"Bill Fay" (UK SSW 1970)

Songwriter Bill Fay's self-titled debut album was issued on Decca in the aftermath of his "Some Good Advice"/ "Screams in the Ears" single in 1970. It is a startling but uneven collection of unusual folk-pop songs that stand the test of time for their idiosyncratic vision and unique, if at times overblown, nearly Baroque arrangements by Mike Gibbs. The album sold poorly, but well enough for the label to invest in a further offering, the stripped-down Time of the Last Persecution issued in 1971, before releasing him from his contract. Bill Fay is very much a product of its time; more lushly orchestrated than Nick Drake's Bryter Layter, it was recorded in one day. Gibbs had taken a cassette of Fay's demos of the songs and worked on them for a few weeks beforehand, showing up to meet the songwriter in the studio on the day of recording with a 27-piece orchestra. The small band that backed Fay included guitarist Ray Russell and drummer John Marshall. This was Gibbs' first set of arrangements for a full album, and it shows. Fay's songs are delicate, spiritually dense, and searching -- particularly the searing "Garden Song" and the sprawling "The Room." Gibbs' use of brass and strings can sometimes overshadow the stark, personal intimacy of these songs, with their arcane lyrics and elementary melodies. But it's a small complaint because of the striking originality of Fay's vision. "Good Night Stan," with its jazzed-up horn charts, stands in marked contrast to Fay's minor-key minimalist melody, and the juxtaposition is a poignant one. "Cannons Plain" is a poetic exhortation to an unnamed other. The phrasing melds folk and Anglicized country as Gibbs winds up the horns in the center of the song, turning it into an arrangement that would be fitting on Richard Harris' A Tramp Shining had Townes Van Zandt been British; another case in point is "Be Not So Fearful." Fay's unusual lyric schemes and canny spiritual insights have been chided in the past for their pretension, but 35 years later they sound fresh, innocent, mysterious, and compelling. The Eclectic Discs reissue is fully remastered from the original tapes and includes the aforementioned first single as a bonus. The package contains complete notes written by Fay as well as photos and lyrics. While Time of the Last Persecution is Fay's mythic "classic" album, this outing is essential for anyone interested in the British folk-pop songwriting scene of the time. ~ Thom Jurek, All Music Guide

Sample pic: Click

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"The Fallen Angels" (US Psych 1968)

The first album (entitled simply "The Fallen Angels") received a very favorable response but had no top ten hits due in large part to a sub-par production effort by the recording studio and an ill-conceived promotional strategy aimed at the conventional tastes of AM listeners.

Needless to say, their music was too "far out" for the "straight" audience and received very limited exposure to the burgeoning "underground" music scene associated with west coast bands such as the Doors, Jefferson Airplane and Grateful Dead. Despite playing to wildly enthusiastic crowds at venues all along the east coast, The Fallen Angels had not been able to establish their identity nationwide

Even with all the problems concurrent with it's release, the first album contains some real gems that reflect the attitudes of both hope and cynicism which prevailed during the psychedelic era. Listen carefully to songs like "Introspective Looking Glass", "Your Mother's Homesick, Too" and the album's tour de force, "No Way Out".
More about The Fallen Angels here: Click

HONEYBEAN

honeybean did the great works again. Especially, The Watersons' legendary film "Travelling For A Living" (1965 BBC) is really amazing!

honeybean:
You can look for Anne Briggs in this document!! Please enjoy!! HONEYBEAN

"Appaloosa" (US Folk-Rock 1969)

By Richie Unterberger:
Although the term somehow didn't stick as part of standard rock criticism vocabulary, for a while in the late 1960s, there was a vogue of sorts for music that was described in the press as "folk-baroque." Artists such as Judy Collins, Donovan, Tim Hardin, and Tom Rush were all arranging folk-oriented material with classical-influenced orchestration. While there weren't many others who dipped as heavily into the folk-baroque bag, the mating of rock with classical could be heard at times in the work of many significant groups and singer-songwriters, including Tim Buckley, Phil Ochs, the Bee Gees, the Beatles, and even the Rolling Stones. Others unveiled a knack for a style without, unfortunately, reaching nearly as wide an audience.

One of the most talented such acts was Appaloosa, whose self-titled 1969 LP matched singer/acoustic guitarist John Parker Compton's thoughtful, melodic compositions to sympathetic arrangements featuring fellow band members Robin Batteau on violin, Eugene Rosov on cello, and David Reiser on electric bass. In both its combination of instruments and the absence of a drummer, it was a most unusual instrumental lineup for a rock band, even at a time when boundaries and restrictions were routinely bent. The core quartet were bolstered by top session players (including members of Blood, Sweat & Tears) and, above all, producer Al Kooper, who also added a lot of his own keyboards and guitar to the album.
Review continues here: Click

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John Compton "To Luna" (US SSW 1972)

Singer, songwriter, and guitarist John Parker Compton co-founded the acoustic band Appaloosa with violinist Robin Batteau in the late '60s. Both musicians had been heavily influenced by the folk scene in their hometown, Cambridge, MA. Compton got his start singing in a Cambridge church choir before he and Batteau began playing the coffeehouse circuit together.

As the 1972 press release for Compton's solo album, To Luna, tells it, John Compton showed up at producer Al Kooper's Columbia Records office in late 1968, hoping to show Kooper his songs. Uninterested, Kooper told the kid (Compton was 18) to come back some other time. But a little while later, Kooper came in on Compton and Batteau performing for the office secretaries. Won over, Kooper recorded their demo, and within a year the newly signed musicians had an album out, the self-titled debut from their group Appaloosa. Also including bassist David Reiser and cellist Eugene Rosov, Appaloosa was joined in the studios by members of Blood, Sweat & Tears, and by Kooper himself.

A year after Appaloosa's 1969 release (which was produced by Al Kooper) on Columbia Records, a 19-year-old John Compton got to take the stage at Fillmore East the last weekend of December, along with the Allman Brothers, and Blood, Sweat, and Tears. Appaloosa soon gave way to a duo project of Compton & Batteau, and the two musicians recorded Compton & Batteau in California for Columbia. By 1971, Compton was on his own with a new LP, To Luna, but after this, it would be over 20 years before he returned to the studios. His return was marked by 1995's Mother of Mercy, which was followed by a six-song self-released recording of Compton on a Vermont radio station. ~ Joslyn Layne, All Music Guide

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Jan Duindam "Thoughts" (Dutch Folk 1978)

Dutch private pressing on the tiny Munich label from 1978 of this highly recommended dreamy Psychedelic Folk LP. Beautiful, atmospheric songs with english, very soft, but a delicate male vocals. Experimental finger picking guitar style. Different grouping of instruments. Fantastic album for each acid folk collection.

Jan Duindam (Vocals, Guitars Cister, Banjo, Portative); Guus Willemse (Bass, Drums, Synthesizer, Backing Vocals); Jose Janmaat (Backing Vocals on "Words"); Jan Kranendonk (Engineer); Ron Van De Marle (Pen-Drawings); Huib Trautwein (, Jeroen Wuindam, Job Zomer (Photogrphy); Betsy Maas (Letters); Job Zomer (Production)

01. Happines And Tears 02. A Dream 03. Jonas Duyadams Favourite 04. Birds 05. A Nightmare 06. The Loner

07. The Point Of Life 08. The Flowers Of Alienation 09. Words (Aka Like Leaves) 10. Comp 11. What Did You Feel 12. Litany

Listen first track "Happines And Tears" here: Click

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Marie Celeste "And Then Perhaps" (UK Folk 1971)

Ultra rare album by legendary psych/folk band. Mystic dark and beautiful. Like most musically strong private pressings, this is ultra-rare and changes hands for vast sums of money. 200 copies were pressed originally and the album blends cover versions (Gershwin's Summertime, Paul Simon's I Am A Rock and Joni Mitchell and Tom Paxton compositions), traditional material and some originals with Prisoner the best of the small crop. Most tracks have an acoustic backing with twin female vocals. The band were from the Midlands.
A must for lovers of esoteric underground UK folk in a similar vein to the style and mood of Oberon, Tickawinda etc..."

01. Prisoner 02. When Morning Breakes 03. Sally Free And Easy 04. And Then Perhaps 05. Theme Based On Greensleeves 06. On The Other Side Of The Hill

07. Night In The City 08. I Am A Rock 09. Summertime 10. The Swallow Song 11. Ruby Tuesday 12. A Slice Of Peace

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Alun Davies "Daydo" (UK Folk-Rock 1972)

Alun Davies is one of the most highly respected session guitarists in the United Kingdom. A founding member, along with childhood friend Jon Marks and Nicky Hopkins, of pop-jazz group, Sweet Tuesday, in the late-1960s, Davies made his greatest mark as accompanist for British singer-songwriter Cat Stevens from 1970 until Stevens's conversion to Islam and retirement from music in 1977. Davies subsequently collaborated with ex-Small Faces vocalist, Ronnie Lane, co-writing the opening track, "One Step", and a second tune, "She's Leaving", on Lane's 1979 album, See Me.

Davies launched his musical career with a duo that he shared with Marks (then known as: Michael Burchell) in 1963. The duo's sole album, Relax Your Mind, was produced by American producer Shel Talmy, best known for his work with the Who, the Kinks, Manfred Mann, Chad and Jeremy and Ralph McTell. After busking in Paris and the south of France, in 1964, the two musicians returned to England and signed with an agent, who secured them a gig on a Cunard Line ship.

After sixteen voyages across the Atlantic Ocean, Davies and Mark went their separate ways. Davies, who had gone on to work as a session musician for Fontana Records and tour with Marianne Faithful, Spencer Davis and Jeremy Taylor, reunited with Mark to form Sweet Tuesday in 1968. Although they recorded one memorable album, the group disbanded after Fontana declared bankruptcy and went out of business.

Returning to session work, Davies was recruited to perform on Cat Stevens's album, Mona Bone Jakon, in 1970. The session proved so successful that Stevens invited Davies to join him on tour following the recording of his groundbreaking album, Tea For The Tillerman.

Davies's involvement with Stevens was reciprocated when he recorded his debut solo album, Waste Of Time in 1972. The album, which showcased seven tunes written or co-written by Davies, featured Stevens on piano and was co-produced by Stevens and Paul Samwell Smith. Davies's second solo effort, Daydo followed two years later. ~ Craig Harris, All Music Guide

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"Poet and The One Man Band" (UK Folk-Rock 1969)

A couple of years ago, See for Miles records has issued a CD By Head, Hands & Feet, called 'Home from Home- The Missing album'. The Compiler claims it is a long-shelved, never-issued album of 1968 by Head, Hands & Feet, but if you pay attention to the Line Up: Tony Colton, Albert Lee, Pat Donaldson, Ray Smith, Pete Gavin, Mike O'Neill and Jerry Donahue, you realise it is not an early Head Hands & Feet, but actually a Poet & the One man Band album.

Poet and the One Man Band was Donaldson & Donahue's (& Albert Lee) Pre-Fotheringay Band. They made an album on the Paramount Label in the sixties, which has its good moments. Pete Frame writes that the label folded right after that. This might be the reason why these recordings were not released before 95. Poet & the O.M.B. became Head, H & F when Donaldson & initially Albert Lee, then Donahue left to start Fotheringay with Sandy, Trevor & Gerry Conway.

Tony Colton (vocals)
Ray Smith (guitar)
Jerry Donahue (guitar)
Pat Donaldson (bass)
Mike O'Neill (keyboards)
Pete Gavin (drums)
Albert Lee (guitar)
Nicky Hopkins (piano)

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Jimmy Campbell "Son of Anastasia" (UK Folk 1969)

Jimmy is one of the great, undiscovered talents of the Mersey scene. A singer songwriter Merseyside can be proud of and an artist to compare with singer songwriters such as James Taylor.

Jimmy joined a group called the Tuxedos in the late 1950s and in 1961 they changed their name to the Panthers. During 1963 they were appearing regularly at the Cavern and compere Bob Wooler suggested they change their name to the Kirbys, which was the area of Liverpool they came from. The group decided to turn professional in 1964 and at one time were managed by Brian Epstein's former secretary, Beryl Adams. The group had their first single, 'It's A Crime' c/w 'I've Never Been So Much In Love' (RCA (E) 11 66), penned by Jimmy, issued in Finland in 1966, a country in which they had a large following. During the same year they provided backing for the Merseys (the duo of Tony Crane and Billy Kinsley, former members of the Merseybeats). During 1968 they changed their name to the 23rd Turn Off.

Jimmy penned 'Michelangelo c/w 'Leave Me Here I Want To Stay Forever' as the group's single, which was issued on Deram. Following its lack of success Jimmy left the music business for six months, then returned to record an album for Fontana, 'Son Of Anastasia' (Fontana STL 5508), which was issued in 1969. The tracks were: 'When I Sit Down To Reason'/ 'Mother's Boy'/ 'Another Vincent Van Gogh'/ 'Penny In My Pocket'/ 'Bright Side Of The Hill'/ 'Dear Marge'/Lyanna'/ 'They All Came Marching Home'/ 'On A Monday'/ 'Lovely Elisa Cope Is Dead'/ 'You'll Break My Heart In Two'/ 'Tremendous Commercial Potential'/ 'Adrian Henri's Party Night'/ 'Another Springtime's Passed Me By'/ 'Michelangelo'/ 'Painting A Song'. A single 'On A Monday' c/w 'Dear Marge' (Fontana TF 1009) was also released that year. Two further singles, 'Lyanna' c/w 'Frankie Joe' (Fontana TF 1076) and 'Don't Leave Me Now' c/w 'So Lonely Without You' (Fontana 6007 025) were issued the following year. ~Mersey Beat

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Assagai "Zimbabwe" (Afro Rock 1971/72)

The second Assagai album has an interesting and somewhat schizophrenic history. It was initially released in late 1971 under the name Zimbabwe - a test pressing was made on the Vertigo "swirl" label (#6360 058) but the actual release of the album took place on the Philips label. The album's cover and sleeve were designed and draw by noted album-artist Roger Dean. All musicians are credited on the back cover; Jade Warrior members Tony Duhig, Jon Field, and Glyn Havard are credited for both performance and song-writing.

Jade Warrior had some interesting interactions with fellow Vertigo band Assagai during this time. Assagai was anchored by respected African musicians Louis Moholo, Mongezi Feza, and Dudu Pukwana, and was signed by Vertigo in the label's attempt to capitalize on the popularity of Afro-rock bands such as Osibisa.
Assagai released two albums; the first (self-titled) contained their cover version of Jade Warrior's "Telephone Girl", and a song "Irin Ajolawa" co-written by Tony Duhig. The second album (released originally as "Zimbabwe", and re-issued by a different label under the name "AfroRock") contains covers of Jade Warrior's "Barazinbar" (from "Released") and "Sanga" (from "Eclipse"), and a song "Kinzambi" written by Tony Duhig.

Duhig, Field, and Havard are credited with performances on the second Assagai album. They recorded one session together with several of the members of Assagai, under the band name of "Simba". Two songs from this session were released on a 45 single, and later issued on a multi-band collection LP entitled "Afro Rock Festival". The songs: "Movin' On" and "Louie Louie"!

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"Justine" (UK Psychedelic Folk-Rock 1970)

by Mark Coyle:
Justine were a band of five vocalists and two guitarists augmented in recording by orchestra and further musicians. They sit between the psychedelic folk-rock sound of LA (Mamas & Papas, Loving Spoonful, Byrds), UK (S F Sorrow or Piper At The Gates of Dawn) and progressive rock. The five vocalists weave in harmony providing a rich sound and it is this that binds the album. The songs are soft early folk rock like Donovan's 'Gift From A Garden To A Flower' with psychedelic electric guitar and effects. The first track 'Flying' lives up to it's title with flute fluttering, swooning strings and tight harmonies. The songs mix the innocent, quirky and strange to heady effect. The songs are fairly unique in folk as they mix in horns which expands the mix giving a warmth that folk sometimes finds hard to achieve. In the last track they create a classic that lives up literally to it's title of 'Amazing Journey'. It starts with folk guitar, introduces fuzz guitar then wah wah builds to a crescendo and drops back to a delicate folk ballad within the first minute. It builds up introducing 'A Day In The Life' style strings and massed vocals. Towards the end it explodes with a staggeirng number of layers that Roy Wood in The Move was expert at. Strange effects come in, wild guitars solo, flutes, horn and strings abound and a propulsive rhythm section drives the whole thing explosively as the singer moves from folk whispers into Robert Plant style wails. An excellent track on a most enjoyable album which shows the link between the earlier psychedelic sound and the later musical indulgence of progressive rock.

Original - UNI UNLS 111 (UK 1970)
Reissue - Elegy E6401 (UK 2004)

Keith Trowsdale: vo, g
John McBurnie: vo, g
Valerie Cope: vo
Bethlyn Bates: vo
Laurette Stivers: vo
Dougie Wright: ds

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Wizz Jones "Magical Flight" 1977

In folk collectors circles, the original LP of this album fetches a three-figure price tag. Reissued on CD it is, thankfully, more financially possible to hear the magnificent work of this English singer/songwriter. The obscure British folk revival artist's friends and fans may include Ralph McTell and the Incredible String Band, the most prominent buddy being one Burt Jansch, and the pair have often tipped hats to each other throughout their long careers. On this '70s LP, Jones followed a similar direction to Jansch by including small band backing, when he was previously a dogmatic voice/guitar performer. This adds a little lushness to his sound, and a gentle rhythmic propulsion that brings to mind the Pentangle. Like Jansch and John Renbourn, he maintains a cathartic edginess even in the most gentle songs — deceptively heavy listening. "See How the Time Is Flying" is absolutely Ralph McTell, but, incidentally, Wizz Jones was pioneering this folk revival sound as early as 1958, and on hearing his astonishing guitar technique and vocal delivery, his students certainly included Roy Harper and Ralph McTell. Not until the late '90s would his stunning albums, the rocky Right Now and stripped-back solo acoustic collection Dazzling Stranger, appear in the U.S.A., thanks to Massachusetts independent Scenescoff. Magical Flight is an exquisite production from the '70s that may have slid under the carpet at the time, but it is no less than a vital chapter in the British folk scene. ~Skip Jansen, All Muaic Guide

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Martin Carthy with Dave Swarbrick "Byker Hill" 1967

Byker Hill was the first album on which Carthy and Swarbrick had more than two or three hours' studio time, and, as a result, which was actually rehearsed and programmed weeks in advance. The results are less spontaneous than their earlier work, but also show a level of professionalism that few folk albums of the era ever demonstrated. The differences lie in the careful nuances, and the sophistication of the paired voice and instruments, which are much more studied than anything previously heard. The music is glorious in its own unassuming way--Carthy's acapella performance on the haunting "Brigg Fair" (a Lincolnshire tune originally collected by Percy Grainger, and which was the basis for a classical piece by Frederick Delius), the interweaving of Carthy's voice and Swarbrick's violin on "The Bloody Gardener," the dazzling title track, and maybe the best version of "John Barleycorn" ever recorded, are among 14 of the most prized songs in their careers. ~ Bruce Eder, All Music Guide

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"Sounds of Salvation" (UK Christian Psych Folk 1974)

Freak Emporium:
Compilation of various Christian hyms, songs, prayers and meditations - all with some cool rock music backing. Whether you use this for devotional purposes or just to enjoy some good rock music in unusual settings you'll certainly enjoy this one.





Record seller 1:
Reissue of rare British religious psychedelic folk album from the 70's most sought after by folk-collectors. A fine mixture of Folk, rock and psychedelica.

Record seller 2:
A christian psych-folk masterpiece of the highest order, with gorgeous female/male vocals, weird & challenging arrangements and fantastic compositions throughout…
A true cult item in all respects and surely a must have for the psych-folk collector.

The Wooden O "A Handful Of Pleasant Delites" 1969

Recorded and released in 1969, A Handeful of Pleasant Delites (sic), on the Middle Earth label, is the only known album by England's Wooden O. While critics at the time reviewed it as a kind of progressive folk music, the tunes here were more deeply influenced by progressive jazz and Baroque music than anything else. Led by recorder player James Harpham, the rest of the ensemble played mandolin (Hugo Dalton), double bass (Arthur Watts), harp (David Snell), and second recorder (Christopher Taylor). Italy's fine Akarma label has reissued this lost bit of '60s lore in an LP-like package with a gatefold sleeve. Remastered sound and the sheer unusual sound of this ensemble make the album a perfect post-psychedelic head-scratcher in the 21st century. There are 14 cuts here, all of them gorgeously played and arranged -- most notable is the opener, "Toye Tune," in which the recorder melodies play a sort of head and then go forth to melodically improvise like crazy. "Dance Tune" is a lush combination of Italian Renaissance melody and jazz improvisation. Watts' double bass is the perfect ground for this music because he swings no matter what he plays. There is also a Bach concerto here, entitled simply "Concerto," arranged by the band to weave British theater music, salon music, and jazz into the heart of pre-classical music. The second side is just as astonishing as the first, beginning with Watts' driven double bass on "Maypole." The two recorders play in harmonic counterpoint and offer a sense of true flight before the improvisation begins in a call-and-response way between the bass and the recorders. The jazzy backwoods stroll of "Sweet-Bedded" is a deeply reflective and moving piece as Snell's harp creates a countermelody that bridges the recorders. The bottom line on A Handeful of Pleasant Delites is that freak folk fans may be interested in this because of the craft and gentleness of the tunes, but those interested in chamber jazz will find this both eye-opening and utterly enjoyable. ~ Thom Jurek, All Music Guide

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"Storyteller" (UK Folk-Rock 1970)

Reviewer: A music fan
The melodies in this album seemed, at the time of its original issue, to be at the cutting edge of the peaceful folksy pop idiom which it so well represented, and thirty years later this genre is still clearly defined by Storyteller.The moods and sympathies which are portrayed and the stories which are concisely and captivatingly related are timeless. The tunes themselves seemed then to have an easy familiarity which ensured an entertaining first hearing; and now, for me at least, summon up everything that was cool in this evocative vein - the voices are downhome and unaffected, the harmonisation is empathetic, and the items are individually gems of their era. Whilst the whole album is an irresistible mingle of fact and fancy. The addition of half-a-dozen bonus tracks to the original album will give a pleasant jolt to hard-core Storyteller fans who've got it down, and can now just groove a little further.

Caroline Attard: vocals
Terry Durham: vocals
Mike Rogers: vocals, guitar
Roger Moon: vocals, guitar
Rod Clark: bass

Produced by Peter Frampton & Andy Bown

Sample pic: 1, 2

Marc Ellington "Rains/Reins Of Change" 1971















By Ralph M. Chapman "dwwashburn" (toronto, ontario Canada):
A must own for Richard Thompson/Sandy Denny/Iain Matthews completists recorded in '71. RT's lead guitar dominates the record while Sandy and Iain do some wonderful harmony work. Dave Mattacks is also there as well, so this is fascinating for Fairport fans (it was for me anyway!). All the songs are excellent, with a southern California country rock feel (no doubt due to the presence also of Chris Hillman, Sneaky Pete, and Rick Roberts) that seeps in. Forgetting the star studded back up, Ellington's sweet voice, great songs, and uncluttered, sympathetic arrangements and production make this a very nice addition.
Nicely put together package with lyrics, full credits and great remastered sound . The disc is on a fairly obscure label (talking elephant), so I HIGHLY suggest you get it while you can.

Marc Ellington, voices, accoustic guitar, Highland bagpipes;
Richard Thompson, electric guitar;
Gordon Huntley, steel guitar;
Sneaky Pete, steel guitar;
Mike Deghan, acoustic guitar;
Karen Ellington, banjo;
Chris Hillman, mandolin, backing vocals;
Tony Cox, piano;
Steve Rye, harmonica;
Gerry Field, fiddle;
Mick French, fiddle;
Pat Donaldson, bass guitar;
Mark Griffiths, bass guitar;
Dave Pegg, bass guitar;
Gerry Conway, drums;
Roy Duffy, drums;
Dave Mattacks, drums;
Sandy Denny, backing vocals on I'm Leaving (America) and Alligator Man;
Fritz Fryer, backing vocals;
Trevor Lucas, backing vocals on Alligator Man;
Ian Mattews, backing vocals;
Rick Roberts, backing vocals;
U.S. Marine Corp. & Young Friends, backing vocals

Sample pic: Click

Keith Christmas "Stimulus" 1969

Originally released in 1969 this is a lost treasure on which Keith was backed by members of Mighty Baby who together created a late 60's "laid back Dylan, John St. Field/early John Martyn/Mick Softley/Roy Harper" styled album.
The emphasis is on long tracks "Trial & Judgement" & "I know You Can't Loose" showing great songwriting and impressive overlapping guitar parts.
Keith Christmas also appeared at the first Glastonbury Festival. ~Freak Emporium

Keith's first album was reissued on CD in a limited amount on a small English label. First two tracks still are somewhat times-typical lightweight pop. The guitar instrumental "Roundabout" shows that Keith masters a certain guitar creativity. A song like "Ice Man" shows that he has even more in his pocket. It has a great performance and a convincing guitar and arrangements.
At those days Keith was one of the persons to stimulate the beautiful voice and s/sw-folksinger Shelagh McDonald (with "Stargazer" from 1971 as her future highlight). She even sketched a portrait of Keith which appeared on the LP. Both artists appeared along with Synasthesia (another great acid folkrock band which album luckily also found reissues), on a compilation called "49 Greek Street".
The following track, "I know you can't loose" has in fact a nicer version by Shelagh McDonald on her debut album. Last tracks "Metropolis" and "Trial and Judgement" might still be influenced by American folk and songwriters. The album shows potentional, but does not show his best side yet.

Kazuki Tomokawa

Inu (Dog): Akita Concert Live 1979

01. Circus
02. Jakumetsu (Nirvana)
03. Shinizokonai no Uta
(Song for the man who escaped death)
04. Dojyokko Funakko*
05. Kondo no Niku wa Tegowai
(The next meat is tough)
06. Aiueo** Kyouka***
07. Kojo (On the lake)
08. Dagazuku****
09. Ikiterutte Ittemiro (Say, I'm living)
10. Akarui Yoru (Bright night)
11. Boya (Little boy)

*Dojyokko Funakko (Dojyo & Funa): Japanese freshwater fish
**Aiueo: Roman alphabet equivalents using for Japanese Hiragana and Katakana
***Kyoka: Humorous Tanka
****Dagazugu: no meaning, same as "Na Na Na" "Da Da Da"


Muzan no Bi (Beauty without Mercy) 1986

01. Kare ga Ita "Souda! Tako Hachiro ga Ita"
(He was there. "Yes!, Tako Hachiro* was there.")
02. Umi Mitai na Sora da (The sky looks like the sea)
03. Muzan no Bi (Beauty without Mercy)
04. Ido no Naka de Kamisama ga Naite Ita (God was crying in the Ido**)
05. Dododon
06. Waltz
07. Sora (Sky)
08. Eien -Fukushima Yasuki-shi ni Sasagu-
(Forever -Dedicate to Yasuki Fukushima***-)
09. Hitotsu no Marchen (One Marchen)
10. Hanabi (Fireworks)
11. Boya (Little boy)

*Tako Hachiro=Seisaku Saito (1940-1985): Japanese pro-boxer, comedian, actor
**Ido: Click
***Yasuki Fukushima: Jyushoku (Master of Japanese temple), poet


Pistol: Shibuya Apia Live 2003 (Video)

Sins We Can't Absolve:
Here's the complete show of Tomokawa at Shibuya Apia, in 2003. This is a DVD-Rip of Pistol, the DVD he released in 2004. These files were uploaded by ark80, my YouTube friend. The three videos he uploaded last time were from this show.

01 Pistol
02 Circus
03 Kuwana no Eki (Station of Kuwana)
04 Ayakashi no Tsuki (Strange Moon)
05 Erise no Me (The Eyes of Elise)
06 Niatta Seishun (Suitable Youth)
07 Wake no Wakaran Kimochi (Strange Feeling)
08 *Medaka Zanmai (Complete Absorption in *Medaka)
09 Konoyo o Odore (To Dance This World)
10 Jean Gene ni Kike (Ask for Jean Gene)
11 **Shishamo
12 Satoru
13 Natsu no Hi no Uta (Summer Day Song)
14 Shinizokonai no Uta (Song For The Man Who Has Escaped Death)
15 Waltz
16 Mata kon Haru (Spring Has Come Again)
17 Deracine
18 Ikite Shinu to iu (Living Die)

* Medaka: Japanese freshwater fish
** Shishamo: Japanese sea fish

Stone Angel

"The Holy Rood of Bromholm" 1975
"East of the Sun" 2001

After the demise of their folk group Midwinter, Corrick, Burroughes and Saul formed Stone Angel and gave their first public performance on December 20, 1974 at the Great Yarmouth Folk Club, bringing in Joan Bartle on vocals and Dave Lambert on fiddle. Because many fans already knew them in their prior incarnation, Stone Angel quickly developed a following and gave numerous concerts throughout the U.K. In February 1975 the band decided to record a demo, which was privately released under the title Stone Angel. The band continued touring, until Corrick and Burroughes left for university in the fall of 1975. The group, now a trio, began to play more traditional and acoustic material, due to the departure of Corrick on electric guitar. Their 1976 concert in a Filby church was recorded, but not released until 1994. Around 1977, Dave Lambert left to work with various other groups before ending up in Australia working with The Legends, while Bartle and Saul married and settled down in Filby.

Now down to just two members, Stone Angel took a long hiatus, though Bartle and Saul remained involved in various projects involving early and antique music. Finally, around 1985, a new lineup was assembled, and the band began touring again, at first under the name The Village Band, then Arkenstone (reflecting the prevalence of Tolkienesque elements in their compositions), but soon reverting to Stone Angel for the sake of convenience and reputation. After various delays and work in theatre groups, the group was surprised when, after an article in the magazine Record Collector, they were approached in 1993 by indie label Kissing Spell to release their only recordings: the original Stone Angel LP and the live recording The Holy Rood of Bromholm, as well as the earlier Midwinter album The Waters of Sweet Sorrow.

With public interest and renewed critical attention (inexplicably, much of it in Japan and Korea), the band recorded their first new material in 2000, releasing East of the Sun with a slightly modified lineup. A new vocalist and drummer, Jane Denny, joined them in 2002 for the release of Lonely Waters.

More informations here: Psychedelic Folk

honeybean

Finaly, honeybean opend own blog site "HONEYBEAN"!
His/Her current post is:

Meic Stevens - Ghost Town (1968- 1969)

Welcome!!

Bob Pegg

Bob Pegg "Ancient Maps" is updated.
Now you can download whole album.
Click

And also, following titles are re-posted.
Ian Matthews "Valley Hi": Click
Ian Matthews "Some Days You Eat the Bear...": Click
Honeybus "She Flies Like A Bird": Click

by honeybean...
Hamish Imlach "The Definitive Transatlantic Collection" 1966-72

This collection culls the best of the best from the seven albums the Scottish satirist and folksinger made for the influential folk revival label Transatlantic between 1966-1972. His trademark tune, "Beer Is Best," "Anthony Riley," and "37 Bus Medley" display his best upbeat scatological humor which won him hundreds of hysterical, giggling fans during the '60s. "McPherson's Farewell," "Calton Weaver," and "Foggy Dew" display some of the most heart-wrenching and desolate folk tunes he ever recorded, and "If It Wasn't for the Unions" is a self-explanatory political rave which equally popularized the singer in his homeland. For fans of Irish folk this collection is worth the price of admission for its versions of "Kilbogie" and "Johnny O'Breadislee" alone. ~ Skip Jansen, All Music Guide

Music Saves Lives

Let's welcome Vlasdance and his blog "Music Saves Lives"
His current post is...

Dave Van Ronk "Ragtime Jug Stompers" 1964

Thanks for the info, Joe.

The Boys of the Lough

"III: Recorded Live" (aka. "Live at Passim")
Recorded at the Passim Club, Cambridge, Massachusetts, USA on 17-19th, November 1974

The Boys of the Lough influenced countless other traditional Irish groups in the early '70s, and the reissue of their classic live album (recorded in 1974 at the legendary Passim club in Harvard Square) is cause for rejoicing. At that time, the quartet consisted of mandolinist Dave Richardson, flutist Cathal McDonnell, the legendary fiddler Aly Bain and Robin Morton on bodhran and concertina. Apart from the raw-edged but sprightly jigs and reels that one would expect, the set also includes a couple of hilarious songs and an interesting number called "The Hound and the Hare," a tone poem complete with baying dogs and the rabbit's screaming death. One wonders whether there might not have been some outtakes available to lengthen the CD program (this is a 20-year-old recording, after all, being reissued at full price), but it's still a wise investment. Highly recommended. ~ Rick Anderson, All Music Guide

Robin Williamson

Hymns & Haws (1963-64)
with Owen Hand & Cive Palmer





















This is bootleg copy.
I have no informations about this recordings. Please let me know if you have any info.

Palmer and Williamson first came together during the British folk revival of the early '60s. In 1963, several tracks from their performance at the Edinburgh Folk Festival were featured on a multi-artist compilation issued by Decca. ~part from All Music Guide

Tracks:
01. The Mole Catcher (Robin & Owen)
02. The Holy Ground (Robin & Owen)
03. The Boys Of Wexford (Robin & Owen)
04. East Colorado (Robin & Owen)
05. Johnny Cope (Robin & Clive)
06. Johnny Lad (Robin & Clive)
07. The Working Chap (Robin & Clive)
08. Do You Think I'm A Liar (Robin & Clive)
09. Jazz Bo's Holiday (Robin & Clive)

DL


Wolfgang:
The last track is from the '63 folk festival and was on a compilation Lp. Tracks 1-4 are from the St Andrews Folk Club Oct. 63, tracks 5-8 from the same club from Nov 64.

Thanks again, Wolfgang!!

Recommended by honeybean...
Hamish Imlach "Live!" (Scottish Folk 1967)
Paisley Folk Song Club. February 24th, 1967

Hamish Imlach (1940-1996) was a folksinger from Glasgow, Scotland. Despite being little-known in the US and outside of the folk community, he influenced many other artists, including most notably John Martyn and Billy Connolly.
He had his biggest hit in the late 1960s with "Cod Liver Oil and the Orange Juice," a scurrilous and hilarious take on the American gospel standard "Virgin Mary Had a Little Baby" written by Ron Clark and Carl MacDougall. The song was banned by the BBC as it was assumed to be full of double meanings, but at one point became the most requested song on British Forces Radio.
He was described by Ewan McVicar, the scottish storyteller and singer, as "a raconteur who taught Billy Connolly, a singer who taught Christy Moore, a blues guitarist who taught John Martyn". ~Wikipedia

Hamish Imlach had a multi-layered performing career, as an anti-nuclear activist, comedian, folk-singer, and political satirist. A native of Scotland, he began his recording career in 1966 on Transatlantic Records' XTRA label and ultimately cut eight popular LPs for the company over the next seven years. He loved traditional folk songs, but was a performer of many parts, with a topical political bent to his work--relfected in his performances of Scottish and Irish political songs--but it was his comical songs about various bodily functions that found Imlach his widest audience. Imlach's mixture of folk music and comedy, which made him resemble a kind of politicized, scatological Scottish version of Allan Sherman, had a profound influence on an entire generation of up-and-coming performers in England, and can be felt even in the work of Monty Python's Flying Circus. His 300 pound physique, and his enjoyment of smoking and drinking took a toll on his health, and during the last years of his life, Imlach's performing career was severely curtailed, although he did contribute vocals and arrangement expertise to Sinead O'Connor's 1990 album Lion In A Cage. In 1992, he wrote and published an autobiography, Cod Liver Oil And The Orange Juice - Reminiscences Of A Fat Folk Singer. The first part of the book title was also the name of one of his most popular songs, and other Imlach numbers that fans especially enjoyed were "Black Is The Color Of My True Love's Hair, "This Sporting Life," and "Sonny's Dream." ~ Bruce Eder, All Music Guide

More about Hamish Imlach here: TheBalladeers.com
Personally, I can feel similar atmosphere as Vin Garbutt's live album
"The Young Tin Whistle Pest".

Linda Hoyle "Pieces of Me" 1971

This rare 1971 album, features the amazing vocals of Linda Hoyle (of Affinity and Nucleus renown), often referred to as 'the British Grace Slick'. Includes a cover of Nina Simone's "Backlash Blues" and Laura Nyro's "Lonely Woman". The album's line-up includes guitarist Chris Spedding, drummer John Marshall and bassist Karl Jenkins. ~Freak Emporium

It probably isn't surprising to learn that Hoyle's solo debut, cut following the final dissolution of Affinity in 1971, does not deviate too far from that band's jazz-rock modus operandi. However, in seeking to trim the instrumental fat from Affinity's sometimes gruelling work-outs, and concentrate the attention on the songs (and lyrics) themselves, it rises far above its role model, to showcase Hoyle as a far more exciting figure than her footnotes in history would have you believe.

Reminiscent in places of the best of Julie Driscoll's late 1960s work - a role model that Hoyle was singularly well-placed to succeed - Pieces Of Me likewise borrows from several of Driscoll's own influences. The Nina Simone and Laura Nyro songbooks both contribute to the proceedings, with the latter's "Lonely Woman" standing among the best tracks on the entire album. But Hoyle's own work, largely written in tandem with keyboard player Karl Jenkins, is equally powerful, with the eerie "Hymn To Valerie Solanis" (titled for, but never mentioning the woman who shot Andy Warhol), and the regretful "Journey's End" ranking among the other highlights. The intriguing "Ballad Of Marty Mole", meanwhile, reads like a cross between Bob Dylan and Beatrix Potter, and could well give children nightmares for days. ~ Dave Thompson, All Music Guide

Gerry Goffin "It Ain't Exactly Entertainment" 1973

Seventeen songs on a double LP released in 1973 are not what fans of Gerry Goffin and Carole King's '60s pop would expect. Two recording studios in Muscle Shoals, AL, gave birth to this earthy and energetic statement. The comparison to Bob Dylan is inevitable, especially on "Reverend Bottom's Tojo Saloon," a five-minute-and-16-second party which sounds like Gerry is stuck inside of Mobile with the Memphis blues. But the tongue-in-cheek protest of "Cherokee Medicine" is much too quaint to be as boastful as Zimmerman, Al Lester's fiddle venturing off in its own direction as the song concludes. Longtime Carole King bassist Charles Larkey co-wrote the first tune, "Down on the Street," though he's not credited as a performer here. "Chicago (You)" has a funky barroom attitude with keyboard fills that supplement Goffin's lecture. "Chicago You" is a coded message that is hard to decipher, but fun just the same, making the title of this album rather misleading. It is very entertaining to hear the guy behind so many Top 40 hits laying back and jamming on tunes that are as short as the minute-and-21 second "Sail Away Ladies (P.D.)" to the 12-minute-31-second groove of "Set Job." There are revelations all over these four sides, a semi-gospel flavor on "Maryland Again" and Goffin sounding like a very drunk Ian Hunter in a setting that Ian has yet to visit. The musicianship sparkles with a carefree spirit -- it's not like any of these tunes are shooting for chart action. "The Last Cha Cha on Jackson Highway," co-written by Russ Titelman, Barry Goldberg, and Goffin, is like a great, lost Jimmy Buffet tune. "It's Not the Spotlight" is perhaps the most commercial and uplifting song on this collection, a beautiful chorus, the musicianship more serious and precise. Things fall apart in a good way with the George Harrison-sounding guitar bursts that evolve into "It's Alright to Be Alive." Just when you think it is going to become Beatlesque, it dissolves into a boogie-woogie celebration. "Sister Henry," the second of the two Titelman/Goldberg/Goffin compositions, is a Rolling Stones-gone-country-flavored chorus. Gerry replaces the Dylan sounds with the folksy, preachy "Honorable Peace," a protest song. "Rainy Day Flying" continues the sentiment -- Arlo Guthrie take note -- as the backing vocalists keep a Dixie/gospel melody in the rhythm. Goffin raps about shrapnel exploding, very Vietnam. There is a tremendous chorus mixed with witty vocals to enhance "Zebulon Pike," the story of an explorer who keeps ending up in the wrong place. May be a subliminal autobiographical song with first-rate production and a band that works hard. This music really is a treasure worth seeking out. ~ Joe Viglione, All Music Guide

Presented by honeybean...
Meic Stevens "September 1965: The Tony Pike Session"

'60's Welsh folk rock/singer songwriter legend Meic Stevens should be a national treasure and these long lost reel to reel tapes have been found by one of his old drinking partners, still containing that crystal clear melodic voice. This LP consists of eleven original, previously unheard songs like 'Winter of the Clan', 'Not For Me Mr MP' and 'It Ain't For Me To Ask The Reason Why'. This is a valuble addition to the Meic Stevens back catalogue. As with all Tenth Planet releases, this 200 gram vinyl pressing, which includes liner notes from Meic, is limited to 1000 numbered copies. ~Freak Emporium

The Incredible String Band "The Balmore Hoard"
Home recordings 1966-67

After returning from Morocco, Robin and Licorice lived at the home of Mary Stewart in Balmore, a few miles north of Glasgow. During renovations in 1996, a hoard of reel-to-reel tapes from that period were discovered, along with a water-colour painting and home-made fiddle, both created by Robin. Among the tapes were ones labelled 'Robin', 'Mike' and 'Robin and Mike', featuring home recordings of Robin and Mike rehearsing (both solo and together), Jamming, and even, what seems to be, planning the set for their November 1966 concert at the Royal Albert Hall, complete with introductions! The original tapes were fairly fragile and the recording quality was pretty rough, so they were subsequently electronically 'cleaned-up' by Tom Barwood.

01. Relax Your Mind 02. When The Music Starts 03. Good As Gone 04. Chinese White 05. First Girl I Loved 06. As I Walked Out 07. Likys Melodies

08. Every Time I Hear A Sweet Bird 09. Alice Is A Long Time Gone 10. Mad Hatters Song 11. Join The Band 12. The Eyes Of Fate 13. Bleerers Street Blues 14. No Sleep Blues

Cover: Front
Cover: Back

Important:
This copy is not containing whole sessions (3CD, 59 tracks).
And as you know, this is bootleg copy. So please don't suggest about sound quality.

Download (re-uped by woodstock69)

Wolfgang:
Only an info to the ISB: I made a webpage for the band, which tries to be different to the other existing pages. Here
You can find the whole tracklist for the Balmore Tapes.

Thanks, Wolfgang!!

Requested...
Bobbie Gentry "Ode to Billie Joe" 1967

Gentry's debut LP, which went to number one on the pop charts, was a promising but not wholly satisfying disc, with the singer penning all but one of the songs. Inevitably, the title track dwarfed everything else by comparison, but a greater problem was that several of the other tunes recycled variations of the "Ode to Billie Joe" riff. On the other hand, "Mississippi Delta" is gloriously tough, throaty swamp rock; few other women pop singers have sounded as raw. Other good cuts were "I Saw an Angel Die," an effective mating of Gentry's country-blues guitar riffs and low-key orchestration, and the jazz waltz-timed "Papa, Woncha Let Me Go to Town With You." Her vocals are poised and husky throughout the record, on which she was definitely on the right track -- one that she was quickly diverted from, into more MOR-oriented sounds. ~ Richie Unterberger, All Music Guide

Ben

"Ben" 1971





















Ben's self-titled debut has the dubious honour of being widely rated as one of the weakest albums released on the Vertigo-swirl label. Although I can think of even more obvious candidates for that claim (especially Daddy Longlegs' utterly dreadful "Oakdown Farm" comes to mind), Ben's album had indeed serious flaws. But things sounds actually quite promising at first listen. Here are lengthy multi-part suites, excellent musicianship and an overall very appealing early 70's, very jazzy progressive rock sound with lots of flute, sax, keyboards and guitar. But closer inspection of the material on the album reveals that you've been cheated. All of the four tracks are made up of tiresome extended jams and solos that are built around themes and melodies that are all too simple and barely half-written at best. The closer "Gismo" demonstrates this problem best, and goes on for nearly 12 minutes without ever coming close to a good or memorable idea. "Gibbon" is probably the best track on the album, but even this one is also hampered by the same problems as the rest, although to a less extent. The opener "The Influence" is pointlessly divided into seven movements that all sounds the same, and "Christmas Execution" is made up of repetitive, unimaginative and uninspired riffs that goes nowhere. Too bad such good musicians with a sound like this would waste it all on such weak material as this album offers. ~vintageprog.com

Lighthouse "One Fine Morning" (Canadian Jazz-Rock 1971)


Alan Niester, Rolling Stone, 11/11/71:
Following the pop music scene in Canada teaches one many and myriad virtues, not the least of which is patience. Canadian groups, no matter how highly touted at the offset, seem to require a considerably longer period of time to mature than their English and American counterparts. You will almost never find a Canadian artist coming out with a commendable album the first time around, and Lighthouse was certainly no exception.

One Fine Morning is Lighthouse's fourth album, and their first since their split from RCA. For those unfamiliar with the group's history, I now humbly offer a rundown of efforts one through three.

1. Lighthouse (RCA) Their first, a hideous disaster. Horrible production meets bland material, and everybody loses. The Young Canadian Rock Fan's expectations are crushed into the hardy Tundra.

2. Suite Feeling (RCA) A considerable improvement, with one lengthy satisfying jam on it. Still no great shakes, but it caused Y.C.R.F. to wipe the mud off and take heart for number three.

3. Peacing It All Together (RCA) A fair album by anyone's standards. The writing team of Skip Prokop and Paul Hoffert is by now starting to write interesting and original material. Unfortunately, the album has flaws, and just doesn't hold the listener's attention as a really good record should.

Now, after considerable personnel changes, which have seen the group shrink to 11 members from 13 (with only five of the originals still with us), the now slightly older Y.C.R.F. is happy to announce that Lighthouse's new effort, One Fine Morning, is everything he hoped and expected the first one to be.

The reasons for the new-found success are many. First off, the group now boasts a new lead singer in the person of Bob McBride, who shows considerably more flexibility and vocal power than his predecessor Pinky Dauvin could ever muster. Secondly, Skip Prokop and Paul Hoffert have now matured as writers to the point where they seem incapable of writing a song which isn't both highly original and moving. Their more up-tempo numbers ("Love of a Woman" and "One Fine Morning" being the best examples), shake you as well, if not better, than anything ever written by any of their competitors in the neo-big band field to date. At the same time, their "production" type numbers, ("Step Out on the Sea," and particularly "1849""), display a singular power and mood that almost makes you want to stand up and salute something (a tree, a telephone pole, the mailman, anything).

But probably the most important advancement the group has made is in its new tendency to allow every song to run to its logical conclusion. Previously, the group tended to make shorter two- and three-minute songs, and still attempt to crush all 13 members into each song. Thus, even a number like "The Country Song" from the third album would have horns strings squeezed into its 2:26. On One Fine Morning however, each song is allowed to have their own say without having to compete with the regular rock instruments for the listener's ear. The result is not only that the record buyer gets and album that runs over 25 minutes on one side and 22 on the other, but also one in which each song has a power and sense of completeness that the previous efforts lacked.

I really can't conceive of Lighthouse getting much better than this. They've been around long enough by now so that they've found their own relative level of the ozone, and will probably settle there, sending out music of an equal caliber to One Fine Morning for at least another year or so. But that's plenty good enough, believe me. I can recommend this album to anyone without fear of getting it thrown back at me.

"Skara Brae" (Irish Folk 1971)

Wikipedia:
Skara Brae was a traditional Irish music group with origins in Rannafast, County Donegal, Ireland. The group consisted of three siblings, Maighréad Ní Dhomhnaill, Tríona Ní Dhomhnaill and Mícheál Ó Domhnaill with Dáithí Sproule. Though brought up in County Meath, the Uí Dhomhnaill siblings had their roots in Rannafast (Rann na Feirste), where their father's family originated. Mícheál and Tríona came together with Dáithí when they went to University College Dublin in the late 1960s. They played gigs around Dublin and Mícheál and Dáithí spent a summer as the house band at Teach Hiúdaí Bhig in Gaoth Dobhair (Gweedore), Donegal. Around 1970, the three siblings -Mícheál, Tríona and Maighréad - teamed up with Dáithi Sproule to form Skara Brae. Skara Brae produced one album and broke up in 1972, but re-grouped in 1998 for a concert in Gweedore, County Donegal.

Steve Winick, All Music Guide:
Michael and Triona went on to form the Bothy Band, and Daithi became a fine solo artist and a member of groups like Altan, but this was their first recorded effort (made in the early '70s) of beautifully performed Gaelic songs. The four vocalists are skillfully backed by guitar from Micheal and Daithi and harpsichord from Triona.

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Jan & Lorraine "Gypsy People" (UK Folk-Psych 1969)

Bad Cat Records:
Can't say I've uncovered much about this short-lived duo composed of singer/guitarists Jan Hendin and Lorraine LeFevre. What little information out there is contradictory. Even the basic facts are hazy with some references saying they were American, others indicating they were British and still other works saying they were Canadian.

Regardless, their sole album 1969's "Gypsy" was recorded in London's IBC Studios with Anthony Browne producing and with backing from a rather impressive collection of UK musicians. With both Hendin and LeFevre contributing material the album offered up an engaging mix of folk, psych and world music moves. Dealers continually drop the term 'acid-folk when trying to unload lame folk crap on unsuspecting collectors, but if you want to hear a true acid-folk LP, then this may well set the benchmark for such comparisons. By themselves Hendin and LeFevre both had attractive voices and on material such as 'Bird of Passage', the title track and '' they turned in some gorgeous harmony work that had a distinctive English folk-rock feel which occasionally recalled the likes of Sandy Denny, June Tabor, etc.. Actually, because of the distinctive middle eastern flavors found throughout the album, a better comparison might be to Magic Carpet's Alisha Sufit (interesting to note that tabla player Kaeshav Sathe played with Magic Carpet). The pair also had pretty interesting tastes in outside music with the album including a pair of Perth County Conspiracy covers (Richard Keelan's rocking 'Break Out the Wine' and 'Don't You Feel Fine'). While there wasn't anything particularly commercial here (which is one of the attractions for me), the duo's willingness to experiment and take some substantial risks gave the set a unique appeal that should be of interest to a wide spectrum of collectors. Personal favorites included the funky raga-influenced title track, the extended 'The Assignmnet Song-Sequence' and ''. Perhaps intended as their stab at commerciality, to my ears the only real mis-steps were 'Snow Roses' which was a little too operatic for my ears, 'Space 33' which featured a young girl on lead vocals, and the goofy music hall-styled 'Old Tyme Move'. Ray Davies and Paul McCartney could get away with it on occasion, but not this pair. Excluding those couple of minor let downs, it's surprising that this album isn't commanding much more attraction for collectors (and similar prices).

Nazir Jair Azbhoy -- tamboura
Clem Cattini -- drums
Terry Cox -- percussion
Jan Hendin -- vocals, guitar, keyboards, kazoo
Takie Hendin -- backing vocals
Lorraine LeFevre -- vocals, guitar
Rod Mirfield -- percussion
Brian Odgers -- bass
Kaeshav Sathe -- tabla

Albion Country Band "Battle of the Field" 1973
Released in 1976

After leaving Fairport Convention and Steeleye Span, bass player Ashley Hutchings dreamt of a band that would play traditional British folk and Morris dance tunes with the energy and instrumental virtuosity of rock & roll continued with the Albion Country Band. Although the original group, featuring Royston Wood, Sue Draheim, and Steve Ashley, in addition to Hutchings, was together for less than two years, the ripples they brought to British folk music have continued to be felt. Their sole album, Battle of the Field, released three years after they disbanded, remains a much-cherished classic. With the band's resurrection as the Albion Dance Band in 1975, and later, as the Albion Band, Hutchings' dreams have continued to yield fruit. Hutchings initially assembled the group that became the Albion Country Band to accompany his then-wife, Shirley Collins, on her 1971 album No Roses. Inspired by the results, the musicians agreed to continue pooling their resources as the Albion Country Band. After providing accompaniment for Ashley on his album, Stroll On, and Richard Thompson on two tracks that were released on his 1991 cassette-only album, Doom and Gloom From the Tomb, Vol. 2, Hutchings and the Albion Country Band, joined by such top-notch British folk musicians as John Kirkpatrick, Martin Carthy, and Simon Nicol, recorded heir first band album in 1973. Financial difficulties caused Hutchings to disband the group before the album's release. With no band to promote the recording, Island held back the album's release until 1976. ~ Craig Harris, All Music Guide

"Blackthorn" (Irish Folk 1977)

This obscured Irish electric folk rock band has released two excellent albums in 1977 and 1979 on WHM Records and both are now quite sought after in the collectors market. Their first album is full of cover versions of major artists and famous traditional numbers such as "Rick Rack" (Gerry Rafferty), "After The Goldrush" (Neil Young), "That's No Way To Say Goodbye" (Leonard Cohen) and "In A Song" (Jim Croce). It indeed is a beautiful album and truly worth exploring the talented folk bands of the mid/late 70s. Nina Szifris, the band's lead singer is truly a gem. A must for the fans of Fairport Convention, Caedmon, Pentangle and Mellow Candle.
Ian Campbell played Bodhran as a guest musician.

Tracks:
01. Rick Rack
02. Can't Hold A Candle To You
03. After The Goldrush
04. That's Noway To Say Goodbye
05. Blackthorn Instrumental No.1
06. Yellow Haired Laddie
07. Band 'o'shearers
08. Steve Bayes - Lily's Song
09. Owen Hand - My Donal
10. Blackthorn Instrumental No.2
11. In A Song
12. Broom Besoms Incorporating Mrs Mcleods Reel

Sample pic: Click

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Magna Carta

"In Concert"
Concertgebouw Amsterdam, Thursday 4th November 1971 at 8:30

This was Magna Carta's fourth album, and their first live concert recording, recorded in Amsterdam in 1971. It features Chris Simpson on Guitar and Vocals; Davey Johnstone on Guitar and Vocals; and Glen Stuart on Vocals.

By Kenneth Johnston:
I originally bought this album as an LP, in a buy 1 get 2 free deal. I had never heard of Magna Carta, but closing my eyes I pointed at the list...and as they say, the rest is history!
I now have most albums that Magna Carta have produced, certainly as far as their live one's are concerned, but this is still my favourite and I have now replaced my original LP with this CD . From my favourite ever Magna track, Sea and Sand, which is so hauntingly beautiful and never been played as well as in this concert with the sitar as the lead instrument to 7 O'Clock Hymn/Midwinter and ending in an encore of the magificent epic, Ring of Stones, this is live music at its very best. Listen and I guarantee you will be buying more Magna Carta albums.

By Sonu Charles:
I was fortunate enough to have this album during the seventies on vinyl. those were trusting times. predictably enough, it was borrowed by someone who joined the growing list of "anonymous" acquaintances one had. since then, for over 20 years i have searched for this album in some form or the other. i guess one does get lucky.
I doubt if there has been as magnificient performance of 'time for the leaving' as on this album. Davey Johnson's guitar delivers one of the most inspired solos at the end of the song. Other gems are '7 O'Clock Hymn', 'Boatman' and 'Ring of Stones'. The pastoral harmony of 'Seasons' is very much here, much magnified by a rare electricity this album posseses. I guess that is the magic that comes once in a long while to a live performance. This, undoubtedly is the show of magna carta's life.

Tracks:
01. Airport Song
02. Time for the Leaving
03. The Boatman
04. Sea and Sand
05. Banjo
06. Old John Parker
07. Seven O'Clock Hymn / Midwinter
08. Country Jam
09. Ring of Stones

Sample pic: 1, 2, 3

Download (re-post)


"Live at the BBC" (1969, 71 & 87)

Although released in 1995, all but the last four of the tracks on this album were orignally live recordings made by the BBC in 1969 and 1971 featuring Chris Simpson, Glen Stuart, and Davey Johnstone.
This selection dates from 1969 (three tracks) 1971 (11 tracks) and 1987 (four tracks) Includes all the hits such as "Airport Song" and "Time For the Leaving" as well as versions album of classics including "Parliament Hill", "Sea and Sand" and "Elizabethan".

Tracks:

01. Sea & Sand 02. Shades Of Grey 03. Daughter Daughter 04. Wayfaring 05. Home Groan 06. Emily 07. Airport Song 08. Old John Parker 09. Parliament Hill 10. Sea & Sand (Reprise)

11. Beyond The Isle Of Skye 12. Sponge 13. White Snow Dove 14. Time For The Leaving 15. Cajun Canonball 16. They Call Me The Breeze 17. Elizabethan 18. Livin' With A Woman Like You 19. Airport Song 20.#