Sunday, July 15, 2007
1. Fourth Coming
2. Path Of Stone
3. a.Windows Of Limited Time
b. The Astral Navigator
8. Country Lines
9. Boogie Music
10. Rock Me Baby
11. Come On Home
psychedelia with some epic songs. A jewel to any collection.
This is a review from Styng' Yorkshire's Underground newspaper, 1971
(This review was printed in the Astral booklet which accompanied the album)
Tip: Turn up the volume on the beginning of the first song and listen to the
"how to use" instructions.
You can download it from here:
Bill with Global Village
01 Dear Mr. Fantasy (4:40)
02 Long Grey Mare (2:13)
03 You Don't Love Me (2:35)
04 598 Rundown (0:57)
05 Babe (4:53)
06 Stanley Blues Tail (2:23)
07 Keep Your Feathers Fine 1 (3:46)
08 Country Season (3:45)
09 Keep Your Fethers Fine 2 (3:56)
10 Young Eyes (2:05)
11 Batch #70172 (2:00)
12 Summer Woman (3:59)
Bill with Be-Bop-De-Luxe
13 Riders Of My Love (2:53)
14 Jet Silver And The Dolls Of Venus (4:18)
15 Be-Bop-Bac (3:33)
16 If Stars Should Fall (2:23)
17 After The Stars (1:28)
18 So Insane And So In Love (2:21)
19 Night Creatures (4:29)
Bill with Chris Coombs
20 Yesterday (2:38) (from the album Astral Navigations)
21 Cold Tired And Hungary (2:03) (from the album Gagalactyca)
track 21 includes a "hidden track"
All the Holyground recordings made by Bill Nelson from 1968 to 1972,
(excepting Northern Dream - separately available, and Teenage Archangel).
The CD has 21 tracks, and covers the period from the start
of Global Village up to the early Be Bop De Luxe.
68 minutes from Bill's first ever recording to the days just before signing to EMI
to make Axe Victim - all the Global Village and Be Bop De Luxe recordings still in existence-
More info here :
Get it here :
Bill Nelson - 1968-1972 - Electrotype (fuzzy psych-holyground).rar
Saturday, July 14, 2007
Written on the Wind
I've Been Waiting Too Long
Get Some Beads
Have You Been Sleepin'
From a Camels Hump
Formed in 1968 by Murphy ‘Chocolate Moose’ Carfagna, the band also featured Mike Flicker on drums and Howard Leese on lead guitar both of whom went on to join Heart, Leese as guitarist and Flicker as the band’s producer.
Chocolate Moose was released in 1968 on Ed Cobb’s Sunburst label (Sunburst 7500) and is far more than just a rock album. Its strong punk and psychedelic tendencies, coupled with a smattering of R’n’B, propel the album with an energetic vitality that is underpinned by Leese’s searing guitar.
The album, rare at the time, has now become a major collectors item. Give it a listen and it’s easy to understand why.
source : http://www.jcrmusicnews.com/affprod.php?ind=5314
Download It Here :
Friday, July 13, 2007
01 Ego Trip
02 Sacrifice of the Moon
03 Plastic Raincoats / Hung Up Minds
04 (Ballad of) The Hip Death Goddess
05 Your Head Is Reeling
06 Dove in Hawk's Clothing
07 Baroque #1
08 Funny Freak Parade
Upon its release in early 1968, Ultimate Spinach's self-titled debut was derided by some as second-rate psychedelia, selling reasonably well only by virtue of its hype as part of the "Bosstown Sound." So how does it sound decades later, removed from that hype and standing on the music alone? It still sounds like bush league, bandwagon-riding psychedelia. Ian Bruce Douglas dominates the record as lead singer, composer of all the songs, and multi-instrumentalist, and while he espoused a darker vision than many psychedelic songsmiths, he wasn't in remotely the same league as Jim Morrison, Grace Slick, or Country Joe McDonald. Such comparisons are not idly chosen; echoes of the Doors, Jefferson Airplae, and Country Joe and the Fish cross over into derivation more than once, sounding like a recombination of 1967 West Coast psychedelic music that was garbled on its journey across the continent. All the same, the record is their best, for what that's worth. It is not without some attractive aspects, the best of which are Douglas' skittering, piercing organ lines heard to superior effect on "Sacrifice of the Moon," especially as that is unencumbered by his awkward, over-serious lyrics ("collapsed laughter, running, falling, drifting across the minefield of your thoughts, dissolve, wondering, who am I, why should I be alone, alone?"). He likely played Country Joe & the Fish's first LP over and over, as "Sacrifice of the Moon" and "Baroque #1" attest to; "Baroque #1" goes as far as to plagiarize Country Joe's "Masked Marauder," right down to the harmonica and scat vocals. Similarly, "Your Head Is Reeling" has grungy, distorted Doors guitar lifted straight out of Robby Krieger's intro to "The End." As Bruce-Douglas' vocals are only adequate, it's unfortunate more was not heard from guitarist and occasional lead singer Barbara Hudson, who has the kind of ice-cool style trendy among the female psychedelic singers of the era.
01. Cold Embrace
02. The Dark Lord
03. The Sky Is Burning
04. You're Alone Now
06. It's Only Love
09. Angry Faces
10. Midsummer Nights Dream
11. Season Of The Witch
13. Back Door Man
Sam Gopal - 1969 - Escalator (1969) Psych [@320].rar
02. What'cha Gonna Do About It?
04. Somebody Help Me
07. I'm So Glad
08. Legal Matter
09. Rack My Mind
10. Soul Searchin'
11. I'm a Man
12. Hey Joe [*]
13. Harpsichord Sonata #1 [*]
14. Here I Go Again [Live][#]
15. Egyptian [Live][#]
16. (Under the Screaming Double) Eagle [Live][#]
17. Confessions (Of a Traveler Through Time) [Live]
18. Blues One [Live]
19. She's Not There [Live][#]
20. Pegasus [Live][#]
One of Minneapolis' most popular '60s bands, the Litter are most known for their classic 1967 garage rock single "Action Woman." With its demonic fuzz/feedback guitar riffs and cocky, snarling lead vocal, it was an archetype of the tough '60s garage rock favored by fans of the Pebbles reissue series. In fact, the single, which got some airplay in Minnesota in early 1967 and then was largely forgotten, didn't reach an international audience until it became cut one, Side One on Volume One of Pebbles in the late '70s. It now has a place of honor on the Nuggets box set. The Litter were a little more successful and long-lived than the average regional garage band, recording a few albums, the last one for a major label, and evolving into a more progressive hard rock outfit before disbanding around the end of the '60s.
The Litter was formed by members of two Minneapolis area mid-'60s groups, the Victors and the Tabs. Heavily influenced by the fiercest British Invasion bands, such as the Yardbirds and the Who, they recorded their debut single, "Action Woman"/"A Legal Matter," with local producer Warren Kendrick in late 1966. "Action Woman," in fact, was not a Litter original, but a Kendrick composition. Bill Strandlof, who had played the searing guitar lead on "Action Woman," was replaced by Tom Caplan in the spring of 1967, just before they recorded most of the tracks that comprised their debut album. Leaning heavily on covers of songs by British bands like the Yardbirds, the Who, and Small Faces Distortions was nevertheless a prime example of sixties garage rock at its most powerful. With the garage rock revival this local release became a coveted collector's item, and has since been reissued several times.
Wednesday, July 11, 2007
2. Mellowing Grey
3. Never Like This
4. Me My Friend
5. Variation on a Theme of Hey Mr. Policeman
7. Old Songs for New Songs
8. Variation on a Theme of the Breeze
9. Hey Mr. Policeman
10. See Through Windows
11. Variation on a Theme of Me My Friend
12. Peace of Mind
15. 3 X Time
The non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals).
Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This." Additionally, neither band was overtly psychedelic or progressive, contrasting them from the other burgeoning combos such as Soft Machine, Pink Floyd, and Caravan.
Family's deceptively involved arrangements are coupled with an equally unique blend of Chapman's commanding vocals driving through the jazz and folk-rooted tunes. "The Chase" is a spirited opener that immediately establishes their unmistakable vibe, which is furthered on the sides "Old Songs for New Songs" and the aggressive rocker "Peace of Mind." The antithesis can be heard on the rural-flavored "Mellowing Grey" and "Winter," or perhaps the almost blatantly trippy "See Through Windows."
In 1996, See for Miles issued Music in a Doll's House along with Family Entertainment (1969) on a double-disc anthology, including the previously mentioned pre-LP 7" "Scene Through the Eye of a Lens" b/w "Gypsy Woman," both of which have been released on compact disc for the first time here. The package additionally boasts a 40-page booklet and hardback CD jacket, while the audio has been digitally remastered utilizing Super Bit Mapping.
Tuesday, July 10, 2007
01 - Fairport Convention - Genesis Hall
The compilation may not be professional, but it consists of songs we love deeply; we hope
you'll like them as well.
the Tribe here, amidst the ancient mountains, with lots of music and great feelings!
1. "You're Gonna Miss Me" – 2:31
2. "Roller Coaster" – 4:45
3. "Splash 1" – 3:57
4. "Reverberation (Doubt)" – 2:51
5. "Don't Fall Down" – 3:03
6. "Fire Engine" – 3:23
7. "Thru the Rhythm" – 3:10
8. "You Don't Know (How Young You Are)" – 2:59
9. "Kingdom of Heaven" – 3:11
10. "Monkey Island" – 2:40
11. "Tried to Hide" – 2:50
A real psychedelic classic, the band's first and the most popular album.
1967 - Easter Everywhere
1. "Slip Inside This House"
2. "Slide Machine"
3. "She Lives (In a Time of Her Own)"
4. "Nobody to Love"
5. "It's All Over Now, Baby Blue"
8. "I've Got Levitation"
9. "I Had to Tell You"
10. "Postures (Leave Your Body Behind)"
The second album of the 13th Floor Elevators, with a glorified opening track.
Download Link :
1968 - Bull Of The Woods
1. "Livin' On" – 3:23
2. "Barnyard Blues" – 2:52
3. "Til Then" – 3:18
4. "Never Another" – 2:27
5. "Rose and the Thorn" – 3:37
6. "Down by the River" – 1:50
7. "Scarlet and Gold" – 5:00
8. "Street Song" – 4:57
9. "Dear Dr. Doom" – 3:13
10. "With You" – 2:12
11. "May the Circle Remain Unbroken" – 2:42
The third and the final one from the Elevators.
Download Link @ 320 :
RapidShare or SendSpace
Monday, July 09, 2007
Nicholas was born in Chicago but actually raised about forty miles north in the small idyllic village of Wildwood, Illinois. His family moved there when he was about three years old and at the time theirs (a house that his father built) was one of the very few houses that existed in this area. With mostly farm fields nearby and a small pair of lakes (called "Twin Lakes" but actually two mosquito-breeding ponds which were only about six feet deep in the center) in a wooded area about 100 yards from his house, he and his friends would have joyous times exploring the area like Tom Sawyer and Huck Finn. One of these little lakes had a small island in the center and they would oftentimes raft across to the island which became their little hideaway. In the winter, which in Illinois were frequently unbearably cold, he and his friends would sometimes play ice hockey in the middle of the night since the main lake had a switchable light to illuminate it. This small-town country setting of Nicholas' formative years gave him a childlike naivete which he fortunately (pretty much) outgrew when later exposed to the "outside" world. During these early years Robert would take the train, as northern Illinois has an excellent rail system, north to visit Nicholas frequently and Nicholas and his family would often drive to Chicago to visit Robert's family. Nicholas lived in this same house until high school graduation at which time he was, as many teens his age, uncertain of what he wanted to do with his life. He finally decided on continuing education at an institute of technology in Chicago. Incidentally, when visited today the same little village of Wildwood in which he was raised is very highly populated and though still in a country setting, no longer resembles the simple place that Nicholas had known as a youth.
Robert, who was born in Chicago and also (as previously stated) raised there, was a streetwise city kid, as opposed to the "country boy" mannerisms that somewhat characterized Nicholas. From an early age, life in the city was predicated on a "survival of the fittest" life and "pecking order" of youths and teens similar to that depicted in many "coming of age" stories in addition to the play/motion picture entitled "West Side Story". Robert, who always kept himself in good physical shape would stand toe-to-toe with any of the other kids, no matter their size or age, and usually come out victorious. He and his friends, all being members of a "street gang", would fight other "gangs" for supremacy. As mentioned in other writings, though this seems potentially dangerous (especially if one thinks of the "drugged-up" punk gangs of today), it was more or less a "romantic coming of age" ritual of the mid to late 50s. Though these were, in fact, violent street fights, there weren't usually guys packing firearms, as today, and the point was not to kill the members of the other side, or someone caught in the crossfire, but instead to reign victorious over the area and become "king of the hill" so to speak. This is not to say that people weren't ever injured or killed but that wasn't the main goal of this form of city warfare. Aside from street life, Robert was always reading books and writing stories and poems and painting pictures. This in addition to the fact that he had great interest and love of history. One remembers when visiting him during his teen years of the large paintings in black line art on his bedroom wall. Two remain vivid memories. One of the stone monolithic faces, Moai, from Easter Island, and the other a life-size standing nude woman seen from behind. This "Renaissance man" lifestyle was most likely the dichotomy which characterized many warriors and artists throughout history. It was the ability to be passionate about and dedicated to everything one undertakes be it art, love or war.
Shortly before Nicholas graduated high school, Robert fell in love with and married a lady who lived on Chicago's west side in an area close to where Robert's family had previously lived before moving to the northwest side in the early 60s. Meanwhile, while attending college in Chicago, Nicholas lived with Robert's mother and father at this northwest side residence (his dear aunt and uncle were like a second set of parents to him) and lived with them for three years. Robert's marriage unfortunately dissolved later in this period and this was a very difficult time for him as he had loved this lady dearly. Robert moved back home for a while and he and Nicholas would get together often when Nicholas wasn't at school and they would go to a movie theater, to downtown Chicago, or in the summertime to beaches to pass the time and forget their worries.
It was also during these years that Robert became heavily involved in the paramilitary organization known as The Minutemen, of which several interviews and articles have been written, so there were usually several months at a time that Robert would be out of state carrying out his organizational and training functions with that group. After most of the dust had settled on these activities and Nicholas had received his degree from college they were together again pretty frequently and again passing time in the summer at the local Chicago beaches playing Robert's acoustic guitar when they happened on their first co-written song. At the beach one afternoon Nicholas developed an interesting chord progression and created a melody to it while Robert spontaneously wrote lyrics to fit the melody. The song was entitled "You're Always With Me" and though actually pretty awful (and will never see the light to one of their albums in any form), it led them to believe that they could, in fact, write songs together. An interesting side note, is that this first song was the only song that they have ever written as a team that Nicholas' music came before Robert's lyrics. On all others Nicholas has developed the music around Robert's lyric poetry. That was the summer of 1969 which turned out to be the beginning of it all for Changes.
1. Orphan in the Storm
2. Changes (Theme)
3. What's the Wind If It's Not Free?
4. Never So True
7. Sailor's Song
8. Song of Pan
9. The Reckoning
11. The Times They Ain't a-Changing
13. Waiting for the Fall
14. Twilight of the West
More info you can find here
Sunday, July 08, 2007
Side One is especially strong. "Two Blind Sisters" is a beautiful, baroque tearjerker, "Endless Trip" is a nice slice of West Coast pop, and "David and Sally" fairly represents the band's kooky, old-world side. Side two veers away from pop, with only slightly less success. "Better Dead than Red" starts off innocuously enough in a reflective, soft-psych mode, only to explode into a barrage of gunfire sound effects, whistles, and cacophonous drumming.
If you can track down a copy, I highly recommended this album, especially the songs composed and sung by Lauren Wood, a gifted songwriter who still plays to this day.
Source : http://www.lostinthegrooves.com/rebeccasunnybrook
Saturday, July 07, 2007
The Wizards From Kansas' eponymous album finds this Midwestern group sounding more like a West Coast hybrid combining rambling, melancholy country-rock elements with harder psych-rock sounds. Their biggest influences seem to have been Northern California-based groups like the Jefferson Airplane, Quicksilver Messenger Service, and the Grateful Dead, and it shouldn't really come as a shock to discover that the Wizards From Kansas was recorded in San Francisco, between July and August of 1970.
2. High Mister
3. 912 1/2 Mass
5. Freedom Speech
6. Flyaway Days
7. Misty Mountainside
8. Country Dawn
9. She Rides With Witches
The guitar work is equal to the Dead's easily. It fits and always seems right. SLightly psychedelic and always perfect. This music could easily turn into a long Dead jam at any second.
Get this here
Friday, July 06, 2007
At my new post you can find three rare Greek records from the 80's, all in one file with full artwork:
1) X Mandarina Duck 7"
(the first release of the legendary Greek label Wipe Out Records).
2) To Phos Kai H Skia Tou 12"
(members of Last Drive in a rare EP with Greek lyrics back in 1986).
3) Ding An Sich - And... 7"
(their first single, fantastic Greek dark wave).
1) A Biker's Tune - Peacepipe
2) Quiabo's - Spectrum
3) Orange Float Petals - My Indole Ring
4) Keep On Rocking - Shiver
5) Morrison Heathcliff - Tony, Caro & John
6) The Direction - Framework
7) I Can See It - The New Tweedy Bros.
8) Sexual Fantasy #8 - Fate
9) Love Of A Woman - Juan De La Cruz Band
10) Self-Made God - Brigade
11) My World In Wax - Brain Police
12) Tell Me - The Walflower Complextion
13) Confusions - Voise From The Inner Soul - Simla Beat
14) Color Fantasy - Maitreya Kali
15) Has The Buggerman Got You - Butterfingers
16) Sunrise - Pete Fine
17) Frog Song - Merry Airbrakes
18) Rit Yellow Of The Sun - Spoils Of War
Thursday, July 05, 2007
[The Technicolour Milkshake] - LP/CD (Dig The Fuzz, 2001)
# Incredible Sound Show Stories #2
[When The Tangerine Strikes Twelve] - LP (Dig The Fuzz, 1996)
# Incredible Sound Show Stories #3
[200 Feet Deep In A Purple Idea] - LP (Dig The Fuzz, 1996)
# Incredible Sound Show Stories #4
[A Trip On The Magic Flying Machine] - LP (Dig The Fuzz, 1995)
# Incredible Sound Show Stories #5
[Yellow Street Boutique] - LP (Dig The Fuzz, 1996)
# Incredible Sound Show Stories #6
[Plastic & Rubber Lovers Of Life] - LP (Dig The Fuzz, 1997)
# Incredible Sound Show Stories #7
[Illusions Of Alice In Black] - LP (Dig The Fuzz, 1998)
# Incredible Sound Show Stories #8
[Professor Potts Pornographic Projector] - LP (Dig The Fuzz, 1997)
# Incredible Sound Show Stories #9
[Clap Hands Daddy Come Home!] - LP (Dig The Fuzz, 1999)
# Incredible Sound Show Stories #10
[A Hidden Secret Garden Found] - LP (Dig The Fuzz, 1999)
# Incredible Sound Show Stories #11
[Crimson Valley Creatures In Your Zoo] - LP (Dig The Fuzz, 1999)
# Incredible Sound Show Stories #12
[Fuzz Pudding Factory] - LP (Dig The Fuzz, 2001)
# Incredible Sound Show Stories #14
[Candy Coloured Daydreams] - LP (Dig The Fuzz, 2000)
# Incredible Sound Show Stories #16
[Second Glance Through The Looking Glass] - LP (Dig The Fuzz, 2003)
# Incredible Sound Show Stories #17
[Clap Hands Daddy Come Home! Part 2] - LP (Dig The Fuzz, 2002)
(Click titles for tracklists...)
For those who wants the complete series
here is another set of links
(Only 14 parts...)
(You need All of them to unrar)
Wednesday, July 04, 2007
01 Heaven's Melody (12:54)
02 Beyond The Material Sky (5:49)
03 Guru Deva (9:03)
04 Race Into The Infinite (10:37)
05 Secret Of Life (11:49)
06 City Of Things (3:57)
07 Love Love (13:17)
08 Funky Trucking (5:26)
It's stunning stuff.
Here's Billy's story.
Get it here :
Tuesday, July 03, 2007
2. Look Over The Hill And Faraway
4. Waiting For The Wind To Rise
5. Ophelia's Song
7. Let No Man Steal Your Thyme
8. Peacock Lady
9. Silk And Leather
10. You Know You Can't Lose
11. Ophelia's Song
12. Jesus Is Just Right
13. Book Of Rhyme
14. What More Can I Say?
15. The City's Cry (Version 1)
16. The City's Cry (Version 2)
17. Rod's Song
18. Stargazer (False Start)
Time Out claimed that folk is the new jazz, but things have been pretty folky around here for some time. So I'm going to cut the Americana with some English folk that will at no point involve Arran Jumpers or fingers in the ear.
She was beautiful, played a fantastic guitar in the 'informed by Davey Graham' school of fingerpicking like everyone else from Jansch to Drake (a lot of the solo stuff sounds like better played versions of Nick Drake's home recordings - except they're not standards!) and there's a few pieces that show what can be done with a 12 string guitar in alternative tuning playing folk rather than blues that are astounding.
Two albums - Album and Stargazer are all she left behind before a bad trip and her mysterious disappearance in 1972.
Info on what had become of her
1.It's My Way
2.Many a Mile
3.Little Wheel Spin And Spin
4.I'm Gonna Be A Country Girl Again
5.Fire & Fleet & Candlelight
8.She Used To Wanna Be A Ballerina
9.The Best of Buffy Sainte-Marie
10.Best Of Buffy Sainte-Marie Vol 2
12.Native North American Child
16.Coincidence and Likely Stories
1991 EMI Records Canada/Chrysallis London
17.Up Where We Belong
1991 EMI Records Canada/Chrysallis London (All new digital recordings of the classic hits)
18.Buffy’s own favorite albums
Trip-O-Meter: 3 out of 5
Evolution is the Hollies first profound attempt to dive in the pool of psychedelia. Unlike the later Butterfly, the Hollies brand of Brit-pop doesn't mix particularly well with the psychedelic elements here. Like the weaker tracks on Butterfly, however, the songwriting saves the day and makes for a solid album.
This review focuses on the 2004 Japanese issue of both the mono and stereo Evolution along with the "Carrie Anne"/"Signs That Will Never Change" single.
The old adage that you can't judge a book by its cover applies to Evolution, but unfortunately not in its favor. The cover is an amazing image by The Fool which represents a paisley clad band seemingly reaching through the shrinkwrapping of the album. There is a strange psychedelic overlay consuming the image. The musical contents of the album, however, are basically solid British Invasion pop with some window dressing representing the more cutting egde bands of the period.
"Then The Heartaches Begin" is a solidly constructed opener with a touch of somewhat misplaced fuzz guitar. The first real winner here is in the slightly skewed ballad "Stop Right There." It has a perfect balance of melancholy and hesitant cheeriness that make it a prime candidate for the soundtrack of a future Wes Anderson film. The strange gypsy-like violin part weaving through the later part of the song helps to distinguish the ballad further.
The best parts of the album stay away from psychedelia and reaffirm the Hollies mastery of 1965 styled pop. "You Need Love," "When You're Light's Turned On," and "The Games We Play" would have been plumb singles two years earlier, but probably served to alienate their contemporary audience. "Have You Ever Loved Someone" makes the mistake of using fuzz guitar on what should be a poppier track. The result comes out like The Beach Boys' similarly misguided "Bluebirds Over The Mountain." "Rain On The Windows" add a bit of reverberating orchestation to color its sound to better effect, and the helium voices in "Water On The Brain" anticipates some of the later sound experiments on Butterfly.
Evolution remains strong despite a few questionable decisions, and only grinds to a standstill on two tracks. "Lulluby To Tim" utilized a truely grating warbling vocal effect, while "Ye Olde Toffee Shop" is dated in the most flagrantly twee manner. It's like Willy Wonka, sans any irony, and tends to make me cringe a little bit.
This disc's value is upgraded by the wonderful "Carrie Anne"/"Signs That Will Never Change" single. "Carrie Anne" has some of the best vocal harmonies recorded in the 60's and spices things up a bit with some bongo action. The B-side doesn't overshadow the main attraction, but it's a very pleasant album quality track with a groovy bassline and manages to point towards the future a little more than the past.
Evolution is very much superior in its mono incarnation, with the stereo tracks sporting poorly considered stereo separation and a lack of balance or impact.
Although a little spotty, Evolution provides an interesting bridge between the Hollies beat-based sound of their early albums and the full-on psychedelia of their Butterfly period. The pop aspects are still the main attributes here and the sometimes indiscreet and missplaced psychedelic aspects don't completely ruin the sound.
The Hollies - Evolution
Listen To Me:
The Hollies - Evolution (mono)
The Hollies - Evolution (stereo)
The Hollies - 1967 - Butterfly
Quality: 5 out of 5 (mono)
4 out of 5 (stereo)
Trip-O-Meter: 4 out of 5
Although the Hollies were one of Britain's biggest pop bands in the 60's, they would remain relatively obscure in the States until the 70's, by which time Graham Nash had left the band and the remaining members had converted to a rather schmaltzy soft rock band. Butterfly is a prime piece of British psyche pop which has never really been noticed in the US. In fact, I'm not sure if it has had a proper American release to this date. I'll be reviewing the 2004 Japanese reissue which includes the mono and stereo British release plus the "King Midas In Reverse"/"Everything Is Sunshine" single.
One of the unfortunate conceits of British psych is that band's ideas and intentions often surpassed their recording capacity. Butterfly escapes this fate as the Hollies had recent hits such as "Carrie Ann" and "On A Carousel" and benefitted from a A-list recording budget. Thus, Butterfly features plenty of exotic instrumentation and full, live orchestration. Much of their experimentation on the album reflected other prominent releases of the past year (Sgt. Peppers, The Byrds' Younger Than Yesterday, etc.) but these ideas had not yet passed their freshness date and the phenomenal songwriting of Clarke-Hicks-Nash more than compensated for any redundancies.
Apparently, the band as a whole was not too excited about the dive into psychedelia that they had begun with Evolution and continued here. But it was the prevailing style of 1967 and Graham Nash was gung-ho about taking that direction. This caused creative strain and Graham Nash would depart for America shortly after this album, but on Butterfly the tension provides a perfect balance between pop and psychedelia.
Butterfly starts with "Dear Eloise," a lurching number that provides sort of a manifesto for the rest of the album with it's tripped out mellotron passage shifting into a full blast pop-rock section rivaling even some of the better Lennon/McCartney singles. Nash would also specifically reference The Beatles on the sitar-laden "Maker," which is not as complex as George Harrison's sitar excursions, but has more of an immediate pop edge.
The band scores a couple of should-have-been singles with the soaring "Would You Believe," which is my personal favorite on the album, and the poppy "Step Inside," which recalls prime 1965 Brit-invasion pop. On the other side of the spectrum, the band tries to search for the astral sounds of the day on the one-two punch of "Try It" and "Elevated Observations?" In full disclosure, their "experimentation" here is rather tepid when compared with Syd Barrett's Pink Floyd, The Soft Machine, or a host of the edgier psych bands, but their pop instincts save the day and make the songs enjoyable, if a bit dated. The one major misstep is the silly lyrics and goofy orchestration on "Pegasus." This song has missed most US Hollies compilations, and it's not really worth searching out if you don't already have it. The closing title track is a much better bit of orchestration, and sound of a piece with contemporary Moody Blues efforts.
"King Midas In Reverse," which may be The Hollies' best psychedelic number, includes amazing vocal harmonies and what starts as deceptively simple production morphing into a huge orchestral wall of sound. "Everything Is Sunshine" is an enjoyable but run-of-the-mill B-side.
My release includes the mono and stereo versions of all of the tracks. As is common with British 60's pop, the mono mix was intended as the definitive mix while the stereo was almost an afterthought. This is especially true here as the mono mixes are finely textured and provides a punch in all the right places. Unfortunately the stereo mix suffers from pointless separation and poor balance that weakens the sound and immediacy of many songs. I only listen to the stereo version as an occasional curiosity and in fact rate it a full point lower than the mono.
Butterfly is a somewhat neglected release that I believe is one of the definitive psychedelic pop albums. You may recognize "Dear Eloise" and "King Midas In Reverse" from airplay (or not, they don't get played that often) but there are plenty of other tracks here to match the majesty of those songs.
The Hollies - Butterfly
Listen To Me
The Hollies - Butterfly (mono)
The Hollies - Butterfly (stereo)
Review from Dr. Schluss' Garage Of Psychedelic Obscurities
Monday, July 02, 2007
1. Poszłabym za tobą
2. Nie ukrywaj - wszystko wiem
3. Na drugim brzegu tęczy
4. Czy mnie jeszcze pamiętasz?
5. Wołanie przez Dunajec
6. Masz na to czas
7. Gdybyś kochał, hej!
8. Powiedzieliśmy już wszystko
9. Gdzie chcesz iść...
10. Po ten księżyc złoty
This album is a classic of polish pop music, definitely one of the best pieces. A pillar of what is called BIGBEAT here in central europe (especially in former Czechoslovakia). The band Breakout was formed by phenomenal guitarist Tadeusz Nalepa after the breakup of his former group Blackout, and this was their debut album. Breakout is referred to as a blues-rock band, and we can find a lot of blues on this album. For example in a great blues song Nie ukrywaj, wszystko wiem, or in the opening track. The album also contains Breakout's classic hit Gdybyś kochał, hej, psychedelic elements in the title track, but also in the above mentioned opening one, beautiful Czesław Niemen's cover Czy mnie jeszcze pamiętasz?, another cover, of the former Blackout's song Gdzie chcesz iść, great songs Powiedzieliśmy już wszystko and Masz na to czas and a little joke with the closing track.
I love this album and I think you will love it too.
Virtually no one outside Minneapolis heard of the C.A. Quintet during their late-'60s heyday. It was their fortune (or curse) to actually reach a considerably bigger international audience when their album was reissued in the '80s. Starting as a rather conventional pop-soul/garage band, their one and only album, Trip Thru Hell (1968), was a worthy slice of dark psychedelia. With spooky organ and the occasional trumpet of singer/songwriter Ken Erwin, the group's murky and macabre vision -- dotted with trips through hell, cold spiders, Colorado mornings, and the like -- was genuinely original and chilling. Trip Thru Hell only sold 700-800 copies when it was first issued, but after gaining status among hardcore '60s psychedelic collectors, it was reissued in 1983. The group also released a few non-LP singles in 1967 and 1968, most in a much poppier vein.
There's not much to compare this album to, even in the weird musical climate of 1968 -- there are echoes of Country Joe & The Fish and the Doors, perhaps, in the mysterioso organ and morbid imagery. Not that Ken Erwin was in the same league as Jim Morrison, or even Country Joe, as a songwriter. But (with the exception of the brassy good-time cut "Underground Music"), psychedelia was very rarely this dementedly gloomy. Occasional pealing bells and curdling screams (to say nothing of the Boschlike cover art) add to the foggy underworld menace. Reissued without authorization in Europe in the 1980s, the 1995 domestic CD is a first-class job: the 12 bonus cuts gather some rare non-LP singles, alternate takes, and previously unreleased songs, and the liner notes feature extensive interviews with Ken Erwin and engineer Steve Longman. (by Richie Unterberger, AMG)
FLAC (artwork included)
download it and then convert it to mp3 to whatever bitrate you want.
To my opinion it's a masterpiece. "Blow to my Soul" is a killer !!!
Sunday, July 01, 2007
The group began officially in 1963 as the Shadows, changing their name to the Beavers (all wearing Mohawk haircuts) the following year and finally becoming the Great Scots by December 1964. The original lineup consisted of guitarist Bill Schnare, singer Rick McNeil, bassist Dave Isnor, drummer Gerry Archer and guitarist Wayne Forrest. Hailed in the Canadian press as "Canada's answer to the Beatles," the group flew down to California in 1965, looking for bigger horizons to conquer. Working out of Hollywood during that time period, the group capitalized on their Scottish heritage and wore Nova Scotian tartan kilts onstage, causing quite a stir everywhere they played. Hooking up with producer (and Challengers drummer) Richard Delvey, the Scots hit the charts with "Run For Your Life," "The Light Hurts My Eyes" and "Miracle Worker," also issuing sides under the name Free For All. No teenage primitive fuzz box and Farfisa organ garage band, the Scots sported solid harmonies and a wide musical palette that embraced everything from blues to rock & roll to a smattering of jazz.
Their fame in California grew by leaps and bounds, doing guest shots on both American Bandstand and Shindig!, being featured in various teen magazines, working big package shows and receiving the key to the city from the mayor of Santa Barbara, California. But the good times came to a quick end by 1967 because of the Vietnam War. The members had permanent visas, meaning they were all eligible for the draft. When Dave Isnor was plucked from the group and spent two years in the American Armed Forces, the others members called it a day and moved back to Canada. With all the members still living close to each other, the band still reunites every Labor Day to play and reminisce about their short-lived heyday. The Great Scots' ride on the show business rocket may have been a short one, but for a self described "bunch of virgin kids from Halifax," it was the ride of a lifetime.
by Cub Koda AMG
Download It Here :
01 - 1-2-5
02 - Shake
03 - Horror Show
04 - Untie Me
05 - I Can Only Give You Everything
06 - Eight O'clock This Morning
07 - 1-2-5 (Original Version)
08 - Out Of Time
09 - Searching For My Baby
10 - A Message To Pretty
11 - Twist
12 - Montreal Blues
13 - Porquoi (Talk Talk)
14 - Vapeur Mauve (Purple Haze)
15 - Come On Home
16 - I'm A Man
17 - Run Down Every Street
18 - Land Of Make Believe
19 - An Act Of Lovin'
20 - No More Lovin'
21 - Mona
22 - I'm Just Gonna Blow My Little Mind To Bits
"Classic, scratchy, itchy garage rock from Montreal circa 1966. That was the year The Haunted's first single, "1-2-5" was released, making it to the Canadian charts and raising some eyebrows in the US and Europe. But subsequent years saw their label's lack of support push the band to obscurity (an old story).
Finding obvious inspiration in the Stones, Them, and the Kinks, the Haunted added their own stamp to the hot sound of that time and were unafraid to tackle classic-bound material ("Out of Time" by the Stones, "Purple Haze" by Hendrix (um, in French), Sam Cooke's "Shake"), unafraid to add a soulful edge to their garagey sound, and most refreshingly, knew exactly where to use those tambourines and harmonicas to near-excess ("1-2-5", "Eight O'Clock This Morning").
There are blatant rips of classic melodies that are so obvious one would think the band was working some kind of in-joke at the time: Donovan's "Season of the Witch" becomes "Run Down Every Street". At any rate, this stuff makes one long for a time when soul/punk/garage/pop, all rolled together into one glorious whole, ruled rock 'n' roll airwaves, and you could hear The Haunted right next to Otis Redding on your radio. Boy, I bet those were the days." - Lorry Fleming
Jurgen Peter:- "In Canada, in the early '60s, there was no such thing as a commercial music industry. The DJ's played only American records and it was common knowledge that they lived off "payola" from the record companies. When we, The Haunted, started to play as a band in the Montreal area, there was no way to get a recording contract, no one to play your records, no booking agency to book us, no large shows and paying gigs to play at, no music magazine or anything like it to promote a local band."
"I had to scout out large halls and skating arenas and rent them from the local communities for a Friday night show/dance. Then I went to the local school commission and rented six or seven school busses for that night in order to 'import' our home based Fan Club. I soon found out that if you hired the local DJ to be the master of ceremonies at your show, and gave him a percentage of the gate, he would plug that show all week long without having to buy airtime at a ridiculous price, and if you did have a record, he would actually play it on the air. With the explosion and dominance of the British bands Canada wanted to follow suit and soon the local record companies and radio stations smelled money and latched on to the bands that had the most following."
"I also realized that I needed a 'vehicle' that would promote The Haunted so I got together with one of our Montreal DJ Dave Boxer from CFCF. (He later brought The Beatles into Canada) and formed and incorporated both a bi-weekly music paper ('Music Trend') and a booking agency (Groups And Sound Service aka GASS.) After a successful show, the public wanted to come back the following week and it gave me an opportunity to book some of the other local bands."
In 1965, David Wynne joined from The Rabble, swapping places with Brian Robillard. David:- "I played with The Haunted at the Montreal Forum when we won a Battle of the Bands competition. The prize was a recording session where we cut 1-2-5. Afterwards, Mason left and Michel St German of Les Sinners was hired temporarily to fill-in. Other bands in the competition included David Clayton-Thomas, The Shays and Les Classels etc."
Their first 45, the garage classic 1-2-5 was a hit in Canada in April 1966 and was subsequently released in the U.S.A., Australia and some European countries. On early pressings the group's name was erroneously spelt as The Hunted. Co-written by Burgess and Peter, the 'A' side was a garage punk effort noticeable for its harmonica. The flip was another relatively catchy punk rocker.
Shortly after recording the second 45, David Wynne, left the band. (Though soon afterwards he joined Influence.) A new Haunted line-up (E) came into place, but after the release of, I Can Only Give You Everything which was in a similar style to 1-2-5 and also a minor hit, they left Quality Records for Trans-World. Burgess left too after a row with Peter." - Haunted website
3. African Thing
4. Room WIth A View
5. Flying Anchors
6. Supernatural Fairy Tale
7. Love Is Real
8. Come On Up
9. Brothers, Dads, And Mothers
10. Talkin' To Myself
11. Alive Not Dead
12. Rome Take Away Three
Pre-SPOOKY TOOTH. The finest hard psychedelic band from the UK 1967 with several hits here like "What's that sound", "I think I'm going weird" and the excellent "Room with a view". Featuring Mike Harrison/Ridley/Kellie/Grosvenor.
Patchy but occasionally worthwhile British psychedelia, particularly when it's on the brooding side of that sub-genre. The heavy guitars and organ put this on the path to progressive rock, but the songs are rather more on the straightforward and popish side than those that Spooky Tooth would play when Art evolved into that group. "I Think I'm Going Weird" points to the morbid streak that would become sharper in Spooky Tooth; "African Thing," with its long African-styled drum solo, is the sort of strange, at least by the standards of 1967, item that groups would throw in to show they weren't limiting themselves to traditional rock forms anymore; "Come On Up" is almost a soul-rocker throwback to the V.I.P.s days; and the title track, with its mellotrons, is as close as Art got to the trippy baroque/whimsical mood that blew through so much British psychedelia in 1967 and 1968.
~ Richie Unterberger, All Music Guide
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