Robin & Barry Dransfield

"Popular to Contrary Belief" 1977

Back in 1976 this was the Dransfields’ first traditional album together for six years, since their now lost Leader/Trailer LPs 'Rout Of The Blues' and 'Lord Of All I Behold'. On this album Robin and Barry brought back the simple, uncomplicated approach to interpreting traditional songs and music that was so lacking in the mid-1970s - and these recordings for Free Reed continue to influence the folk revival and to set the standards for honest and straightforward performance of traditional song. Many rare out-takes and session recordings enhance this long-awaited release.

amazon.com

by Brian Andrew Marek #9

Greenslade "Time and Tide" 1975





















"Time and Tide", the last gasp of the (more or less) original Greenslade, doesn't enjoy the sterling reputation of their self-titled debut or its follow-up "Bedside Manners are Extra" (easily their finest hour). With the excellence of those albums to consider, this is fully justified, but that doesn't mean "Time and Tide" doesn't have merit. Yes, the Mellotrons have been deposed by the dreaded Crumar Stringman, yes, there are some concessions to (gasp) pop sensibilitis, and yes, Messrs. Greenslade and Lawson did some tracks without the participation of the other Dave. So what? The musicianship is still top-notch, the sense of adventure remains intact, and the compositions are engaging. And, if you ignore the fact that the painting was somebody else's blatant rip-off of Roger Dean's schtick and enjoy it on purely aesthetic terms, it's a lovely cover. Plus, when you consider the general state of prog rock in 1975, it's worth nothing that, with the possible exception of Dave Lawson's petulant critic-bashing on "Newsworth", nothing here is beneath their dignity.

Every time I've downloaded this album, however, it's always been missing about a minute of the opening track, "Animal Farm". Fortunately, I ran into a vinyl copy (now THAT'S the way to see that sleeve) this weekend, and ripped that track for my enjoyment and yours.

Galadriel

"Galadriel" 1969





















Despite their musical excellence, Sydney band Galadriel never achieved any commercial success during their short career, and they were forgotten for many years. Ironically, their eclectic and ultra-rare 1971 LP has now became one of the most collectible artefacts of Australian '70s progressive rock and they are now internationally known, thanks the burgeoning worldwide interest in Australian music of the 60s and 70s, and especially due to the efforts of rock historian Ian McFarlane, who championed them in his Freedom Train fanzine and included this long-overlooked group in his Encyclopedia of Australian Rock & Pop.

Galadriel is one of a group of Sydney bands whose histories are connected with the formation of Sherbet -- guitarist/songwriter Garry Adams and drummer Doug Bligh had come from Sydney band House of Bricks, whose other members were singer Daryl Braithwaite and bassist Bruce Worrall, who both moved on to Sherbet during 1969. Taking their name from the Elven queen of Tolkien's Lord of the Rings, Galadriel was formed in 1969 by guitarist and songwriter Garry Adams (ex House of Bricks) and drummer Doug Bligh. In the late 1960s, the repertoire of working bands like House of Bricks usually consisted of covers of local and overseas hits, but Galadriel's members wanted to write and perform their own original material.

Recruiting hotshot lead guitarist Gary Lothian from the highly regarded Sydney band Elliot Gordon Union, singer John "Spider" Sholtens and flautist Mick Parker from fellow Sydney dance band Samael Lilith, Galadriel soon made a name for themselves on the thriving Sydney dance/discotheque circuit. They often played at Sydney's "Joseph's Coat" disco -- and they shared gigs with many of the top progressive groups of the day including , Kahvas Jute, Blackfeather and Spectrum.

The band signed with Gus McNeil's Cellar Music, which was also the publishing company for Spectrum's Mike Rudd and Coutnry Radio's Greg Quill. Around October 1970 Galadriel recorded ten original songs at Sydney's United Sound Studios with American engineer-producer Tom Lubin. Their debut single "Lady Was A Thief" / "Girl of Seventeen" (February 1971) was picked up for release by Martin Erdman's independent label Du Monde, which played such an important part in the Sydney music scene in the late 1960s and early 1970s.

Galadriel shopped the recordings around for several more months without success, but eventually they were signed by the Polydor label (part of the German-based Polygram corporation) , who released the LP and their second single "Standing In The Rain" / "Working", in May 1971. These were Polydor's first local rock releases in Australia and although the recordings were remarkably good, Polydor evidently lacked the experience and clout to get it noticed and regrettably both album and single sank without trace.

Garry Adams (guitar, vocals)
Dave Allen (flute) 1971
Bruce Belbin (bass) 1971
Doug Bligh (drums)
Gary Lothian (lead guitar)
Mick Parker (bass, flute) 1969-71
John "Spider" Scholtens (vocals)

DL

by Brian Andrew Marek #8

A Full Moon Consort "The Men in the Moon"

Here's a platter of plastic I thought I'd rip and share for its sheer obscurity. A Full Moon Consort were apparently based in my hometown of St. Louis, MO, with the record being released on Cleveland, Ohio's Midwest Records, "a product of Belkin/Maduri Productions". It was recorded in December of 1976 and the label shows a copyright of 1977, but the back cover claims 1978. A large number of still-sealed copies started showing up in local used record stores sometime in the 1990's, with University City's Vintage Vinyl giving them away for free!

I'd characterize the sound as 1970's soft rock with mild progressive overtones and, perhaps, a hint of Steely Dan (the intro of track 3 suggests that they were going back, Jack, and doing it again). Nothing hugely memorable in my estimate, but it's remarkably embarrassment-free for its era and, miracle of miracles, in an age where everybody else was starting to use those godawful bland string synthesizers, these guys stayed true to their Mellotrons (though they coulda given 'em a lot more prominence).

I dedicate this rip to the private pressing/small label obsessives - enjoy!

DL

by Brian Andrew Marek #7

The Dinosaurs!
"It Might Be Rose/Rock n' Roll Moron"

Here is both sides of The Dinosaurs' 1979 release - a classic slab of St. Louis, MO indie/DIY rock featuring the talents of local legend Bob Reuter, whose musical exploits date from the 1960's to the present day (I originally became familiar with the b-side via Bob playing it acoustically at a local open mic night in recent years).

I've heard that this single has become highly collectible in certain circles, but get this - Mr. Reuter hisself is sitting on quite a few unplayed, unsold copies. He is also facing ill health and staggering medical bills. So now that you've heard the music for free, why not contact Bob and offer him good money for a copy? Let outrageous collector prices directly support the artist for a change!

Bob Reuter hosts the truly excellent radio show "Bob's Scratchy Records" (blues, r&b, rockabilly, punk, garage rock, anything that sounds good 'n' filthy) on KDHX 88.1 FM in St. Louis, with webcasting available 'round the globe at http://www.kdhx.org, so tune in and get in touch with the original rock n' roll moron!

P.S. If you offer Bob a pittance only to turn around and sell the single for an obscene profit, my friend Shane will come over to your house and scream at you. And he can be loud.

DL

Patrick Watson - The Great Escape

DL (HD version)

by Brian Andrew Marek #6

Flash "In the Can" 1972





















Here we go again (I must be in some kind of manic phase)!

Flash was guitarist Peter Banks' alternate universe version of early '70's Yes, in which Banks ousted the rest of those creeps (while keeping organist Tony Kaye on for one more album) and put his guitar front and center. On the positive side, Banks' originality as a stylist made Flash one of the few guitar-centric prog-rock acts that didn't sound like either Wishbone Ash or proto-Rush. On the negative side, the lead vocalist was a generic cliche of an early '70's hard rock singer (say what you like about Jon Anderson, but his vocals were always 100% original), the bass player was trying WAY too hard to sound JUST LIKE Chris Squire, their album covers were uniformly godawful, and two of their three studio albums have thusfar failed to engage me in any meaningful way.

But, miracle of miracles, they did manage to produce one fine album that I can listen to over and over and over, and that's their sophomore disc, "In the Can". I have a hard time putting my finger on just what exactly makes this album so preferable to the others; perhaps it's because it sounds the LEAST like Yes and, thus, has more identity. Mind you, that's not to say that their presence isn't felt - the bass line is still a helluva lot of notes played through an overdriven Rickenbacker - but there's a lot less of those "All Good People" choirs, very little in the the way of keyboards (just a little bit of unobtrusive synthesizer playing some simple melodic lines), and, well, it just kinda rocks in a way Yes doesn't.

But more importantly, it's loaded with hooks. Big, fat, clever, bombastic, end-of-the-world-as-we-know-it prog-rock hooks, that is. And, in classic progressive rock style, the very best tracks are the first and last. The opener, "Lifetime", is a sprawling epic (with some vaguely T2-like passages) with a main theme that sounds like an all-killer, no-filler version of... you guessed it... Yes. The closer, "There No More", starts off rather humbly, teases you with brief visions of transcendence, then finally gives you the closure you have begun to crave - one of those bigger than life chord progressions, taken at a stately pace, with a haunting melody outlined with wordless vocals and ominous synthesizer, getting bigger and bigger and more and more cathartic until, finally - The Every Popular "I Want You (She's So Heavy)" Arbitrary Razor Edit of Doom shocks you from your revery.

Incidentally, some fellow commenting on a blog that USED to have this album complained that this track was incomplete... I wonder if the ending just took him by surprise? (I own the vinyl, ripped it myself and can confirm, yes, it IS supposed to end that way!)

Sandwiched between the above mentioned tracks are "Monday Morning Eyes" (has some good moments, but it strikes me as kinda perpetually anticlimactic, if that makes any sense), "Black and White" (mostly nondescript except for an all too brief surprise appearance by a ukelele), and "Stop That Banging", a drum solo whose most best feature is its brevity (1:50, by the sleeve's reckoning). But lest these less than stellar recommendations scare you off, keep in mind that those three tracks account for less than half of the running time of the album.

Perhaps one day I'll start to understand the Flash albums that precede and follow. But "In the Can" appealed to me from the start and continues to bring me pleasure. May it do the same for you.

by Brian Andrew Marek #5

I don't know a lot about Jade Warrior except that they purportedly later went on to be very mellow and new-agey, and that an earlier version of the band had released an excellent psych-pop album under the band name of July.

"July" 1968























What I find interesting about their debut album under their better known handle is the fact that despite the lack of a regular kit drummer and the sparse, mostly acoustic instrumentation, it isn't really mellow. There's something about the arrangement and production on this album that makes every musical occurence a recognizable event. Conga drums leap from the speakers to startle you while surprisingly extreme guitar tones (distorted thru the mixing board a la the single version of the Beatles' "Revolution") make brief but memorable appearances, and the stereo image is wide and playful. All in all, a tickle to the ears.

Overall, it kinda brings to mind Tyrannosaurus Rex's "A Beard of Stars" except that there's a flute and the rhythm guitars are jazzier (both in tone and phrasing). Probably a lot more improvisation, as well. When they get bluesy, it suggests "1000 Layers"-era Incredible String Band's treatment of such material. The Asian themes of the cover are integrated into the music in a subtle and tasteful way.

Songwise, there's musically ambitious suites like "Masai Morning" and "Dragonfly Day" alternating with quirky pop like "A Prenormal Day at Brighton" and "Psychiatric Sergeant" and more blissful (but not blissed out) trips like "The Traveller" and "Windweaver". But honestly, this isn't the kind of album that makes you focus on specific tunes; the best way to experience "Jade Warrior" is to slap it on and enjoy the ride.

"Jade Warrior" 1971


/

Brian Andrew Marek #4

ADDENDUM: Wanna meet the rest of the family?

"Skip Bifferty" 1968























"Brian Davison's Every Which Way" 1970























"Bell + Arc" 1971






P.S. You'll notice that I misspelled the late Brian Davison's name on my original post. It seems I'm not the first to be confused - just check out the artwork from his album...

by Brian Andrew Marek #3

Arc "... at this" 1971



















I've been wanting to sing the praises of this album for some time.

Arc was, more or less, Skip Bifferty minus singer Graham Bell. Skip Bifferty left behind one obscure self-titled album of tough psychedelic pop rock that ranks, in my mind, with the best "sons of Pepper" like the Zombies' "Odyssey and Oracle", Family's "Music in a Doll's House" and the Stones' "Their Satanic Majesties Request". While the rest of Skip Bifferty were busy being Arc, Graham Bell was singing lead for Brian Davidson's Every Which Way, who left behind one obscure self-titled album of Trafficesque progressive groove rock. Eventually, Bell and Arc were reunited in the appropriately named Bell+Arc, who left behind one obscure self-titled album of gospel/soul-influenced progressive rock.

Confused? You won't be after this episode of Soap!

Anyway, Arc were clearly the most original of the bunch, for though they only left behind one album, and it is obscure, they did actually go to the trouble of giving it a title: "Arc...At This". Judging by the cover, I'm guessing this is some sort of British football reference.

I've seen this album referred to as "bluesy" or "blues-influenced", but don't worry, there's na'ry a twelve bar progression to be found. It's just that these guys still enjoy a good pentatonic scale rather than, oh, imitating Bartok or something. In other words, these guys haven't forgotten the last syllable of the phrase "progressive rock".

Now, let's get one caveat out of the way: The first track, "Let Your Love Run Through", has positively godawful lyrics that, in the context of this album, may as well be Warrant singing about cherry pie - except that Warrant didn't sound pretentious doing so. "Unleash your passion and let your love light flow", indeed.

But, having aired my one pet peeve, I must acknowledge that the music of "Let Your Love Run Through" is a fine slice of proggy hard rock, the rest of the music on the album is as good or better, and none of their lyrics noticeably offend me from track two onwards.

Like the Mandrake Memorial, this is a guitar-keys-bass-drums band where there is a good balance and symmetry between the two lead instruments, with neither completely dominating the proceedings nor being relegated to obscurity in the mix. It's a tough, muscular sound, hard but never dumb, topped with vocals confident and distinctive enough to make you wonder why they needed Graham Bell before and after this album.

And the songs? Some boast a tight pop structure, others are a little more complex, all are excellent. "Four Times Eight" and "Sophie's Cat" are pure classic British whimsy, "It's Gonna Rain" and "Perfectly Happy Man" unleash some very likeable rockist melodrama, "An Ear Ago" and "You're in the Garden" showcase a gentler, folkier side to the band, and "Great Lager Street" and "Hello Hello Monday" are two more wonderful songs that I can't think of any specific to say about at this time.

Trying to compare Arc to another band has me equally at a loss for words. I really can't think of any specific artist that Arc bears more than a passing resemblance to, not even the friends and relations I chronicled earlier. They are simply Arc, and from where I'm standing, that's enough.

DL

by Airman

Gwendal "Joe Can't Reel" 1976





















Here is a quite rare album for you.
It is by Gwendal.

Personel:
Youenn Le Berre: Sax, Bobarda and Flutes
Bruno Barré: Electric Violin
Jean-Marie Renard: Acoustic Guitars
Patrice Crupallo: Mandolin,and percussions
Roger Schaub:Electric bass guitar

01 - Joe Can't Reel
02 - An Dro
03 - Benoit
04 - Galway Bay
05 - Rue du Petit Music
06 - Galway Hills
07 - Da Scalloway Lasses
08 - Crystal Palace
09 - Douze Negrees
10 - Le Cocou Migrateur [Final]

megaupload
OR
zshare


Another rare and curious album in my vast collection is this one:

Ana Alcaide "Viola de Teclas" 2006
















The Nyckelharpa (or Viola de teclas or viola of keys) is an instrument that belongs to the Swedish folklore although it has extended by the rest of Nordic countries. It even can be found in the south of Europe.
A very early instrument dating from before 1340,it is usually played seated with the instument on one's lap.

Ana Alcaide: Viola de teclas, rabel, violín
Carlos Beceiro: Bouzouki, Cittern, Hurdy-Gurdy, guitars

01 - Hixa Mia
02 - Seguidillas castellanas
03 - Danza del Pirineo
04 - Debajo de los tilos
05 - Alza la niña los ojos
06 – Recercada
07 - Suite de rabeladas
08 – Outi
09 - El romeral
10 - Dime robadora
11 - Ojos garzos
12 – Manau
13 - Danza del Corpus
14 - Porque lloras

by Brian Andrew Marek #2

Quintessence "Self + Indweller" 1972

Okay, so I roll differently. Even in the company of prog-heads, psych-freaks and low-fi obsessives, I'm the weirdo. Y'see, I'm just discovering Quintessence, the late '60's - early '70's British group that managed to bring together psychedelia, prog-rock, fusion, chanting, and high octane jamming with a highly spiritual agenda - predominantly Krishna/Hindu in nature, but with more than a little lip service to Buddha, Jesus, and the like as well. Anyway, conventional wisdom has it that Quintessence's last album, "Indweller", was the worst of the lot - yet I find it fascinating me the most.

I think it started with the cover. Even before hearing the music, I had a gut feeling I'd like it. Later research revealed that "indweller" is an actual word, a noun indicating (roughly) the higher spirit that dwells within a person, but when I saw that claustrophobic, fish-eye lens portrait of the band in a small room, I took it to mean "shut-ins with musical instruments" - which suited me just fine, and still does, thank you very much, because that's what my (admittedly imaginative and suggestible) ears hear on this disc.

With its shakey, fragile vocals (the lead vocalist for the rest of their career had split before this album, as I understand it), low-key atmosphere and rapidly changing music styles (not to mention the predominance of very short and very long songs), this feels like a well-recording analogue of some lo-fi four-track weirdo's basement doodlings. You get Soft-Machine-gets-really-stoned jams ("Indweller"), acid-soaked spirituality ("Jesus My Life"), and, every now and then, something just plain beautiful ("It's All the Same"). I love it.

My copy came to me as part of "Self + Indweller", a CD repackaging of Quintessence's last two albums. A quick glance suggests that this CD is missing one track from the original vinyl "Indweller" - so I may have to go searching if I want the full story. The other album on the disc, "Self", is a fine listen in its own right (although the lyrics of "Wonders of the Universe" actually succeed in making me wince where the other devotionals had failed), especially the live half, which sounds like what the Grateful Dead would sound like live if they were fun, interesting and enjoyable.

Irish Medieval

Tracks:
1. O'Carolan's Concerto 1:46
Seth Austen / Madeline MacNell
guitar / hammered dulcimer

2. Planxty Irwin 4:37
Steve Tilston / Tony Hinnigan / Maggie Boyle
guitar / cello / flute

3. O'Hara's Cup 2:44
Duck Baker / Alistair Anderson
guitar / concertina

4. Thomas Leixlip The Pround 2:22
Seth Austen guitar

5. Carolan's Ramble To Cashel 2:40
Angelo Eleuteri guitar

6. O'Carolan's Farewell To Music 3:57
Steve Tilston / Tony Hinnigan / Maggie Boyle
guitar / cello / flute

7. Princess Royal 2:15
Steve Tilston / Tony Hinnigan
guitar / cello

8. Blind Mary 2:40
Angelo Eleuteri guitar

9. Planxty Eleanor Plunkett 2:05
Seth Austen / Madeline MacNell
guitar / hammered dulcimer

10. Hewlett 2:21
Duck Baker / Alistair Anderson
guitar / concertina

11. Squire Wood's Lamentation On The Refusal Of His Half Pence 5:15
Angelo Eleuteri guitar

12. Planxty George Brabazon 1:55
Seth Austen guitar

13. Bridget Cruise 2:24
Duck Baker / Alistair Anderson
guitar / Northumberland pipes

14 Carolan's Welcome 3:05
Angelo Eleuteri guitar

DL

by Fran Solo

Planxty "Live 2004"

Hi Lizardson, your blog is the most complete in the net and the music posted is very good (folk-rock, celtic, irish, etc.) One of the best groups posted are Planxty (for me, the best in Ireland, all times).
This next link it's for the same group, it's a concert in the year 2004,
it's a really gem.


Fran Solo, from Chile.

http://mymusicislost.blogspot.com/
Mirror of Lost in Tyme

Love, Lost in Tyme
Thank you!

by a Visitor

Ron Sexsmith "WXPN FM 2007"

I've uploaded to Rapidshare a new file with Ron Sexsmith material that you can post in your awesome time-has-told-me blog.

It's an internet streaming recording of two WXPN broadcasts, but not two different shows (the second broadcast repeats the first four songs from the first one, and they are from the same recording session -you can note the mistake on 'All In Good Times'-), plus two bonus songs recorded from the same web (I think 'Never Give Up' is a different version)


NPR West [2007]
Hands Of Time
Never Give Up

World Cafe [Jan 30, 2007]
















00. Intro & Interview 1
01. Never Give Up.
02. Interview 2
03. All In Good Time
04. Interview 3
05. Jazz At The Bookstore
06. Interview 4
07. Reason For Our Love
08. Outro


WXPN [Jan 12, 2007]



















00. Intro 1
01. Intro 2 (*)
03. Never Give Up (*)
04. All In Good Time
05. Jazz At The Bookstore
06. Reason For Our Love
07. Interview
08. Lebanon Tennessee
09. Thinking Out Loud
10. Cheap Hotel
11. Least That I Can Do
12. Outro

(*) A little mistake with the numbers, the gig is complete.

DL

A Visitor.

by Peter

Richard Thompson "Clown Time Is Over"
Cirkus, Stockholm, 1994




















I've got such a lot of great music from your website that, for the first time, I'd like to try and offer something back. Trouble is that I'm not sure how to do it properly.

I've got a good collection of Richard Thompson concerts and I've uploaded one to:

DL

It's a band concert recorded at various times but mainly 1994 in Stockholm.
Would you be interested in putting such recordings on your site? If so please let me know the best way of going about it. I'll add the back cover and other details into the zip once you have confirmed your interest.

In any case thanks very much for a really excellant site.

Best wishes

Peter

Bridget St. John albums

John Tobler said...

Hi Lizardson,
While the vast majority of music fans will agree that free music is a good thing, we hope that you will agree that to prevent living, active artists with currently available work from benefiting from that work is morally and legally dubious. In the case of the 'Take The 5ifth' album by Bridget St.John, which has always been available since it was first released in 1995, we would appreciate it if you would remove this album from your list of free downloads. Anyone wanting this album can buy it from www.rgfrecords.demon.co.uk, where PayPal is accepted, and this will ensure that Bridget benefits from her work.
While we admire your good taste in having recommended 'Take The 5ifth', we would be grateful if you would let your readers know that it is NOT available for free download. This Email has been copied to Bug Music (UK), the company which publishes Bridget's material on the album in question.
Thank you in advance for your co-operation.
John Tobler, Road Goes On Forever Records


Brian O'Reilly said...

Hello,
I see from your great 'Time Has Told Me' site that you have postedseveral albums by our friend, Bridget St John. You may not realise thatthese albums are all currently officially available on CD.'Jumblequeen' is on our own Hux label
http://www.huxrecords.com/cdsales82.htm The Dandelion titles are onCherry Red and 'Take the 5th' is on another label. Can you please remove these titles from your site, so that Bridget cancontinue to earn royalties from the official CD sales.

Please confirm.
Thank you.
Kind regards,
Brian O'Reilly
--
http://www.huxrecords.com

by Brian Andrew Marek

Brian Andrew Marek said...
As a big fan of your blog (I've discovered countless fantastic albums here), I wanted to give something back in the form of my own old (late '90's, early naughts) band Rocket Park's two albums.

I'd describe the music as "eclectic pop rock with frequent progressive rock leanings (of a melodic/symphonic/compositional nature moreso than virtuosity)". The guitarist wants to be Jimmy Page, the drummer wants to be Keith Moon, and the keyboardist (moi) utilizes an arsenal of vintage keyboard sounds rivalling Rick Wakeman's stage setup circa 1973. The songs, production and harmonies may remind one of Electric Light Orchestra, and Mellotron junkies (of which I am one) are advised that the second album ("Television") features the string and flute sounds we love so.

Pleased listeners interested in owning physical objects and/or rewarding our efforts can buy either album at CDBaby.com, but if you don't, that's fine as well. We're much more interested in having a discerning audience listen to and, hopefully, enjoy our music.

Rocket Park "Teenage Folklore" 1999




Rocket Park "The Effects of Eating Too Much Television" 2000
























Yours in the joy of music and the freedom to listen,

Brian Andrew Marek
currently of Bargain Basement
and, coming soon, The Village Green Preservation Society

Runrig Albums‏

Mike Smith (Ridge Records) said...

Hi Lizardson,
We have seen on your blog site - http://time-has-told-me.blogspot.com/ that you are providing Runrig albums for free download. These albums are copyright Ridge Records and you do not have permission to offer them for free download. We would appreciate their removal from you site. I have cc'd the Publishing company, Chrysalis Music who will follow this up.

Best wishes,
Mike Smith
Ridge Records
This email (and any attachments) is private and confidential, and is intended solely for the addressee. If you have received this communication in error please remove it and inform us via telephone or email.

Although we take all possible steps to ensure mail and attachments are free from malicious content, malware and virii, we cannot accept any responsibility whatsoever for any changes to content outwith our administrative bounds.

The views represented within this mail are solely the view of the author and do not reflect the views of Runrig Merchandising Ltd

by The Alchemist #3

The "Hamish Imlach - Cod Liver Oil & Orange Juice the Transaltantic Anthology" is all dead.
I have therefore uploaded my own copy for you, Lizardman and for all friends in the world of folk music.
Enjoy!!

Hamish Imlach was one of the greats in the Scottish folk scene of the 1960s to 1980s. Although he was born in Calcutta, he was a Scotsman and a Glaswegian of note. He had a huge reputation for generosity and is fondly remembered by all who met him.

According to Ewan McVicar, Hamish Imlach was "...one of the founders of the Folk Revival in Scotland, a raconteur who taught Billy Connolly, a singer who taught Christie Moore, a blues guitarist who taught John Martyn"


Hamish Imlach
"Cod Liver Oil & Orange Juice: The Transaltantic Anthology"





















CD 1
01 - Johnny O'breadislee.mp3
02 - Men Of Knoydart.mp3
03 - The Zoological Gardens.mp3
04 - Street Songs.mp3
05 - Cod Liver Oil And Orange Juice.mp3
06 - If It Wasn't For The Unions.mp3
07 - Black Is The Colour.mp3
08 - I Was A Gay Spark In My Time.mp3
09 - Whiskey You're The Devil.mp3
10 - Early Morning Blues.mp3
11 - Ballad Of Timothy Evans.mp3
12 - Castlereagh.mp3
13 - The Twa Corbies.mp3
14 - The Tall Tale.mp3
15 - Copper's Song.mp3
16 - Macpherson's Farewell.mp3
17 - The 37 Bus.mp3
18 - I Am A Miller.mp3
19 - Dundee Cat.mp3
20 - Jean Harlow (Died The Other Day - Several Times).mp3
21 - The Clapped Out Motorcar.mp3
22 - Bourgeois Blues.mp3
23 - The Horny Bull.mp3

CD 2

01 - The Mcgreggors.mp3
02 - Deep Elem Blues.mp3
03 - History Of Football.mp3
04 - Beer Is Best.mp3
05 - Little Maggie.mp3
06 - Good Bye Booze.mp3
07 - Whiskey Seller.mp3
08 - The Moonshiner.mp3
09 - Clive's Song.mp3
10 - The Cuckoo.mp3
11 - Pretty Little Horses.mp3
12 - Noted Rider.mp3
13 - The Streets Of Laredo Western Cowboy.mp3
14 - Forty Pence Butter.mp3
15 - One Day Old.mp3
16 - 12 Pence Aint A Shilling.mp3
17 - Whiskey.mp3
18 - Dialogue.mp3
19 - Five Eyes.mp3
20 - Fine Old English Tory Times.mp3
21 - Cornflakes, Sugar, Teardrops.mp3
22 - Bluebird.mp3
23 - The People Upstairs.mp3
24 - Coulter's Candy.mp3
25 - Jenny Jenkins.mp3
26 - Travelling Rythmn.mp3
27 - Murdered Ballad.mp3
28 - The Night Squad.mp3
29 - That Terrible, Terrible Night.mp3

by Cristine

"Duncan Browne" 1973





















Duncan Browne's self-titled second album plays like a direct sequel to his debut long-player, Give Me Take You; he uses the same acoustic guitar and writes in a similar idiom, especially on tracks like "Country Song" and "The Martlet." Indeed, apart from the fact that it's generally better recorded, most of Duncan Browne could easily have slotted into the earlier album; the only exceptions are the more elaborately produced songs, such as "Ragged Rain Life," with its electric guitar sound, the keyboard-embellished "Babe Rainbow," and the bluesier, Dylan-esque "Journey," which was a substantial hit in England. Browne's style elsewhere on the record is unique unto himself, built around hauntingly beautiful melodies, mostly in a folk idiom, with some choice results, including the exquisite "Over the Reef" and "My Old Friends." He saved the best for last, a valedictory number entitled "Last Time Around," featuring extensive and impressive acoustic guitar ornamentation that gives way to some surprisingly tasteful progressive rock electronic sounds on the choruses. The RAK album was reissued on CD by EMI in 2002 with four bonus tracks, comprised of odd single sides and a pair of outtakes that extended the record's stylistic range considerably, into a more purely electric rock, more standard (though still enjoyable and attractive) singer/songwriter mode -- although the last of the bonus tracks, the previously unissued "Mignon," is easily the prettiest song that Browne ever recorded and is thoroughly in the style of his first LP. Even overlooking its own intrinsic merits, Duncan Browne is worth owning as a more mature and developed, if slightly less spontaneous, expression of the sensibilities that forged Give Me Take You. ~ Bruce Eder, All Music Guide

Green Man Festival

Mirjam Schnepf said...
I'm emailing from the Green Man Music Festival in the UK. I love your site and I wanted to get in touch and say hi.

We've just announced our final line up for this year's festival on 15th, 16th and 17th August 2008 which includes Peth, Spiritiualized, and Super Furry Animals (you can see the whole line up below).

But we are looking for one last band to open the festival. We want your help and the music loving public's help us discover this band. So we started a search called Green Poll.

This is how it works:
- Bands register for Green Poll on our site http://www.thegreenmanfestival.co.uk/greenpoll
- The public vote for the bands they like and get a chance to win a pair of tickets
- Band with most votes plays Green Man attended by 10,000 people and they also get
- 6 extra tickets



Anybody can enter Green Poll signed or unsigned. There's tickets to be won, and new bands to discover.

I thought you and your readers would be perfect to help us find the right band. So it'd be really cool if you can mention it on your site.

I've included some more info below about Green Man and Green Poll. Please drop me a line if you'd like to find out more. Or you can visit our website http://www.thegreenmanfestival.co.uk/greenpoll

Thanks!
Mirjam

ps.
If you're around please do come down to the festival it'd be lovely to see you.
--

Mirjam Schnepf
Green Poll Green Man Music Festival
greenpoll@thegreenmanfestival.co.uk


Line Up
Across The Stages
Super Furry Animals / Spiritualized / Pentangle / Richard Thompson / Iron and Wine / The National / Black Mountain / Drive By Truckers / Howlin' Rain / King Creosote / Caribou / Damien Jurado / The Cave Singers / Magik Markers / Alela Diane / School Of Language / Nina Nastasia / Wild Beasts / Make Model / The Accidental / Devon Sproule / Jennifer Gentlle / Cath and Phil Tyler / One More Grain / Moon Music Orchestra / Mugstar / Cymbient / Beth Jeans Houghton / The Yellow Moon Band / The Drift Collective / Duke Garwood / Brigyn / Wolf People / Threatmantics / Cats In Paris / Radio Luxemburg / City Reverb / 9 Bach / James Yorkston / Laura Marling / Los Campesinos! / Babel / Truckers Of Husk /The Saffron Sect / O'Death / Bowerbirds / Ox.Eagle.Lion.Man / The Owl Service / Pete Molinari / Barbarossa / Nic Dawson Kelly / Pete Greenwood / The Gentle Good / Agnostic Mountain Gospel Choir / Prince Rama of Ayodhya

New Additions
Fuck Buttons / Make Model / Grand Archives / Little Wings / Simone White / Lou Rhodes / Babel / The War on Drugs / Emmy The Great / Cate Le Bon / Mumford and Son / Burning Leaves / Rod Thomas / Mary Hampton / Essie Jain / Jacob Golden / Pamela Wyn Shannon / Jane Weaver

The Rumpus Room
Featuring DJ sets from Sean Rowley, Heavenly Jukebox, Eddy Temple-Morris, Time and Space Machine feat. Richard Norris, Cherrystones, Justin Spear (Freakzone) and Pete Fowler, B-Music feat. Andy Votel, David Holmes, Chris Geddes (Belle and Sebastian) and Dom Thomas plus loads more.

Christy Moore

"Christy Moore" (aka "The Black Album") 1976





















Donal Lunny—Producer, Bouzouki, Guitar and Vocals
Jimmy Faulkner—Guitars
Kevin Burke—Fiddle
Barney McKenna—Banjo
Declan McNeilis—Guitar
Andy Irvine—Mandolin
Lord Eric & Geoff Whittaker—African Drums

Pat Morley—Engineer Colm Flynn, Mart Walsh & Michael O'Domhnaill
Recorded at Dublin Sound Studios
Nancy Spain was produced by Nicky Ryan in Eamon Andrews Studios

Side One:
Dalesman’s Litany
Galtee Mountain Boy
Little Musgrave
Wave to Shore
Nancy Spain

Side Two:
Lannigan’s Ball
Johnny Jump up
Scariff Martyrs
Limerick Race
Boys of Mullabawn
Sacco and Vanzetti