed in 1967 by singer David Wagner, guitarist Dick Wiegand, bassist Larry Wiegand, keyboardist Kink Middlemist, and drummer Harry Nehls under the name South 40, which was used until the group went national.



Nehls was replaced by Denny Craswell at that time. Columbia Records brought them in to record a demo in 1969; they passed, and Crow was signed to Amaret. In 1969, Crow’s debut album Crow Music was recorded.



The single "Evil Woman (Don’t Play Your Games With Me)" made the Top 20 of the Billboard Hot 100 that fall, peaking at #19.



Crow by Crow and Mosaic were the follow-up releases in 1970 and 1971 respectively.

Singles released off Crow's later albums were not as successful; the band wanted to move to Elektra Records, but Amaret would not release them from their recording contract while retaining their name.



Wagner left the group in 1971; the band replaced him with Mick Stanhope and attempted to move forward, but collapsed for good in 1972.



David Wagner recorded a solo album for Amaret in late 1972 titled: d/b/a Crow. They disbanded in 1972, but reformed again in 1980.



This version of Crow included original lead vocalist David Wagner, John Richardson and Jeff Christensen on lead guitar/vocals, Denny Johnson on bass and Bobby Belleville on drums.



From September 1980 to July 1981, they recorded many sessions, which resulted in a new studio album titled Crow on the Run in 1982.



This version of Crow disbanded in early 1982. In 1988, Crow reformed and they continue to play concerts all over the United States and have released numerous albums.



All the members have won Minnesota Music Awards for their own individual instruments.



In 2005, they were inducted into the Minnesota Rock/Country Hall of Fame and, in 2009, the Iowa Rock & Roll Music Hall of Fame.



Crow still play occasionally in the Midwest with Dave Wagner on vocals.













Track List:

01. Evil Woman

02. Cottage Cheese

03. I Need Love

04. (Don't Try To Lay Boogie Woogie On The) King Of Rock And Roll

05. Colors

06. Yellow Dawg

07. Slow Down

08. Time To Make A Turn

09. Busy Day

10. Keeps me Runnin'

11. Satisfied

12. Gonna Leave A Mark

13. Smokey Joe

14. I Stand To Blame

15. Mobile Blues

16. I Want Sunshine

17. Heading North

18. Gone, Gone, Gone



Personnel:

*David Wagner - Lead Vocals

*Dick Wiegand - Lead Guitar

*Larry Wiegand - Bass, Vocals

*Dave 'Kink' Middlemist - Hammond Organ, Piano, Vocals

*Denny Craswell - Drums, Vocals



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The Illusion - The Illusion (69 us psych beat soul - Wave audio format)

This Long Island quintet tried to simultaneously fly their freak flag and sweet-talk the teenyboppers, and the results were lopsided but strong enough to shine years later.



The Illusion scored a Top 40 hit in 1969 with a truncated version of the opening track from this debut LP, "Did You See Her Eyes".

It's a tough, swaggering number with a simple theme (skirt watching) and a basic structure, but the album cut is expanded with an obtrusive drum solo, assorted echo/wah-wah effects, and an uncredited cop from Sly & the Family Stone's "Sing a Simple Song".



Such unnecessary tampering proves that the Illusion were hip to the new directions that rock was taking at the time and had grander plans for their music than mere hit singles.



Regardless, these guys sound best when they get straight to the blue-eyed soul without any prog rock side trips.

"Talkin' Sweet Talkin' Soul" should have been the hit, a rambunctious power pop number that bounces around the ears with an irresistible wordless vocal hook.



The medley of "Run, Run Run" and "Willy Gee (Miss Holy Lady)" combines both tendencies, pairing the aggressive hard rock of the former ("I'm gonna get shot/This girl is hot!") with the bubblegummy singsong of the latter ("One, two, three/Push out Willy Gee/Four, five, six/Beat him with a stick").



Most of the remaining track time strives for a slightly more psychedelic soul sound, at times reminiscent of the Rationals or a bluesier Byrds.

Of these songs, "I Love You, Yes I Do" and "Charlena" stand out, but all the material on this now-rare LP has serious spirit and period charm. (by Fred Beldin from amg)

Tracklist :

01.Did You See Her Eyes

02.Talkin' Sweet, Talkin' Soul

03.Just Imagine

04.Run Run Run-Willy Gee (Miss Holy Lady)

05.I Love You, Yes I Do

06.Alone

07.Charlena

08.Why, Tell Me Why-The Real Thing

09.You Made Me What I Am



Personnel :

*John Vinci - vocals

*Richie Cerniglia - lead guitar

*Mike Maniscalco - rhythm guitar, keyboards

*Chuck Alder - bass

*Michael Ricciardella - drums



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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





[ Rip and scans by OldrockerBR ]

CODE: 60118

Hawkwind - Epocheclipse, 30 Year Anthology (69-97 uk psychedelic space rock, 3CDs - Wave audio format)

This really is a great release.

Three CDs full of Hawkwind's best material from the last 30+ years... and excellent value, too.

Plus a hefty booklet with most of what you'd ever want to know.



There's something for everyone, here - the spaced-out, rumbling heaviness of 'Master of the Universe', the savage proto-punk of 'Urban Guerilla', the techo-rock of 'Right to Decide'...



The best tracks though occupy the second half of disc 2 - the late 70s when Bob Calvert was in control.



The energy of tracks 'Psi Power' and '25 Years', the humour of 'Quark Strangeness and Charm', and above all the astonishing way in which many of the songs continue to have a resonance with the world today, such as 'Hassan I Sahba' ("Black September, black September... Petro-Dollar, Petrol D'Allah") and 'Spirit of the Age' ("I am a clone, I am not alone...").



There are, of course, a few necessary ommissions of top tracks - 'Lord of Light' would have been nice, as would 'D-Rider', and more of the Hawklords album... but there's only so much you can fit on 3 CDs.



A great place to start listening to Hawkwind.

If you like what you hear, "Space Ritual" is a great album, and then hope the albums from 76-79 are rereleased sometime!



Hawkwind were a truly original band (for much of the time) and their sound is unique.

It's a shame they've often (unfairly) dragged around an image of either aging hippies or pretentious proggers.



One of the most dynamic bands of the last 30 years, who meant every word.

Onward flies the bird... (by A Customer from Amazon)



Tracklist :



CD 1

01.Hurry On Sundown (1969)

02.Paranoia (Part 2) (1970)

03.Master Of The Universe (1971)

04.Children Of The Sun (1971)

05.Silver Machine (Original Single Version) (1972)

06.Seven By Seven (Original Single Version) (1972)

07.Brainstorm (1972)

08.Space Is Deep (1972)

09.Urban Guerilla (1973)

10.Brainbox Pollution (1973)

11.Sonic Attack (1973)

12.Orgone Accumulator (1973)

13.Lost Johnny (1974)

14.Psychedelic Warlords (Single Edit) (1974)



CD 2

01.Motorhead (1975)

02.Assault And Battery (Part 1) (1975)

03.Golden Void (Part 2) (1975)

04.Magnu (1975)

05.Kerb Crawler (1976)

06.Steppenwolf (1976)

07.Back On The Streets (1977)

08.Quark, Strangeness & Charm (1977)

09.Hassan I Shaba (1977)

10.Spirit Of The Age (1977)

11.Psi Power (1978)

12.25 Years (12" Remix) (1978)

13.High Rise (1979)

14.Death Trap (1979)

15.Uncle Sam's On Mars (1979)



CD 3

01.Shot Down In The Night (Live)(Single Version) (1979)

02.Motorway City (1980)

03.Levitation (1980)

04.Angels Of Death (1981)

05.Coded Language (1981)

06.Some People Never Die (1982)

07.Choose Your Masques (1982)

08.Night Of The Hawks (1984)

09.Needle Gun (1985)

10.The War I Survived (1988)

11.Black Elk Speaks (1990)

12.Right To Decide (1992)

13.Sputnik Stan (1995)

14.Love In Space (1997)

15.Silver Machine (Infected By The Scourge Of The Earth)(Live At The Roundhouse, February 13th 1972)



[ Rip and Scans by DR BELL OTUS ]

CODE : 60064

La Logia Sarabanda - La Logia Sarabanda, aka Guayaba (1973 uruguay mix of latin funk, psych-fuzz and candombe - Wave audio format)

Super-obscure quasi solo project by M. Loubet, author of all tracks with the exception of the cover version of Tito Puente's 'Guayaba'.



This Uruguayan group - originally released on Lider - mixes up traditional candombe essences with Latin funk psych-fuzz influences for a very neat piece of pop music history of pre-dictatorial Uruguay (1973). (by forcedexposure)

Track List :

01.Guayaba

02.Todos O Ninguno

03.Donde Esta El Doctor

04.Adios A Jimi Hendrix

05.La Muerte Del Siglo

06.Mas Alla Del Sahara

07.Cajon De Castanas

08.El Hombre Buscado

09.Rock De La Miel

10.Llamada Del Sur



Personnel :

*Miguel Loubet - composeur, ?

*C. Cabrera - ?

*M. Castellón - ?

*?



[ Rip and Scans (CD & Vinyl), by DR BELL OTUS ]

CODE : 60037

The Druids of Stonehenge - Creation (1968 us heavy psychedelic and psychedelic rock - Axis Records edition - FLAC)

Formed while students attending New York's Columbia and Syracuse Universities, by 1966 singer Dave Budge, guitarist Carl Hauser, drummer Steve Tindall (personal note - the Sherlock Holmes pipe didn't exactly foster a "hip" image) rhythm guitarist Bill Tracy and bassist Tom Workman had come together as The Druids of Stonehenge; recorded a series of demos and relocated to Los Angeles in hopes of scoring big time successes.



Two years of toil on the local club circuit eventually brought overnight success in the form of a contract with MCA's newly formed Uni label.



Produced by Jerry Goldstein (he also contributed one song to the proceedings), 1968's "Creation" didn't exactly set the world on fire, though it's far better than most mid-'60s of ferings.



Propelled by Budge's nasty growl (imagine Eric Burdon after a week long bender), in contrast to most of their contemporaries who were pursuing ever more sophisticated arrangements, the band exhibited a penchant for roaring Animals-styled R&B (check out "Painted Woman", their blazing cover of Screamin' Jay Hawkins' "I Put a Spell On You" and the original "Bring It On Home (Can't Get By Alone)").



The band's other area of interest seemed to be drug-oriented material; check out the subtle "Speed" and their cover of Love's "Signed DC"). Intriguing for it's raw and rugged sound in an era of increasing audio sophistication.



This album is too freakin cool. The first track tricks you, with a classic soft psych track. From there it builds to become a pure punk psych gem.



The lead singer is incredable with vocals that can be described as Mick Jagger meets Iggy Pop meets Lou Reed.



Some of the tunes are kinda blues psych and some disply a Velvet Underground minimalizm. It's guaranteed to please even the staunchest 60s psych critic.





Six Feet Down:





Track List:

01.Six Feet Down

02.Earthless

03.I Put A Spell On You

04.Speed

05.Bring It On Home/Can't Get By Alon

06.Painted Woman

07.Pale Dream08 Signed D.C.

09.Forgot To Be Begot10 A Garden Where Nothing Grows

11.It's All Over Now Baby Blue



The Druids of Stonehenge:

*Dave Budge (vocals),

*Carl Hauser (lead guitar, vocals, keyboards),

*Steve Tindall (drums, keyboards),

*Billy (B.T.) Tracy (guitar),

*Tom Paine Workman (bass)





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CODE: 59929

The Ghost - When You're Dead ..One Second (1970 uk, heavy psychedelic rock with some folk shades, remaster digipack edition - MP3 320k and FLAC)

The Ghost LP is one of the most fabulous UK psych/prog albums. This Birmingham band featured guitarist Paul Eastment, previously in The Velvett Fogg.



The album, originally released back in 1970 on the Gemini label in the UK and in 1971 on Exit/Ekipo records in Spain, is one step ahead psychedelia entering the realm of prog music, yet retaining an atmospheric mind expanding feel through it all. Loads of Hammond organ swirls, pyrotechnical guitar licks, beautiful accoustic guitar parts, and above it all killer vocal arrangements.



The lead-off track, "When You're Dead," is the most effective and famous (at least in the world of psychedelic collectordom) cut. Lead singer Paul Eastment sounds much like Family's Roger Chapman, but even creepier (and more ostentatious), as the group vamp around a skin-crawling riff, anchored by an almost garagey shrill organ.



Yet the second song, "Hearts and Flowers," could almost be the work of an entirely different outfit, with the band's other lead singer, Shirley Kent, shining on a pretty folk tune reminiscent of some of Fairport Convention's most precious early numbers (Shirley would later move on to record the "Fresh Out" LP as Virginia Tree).



Top quality remastered sound, an impressing psych prog release! First ever official CD reissue, limited to 1000 digipack copies."

Tracks

1. When You're Dead (P. Eastment, P. Keatly) - 4:25

2. Hearts And Flowers (S. Kent) - 2:54

3. In Heaven (T. Guy) - 3:21

4. Time Is My Enemy (S. Kent) - 4:06

5. Too Late To Cry (P. Eastment, P. Keatly) - 5:04

6. For One Second (T. Guy) - 5:25

7. Night Of The Warlock (P. Eastment, T. Guy) - 4:22

8. Indian Maid (T. Guy) - 4:21

9. My Castle Has Fallen (P. Eastment) - 2:57

10.The Storm (P. Eastment, P. Keatly) - 3:36

11.Me And My Loved Ones (T. Guy) - 4:09

12.I'Ve Got To Get To Know You (S. Kent) - 4:02



The Ghost

*Daniel MacGuire - Bass Guitar

*Charlie Grima - Drums, Percussion

*Paul Eastment - Lead Guitar

*Terry Guy - Organ, Piano

*Shirley Kent - Vocals



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Spike Drivers - Folkrocking Psychedelic Innovation From The Motor City In The Mid 60's (65-67 us psych and folk rock - MP3 320k and FLAC)

With such a descriptive title, perfectly capturing the general mood of this Detroit band, this collection almost needs no review at all.

You'll be assured to this fact as soon as you hear the opening lines of their '66 debut single's b-side (the longest single track at the time) "Often I wonder" or (appropriately titled) "Strange Mysterious Sounds", both with a doze of US "Kaleidoscopic" darkness combined with Eastern influenced folk-psych.
Even when they get a bit more conventional musically, like in the 'Spoonfulish "Baby won't you let me tell you how I lost my mind" or the Hendrix-gone-folky "Blue Law Sunday", the lyrical concept is still a bit moody.

Though they've never reached the commercial hights proportional to their possibilities, the one that should've taken them to the toppermost of the poppermost is their super-jangly a-side of their debut called "High Time", and besides all of these, there's also an unexpected goofy, Bonzo-Doggish take on the Californian saga, "Baby Can I Wear Your Clothes?".

The Spike-Drivers' second edition was a bit "wilder and freer" though not necessarily "stranger and funnier" as band member Sid Brown puts it in the liner notes.

"Portland Town" continues the eerie folk-psych sound of the early singles in a kinda Slick-y, way with an addition of almost classical string arrangement, to be followed with a couple of classic psych tracks, with an omnipresent middle eight fuzzed-out rave-up, like in "Everybody's Got That Feeling", the spiritual "I Know" or "Time Will Never Die", and you'll even find a bit of a honky tonk finger pickin' in "Grocery store".

The third segment of the CD is made of two folk-rockin' '65 demos, "Can't Stand The Pain" and the Holly-ish "I'm So Glad".

By the way: Sid Brown was the guy who told Mike Bloomfield of the Paul Butterfield Blues Band who to play an "Eastern" guitar; the result can be heard on "East-West", their second album on Elektra in 1966!

Tracklist:
01.Often I Wonder
02.Strange, Mysterious Sounds
03.Baby, Let Me Tell You
04.Blue Law Sunday
05.Baby, Can I Wear Your Clothes?
06.Got The Goods On You
07.High Time
08.Portland Town
09.Grocery Store
10.Everybody's Got That Feeling
11.I Know
12.Time Will Never Die
13.Sometimes
14.Can't Stand The Pain
15.I'm So Glad

Personnel :
*Marycarol Brown - vocals
*Sid Brown - lead guitar
*Ted Lucas - guitar, vocals
*Richard Keelan - 12-string guitar, bass, vocals
*Larry Cruse - drums
*Ron Cobb - bass, keyboards
*Marshall Rubinoff - vocals, rhythm guitar
*Steve Booker - drums

[ Rip and scans by COR ... many thanks mate ]
HERE (password is : phrockblog)

The Illusion - If It's So (70, us psych - Wave audio format)

By some standards, the Illusion were one of the most successful unknown psychedelic bands of their generation — unknown, yes, but with three LPs to their credit on the Steed label.
Their personnel included Michael Ricciardella (drums), Richie Cerniglia (guitar), Chuck Alder (bass), Mike Maniscalco (guitar, keyboards), and John Vinci (vocals).

The Steed label released “Illusion”, “Together”, and “If It’s So” between 1969 and 1970.

Illusion was interesting enough to observers to merit a release in England in 1969.

By 1971, the Illusion’s albums were being sought by kids who’d never heard the band play.
One of their songs, "I Love You", has made it on to compact disc. (by Bruce Eder from amg)

Track List :
01.Man
02.Let’s Make Each Other Happy
03.When I Metcha Baby
04.Collection
05.If It’s So
06.Life Cycle Theme
07.Dr Stone
08.Excerpt From Recuverdas De Alhambra

Personnel :
*John Vinci - lead vocals
*Chuck Alder - bass, vocals
*Richie Cerniglia - lead guitar
*Mike Maniscalco - lead vocals, rhythm guitar
*Michael Ricciardella - drums

[ Thank you BOBBO59 for sending this post ... rip from his CD-R ]
[ Original rip and scans made torrents ]
HERE (password is : phrockblog)
Or HERE (all the 8 tracks, with tags)

Transatlantic Railroad - Express To Oblivion ( late 60's san francisco psych rock - MP3 320k and FLAC)

Transatlantic Railroad was one of many late-'60s San Francisco psychedelic bands that did their share of live work in the region but barely recorded, remaining known almost exclusively to those who saw them play.

Based on the material that showed up in the early 2000s on the archival release Express to Oblivion, their talent was such that it didn't absolutely demand a record release.
Still, their bluesy psychedelia, heavy on guitar soloing and organ as well as unpredictable multi-sectioned original compositions, was representative of the second or third division of northern California psychedelic bands of the era.

The group formed at San Rafael High School in Marin County in 1965, and on its first show opened for the Grateful Dead, the night the Dead changed their name from the Warlocks.

A couple of unreleased 1966 tracks in a garage-folk-rock style showed up about 30 years later on the '60s Bay Area rarities compilation What a Way to Come Down.

Like many other groups from the area, Transatlantic Railroad moved into a harder psychedelic style shortly afterward, and released just one single, "Why Me /Irahs", on the Sire subsidiary Phoenix in 1968.

They also started work on an album, but it was abandoned after five demos.
It's been reported (in the psychedelic rock reference book Fuzz Acid & Flowers) that this came about when Geoff Mayer's large Hammond RT-3 organ wouldn't fit through the doors of the studio, and Mayer was unwilling to use other equipment.

Also according to the volume, the five completed demos can be heard on Express To Oblivion, which also has a couple of other lighter, less psychedelia-inclined tracks.

After the group broke up in the early '70s, guitarist and lead singer Kent Housman recorded or performed with Blue Cheer, the Ducks, and SFO. (by Richie Unterberger)

Tracklist :
01.Camp Towanga
02.Fred Chicken Blues
03.Tehama Street Song
04.Elephant
05.Old English 800
06.Irahs
07.Good Times

Personnel :
*Kent Housman - rhythm guitar, lead vocals
*Stephen Meyers - lead guitar
*Jamie Kindt - bass, background vocals
*Ron Vanbianchi - drums, background vocals
*Geoff Mayer - organ

[ Rip and scans by COR ... many thanks mate ]
HERE (password is : phrockblog)

The Red Crayola - The Parable Of Arable Land (67, us experimental psych freak-out, 2011 remastered deluxe limited edition 2CD - MP3 320k and FLAC)

Originally released in 1967,as this is the long running band's very first effort.

Highly under-appreciated 'experimental psych' in which as for the few other Red Crayola CD's I've heard, this one is probably the best.

The Parable...' employs weird and unconventional sounds of jugs, sticks, flutes, kazoos,etc.

Hard to believe,but the band actually still exists today.
Well,at least singer/songwriter Mayo Thompson is active with putting out new releases and touring occasionally.

A couple of the tunes that I was sort of blown away with were "Free Form Freakout","Pink Stainless Tail" and "Transparent Radiation".
Might be too strange for some. (...)

(...) Might appeal to fans of Skip Spence, Quicksilver Messenger Service, Pere Ubu, Syd Barrett and 13th Floor Elevators.

Let your freak flag fly! (by Mike Reed)

Tracklist:

CD 1 :
01.Free Form Freak-Out #1
02.Hurricane Fighter Plane
03.Free Form Freak-Out #2
04.Transparent Radiation
05.Free Form Freak-Out #3
06.War Sucks
07.Free Form Freak-Out #4
08.Pink Stainless Tail
09.Free Form Freak-Out #5
10.Parable Of The Arable Land
11.Free Form Freak-Out #6
12.Former Reflections Enduring Doubt
13.Nickel Niceness (demo = Green of My Pants on 2nd LP)
14.Vile Vile Grass (demo = War Sucks)
15.Transparent Radiation (demo)
16.Pink Stainless Tail (alternate take, guitar & vocal only)
17.Hurricane Fighter Plane (alternate stereo mix)
18.Former Reflections Enduring Doubt (unreleased alt stereo edit & mix)

CD 2 (mono) :
01.Free Form Freak-Out #1
02.Hurricane Fighter Plane
03.Free Form Freak-Out #2
04.Transparent Radiation
05.Free Form Freak-Out #3
06.War Sucks
07.Free Form Freak-Out #4
08.Pink Stainless Tail
09.Free form Freak-Out #5
10.Parable Of The Arable Land
11.Free form Freak-Out #6
12.Former Reflections Enduring Doubt
13.Hurricane Fighter Plane
14.Transparent Radiation
15.War Sucks
16.Pink Stainless Tail
17.Former Reflections Enduring Doubt

Personnel :
*Mayo Thompson - guitar, vocals
*Steve Cunningham - bass
*Rick Barthelme - drums

[ Rip and scans by COR ... many thanks mate ]
HERE (password is : phrockblog)

Christmas - Heritage (1970 canada psychedelic and progressive rock - MP3 320K and WAV)

Christmas was formed in 1969 in Oshawa, Ontario, Canada, out of the ashes of the cult underground psychedelic band Reign Ghost.

In July 1970, Christmas released an independent self-titled debut that brought some media attention to the band and a contract with the Daffodil Records label.

In December 1970, less than six months after the release of the debut, Christmas released their debut Daffodil Records album entitled Heritage.

Christmas was comprised of vocalist and multi-instrumentalist Bob Bryden, bass Tyler Raizenne, drummer Rich Richter, and Robert Bulger on guitars, all of whom were still in their teens.

The album gathered good reviews and was well received by critics but it was not commercially viable because the long songs and hard rock sound.

It became an instant favorite in the underground music scene just about everywhere but in Canada.

Despite the international response to the album, Heritage proved to be the last release by the band under the name Christmas due to management problems and difficulty with the direction of the next album.

Consequently, Christmas broke up in late 1971 only to resurface the following year, lineup intact, under the name the Spirit of Christmas.

In the late '80s and '90s, the original Heritage album became a highly sought after collector's item, especially in the U.S.A. and Europe because of the band's unorthodox style and progressive influences.

While the original Heritage album contained ten songs in the heavy rock progressive style of music, this reissue features an extra four bonus tracks. This reissue by Unidisc has been digitally mastered and the original artwork has been kept.



Heritage:


Track List:
01. Zenith (Instrumental)
02. Rise Up
03. Goin' To Oklahoma
04. Something Borrowed
05. Point Blank (It Scares Me)
06. Zephyr Song
07. Bustin' Out Tonight
08. Blues On An Iceberg
09. April Mountain
10. Heritage
11. A Part Of Our Heritage
12. Don't Give It Away (Long Version)
13. Farewell Sweet Lovin'
14. I'm A Song (Sing Me)

Personnel:
*Bob Bryden - Guitar, Keyboards, Vocals
*Robert Bulger - Guitar
*Tyler Raizenne - Bass
*Helge "Rich" Richter - Drums

[ Rip and Scans by LARRY ]
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Sleepy John - Sleepy John (1970 us blues, progressive & psychedelic rock - MP3 320K and WAV)

This album’s music was made in 1970 – it’s therefore not surprising that you don’t find raging power metal here, but rather relaxed yet still often unbound heavy rock with fiery guitars – and organ music – as evidenced by the totally exploding end part of “River”, the opening track.

The disc’s sound does not conform to today’s standards, but it is lively and honest, and you get the feeling that the band is standing right next to you.

Sleepy John was still operating on the threshold of the psychedelic bands of the 60’s to the hard rock of the 70’s.

Extensive, mind-bending jams and solos that rob you of your senses are as much part of the repertoire as are straight-line-like, aggressively driven moments of penetrating melodies.

Especially the often ecstatically whirling drummer is absolute ear candy, yet only a small part of the whole experience.

The pieces are playful, but flow forward naturally and stay reconstructable. A few freaky parts here and there do not interrupt the flow.

Even when the guitar does not sound badly distorted, the ardent way in which it is worked evokes a sense of immense power.

Every so often the fuzz box is turned on and a sizzling distorted sound sneaks in and cuts right into your belly.

After two hard rock pieces, every band needs a break, so a ballad, heavy on melancholy and furnished with rich organ arrangements is just the right thing.

Even here are moments where the band steps up the drama by increasing the volume, but these moments then give way again to softly floating passages.

Or, take note of the frenzied leads in the absolutely crazy instrumental middle passage of “Dragons” which produce an almost hypnotizing effect.

Hard rock is not the only style aid here; threads of softer, swinging songs with a somewhat fluid expression are also weaved in.

That’s the way it was back in 1969/70 – to not think and compose one-dimensional, but to create a salient point in the material to unify it.

When you compare this band to current mainstream rock music, you should – your face distorted with disgust – turn your naked ass to today’s modern, uninspired plastic shit, to say it bluntly.

Today, they either use demented screaming, bored droning on or whining. In contrast, take the almost floating “Seasons” where the middle part integrates passages which sound like Eastern European folk music and psychedelic heavy rock, and the band ability to change back and forth without missing a beat.

That song alone has more diverse passages than many bands have in their entire discography: It swells, becomes highly intensive and brings you toward ecstasy, flows into more floating moments, falls into playful parts with twisted bridges, then mysterious and dark, then rocks and culminates in a scream and fiddling guitar after the folk music-like middle. Wow, I gotta sit down.

The song “Losing my plow“. A song placed somewhere between Country and Slapstick, “Losing my plow”, follows. Hard-core rockers with blinders on are probably screaming now, but as a comedic interlude I find it rather refreshing.

In their playful way, Sleepy John fall in with high-class bands. They continually add ideas that make for very diverse material -- this naturally requires a certain level of immersion on the part of the listener.

I think it’s fair to say that for hard rock fans listening to this disc is like running a gauntlet.

There are bluesy interludes that are so mischievous that they take on a parodic character – yet, the band does this with such honesty and authenticity which makes it very believable People who dare go near such a multi-layered band with a like CD should add Sleepy John and their so-named debut-CD to their shopping list.

It’s truly great fun to listen to the four young men’s performance.

Unfortunately, Sleepy John never had the good forture of a regular publishing then, only in 2004 the US Label Gear Fab burnt the two recording sessions from the 70’s into a CD.

The result speaks for itself. Liner and booklet are nicely done, with band history and illustrations. And with 73 minutes it’s not too short.



River:


Track List:
01. River
02. Al Capa Strong
03. Nothing
04. Dragons
05. Prelude to a Dream
06. Seasons
07. Losing My Plow
08. Hard Workin' Woman
09. I Just Happen to Be (In Love With You)
10. Monday Blues
11. You Say
12. Trying to Fly
13. Blue Sky
14. Cowboy
15. Searching for the World

Personnel:
*David Lee - Hammond organ and Vocals
*Frank Trowbridge - Guitar and Vocals
*Jim Bartlett - Bass
*Tom Williams - Drums

[ Rip and Scans by LARRY ]
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Clark-Hutchinson - A=Mh2 Exp (1969 uk blues, progressive & psychedelic rock - extended edition - MP3 320K and WAV)

As virtuoso musicians and members of Sam Gopal's Dream, Clark-Hutchinson (Andy Clark and Mick Hutchinson) were well-known to regulars at legendary London clubs such as UFO and Middle Earth when they decided to branch out as a duo.

Recorded in two intense overnight sessions in May 1969, A=MH2 is a scorching blend of jazz, raga, blues and psychedelia that has long been established as one of the key recordings to have emerged from the UK psychedelic underground.

It's presented here as a 2CD set, together with their March 1969 recording debut, an unreleased collection of acid blues that features some equally stunning musicianship.

The package comes complete with detailed notes and previously-unpublished photos, making it the most comprehensive edition of this groundbreaking music ever assembled.



Impromptu in 'E' Minor:


CD1:
01. Improvisation On A Modal Scale
02. Acapulco Gold
03. Impromptu In 'E' Minor
04. Textures In 3/4
05. Improvisation On An Indian Scale

CD2:
01. Bad Loser
02. Crow Jane
03. Can't Carry You
04. Seymour's Boogie
05. Put You Down
06. Someone's Been At My Woman
07. Make You
08. Summer Seemed Longer

Personnel:
*Mick Hutchinson – Lead, Bass, Rhythm Guitar, Bongos, Piano, Timpani and Flute
*Andy Clark – Bass Drum, Maracas, Bagpipe chanter, Piano, Organ, Tenor & Alto Sax, Gong, Rhytum Guitar, Flute and Voice

*With Walt Monahan (Bass) and Franco Franco (Drums) on Disc 2

[ Rip and Scans by LARRY ]
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Lynn Blessing – Sunset Painter (1969 us, fusion jazz rock with country folk flashes - MP3 320k and FLAC)

“The search for unity in a field of infinite variety is beautifully apparent in this album... the result is swinging, joyous and original”
Paul Horn, original sleevenotes

Lynn Blessing was Born in Cicero, Indiana, 12/4/38. Started playing drums at age 10, vibes at age 17, played with Freddie Hubbard in high school, 1954-57. He is best known for his membership in the jazz-rock band Advancement, who recorded a single, self-titled album in 1969, and as a member of Bill Plummer's Cosmic Brotherhood and Gabor Szabo's studio band.

Previously, however, he and Plummer were also an integral part of cornet master Tommy Peltier's Jazz Corps, one of the house bands at the famed Lighthouse between 1963 and 1967. Blessing was a Midwesterner who met Freddie Hubbard in high school and formed his first jazz group with him at that time (Blessing played drums). He also worked with Paul Horn, Martin Denny, Tony Bennett, and Fred Katz. Sunset Painter is Blessing's only date as a leader and was originally issued on Epic in 1969.

Produced by Paul Horn, the LP also features pedal steel guitar whiz Sneaky Pete Kleinow, bassist Wolfgang Melz, drummer Mel Telford, and guitarists John Beck and Robert Hirth. Sunset Painter is deeply influenced by sounds coming from Los Angels and San Francisco at the time, particularly those of Laurel Canyon. As such, this is not a "jazz" record per se.

It is a collection of almost entirely instrumental pop tunes, four of which were written by the rock icons of the day: "Mother Nature's Son," by Lennon and McCartney; "Pinball Wizard," by Pete Townshend; "Country Pie," by Bob Dylan; and "Child of the Universe," by Roger McGuinn. The rest were either self-penned or by the sidemen on the date; Melz and Hirth wrote one apiece. The sound is loose, breezy, laid-back, and full of Eastern tinges (acoustic guitars played like sitars with open droning lead and rhythm parts as on the title track with its shimmering 12-string, and Blessing's single-note melodies).

Then there is "Mother Nature's Son" done country-raga style -- no kidding. The warm feel of the set offers the same feel as many of Gary McFarland's sides on Skye but is less pop-oriented and more psychedelic in texture. The opener, "Cosmic Cowboy," features Blessing on a pair of harmonicas playing one just behind the other, a popping electric bassline, and breakbeats skittering around the middle before Blessing's vibes enter, resembling something cut out of the hoedown section of Aaron Copland's Billy the Kid.

The lithe openness on most of this recording is caught perfectly in "Anacalyspsis," where the pedal steel -- playing more like a slide guitar -- engages with Blessing's vibes, and the drums widen out in a slippery country stroll given dimension, texture, and depth by Blessing's solo and sophisticated melodic improvisation. And while it's true that the album is relatively brief, clocking in at exactly 38 minutes, it is a minor masterpiece.

It's very much of its time and stands in stark contrast to so much of the jazz that was being recorded on the American side of the pond at the time. In some sense, it's not a jazz record, but neither is it a pop, or psych or folk or rock record either. It is all things at once and none of them, but its sense of order, focus, and attention to melody, atmosphere, and brevity make it a wonderfully focused listen.

While Charles Lloyd was messing about trying out his singing in trying to bring the rock and blues sensibilities to his records, he might have tried hanging out with Blessing, who had the boundaries down and was interested in integration more than extrapolation. Fallout Records in the U.K. reissued this gentle treasure in 2007, and it is well worth seeking out as an experiment that succeeded aesthetically, even if it failed commercially.
by Thom Jurek

Tracks
1. Cosmic Cowboy (Blessing) - 3:27
2. Sunset Painter (Blessing) - 2:39
3. Mother Nature’s Son (Lennon, McCartney) - 2:24
4. Anacalypsis (Blessing) - 3:32
5. From Deep Within For Lynn (Melz) - 2:13
6. An Awakening (Hirth) - 5:14
7. Country Pie (Dylan) - 3:21
8. Pinball Wizard (Townshend) - 3:14
9. Emerald River (Sill) - 2:37
10. Child Of The Universe (Grusin, McGuinn) - 1:49
11. “Monk 136” (Hirth) - 4:22
12. Where There Is Grass (Melz) - 3:09

Musicians
*Lynn Blessing – Vibes, Harmonica
*Wolfgang Melz – Electric Bass
*John Beck – Guitar
*Robert Hirth – Guitar
*Sneaky Pete Kleinow – Steel Guitar
*Mel Telford – Drums

[ Rip and Scans by MARIOS ]
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