June 2007 pt.1

Friday, June 15, 2007

Houston Fearless (1969)

One and only album by this Houston, USA outfit. Some excellent hard rocking stuff here with some beautiful psychedelic touches. Originally released on Imperial records in 1969.

(Anyone have any more info on this band?)

1) Not Foolin' Me
2) His Eye Is On The Sparrow
3) Only For You
4) Blue Bones And Ashes
5) Race With The Devil
6) Mr. Soul
7) What Are Those Things
8) Knock Knock
9) Joshua
10) Love Has A Habit
11) Hold Me

Many thanks to Chris41!

DOWNLOAD

The Electric Flag - The Trip [soundtrack]

01 Peter's Trip (2:38)
02 Psyche Soap (:55)
03 M-23 (1:14)
04 Synesthesia (1:46)
05 Hobbit (1:46)
06 Fewghh (1:02)
07 Green and Gold (2:50)
08 Flash, Bam, Pow (1:31)
09 Home Room (:53)
10 Practice Music (1:27)
11 Fine Jung Thing (7:25)
12 Senior Citizen (2:57)


Musicians

• Paul Beaver - synthesizer
• Michael Bloomfield - guitar
• Harvey Brooks - bass
• Marcus Doubleday - trumpet, flugelhorn
• Barry Goldberg - organ, piano, harpsichord
• Nick Gravenites - guitar, vocals
• Bobby Notkoff - violin
• Buddy Miles - percussion
• Peter Strazza - saxophone

One of the greatest exploitation movies of all time, The Trip was the "vision" of Peter Fonda and Jack Nicholson (who wrote the original script). The finished film didn't turn out exactly the way Jack and Peter wanted it to, but it certainly had it's moments...all in Psychedelic Color. This, the soundtrack, was pretty cool, too. It contains the first studio recordings of the Electric Flag, Michael Bloomfield's swaggering soul/jazz/rock ensemble. Writing and performing trippy music was a bit removed from this fine ensemble's area (they were, in fact, a serious and funky band), but they succeeded admirably. Considering that it came out on Mike Curb's Sidewalk Records (a Capitol subsidiary) and it was an American International film, one wonders if the Flag saw any dough from this? No matter, as some of the music is excellent. "Fine Jug Thing" and "Peter Gets Off" are wild, jazzy rockers, which perfectly score Fonda's Sunset Strip/trip adventures. The album's closer, "Gettin' Hard," is a variation on "Hoochie Coochie Man" and closes the album out in funky style. Also, there are a few early efforts from synthesizer pioneer Paul Beaver, such as "Synesthesia," which is quite similar to David Bowie's work on the Man Who Fell to Earth/Low projects -- eight years later.
~ Matthew Greenwald, All Music Guide

1967_-_the_electric_flag_-_the_trip.rar

missingtrip.rar

Thanks audiodrome for the vinyl tracks
(not on the CD version)

Thursday, June 14, 2007

Takashi Nishioka - 1973 -Manin No Ki

Former member of Japanese folk band Itsutsu No Akai Fuusen (5 Red Balloons), this was Takashi Nishioka's first solo album from 1973, some lovely tunes with psychedelic touches and a couple of minimal home recordings.

Review from Othermusic.com:
Takashi Nishioka's Manin No Ki is surely one of the finest psych-folk singer-songwriter albums I've heard; if it weren't for the fact that it's sung in Japanese it'd probably already be in your collection. Nishioka has had a long and artistically successful and varied career of enough stature that he's been afforded a five-CD box set in Japan. He first came to public attention in the '60s as a member of Five Red Balloons, a group whose music was indebted in great part to the folk revival taking place in America at the time. Where his career really begins to interest us, however, is around 1970, when he was the nominal leader and songwriter of Tokedashita Garasubako (Melting Glass Box), whose members included notable musicians from Apryl Fool and the Jacks. They made one extraordinary and essential album of dreamy and avant-garde psych-folk that stands on par with any thing else of the era. Unfortunately, that CD is long out of print and vinyl copies sell for exorbitant amounts of money, but they do have a fine song included on the Japanese installment of the Love, Peace and Poetry series. After Tokedashita Garasubako dissolved, Nishioka began work on his first solo LP for URC (Underground Record Club), a label that had been started to document the intriguing folk and pop music that was being made in Japan's early-'70s counter-culture, a good portion of their catalog has been reissued and is well worth tracking down. Manin No Ki is far less amorphous than Tokedashita Garasubako, it begins on a foreign sounding note with a short ditty laden with ethnic string instruments and rattling wood blocks. It's probably the weirdest piece on the album and it barely hints at the songwriting to follow.

Nishioka is a master of the lilting melody and he specializes in those mid-tempo ballads that characterize many of Neil Young's greatest moments. Not that Nishioka just sounds like a Japanese Neil Young, far from it. His writing includes space for complex vocal overdubs and he uses a diverse array of instrumental shading, including marimba and xylophone sounds that would make Tom Waits jealous, and whoever engineered his drums is a complete genius. But now I'm starting to come across like a real nerd, because truly the main strength of the album is simply Nishioka's moving songwriting, that the sounds surrounding his songs are interesting only adds to the appeal. Manin No Ki is the album I've listened to the most this year by far and it won't fail to make it to my top ten. [MK]

1. Osaka-ben
2. Manin No Ki
3. Hitori No Onna
4. Owari No Sasetsu
5. Miren
6. Professional Ji-Ji
7. Kimi To Boku, Boku To Kimi
8. Dousei
9. Tsuma Ni Naru Onna Ni
10, Minna Ii Hito

Enjoy

posted by J-bag

The Nightcrawlers - The Little Black Egg

Twenty-four track compilation of this little known 60's band, coming to you from Daytona Beach, Florida. Best described as garage rock with a folk edge to it. Better tunes include their sole hit, the disc's title cut "The Little Black Egg", "Basket Of Flowers", "I Don't Remember", their Kinks cover "All Day And All Of The Night" as well as their two Stones covers "Grown Up Wrong" and "Heart Of Stone". Might draw in fans of Shadows Of Knight, Byrds, Barbarians, The Haunted and Beau Brummels. Give this CD a listen !

By Mike Reed


Download It Here :

http://rapidshare.com/files/36361794/nightcrawlers.rar

Country Joe & the Fish - Electric Music for the Mind and Body

Recorded at Sierra Sound Laboratories, Berkeley, January-February 1967 and it's Fish debut this one.

This album is really tripy , psychedelic , acid-rock of the most albums recorded in the late 60 's

The band formed in San Francisco and they released 5 albums

1967: Electric Music For The Mind And Body
1967: I-Feel-Like-I'm-Fixin'-To-Die
1968: Together
1969: Here We Are Again
1970: C. J. Fish

Joe McDonald: vocals, harmony vocals, rhythm guitar, harmonica, tambourine, bells
Barry Melton: vocals, lead guitar
David Cohen: rhythm guitar, organ, lead guitar
Bruce Barthol: bass, harmonica
Gary "Chicken" Hirsh: drums, background sounds

Enjoy...!!!!

http://rapidshare.com/country_joe_fish_-_electric_music_for_the_mind_and_body.rar

The United States Of America - 1968 - The United States Of America

1. "The American Metaphysical Circus" (Joseph Byrd) – 4:56
2. "Hard Coming Love" (Byrd, Dorothy Moskowitz) – 4:41
3. "Cloud Song" (Byrd, Moskowitz) – 3:18
4. "The Garden of Earthly Delights" (Byrd, Moskowitz) – 2:39
5. "I Won't Leave My Wooden Wife for You, Sugar" (Byrd, Moskowitz) – 3:51
6. "Where Is Yesterday" (Gordon Marron, Ed Bogas, Moskowitz) – 3:08
7. "Coming Down" (Byrd, Moskowitz) – 2:37
8. "Love Song for the Dead Ché" (Byrd) – 3:25
9. "Stranded in Time" (Marron, Bogas) – 1:49
10. "The American Way of Love" (Byrd) – 6:38
1. -Metaphor for an Older Man (Byrd)
2. -California Good time Music (Byrd)
3. -Love Is All (Byrd, Moskowitz, Rand Forbes, Craig Woodson, Marron)
11. "Osamu's Birthday" (Byrd) – 2:59
12. "No Love to Give" (Moskowitz) – 2:36
13. "I Won't Leave My Wooden Wife for You, Sugar" (alternate version with Moskowitz singing lead) (Byrd, Moskowitz) – 3:45
14. "You Can Never Come Down" (Byrd) – 2:32
15. "Perry Pier" (Moskowitz) – 2:37
16. "Tailor Man" (Moskowitz) – 3:06
17. "Do You Follow Me" (Kenneth Edwards) – 2:34
18. "The American Metaphysical Circus" (demo version) (Byrd) – 4:01
19. "Mouse (The Garden of Earthly Delights)" (demo version) (Byrd, Moskowitz) – 2:39
20. "Heresy (Coming Down)" (demo version) (Byrd, Moskowitz) – 2:32

Link:
http://rapidshare.com/United_States_Of_America_-_1968.rar

A wonderful psychedelic experiment, a nice example of an early experimental electronic music. Formed in 1967 by Joseph Byrd, the band membership consisted of the following: Joseph Byrd (electronic music, electric harpsichord, organ, calliope, piano, and Durrett Electronic Music Synthesizer), Dorothy Moskowitz (lead vocals), Gordon Marron (electric violin, ring modulator), Rand Forbes (an early adopter of the fretless electric bass) and Craig Woodson (electric drums and percussion). Ed Bogas also performed on the record with occasional organ, piano, and calliope; he became a full member of the band on its first and only tour. Note that there was no guitar!

Their only album they released, self-titled from 1968, is a masterpiece, containing blasts as "Hard Coming Love", "The Garden Of Earthly Delights" or "I won't Leave My Wooden Wife For You, Sugar".

It was reissued first in 1992 with two bonus tracks, and in 2004 with 8 more bonus tracks.

Thanks Mr. Blues for this one !!!

Wednesday, June 13, 2007

Werkraum - 2004 - Unsere Feuer Brennen

'Unsere Feuer Brennen', which translates from the German as 'Our Fires Burning', is one of the most interesting releases that has come my way in a long time. Strikingly packaged in gold upon white and aided by both Jason Thompkins (Harvest Rain) and Nick Nedzynski (Lady Morphia), the eleven tracks on this CD run to just over 50 minutes in length.

The first of them, 'Nocturne', opens with the words 'Welcome, sweet death', taken from J. Dowland's 'A Pilgrime's Solace' from 1612 and possibly even inspired by Johann Sebastian Bach's 'Komm Susser Tod'. Regardless, it's most certainly infused with the same Classical spirit and even a wry sense of optimism. To a slight extent these poetic utterances remind me of Elijah's Mantle, but there is a darker edge to them and the words frolic menacingly with the pounding drums in the background. The second track, 'Die letzte Jagd' (The Last Hunt), is a lively mixture of acoustic guitar, bass drum and Axel Frank's stunning German vocals. An infectious chorus helps to convey the thrill of the chase and the whole thing is performed with real confidence and far more enthusiastically than most of the neo-folk dirges I'm used to hearing these days.

'Chanson de la plus haute tour' (Song of the Highest Tower) is based on Arthur Rimbaud's 1872 poem of the same name and, once again, deals with the demise of youth and even life itself. The beautiful vocals, sung here by Antje Hoppenrath, sweep from ear to ear in an arpeggio ballad that wouldn't be out of place on a Simon & Garfunkel album. Both melodic and atmospheric at the same time, this is European folk at it's very best. 'Einsamernie' (Never Lonely) interrupts this vision of late-60s harmony with muffled German vocals and explosions, a low organ swinging back and forth like a mesmeric pendulum across the tree-shattered landscape of No-Man's Land. It's rather like Ostara in one of their more Ambient moments, but perhaps tinged with the stark foreboding of Blood Axis on 'The Gospel of Inhumanity'. Meanwhile, 'Legion' vomits words out backwards like a sick dwarf being hassled by an unintelligible choir at a David Lynch garden party. It's true! Stuttering drums give way to acoustic jangling, measured vocals and crazy King Hammond-style synths that weave their way through the song like a thin brown line in an animated Bisto advert.

A tolling bell marks the onset of 'Steh auf, Nordwind!' (Rise Up, North Wind!) and one of the album's catchier numbers. The impeccable vocals remind me of Belborn's Holger F, but in between the verses the rich musical undercurrent is similar to early-90s Death In June. 'Dignitas Dei' (God's Honour) sees the return of those whirling space-age synths, joined here by dislocated chanting and the distinct feeling that you're listening to Hawkwind perform a Black Mass in Canterbury Cathedral. As a closet [Not anymore. - ML.] fan of Psychedelia, I'm glad to say that this represents a fantastic break with the increasingly dull neo-folk tradition and so perhaps it's time to dust off those liquid wheels and grab yourself a bag of hallucinogenic fungi.

Where was I? Oh yes, the review. 'Ewigland' (Eternal Country) heralds the participation of Jason Thompkins of Harvest Rain and a lilting guitar that makes this track sound like a lament to a distant homeland. All accompanied by sentimental lyrics, a rattling snare, the light blare of passing aircraft and other portentous contributions. With its uplifting chords, synthetic horns and bass guitar, 'Heilige Krieg' (Holy War) is slightly similar to 'Steh auf, Nordwind!', but the vocals are much more powerful and possess an unusual and rhythmic quality. The sampled American drawl [what "drawl", exactly?! - ML], shimmering tambourine and clip-clop percussion makes this a cataclysmic statement on the perils of our age.

The vocals on 'Hohezeit' (High Time) are performed by Antje Hoppenrath in a late-medieval style, her voice rising and falling amid hushed echoes and layers of stridulating Morricone-style effects. Quite enchanting. The final track, 'Civitas Dei' (City of God), is a slow march across an Augustinian plain of urgent voices, hypnotic cantata and the irresistible cry of a whooping electronic maelstrom. Like a heretical theocracy presiding over an inquisition of clinical radiologists, each determined to get their knobs out and have their own say.

To conclude, then, Werkraum's first album is truly remarkable and has exceeded all expectations as far as I'm concerned. It's good to see Justin Mitchell's label continuously branching out into unexplored territory, too. The lad certainly has an eye for innovative and exciting material. For more information about Werkraum go to: http://www.werkraum-heimat.net/

source : http://www.rosenoire.org/reviews/werkraum-unsere.php

Download It Here :

http://rapidshare.com/files/36344868/werkraum.rar

Lewis and Clarke Expedition

Lewis and Clarke Expedition - "Earth, Air, Fire & Water"

Company: Colgems
Catalog: COM-105
Year: 1967

http://www.geocities.com/badcatrecords/LEWISclarke.htm

Having enjoyed mammoth profits with their pre-packaged Beatles-clones The Monkees, it only made sense that Colgems (co-owned by RCA and Columbia) would attempt to manufacture a second corporate super group. That said, how many of you remember The Lewis and Clarke Expedition? Probably few of you. That's unfortunate since the band's sole album, 1967's "Earth, Air, Fire & Water" is nothing short of wonderful.

1966 found Travis Lewis (aka Michael Martin Murphey) and Boomer Clarke (aka Owen Castleman) paying their bills as songwriters for Screen Gems. Originally from Dallas, Texas, Lewis/Murphey was a passing acquaintance of Mike Nesmith. The connection helped the pair place one of their compositions "Hangin' Round" with the Monkees, in the process bringing them to the attention of Colgems which quickly recognized their potential and signed them to a recording contract. Produced by Jack Keller and built around the talent of Lewis and Clarke (the line up rounded out by multi-instrumentalist Ken Bloom, guitarist John London and drummer Johnny Raines ) actually debuted with an instantly obscure 1966 single for the small Chartmaster label ("" b/w ""). While parallels to The Monkees were apparent, there were also some major difference; notably the fact the band were all capable musicians and namesakes Lewis and Clarke were responsible for the majority of material. That said, their debut was easily as good as anything in The Monkees catalog. Musically varied, the set included stabs at shimmering top-40 pop ("I Feel Good (I Feel Bad)"), folk-rock ("This Town Ain't the Same Anymore"), vaudeville ("Everybody Loves a Fire"), raga ("House of My Sorrow"), an ecological message ("Chain of Flowers") and Byrds-styled jangle-rock ("Blue Revelation"). Rounded out by strong melodies and tight harmonies, mid-'60s pop simply didn't get much better. Highlights included the goofy "Spirit of Argyle High" and the extended suite "Memorial To the American Indian" which included one of the first covers of J.D. Loudermilk's "(The Lament of) The Cherokee Reservation Indian" we've ever heard (coming a full three years before The Raiders' hit). Unfortunately, with Colgems devoting most of it's energy to marketing The Monkees, neither the band nor the LP or much in the way of promotional support.

Needless to say, it failed to chart.

"Earth, Air, Fire & Water" track listing:

1.) Windy Day (Travis Lewis - Boomer Clarke) - 3:00

2.) Freedom Bird (Travis Lewis - Boomer Clarke) - 2:50

3.) Spirit of Argyle High (Travis Lewis - Boomer Clarke) - 3:15

4.) This Town Ain't the Same Anymore (Travis Lewis - Boomer Clarke) - 2:40

5.) Everybody Loves a Fire (Travis Lewis - Boomer Clarke) - 2:30

6.) House of My Sorrow (Travis Lewis - Boomer Clarke) - 4:24

7.) I Feel Good (I Feel Bad) (Travis Lewis - Boomer Clarke) - 2:26

8.) (I Call Them) Lies (Travis Lewis - Boomer Clarke) - 2:44

9.) Destination Unknown (Travis Lewis - Boomer Clarke - Jefferson) - 2:51

10.) Chain Around the Flowers (Vandiver) - 2:53

11.) Blue Revelation (Travis Lewis - Boomer Clarke - Hilderbrand) - 2:16

12.) Memorial To the American Indian

Legend of the Creation (Travis Lewis - Boomer Clarke) -1:45

Send Me Rain (Travis Lewis - Boomer Clarke) - 1:09

Red Cloud's Farewell To His Tribe (Travis Lewis - Boomer Clarke) - 1:45

(The Lament of) The Cherokee Reservation Indian (J.D. Loudermilk) - 2:35

The band briefly struggled on releasing a pair of non-album singles ("Why Need They Pretend?" b/w "Chain of Flowers" and "Daddy's Plastic Child" b/w "Gypsy Song Man"). They also contributed material to and made a cameo appearance in the film "For Singles Only" and provided the theme song to the film "The Tiger Makes Out". Murphey subsequently reinvented himself as a country singer, enjoying a massive pop hit with the nauseating top-10 "Wildfire". Castleman also reappeared as a solo act, hitting the charts with "Judy Mae".

Very much recommended psych pop.....

Unfortunatelly @128 any upgrade would be great

lewis_and_clarke_expedition__us__66_.rar

Many thanks to Abra for the share

Enjoy

Help Yourself - 2 Albums

Help Yourself was formed in the London area of England in 1970 initially as a backup band for Malcolm Morley, who was signed as a solo act under the management of the Famepushers whose acts Brinsley Schwarz and Ernie Graham had also secured contracts with the U.K. division of United Artists/Liberty Records. The band consisted of Richard Treece (guitars/vocals/harmonica), Dave Charles (drums/percussion/vocals), Ken Whaley (bass), and of course Malcolm Morley (guitars/keyboards/vocals).

Folk Rock - Pub Rock - Country Rock is what you call ther music, they recorded 4 albums during 1971 - 1973 with a bonus live album.

Help Yourself - 1971

There's no question that Help Yourself's debut album was a product of its times — something about the whole easygoing boogie vibe and gentle psych-inspired trippiness, the way of singing, the production, and more just screams early-'70s non-metal and non-glam rock & roll. Look at it one way and Help Yourself was just a cut above incipient bar band culture but, heard with fresh ears years after its release, it strikes a great balance between entertaining the crowd and exploration. Call the band a more down-to-earth Pink Floyd or Hawkwind set somewhere in the English countryside without specifically owing anything to either band. Morley, who takes vocal lead throughout, shows a fine voice similar to Neil Young's, with just that hint of twang while not sounding quite so cracked and strained. At some points the resemblance is overwhelming — check out the chorus of the wistful "Old Man" (in fact not a cover of Young's own standard, though that would have been perfectly appropriate). As a unit, the four-piece, which finished up the album in a week's time, comes across as seasoned without being overly pro or polished — the curse of "tasty licks" is generally avoided in favor of relaxed understatement, solos smoothly fitting into the songs rather than dominating them. The more immediately singalong numbers, like "I Must See Jesus for Myself" and the lovely "Paper Leaves," as perfect a late summer evening ramble and sigh as one could ask for, still sneak up on a listener, entrancing without trying too hard to do so. There are some darker numbers worthy of note — "To Katherine They Fall" is the most space rock of the bunch, keeping the right head-nodding vibes while not tripping out completely, while "Deborah" is a flat-out lovely piano ballad, Morley's wounded voice the perfect accompaniment.

Download Link :

Help_Yourself_-_Help_Yourself__uk_1971_.rar

Help Yourself - 1972 - Strange Affair

An excellent second album from a band that, familial comparisons to Man notwithstanding, was always closer to the British pub rock ideal than many of the movement's better-feted icons ever could be. And that despite the best of Help Yourself's bluesy barroom rock predating any but the earliest birds of the beer and sawdust circuit — departing guitarist Ken Whalley's Ducks Deluxe included. Opening with the hefty chimes of the title track, Strange Affair moves on through a kaleidoscope of moves and movements, ranging from the gently and certainly Beatles-ish "Deanna, Call & Scotty," and onto a clutch of songs that would not have sounded out of place on the American West Coast — a touchstone that, again, would soon become a pub rock ideal. The album's peak, however, has to be the nine-minute "The All Electric Fur Trapper," a lush and lovely epic that conjures images of a faintly country-flavored Pink Floyd as it moves through a series of distinct phases that climax with a semi-funky, deeply fuzzy burst of JoJ0 Glemser guitar savagery. Accompanied by a wryly flowery essay from Ducks Deluxe frontman Sean Tyla, "The All Electric Fur Trapper" stands not only among Help Yourself's greatest achievements, but also among the highlights of the entire early-'70s British underground.

Download Link :
Help_Yourself_-_1972_-_Strange_Affair.rar

The Creation - We Are Paintermen

This was the only full-length album released during the brief life-span of the Creation, one of the few beat groups to rival the raw intensity of the Who. (Guitarist Eddie Phillips, who committed violin bow to guitar strings before Jimmy Page, was allegedly even courted by Pete Townshend to become the Who's second guitarist.) This album, released in 1967 on Hit-Ton, a label out of Germany, where the group enjoyed immense popularity (a situation not mirrored back home in the UK), consists of the singles and some uninspired choices of covers ("Cool Jerk," "Like a Rolling Stone," "Hey Joe"). The group's criminally under-appreciated sound is fueled by Phillips' clanging, melodic power chords and feedback-drenched squalls, which show up most prominently in the Creation's signature single, "Making Time." Other highlights on this essential album for fans of Mod and British Invasion include "Try and Stop Me," "If I Stay Too Long," "Biff Bang Pow," and "Painter Man." A 1999 Repertoire Records reissue cleaned up the poor sound quality of the original. (allmusic)

~~~~~

Not much to say about this band, except that this album is an absolute mod/freakbeat essential. There are quite a few Creation reissues/anthologies around, but I think this is the best in terms of sound quality. Ripped using EAC/LAME 3.97 (VBR --preset fast extreme), the best mp3-ripping way possible. Don't be put off if you notice "low" bitrates. This happens because the tracks are in mono, which is why there's no need for extremely high bitrates. That would just make useless bigger file sizes, with no actual improvement in sound quality. The sound is transparent to the original cd. - K

~~~~~

TRACKS

01 Cool Jerk

02 Making Time

03 Through My Eyes

04 Like a Rolling Stone

05 Can I Join Your Band

06 Tom Tom

07 Try and Stop Me

08 If I Stay Too Long

09 Biff, Bang, Pow

10 Nightmares

11 Hey Joe

12 Painter Man

BONUS TRACKS

13 How Does It Feel to Feel (US Version)

14 Sylvette

15 I Am the Walker

16 Ostrich Man

17 Sweet Helen

18 Life Is Just Beginning

19 For All That I Am

20 Midway Down

SPECIAL BONUS

21 Hurt Me If You Will

22 I'm Leaving

23 Work All Day (Sleep All Night)

24 Going Down Fast

The Creation - 1999 - We Are Paintermen

Tuesday, June 12, 2007

V.A - Over The Rainbow

You keep asking for some compilations made by us.
Well here is the first one

I made this a few months ago for some friends of mine
Hope you like it !

cd 1 : Bright Side Of The Rainbow

1-Aphrodite's Child - the four horsemen
2-Saturnalia - Soul Song
3-Dantalian's Chariot-world war three
4-Ford Theatre - i've got the fever
5-Grace Slick & the Great Society - sally go round the roses
6-Byrds - eight miles high
7-Pretty Things-I See You
8-My Indole Ring- Silk Road
9-Dukes Of Stratosphear- 25 O'Clock
10-Tomorrow - three jolly little dwarves
11-Beatles - Tomorrow Never Knows
12-Six Feet Under - inspiration in my head
13-Golden Dawn- Starvation
14-Orange Alabaster Mushroom Band- Your Face Is In My Mind
15-Seeds- pushin' too hard
16-13th Floor Elevators - slip inside this house

cd 2 : Dark Side Of The Rainbow

1-Aphrodite's Child- ofis
2-Bee Gees - Every Christian Lion Hearted Man Will Show You
3-Savage Ressurection-Tahitian Melody
4-The Beau Brummels - The Wolf of Velvet Fortune
5-Pink Floyd - Set the Controls for the Heart
6- Frantics - her and her mountain
7-Music emporium - Cage
8-Phantom's Divine Comedy - welcome to hell
9-Chocolate Watchband - dark side of the mushroom
10-Brain Police- I'll Be on the Inside, If I Can
11-Neighb'rhood Childr'n-long years in space
12-Jefferson Airplane - white rabbit
13-Misunderstood - i unseen
14-Attack - Strange house
15-Electric Prunes - i had too much to dream
16-Pussy - Comets

Download It Here :
_Over_the_Rainbow.part1.rar
_Over_the_Rainbow.part2.rar

Monday, June 11, 2007

Try These...

...and many more in the other pages of Lost In Tyme. You can find them at the top of this page or click on any cover you like, to go to to the appropriate page.

Kryptasthesie - No Age

Kryptasthesie - No Age

Audubon would kill his birds then he would draw them - capturing their beauty in death. Kryptasthesie has accomplished the same thing. "No Age" is the last dying breath of one of Italy's greatest psychedelic bands. Over all they have done over the years, THIS is the idealized statement by this band. A large part of the success is singing in their native Italian, which is truer to the band than earlier records that employed English. I believe that language just is not a way of communicating ideas but it also shapes your thinking. Thus, when the band previously used English, it seemed forced whereas now the vocals are working with the music (not against it). The band seems to want to put everything into this record. They get atmospheric with "ALH84001" and rock like a modern Pink Floyd (meddle era) in "Il Tao Della Violenza" and get techno with "Tutto Passa". It seems that when you get this good you've got nowhere to go but down like a brilliant asteroid on its way to its eventual breakup. Lets hope that the remnants that have shattered on impact are as brilliant as their source.

Enjoy!

http://rapidshare.com/kryptaesthesie_-_no_age.rar

Mick Softley - Songs For Swingin' Survivors (1965)

Softley's debut LP is one of the rarest '60s British folk albums, and one of the most coveted by collectors. While it's not as musically impressive as it is collectable, it's notable as one of the first U.K. singer/songwriter folk albums in the contemporary style pioneered earlier in the U.S. by Bob Dylan and the North American performers Dylan inspired. Indeed, there were few others in Britain taking a similar approach at the time of Songs for Swingin' Survivors' release, with the exception of Donovan and perhaps Bert Jansch. Early Donovan is an unavoidable point of comparison when listening to this solo acoustic guitar album, both for the earnest social consciousness and romanticism, and also since Softley actually wrote a few songs covered by Donovan in 1965. One of them, "The War Drags On," appears here in Softley's own version, and while it's not as good as Donovan's, it's notable as one of the first protest songs to directly mention the Vietnam War. Softley isn't as good a singer or tunesmith as early Donovan, however; his voice is a bit on the nasal and restrained side, sometimes coming off a little like a male equivalent to how Marianne Faithfull sounded after her voice lowered. Other than "The War Drags On," the voice of protest is felt in "After the Third World War Is Over," but, in fact, Softley was a fairly versatile writer, espousing early Donovan-like romance in "All I Want Is a Chance" and "What Makes the Wind to Blow"; got-to-ramble troubadourisms in "Keep Movin' On"; and a surprisingly direct (for 1965) reference to cocaine addiction in the love lament "Jeannie." Not everything is youthful singer/songwriting, as there are also covers of "Strange Fruit," "The Bells of Rhymney," and Woody Guthrie's "Plains of the Buffalo," as well as a couple of folk-blues instrumentals. Though it might be a minor album in all, it's still a rather good one, more tuneful than many a mid-'60s folk record based around original material, with impressive guitar work, ~allmusic.

http://rapidshare.com/mick.rar

Sunday, June 10, 2007

Bert Jansch - 1969 - Birthday Blues

One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and a key member of Pentangle. Also a talented songwriter and affecting (if gruff) vocalist, he wrote dark and sparse material that recalled the folky side of Donovan, though he was much less pop-oriented than the psychedelic pop troubadour. Incorporating elements of blues, American folk, and British Isles traditional music into his playing, his influence was not only immense in the British folk scene, it also extended to the rock world -- Neil Young and Jimmy Page, two electric guitar gonzos who often turn to acoustic picking as well, have acknowledged Jansch as a major influence. Young went as far as to tell Guitar Player that Jansch did for the acoustic guitar what Jimi Hendrix did for the electric. A revered elder statesperson in the U.K., he has escaped widespread notice in the States. He has all the prerequisites for a large cult following on the order of Nick Drake, another musician whose work contains definite echoes of Jansch.

Born in Scotland, Jansch vagabonded around the U.K. and Europe for a while before basing himself in London in the early '60s. He made an impact on the city's folk community not only for his guitar skills, but for his original songwriting, singing his own compositions at a time when Dylan was just beginning to make that practice widespread in folk circles. Friend and fellow folksinger Anne Briggs helped Jansch get a contract with Transatlantic, a small British folky label. Recorded on a single microphone and a borrowed guitar at Jansch's apartment, his first album immediately established him as a major force in British folk. Consisting almost entirely of original compositions, the brooding, plaintive compositions showcased his dextrous fingerpicking. "Needle of Death," inspired by the heroin-related death of a friend, may still be his most famous composition.

Jansch graduated to a real studio for his second album, It Don't Bother Me. That LP featured some contributions from guitarist John Renbourn, and the pair would record a joint effort in the mid-'60s as well, Bert and John. Soon Jansch and Renbourn would be playing together as part of a five-member group, Pentangle, one of the greatest folk acts of the 1960s. Pentangle, also featuring vocalist Jacqui McShee and the rhythm section of Danny Thompson and Terry Cox, was very much a group effort. Of all the group members, however, Jansch was probably the most important, writing the best original material, singing occasional lead vocals, and recording some enthralling guitar tandems with Renbourn.

Jansch's increasing involvement (and eventual commercial success) with Pentangle did not mean an end to his solo career, although Pentangle got first priority in the late '60s and early '70s. Nicola, from 1967, was a pretty good attempt to commercialize his sound somewhat with poppier material and some fuller studio arrangements. 1969's Birthday Blues was an effort more consistent with his early folk recordings, and included instrumental support by some members of Pentangle. Rosemary Lane (1971) is acclaimed by Jansch fans as one of his finest works.

Jansch's first decade of recording attracts the lion's share of interest from listeners, but he continued to record with his instrumental skills intact. For instance, Jancsh played in re-formed versions of Pentangle in the 1980s and '90s, while Drag City released Black Swan in 2006.

by Richie Unterberger AMG

Download It Here :

http://rapidshare.com/files/36020471/Bert_Jansch.rar

Changes - Fire of Life (1974, Apokalyptic/ Dark Folk)

This album has never been issued until now and is taken from tapes made during 1969 to 1974 by Robert Taylor and Nicholas Teslak. In theory they make simple acoustic guitar based folk music similar to Tir Na Nog, however this is much stranger and darker concern. The two performers were part of the 'Process' church, a cult like group that was obsessed with apocalypse, gothic doom and was also interested in Satan. They had a curious uniform of black clothes, clocks shoulder length hair and goatee beards. Taking themselves very seriously they were part of the proliferation of such post-hippie groups and were much seen in London and New York in the late sixties before splintering and falling apart. Musically this album is stark, very dark folk based songs with acoustic guitar, intense vocals, gothic lyrics and occasional harmony vocals and flutes. Fans of dark folk groups like Current 93 or Nature and Organisation will find much here that they will enjoy. Also fans of Comus, the legendary pagan psychedelic-folk band of the same era will find a companion album of similar sound and strangeness.Because the artists take themselves so seriously this music can be slightly intimidating. I is fine musically but doesn't stand out emotionally, it is more haunting than moving. The first song 'Fire of Life' taken from is intense and unsettling with it's lyrics of 'the world if burning, in fact it sounds just like late period Swans and Michael Gira their leader singing. The second song 'Sweet Eve' is more normal sounding like Tir Na Nog with flute and delicate melodies. 'Bleeding Out Your Feelings Evermore' is a baroque ballad style song with a female joining on the vocals to excellent effect. 'Early Morning Hours of the Night' reminds of early Steve Tilston with a distant quality. 'Horizons That I See' has nice folk picking guitar and was written in a desert. A song fragment from a lost fuller work 'Satanic Hymn #2' is churning in the Comus style. 'The Stranger In The Mirrow' is a pagan Medieval styled ballad Last track 'Twilight of the West' is a ten minute epic recorded poorly but strangely this seems to add to the air of incense and intensity. This won't be an album that will appeal to everyone, but those attracted to the darker and stranger edges of psychedelic folk will find much to enjoy. These are essentially amateur tapes but there is enough here to entertain and occasionally put a chill up the spine, from the unbroken circle.

http://rapidshare.com/changes.rar

Tangle Edge (Norway) - 1989 - In Search of A New Dawn

Tangle Edge (Norway) - 1989 - In Search of A New Dawn

@ 192-224 VBR

Track Listings
1. Isis At The Invisible Frontispiece
2. Caesar's Integrated Flaw
3. Nephtys
4. A Secret Inside Clopedia
5. The Approaching Triptykhon Sunset
6. The Centipede's Tune
7. Later Than The Pinnworm- Era
8. Mushy Shadows From A Lost Caravan
9. Solorgy

Line-up/Musicians
- Rune Forselv / drums (2, 5, 7 & 9)
- Hasse Horrigmoe / bass, acoustic 12 string guitar, moog, string ensemble and ring modulated penny whistle
- Ronald Nygård / electric and acoustic guitar, slide, bow-guitar, moog, bells tom tom and reversed cymbals


TANGLE EDGE is a norwegian music group that plays a kind of music that is purely instrumental and mixes improvisation with written parts. Stylistic they combine rock with elements of jazz, etnic and classical music. Though their style is very personal and unique blend, they have by their audience been categorized as differently as progressive rock, krautrock, free- jazz, space rock, canterbury rock, psychedelia, jazz- rock and experimental rock.

The band was founded around 1980 by Ronald Nygård (guitars and keyboards) and Hasse Horrigmoe (bass guitar and 12-string acoustic guitar). The current lineup including Kjell Oluf Johansen on drums, has been operating since 1988. Since 1989 they have released four CD's, and toured England, Russia, Italy, Denmark, Sweden and Norway.

Saturday, June 09, 2007

Arcadium - 1969 - Breathe Awhile

Arcadium - 1969 - Breathe Awhile

1. I'm on my way (11:51)
2. Poor lady (3:59)
3. Walk on the bad side (7:35)
4. Woman of a thousand years (3:39)
5. Change me (4:47)
6. It takes a woman (3:53)
7. Birth, life and death (10:19)
8. Sing my song (4:18)
9. Riding alone (2:48)

- Miguel Sergides: 12-string guitar, vocals
- Graham Best: bass, vocals
- Allan Ellwood: organ, vocals
- Robert Ellwood: lead guitar, vocals
- John Albert Parker: drums

ARCADIUM were a late 60's psychedelic band fronted by songwriter, 12-string guitarist and lead vocalist Miguel Sergides. Sergides was joined by Graham Best on bass and vocals, Allan Ellwood on organ and vocals, John Albert Parker on drums and Robert Ellwood on lead guitar and vocals. Like many, they played the clubs until a small label by the name of Middle Earth - who released a whopping total of five albums - finally approached them. In 1969, "Breathe Awhile" was issued on an LP, the only album the band ever recorded. It has lately been reissued in cd format by German label Akarma.
ARCADIUM's ominous, cathedral-like organ, distorted guitar and anguished vocals are clearly derivative of bands such as the DOORS, IRON BUTTERFLY and VANILLA FUDGE - very much in the 'downer-heavy' school of the genre that was popular at the time. Their album is something of a bad-trip soundtrack that relies on minor-key melodies, ghostly harmonies and anguished vocals. What with all its flaws - bad production, sloppy vocals and doomesday atmospherics - its historical significance is immense. The music's intensity and sense of urgency, the blazing acid-drenched guitars, the tortured vocals and heavy nightmarish sounds all perfectly convey the late 60's atmosphere.
Fans of heavy psychedelia in search of a genuine dose of 60's nostalgia will love this band.
Enjoy!
RapidShare : Part 1 ~ Part 2
or
SendSpace : Part 1 ~ Part 2

Friday, June 08, 2007

Delvins - ep (Grey Past)

First time ever 4-tracks release of this Dutch beat group from Dordrecht. Very much inspired by the likes of The Kinks and The Motions. Recorded 1966. Comes in very nice PS, designed after the legendary Dutch Fontana sleeves from the 60s.

01 - When You See

02 - You Know You're Losing Me
03 - There Are Things We Used To Do
04 - I Won't Hear You're Gone

Download!

Todd Dilligham - Astral Whelks

Neo psyche masterpiece 1995

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Tracks

1 My Friend (4:00)

2 Laughing into a Teapot (4:20)

3 Arthur Woodcote (Is His Name) (5:08)

4 Pigshead (2:55)

5 Astral Whelks (10:56)

6 Circles Going Nowhere (4:03)

7 Janus (The End of the Peace) (1:15)

8 Janus (At the Gates of War) (12:52)

9 Even When (3:43)

10 The Turquoise Mountain (15:58)

11 Time Heal Me Now (4:56)

12 The Summer (4:58)

13 Sleepsong (1:45)

14 Arbon Close

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astral whelks - album credits

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Todd Dillingham - Bass, Guitar, Keyboards, Producer, Main Performer, Vocals

Andy Ward -drumming, genius, percussive

Yukio Yung - Bass, Keyboards, Vocals, Saxophone, Guitar

Mike Wedgwood - Bass on 8

Anthony Aldridge Violin

Peter Dillingham - bass on 12

Peter Giles - Keyboards on 8&10

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1995's Astral Whelks is the album where North London D.I.Y. psychedelicist Todd Dillingham moves away from the extended prog rock epics of his earlier albums into a more concise brand of psych pop heavily influenced by the freakbeat bands of Swinging London (the Creation, John's Children, etc.), close to the same artistic neighborhood explored by the Soft Boys and the Dukes of Stratosphear. There are still a few lengthy pieces (the title track is nearly 11 minutes, while "Janus at the Gates of War" and "The Turquoise Mountain" run nearly 13 and 16 minutes each), but even those are based around catchier melodies than you're likely to find on, say, an Emerson, Lake & Palmer album. Peter Giles of Giles, Giles & Fripp, the band that mutated into King Crimson, plays keyboards on these lengthier pieces, adding to their progressive credibility. The remaining 11 tracks range from not quite two minutes to just over five, and they're uniformly fine psych pop. Indeed, the banjo-laced "Pigshead," which sounds like one of Michael Nesmith's later Monkees songs, and the swirling "Laughing Into a Teapot," featuring backing vocals by Dillingham's mate Yukio Yung (Yung's Chrys&themums bandmate Andy Ward is the album's drummer), are two of Dillingham's best songs ever. The others range from the early Pink Floyd-style heavy rock of "Arthur Woodcote (Is His Name)" (a different version than the one on the German EP of the same name) to the delicate, spacy "Time Heal Me Now." Not all of the tunes are winners, and this album's follow-up, Sgt. Kipper, would explore this psych pop territory in even more entertaining fashion, but Astral Whelks is one of Todd Dillingham's most enjoyable efforts. ~ Stewart Mason, All Music Guide

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Also check

http://lost-in-tyme.blogspot.com/2007/04/todd-dilligham-first-2-albums.html

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Many thanks to Todd and his brother Mick for creating and sharing this music

@192 wma

astral_whelks.part1.rar

astral_whelks.part2.rar

Enjoy

Demian - 1971 - Demian

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http://rapidshare.com/files/35823568/Demian-_Demian.rar.html

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Check out these hard rocking psych tunes from former members of Bubble Puppy!

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Review by Lysergia:

This album ranks up there with Jericho; it's a wholly successful transformation from psychedelia to hard rock. The obvious hard rock tendencies they showed as Bubble Puppy are tightened and sharpened, and the group harmony vocals are dropped. There's an unnecessary remake of a Bubble Puppy song, but there's not much else to quibble about. There are enough tempo and rhythm variations to keep the formula from getting dull.

Thursday, June 07, 2007

7 X 7 is - U.S. Garage singles pt.7

Jodie Cosmo - Staying Power/Blacksand of Love-Real Cool Time (West World WW-05, 1993)
I believe this is the most strange release of the great Jesus Acedo. After the incredibly godlike first releases of Black Sun Ensemble, and in a time when he was just out of psychiatric treatment, Acedo as Jodie Cosmo, with the help of Rich Hopkins, recorded these, uhm.. slightly disoriented songs. The a-side is more pop and Jesus sings "Staying power will see us thru and so I send my love to you", while in the b-side, backed by Hopkins and Co., covers Stooges "Real Cool Time."







Wicked Ones - The Devil's In My Pants/Nightmares/The Boy That Time Forgot(Get Hip GH-104, 1989)
Former members of Oregon's Miracle Workers (Joel Barnett) and Surf Trio (Jeff Martin & Pete Weinberger), and Ron Klein (both in Surf Trio and Marble Orchard) who plays bass on the a-side, under the Wicked Ones moniker are twisting and shaking violently in these three tracks (I think it's their only release).







Jigsaw Seen - Jim Is The Devil/Idol Chatter (Skyclad/Get Hip GH-38, 1989)
Second devil song in th