Saturday, July 29, 2006

Felonious Bosch

I got e-mail from the member of the band called "Felonious Bosch".
Here's info about their new album.

Felonious Bosch releases its first full-length recording NEW DARK AGES on August 1st. Based in Minneapolis, the band features female vocals fronting fiddle, bouzouki, bass, and drums. Dark original lyrics evoke the twisted imagery of 15th century painter Hieronymus Bosch.

You can see a live video (included on the CD) at
And here is song called "Drunken Brawl" from the album: Drunken Brawl
Or get the live track here: Drunken Brawl (Live)

- Drew Miller / Omnium

Friday, July 28, 2006

Water Into Wine Band

Hill Climbing For Beginners (UK Folk 1973)

Probably the best album to appear on the leading Contemporary Christian Music label, Myrrh, which had been established by Billy Ray Hearn as a division of Word Records in 1972, was the debut recording by the British Water Into Wine Band, whose Hill Climbing For Beginners appeared on both sides of the Atlantic in the mid'70s. The UK version presented here has gone on to achieve the status of a progressive folk masterpiece. The album is beautifully recorded and the exotic array of instruments, including bongos, timpani, gongs and violins, combine wonderfully to produce a recording of musical and technical brilliance. An extremely good album. *This album is missing track 4 "Hill Climbing For Beginners", but including alternate version of "Hill Climbing For Beginners" instead of original.

Tony Crabtree (Untitled, c. 2003)

(by Jon Mook--) Next. This was given to me from someone who played with the legendary blind guitarist Tony Crabtree. This was recorded around 2003, it's a private pressing from the ex-Nirvana, ex-Tractor (ex-life, he sadly died in 2005) guitarist/keyboardist from Rochdale, north England, who was blind from birth. Mainly traditional Irish songs but the guitar work is incredible and there's real raw emotion in Crabtree's singing:
Recommended by Jon Mook
Perry Leopold "Experiment in Metaphysics" (US Folk 1970)

Experiment in Metaphysics is, simply put, one of the rarest and most sought-after artifacts from the hippie era. Recorded live in a five-hour session in the basement of a shoe repair shop in June of 1970, most of the 300 original copies of Experiment in Metaphysics were simply given away in one afternoon, yet, inexplicably, bootleg copies of the album have sprung up half-way around the world. The incomprehensibility of such an occurence arises from the complete lack of publicity afforded the album upon its release. The reason for the album's staying power, on the other hand, is apparent: the music is gorgeous, first-rate progressive folk. In fact, Side Two of the original LP's label was given the title "Acid-Folk" (the other side was called "Kommercial"), probably one of the very first uses of that term. Perry Leopold creates a proto-gothic ambience full of dark and brooding imagery that is much less cartoonish than most of what passes as "acid," while maintaining that music's visceral punch. Like much of the youth countercultural scene of the times, Leopold can occasionally give into mystical pretentiousness. Experiment in Metaphysics has moments -- namely the spoken word monologue in the middle of the mostly stellar opening cut, "The Absurd Paranoid" -- of philosophical meandering. Still, even those moments maintain a period charm. Mostly. Experiment in Metaphysics is exquisitely intelligent and forward-looking. Leopold's mood is much more pious than most music that came out of the psychedelic era, and, indeed, extreme piety tends to be a product of youth, yet there is something aged and wise about Leopold's music. The air of tangible experience rises from the album. The "Kommercial" side, cryptically subtitled "SMOKE," is conceptually bleak, and after "The Absurd Paranoid" takes on a much more palpable quality grounded in experience on songs such as "Cold in Philadelphia" and the gorgeous "The 35th of May." The "Acid-Folk" side (subtitled "DROP") opens with the stark, multi-part title track. Each of the three songs in this section is a virtual mini-suite, with the closing cut, "The U.S.S. Commercial," standing as the album's magnum opus. The bonus tracks on the 1999 Gear Fab CD reissue are perfect complements to the album proper, maintaining the same high standard of the rest of the album. Experiment in Metaphysics shows some truly progressive and experimental songwriting, even for the time period. Each song, even the instrumental cuts, feels like a story, with beginnings and endings and all kinds of interesting ideas and storylines sandwiched in between. The album is a relic that has not lost one iota of its power. ~ Stanton Swihart, All Music Guide

Sample pic: Click

Thank you very much, Jon Mook

In addition, you can download "Christian Lucifer" (1973) here:

Thanks again Jon!

Wednesday, July 26, 2006

Candidate "Nuada" (2002)

Nuada is a novel project that manages to stay away from novelty. Candidate states that the album is a tribute to Paul Giovanni's film score for 1972's The Wickerman, which admittedly I have not seen. Though judging by this album, maybe it's worth a look. Nuada is at its heart a folk album. Folk is often subject to hokiness and uncomfortable harmonizing, but Candidate avoid this because of Joel Morris's warm voice and warmer acoustic playing. A few of the songs sound lifted from a '70s soundtrack ("Tomorrow's Tomorrow" and "Beautiful Birds"), but it is pulled off with nice precision. Morris re-imagines The Wickerman soundtrack as if Nick Drake played it. The intricate yet simple guitar playing and deep vocal, accented by a falsetto, dominate most of the tracks. One thing about folk music is that it can always be a viable form of music when it is done right. It is difficult to get it right. But Candidate hit more than they miss. "Circle of Ash" (some parts of this song reminds me Nick Drake's "Know") is haunted by back-up singing and a mellotron, while "Rain on the Roof" utilizes a banjo and Morris's best performance on the record. Nuada is peppered with songs that will sound equally stellar in 20 years. The record may be dated in its inspiration, but it also has some timeless qualities.
The Sun Also Rises "The Sun Also Rises" (UK Folk 1970)

Sun Also Rises was the duo of Graham Hemingway and Anne Hemingway, who put out a self-titled album in the British acid folk style on the small Village Thing label in 1970. The record very much reflects the influence of the foremost exponents of the style, the Incredible String Band, with its wavering harmonies and use of glockenspiel, vibes, dulcimer, kazoo, bells, and other miscellaneous instruments to complement the standard folk guitar. Non-members John Turner (bass) and Andy Leggett (woodwind) also played on the LP. It's something of a scaled-down spin on the Incredible String Band format, though, with less world music influence and more focus on the Hemingways' male-female harmonies. It's also one of the more precious and twee efforts in the genre. Although work was started on a second album, it was never completed. One track from the uncompleted album, "Fafnir and the Knights," did appear in 1972 on the Village Thing compilation Us, and also appears on the American CD reissue of The Sun Also Rises, on the Scenescof label. ~ Richie Unterberger, All Music Guide
Ora "Ora" (UK Folk 1969)

Wah Wah Records is proud to announce the reissue of the recorded works by this amazing folk-with-popsike-jazz-and-even-bossa UK band. Originally released on the Tangerine label, the Ora LP was also issued in the German Metronome label as "Knick Knacks", but gets its first vinyl reissue since it first came out on this 2LP set. Record 1 will feature the original Ora LP as it was first issued back in 1969, while record 2 is made up of previously unreleased in vinyl format top quality material by the band and will include tracks never issued before in any format that original band member James Rubinstein had in his personal archive. 25 must-have songs for anyone interested in UK folk/pop/psych.
It is an album of incredible beauty, recorded by some talented young artists, Here is an extract from the original 1969 press release:

Jamie Rubinstein, 18, leader, lead vocalist and guitarist with the group called ORA, wrote all the songs on their new LP. He arranged most of them. While making the album Jamie was studing for his GCE A Levels. This is the group's first release, a single is being planned.
Jamie and Robin Sylvester, 18, who plays bass guitar, piano, organ, and is co-arranger, are the main-stays of the four-piece group. The others, lead guitarist Jon Weiss and drummer Julian Diggle, are "floating" members. Jamie, Robin, and Julian had met at UCS (University College School) in Hampstead.

1. Seashore
2. About You
3. Deborah
4. Whitch
5. Venetia Ii
6. You
7. Fly
8. Ladyfriend
9. Are You Seeing
10. Emma's Saga
11. Morning After The Night Before
12. Seagull And The Sailor
13. Seashore (Bonus Track)
14. No More Love (Bonus Track)
15. Pomme (Bonus Track)
16. Deborah (Bonus Track)
17. It Was An Easy Legend (Bonus Track)
18. Fly (Bonus Track)
19. Thank God (Bonus Track)

Tuesday, July 25, 2006


Please recommend us your favorite band or artist.
And if possible, paste the links of uploaded files or band informations.

my personal wants:
Aikens Drum - Aikens Drum
Bill Price - The Fine Old Yorkshire Gentleman
Blackpool Taverners - Seldom Sober
Bob Pegg - Chapeltown
Brian Dewhurst - Bits And Pieces
Brian Dewhurst - Sea Lions
Brian Osborne - A Fond Kiss
Brownsville Banned - In Any Case
Catherine Howe - Dragonfly Days
Costworld Folk - Collection
Dave Goulder - Requiem for Steam
Dave Totterdell - Whitby Bells
Derek Sarjeant - Sings English Folk
Faraway Folk - On the Radio
Fivepenny Piece - Making Tracks
Fivepenny Piece - On Stage
Fivepenny Piece - On Stage Again
Foggy Dew-O - Born To Take The High Road
Giggetty - Dawn To Dusk In The Black Country
GT Moore & The Reggae Guitars
Ian A. Anderson - The Inverted World
Independent Folk - Independent Folk
Jon Raven - Nailmakers
Lol Lynch - Abroad As I Was A-Walking
Mabel Joy - On the Border
Magus - Breezin Away
Martin Winsor And Redd Sullivan - Troubador
Mary's Folk - Mary's Folk
McLynns - Old Market Street
Michael Raven & Joan Mills - The Jolly Machine
Michael Raven & Joan Mills - Hym to Che Guevara
Mick Audsley - Dark and Devil Waters
Mike Absolom - Hector & Other Peccadillos
Mike Harding - Mike Hardings Back
Mike Harding - On The Touchline
No Right Turn - No
Orion - Jack Orion
Pat Ryan - Leaboy's Lassie
Paul Metsers - Caution To The Wind
Rhona - Lady for Today
Robin Hall And Jimmy Mcgregor - Glasgow Street Songs
Robin Hall And Jimmy Mcgregor - Scottish Choice
Robin Hall And Jimmy Mcgregor - Scottish Choice 2
Rosemary Hardman - Queen of Hearts
Rosie Hardman - Stopped In My Tracks
Rosie Hardman - Weakness Of Eve
Roy Bailey - Thats Not The Way
Roy Harris - Rambling Soldier
Stan Hugill - Reminiscences
Strawhead - Gentlemen Of Fortune
Strawhead - Law Lies Bleeding
Strawhead - Sedgemoor
Strawhead - Through Smoke And Fire
Talisman - Sylkie
The Bards - Time for the Bards
The Crofters - At The Watermill Inn
The MacDonald Folk Group - Take One
The Oldham Tinkers - Old Times Sake
The Pattersons - I Can Fly
The Peak Folk - The Peak Folk
The Pendlefolk - The Pendlefolk
The Teesside Fettlers - Ring Of Iron
The Valley Folk - Bells In Paradise
The Yardarm - The Yardarm
The Young Folk - Ribble Valley
Therapy - One Night Stand
Wooden Nickel - Five Pennies

Monday, July 24, 2006

Samurai "Samurai" (UK Prog-Rock 1971)

In 1971, British band Web abruptly changed its name to Samurai and released this self-titled set, its sole contribution to the prog rock canon. Adding a second brass player and somewhat lightening its sound, the band still continued down many of the same jazzy pathways as its predecessor. However, across seven tracks Samurai meanders down rather diverse byways. "Saving It Up for So Long," for instance, bundles along like Caravan, its bluesy guitar inflections offset by the brass' improv jazz stylings. Even more R&B-inflected is "Give a Little Love," boasting wah wah guitar, a stomping riff, and some quite sassy sax. In contrast, "More Rain" is as soft, warm, and shimmering as a summer drizzle, and gives credence to the group's inclusion in the Canterbury scene. Its polar opposite is the bustling "Holy Padlock," which trundles down a rural road with the farmland flying by, until the song's shifting time signatures shake up the ride. But it's the eight-plus-minute "As I Dried the Tears Away" that's Samurai's centerpiece, a constantly mood-altering and style-twisting extravaganza that brings to mind King Crimson on acid making a regal procession around a breathtaking musical realm. Thoroughly unique, Samurai apparently committed hari-kari after this album was released. Singer/keyboardist Dave Lawson would eventually rise again with Greenslade, his restrained vocals on this set barely hinting at what was to come. This digipack reissue features this savory album's original artwork, and its reappearance will well please all prog rock fans. ~ Jo-Ann Greene, All Music Guide

1. Saving It Up For So Long
2. More Rain
3. Maudie James
4. Holy Padlock
5. Give A Little Love
6. Face In The Mirror
7. As I Dried The Tears Away

Bonus Tracks:
8. Give A Little Love (Live)
9. Holy Padlock (Live)
10. More Rain (Live)
11. Concerto For Bedsprings (Live)
12. Love You (Live)

Sunday, July 23, 2006

Message from Terry Friend

Hi Lizardson, My name is Terry Friend and I wrote most of the lyrics on that album. By the way, Stonefield Tramp are recording a brand new album. I just want to say thank you for supporting my early recordings and also for highlighting my website. I hope your bloggers take the time to look at it, at least those that seemed to enjoy the songs! If anyone who posted here wishes to communicate with me, they will get all the info' they need from my website.

It's nice to know that over thirty years after the event people still like our songs!

All the best from Terry Friend

Saturday, July 22, 2006

Honeybus "She Flies Like A Bird"
2CD Anthology (+6 bonus tracks from my collections)

In a perfect world, every reissue would be as thoughtfully and lovingly compiled as Castle/Sequel's excellent She Flies Like a Bird: The Honeybus Anthology is. There have been various reissues of the group's recordings, including reissues of their 1970 album Story, and See for Miles had previously released a 25-song compilation, Honeybus at Their Best, but this impressive two-CD set easily outshines them all. She Flies Like a Bird collects all of the band's original mid- to late-'60s recordings for their label, Deram, adding a rare Italian single, "La Cigona (She Sold Blackpool Rock)" b/w "Chi Sei Tu (Ceilings No. 2)" and a half-a-dozen previously unreleased BBC sessions. One of these -- "Maxine's Parlour" -- was written by obscure introspective singer/songwriter Bill Fay, whose very first single was issued by Deram in 1967; it was never issued as a Honeybus single, having already been promised to labelmates Crocheted Doughnut Ring. Another of the BBC tracks -- "Like an Old-Time Movie" -- was penned by John Phillips. Additional highlights include previously unreleased demos and several tracks from an unreleased 1973 album, Recital; Honeybus had recorded an album's worth of material for Warner Bros., but, due to contractual harangues, they decided to have Recital pulled before it was scheduled for release. Several early-'70s non-album tracks (some of them were previously issued on the band's out of print Old Masters, Hidden Treasures compilation) are also included. The eight-panel CD booklet unfolds to reveal insightful annotations by noted authority David Wells. Graphic designer Paul Bevoir has also done a wonderful job with his clever assemblage of rare or previously unused photos, all of the band's single sleeves and labels, sheet music, and various clippings and adverts (one side of the foldout is in color, the other is in black and white). The double-CD jewel case is housed in a nicely designed sleeve slipcase, too. There are 50 tracks in total, spread out over both CDs. Some fans might grouse that Sequel could have also found a way to include post-1970 solo recordings by various members (especially tracks from Pete Dello and friends' Into Your Ears or Colin Hare's highly regarded March Hare). Until that happens, She Flies Like a Bird is the most definitive Honeybus release yet. ~ Bryan Thomas, All Music Guide

Thursday, July 20, 2006

Stonefield Tramp

Dreaming Again (1974)

In 1974, former member of the band Terry Friend & Rob Van Spyk met Brian Ballister. And as a trio, they released the album ''Follow The Sun'' for the studio label, Acorn. This was swiftly followed by "Dreaming Again", an album issued on their own Tramp label. For this album, the trio were enhanced by additional musicians Chris Sutoris (Bass) and Dave Lloyd (electric guitar). To reflect their new sound, the band adopted a new name and Stonefield Tramp were born. Some tracks show a strong Bob Dylan influence while others lean strongly towards the style we have now come to know as acid folk.

More about Stonefield Tramp here: click


Wednesday, July 19, 2006

Serenade (pre-Shingetsu) ''Prog Medley''
Studio Rehearsal 1976

This is very interesting studio recordings of Japanese progrock band Shingetsu's former band called Serenade. They playing famous prog tunes at their studio rehearsal. I don't know these takes were recorded as medley or simply gathering short parts of these songs. But this is really enjoyable tape for all progressive rock fans.

1. Siberian Khatru (Yes)
2. Echoes (Pink Floyd)
3. Tubular Bells (Mike Oldfield)
4. Starless And Bible Black (King Crimson)
5. She Sells (Roxy Music)
6. Soul Love (David Bowie)
7. Never Turn Back On Mother Earth (Sparks)
8. The Musical Box (Genesis)
9. 21St Century Schizoid Man (King Crimson)
10. Nutrocker (EL&P)
11. The World Became The World (P.F.M.)

Download (re-post)
Yonin-Bayashi ''Golden Picnics'' (Japanese Prog-Rock 1976)

Another masterpiece of the most important and famous Japanese progressive rock band. Yonin-Bayashi led Japanese progressive rock movement with Cosmos Factory in midlle 1970s. They may not be famous outside of Japan, but they are still symbolic band in Japanese progressive rock history. Of course, they are active today.

Tuesday, July 18, 2006

Zior ''Zior'' (UK Underground Heavy Rock 1971)

Zior's 1971 debut album got immediate attention when it was released because the band used the same artist that Black Sabbath had used on their first album (an artist called Keef). This first album is a knockout of fantastic heavy rock and is still one of my favourite albums of that year. Zior was a 4 piece band but, on both albums, the 4th member is missing in the photos... weird! Originally released on Nepentha records, the band then switched to Intercord for the release of 1972's masterpiece Every Inch A Man.

1. I Really Do
2. Za Za Za Zilda
3. Loves Desire
4. New Land
5. Now I’m Sad
6. Give Me Love
7. Quabala
8. Oh Mariya
9. Your Life Will Burn
10. I Was Fooling
11. Before My Eyes Go Blind
12. Rolling Thunder
13. Dudi Judy *Bonus Track
14. Evolution *Bonus Track
15. Cat's eyes *Bonus Track
16. Strange kind of magic *Bonus Track
17. Ride me baby *Bonus Track

Sunday, July 16, 2006

Magna Carta ''Seasons'' (UK Folk 1970)

Magna Carta's second LP was dominated by the 22-minute, nine-part suite "Seasons," which took up all of side one. "Seasons" was indeed a grand conceptual work inspired by the changing of the seasons. Its laudable ambition apart, it's pretty ordinary, mild pop-influenced early-'70s British folk-rock. There's a dated preciousness as it varies the pace slightly from jolly full-band good-time folk-rock and pastoral harmonizing to twee fairytale-like narration and almost pop-like orchestration. The six standard-length songs on side two can strike an almost too-cheerful pop-folk bounce, with soft rock orchestration and harmonies that make it vaguely reminiscent of American sunshine pop at points. Simon & Garfunkel are an obvious influence, too, on songs like "Give Me No Goodbye" (overlaid with slight sitar licks), "Scarecrow," and "Elizabethan," though Magna Carta could make Simon & Garfunkel sound almost heavy in comparison. The closing "Airport Song," which was plucked from the LP as a shot for a hit single, goes furthest into pop with its bossa nova beat and easy listening arrangement, though the Simon & Garfunkel influence in the vocal harmonies is nearly overwhelming. This pretty undistinguished pop-folk-rock effort was paired with their third album, Songs From Wasties Orchard, on a 1999 single-disc CD reissue that also included historical liner notes. ~ Richie Unterberger, All Music Guide

Magna Carta ''Songs From Wasties Orchard'' (UK Folk 1971)

Magna Carta's third album was the first with guitarist Davey Johnstone on board, one reason for its subsequent immortality in collecting circles. Another is the extravagant packaging that accompanied the original Vertigo release -- the gatefold sleeve was designed to open up like a box, with a layer of apples (from Wasties Orchard, of course) within. Add a crystalline Gus Dudgeon production and, of course, the popularity among collectors of the original swirly Vertigo label design, and Songs from Wasties Orchard emerges a seldom seen but much sought-after gem. For anybody familiar with the group's first two albums, Magna Carta's own style remained constant, a collection of beautifully stylized folk ballads sung and gently strummed with a warmth and versatility that saw the group endure (and, presumably, enjoy) constant comparisons to mid-period Simon & Garfunkel. The addition of Johnstone to the original duo does little to derail those remarks -- indeed, his own musical versatility puts one firmly in mind of the Americans' more ambitious moments, as mandolins, sitars, and harpsichords dance behind Glen Stewart and Chris Simpson's magically melded vocal harmonies. Highlights of the album are manifold -- Songs from Wasties Orchard is one of those rare records where every song contributes something massive to the overall mood. But the (by comparison) rocking "Wayfaring," Johnstone's virtuoso "Down Along Up," and the evocatively reflective "Isle of Skye" are genuine milestones, while the curiously titled "Home Groan" closes the album with a shockingly electrified country-rocker that is hard to shake out of your head. Songs from Wasties Orchard has rightfully been proclaimed Magna Carta's finest hour -- certainly neither of their subsequent studio albums can touch it, while its two predecessors sound positively tentative in comparison to the confidence that carries the dozen songs here. All are worth checking out, but this is where your journey should begin. ~ Dave Thompson, All Music Guide

Friday, July 14, 2006

Shingetsu ''Shingetsu (New Moon)'' (Japanese Prog-Rock 1979)

Fans of 70's prog may find many of the sounds on this album somewhat familiar, reminiscent for example of Hackett and Fripp guitars, and certainly Kitayama's (vocal) stage presence gives a firm nod to Peter Gabriel's performances. But, although Shingetsu themselves will admit to being fans of groups such as Genesis and King Crimson, (and how can that be a bad thing!) although they do share sonic similarities it does not prevent Shingetsu from carving out a prog niche all their own.
Although sung entirely in Japanese, and therefore ostensibly less accessible to the Western prog fan, ''Shingetsu'' will reward close study, of both the lyrics and music. Quintissentially Japanese, but somehow simultaneously universal, the lyric matter of ''Shingetsu'' (''New Moon'' in English) is all about capturing moments in life and nature; situations and feelings that we have all encountered but perhaps never yet articulated. The beautiful ''Other Side Of Morning'' captures perfectly the sensation of stillness and the almost dreamlike quality of a quiet dawn, with ethereal 12-string guitars and a melody rife with nostalgia, sadness and yet hope. ''Fragments Of The Dawn'' is again another beauty, opening with a searing guitar and seriously funky bassline, quickly segueing into a blissful vocal melody, guitars and mellotron, combining with the lyrics to capture a still moment of meditative contemplation.
But Shingetsu are by no means whimsical prog nancy-boys. They can rock out with the best of them, as proven in the first track, ''Oni'', a saga named after a demon, concerning fear and confusion, and also in ''Night Collector'' with its furious drumtastic energy. Even if you can't understand the lyrics, Shingetsu's music plus Kitayama's voice seen solely as another instrument in the mix, are more than enough to highly recommend this wonderful album.

1. Oni
2. The Other Side Of Morning
3. Influential Street
4. Afternoon ~ After The Rain
5. Fragments Of The Dawn
6. Freeze
7. Night Collector
8. Return Of The Night
Yonin-Bayashi ''Issyoku-Sokuhatsu'' (Japanese Prog-Rock 1974)

Yonin-Bayashi was originally formed in 1970 with Kasutoshi Morizono(guitar and vocal), Kazuo Nakamura(bass and vocal) and Daiji Okai(drums).They introduced themselves as 'The San-Nin' means 'three piece band' at that time. In early 1971, keyboard player, Hidemi Sakashita joined and they became 'Yonin-Bayashi' means 'four piece band' in old Japanese word.
''Issyoku-Sokuhatsu'' is their legendary 1st album out of 1974. Real Japanese hard psychedelic progressive masterpiece...

This papre-sleeve reissue includes 2 bonus tracks (single A-Side, B-Side).

Yonin Bayashi - Issyoku Sokuhatsu: Dead End

You can listen audio clips of Yonin-Bayashi here: Link.1, Link.2, Link.3, Link.4, Link.5
String Driven Thing (UK Folk 1968, 1970)

This group were a three-piece, originally formed in Glasgow in '68 by husband and wife Chris and Pauline Adams, with John F. Mannion. Chris Adams wrote all the material on this lovely little beauty. It's nice, light and breezy west coast-styled sunshine/harmony pop with just a tiny glimpse of psych. The performances on the album [reissued on CD- Green Tree Records (TRC-GTR-CD-OO7)1993] were supplemented by session musicians and a few tracks were meant only as demos for publishing companies. So here we go. It's time to jump into this ray of sunshine with the first number coincidentally titled 'July Morning', which sums this gem of a ditty to a tee and gives you a clue of what to expect from this album. This is a breezy song with a strong West Coast-feel, lovely swirling strings and nice snatches of mellotron in the upbeat chorus and harmonies that don't belong to a wet cloudy Glasgow. Then we get our sunglasses and move on to 'Say What You Like', a slow number with a slight twangy country influence, its saving grace is the catchy chorus and nice harmonies again with that West Coast-feel still dominating. This is followed by something a lot better, which to me is a gem of a popsyke tune called 'Magic Garden' which features scrummy fuzzed guitar that goes lovely with the sunshine harmonies on this commercial sounding piece of loveliness. Next up is another beauty going by the name of 'Wonderful Places' with splendid mellotron that adds to the floaty lethargic (or should that be lysergic) atmosphere which would be perfect for lazy stoned summer nights, then as you feel yourself floating away you're woken up by an upbeat chorus which is unexpected, as the chorus says "I like it, I like it, I really, really like it" you surely will, one of the more psych-influenced songs on the album. On we go to a heartfelt ballad entitled 'I Don't Want To Wake Up Without You', with melancholic strings and brass but as with the previous song it is also enlivened by an upbeat chorus. Then we're back into the swing of things as we go with 'City Man'; with more fuzzed guitar and soaring male/female harmonies, this could be an out-take from a Peanut Butter Conspiracy album - good catchy guitar in this 3 minutes of bliss. As we swelter onto the next nugget of sunshine called 'Another Night In This Old City' (which would fit easily on the Ripples series or other comps of a similar persuasion), starts and stays with sweet sounding jazzy flute with neatly understated strings and as ever those cracking harmonies - can we have some more please? Of course you can with a slight drop in standard with 'That's My Lady', with strings dominated by cello with acoustic guitar and yummy singing. Then we're off to the shade with 'Catch As Catch Can' with a slow melodramatic sounding cello with acoustics, the swirling strings rise up with electric guitar strumming away, then... Bang! we're into another upbeat chorus, and it goes back into slow territory, again with nice harmonies. 'No More You And I' is the sweetest of numbers which is shot thru with a electric sitar, and some well-arranged strings with a brass accompaniment that goes well with the strumming acoustic guitar that's down low in the mix, and the vocals finish this little beauty nicely. The next for some sunscreen is 'Lie Back And Let It Happen' which doesn't start off too clever with what you think is going to be a depressing singer/songwriter type of thing; but no, we want the sun back, so onward we go into another cheery chorus with nice harmonies and little snatches of brass, then the song winds down as it started. The sunny holiday comes to an end with 'One Of Those Lonely People' a mellow acoustic-dominated tune which reminds me of something else, can anyone guess? Cos I can't remember. If you appreciate very commercial sunshine/harmony pop with a tiny influence of psych then you WILL enjoy this album. It has a warmth to it that makes for an enjoyable listen. ---by Stuart Robertson

This album was recorded in 1968 and released in 1970 through private Concord label, and containing different song tracks as same titled album 1972 (Charisma label).

1. July Morning
2. Say What You Like
3. Magic Garden
4. Wonderful Places
5. I Don't Wanna Wake Up Without You
6. City Man
7. Another Night In This Old City
8. That's My Lady
9. Catch As Catch Can
10. No More You And I
11. Lie Back And Let It Happen
12. One Of The Lonely People

Download (re-post)

Thursday, July 13, 2006

Maddy Prior & June Tabor ''Silly Sisters'' (UK Folk 1976)

This was a match made in heaven: Maddy Prior, the sweet-voiced singer for Steeleye Span, and June Tabor, a darker-toned solo performer who was already making a significant name for herself on the British folk scene. The collaboration was blessed by the presence of most of that scene's aristocracy, including guitarists Nic Jones and Martin Carthy, bassist Danny Thompson, and mandolinist Andy Irvine. But the album's most transcendent moments come when Prior and Tabor sing together a cappella, as they do at the beginning of the gentle "Seven Joys of Mary" and the more astringent "Burning of Auchindoon," not to mention the hair-raising "Four Loom Weaver." A few of these songs require a couple of listens before they reveal all of their charms, but all of them are worth the effort. [So artistically, if not commercially, successful was this album that Prior and Tabor reunited ten years later to record the equally fine No More to the Dance under the group name Silly Sisters.] ~ Rick Anderson, All Music Guide

Sample pic: Click

Wednesday, July 12, 2006

Rest In Peace...

Syd Barrett [Jan. 6th, 1946 - Jul. 7th, 2006]

Photo: Cambridge Evening News

Download: The Peel Sessioons + Vinyl Sessions (re-post)
Download: Magnesium Proverbs (Bootleg) (re-post)

Rest In Peace Syd Barrett: Cities On Flame With Rock And Roll
Rest In Peace Syd : Time Traveller
Rest In Peace, Syd... : Sonic Daydream
Wouldn't You Miss Me? :Past Tense
SYD BARRETT : De musica alterque
R.I.P Syd Barrett :Prog Not Frog
Wouldn't You Miss Me? - The Madcap Laughs Last : Anatomy of Rock
Un artista siempre será un artista :Solo Buena Música

Tuesday, July 11, 2006

Fotheringay ''Poems From Alexandra'' (Bootleg)

The sonic quality of this 15-song bootleg, comprised mostly of 1970 BBC sessions, is only fair. But as Fotheringay only released one album, it's a valuable supplement to their meager discography for fans, especially as it includes renditions of a few songs that were never officially released by the band. In addition to versions of most of the tunes from their LP, there are numbers sung by Trevor Lucas ("Broomfield Hall," "John Donohue"), an a cappella performance by Denny ("Lowlands of Holland"), a characteristically somber Denny vocal on "John the Gun," and an unexpected run-through of the warhorse "Silver Threads & Golden Needles." The performances and vocals are all fine; if the fidelity were better, this collection would be as worthy as the official album. The cover of Dylan's "Too Much of Nothing" comes from a 1970 Beat Club broadcast in Germany; the CD is filled out by three studio tracks ("Two Weeks Last Summer," "Gypsy Davey," and "Late November") that didn't appear on the original album, but have been released elsewhere, most notably on the Sandy Denny box set. Incidentally, this disc does not include every last BBC performance by the band; a version of "Wild Mountain Thyme" has circulated among collectors for years. ~ Richie Unterberger, All Music Guide

1. Broomfield Hall
2. Gypsy Davey
3. John Donohue
4. Lowlands Of Holland
5. Ballad Of Ned Kelly
6. Banks Of The Nile
7. Too Much Of Nothing
8. John The Gun
9. Silver Threads And Golden Needles
10. The Way I Feel
11. Nothing More
12. The Sea
13. Two Weeks Last Summer
14. Gypsy Davey
15. Late November

1-611: BBC Radio "Folk On One" November 12th, 1970
71111: Beat Club, Bremen, Germany, 1970
8-121: BBC Radio, 1970.
13-15: Studio Take

Cover: Front
Cover: Back
Cover: Inside

Download Update

Monday, July 10, 2006

Pete Fine ''On A Day Of Crystaline Thought''
(US Psych Folk 1974)

Tremendous orchestral mid-70's style psych from the former guitarist of The Flow. In addition to all the 'standard' rock instruments, our man Mr. Fine also employs flute, timpani, piano, cello, and several violins, all to marvelous effect. This is real, mindblowing psych, spaced out and druggy. Phased drums and guitar, compressed vocals, gorgeous female harmonies, the taste of primo grade Cambodian lamb's breath....

On a day of crystaline thought
I went away with all I'd been taught
Went away, to a land in my mind
I went away, seeking what I could find
Sounds like a dream, but in fact it did seem
That a voice in my head did sing
It sang:
All beings are universes eternal,
And thought never dies,
But forms a vast kingdom of one..

Sunday, July 09, 2006

Sorry, no more Matthews here...
Trees ''On The BBC'' (UK Folk 1970)

Yes, this is from bootleg CD and the sound quality is cheap. But it's rare LIVE recording of Trees. *Before this, I recommend you to listen their official albums*

1. Nothing Special
2. Streets Of Perry
3. Polly On The Shore
4. Little Sadie
5. The Great Silkie
6. Forest Fire
7. Soldier's Three
8. Epithaph
9. Glasgerion
10. Snail's Lament
11. Forest Fire
12. Prince Heather
13. Tom Of Bedlam
14. Cry Of Morning
15. Burglar

Tracks 1-5 BBC "Folk on 1" 6th Aug 1970
Tracks 6-10 BBC 1970
Tracks 11-15 BBC 1971
Best of Matthews Southern Comfort

A fine 16-track collection drawing from Matthews' first solo effort and the two Matthews Southern Comfort albums. Includes the band's hit version of "Woodstock."

1. Woodstock (Joni Mitchell)
2. And When She Smiles
(Alan Anderson)
3. Even As (Carl Barnwell)
4. Something In The Way She Moves (James Taylor)
5. Blood Red Roses
(Trad. Arr. Ian Matthews)
6. The Watch
(Ian Matthews / Howard / Blaikley)
7. Tell Me Why (Neil Young)
8. Southern Comfort (Sylvia Fricker)
9. Mare Take Me Home
(Alan Anderson)
10. Sylvie (Carl Barnwell)
11. Ballad Of Obray Ramsey (Ian Matthews)
12. To Love (Goffin / King)
13. I've Lost You ( Howard / Blaikley)
14. Once Upon A Lifetime (Ian Matthews / Howard / Blaikley)
15. My Lady (Ian Matthews)
16. Road To Ronderlin (Ian Matthews)

Saturday, July 08, 2006

Ian Matthews ''Tigers Will Survive'' (UK Folk 1972)

Tigers Will Survive, Ian Matthews' second release of 1972, and fifth in less than three years, continues the Anglo-American folk-rock that he began in 1968 with Fairport Convention. Following his departure from the band in early 1969, Matthews' style quickly veered from the British traditional direction that Fairport was headed, gravitating more toward the American singer/songwriter scene that was the source for much of the group's material in their early days, keeping him closer to the mid-Atlantic mix of What We Did on Our Holidays (his last record with the band). If You Saw Thro' My Eyes, his previous album, reunited him with members of his old band, as well as others from the revolving Fairport/Fotheringay cast, but this time out, with the exception of Richard Thompson's accordion on a couple of tunes (credited as Woolfe J. Flywheel), he opts for the backing of the English rock band Quiver. And while it may lack some of the cohesive personality of its predecessor, Tigers Will Survive still shares its primarily acoustic sound, augmented by a strong rhythm section and touches of electric guitar. Also, as was the case with that album, the toughest moment is courtesy of Richard Farina, whose "House of Unamerican Blues Activity Dream" brings an edginess and anger to Matthews' characteristically pretty and reflective tone, though his self-penned title track is close behind. Elsewhere, the beautiful "Morning Song" and Phil Spector's "Da Do Ron Ron" (without a change in gender) are high points for Ian Matthews, the songwriter and interpreter, respectively. The former is among the two or three best songs he'd written, while the latter, a wonderful a cappella rendition of the Crystals' classic, bolstered only by hand claps, brings a lightness and energy to the record. Tigers Will Survive, though just a rung below If You Saw Thro' My Eyes, is another fine effort for Matthews. The two recordings were later teamed together on one CD.

1. Never Again
2. Close The Door Lightly When You Go
3. Unamerican Activity Dream
4. Morning Song
5. The Only Dancer
6. Tigers Will Survive
7. Midnight On The Water
8. Right Before My Eyes
9. Da Doo Ron Ron
10. Hope You Know
11. Please Be My Friend
12. Devil in Disguise *bonus track

Friday, July 07, 2006

Fairport Convention ''Unhalfbricking'' 1969

Unhalfbricking was, if only in retrospect, a transitional album for the young Fairport Convention, in which the group shed its closest ties to its American folk-rock influences and started to edge toward a more traditional British folk-slanted sound. That shift wouldn't be definitive until their next album, Liege & Lief. But the strongest link to the American folk-rock harmony approach left with the departure of Ian Matthews, who left shortly after the sessions for Unhalfbricking began. The mixture of obscure American folk-rock songs, original material, and traditional interpretations that had fallen into place with What We Did on Our Holidays earlier in the year was actually still intact, if not as balanced. Sandy Denny's two compositions, her famous "Who Knows Where the Time Goes?" and the far less celebrated but magnetically brooding "Autopsy," were among the record's highlights. So too were the goofball French Cajun cover of Bob Dylan's "If You Gotta Go, Go Now" (here retitled "Si Tu Dois Partir," and a British hit) and the magnificent reading of Dylan's "Percy's Song," though the bash through Dylan's "Million Dollar Bash" was less effective. Richard Thompson's pair of songs, however, were less memorable. The clear signpost to the future was their 11-minute take on the traditional song "A Sailor's Life," with guest fiddle by Dave Swarbrick, soon to join Fairport himself and make his own strong contribution toward reshaping the band's sound. ~ Richie Unterberger, All Music Guide

1. Genesis Hall
2. Si Tu Dois Partir
3. Autopsy
4. A Sailor's Life
5. Cajun Woman
6. Who Knows Where The Time Goes?
7. Percy's Song
8. Million Dollar Bash
9. Dear Landlord (bonus)
10. The Ballad Of Easy Rider (bonus)

Thursday, July 06, 2006

Requested one...
The Brazda Brothers ''same'' (Canadian Acid Folk 1973)

Canadian band fronted by acoustic guitarist Bystrik and lead guitarist Andy Brazda. Mesmerizing acid folk/rock featuring gentle acoustic material with bursts of electric guitar and keyboards. There is some great acid fuzz guitar work and at times the sound is more garage psych than folk.
Cuts like 'Walking in the Sun', 'Gemini' with fuzz guitar, 'Soldier in a Battleground' and more. This in some ways reminds me of the great UK folk pieces of the very early 70's. The original album goes for $600 now and is never seen.

Cover is ''IF4'' 1972
''Waterfall'' was released only in US and Canada as a different title of ''IF4''. And here is ''IF4'' only track ''Svenska Soma''

1. Sector 17
2. The Light Still Shines
3. You in Your Small Corner
4. Waterfall
5. Throw Myself to the Wind
6. Svenska Soma

Wednesday, July 05, 2006

Nick Drake ''3 hours 49 minutes''

This is Nick Drake's rare tracks comes from several bootlegs and official compilation album of rarities.
Here you can listen almost 4 hours of his home recodings, studio demos and outtakes.
But, unfortunately, these tracks have only song titles. If you need, please search about background informations of each tracks yourself.

Download Part1
Download Part2
Download Part3
Download Part4

Don't worry even if you missed ''3 hours 49 minutes''. Now I'm planing to post all of my Nick Drake bootlegs. Please wait for a while...

Nick Drake - [Bootleg] Second Grace
Nick Drake - [Bootleg] Tanworth-in-Arden 1
Nick Drake - [Bootleg] Tanworth-in-Arden 2
Nick Drake - [Bootleg] The Complete Home Recordings
Nick Drake - [Bootleg] The Ultimate Rarities Vol.1
Nick Drake - [Bootleg] The Ultimate Rarities Vol.2
Nick Drake - [Bootleg] Time Has Told Me

Elton John ''Nick Drake Session & DJM Demos'' 1968

Elton John's demo sessions at Dick James Music Studio in 1968. Here you can listen Elton John singing songs of Mike Heron, John Martyn, Nick Drake and Beverly Martin arranged by Drake's producer, Joe Boyd.
The sessions featured Elton John - vocals/piano, Linda Peters (later Thompson) - vocals, Jim Capaldi - drums, Simon Nicol - guitar, Pat Donaldson - bass.

1. Day Is Done (Nick Drake)
2. Saturday Sun (Nick Drake)
3. Sweet Honesty (Breverly Martin)
4. Way To Blue (Nick Drake)
5. Stormbringer (John Martyn)
6. You Get Brighter (Mike Heron, vo.Linda Peters)
7. I Don't Mind (Ed Carter, vo.Linda Peters)
8. Pied Pauper (Ed Carter, vo.Linda Peters)
9. Time Has Told Me (Nick Drake)
10. Go Out And Get It (Mike Heron)
11. The Tide Will Turn For Rebecca
12. When The First Tear Shows
13. Angel Tree
14. Turn To Me
15. I Can't Go On Living Without You
16. When I Was Tealby Abbey
17. A Dandelion Dies In The Wind
18. You'll Be Sorry To See Me Go
19. Where It's At
20. I Get A Little Bit Lonely
21. Hour Glass
22. Taking The Sun From My Eyes
23. And The Clock Goes Round

New link:
Third Ear Band ''Alchemy'' (UK Experimental Rock 1969)

Started in 1968 by percussionist Glen Sweeney and reedist Paul Minns, Third Ear Band was formed from the ashes of a previous Sweeney project, the psych band Hydrogen Juke Box. While generally overlooked in the history of British and improvised music, Third Ear Band developed a distinctive and aesthetically important sound -- equal parts Indian, psychedelic, and minimalist -- dubbed "electric-acid-raga" by Sweeney. Alchemy, their first release, is a wonderful record. With shorter tracks than found on later albums, Third Ear Band here makes excursions into improvised chamber music. In the opener, "Mosaic," which is at seven minutes one of the longest cuts, guitar meets recorder and violin in a disharmonic free jazz summit that fades away before building into a trancy mini-crescendo. On "Stone Circle," recorder lines interweave over an unadorned drum's repetitive rhythm. At times the recorder lines are so fluid and unnatural they sound like they're being played backwards -- which indeed they just might be. Generally the remainder of the tracks run the course between half-structured improv and droning chaos. Comparisons could be drawn to Soft Machine or the Dream Syndicate, but neither quite has the sense of "collective first" nor the repetitive insistence of Third Ear Band. The songs, to quote Sweeney again, are "alike or unlike as trees." For those even vaguely interested in the history of innovative music, Alchemy is worth hunting down. ~ Brian Whitener, All Music Guide

Monday, July 03, 2006


Sometimes I can't find em, and sometimes I can't agree with your "choice".
But, don't hesitate to request. There is no pain.

Request corner is closed now.

Sunday, July 02, 2006

Tribute to ''Cities On Flame...'' blog
Kan Mikami-
''Makeru Toki Mo Aru Daro (There's Times When You Lose Too)''
[Japanese Folk 1978]

Here is Kan Mikami interview by Takuzo Nakashima; Noise: NZ/JAPAN

Where did the "There's times when you lose too" title come from?
Mikami: That was when I was just coming out of that period. I couldn't say that I was totally winning, and it felt like I was still losing. My plans got a lot bigger during that period. I can say now that it was the time when I could see things the clearest.
(taken in part from interview)

1. Nido madeno serifu (4:01)
2. Stripper man (3:48)
3. Fushidara no keikou (3:11)
4. Rigaud ikousyu yori (6:20)
5. Machi de (3:17)
6. Umiotoko (5:17)
7. Makeru toki mo aru daro (8:24)

Download (Re>Re>Re-post)

Amazing Blondel

"Amazing Blondel" 1970

In a sense, this debut album -- originally released by Bell Records' U.K. arm as Amazing Blondel -- relates to the group's subsequent work in the same manner that This Was does to Jethro Tull's later albums. The group was a duo of John David Gladwin and Terry Wincott, fresh out of the rock band Methuselah and interested in making acoustic music, but not certain which direction to go in. A few cuts, such as "Season of the Year," "Shepherd's Song," and "Love Sonnet," display the Elizabethan character that the group would later develop across three LPs, but there's also a definite '60s feel to much of this album, including a sitar and tabla noodling in the background of songs such as "Saxon Lady," which also utilizes a flute part that would later turn up on "Lament to the Earl of Bottesford Beck" on the England album. Other tracks, such as "Bethel Town Mission" and "You Don't Want My Love," have a big band blues quality, while "Spanish Lace" could pass for a folk-rock track by the Humblebums. Not all of it worked, even with the presence of top-flight session musicians, including guitar virtuoso Big Jim Sullivan (who also directed the band and co-wrote the arrangements) and ex-Tornados drummer Clem Cattini. The Elizabethan-style songs came off best out of the different sounds here, and gave shape to what followed for the group, although none of their subsequent material displayed the ebullient, light-hearted sing-along quality found on this album's final cut, the folky "Bastard Love." The presence of horns in some of the arrangements will prove jarring to some fans, but this is a surprisingly solid record for its time. ~ Bruce Eder, All Music Guide

''Evensong'' 1970

The trio's first fully realized album, a self-consciously archaic work built around medieval balladry and madrigals, and performed on period instruments. The group doesn't sound entirely at ease working in this style, but the crisp, folklike feel, and the timbre and singing have great charm. The strongest songs are those such as "Willowood," closest to the group members' own experiences and dealing with Kent, from which they all hailed. The 1996 Edsel CD reissue contains new notes by the original group members, and is very finely remastered. ~ Bruce Eder, All Music Guide

Saturday, July 01, 2006


"Accolade" 1969

Accolade's one of those short-lived late-'60s/early-'70s English bands that attempted to expand musical boundaries, mixing traditional English folk with some rock influences. In one respect the band (bassist Eden Abba, woodwind player Brian Cresswell, singer/guitarist Gordon Giltrap, drummer Ian Hoyle and guitarist Don Partridge) was quite different from many of their contemporaries - namely they were brimming with talent. Prior to their collaboration in Accolade, both Giltrap and Partridge had enjoyed some solo recognition. Giltrap had released a pair of critically praised solo albums, while Partridge (who was actually working as a street musician (what the English term a busker), enjoyed a fluke UK hit with the song "Rosie"). Unfortunately, Accolade's pastoral stylings guaranteed instant obscurity in the States. In fact, it's somewhat of a mystery how they even got their 1968 debut released by Capitol (a label hardly renown for its willingness to take a chance on cutting edge sounds).Produced by Don Paul, 1969's cleverly-titled "Accolade" is hard to accurately describe. Recorded with former Artwoods bassist Malcolm Pool replacing Abba, the collection exhibits a smooth and calming sound throughout. Largely acoustic (though you don't really realize it), material such as "Maiden Flight Eliza" (featuring some weird Mamas and Papas-styled harmonies - we're not kidding), "Prelude To a Dawn" and "Never Ending Solitude" wasn't exactly mainstream rock, nor did it fall under the banner of Fairport Convention-styled English folk. Imagine well crafted cocktail jazz with the addition of a touch of English folk ("Ulyssees") and you'll get a feel for the LP. While that doesn't sound like a ringing endorsement, the result is actually a fascinating album that we repeatedly come back to. Our favorite tracks? Abba's only contribution, the bluesy "Nature Boy" and the surprisingly hard rocking "Gospel Song".

1. Maiden Flight Eliza
2. Starting All Over Again
3. Prelude To a Dawn (instrumental)
4. Never Ending Solitude
5. Nature Boy
6. Gospel Song
7. Calico
8. Ulyssees
9. Go On Home
2006 - - - - - - 6 7 8 9 10 11 12
2007 1 2 3 4 5 6 7 8 9 10 11 12
2008 1 2 3 4 5 6 7 8 9 10 11 12
2009 1 2 3 4 5 6 7 8 9 10 11 12
2010 1 2 3 4 5 6 7 8 9 10 11 12
2011 1 2 3 4 5 6 7 8 9 10 11 12
2015 - - - - - 5 6