An Announcement

hello there,

upcoming posts are from Gonzo and Peter,
but Lizardson have no time to update the blog.

please wait till tomorrow...

The Yetties

Fifty Stone Of Loveliness (1969)


Acorn CF 203

Tracks:
01 - Overture - Bound For Baltimore
02 - To Hear The Nightingale Sing
03 - The Maypole
04 - The Hunt
05 - Rounding The Horn
06 - Farming Contractor's Song
07 - I Touched Her On The Toe
08 - Outward Bound
09 - Instrumental Medley
10 - The Leaf
11 - The Nightingale
Quality: VBR 158kbps

DL
pass: highqualitymp3

Pop Song

The Cars - Let's Go (1979)


















DL

by Gonzo

Another Old Vinyl folk album from my collection,
this one is on the Broadside label from 1977.


Martyn Wyndham-Read and the High Level Ranters
"English Sporting Ballads" 1977





















It's theme is as the title suggests a collection of sport related songs covering Wrestling, Racing, Cock fighting, Hare Coursing, Fox Hunting and Bull Baiting.
Many of these pastimes are now illegal in the so called civilised world, but still go on in places and often in secret.
The Songs are sung and played by a collection of well known British Artists that have for years formed the foundation of many groups, representing some of the finest in their art.

The High Level Ranters [1-2, 5, 8-9, 11]:
Alistair Anderson, English concertina,
Tom Gilfellon, vocals [1, 9, 11], guitar,
Johnny Handle, vocals [2, 5, 8], accordion,
Colin Ross, Northumbrian small-pipes, fiddle, whistle, mouth organ, Jews harp

Martyn Wyndham-Read, vocals, guitar [3-4, 6-7, 10, 12]
with Nic Jones, fiddle, guitar, mouth organ, dulcimer

As has become the normal procedure here, this nice clean vinyl was ripped using a 24 bit digital recorder, edited with various programs: CoolEdit, Sound Forge to remove surface noise, Rumble and clicks, finally converted to MP3's with LAME 3.92 using the highQ VBR setting.
This is a full spectrum, stereo rip limited only by the final sampling rate of 44.1kHz to be CD compatible.

These tracks are NOT normalised, they are at the original dynamic range of the LP, as decided by the mastering engineer, iPod users may need to turn up the volume a bit.
You may already have a copy of this as it was previously uploaded to another blog, however I recommend this copy, it is far better than the previous one.


DL (incl. full artworks)

Obtain CURRENT password from:
gonzorip@googlemail.com

Alex Campbell

Best Loved Songs Of Bonnie Scotland (1963)


Fidelity FID 2169 LP

Tracks:
00 - Introductions
01 - The Nut Brown Maiden
02 - Wi' a Hundred Pipers
03 - The Skye Boat Song
04 - The Bluebells of Scotland
05 - Ye Banks and Braes
06 - Johnny Cope
07 - Come O'er the Stream, Charlie
08 - Will Ye No Come Back Again
09 - The Dundee Weaver
10 - Twa Heids Are Better Than Yin
11 - The Piper O' Dundee
12 - The Land O' the Leal
13 - Gin I Were Where the Gaudie Rins
14 - The Wark O' the Weavers
15 - Leezie Lindsay
16 - The Wee Cooper O' Fife
Quality: 192 kbps

DL
pass: highqualitymp3

by Peter

Freelance Band - Rough 'N Tough (1980)

The Free Lance Band was a project of Philip Kroonenberg and several member of Dutch blues bands like Q65 (Frank Nuyens) Livin Blues (John LaGrand, Cuby + Blizzards)) and Aad van Pijlen.

Laterer in the band: Nico Christiaansen, Willem van der Wal and Henno Eizenga

The band release their first album Rough 'n Tough in 1980. Although the album contains a kind of acoustic blues it was Dutch guitar legend Eelco Gelling (Cuby & the Blizzards, Golden Earring) who added some fine electric slide guitar to the album. (Gelling was asked by John Mayall in 1968 to replace Mick Taylor in the Blues breakers but he refused, not willing to leave Holland) But even with legend Gelling and John LaGrand on the harmonica, the album was totally unnoticed by almost anyone.

I got Rough 'n Tough through the local public library and God only know how they got it.It took me 3 years to find the lp itself.

DL


Freelance Band - Midnight Power House (1985)

In 1985 finally a second LP, Midnight Powerhouse, was released and this one got a little more publicity but didn't sell much either. At that time I saw the band once playing in a blues club in Amsterdam Holland. That night I spoke to Philip Kroonenberg who told me there were no plans to re-release the Rough & Tough album and that in fact he himself didn't even have a copy. I offered him one of my two copies but for whatever reason it never happened.

DL


Both albums are now available through this blog. The country-blues-folk-rock (people need a style name huh....) are worth listening. It's one of those gems the Dutch music scene has produced. Both albums are LP rips as the records were never released on CD and the LP's.... well.. if you have them you're a lucky man/woman


Peter


Ailis,
Peter,
Thanks for your understanding.
I really appreciate it....

Fotheringay

Live At The Plumpton Festival 1970



Line-up:
Sandy Denny - guitar, piano
Trevor Lucas - guitar
Jerry Donahue - guitar
Pat Donaldson - bass
Gerry Conway - drums

Tracks:
01 - Eppy Moray
02 - The Sea
03 - Ballad Of Ned Kelly
04 - Two Weeks Last Summer
05 - The Way I Feel
06 - John The Gun
Quality: 192 kbps

DL
pass: highqualitymp3

by Peter

Son Vol is a really good live band. Here are two live recordings available on the net as podcasts.

The Washington show is an amazing show and shows in full the quality of Son Volt. The Philadelphia afternoon set was broadcasted at the time their last album The Search was released. Have fun..

Son Volt, Live in Concert : NPR Music
Roots Rock from Son Volt : NPR Music


or you can download them as a show:
9:30 Club, Washington DC (Oct 21, 2005)
WXPN World Cafe, Philadelphia (Feb 23, 2007)


And an additional extra track ..
"Baby Blue" from Georgia Theater, Athens, GA (Feb 1, 2006)


Peter

To Keep Goin'

From now,
Time Has Told Me provides only OUT OF PRINT & RARITIES.

Please understand our situation...

Best

Lizardson

by Peter

There are artist who deserve more then then they get. Jay Farrar is such an artist. With Uncle Tupelo he (with Jeff Tweedy) laid down the base of the what would become "No Depression" movement. Interestingly, Jeff Tweedy would record 2 albums with Billy Bragg with unfinished work of Woody Guthrie, talk about no depression! Both thopse Mermaid albums are worth a listen too but that's for another time.

After Farrar and Tweedy separated ways, Farrar started Son Volt. I saw them for a hand full of people playing in the upper room in the Amsterdam Paradiso doing an amazing set. Son Volt had just released the first cd: Trace and it was magic. Some would call everything after "more of the same" but I loved it. When I was cycling in China (see my http://www.bicycle-adventures.com/ website) I had Trace and Straightaways with me and I played it from a to z backwards, forwards and from any direction imaginable. Caryatid Easy alone is worth all the money you spend on the cd. Tear Stained Eye is probably my favorite Son Volt song and one I can play 10-20 times in a row...

Farrar disbanded Son Volt for awhile, did a good solo album and an amazingly good project called Gob Iron: Death Songs for the Living. I admit the title doesn't sound much uplifting but the music is very much Jay Farrar, beautiful, listen only to Death Is Only A Dream or the tearjerker Little Girl And Dreadful Snake.


Gob Iron - Death Songs for the Living (2006)





















In 2007 Son Volt released The Search. Through (I think) Itunes a selection of bonus tracks were released. These bonus tracks are here available as The Seach Bonus Disc.

Son Volt - Acoustic Radio Sessions '95-'96: A Truer Sound blog
Son Volt - EP Collection: A Truer Sound blog
Son Volt - B-Sides & Rarites: A Truer Sound blog


Peter

by Gonzo

Roy Bailey - Hard Times (1982)





















Gonzo said...
Here is one to help steer the genre gently back to FOLK, not that there is anything wrong with the recent floods of rock, bluegrass, country etc.

This one is rare example from Roy Bailey, up to now very hard to find a complete rip.

Hard Times, VBR MP3, with cover scans and complete song listings

DL

For password: Send an email to:-
gonzorip@googlemail.com

(No, I am NOT collecting email addresses to spam)

Blogger DMCA takedown notification‏

Blogger has been notified, according to the terms of the Digital Millennium Copyright Act (DMCA), that certain content in your blog infringes upon the copyrights of others. The URL(s) of the allegedly infringing post(s) may be found at the end of this message.

The notice that we received from the International Federation of the Phonographic Industry (IFPI) and the record companies it represents, with any personally identifying information removed, will be posted online by a service called Chilling Effects at http://www.chillingeffects.org. We do this in accordance with the Digital Millennium Copyright Act (DMCA). Please note that it may take Chilling Effects up to several weeks to post the notice online at the link provided.

The IFPI is a trade association that represents over 1,400 major and independent record companies in the US and internationally who create, manufacture and distribute sound recordings (the "IFPI Represented Companies").

The DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. We are in the process of removing from our servers the links that allegedly infringe upon the copyrights of others. If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. See http://www.educause.edu/Browse/645?PARENT_ID=254 for more information about the DMCA, and see http://www.google.com/dmca.html for the process that Blogger requires in order to make a DMCA complaint.

Blogger can reinstate these posts upon receipt of a counter notification pursuant to sections 512(g)(2) and 3) of the DMCA. For more information about the requirements of a counter notification and a link to a sample counter notification, see http://www.google.com/dmca.html#counter.

Please note that repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account. If you have legal questions about this notification, you should retain your own legal counsel. If you have any other questions about this notification, please let us know.

Sincerely,

The Blogger Team

Affected URLs:
http://time-has-told-me.blogspot.com/2008/11/here-another-great-collection-for-our.html

The Doors

2 famous shows in rare source...

P.N.E. Coliseum, Vancouver (Jun 6, 1970)
2nd audience source















01 Roadhouse Blues
02 Alabama Song
03 Back Door Man
04 Five To One
05 When The Music's Over
06 Love Me Two Times
07 Little Red Rooster
08 Money
09 Rock Me
10 Who Do You Love
11 Petition The Lord With Prayer
12 Light My Fire
13 The End

not from bootleg CD...

DL


Isle of Wight Festival (Aug 29, 1970)
2nd audience source





















01 Back Door Man
02 Break On Through
03 When The Music's Over
04 Ship Of Fools
05 Light My Fire
06 The End

not from bootleg CD...

DL


to "a" doors fan,
i don't post these shows in lossless format like Hollywood Bowl '68 (audience rec).
you know the reason...

by Jim Noell

Mark-Almond - The Last And Alive


Jim,
sorry but I may miss published your other comments for Mark-Almond post.
if you have more, please leave a comment again.

sorry for inconvenience...

Lizz

by Peter

Jim Lauderdale

Jim Lauderdale is a singer/songwriter with his roots firmly in the country music. However, to call him a country artist would do him short. Lauderdale uses elements of country, folk, blues, honky tonk, rock etc. He might not be a household name for many and didn't sell many records but he is a highly respected songwriter with people as Emmylou Harris (with whom he toured and it is why I know him as I saw him opening for Emmylou Harris in 1990), Vince Gill and George Jones.


Lauderdal got recognition after recording a track for the "A town south of Bakersfield" compilation.

He got a contract and got in touch with people like Dwight Yoakam and Lucinda Williams.

I Feel Like Singing Today and Lost in the Lonesome Pines are recorded with legend Ralph Stanley full of traditional bluegrass. Bluegraas is what the title suggest... another bluegrass album while Honey Songs is his last and excellent album, released this year. It contains more country and less bluegrass. In case you need confirmation how good Lauderdale is, check the musicians on his last album: band with more than a few legends on board -- guitarist James Burton, drummer Ron Tutt, Gary Tallent from Springsteens E Street Band bass, plus legendary session men Glen D Hardin (piano) and Al Perkins (pedal steel). Backing vocalists includiEmmylou Harris , Buddy Miller, Patty Lovelss and Kelly Hogan. No need to say more.

Jim Lauderdale has recorded 17 albums. Here are a few:


Jim Lauderdale & Ralph Stanley - I Feel Like Singing Today (1999)





















North Carolina native Jim Lauderdale is well-known in Nashville as a proficient songwriter and an excellent performer in his own right. This album finds Lauderdale taking a shot a bluegrass music. He even wrote or co-authored nine of the 15 tunes on the CD, including two of them with former Grateful Dead songwriter Robert Hunter. He also had the good sense to throw in with Ralph Stanley & the Clinch Mountain Boys, one of the premier bluegrass/mountain music bands in the world. This is a unique project for Lauderdale. The fact that he succeeds so thoroughly is due not only to his eminent songwriting chops but also because he has obviously learned his bluegrass lessons very well over the years. Given that anyone who can sing will sound like a veteran bluegrasser if they're singing with Ralph Stanley, it's still remarkable how convincingly Lauderdale has slipped into this genre. ~ Philip Van Vleck, All Music Guide



Jim Lauderdale & Ralph Stanley - Lost in the Lonesome Pines (2002)





















Songwriter and vocalist Jim Lauderdale's second pairing with bluegrass legend Ralph Stanley retains much of the vitality of 1999's I Feel Like Singing Today, and if anything, the duo seems to have become more comfortable working together on Lost in the Lonesome Pines. One can only imagine the jitters Lauderdale must have felt working in the studio with one of American music's true treasures, so the hints of apprehension revealed in the cracks of the earlier album have been brushed away, and the two sound like old pals sitting on a sunlit porch trading songs and licks. The gruff sentimentality in Lauderdale's lead vocals provide the perfect canvas for Ralph Stanley's high lonesome tenor to color, echoing the close harmonies of the Stanley Brothers from 50 years earlier. In many ways, this album is reminiscent of the spectacular collaboration between Steve Earle and Del McCoury on The Mountain; both albums paired a respected maverick singer/songwriter with a legendary bluegrass figure, and the results on both are not quite bluegrass and not quite contemporary folk, but both feel just about right. ~ Zac Johnson, All Music Guide


Jim Lauderdale - Bluegrass (2006)





















Jim Lauderdale is both eclectic and prolific, working steadfastly within the Americana/ roots field, recording and releasing a slew of projects with everyone from bluegrass legend Ralph Stanley to jam band Donna the Buffalo. In his latest incarnation, he has simultaneously released two projects, one, Country Super Hits, Vol. 1, delving into classic honky tonk, the other, Bluegrass, delving deeply into country music's most rustic subgenre. One might guess that with a title like Bluegrass Lauderdale intends to reinterpret the classics from yesteryear, but that isn't the case. Instead, he has written and co-written new songs within the tradition. As his former project with Stanley (I Feel Like Singing Today) suggests, Lauderdale is drawn to traditional bluegrass, though his song structures, as with "I Shouldn't Want You So Bad," expand beyond the genre's conservative past. The acoustic guitar, dobro, mandolin, banjo, and fiddle arrangements, and Lauderdale's country-flavored vocals, reinforce the rootsy sound. The solid harmony (nicely done on "Who's Leaving Who") is icing on this old-fashioned cake. The downside to the collection is that there is already a great deal of bluegrass on the market, and while it's always fun to hear an outsider's take on the genre, it's hard for Lauderdale to match the vocals of a singer like Karl Shiftlett or put together a band as hot as Del McCoury's. In other words, as good as these songs sound, they add very little to the tradition. But alternative country fans will appreciate Lauderdale's refresher course on Bluegrass, nonetheless, and more than likely want to pick up the Country Super Hits, Vol. 1 collection too. ~ Ronnie D. Lankford, Jr., All Music Guide


Jim Lauderdale & The Dream Players - Honey Songs (2008)



















The second in a string of rapid-fire releases from Nashville songwriting guru Jim Lauderdale, Jim Lauderdale and the Dream Players' Honey Songs is a gathering of mythical music proportions. For Honey Songs, Lauderdale pulled together big name friends and session royalty for this album full of rambling, soon-to-be country classics. Legendary Elvis Presley guitarist James Burton is featured on lead guitar along with Springsteen's E Street Band bassist, Gary Tallent. Flying Burrito Brother Al Perkins lays down timeless pedal and lap steel alongside the piano of superstar sideman Glen D. Hardin (Merle Haggard, Roy Orbison, Elvis Presley, Dean Martin). Holding down the backbeat for the Dream Players, drummer Ron Tutt has to be the only man with the distinction of playing with both Elvises - Presley and Costello. The big names don't end with the instruments, backing vocalists include Emmylou Harris ("I'm Almost Back"), Patty Loveless ("Hittin' It Hard"), Buddy Miller and Kelly Hogan.
Peter

Bran (Pre Pererin)

Bran - Ail Ddechra (1975)
















SAIN 1038M

Bran was a Welsh singing prog band in the early part of the 1980's. After their 3rd release, the band changed their name into the Welsh folk-rock band "Pererin". (So this is a complete different band from the Argentinian one, posted earlier)

Musicians:
John Gwyn - Guitars, Vocals
Nest Howells - Vocals, Keyboards
Gwyndaf Roberts - Guitar
Dafydd Meirion - Drums, Flute

Tracks:
01 - Y Ddor Ddig (3:30)
02 - F'Annwyl Un (3:01)
03 - Y Gwylwyr (3:00)
04 - Wrth Y Ffynnon (4:19)
05 - Myfyrdod (2:27)
06 - Rhodiaf Hen (2:19)
07 - Lwybrau (2:44)
08 - Mor Braf (2:54)
09 - Caledfwich (3:03)
10 - Blodyn (3:45)
11 - Y Crewr (3:36)
12 - Breud Dwyd (4:04)

Quality: 224 kbps

DL
pass: highqualitymp3

Bran (Pre Pererin)

Hedfan (1976)


SAIN 1070M

Tracks:
01 - Nodau Hud
02 - Rhosyn Gwyllt
03 - Egwyl
04 - Maer mynydo acw
05 - Dyddiau Dwys
06 - Ar Glem
07 - Hapus awr
08 - Hon yw dy gan
09 - Miraeth

Quality: 192 kbps

DL
pass: highqualitymp3

YouTube 720p HD

you already know "&fmt=18"
now add "&fmt=22" to the end of URL

ex
http://youtube.com/watch?v=5hZLrnQWZSU&fmt=22

(this is NOT for ALL videos, need to uploaded in 720p HD)

by Peter

Bob Carpenter, Bruce Robinson and Bobby Earl Smith are not names to be found back in everybody's record collection.


Bob Carpenter - Silent Passage (1975)
recorded between 1971-1974

Canadian singer-songwriter, Bob Carpenter's first and only album, produced by Brian Ahern and recorded between 1971 and 1974 buy not released until 1984 because of contractual problems. Anne Murray and Emmylou Harris supply Background vocals. It's a decent country rock album.

Allmusic.com mentions a "Bob Carpenter" but it's unclear if this is the same guy as of this album.


Bobby Earl Smith - Turn Row Blues (2005)
recorded in February and April of 2003





















I don't know more about Smith then what his website mentions but considering James Burton playing on the album, you should have an idea about the style (country) and the quality...

http://www.bobbyearlsmith.com/


Bruce Robison - Eleven Stories (2006)



















For all you people who love the Texas singer songwriters please pay attention! Bruce Robison is one of the lesser know names. Like always it goes like this: "unknown makes unwanted" but it is not always "not good" too. Bruce Robison is such a folk artist. I have only this album of him and it's a very pleasant album. Robison has released 6 albums according to Allmusic.com


Peter

by Eliseo Mauas Pinto

Bran - Awen (Argentina, 1998)
A musical perspective from Celtic Roots



















Hi Lizardson and all bloggers!
This is Eliseo Mauas Pinto sending you warm greetings from Argentina on behalf of BRAN!

Just in the 10th Anniversary of it's 1st edition, it is a pleasure for me to share with all of you this sampler of the "Awen" album which I recorded under the BRAN line up in 79 festive hours between Sept. 22nd of 1997 and April 2nd 1998.
This post includes only the first 8 tracks...the zip file encloses CD Notes Lyrics Artwork This is the First Digital Recording ever done in Argentina featuring Celtic Harp. Other traditional instruments were also included such as whistles, pipes, violin, mandola, mountain dulcimer and bodhran, amongst others.
The title of the Album is related to it's opening tune, revealed to me on whistle during a session with BRAN's co-founder and guitar player Xandru Reguera, tune which in fact was pre-existent since we discovered some time after a lost take of it recorded sometime in the past by him! Awen is a welsh word related to the trance of a bard during the creation act.
Let me comment to you in brief that in the early '90's, the popular Buenos Aires based 'Poitín' band, dissolved to give birth to new bands. One of these was 'Lenda Gwyn' which after a short period gave birth to 'Duir' during the autumn Celtic New Year celebration of Samhain in 1993, proceeding to introduce new repertoire over four years of concert appearances. As one of it's leading members I left ´Duir´on Samhain '97 and began work on a solo harp project, soon after 'Duir' dissolved. That project grew in scope to become a new band: 'Bran'.
As members of 'Bran' we were drawn together by a mutual love for a style we came to describe as ´musical perspective from Celtic roots'. The band began to weave together old Celtic tunes and new tune of their own, inspired by the feelings and views of the modern Celts, always trying to explore new directions in folk music and the shared Celtic cultural heritage that spans from the British Isles to South America.
The band was joined by several other musicians to enrich the whole project and make Bran´s first album a reality. Part of the concept was to record the first Argentine CD featuring the Gaelic harp as one of it´s lead instruments. Through their arrangements, the band tried to unveil and reflect both the marvel and tragedy of a still-vivid Celtic history. This is music born of Argentinian soil that tries to capture some of the symbollism of clan marches, airs, dances, and songs of the scattered Celtic peoples. The band´s sound combines the harmonic dimension of the Gaelic harp, the rythmic pulse of assorted percussions, the weaving counterpoint of fretted instruments, the lilting melodies of fiddle and flutes, plus the undeniable Celtic feeling of the songs. Tracks of the album appeared also in the CELTICA Magazine Sampler.Throughout the years we were able to spread BRAN's music in foreign countries such as Chile, Uruguay, United States, Spain, Ireland,and United Kingdom.
Flowing with the living currents of our migratory ancient forbears, we take part in a musical and symbolic voyage.
The music of 'Bran' is like a 'round trip' carryingto 'another dimension' of our lives and back again.
We hope dew to your blog it will trip farther reaching the four corners of the world!...

The Original 1998 Line Up:
Mauricio Ceballos: flutes (irish & others),jaw harp,vocals.
Sergio Gonzalez: mandolin,mandola,bouzouki, flute, whistles, bodhran
Eliseo Mauas Pinto: Gaelic harps, whistles, percussion, harmonica, lead vocals.
Xandru Reguera: electric and acoustic guitars, fretted dulcimer , cittern
Iñaki Antolin: acoustic and digital percussions, flutes, harmonica.

Best regards to all!

DL (reuped)
pass: branawen.blogspot.com

Link to Mark-Almond II

peterandpol blog

by Franco

Mark-Almond











Mark–Almond was an English band of the late 1960s and early 1970s, who worked in the territory between rock and jazz. In 1970 Jon Mark and Johnny Almond formed Mark-Almond (also occasionally referred to as The Mark-Almond Band). The melancholy tones of saxophonist Almond were an integral part of the group's sound, and Almond frequently played flutes as well, including the rarely-heard bass flute. Characterized by a blend of blues and jazz riffs, latin beats, and a mellow rock aesthetic, and in contrast the heavier guitar-driven rock of his contemporaries, composer and band leader Mark worked at producing warm and melodic works.

Early history
Jon Mark and Mick Jagger co-produced Marianne Faithfull's early recordings, for which Mark played and toured with Faithfull on acoustic guitar. He also toured with folksinger Alun Davies (later of Cat Stevens), and was a bandmate of Davies in the short-lived Sweet Thursday.
Johnny Almond had previously played in the Alan Price Set and had recorded a 1970 solo record for Deram Records, Johnny Almond's Music Machine, as well as performing considerable session work in England.
The two began playing together in John Mayall's popular Bluesbreakers band in 1969, and can be heard on the records The Turning Point and Empty Rooms. From that experience they decided to form Mark-Almond.

Mark-Almond
Mark-Almond's first two albums, Mark-Almond (1971) and Mark-Almond II (1972) were recorded for Bob Krasnow's Blue Thumb label, and were noted for their embossed envelope-style album covers. The group then recorded two albums for Columbia Records, Rising (1972) and the live Mark-Almond 73 (1973), by which time the group's members had grown to seven. The liltingly arranged but thematically depressing "What Am I Living For" from 73 gained the group the most U.S. radio airplay they would get, but nevertheless they disbanded later that year.
Jon Mark released a solo record for Columbia Song For A Friend in 1975. He and Almond reunited in 1975 and released To the Heart on ABC Records in 1976, which featured noted drummer Billy Cobham. Other notable musicians who have recorded or toured with Mark-Almond include drummer Dannie Richmond, violinst Greg Bloch, keyboardist Tommy Eyre and bassist Roger Sutton. Eyre and Sutton later teamed in Riff Raff. A&M Records signed the duo in 1978 and released Other Peoples Rooms, but the record did not sell as well as earlier releases. A number of European releases followed, but Mark-Almond disbanded again in the early 1980s. Mark-Almond reunited again in 1996 for a CD called Night Music featuring keyboardist Mike Nock and others.

Later history
Jon Mark eventually moved to New Zealand in the mid-1980s and has released a number of successful solo New Age music recordings on his White Cloud music label, as well as collaborating with other artists on traditional Celtic and folk recordings and producing other artists. A release of Tibetan Monk chants Mark recorded and produced with his wife Thelma Burchell won a Grammy award in 2004. Johnny Almond at last report was living in the San Francisco Bay area.

Ian A. Anderson

A Vulture Is Not a Bird You Can Trust @ psych_folk

The Doors

Break On Through (DVDrip)
audio source from Isle Of Wight Festival 1970


















DL

Nick Drake

River Man















DL

Pentangle

Captured Live (1972)





















DL 1
DL 2

Kevin Ayers & The Whole World

May I? (The Old Grey Whistle Test, 1972)















DL

by Peter

In the 1980's and 1990's Ed Kuepper kept producing albums like if he was baking breads. Two albums a year seems to be just the tip of the iceberg. The fans knew he had more material. Some of that was released as mailorder only. "I Was a Mail Order Bridegroom" was one of those released that way. See another post I made earlier.

Exotic Mail Order Moods is another of those mailorder only albums, only 3000 released. It's a strange albums with a sort of folk rock songs and weird electronics. As the fans already knew, Kuepper has a love for covering other peoples work. On this album it's no different. Two version of Stagolee are here available next to an amazing version of Sam Hall (much better, darker then for example Johnny Cash' version).

Kuepper goes back to his childhood, I guess with David Bowie's The Man Who Sold The World but looks in his own backyard (Australia) too: Nick Cave's Cindy.

Probably the best song on the album is When I First Came To This Land, remember Kuepper is from German background. (Kuepper would later cover ozzie country star Slim Dusty's Camooweal in a spectacular hard rocking Neil Young & Crazy Horse version -play VERY loud.... which I uploaded as a single song, it was released as a single and on the Reflections of a Golden Eye compilation)

Lit Up By Sexual Gymnastics The Like Of Which Are Not Encountered Outside Of Plain Wrappers paved the road for his electronic albums Blue House and Starstruck (another mailorder only original that seemed to end up in stores later on).

It's really too bad Ed Kuepper has not released anything after 2000's Smile... Pacific.... but he seems to do some shows every once in a while and last year a heavy triple cd was released with an overview of his work though contained no extra tracks.

Anyway, have fun with this even for Ed Kuepper quite strange album.


Ed Kuepper - Exotic Mail Order Moods (1995)












Peter

by Franco

Eric Andersen - Waves (2005)





















The folk music movement centered in New York's Greenwich Village in the early 1960s, although it was steeped in traditional repertoire, it quickly focused on new, original songs written by the performers themselves, songs that explored mature personal concerns and commented on the social and political issues of the day. Eric Andersen was a part of that movement while it was happening, so his "Great American Song Series," the second volume of which is called Waves (following the first volume, 2004's The Street Was Always There) represents a participant interpreting the compositions of his peers. Unlike, say, Rod Stewart recording his Great American Songbook series of pre-rock standards with little sense of what those songs were about, this is more what you might get if, for example, Hoagy Carmichael had made an album of the songs of Cole Porter, Irving Berlin, and George Gershwin. In fact, that comparison is particularly apt because Carmichael, though of the same generation as those songwriters, was actually just a little younger, which is also true of Andersen, who was born after, but within a few years, of every songwriter he covers on this album except John Sebastian (and Sebastian is less than a year younger). Andersen may have been closest to Phil Ochs personally among these musical friends, but he did not share Ochs' focus on politics, which tended to make his interpretations of songs like "I Ain't Marching Anymore" on The Street Was Always There less than convincing. Here, he sticks to Ochs' sad, lovely, and apolitical "Changes," to which he is much more suited. But he shows the greatest affinity for moody, introspective singer/songwriters like Tim Buckley ("Once I Was") and Fred Neil ("I've Got a Secret"), recalling their phrasing while adding his own style as a gloss. (Similarly, the Neil and Tim Hardin songs provided the best moments on The Street Was Always There.) Andersen himself probably wouldn't claim to have improved upon the original artists' versions of these songs, but covering them provides a different perspective, brings them up to date, and may help rescue some of them from obscurity. "If Eric has done his job," writes annotator Robbie Woliver, "I hope you will trek down to your local record store ...." As the two albums appear to have been recorded at the same sessions, this is probably the end of Andersen's musical reminiscence, and he seems to have covered the obvious bases. Still, there's more where these came from, and there are still a few people (Richie Havens and Mark Spoelstra, to name two) so far unrepresented, so a third volume would not be amiss. ~ William Ruhlmann, All Music Guide



Eric Andersen - Blue Rain (2007)





















Eric Andersen got his start as a singer/songwriter just about the time the folk revival went bust in the mid-'60s, when the phrase "singer/songwriter" wasn't familiar, as it is today. Now, some 40 years later, Andersen continues to follow his muse, which includes a deep investment in the blues on the live Blue Rain. Andersen's voice seems to have grown richer and has developed more texture over the span of time, something that rarely happens to rock singers; as a result, his readings of familiar lyrics carry more weight. He kicks off the set with a slow, menacing version of Fred Neil's "The Other Side of This Life." For folk fans, the song is overly familiar, but Andersen's vocal provides a darker underpinning than the usual, adding a new dimension to this well-worn classic. This and songs like "The Blues Keep Fallin' Like the Rain" might even leave one to wonder if Andersen is channeling Neil. To sweeten the blues mix, Andersen is joined by a solid band that never overplays, giving Blue Rain a simple, no-frills approach. There's more upbeat stuff, with Andersen exchanging his guitar for keyboards, but even here, certain titles -- "Don't It Make You Wanna Sing the Blues" -- can't get away from the album's overarching mood. Blue Rain is a good place to reacquaint oneself with a fine musician and singer. ~ Ronnie D. Lankford, Jr., All Music Guide

The Doors

PBS Studios "Critique" Session (Apr. 28, 1969)
Broadcasted version, include panel discussion

















DL 1
DL 2
DL 3

got this video from my old friend mojorisin about 7 years before.
where is he and other companies...

mojorisin
JIMyeahahahah
JackBarrison
mandarino
isabelle
eindloos
gezmorrison
Sence
etc. etc...

by Bjørn

Have I got a treat for you!

Slinkombas was one of Norway's first folk bands. They released their self-titled debut album in 1979, for which they won Spellemannsprisen (Norwegian Grammy).

Their second album, ...og bas igjen, was released in 1982. Since then the members have had successfull solo careers. The singer Kirsten Bråten Berg is now recognised as one of Norway's greatest folk singers. Hallvard T. Bjørgum, who plays the eight-string Hardanger fiddle, is one of Norway's leading fiddlers.

These are my own rips, and they're not available elsewhere on the web, but the albums have recently been reissued on CD, so buy 'em if you like 'em! They are true classics of Norwegian folk.

Front cover artwork included. 192 kpbs MP3.


Slinkombas - Slinkombas (1979)





















DL


Slinkombas - ...og bas igjen (1982)





















DL

by Nel

Hi Lizzardson,
I saw your request.
As a "Thank you" for your all music i loaded from your side:


Foggy - Simple Gifts (1972)





















Danny Clarke and Lennie Wesley formed this soft folk duo in the late 60s, initially called Foggy Dew-O, but later shortening the name to just Foggy. Brian Willoughby was a member briefly in 1973. On Born To Take The Highway they covered four Strawbs songs. Dave Cousins and Tony Hooper produced and various Strawbs played on their album, Simple Gifts. These days Granville Clark is a watercolour artist.

01.Simple Gifts
02.Baby Day
03.She's Far Away
04.My Song
05.Let It Be
06.Madelaine
07.I Wasn't Born To Follow
08.Kitty Starr
09.Was It Only Yesterday
10.How Come The Sun
11.Nobody Knows
12.The Very First Time
13.Take Your Time
14.Old Moot Hall
15.Simple Gifts

Foggy page on Granville Clark's site
Main Granville Clarke site

Greez

Nel


Thank you so much : )
Really good album!!
I'm so happy to have many friends supporting me and the blog.

A few requests

If you have following...

Foggy - Simple Gifts (1972)
Richmond - Frightened (1973)


thanks in advance
Lizz

by Franco

Eric Andersen - Beat Avenue (2003)





















Beat Avenue is 60-year-old Eric Andersen's most ambitious album, a 90-minute tour de force that encapsulates his musical and lyrical concerns over a lifetime. The music is often-dense rock dominated by a rhythm section led by guitarist Eric Bazilian of the Hooters. Equally dense is Andersen's highly poetic versifying, which he sings in his gruff baritone. Andersen is world-weary in these songs, roaming the globe haunted by the past and fearful of the future. He confesses to a reckless youth, but acknowledges that he can no longer afford such license. "What once was Charles Bukowski," he sings in "Before Everything Changed," referring to the free-living beat poet, "is now Emily Dickinson." The ballads and love songs "Song of You and Me," "Shape of a Broken Heart," "Under the Shadows," and "Still Looking for You" are rendered tenderly, but they are also full of regret and loss, past-tense reflections that recount memories of love long gone. The first disc of Beat Avenue is complete and formidable unto itself, but there is a second CD consisting of two lengthy songs. The title track, running more than 26 minutes, is a beat poem with jazzy accompaniment by Robert Aaron in which Andersen recalls a poetry reading he attended as a 20-year-old on the day President Kennedy was assassinated. Beat writers such as Allen Ginsberg and Jack Kerouac come up in his reminiscence, along with friends and fellow musicians, as he conjures up the sound and feel of the early '60s in San Francisco and pinpoints a moment when history changed, revealing how it felt for one young observer. This isn't folk music of the type with which Andersen is generally associated, and it can be demanding of the listener, but it is also a compelling transformation of memory into art song. ~ William Ruhlmann, All Music Guide


Eric Andersen - The Street Was Always There (2004)





















This is the first of a projected two-volume set by singer/songwriter Eric Andersen showcasing the songs of his youth, by some of its best-known as well as all-but-forgotten songwriters from the New York Greenwich Village scene of the early- to mid-'60s. There are modern versions of classics, like Buffy Sainte-Marie's "Universal Soldier," Bob Dylan's "A Hard Rain's Gonna Fall," Tim Hardin's "Misty Roses," Fred Neil's "The Other Side of This Life," and Phil Ochs' "I Ain't Marching Anymore." There are tunes that are now considered obscure, too, such as Paul Siebel's "Louise," David Blue's "These 23 Days in September," Patrick Sky's "Many a Mile," Peter La Farge's "Johnny Half-Breed." There's also a pair of originals, in the title track and "Waves of Freedom." Interestingly, in spite of all this company, the most convincing tune on the set is "Waves of Freedom" by Andersen himself. ~ Thom Jurek, All Music Guide


Franco

by Chrille

David Ackles - David Ackles (1968)


















Ackles' self-titled debut LP introduced a singer/songwriter quirky even by the standards of Elektra records, possibly the most adventurous independent label of the 1960s. Ackles was a pretty anomalous artist of his time, with a low, grumbling voice that was uncommercial but expressive, and similar to Randy Newman's. As a composer, Ackles bore some similarities to Newman, as well in his downbeat eccentricity and mixture of elements from pop, folk, and theatrical music. All the same, this impressive maiden outing stands on its own, though comparisons to Brecht/Weill (in the songwriting and occasional circus-like tunes) and Tim Buckley (in the arrangements and phrasing) hold to some degree too. This is certainly his most rock-oriented record, courtesy of the typically tasteful, imaginative Elektra arrangements, particularly with Michael Fonfara's celestial organ and the ethereal guitar riffs (which, again, recall those heard on Buckley's early albums). As a songwriter, Ackles was among the darkest princes of his time, though the lyrics were delivered with a subdued resignation that kept them from crossing the line to hysterical gloom. "The Road to Cairo," covered by Julie Driscoll, Brian Auger, and the Trinity, is probably the most famous song here. But the others are quality efforts as well, whether the epics tell of religious trial, as in "His Name Is Andrew," or the mini-horror tale of revisiting an old home in "Sonny Come Home." ~ Richie Unterberger, All Music Guide


David Ackles - Subway To The Country (1969)




















The late songwriter David Ackles used his third album to further separate himself from the California tunesmith Cosa Nostra. Ackles was always a horse of a different color anyway. While comparisons to Randy Newman are natural and, in places even valid, they fall short of the mark. Ackles' music is much darker, already deeply entrenched in the American Gothic his fourth album would be named after. While the post-Tin Pan Alley stylings of Newman are evident here, Ackles' inspiration is in the original texts and not his Cali counterparts. Other sides of Ackles come from John Stewart and the folk revival, and no less than Scott Walker's early work and Jacques Brel. Subway to the Country portends itself a rootsier record, but it is rooted only in the tradition of American song itself. From the bleak vaudevillian cabaret of "Main Street Saloon" to the shimmering string arrangements and chamber textures in "That's No Reason to Cry" to the surreal muted winds and brass in "Woman River," Ackles is like a Western Kurt Weill. His knowledge of song form and nuance is encyclopedic, and his command over his singing voice is total. He can rumble smooth, swinging blues in the lower register as he does on the latter track, or shift it into loopy swirls and theatrical splashes as he does on "Inmates of the Institution." The most beautiful track on the album, however, is the title track that closes the album. Full of muted tones and colors, the backing orchestra holds itself close to Fred Myrow's arrangement as Ackles promises a lover that if he "Ever gets three bucks together/I'm gonna buy three tickets on a train/And I'll show you the rain." Ackles could milk the drama from a song without effort because he created the drama. Here he seeks in vain for a lighter heart and an older house to hand his song pictures in, but to no avail. Once one is an innovator of such dimension, one always has a restless creative soul, seeking to go ever-deeper levels in the well. Subway to the Country is not the classic that American Gothic is, but it remains a fine testament to Ackles' truly awesome poetic power as both a writer and a singer. ~ Thom Jurek, All Music Guide


Alexander Skip Spence - Oar (1969)





















Like a rough, more obscure counterpart to Syd Barrett, Skip Spence was one of the late '60s' most colorful acid casualties. The original Jefferson Airplane drummer (although he was a guitarist who had never played drums before joining the group), Spence left after their first album to join Moby Grape. Like every member of that legendary band, he was a strong presence on their first album, playing guitar, singing, and writing "Omaha." The group ran into rough times in 1968, and Spence had the roughest, flipping out and (according to varying accounts) running amok in a record studio with a fire axe; he ended up being committed to New York's Bellevue Hospital. Upon his release, Spence cut an acid-charred classic, Oar, in 1969. Though released on a major label (Columbia), this was reportedly one of the lowest-selling items in its catalog and is hence one of the most valued psychedelic collector items. Much rawer and more homespun than the early Grape records, it features Spence on all (mostly acoustic) guitars, percussion, and vocals. With an overriding blues influence and doses of country, gospel, and acid freakout thrown in, this sounds something like Mississippi Fred McDowell imbued with the spirit of Haight-Ashbury 1967. It also featured cryptic, punning lyrics and wraithlike vocals that range from a low Fred Neil with gravel hoarseness to a barely there high wisp. Sadly, it was his only solo recording; more sadly, mental illness prevented Spence from reaching a fully functional state throughout the remainder of his lifetime. He died April 16, 1999, just two days short of his 54th birthday; the tribute album, More Oar: A Tribute to Alexander "Skip" Spence, featuring performances by Robert Plant, Beck, and Tom Waits, appeared just a few weeks later. ~ Richie Unterberger, All Music Guide


Van Dyke Parks - Song Cykle (1968)


















Van Dyke Parks moved on from the Beach Boys' abortive SMiLE sessions to record his own solo debut, Song Cycle, an audacious and occasionally brilliant attempt to mount a fully orchestrated, classically minded work within the context of contemporary pop. As indicated by its title, Song Cycle is a thematically coherent work, one which attempts to embrace the breadth of American popular music; bluegrass, ragtime, show tunes -- nothing escapes Parks' radar, and the sheer eclecticism and individualism of his work is remarkable. Opening with "Vine Street," authored by Randy Newman (another pop composer with serious classical aspirations), the album is both forward-thinking and backward-minded, a collision of bygone musical styles with the progressive sensibilities of the late '60s; while occasionally overambitious and at times insufferably coy, it's nevertheless a one-of-a-kind record, the product of true inspiration. ~ Jason Ankeny, All Music Guide


John Cale - Vintage Violence (1970)


















John Cale had the strongest avant-garde credentials of anyone in the Velvet Underground, but he was also the Velvet whose solo career was the least strongly defined by his work with the band, and his first solo album, Vintage Violence, certainly bears this out. While the banshee howls of Cale's viola and the percussive stab of his keyboard parts were his signature sounds on The Velvet Underground and Nico and White Light/White Heat, Cale's first solo album, 1970's Vintage Violence, was a startlingly user-friendly piece of mature, intelligent pop whose great failing may have been being a shade too sophisticated for radio. Cale's work with the Velvets was purposefully rough and aurally challenging, but Vintage Violence is buffed to a smooth, satin finish, with Cale and his group sounding witty on tunes like "Adelaide" and "Cleo," pensive on "Amsterdam," and lushly orchestrated on "Big White Cloud." (Cale also gets a lot of production value out of his backing group, credited as "Penguin" but actually members of Garland Jeffreys' band, Grinder's Switch.) And anyone expecting the fevered psychosis that Cale let loose on later albums like Fear and Sabotage/Live is in for a surprise; Cale has rarely sounded this well-adjusted on record, though his lyrical voice is usually a bit too cryptic to stand up to a literal interpretation of his words. If Cale wanted to clear out a separate and distinct path for his solo career, he certainly did that with Vintage Violence, though it turned out to be only one of many roads he would follow in the future. [The 2001 CD reissue adds two bonus tracks: a previously unreleased alternate version of "Fairweather Friend," and the previously unreleased "Wall."] ~ Mark Deming, All Music Guide


Roger Rodier - Upon Velveatur (1972)


















Although Roger Rodier is Canadian, this rare early-'70s singer/songwriter album sounds almost as if it could have been made in Britain, such is its similarity to folk-rock recordings of the time by the likes of Al Stewart. In fact Rodier faintly resembles Stewart vocally, and has an inclination toward gentle, slightly sad songs mixing acoustic guitar, orchestration, and female backup vocals (a combination used by Nick Drake on Bryter Layter). But his voice, as a singer or composer, isn't nearly as distinctive as that of, say, Stewart or Drake. Upon Velveatur is a passable effort in this tributary, Rodier's mildly lisping singing evoking both delicate sensitivity and a certain sense of detached observation. He and his songs are a little troubled, but not distraught, with the exception of "While My Castle's Burning," whose angrily strummed guitars, dramatic strings, and vitriolic vocals project muted rage, albeit of a fairly inarticulate kind. Its mixture of placidity and brooding reflection might casually recall Drake, but Rodier wasn't working on as high a level. [The 2006 CD reissue on Sunbeam adds five bonus tracks, four taken from 1969 singles, the other from the 1972 non-LP B-side "Easy Song." Generally speaking, these are less ornate than the material on Upon Velveatur, though they have a similar light folk-rock base; "Have You?" sounds a little like George Harrison's folkiest early solo material, and the two songs from the first 45, "L'Herbe"/"Tu Viendras," are sung in French.] ~ Richie Unterberger, All Music Guide


Judee Sill - Judee Sill (1971)


















Judee Sill's debut album (as well as the debut of the Asylum label) heralded a major new talent in the airy, contemporary folk world of the early '70s. The album employed the production skills of Sill's ex-husband Bob Harris, as well as ex-Turtle, ex-Leaves Jim Pons, and Graham Nash (on the album's sole single, "Jesus Was s Crossmaker"). Judee Sill featured all original compositions, many of which relied on Sill's own brand of cosmological Christian imagery to make their point. By turns spare and lavishly orchestrated, there is still a cohesive feel to all of the album; her lyrics are exceptionally poetic (to the point of being almost flowery) and her voice is smooth enough to bear heavy overdubbing with itself, giving every song a shimmery feel. The essence of the music is folk, the execution pop: the songs feel like a comfort blanket, a statement of hope from a troubled soul. ~ Alex Stimmel, All Music Guide


Judee Sill - Heart Food (1973)





















The second album Judee Sill made proved to be her last. This brief though enjoyable outing took its toll on Sill -- a notoriously slow songwriter -- during its making, turning her back to her recently kicked heroin addiction and away from the desire to create more music. Instead of using an outside arranger for the strings (as she did on her previous album), Sill did all of the work herself. Her lack of formal training and the immense amount of orchestral overdubs certainly would have made such an outing a hardship for anyone. The album doesn't suffer much from its sometimes syrupy exterior, though -- the songs are almost as strong as any of those from her debut. To wit, Heart Food suffers only in comparison to its predecessor; otherwise, it's a stellar example of the kind of singer/songwriter fare the music industry was mining in the early '70s. The supporting cast of top L.A. studio musicians solidifies Sill's unique brand of country-flavored pop, which moves from introspective meanderings to loping rock, often within a single song. [This edition of the album contains bonus tracks.] ~ Alex Stimmel, All Music Guide

Mick Softley

Capital (1976)


This album has already been posted as a complete (one-track) album, here it is with separate tracks

01 - Ode To The Fair
02 - Les Eaux De Finance
03 - El Senor
04 - The Anti-Gravity Device
05 - Silence
06 - Transylvanian Highway
07 - Lady May
08 - Knighthood
09 - The Fair Rose
10 - Le Monde Des Amants
11 - Sand
12 - Star Drive
Quality: 192 kbps

DL
pass: highqualitymp3

by DKMALO

Hi
I appreciate much your blog, I found good music there.
Here CD in thanks. so long, cordially


Donal Lunny (1987)





















Dónal Lunny (born 10 March, 1947) is an Irish folk musician. Lunny has been at the cutting edge of the evolution of Irish music for more than thirty-five years and is generally regarded as having been central to the renaissance of traditional Irish music in that time period. Born in Tullamore, then moved to Newbridge, County Kildare, as a teenager he joined a band called Rakes of Kildare, with Christy Moore. Lunny's Emmet Folk Group and Michael and Brian Byrne's Spiceland Folk Group joined forces to form The Emmet Spiceland. Their debut album 'The First' was released in 1968. They were a vocal harmony group and reached number one in Ireland with the single "Mary From Dungloe". In 1971 he played on Prosperous, the first album by Christy Moore.

The musicians from Prosperous assembled in 1972 under the name Planxty. The band became a leading proponent of Irish traditional instrumental music for the next ten years. In 1975 Lunny left them to form The Bothy Band, playing guitar and bouzouki.

They disbanded in 1978. Lunny became a session musician on Davey and Morris, the first album to feature Shaun Davey. Lunny then got together with Christy Moore again in 1981, to form Moving Hearts. Another founding member was the young uilleann piper, Davy Spillane.

When Moving Hearts broke up in 1985, Lunny diversified. He learned keyboards and mandolin and became a producer. He played on several Christy Moore albums, and was a producer and session musician on Kate Bush albums. He played bouzouki and bodhrán on Shaun Davey's Granuaille. He played on the soundtrack of the film This Is My Father and the TV program "The River of Sound".

He was the producer of Bringing it all Back Home. He produced albums for Paul Brady, Elvis Costello, Rod Stewart, Indigo Girls, Sinéad O'Connor, Clannad and Baaba Maal. He appeared on compilation albums - Gathering (1981) and Common Ground (1996). He pushed new boundaries with the his band Coolfin (1998) which included uilleann piper John McSherry. He appeared at the 2000 Cambridge Folk Festival, and the album that commemorated it. In 2001 Lunny collaborated with Frank Harte on the album My Name is Napoleon Bonaparte.

As an arranger he has worked for The Waterboys, Fairground Attraction and Eddi Reader. Journey (2000) is a retrospective album. In 2004 Lunny was part of the reunited Planxty concert. Manus Lunny, also a musician, is Dónal's brother.

Dónal Lunny is producing the album Human Child (2007) by Faroese Eivør Pálsdóttir, which is published in two versions, one English, and one Faroese.

Dónal Lunny is married to Japanese musician Hideko Itami (伊丹英子), a member of the musical group Soul Flower Union. The couple now make their home in Okinawa, Japan.

He is the father of violinist, Cora Venus Lunny

DKMALO


Great choice. thank you!

by Franco

Eric Andersen - Violets Of Dawn (1999)





















Vanguard Records' 1999 Eric Andersen compilation Violets of Dawn differs in only four tracks out of 18 from its 1970 compilation The Best of Eric Andersen, and the selection is marginally improved. (The major difference is that Violets of Dawn contains two rare tracks, "Boots of Blue" and "Rambler's Lament," from the 1964 compilation New Folks, Vol. 2.) The sound, remastered from the original analog tapes, is much improved. Like its similar predecessor, Violets of Dawn collects the most impressive efforts from Andersen's '60s Vanguard recordings, including the title track, "Thirsty Boots," "Close the Door Lightly When You Go," and "Come to My Bedside." It also traces Andersen's musical development from acoustic folk to folk-rock and country, a development that shadowed Bob Dylan's progression during the same period. And it stops short of the excellent work Andersen did with Blue River (1972) on Columbia and Be True to You (1975) on Arista. ~ William Ruhlmann, All Music Guide


Eric Andersen - You Can't Relive The Past (2000)





















This umpteenth collection from veteran folkie Andersen is his most diverse and adventurous in years. Pairing Andersen with Lou Reed on the affecting title cut here may seem like a strange idea, but it makes sense when you hear it. There are also four excellent, recently unearthed tracks that Andersen co-wrote with the late Townes Van Zandt, and a couple of strong original ballads, the best of which -- the moody "Magdalena" about a close friend who died in a car crash -- may alone be worth the price of admission. Less successful are some of the tracks Andersen recorded with Delta blues musicians. The backup is excellent but as Andersen admits in the liner notes, he is not a blues artist, and these tracks fail to take full advantage of his strengths. They also seem tossed off, and indeed they were. Andersen says that since it took him eight years to record his last album, he decided to make this one "quickly and simply." He recorded the blues tracks in two days, and they may leave you wondering whether there might have been some good middle ground between two days and eight years. Overall, though, this is terrific stuff. Particularly if you're already a fan, you won't be disappointed with the lion's share of it. ~ Jeff Burger, All Music Guide

Franco

by Peter

The post of Murray Mc Lauchlan made me think and then I realized I have a song, just one of him here: Home From The Forest by Gordon Lightfoot from a Tribute to Gordon Lightfoot. It's an interesting tribute as all the contributing artists are, like Gordon Lightfoot, Canadian. Think about it... covers of Gordon Lightfoort by Cowboy Junkies, Ron Sexsmith, yes even the Tragically Hip and of course Blue Rodeo. It's a good tribute.

However, when listening again to this cd I realized I had another cover of Sundown. This one is by Ed Kuepper, the Australian ex punk singer singwriiter had done a really fine version on a compilation album. Just Ed and his 12 string guitar and some effects, I thought you might want to hear this version of Sundown too. And although it may sounds weird... I like Kueppers version of Sundown better then the one of Jesse Winchester... but that has of course a lot to do with taste...

And to add a bit more... here is also a beautiful mailorder only cd of Ed Kuepper.
I hope you like it.


V.A. - Beautiful; A Tribute to Gordon Lightfoot



















1. Way I Feel, The - Cowboy Junkies
2. Sundown - Jesse Winchester
3. Drifters - Ron Sexsmith : )
4. Ribbon of Darkness - Bruce Cockburn
5. Go Go Round - Blue Rodeo
6. Summer Side of Life - Blackie And The Rodeo Kings
7. If You Could Read My Mind - Connie Kaldor
8. For Lovin' Me - Terry Tufts
9. Bend in the Water - Harry Manx
10. Black Day in July - The Tragically Hip
11. Home From the Forest - Murray McLauchlan
12. That Same Old Obsession - Maria Muldaur
13. Canadian Railroad Trilogy - James Keelaghan
14. Song For a Winter's Night - Quartette
15. Lightfoot - Aengus Finnan



Ed Kuepper - I Was A Mail Order Bridegroom (1995)
















Though he formed the Saints with Chris Bailey in 1975, Ed Kuepper left the band before its biggest popular success (though after its best recordings). The Saints were one of Australia's premier punk bands, and Kuepper played on two albums before leaving in 1979 to form the Laughing Clowns, a band whose sound was jazzier and quite a bit more experimental than his former group. The Laughing Clowns released three EPs during the early '80s before their debut self-titled album appeared in 1982. Kuepper led the band through four additional albums, but became a solo act beginning with the surprisingly pop-oriented Electrical Storm in 1986. After another pop album, Rooms of the Magnificent, Capitol took a chance on Kuepper and signed him; his response was Everybody's Got To, his third great pop album in a row. Nevertheless, it failed to click with radio programmers or the public. Capitol later dropped Kuepper and he responded in 1990 with the acoustic, stripped-back Today Wonder. One year later, he formed the Aints -- a jab at Chris Bailey, who continued to use the Saints name during the '80s and '90s -- to release Ascension. He returned to solo status in 1992, and began a string of seven studio LPs over the next four years, plus two mail-order-only albums and a best-of entitled Sings His Greatest Hits for You. Next came This Is the Magic Mile, which was released in 2006 on Hot Records. Despite his very appreciative cult of fans and torrid release schedule, Kuepper has not managed a breakthrough to wide popular acclaim. ~ John Bush, All Music Guide

1. King Of Vice
2. Everything I've Got Belongs To You
3. Friday's Blue Cheer/Libertines Of Oxley
4. Honey Steel's Gold
5. Way I Made You Feel
6. Not Too Soon
7. Closer (But Disguised)
8. Summer Field
9. Indian Reservation
10. Steamtrain
11. No Wonder/Built For Comfort/Cypress Grove Blues
12. Milk Cow Blues
13. Way I Made You Feel (Part 2)
14. Everything I've Got Belongs To You (Part 2)


Peter

by Chrille

Murray McLauchlan - Sweeping The Spotlight Away (1974)




Murray McLauchlan - Boulevard (1976)
























Murray McLauchlan - Gulliver's Taxi (1996)





















/

Roy Harper

Poems, Speeches, Thoughts and Doodles (1997)




/

by Peter

Here are two more cd's of Roky Erickson. Further here is The Psychedelic Sounds of the 13th Floor Elevators with Roky Erickson on the wheel. This album is where Erickson made history. Recorded in 1965-1866 this is one of the first and finest recordings of psychedelic rock. The album contains classics as You're gonna miss me (2 versions), Fire Engine and Reveberation. This edition is further interesting for the covers the band did: the Kinks' You really got me, Them's Gloria(!), Roll over Beethoven. It is a must have for anyone who loves psychedelic rock and 1960's garage rock.

Where the pyramid meets the eye is one of the best tribute albums made. There is no unnecessary version on the album. Even finding a favorite is hard. It might be Red Temple Prayer by Sister Double Happiness. Sister Double Happiness with Gary Floyd. Floyd was once characterized by a German magazine: "God created the earth in 7 days and on the 8th day He created the Voice and gave it to Gary Floyd". It seems that Red Temple Prayer was written for Floyd,

I can mention and recommend almost all songs on this album. But what the album shows is the influence of Roky Erickson on diverse musicians as Julian Cope,.Thin White Rope (an amazingly underrated band from the 1980's), ZZ Top, REM, T Bone Burnett, Doug Sahm, Jesus & Mary Chain, ZZ Top, John Wesley Hardin, Bongwater and Richard Lloyd. A must listen. Enjoy!

Peter


The Psychedelic Sounds of the 13th Floor Elevators (1966)
























Don't Slander Me (1977)
























The Evil One (1981)
























Where the Pyramid Meets the Eye; Tribute to Roky Erickson


















/

by Chrille

Murray McLauchlan - Day To Day Dust (1973)





















Murray (Edward) McLauchlan. Singer, songwriter, guitarist, pianist, broadcaster, b Paisley, Renfrewshire, Scotland, 30 Jun 1948. Brought to Canada at five, McLauchlan was taught to play folk guitar by Jim McCarthy and began his career in Toronto's Yorkville coffeehouses at 17, making his first major appearance at the Mariposa Folk Festival in 1966. He also studied art, under Doris McCarthy, but chose to concentrate on music. His early 'Child's Song' and 'Old Man's Song' were recorded by the US singer Tom Rush. McLauchlan continued to work in Ontario and Quebec coffeehouses and briefly 1970-1 in New York, until the success of his albums and the popularity of his 'Farmer's Song' resulted in 1973 in the first of regular concert tours across Canada and in appearances in the USA with Neil Young and, beginning in 1974, on his own. With Bruce Cockburn he toured Japan in 1977. For the most part, however, McLauchlan has conducted his career in Canada, giving some 150 concerts a year through the 1980s, singing at folk festivals (eg, at Winnipeg in 1982, 1984, 1988, and 1990), and making a point of performing in small communities as well as the larger cities. He also has appeared in many benefit concerts and telethons.

by Chrille

Roy Harper - Born In Captivity (1984)


















Here's an admirable example of creative recycling. After learning that fans preferred his rough tapes to their finished counterparts on Work of Heart (1985), Harper duly issued them on the short-lived Awareness label. The quality and format are pretty scrappy -- being just Harper's double-tracked vocals and guitar -- but hardcore fans won't care. "Ravedown" might be the best way of describing the mood here. "Elizabeth" should be the most familiar title; it's pretty close to the track that graced Harper's album with Jimmy Page, Whatever Happened to Jugula? (1984). However, its sparkling melody shines through, even in this relatively stripped-down context. Elsewhere, songs like "No Woman Is Safe" maintained Harper's profile as a proud provocateur.The stripped-down "Work of Heart" fits into the Harper tradition of extended ruminations at the state of the world ("We Are the People") and distaste for Christianity's premises ("No One Ever Gets out Alive"). This album's obviously a minor entry in Harper's discography, but offers some worthwhile enough insight into his creative process. ~ Ralph Heibutzki, All Music Guide

by Franco

Eric Andersen - Ghosts Upon The Road (1995)


















Evocative songs that reflect on Andersen's past and current concerns. ~ William Ruhlmann, All Music Guide


Eric Andersen - Memory of the Future (1999)


















This is Eric Andersen's first solo album in nine years, but that doesn't mean he's been inactive. On the contrary, as the liner notes point out, the decade leading up to this release was among his most productive. He delivered a pair of terrific trio albums with the Band's Rick Danko and Norwegian guitarist Jonas Fjeld; contributed to Jack Kerouac and Phil Ochs tribute anthologies; and helped to resurrect Stages: The Lost Album, his frequently brilliant "lost" recordings from the '70s. There's more brilliance on the hour-long Memory of the Future, which finds Andersen picking up where he left off on his Arista recordings and on 1989's Ghosts Upon the Road. This is dreamy, introspective music -- the kind best heard late at night by the light of a dying candlelight -- and it's packed tightly with the sort of lyrics that long ago earned Andersen a "new Dylan" tag. His main preoccupation remains relationships, and he writes memorable lines about the power of physical and spiritual love. But the album also includes a well-honed murder mystery ("Chinatown"), a chilling look at Nazis past and present ("Rain Falls Down in Amsterdam"), and a sad farewell to life (Phil Ochs' "When I'm Gone," the album's only cover). Overall, the melodies aren't as indelible as those on The Collection -- an anthology of Andersen's Arista recordings and a better first purchase -- but this is still well worth seeking out. ~ Jeff Burger, All Music Guide
Cheers

Franco

Reuped by Simon House

Caedmon

by jay strange

Jake Thackray
Three Horseshoes Club, Hampstead, London (Dec 18, 1979)





















The late great Jake Thackray was a special songwriter and performer. His songs were witty, satirical, often profound, the work of a true wordsmith. His guitar style uniquely continental and unmistakable (Nick Drake was an admirer).

I saw him live on many occasions in the late seventies and early eighties and his shows were always wonderful. I recorded his show at the Three Horseshoes Folk Club in Hampstead London on December 18th 1979. I was right down the front, sitting a few feet from the maestro, so my mic picked up his singing and playing directly….for an audience recording it don’t get much better than this. You can hear his foot taping along. It was a great show, he went down a storm. Now 29 years later its time to share this treasure with a wider audience, and what better place than here.

by Peter

Roky Erickson was the songwirter and front man of the 13th Floor Elevators. In many ways Erickson was Syd Barrets equal. Unlike Barrett Erickson remained a relatively obscure person. Maybe it is because Erickson survived the dope. But he went nuts.

His solo work is uneven but contains classics. Here are two of his best solo albums: Gremlims Have Pictures and All The May Do My Rhyme. The first contains a version of Lou Reeds' Heroin that makes the Velvet Underground version sound like a bubblegum pop group.

All That May Do My Rhyme is a very accessible album with some of Ericksons "greatest hits" and the help of Lou Ann Barton.

The live acoustic radio session is one of the few live shows Erickson did in recent years.


Roky Erickson - Gremlins Have Pictures (1986)

























Roky Erickson - All That May Do My Rhyme (1995)
























Roky Erickson - Live Acoustic Radio Performances

DL

by Chrille

Pugh Rogefeldt - Bamalama (1976)





















Song List:
1. Bo Diddley
2. Backslider
3. How Can You Keep On Moving
4. Karleksmaskinen (Love Machine)
5. Barn Av Min Tid
6. Hallregn (It´s Gonna Stop Rainin´ Soon)
7. Happy Birthday Miss Earth
8. Mercedes
9. Var Komunale Man (Viligante Man)



Roy Harper - Loony On The Bus (1988)


















/

by Franco

Eric Andersen - Avalanche (1970)





















Avalanche was Andersen's first album for Warner Bros. after a fairly long stint at Vanguard. It was consistent with his prior efforts in that, while it found him operating at a respectable level, it couldn't break him into the upper echelon of singer/songwriters, in terms of either sales or art. It's diverse and diffuse, qualities which neither work strongly for or against him on this particular effort. If he was worried about the constant new Dylan comparisons, he did himself no favors with the opening "It's Comin' and It Won't Be Long," a fair but derivative sounding Dylan-esque cut in both its composition and vocal phrasing. Yet, it's not typical of the record, which largely examines romantic ups and downs -- a timeworn subject of popular music, true -- in intelligent, reflective fashion that admits some humor, and goes into some good-time vaudevillian and country-rock music besides the expected folk-rock-influenced singer/songwriting. Major session dudes Chuck Rainey, Bruce Langhorne, J.D. Maness, Eric Gale, and Lee Crabtree were on hand to provide a professional yet reserved sound. He broached pop territory on "Think About It" and "So Hard to Fall," which really wouldn't have sounded bad on AM radio, female vocals and orchestration included. "(We Were) Foolish Like the Flowers" and the son-lost-to-war lament "For What Was Gained" were more in line with what listeners usually expected from Andersen: gentle, almost fragile, introspective mild folk-rock. ~ Richie Unterberger, All Music Guide


Eric Andersen - Exile: European & Canadian Recordings 1980-1984























/

Oysterband music on Time Has Told Me site‏

Hello

I don't want to be unduly po-faced, but some of that stuff is commercially available and in print. You are infringing the copyright of the relevant record companies.

I strongly suggest you remove "Twenty Golden Tie-Slackeners" (Running Man Records RMCD4), "Wide Blue Yonder" (Cooking Vinyl Records COOKCD 006), and the audio of the "25th Anniversary DVD" (Westpark Music WM87111).

I appreciate that you do these things for love of music. However we also have to do it for love of earning a living.

Thank you.

/ Ian Telfer (Oysterband)

by Chrille

This is the live cd Beyond The Door (2005) and the single The Death Of God (2005)
I ripped this out of the dvd myself and made an mp3 out of it, hope you enjoy!!!


Roy Harper - Beyond The Door (2005)
























Roy Harper - The Death Of God (2005)























/Chrille.

by ericbkk

Larry Jon Wilson - S/T





















An associate of the country outlaw generation that included Townes Van Zandt and Guy Clark, Larry Jon Wilson's burly baritone burr brought tableaux like "Ohoopee River Bottomland" and "Sheldon Church Yard" to vivid life, but his refusal to compromise curtailed his Seventies career after just a few albums.
He even harboured reluctance about this comeback album, which he insisted on doing "with no sticks and no plugs". Trimmed to little more than his voice and guitar, the results are as gripping as the late Johnny Cash recordings, full of languid ruminations on the past and bitter existential reflections like "Where From" ("A world you never asked for holds you hostage till you're 21", etc).
His candid attitude can be gleaned from the fact that, while Elvis does an "American Trilogy", Wilson here does a "Losers Trilogy" and a "Whore Trilogy", the latter incorporating poignant renditions of Paul Siebel's "Louise" and Mickey Newbury's "San Francisco Mabel Joy". There's also a version of the Bob Dylan/Willie Nelson "Heartland", its account of disillusion withering hope perfectly suited to Wilson's world-weary tones. : ~ Andy Gill

01. Shoulders
02. Losers Trilogy: If I Just Knew What to Say/Bless the Losers/Things Ain'
03. Heartland
04. Long About Now
05. Me with No You
06. Feel Alright Again
07. I Am No Dancer
08. Goodbye Eyes
09. Rocking with You
10. Throw My Hands Up
11. Whore Trilogy: Louise/Sunset Woman/Frisco Mabel Joy
12. Where From


A raw, unadorned set of songs make up the fifth album of Larry Jon Wilson, the enigmatic singer-songwriter from Augusta, GA.
If you’ve never heard of Larry Jon, it’s because, despite some golden opportunities, he always refused to sell out. But ask Kris Kristofferson or Willie Nelson who their favourite singers are the 68-year-old’s name is offered up.
In the early Seventies Wilson was thick with Townes Van Zandt, Guy Clark and Tony Joe White - smart young southerners as enamoured with Bob Dylan as the Grand Ol Opry. Often labelled as country music’s ‘outlaw generation’, their music was spare, usually introspective and one detected a desire to dignify the south, to expunge the unsavoury elements associated with their elders. They drew from soul, blues and in Wilson’s case funk. Country-funk, or better funky-country would be a fair way to describe his two great Seventies albums: New Beginnings and Let Me Sing My Songs To You.
But Wilson’s eponymous fifth is another matter. Townes Van Zandt’s white-knuckle album Live At The Old Quarter is a spiritual ally. He stood in a packed Texas club and poured his heart out, and Larry Jon has done the same in a Florida studio.
At times Wilson’s big tobacco voice comes near to breaking over songs like Goodbye Eyes, Shoulders and Losers’ Trilogy. Larry sounds so close, you can hear his fingers screech across the acoustic guitar strings as the songs unfold. Often he just reminisces, subtly alluding to enormous loss and rescuing himself with wry poetical grace. : ~ Robert Spellman

All 12 tracks are first takes and unplugged recorded in one week on the Florida coast.
If that gives the impression of a rush job, the very opposite is true of the finished album. Wilson has a relaxed baritone voice somewhere between the country soul of Kris Kristofferson and the blues of John Lee Hooker.
The songs are about getting old and making the right life choices.
On 'Heartland', he sings "My American dream fell apart at the seams" but there's no trace of bitterness here, just a worldly reflectiveness steeped in memories. The upshot of it all is that contentment comes from finding a good woman and being true to yourself.
There's no raging against the dying of the light as he reflects that an "old rocking chair don''t scare me like it used to" (Rocking With You) and on the superb closing track 'Where From' he muses on how life-friends-choices-loves all come and go with only age and the end being constants.
Like the late great Townes Van Zandt, who he lived and toured with many years ago, there's no mould to contain old troopers like Wilson. He's one of a dying breed but this fine collection should guarantee that when he's gone he won't be forgotten. : ~ Whisperin & Hollerin

Seeking LJW's 1979 album, Sojourner.

Acknowledgements to Willy99 at Wild Safari Blog for the files.

Cheers.

by Chrille

Simon Finn - Pass The Distance (1969)
























Simon Finn - Magic Moments (2005)
























Simon Finn - Accidental Life (2007)

Psych-folk mystic Simon Finn was born March 4, 1951, relocating to London in 1967 and making his professional debut opening for Al Stewart at the Marquee Club's weekly "Wednesday Folk Night." Within months he was headlining at the London restaurant Borsch and Tears, and that winter recorded his first demo, "Butterfly," at producer Vic Keary's Old Kent Road studio. The session yielded no interest from labels, however, and Finn continued busking around London, earning a living by updating share prices on the blackboard of the city's Stock Exchange. In the spring of 1969 he and Keary again crossed paths, making plans to enter Keary's new Camden-area studio Chalk Farm; a few weeks later Finn befriended multi-instrumentalist (and fledgling writer) David Toop and percussionist Paul Burwell at the Camden café the Round House, extending an invitation to play on his upcoming recording date. The end result, the hypnotic, deeply beautiful Pass the Distance, followed on Keary's Mushroom Records in early 1970; a series of legal squabbles quickly forced Mushroom to withdraw the album from the market, however, and Finn effectively disappeared from performing, in 1974 relocating to Canada and teaching karate before turning to organic farming alongside wife Emily. In 1980 the Finns settled in Montreal. In the decades to follow Pass the Distance became both highly collectable and much talked about, but Finn remained oblivious to his growing cult stature until late 2003, when Current 93's David Tibet sent him a letter outlining plans to reissue the album on his Durtro label. The remastered and expanded Pass the Distance appeared in 2004 on the eve of Finn's first live dates in over three decades. ~ Jason Ankeny, All Music Guide

by Peter

Syd Barrett, the founder of Pink Floyd got a lot of credits in the early years of Pink Floyds existing. But Barrett left (or was forced to leave due to his drugs addiction). But his old band mates never let him down that much. Both solo albums contain contributions of several Pink Floyd (and Soft Machine) members.

Anyone who loves Nick Drake, John Martyn (his early folk work), Roky Erickson or Roy Harper will love the two amazing solo albums. Both come in extended versions with a lot of extra tracks. Don't expect any folk songs. The songs seem to hang in between psychedelica and folk songs.

Opel was the original lp with left overs from the Barrett and Madcap sessions and is extended with more extra tracks.

The 5 song John Peel Session does not add a lot to it but it's nice enough for those who need more.

Magnesium Proverbs is a bootleg with singles and takes from Pink Floyd and Syd Barrett solo. Quality is not always good so it is mostly a listen for the diehard Syd Barrett fans.


The Madcap Laughs (1970)





















Barrett (1970)





















Opel





















John Peel Sessions (Dec 24, 1970)




















Magnesium Proverbs





















And for those who can't get enough of Syd Barrett, here is the full last recording session of Syd Barrett in 1974.


Last Recording Session (Aug 12, 1974)





















DL

Peter

by Chrille

Roy Harper - In Between Every Line (1986)


















This live release contains an assortment of songs that Roy Harper recorded in the mid-'80s at various venues in England. As with most of Harper's projects, several prominent artists make guest appearances, including Jimmy Page, who lends guitar to at least three tracks. Unfortunately, specific details as to which musician played on what tracks or where these tracks were recorded are missing from the liner notes. This overall sketchiness when it comes to annotating his live albums is an ignoble trend in Harper's catalog. The bulk of the songs are performed alone by Harper with his acoustic guitar. While these are typical for the era, they definitely aren't extraordinary, especially when compared to Harper's earlier live work. This fact, coupled with the poor liner notes and generally muddy sound, make In Between Every Line mostly suitable for Harper's fans. The CD omits the song "Hangman," which was found on the LP version. ~ Brian Downing, All Music Guide

by Franco

Eric Andersen - Be True To You (1975)

























Eric Andersen - Stages: The Lost Album (1991)




















/

by Chrille

Roy Harper - Once (1990)





















After a disappointing decade of flawed releases, Roy Harper began the '90s on a strong note with the resurgent Once, an album very reminiscent in tone of Harper's 1980 effort, The Unknown Soldier. Despite the similarity, Once is the far superior album due to Harper's effort to downplay production in lieu of musicianship. Many of the lyrics deal with the impact of the fall of communism, which had taken place as Harper recorded the album. Most seem heavy-handed, though, except for the touching poetry of "Berliners," a song which features David Gilmour on guitar. "The Black Cloud of Islam" deals with a completely different issue, and drew fire from critics for its attacks on organized religion. Harper's next album, Death or Glory?, with its more personal imagery, is the one to get for those wanting the best from this era, but Once isn't far behind. ~ Brian Downing, All Music Guide


Roy Harper - Death Or Glory (1992)





















Roy Harper was spurred into making one of his best albums only after his wife abruptly left him in 1992, thrusting him into a deep despair. The rawness of Death or Glory?, and the fact that it was conceived after the bitter dissolution of a decade-long relationship, makes it the emotional, if not artistic, heir of John Lennon/Plastic Ono Band. The album shuns Harper's penchant for over-production in lieu of his more traditional acoustic sound. "The Tallest Tree" is a winning tribute to Chico Mendes with spiraling guitar work by Nick Harper. Harper is also positive in the winsome "Evening Star," which finds him finally recreating his classic early-'70s sound. Harper wrote the song for Robert Plant's daughter on her wedding, and even nicked the first line of "Stairway to Heaven" as a wink to his old mate from Led Zeppelin. Perhaps the album's finest moment is the mostly instrumental tribute to Miles Davis, "Miles Remains," which is not jazzy, but sounds instead like a more guitar-oriented Clannad. But the majority of the album is very pensive and bleak, including the bizarre, weepy spoken word piece that ends the record. The album was remixed in 1999 when Harper deleted some of the more gratuitous pieces in an attempt to make the album less depressing. In any form, Death or Glory? remains one of Harper's most satisfying works, and is his only release from the '90s that most casual fans will want to own. ~ Brian Downing, All Music Guide


Roy Harper - Burn The World (1995)
























Roy Harper - Unhinged (1995)





















As is often the case, this live effort by Roy Harper is much more impressive than his sometimes spotty studio albums. This disc was initially a cassette-only release entitled Born in Captivity II. In 1993, it was edited and re-released on CD as Unhinged. The songs hail from the period between 1989 and 1991 and were recorded throughout the United Kingdom. Such overlooked gems as "Descendants of Smith," "When an Old Cricketer Leaves the Crease," and "Naked Flame" are given solid acoustic treatments by Harper. The songs that include Nick Harper, his son, on lead acoustic guitar are the album's best, and reveal the younger Harper as even more accomplished on the instrument than his father, if that is possible. He also adds astonishing, almost Spanish, flourishes to "Highway Blues," resulting in one of the best takes of his father's classic song. The fact that this was the first of Harper's official live albums with proper liner notes and complete recording information only adds to its enjoyment. Even though Unhinged mostly rehashes past Harper songs, it is an impressive update and easily outperforms his studio releases from the time. ~ Brian Downing, All Music Guide



Roy Harper - The Dream Society (1998)
















The Dream Society continued Roy Harper's winning streak with an impressively produced album of varied material. The opening "Songs of Love" is a striking duet with vocalist Musumi that also features some great acoustic guitar work from son Nick Harper. "Songs of Love, Pt. 2" quickly follows with a hard rock sound as convincing as any Harper has produced since HQ in 1975. While there are many styles on the album -- hard rock, folk-rock, and even country -- perhaps the acoustic ballad "Broken Wing" is the record's best cut. The album-closing epic "These Fifty Years" is one of Harper's most ambitious tracks. With several movements and some very progressive sections, it sounds a bit like Jethro Tull, a notion no doubt aided by a familiar flute sound courtesy of Ian Anderson. Although the song isn't as memorable as "The Same Old Rock" or "Me and My Woman," Harper must be given credit for a mostly successful attempt at a longer piece. As usual, the lyrics throughout are almost purposefully ponderous, a matter not allayed by the rambling liner notes. While Death or Glory? displayed greater highs and Once showed a new musical maturity, The Dream Society is more consistent and completes Harper's utterly successful trilogy of studio albums from the '90s. ~ Brian Downing, All Music Guide



Roy Harper - The Green Man (2001)





















Following the somewhat disappointing The Dream Society, the astounding British singer/songwriter delivers his best album since 1974's Stormcock and gets his muse back on track. Always an extraordinary guitarist, his songs are still developed out of the folk techniques of his early albums and his lyrics are still as sublimely poetic and soaring. His beautiful voice hasn't sounded so impassioned since his great trilogy of albums: Flat Baroque and Berserk, Come out Fighting Ghengis Smith, and the aforementioned masterpiece Stormcock. For this session, Harper went into the studio alone and wrote, engineered, and mixed the entire collection himself. It's evident that the isolation brought his more introspective, deeply personal elements out in the songs. Here we have the Roy Harper who explored intimate love songs and literate themes on "Another Day" from Flat Baroque and Berserk and delicate folk simplicity on the album Valentine. Gone is the railing angst of "I Hate the White Man" or the hard rock of an album like When an Old Cricketer Leaves the Crease. Green Man is entirely acoustic, with the exception of Johnny Fitz's Fender Rhodes cameo on "The Monster"; subsequently, Harper sounds more comfortable not fighting with a rhythm section, adding Jeff Martin's mandolin on "Sexy Woman." "Midnight Sun," "Solar Wind Sculptures," and "The Green Man" are outstanding pieces of work -- highlights that make the album yet another utterly inexhaustible album in the legacy of one of the U.K.'s most admired songwriters. ~ Skip Jansen, All Music Guide

.

Recommended by kojinoid

Colin Hare - Felipop 2005 @18 RODAS blog





















Anybody have Colin Hare & Pete Dello's Felipop 2004?

by Peter

David Olney - Top To Bottom (1991)



















David Olney - Border Crossing (1992)





















/

by Chrille

Roy Harper - Bullinamingvase (1977)





















Harper followed HQ with another superb rock-oriented classic, the interestingly titled Bullinamingvase. The album will forever be remembered for its controversial track "Watford Gap," and with lyrics which supposedly defamed the town and service station of Watford Gap. Harper ran into legal problems when the town voiced their extreme distaste of the song, resulting in the record company's removal of the composition from the album. It was replaced with the light but solid "Breakfast With You." Both songs are included in the 1996 CD re-release, remastered with 20-bit supermapping. But the album's strengths lie elsewhere. The compositions are laced with beautiful passages, both musically and lyrically, and the vibrant acoustic guitar work on tracks like "Cherishing the Lonesome," "Naked Flame," and the epic "One of Those Days in England (Parts 2-10)" are likely to never be surpassed. The powerful, energetic passion, brilliant lyrics, and driving force of "Cherishing the Lonesome" make for one of Harper's greatest accomplishments. "Naked Flame" impresses equally with its clean, country-tinged guitar work. The jewel in the crown, though, is "One of Those Days in England (Parts 2-10)." The lyrical content, a collection of reminiscences, is striking, being at once trenchant/biting and beautiful. The piece is comprised of many movements, opening (with guitar) like a looming cloud foreshadowing the storm and darkness that lie ahead. Suddenly, after the introductory verses, the guitar picks up and the clouds begin breaking apart, allowing the sun to shine through. The song becomes hopeful before changing moods once again, with Roy's voice at its peak. The song benefits from wonderful use of lap steel guitar with strings fleshing out several movements. Bullinamingvase also contains the radio friendly pop tune "One of Those Days in England," the closest Harper ever came to having a hit single. This is also the alternate title of the album. It is interesting to note that, even though most of the lyrical content is presented in the CD booklet, several lines/verses have been purposefully omitted from the printing, such as much of "Watford Gap" and the opening of "One of Those Days in England (Parts 2-10)." Upon listening to the tunes, the reason becomes quite clear. Listen for uncredited vocal contributions from Paul and Linda McCartney. ~ David Ross Smith, All Music Guide


Roy Harper - Commercial Breaks (1977)
























Roy Harper - The Unknown Soldier (1980)























Roy Harper - Work Of Heart (1982)
























Roy Harper - Whatever Happened To Jugula (1985)





















Led Zeppelin guitarist Jimmy Page backs Harper up on this album and earns co-billing for his trouble. The guitar interplay turns out to be the highlight of the album. Harper displays a nihilistic attitude toward everything in general, and quite a few things in particular. He sings of things dire and hopeless in his thin tenor, while standard-issue folk and rock play behind him. Not that he doesn't have a sense of humor about it -- a sleeve note introduces the final song by saying, "The best thing to do with the next track is to take a hot soldering iron and pull it fairly swiftly across the track..." Given that the song features the sound of the artist urinating and that the chorus goes, "I'm really stoned," this may not be such a bad idea. ~ William Ruhlmann, All Music Guide


Roy Harper - Garden Of Uranium (1988)






















/

by Peter

David Olney & The X-Rays - Contender (1981)



















David Olney - Through A Glass Darkly (1999)























/

by Peter

David Olney - Real Lies (1997)























David Olney - One Tough Town (2007)





















/

by Franco

Eric Andersen - A Country Dream (1969)






















DL


Eric Andersen - Eric Andersen (1969)

by Anonymous

In my opinion, there's way too much dross on this Honeybus anthology.
About a third of the songs are brilliant, a third are so-so and the other third gets close to embarrassing.

To get just the really good stuff, try:

Honeybus - The Best of Honeybus




















/


Thanks Anonymous,
Honeybus is my top 10 fav group of the era...

by Chrille

I did notice that there was no albums of Roy Harper at the blog
so I thought I would upload the almost full discography... So there is plenty to come :)


Roy Harper - Sophisticated Beggar (1966)





















Song List:
1. China Girl
2. Goldfish Bowl
3. Sophisticated Beggar
4. My Friend
5. Big Fat Silver Aeroplane
6. Blackpool
7. Hup Hup Spiral
8. Girlie
9. October The 12th
10. Black Clouds
11. Mr. Station Master
12. Forever
13. Committed
14. Legend


Roy Harper - Come Out Fighting Ghengis Smith (1967)


















Song List:
1. Freak Street
2. You Don´t Need Money
3. Ageing Raver
4. In A Beautiful Rambling Mess
5. All You Need Is
6. What You Have
7. Circle
8. Highgate Cemetary
9. Come Out Fighting Ghengis Smith


Roy Harper - Folkjokeopus (1969)


















Song List:
1. SGT. Sunshine
2. She´s The One
3. In The Time Of Water
4. Composer Of Life
5. One For All
6. Exercising Some Control
7. Mc Gohaan´s Blues
8. Manana


Roy Harper - Flat Baroque And Berserk (1970)





















Song List:
1. Don´t You Grieve
2. I Hate The White Man
3. Feeling All The Saturday
4. How Does It Feel
5. Goodbye
6. Another Day
7. Davey
8. East Of The Sun
9. Tom Tiddler´s Ground
10. Franscesca
11. Song of The Ages
12. Hell´s Angels



Roy Harper - Stormcock (1971)

















Song List:
1. Hours D´Oeuvres
2. The Same Old Rock
3. One Man Rock & Roll Band
4. Me And My Woman


Roy Harper - Lifemask (1973)


















Song List:
1. Highway Blues
2. All ireland
3. Little Lady
4. Bank Of The Dead
5. South Africa
6. The Lords Prayer



Roy Harper - Valentine (1974)



















Song List:
1. Forbidden Fruit
2. Male Chauvinist Pig Blues
3. I´ll See You Again
4. Twelve Hours Of Sunset
5. Acapulco Gold
6. Commune
7. Magic Woman Liberation Reshuffle
8. Che
9. North Country
10. Forever


Roy Harper - Flashes From The Archives Of Oblivion (1975)


















Songlist:
1. Commune
2. Don´t You Grieve
3. Twelve Hours Of Sunset
4. Kangaroo Blues
5. All Ireland
6. Me And My Woman
7. South Africa
8. Highway Blues
9. One Man Rock & Roll Band
10. Another Day
11. M.C.P. Blues



Best wishes! / Chrille.


in addition,
"HQ (1975)"



















/ Lizz

by Peter

David Olney - Roses (1991)

















Rhode Island-born but now a Nashville-based writer, David Olney is well
respected for his fine-tuned lyrics. ~ Richard Meyer, All Music Guide


David Olney - High, Wide and Lonesome (1995)





















David Olney's career has included forays into hard-edged roots-rock, quiet, introspective acoustic folk, and everything in between. The one constant has been his abilty to write concise, masterfully crafted and memorable songs. High, Wide and Lonesome represents simultaneously the most consistently strong and diverse selection of songs collected on any of Olney's albums. In addition, his performances are perhaps the best of his career, his voice striking a perfect balance between the bluesy swagger of Spider John Koerner and the intense, whiskey-soaked warblings of Townes Van Zandt. The backing musicians are uniformly excellent as well. Highlights include Rick Danko's funky bassline on "My Family Owns This Town," as well as guest performances throughout the album from several other alumni of the Band. The above-mentioned song and the preceding track, "Another Place, Another Time," are interesting in that each deals with the same small-town murder from a different point of view. In one song, the narrator is the deceased's spurned husband, in the other, her secret lover. Unusual twists of this kind are a specialty of Olney's and make High, Wide and Lonesome a must-have for anyone interested in thoughtful, yet raw and powerful folk music. ~ Pemberton Roach, All Music Guide


David Olney - Omar's Blues (2000)



















David Olney - Migration (2005)


















Migration, David Olney's 16th album, is a typical effort for him, one in which he constructs story-songs and inhabits various characters. Lyrically speaking, the chief innovations are that he has taken more of an interest in speaking on behalf of non-human characters, particularly birds ("Lenora"), and that he is more interested than usual in singing about love. Of course, personifying a bird isn't all that much of a stretch for a man who once wrote a song in the role of an iceberg ("Titanic"), but the love songs are a bit unusual, and it's notable that Olney is usually a co-author with someone else on them. Musically, he seems to have taken his cue largely from Bob Dylan's Desire, employing a violin, played by Deanie Richardson, to shadow his vocals much as Dylan had Scarlet Rivera do on that album. On a couple of songs, however, as he also did on 2003's The Wheel, Olney looks more to Tom Waits of the Swordfishtrombones and later period, taking a junkyard rock approach on "Speak Memory" and especially "Upside Down." While there is nothing wrong with this album, it is more one for the faithful than for new fans. With his gruff, relatively inexpressive voice, Olney is something of an acquired taste, and this is an album that requires several listenings to sink in, at which point it fits in with the rest of the catalog but does not rise above it. ~ William Ruhlmann, All Music Guide


David Olney - Leonora (2006)









/

by Franco

Eric Andersen - 'Bout Changes & Things Take 2 (1967)


















This unusual disc consisted of the exact same songs that Eric Andersen had released on his previous album, the almost identically titled 'Bout Changes and Things, in 1966. The difference was that now the songs were given fuller folk-rock band arrangements (and also presented in a different order). Commercially, this was a hard proposition to pull off; essentially it was giving listeners the option of repurchasing an entire album that they might have already had if they were hip to Andersen. Probably the thinking was that the more modern band backup would expand his pop/rock audience by reaching people who'd never heard Andersen before, but in the end he remained about as much of a cult figure as he was before the plan was hatched. The folk-rock backing grafted onto the songs was mild and tentative, and did not fully develop the material as much as it could or should have. For that reason, most Andersen fans prefer the original, acoustic folk version of Bout Changes and Things. Which isn't to say that Bout Changes and Things Take 2 is bad; if these were the only versions of the tunes in circulation, they'd still hold up for the most part. The early Andersen favorites "Violets of Dawn," "Close the Door Lightly," and "Thirsty Boots" are all here, and sometimes the production has a decent early New York Dylanesque folk-rock vibe, as on "The Hustler" and "The Girl I Love." ~ Richie Unterberger, All Music Guide


Eric Andersen - More Hits From Tin Can Alley (1968)

















On his second album with rock instrumentation (following 'Bout Changes & Things, Take 2, his electrified remake of 'Bout Changes & Things), Andersen was growing more comfortable with a folk-rock setting. Lingering comparisons as a gentler Bob Dylan remained inevitable, though, on tracks like "Tin Can Alley Part 1" and "Tin Can Alley Part 2" (which open and close the record, respectively) in both the vocal phrasing and the anxious strings of odd imagery. Similarities, alas, didn't end there. Several New York sessionmen that played on early folk-rock albums by Dylan and others filled out the sound, including Al Kooper, Bobby Gregg, Herb Lovelle, Paul Harris, and Paul Griffin, and "Honey" doesn't sound too far off the Highway 61 Revisited route, though the song isn't great. There was also some period Baroque folk production -- flowery vibes, peppy horns, light dramatic orchestration, and the like -- that add some color and dimension, but also make it dated. Andersen sounded best on his more tuneful and pensive ballads, like "Miss Lonely Are You Blue" and "Just a Little Something"; the more sardonic and lyrically vague outings just don't seem as in tune with his strengths and artistic personality. There are touches of bluesy vaudevillian honky tonk ("Mary Sunshine," "Hello Sun") and good-time pop (also on "Mary Sunshine," interestingly enough). Other tracks, like the lengthy "Rollin' Home (It's a Far Cry From Heaven but a Short Cry From Home)" and "Broken-Hearted Mama," sound rather like the Blues Project's folk-rock ventures. Ultimately it's a respectable but erratic album. ~ Richie Unterberger, All Music Guide

by MJF

Ronnie Browne - Scottish Love Songs (1995)




















Ronnie Browne has had a major effect on the evolution of traditional Celtic music for nearly four decades. A founding member of The Corries, Browne joined with cambolin inventor, builder and player Roy Williamson to create one of the first of Scotland's great folk revival bands. Since Williamson's death, from a brain tumor in 1990, Browne has continued to perform and record as a soloist.

The seeds for Browne's musical career were planted when he met Williamson and multi-instrumentalist Bill Smith at Edinburgh College Of Art and formed the Corries Trio in 1962. The group was expanded the following year with the addition of female singer Paddie Bell. Shortly after releasing three albums-"The Corrie Folk Trio With Paddie Bell", "The Promise Of The Day" and "In Retrospect"-in 1965, Bell left to begin a solo career. With the departure of Smith, the following year, Browne and Williamson continued to perform as a duo.

In 1970, Williamson conceived and built the cambolins, a pair of instruments that were rarely played seperately. While Williamson's instrument featured a basic guitar fingerboard with a bandurria attached and sympathetic resonating strings, Browne's model was a basic guitar with a mandolin attached and four bass strings.

Browne and Williamson became regular performers on Scottish television shows and movies. In 1983, they received an International Film and Television Festival gold award for their STV series, "The Corries & Other Folk". The duo reached their peak with the film, "The Bruce", which featured Browne's rendition of the Williamson-penned tune, "Flower Of Scotland", at the end of the movie. Browne appeared in the film playing the role of Maxwell The Minstrel. ~ Craig Harris, All Music Guide

1. Dumbarton's Drums
2. My Love Is Like a Red, Red Rose
3. Come All Ye Fair and Tender Maidens
4. Touch and Go
5. Bonnie Lass O' Fyvie
6. Loch Lomond
7. Bonnie Earl O'Moray
8. Canvas of My Life
9. Kate Dalrymple
10. Massacre of Glencoe
11. Mary Hamilton
12. Queen Maries
13. Leezie Lindsay
14. Gin I Were a Baron's Heir
15. Willie's Gan' Tae Melville Castle
16. Parting Glass

by Peter

David Olney - Deeper Well (1988)



















David Olney - Guitar (Electric & Acoustic), Glockenspiel, Vocals, Harmonica
Billy Cox - Bass (Electric)
Joe Fleming - Guitar (Acoustic), Vocals (Background), Bass
Lindsay Rosebrock - Organ, Vocals (Background)
Mark O'Connor - Mandolin, Fiddle
Mike Henderson - Guitar (Steel)
Rick Rowell - Drums
Steven Runkle - Vocals (Background)
Thomas Goldsmith - Guitar (Rhythm), Vocals (Background)
Too Slim - Vocals (Background), Bass
Tracy Nelson - Vocals (Background)

1. Deeper Well
2. Women Across The River
3. Brand New Skin
4. Jerusalem Tomorrow
5. If Love Was Legal
6. King Of Soul
7. Poor Clothing
8. If My Eyes Were Blind
9. Way I Am
10. Illegal Cargo
11. Lonesome Waltz Of The Wind
12. You Are Here

by Franco

Eric Andersen - Today Is The Highway (1965)
























Eric Andersen - 'Bout Changes & Things (1966)





















Cheers

Franco

by Franco

Eric Andersen - Blue River (1972)
























Eric Andersen - Sweet Surprise (1976)























A brief biography (grabbed from amazon):
Eric Andersen has maintained a career as a folk-based singer/songwriter since the 1960s. In contrast to such peers as Tom Paxton and Phil Ochs, Andersen's writing has had a romantic/philosophical/poetic bent for the most part, rather than a socially conscious one, though one of his best-known songs, "Thirsty Boots," has as its background the Freedom Rides of the early '60s. (The song has been recorded by Judy Collins and others.)After emerging from the Northeast folk-club circuit, Andersen began to record in 1965 with Today Is the Highway. His second album, Bout Changes & Things, contained some of his most accomplished writing, including the highly poetic "Violets of Dawn," "Thirsty Boots," and "I Shall Go Unbounded." All were sung in Andersen's flexible tenor (he shaded toward a baritone later), backed by rapid, intricate fingerpicking. In the late '60s and early '70s, Andersen experimented with country, pop, and rock music, settling on an amalgamation by the time of his masterpiece Blue River in 1972. This was also his most commercially successful album, but Andersen, like friends Leonard Cohen and Townes Van Zandt, was always too serious-minded for the mainstream. In the '70s and '80s, he recorded sporadically while playing folk clubs around the U.S. and especially in Europe, where he took up residence. His later material, including 1989's Ghosts Upon the Road, recalls his work in the '60s as it ruefully reflects on that decade. The '90s saw Andersen collaborate with friends like Rick Danko and Jonas Fjeld on Danko/Fjeld/Andersen, as well as release a solo album, 1998's Memory of the Future; Andersen also oversaw the release of Stages: The Lost Album as well as a 1999 reissue of Blue River. You Can't Relive the Past followed early the next year. Beat Avenue from 2003 was an ambitious double CD while 2004's The Street Was Always There was a nostalgic look back at the music of the New York Greenwich Village scene of the early to mid-'60s. Waves from 2005 was another album of covers, but with broader material. Anderson released Blue Rain in May 2007. - William Ruhlmann

I have 20 cds of Eric!

Cheers!

by Oisín

Wolverlei - "Wolverlei" (1978)
(LP, Stoof, MU 7445)

After Chimera, King's Galliard and Farmers Union it's time for another one from Dutch soil: Wolverlei. The group started as a trio in 1977. A year later Rens van der Zalm joins. Rens is probably best known as a member of 'Mozaik', the 'dream band' of Andy Irvine (with Donal Lunny, Nikola Parov and Bruce Molsky). Before 'Wolverlei' he was a member of the Dutch group 'Fungus'.
In Folkworld Jos Koning said:
"... But most people would say that Wolverlei was the best acoustic folk group the Netherlands have ever had. They only recorded two albums, but they are both classics. Although they worked with traditional material, they managed to invent a new and modern sound ..."
Of course it's up to you to decide if he was right or not....

Tracks:
1. Scheepjes over zee/Boerenmai
2. Tiedeliepats
3. Rozendanslied/Cramignon
4. Las las/Het grote bed
5. Te Groenland op de klippen
6. Koosje Koosje
7. Wilgeboompjes
8. Malbroek/Wilhelmusdans/Swart laat 'm scheren
9. Het vrouwtje van 's Hertogenbosch
10. Zoon/Esklundan Polskan
11. Werkmanskind
12. De boer had ene schoen/Schots & scheef

Line up:
Kees van de Poel - zang, gitaar, draailier, harmonica;
Frans Smulders - zang, gitaar, dulcimer, draailier;
Rens van der Zalm - viool, mandoline, gitaar, harmonium;
Theo de Jong - bas;
Wim Schaftenaar - cello;
Vader Smulders - mondorgel.

81 mb @ 256 CBR

DL

Enjoy, Oisín

Relativity

Relativity (1986)


Green Linnet GCD 1059

Musicians:
Tríona Ní Dhomhnaill: Vocals, Clavinet
Mícheál Ó Domhnaill: Vocals, Guitars, Keyboards
Johnny Cunningham: Fiddles
Phil Cunningham: Accordion, Keyboards, Whistles, Bodhrán

Tracks:
01. The Hut On Staffin Island
02. There Was A Lady
03. Gile Mear
04. Gracelands
05. When Barney Flew Over The Hills
06. Leaving Brittany
07. An Seanduine Doite
08. John Cunningham's Return To Edinburgh
09. Ur-Chill An Chreagain

Relativity

Gathering Pace - (1987)


Green Linnet GLCD 1076

Musicians:
Tríona Ní Dhomhnaill: Vocals, Clavinet, Synthesizers
Mícheál Ó Domhnaill: Vocals, Guitars
John Cunningham: Vocals, Fiddles
Phil Cunningham: Vocals, Accordion, Synthesizers, Whistles

Tracks:
01. Blackwell Court
02. Gathering Pace
03. Rosc Catha Na Mumhan
04. Miss Tara MacAdam
05. Ma Theid Tu Un Aonaigh
06. Siun Ni Dhuibhir
07. When She Sleeps
08. Said Johnny To Molly
09. The Monday Morning Reel
10. Ceol Anna

by Franco

John Stewart - Live at the Turf (1996)





















1. Bringing Down the Moon
2. Cody
3. Midnight Wind
4. The Four Marys - John Stewart, Traditional
5. Dreamers on the Rise
6. Pick a Bale of Cotton - John Stewart, Traditional
7. Bolinas
8. Big Horse
9. California Bloodlines
10. Arkansas Breakout
11. East Virginia - John Stewart, Traditional
12. Monkey Boy
13. Miracle Mile
14. The Water Is Wide - John Stewart, Traditional
15. Sing My Heart Away
16. Cannons in the Rain
17. The Last Campaign
18. Across the Milkway
19. The Pirates of Stone County Road



John Stewart - Wires From The Bunker (2000)





















1. American Way
2. Under Heavy Fire
3. Same Old Heart
4. When the Night Was Ours
5. Hot on the Trail
6. Molly and Tenbrooks
7. Escape of Old John Webb
8. Molly Dee
9. Liddy Buck
10. Cheyenne
11. It Might as Well Be Love
12. Wide Eyed in Babylon
13. High Flying Eagle
14. Tears of the Sun
15. All the Desperate Men
16. Diamonds in the Coal
17. One Shining Day
18. Rockin' as the Night Rolls On


John Stewart - Johnny Moonlight (2000)

All The Words Unspoken
Cowboy in the Distance
If You Should Remember Me
All The Lights
Walk on the Moon
Sparkle on the Monkey Train
Timeless World
Looking back Johanna
Highway of Light

Link fixed by Νομίζω

Silly Wizard - Wild & Beautiful

by Franco

John Stewart - Rough Sketches (1996)
















1. Spirit of the Road
2. Neon Road
3. Johnny Flamingo on the Blue Dream Road
4. Dogs of San Jon
5. Angel Delgadillo
6. Cadillac Ranch
7. Interview With an Angel
8. Because of a Dancer
9. Evangeline [Alternate Version]
10. Mac Brasel's Farm
11. Road


John Stewart - Teresa and the Lost Songs (1998)


















1. Dead Snakes
2. Lilly and Joe
3. Annie Born and Died
4. Across the Milky Way
5. Teresa
6. Looking Back Johanna
7. Seek a Newer World
8. Crows Landing
9. Remembergin the Sun
10. A Woman Rides the Beast
11. Cooler Water Higher Ground
12. Liddy Buck

by ericbkk

Maddy Prior & Friends - BBC Electric Proms 2008













Highlights from the great English singer's Electric Proms concert, recorded at Cecil Sharp House,23
October 2008,and featuring Tim Hart, Rose Kemp and June Tabor.
Broadcast on Mike Harding Show, BBC Radio 2,29 Oct.'08.

Playlist:
The Collier Lad - Maddy Prior and Friends
Martinmass Time - Maddy Prior and Friends
Trimdon Grange - Maddy Prior and Friends
Four Loom Weaver - Maddy Prior and June Tabor
Grey Funnel Line - Maddy Prior and June Tabor
Bold General Wolfe - Maddy Prior and Friends
Trooper's Nag - Maddy Prior and Friends
Jock of Hazeldean - Maddy Prior and Friends
Sorry The Day I Was Married - Maddy Prior and Tim Hart
Who’s The Fool Now? - Maddy Prior and Friends with Tim Hart
Doffin' Mistress - Maddy Prior and Friends with June Tabor
What Will We Do - Maddy Prior and June Tabor
Staines Morris - Maddy Prior and Friends

DL 56:30 @ 64Kbps.

According to MH's BBC homepage, you can get a free audio download of the programme(UK only),so if someone in UK could D/L the podcast and post it,I think it would be a better quality recording than what I've been able to get,recording internet audio stream through my soundcard.

http://www.bbc.co.uk/radio2/shows/harding/

There's a video of the full performance(UK only): Here


Cheers.

by Pilgrim Jake

Summerhaze - Sweetheart (1988)
















Summerhaze's second Album -"Sweetheart" was released in '88. It differs from the first, with considerably more 80's jazz influence, that is probably of much less interest to readers of this blog.

However the other half is intriguing classical/ folk/ psych music that is quite beautiful. I'm having upload issues with my ISP so have made an abridged version of this second album that includes only the folk components. I really love this section, whilst the other parts leaves me cold. This abridged version people will give people an excellent taste of the unique Summerhaze sound. I will post the full album with its artwork in a few weeks, so people can decide which version they prefer for themselves.

DL


V.A. - "Under the Hill; The Quiet Folk of Northcote"





















Here is a broad sample of folk/ chamber music from Melbourne Victoria. There is a vibrant musical scene with a strong folk influence. Full details are packaged with the files and with the artwork. //


The gentler sounds of Melbourne town come from the rattle of its trams and the rustle of coats upon bluestone. These have infused with musicians hereabouts, who have in turn been nurtured by plentiful venues, strong independent radio and an appreciative audience.
'Under the hill' presents artists that are a part of Melbourne's contemporary quiet scene.
The sounds might be characterised as slow strings and a hint of warm brass set to song. If parts of the folk movement of England in the 70's was distinctly Folk-Rock electric, then this could be a burgeoning folk - chamber pop, with a touch of ethereal acid folk revival.
Many of these bands are also a part of a musical family, supporting and interweaving members amongst one another. It makes for delightful gigs, steeped as they are in such companionship and warm melancholia. Ruckers hill in Northcote overlooks the city. It is atop this hill where many such congregations occur, and is home to Melbourne's domestic bohemia.
Thus the compilations name and where you should look if you ever visit. A few tracks are Australian antecedents in the same vein and one is not a melbournian, she just sounds like she ought. But all the rest are local. This is a sample of what can be found.
Below is where you can find them. Please support if you delight herein, for their clothes are all shabby and they're pale & thin.

"Fox" - Summerhaze - Sweetheart [1988]
"Death by Waterfall" - Owls of the Swamp - Smoky Bay [2007]
"Herringbone Blues" - Oliver Mann - Oliver Mann Sings [2005]
"Brave Like a Goose" - Grand Salvo - The Temporal Wheel [2005]
"Willow Tree" - The Smallgoods - Down on the Farm [2007]
"Snow Falls" - Grand Salvo - Death [2008]
"Magic Unnamed/ Eden Land" - Laura Jean - Eden Land [2008]
"I found You" - Luluc - Dear Hamlyn [2008]
"Belly" - Andrew McCubbin & The Hope Addicts - Steer [2004]
"Stolen Day" - Mike Noga - Folk Songs [2005]
"Steeps and Hollows" - Sodastream - Take Me with You When You Go [2005]
"Traipse Through the Valley" - The Smallgoods - Down on the Farm [2007]
"Hail to the Moon" - Wendy Rule - World Between Worlds [2000]
"There's a Spell" - Heidi Elva - Ships and Trees [2008]
"The Grey Goose Wing (Recorders)" - Kes - The Grey Goose Wing [2007]
"Shalelem Relagh" - Grand Salvo - Death [2008]
"A Dream of Mine" - Cilla Jane - When the Night Falls [2008]
"The Wealthiest Queen" - Luluc - Dear Hamlyn [2008]
"Singing to the bones" - Wendy Rule - World Between Worlds [2000]
"Orange tree" - Summerhaze - Sweetheart [1998]
"Singing Box" - Oliver Mann - Oliver Mann Sings [2005]

DL

by Νομίζω

Silly Wizard - Kiss The Tears Away (1983)











The opening song of this album entitled "The Queen Of Argyll" is the song that magically introduced me to the music of the Silly Wizard, when a friend lend me a cd-box of scottish music compilation, for a hearing.

Tracks:
Side A
1. The Queen Of Argyll
2. Golden, Golden
3. Finlay M. Macrae
4. The Banks Of The Lee
5. Sweet Dublin Bay

Side B:
1. Mo Nighean Donn, Grádh Mo Chridhe (My Brown Haired Maiden, Love Of My Heart)
2. Banks of the Bann
3. a) The Greenfields of Glentown, b) The Galtee Reel, c) Bobby Casey's Number Two, d) Wing Commander Donald MacKenzie's Reel
4. The Loch Tay Boat Song

by Franco

John Stewart - Chilly Winds (1993)





















1. Hit and Run
2. Those Who Are Wise
3. Road to Freedom
4. Run the Ridges
5. The New Frontier
6. One More Town
7. Lock All the Windows
8. Green Grasses
9. Chilly Winds
10. Children of the Morning
11. Buddy Won't You Roll
12. Dreamers on the Rise
13. Cheyenne
14. Living on Easy
15. Hiding in the Shadows
16. Angel on the Road Shoulder
17. Same Old Heart



John Stewart - Bandera: Live (1994)





















1. Keeper of the Flame
2. Evangeline
3. Miracle Mile
4. Slow Dance
5. Liberations Day
6. Ghost of the Superchief
7. I Remember America
8. Monkey Boy
9. Dink's Blues
10. Waiting for Saints

by Νομίζω

Silly Wizard - Wild & Beautiful (1981)












The music of Silly Wizard it seems to me that has two faces. One that is haunted and another joyfull and gay which celebrates the life itself. This record of these guys from Endinburg, is just like this.
An excellent scottish traditional, folk record.

by Franco

John Stewart - American Sketches (1990)


















1. Distant Wagons
2. Wichita Cross Winds
3. Besty From Pike
4. Indian Springs
5. Grand Canyon Summer
6. The Hoolian
7. Montana Crossing
8. After The Rain
9. The Launch of Apollo II
10. Behind the Wheel
11. The Gold Rush



John Stewart - Deep in the Neon: Live at McCabe's (1991)





















1. Strange Rivers
2. Runaway Train
3. The Man Who Would Be King
4. American Nights
5. Paths Are Many
6. The Wheel Within the Clay
7. Irresistable Targets
8. July, You're a Woman
9. She Believes in Me
10. Grace of Rain/Dealing With the Night
11. Daydream Believer
12. Never Goin' Back/Do You Wanna Dance/All the Lights
13. Shady Grove - John Stewart, Traditional
14. Escape of Old John Webb - John Stewart, Public Domain [1]
15. Where Have All the Flowers Gone? - John Stewart, Seeger, Pete
16. California Bloodlines

by Franco

John Stewart - One Night in Denver (1988)





















01. Ticket To The Stars
02. Daydram Believer
03. New Frontier intro
04. New Frontier
05. Always Young intro
06. Always Young
07. July You're A Woman
08. Botswanna
09. Midnight intro
10. Midnight of the World
11. Pirates of Stone County Road
12. Midnight Wind
13. Gold intro
14. Gold
15. Mother Country
16. Solsbury Hill



John Stewart - Neon Beach: Live 1990





















1. Lady Came from Baltimore
2. Dreamers on the Rise
3. Angels With Guns
4. Looking for Jack
5. Shake Rattle and Roll
6. Strange Alliance
7. Seven Angels
8. Grace of Rain
9. Bad Rats
10. Hunters of the Sun
11. Gold

by Franco

John Stewart - Earth Rider (1964-1979)
























John Stewart - Punch The Big Guy (1987)





















01. Angels With Guns
02. Strange Rivers
03. Hunters Of The Sun
04. Price Of The Fire
05. Midnight Of The World
06. Night Of A Distant Star
07. Botswanna
08. Ticket To The Stars
09. Runaway Train
10. Children Of The New Frontier

Link

Peter found the link to...
John Stewart - Bombs Away Dream Babies (1979)





















The Seventies... blog

by Peter

John Stewart - Bullets In The Hour Glass (1992)
























John Stewart - Airdream Believer: A Retrospective (1995)













/

by Franco

John Stewart - Sunstorm (1972)





















1. An Account Of Haley's Comet
2. Kansas Rain
3. Sunstorm
4. Bring It On Home
5. Lonesome John
6. Drive Again
7. Joe
8. Light Come Shine
9. Cheyenne
10. Arkansas Breakout

by Oisín

Farmers Union - "Reunion" (NL, 1978)





















On the backcover of this album is a short story in Dutch about this group. Here's a loose translation into English:
"Farmers Union: a flower in her bud broken?
Set up as an occasional formation Farmers Union played for a half year professional, with a repertoire that consisted of traditional English folk, completed with own material. This was exported mainly electric and in its time (1972) the group was pretty unique.
A number of disastrous events followed each other; a chain collision in the Velsertunnel damaged the bus so that after a gig in Delft it totally broke down. Piet Kok got jaundice and could not perform for 6 months. This meant the end of the group.
Farmers Union had been stopped then well, but all members appeared to find their way in the music world very well; Liedwien Schaper started as a singer in Manacle Trust, Piet Kok a successful solo career as Pete Cox, Nanne Kalma with Irolt the foundations for a Frisian folk-movement, for the first time Frisian sung folk on vinyl!, Sido Martens ultimately proofed himself in the Dutch band Fungus and built after that a reputation as a solo artist.
At the instigation of the ex manager Sjoerd Couperus they started with rehearsals for a Farmers Union reunion that would take place in it with closing threatened youth centre 'Hippo', on the Queen's Birthday 1978. A whole day music of Irolt, Manacle Trust, Pete Cox and Sido Martens, with as a closing act of an unique reunited Farmers Union. And what a reunification! With a lot of enthusiasm, the old familiar numbers were never played as sparkling as before. The enthusiastic reactions of the public made them decide to make this LP, the circle is around, the bud has emerged to a flower."

Farmers Union focusses on English folk rock, here you can listen to an excerpt of 'Merlin's Melody'

Tracks:
01. Merlin's melody. 3:32
02. Once I had a sweetheart. 3:15
03. Johnson boys. 1:45
04. Lovesong. 2:36
05. Phantasmagoria in two. 3:27
06. Jesse James. 2:37
07. I listen to the morning. 2:25
08. Hero of fairytaleland. 3:33
09. Ragtime millionaire. 2:07
10. Children of darkness. 3:20
11. Omie wise. 6:29

Line up:
Liedwien Schaper - vocals
Piet Kok - vocals, acc. guitars, mouthorgan, bass
Nanne Kalma - vocals, el. & acc. bass
Sido Martens - vocals, el. & acc. guitars, mandoline, tambourine

69 mb @ 320 CBR

DL

Enjoy, Oisín