Monday, March 31, 2008

Tuesday - Friday

by Anonymous

John Denver & Friend
Recorded February 6-7, 1976


Sunday, March 30, 2008

Delaney & Bonnie

"Accept No Substitute" 1969

Accept No Substitute - The Original Delaney & Bonnie is the second album by Delaney & Bonnie Bramlett, and their only release on the Elektra label (catalog no. EKS 74039). The album features many of the "friends" that would form the core of their best-known 1969-70 touring band, including Leon Russell, Bobby Whitlock, Carl Radle and Rita Coolidge.

The album's release created no small amount of behind-the-scenes controversy. Upon hearing pre-release mixes of the album, George Harrison offered Delaney and Bonnie a contract with the Beatles' Apple Records label, which they signed despite their prior contractual commitment to Elektra. According to Elektra founder Jac Holzman's book on that label's early history[1] , Apple went so far as to make test pressings of Accept No Substitute based on this contract, which was subsequently voided. After the album's release, frustrated that no copies of Accept No Substitute were available in his father's home town record store, an apparently-drunk Delaney phoned Holzman (who was in the UK at the time) saying that he would "come to England and kill" Holzman if the situation was not immediately corrected. Holzman responded by releasing Delaney and Bonnie from their Elektra contract[2].

One song from this album, "Ghetto," would become a regular feature of Delaney and Bonnie's live shows. The song, co-authored by Bonnie during Delaney and Bonnie's tenure at Stax
Records, was also covered by Stax stars The Staple Singers.

Saturday, March 29, 2008

Music Box

"Songs Of Sunshine" 1972

On first hearing Songs of Sunshine by British outfit Music Box, you could be forgiven for thinking of it as an album out of its time when it originally appeared in 1972 on the obscure Westwood label. Wasn't this the era of volume & arenas? Echoes of the mid '60s folk rock boom, and whimsical lyrics with a twist of Dylan (his "Tom Thumb's Blues" is the only non-original song on the album) were perhaps at odds with the sounds of that era. Whatever the reasoning, the album quickly disappeared... shame. Here is an album about a more intimate, predominantly acoustic music. Flutes, chimes, and gentle organ sounds. It spins tales of faraway lands, sand, sea, castles, kings, queens and even Peter Pan. Bet you thought only Donovan made 'em like that? Songs of Sunshine is incense & innocence, folk rock 'n' flowers! Well played, tastily arranged... and overlooked. But that was then, and things change.... we're now probably far enough away for the mid '60s to be the early '70s anyway, and if you can remember those times, well, you weren't there, as the saying goes...or something like that.

by Jhonny #8

Hi, I have a poor rip of Jim Croce - Facets 1966

Jim Croce "Facets" 1966
2004 reissue

1. "Steel Rail Blues Start Start"
2. "Coal Tattoo"
3. "Texas Rodeo"
4. "Charley Green, Play That Slide Trombone"
5. "The Ballad of Gunga Din"
6. "Hard Hearted Hannah (The Vamp from Savannah) Start Start"
7. "Sun Come Up"
8. "The Blizzard"
9. "Running Maggie"
10. "Until It’s Time For Me to Go"
11. "Big Fat Woman Start Start"
12. "Child of Midnight"
13. "It’s All Over, Mary Ann"
14. "Railroads and Riverboats"
15. "Hard Times Be Over"
16. "Railroad Song"
17. "Maybe Tomorrow"
18. "Pa (Song For a Grandfather)"

if someone have a better rip please post it here.

see you


Friday, March 28, 2008

by Peter Coia

Peter Coia said...
The JSD Band now have a page on MySpace, it is being set up by Des Coffield with a little help from myself. You can find it at:

Des also has his own MySpace at:
where he has posted a small selection of his own compositions.

Jim Divers is presently setting up a website for the JSD Band and I will keep you posted on it’s progress.

Peter Coia

by the band themself...

Orange Is In "Another Lame Semi-Tragedy" 2007

Orange is in was born out of the years of writing, recording and constant quoting of the movie Stripes by two talented veterans of the Houston music scene, George Kovacik and Jeff Balke.

In 2002, the two were joined by established veterans of the Houston music scene including Chris Rogers (late of Skillit) on guitar, Amy Price (late of Gordian Knot and the Buddhacrush) on violin and Leesa Harrington-Squyres (late of Carolyn Wonderland) on drums.

A blend of pop hooks, hard-driving rhythms and a rootsy edge, the band has already won fans in Houston and around the Texas music scene. Recording over the summer and fall of 2005, in January 2006, orange is in released its first full-length CD, Another Lame Semi-Tragedy.

Full of complex struggles of adult life, the tracks from Another Lame Semi-Tragedy are in stark contrast to the tongue-in-cheek title. Both dark and hopeful imagery are set against a backdrop of lush, organic instrumentation straddling the line between decidedly American rock and pop music.

Media Response

"[orange is in is] organic chill-out music...made for warm summer days -- even if you hear it played in a dark club at night." -- Bob Ruggiero, The Houston Press

"A couple of listens in, I can attest that [Another Lame] Semi-Tragedy is anything but -- it's a terrific slab of mature, modern power pop with violin accents." -- John Nova Lomax, The Houston Press

Sara Cress of the Houston Chronicle calls "Father's Day," a cut from Another Lame Semi-Tragedy, "[Father's Day is] a lush rock ballad that uses Price's folksy violin to expressive effect." -- Sara Cress, The Houston Chronicle

George Kovacik (of Orange Is In) said...
We are Orange Is In, an Americana rock band from Houston, TX USA.
Feel free to post our CD on your site if you want…thanks.


Thursday, March 27, 2008

again, message from Jancis Harvey...

Jancis Harvey said...

Thank you to all the people who have commented on my 'blast from the past' on this brilliant Time has told me, website.
I am still singing some of those oldies, from the old vinyls, now CDs - From Distance of Doors - Simple Gifts; from Words you left behind - 'A week before Easter' and all the old things from 'Time was now' - had three concerts last week. Sang all these and more - still writing and learning some of the brilliant folk songs left as a wonderful legacy.

Thank you again.
Keep the folk spirit alive.

Jancis Harvey

by MJF #9

The Corries "Peat Fire Flame" 1977

01. Leezie Lindsay (3:25)
02. Braw Braw Lads (3:51)
03. Peat Fire Flame (3:31)
04. Mormond Braes (2:25)
05. Come By The Hills (4:37)
06. The White Cockade (1:39)
07. The Barge O' Gorrie Crovan (3:14)
08. Turn Ye Tae Me (2:10)
09. Eriskay Love Lilt (2:52)
10. The Wee Cooper Of Fife (1:57)
11. Lord Gregory (5:55)
12. The Poachers (2:57)

The Corries "Scottish Love Songs" 1969

01. Tiree Love Song (3:19)
02. The Road to Dundee (3:10)
03. Ca' the Ewes (2:18)
04. Annie Laurie (3:11)
05. Hunting Tower (5:46)
06. The Bonnie Lass of Fyfvie (4:12)
07. Ae Fond Kiss (2:54)
08. The Lowlands of Holland (6:47)
09. The Skye Boat Song (3:23)
10. The Nut Brown Maiden (2:55)

The Corries "Stovies" 1980
Live recordings

01. The Bloody Sarks (4:07)
02. The Bonnie Moorhen (3:27)
03. Birnie Boozle (2:46)
04. Country Western Medley (2:53)
05. The Broom O' The Cowdenknowes (4:56)
06. The Bantam Cock (3:53)
07. Dumbarton's Drums (3:32)
08. The Standard on the Braes O' Mar (3:36)
09. (Ye Picked a Fine Time to Leave Me) Lucille (5:02)
10. Arkinholm (2:54)
11. The Blackbird (4:14)
12. The Bricklayer's Song (5:02)
13. Welcome Royal Charlie (3:36)

Monday, March 24, 2008

Jancis Harvey

Jancis Harvey said...

Doing a bit of surfing on a cold Easter Sunday evening and found your website and references to me as one of the best and most obscure.

well, here I am and delighted that my music is still going very much around. Great. regards from a not so obscure, slightly ageing, and still very musical.

Jancis Harvey

Sunday, March 23, 2008

The New Age

David Biasotti said...

Dear Lizardson,
I hope this finds you well. The other day I stumbled upon the page at Time Has Told Me that offers the recent New Age LP All Around LP for download. While I know this was uploaded in the same spirit in which countless other albums are uploaded – that of sharing – the coolness of offering recently released and very much in print albums eludes me completely. I think out of print albums are totally fair game, and I’m very grateful to be able to hear things of that nature. But this particular upload happens to undercut the efforts of Raymond Dumont of RD Records, who tracked down these New Age tapes, which were in the possession of Susan Graubard, and, with her cooperation, put the reissue together. Surely you must realize that this kind of file sharing acts to discourage small labels from doing this kind of reissue. And who ultimately benefits from that? I’m not associated with RD Records, but do correspond with Raymond occasionally. I’ve written about Pat Kilroy & the New Age, and count Susan Graubard as a friend. She’s seen the page on THTM and isn’t at all happy about it, although she feels uncomfortable writing in herself. So, I guess you could say that I’m writing on her behalf. If you could kindly make the New Age LP unavailable, that’s the end of it, as far as I’m concerned. I’ll check back. If it’s still up, I’ll contact RD Records, and you’ll hear from them. Thanks. I apologize for writing, but hope you understand where this is coming from. (I had to write a similar e-mail request about my own album to another file sharing site not long ago!)

Best regards,

David Biasotti

Saturday, March 22, 2008

by Anonymous

Lazarus "A Fool's Paradise" 1973

The second album by Bill Hughes, Carl Keesee, and Gary Dye was released in 1973. Like their first it was produced by Phil Ramone and Peter Yarrow of Peter, Paul and Mary.

Though still predominantly acoustic, A Fool's Paradise is noticeably more uptempo, slighly more electric, and more produced than the first album, which arguably held onto its mellow attitude at times when it might have let down its hair rather more. On the first album their use of percussion was so sparing that the drummer wasn't even named, but here he gets enough track time to warrant crediting Nick Jameson, who also gets a line for "additional production," whatever that means. There is also a credit for orchestration given to Chris Dedrick.

Once again the theme of religion weaves in and out but with a few exceptions it's even more subtle here than in their first album.

A Fool's Paradise was briefly available on a Japanese-issue CD but to my knowledge is not currently available in any format.


Pete Coe

Pete Coe said...
I should point out that I'm unhappy with the albums you have included for downloading, without my permission. Firstly, I have just re-released 'It's A Mean Old Scene' plus 'A Right Song & Dance' (my first two solo LPs) on CD on my own Backshift Music label. Your download facility thus undermines my sales on what is a small independent label. Secondly, the earlier Leader/Trailer LPs 'Open The Door & Let Us In', 'Out Of Season Out Of Rhyme' 'Bandoggs' & Highway LP 'Game Of All Fours' are currently subject to publishing disputes with Celtic Music. It is my intention, once the dispute is settled, to re-release these albums on CD. In the meantime you could find that you may get involved in expensive litigation from other parties. You certainly do not have my permission to make these recordings available as downloads & I would ask you to remove them immediately.

Pete Coe

Cordelia's Dad

We were just made aware of your blog posting about our first two albums.
We appreciate your kind words.
We would appreciate even more if, rather than posting bootlegs of our first two albums, you could direct people to iTunes or a similar site where they can legitimately download the music. We figure that $10 is a very reasonable price for our creative efforts, and a decent portion of that money comes directly to us.


Martin Hayes

"Under The Moon" 1995

Martin Hayes is a fiddler from County Clare whose sure but gentle touch and deep musical intelligence have combined to produce one of the most satisfying recordings of traditional music in a long time. Accompanied in most cases by only an understated guitar, and in duet on one lovely track with his father, Hayes performs a long set of tunes that range from the familiar ("Rakish Paddy," "The Cliffs of Moher") to the more obscure ("Kilnamona Barndance," "Farewell to Milltown"). What is special about this album isn't so much the material Hayes has chosen, though it's all lovely; instead, it's his unflagging focus on the tunes themselves rather than on his own virtuosity that makes "Under the Moon" both musically inspiring and emotionally rewarding. In a field dominated by fiery virtuosos, many of whom seeming intent on throwing every fleet-fingered ornament possible into every phrase they play, Hayes plays for the tune itself. He interprets and embellishes it, of course, but always in a way that reveals the music rather than obscuring it. There are no barnburners on this album; even the uptempo numbers are played with gentle assurance instead of headlong abandon. When he cuts a note, it is with the quietest, quickest tap of a finger; when he slides into another, it is with the slow, languorous grace of a lover's caress. Yet he never sounds overearnest or academic in his playing, either; he sounds conscientious, not self-conscious. The effect is one of an expatriate speaking after a long exile the native language that he loves, or of a father gently explaining an ancient craft to his child. Stunning. It nearly made me tear up. ~ Rick Anderson, All Music Guide

by Néstor Barron

Rémi Sabot "Chants Marins"

I did upload a record by a french singer called Rémi Sabot. He sings traditional English & Irish seasongs, but in french. Maybe it's not exactly the stuff which we all enjoy in your amazing blog, but it's really interesting. If you want it, the link is:


I have a little (for now) music blog, mostly centered in jazz & avant-garde music and some folk stuff. If you want (I'll be totally glad for), you can added it to your list of blogs. Just in case, the blog it's called "Music Música Musique", and the site it's

Many thanks, you heroe of the music blogs!

Friday, March 21, 2008

Message from Andy Pratt

andy pratt said...

thanks for the kind words
have fun, enjoy...

Andy Pratt

Thanks too Andy
We can't stop loving your music...

Andy Pratt "Records Are Like Life" (on THTM)

Thursday, March 20, 2008


Wednesday, March 19, 2008


Joni Mitchell "Mississippi River Festival"
Joni Mitchell "The Hissing of Summer Lawn"
Joni Mitchell & James Taylor "At The Royal Albert Hall"
Leonard Cohen & Friends "Tea & Oranges"
The Dubliners "The Best of the Original Dubliners"
The Watersons "For Pence and Spicy Ale"
The Watersons "Sound, Sound Your Instruments of Joy"

Dead Links

Please use Dead Links section at side bar...
Artist Name - Album Title


Tuesday, March 18, 2008

by gonzo #28

Now getting back into the swing of things in the UK, here is another of the excellent Steve Turner vinyl rips I did in Tasmania, from 1982 comes
"Jigging One Now" complete with digital photographs of the cover

Steve Turner "Jigging One Now" 1982

Side One:
1. The Squid Jigging Ground
2. Salt Creek/Hare-lipped Susie/The Growling Old Man and the Cackling Old Woman
3. Johnny Laddie
4. Bonnie Annie
5. Few Days

Side Two:
1. Make and Break Harbour
2. The Bracelet/Jack's Getting a Wife (slip jigs)/The Skippers Wedding Song/All Hands upon Deck/Morpeth Lasses (reels)
3. The North Sea Tug
4. Down by The Greenwood Side
5. THe Keepers and the Drivers
Steve Turner -- Outstack
Fellside FEO18 (1979)

Steve began his career on the Manchester folk scene at the end of the 1960s. Joining the Geordie band "Canny Fettle" in 1970, he made two albums and toured in Britain and Europe with them for eight years.
In 1979, he won the Melody Maker "Stars of the 80" National competition, which persuaded him to turn professional for 12 years until 1991. During this time he made four solo albums with Fellside Records and toured internationally.

A period of thirteen years away from the folk scene followed with Steve building a violin retailing business and diversifying musically into a more classical mode.

But folk music has a habit of getting into your blood. So 2004 saw Steve make a somwhat nervous return to the folk scene, but he was warmly welcomed to the extent that he was almost immediately asked to make a new fifth album, which is now in the process at Olli Knight's studio in Robin Hood's Bay and includes guests like Martin Carthy, Nancy Kerr and James Fagan, Kevin Brown and others.


by Peter #8

Here are three Joni Mitchells. The first is a solo show from 1969.
Short but very nice

Joni Mitchell
"Mississippi River Festival, 1969"
Southern Illinois University, Edwardsville, IL, July 7, 1969

As music fan the Doc commented on the internet, a "short but very sweet Joni show, this one takes place in 1969, right at the flashpoint of Ms. Mitchell's career. This performance is from the occasional Steve Allen-hosted Sounds Of Summer series of specials; in this one, Joni and Arlo Guthrie were featured. Joni's voice is clear as a bell and perhaps never more beautiful. Includes an interesting version of the hippie anthem Get Together. Look for the minor but very interesting lyric change in For Free."

01 Chelsea Morning
02 Cactus Tree
03 Night In The City
04 Marcie/Nathan La Franeer
05 Two Houses (Rainy NIght House/Blue Boy)
06 For Free
07 Hunter (The Good Samaritan) STUDIO
08 Get Together (Dino Valenti)
09Fiddle and the Drum
10 I Think I Understand
11 Both Sides Now


Joni Mitchell
"The Hissing of Summer Lawn"

These are the unreleased demos from Joni Mitchell's The Hissing of Summer Lawn. Unlike the lush arrangements found on the album, these early versions are stripped down to only piano, and acoustic guitar.
It's like Hissing of Summer Lawns in the style of Blue or For the Roses. At the time of its 1975 release, The Hissing of Summer Lawns was panned by critics unhappy with her shift towards jazz/folk/rock fusion. I doubt they would've complained if these demos were the final cuts.

The Seeding of Summer Lawns
01. Harry's House/Centerpiece
02. Edith and the Kingpin
03. In France They Kiss on Main Street
04. Sweet Bird
05. Shade of Scarlett Conquering
06. Shadows and Light
07. Dreamland (later released on Don Juan's Reckless Daughter)
08. The Boho Dance
09. Hunter (unreleased demo from Blue sessions)


Joni Mitchell and James Taylor
"At The Royal Albert Hall" Oct 28, 1970

The king and queen of new folk were an unlikely match of the sweet, smooth-talking Taylor and the giggly, elfish Mitchell. Together they visited London and were graciously hosted by the BBC’s John Peel whom you can hear introducing the pair. At the time of post-Dylan folk music, much interest was shown to introspective songwriting, hence Peel’s interest.

This performance exudes both warmth and charm with the pair playing on each other’s strengths and Joni taking lead vocals on James’ You Can Close Your Eyes while singing her own quirky songs The Priest, California and her early favourite The Circle Game.

There’s quite a lot of between song banter with the audience that makes this set so charming for its innocence and exuberance. Nobody was thinking about being an American idol then but rather just spreading their music.

As a bonus, five rehearsal tracks are included that were not broadcast on the BBC. This version is the Wolf ReMaster with the between song audience applause reduced slightly in volume.

01 That Song About The Midway - Joni
02 The Gallery - Joni
03 Rainy Day Man - James
04 Steamroller - James
05 The Priest - Joni
06 Carey - Joni
07 Carolina in My Mind - James
08 California - Joni
09 For Free - Joni
10 The Circle Game - Joni
11 You Can Close Your Eyes - Joni & James

Bonus tracks not broadcast. All by Joni Mitchell
12 The Good Samaritan
13 River
14 My Old Man
15 A Case Of You
16 Carey [with unedited intro]


Enjoy my websites:

Monday, March 17, 2008

by Peter #7

Dave Alvin
"Public Domain Songs from the Wild Land" 2000

One of the great songwriters and performers but not much known to
larger audiences is Dave Alvin. Here is a 16 songs cover album where
Alvin pays respect to his influences. All songs, are

John Hiatt w/Loudon Wainwright III

Two songs from a compilation lp/cd From Hell To Obscurity. In 1986
John Hiatt did a tour in Europe together with Loudon Wainwright III.
The tour precedes the Bring the Family album of Hiatt which he
recorded with Ry Coode, Jim keltner and Nick Lowe. During the tour
Hiatt introduced Wainawright, while Wainwright introduced Hiatt and at
the end of the shows, they usually did a few songs together. Together
the couple recorded two songs, the old Smokey Robinson song My Girl
and Marty Robbins' At the End of a Lonely Day.

I saw the couple twice, in Amsterdam and Utrecht. Both shows were
excellent. As an example of what the two of them were able to, here
are the two cover versions from the compilation lp/cd which contains
further B-sides of other artists.


More about the compilation lp/cd:

Cordelia's Dad
"Cordelia's Dad" 1990
"How Can I Sleep?" 1996

Cordelia's Dad is a band from Northampton, Massachusetts that combines
folk and punk rock influences and was instrumental in the creation of
the genre later to be dubbed "No Depression". The band formed in 1987
and was active until 1998, when the members relocated to different
parts of the country. After releasing an album of older material in
2002 the band has reunited in 2007 for their twentieth anniversary.

Download from iTunes


Enjoy my websites:

Sunday, March 16, 2008

Brian McNeill

"Monksgate" 1977

In 1977 BRIAN McNEILL recorded his debut solo album - '"Monksgate" - at Castle Sound/Craighall Studios, Edinburgh. The album was recorded for the late-lamented English label - Free Reed - but was never released in the United Kingdom. Recently (2002)the master tapes became available again and Greentrax, in association with Fenn Music Service, Germany, have re-released this excellent album.

On the album Brian is accompanied by the following host of talented musicians :-
Angus McGregor - Northumbrian pipes;
Neil Evans - Guitar;
Nan Trench - Flute;
John Gahagan - Whistle;
Alan Reid - Pedal organ;
Pat Knowles - Electric piano;
Jamie Knowles - Pedal organ;
Jamie McMenemy - Guitarra Portuguesa;
Sandy Stanage - Guitar;
Dave Munro - Uillean pipes.

The cover painting is by Dorothea Patterson.

The music is from Scotland, Ireland, Wales and Northumberland and on the making of the album Brian writes:-
"Although I've made a lot of records since this one, I don't think I remember one that was more fun to do and I'd like to dedicate it, now as then, to everybody who helped and everyone who believes that music from one tradition shouldn't be a stranger to music from the tradition next door. Everyone, in short, who believes that a good tune doesn't stop at a line drawn across a map."


by Anonymous

John Denver "The 2nd John Denver Radio Show" 1975

DL 1
DL 2

Saturday, March 15, 2008

by Anonymous

Leonard Cohen & Friends "Tea & Oranges"

DL 1
DL 2

Ashley Hutchings

"By Gloucester Docks I Sat Down and Wept
- A Love Story
" 1986

Recorded at Millstream Studio, Cheltenham, in 1986
(In the Cafe recorded at Limelight, Cheltenham)
Engineered by Mick Dolan
Produced by Ashley Hutchings
Mastered at Town House, London
Album cover photos by Peckham's of Stroud
Back-drop painted by Mike Kingston
Clown's make-up by Jane Astbury
Typesetting by Sean Clark.

The Performers
His voice: Michael Pennington (speech), Ashley Hutchings (singing)
Her voice: Marilyn Cutts (speech), Polly Bolton (singing)

Christine Collister, vocals, lead vocals on [1];
Clive Gregson, vocals;
Pete Zorn, bass guitar, alto ans soprano saxes, flute, and doctor, acupuncturist and priest on [15];
Graeme Taylor, electric and acoustic guitars;
Phil Beer, electric and acoustic guitars, fiddle;
Dave Mattacks, drums, percussion;
Dave Whetstone, acoustic guitar, melodeon, concertina;
John Shepherd, electric piano, synthesisers;
Steve Ashley, harmonica [8];
Mick Doonan, Irish pipes, whistles

Sleeve Notes:
Love, Stuff and Nonsense is from Elizabeth Smart's classic work of poetic prose By Grand Central Station I Sat Down and Wept. It is reproduced by kind permission of Jay Landesman. By Grand Central Station is available in paperback and those who have not read it are recommended to do so as soon as possible. Nearly all the other words on this album have been written by me. The exceptions are a few of Shakespeare's in Westonbirt Sonnet and those spoken over To Ireland I Made My Way. The person who composed the latter would wish to remain anonymous I'm sure. This lack of recognition is compensated for by the fact that I dedicate this album to her. For all the marvellous and frequently devoted work put in by the performers - my undying thanks. Special mentions for Polly, DM, Phil, John and Pete. Also for Sian who put up with me (albeit briefly) during this most difficult birth.

Friday, March 14, 2008

by Peter #6

Jackson Browne
Jabberwocky Club, Syracuse University, NY
March 27, 1971

This is the complete version often referred to as "Jackson Browne’s first known recorded performance". This show appears one year before Browne recorded and released his self-titled debut album that is popularly known as Saturate Before Using. Prior to that, Browne wrote songs for Nico of the Velvet Underground, Tom Rush, the Byrds, Bonnie Raitt and most famous of all, The Eagles. Take It Easy, Desperado and Doolin’ Dalton were all co-written with The Eagles.

Browne’s early songs were mostly romantic but some hinted at social activism. This is an excellent recording of just Browne on guitar or piano playing songs that would later appear on his first and second album, For Everyman. So early in his career, Browne talks to the audience about Black Panther Bobby Seals, an indication he would be active in political causes in the ‘70s and ‘80s.

Many of the songs here remain unrecorded by Browne. Like Neil Young, Browne was prolific in his early years. Unlike Young, he was no rocker. Even when he had a band, the sound was still centered on his songs and lyrics rather than riffs. Browne was much more wordy than his contemporaries and he did garner favorable reviews for his poetic bent.

Jackson Browne’s lasting appeal was his conviction, something that was shared at the time, that an individual could stand up and make a difference. He has since been without a major record label and his latest album is on an indie label. It’s a live album released late in 2005, called Solo Acoustic Vol 1. Just Browne, his guitar and piano and the audience. Just like in the beginning.

Peter said...
Bonnie Raitt mentioned in her show at Jabberwocky 1971 she shares thebill with Jackson Browne. Here is Jackson's 20 song set, which isequally impressive as Bonnie Raitts'. Some claim this is the firstrecording of Jackson Browne. As I haven't found other older shows, itmight be. Here's the set of a very young Jackson Browne. Like BonnieRaitt... solo and worth listening.


by Peter #5

Ry Cooder
VPRO Radio, 10-3-1973

For all the folk lovers and lovers of the folkie Ry Cooder. Here's a
VPRO Radio session, recorded in Hilvserum Holland with a small
audience. The recording is broadcasted a few times on Dutch radio.
Here's 9 song songs plus a radio jingle. Great sound. Recorded date
March 10, 1973.

01 Death Valley
02 stationcall
03 Blind Man
04 Vigilante Man
05 the Tattler
06 F.D.R in Trindad
07 Folding Bridge
08 Dark Is The Night - instr
09 instrumental (Joseph Spence song¿)
10 Happy All The Time - instr
11 Great Dreams From Heaven - instr


Todd Thibaud "Church Street Live"

Canadian singersongwriter who is not much known by the big audiences.
Still, I think he's a good writer and has a good sense of humor.

01. 9 Tree Falls
02. Sweet Destiny
03. Give Back My Heart
04. Suppose
05. Finding Out
06. Never Really Lost
07. 2 Am
08. Tired of Being Me
09. Little Mystery
10. Johanna's Dreams
11. That Wasn't Me

and additionally, enjoy following recordings...

Blue Rose Bootleg Live Neustadt 21-10-2000
Hot FM session
Little Mystery
Todd's Birthday Party

Bonnie Raitt
The Jabberwocky Club at Syracuse University
27 March, 1971

There is some tape hiss. It's not really bad, but anything that mars a
show like this is a tragedy. It's a great one--despite Bonnie's
complaint that, "I wish I weren't so drunk."

01 Something In the Way She Moves
02 Mighty Tight Woman
03 Bluebird
04 Rollin' And Tumblin'
05 Close Your Eyes
06 Rich Woman Blues
07 Blender Blues
08 In My Reply
09 Kokomo
10 Your Song
11 Talk/Tuning
12 Set You Free This Time
13 Special Delivery
14 Woodstock
15 Big Road Blues
16 I Aint Blue, Just A Little Bit Lonesome
17 Finest Loving Man
18 Candy Man
19 Walkin' Blues
20 Talk
21 Can I Get A Witness
22 Country Road
23 Can't Find My Way Home
24 Since I fell For You
25 Love In Vain


Philadelphia Folk Festival, Schwenksville, PA


Jim Croce
Philadelphia Folk Festival
Aug. 25, 1973 (Master Reel Source)

01 - Introduction
02 - Rapid Roy
03 - Talk
04 - Working At The Carwash Blues
05 - Operator
06 - Talk
07 - He's Got A Way With Women
08 - Talk
09 - Lovers Cross
10 - Talk
11 - Speedball Tucker
12 - Talk
13 - The Ball Of Kerrymuir
14 - Bad Bad Leroy Brown


Taj Mahal
Ludlow's Garage, Cincinnatti, OH

13 Feb 1970? (SBD)

1 The Big Fat
2 Diving Duck Blues
3 You're Gonna Need Somebody On Your Bond
4 She Caught the Katy and Left Me a Mule To Ride
5 Going Up To The Country, Paint My Mailbox Blue
6 E.Z. Rider
7 Oh Susanna
8 Six Days On the Road
9 Farther On Down The Road (You Will Accompany Me)
10 Little Soulful Tune
11 Banjo Tunes
12 Band Itroductions/Ain't Nobody Gonna Steal my Jelly Roll(cut)
13 (cut)Band Itroductions/Ain't Nobody Gonna Steal my Jelly Roll
14 Done Change My Way of Livin
15 Yanamamalu?
16 Bacon Fat

Taj Mahal - guitar, banjo, vocals
Jesse Edwin Davis - lead guitar
James Carston - drums
Bill Rich - bass


Not my uploads but I found them by accident


Enjoy my websites:

Thursday, March 13, 2008


S. David Cohen (David Blue) "Me"
Clancy Brothers & Tommy Makem "Irish Songs of Rebellion"

and most of deleted files (on March) are already fixed!!

by Peter #4

Sandy Bull "E Pluribus Unum" 1969

Sandy Bull (January 1, 1941 – April 11, 2001) was an American folk musician who was active from the late 1950s until his death.

Born in New York City, he was the only child of Harry A. Bull, an editor in chief of Town & Country magazine, and Daphne van Beuren Bayne (1916-2002), a New Jersey banking heiress who became known as a jazz harpist under the name Daphne Hellman. His parents were divorced in 1941, shortly after his birth.

Sandy Bull was a composer and accomplished player of many stringed instruments, including guitar, pedal-steel, banjo and the middle-eastern oud. His music and recordings are characterized by his blending of non-western instrumentation and improvisational traditions with the 1960's folk revival. His albums for Vanguard Records often combined extended modal improvisations on oud with an eclectic repertoire of instrumental cover material. Bull is well known for his arrangement of Carl Orff's composition Carmina Burana for 5 string banjo on his first album, which was included on an album of R.E.M.'s favourite songs. Other such musical fusions include his adaptation of Luiz Bonfá's "Manha de Carnaval," and compositions derived from J.S. Bach themes.

Sandy Bull's approach to performance, composition and recording is notable for his extensive use of overdubbing and multi-track tape recording before such techniques became commonplace in music production. However, unlike the sophisticated, glossy aesthetic commonly associated with these techniques, Bull simply used overdubbing as a way to accompany himself and play all the instruments on many of his recordings. As documented in the "Still Valentine's Day 1969" concert recording, Sandy Bull's use of tape accompaniment was part of his live, solo performances as well. Bull also played the oud on Sam Phillips 1991 album, Cruel Inventions. Bull primary played a fingerpicking style of guitar and banjo and his style has been compared to that of John Fahey and Robbie Basho of the early Takoma label in the 1960's.

By his mother's second marriage to The New Yorker writer Geoffrey Hellman, Bull had one half-sister, the sitar player Daisy Paradis; and a half-brother, Digger St. John.

Sandy Bull struggled with a drug problem for many years which seriously affected his performing. After completing a rehabilitation program in 1974, he began performing again. Bull died of lung cancer on April 11, 2001 at his home near Nashville, Tennessee.

Wednesday, March 12, 2008


posted first by bluenorther...

Larry Jon Wilson
"New Beginnings" 1975
"Let Me Sing My Song to You" 1976

Larry Jon Wilson. Like Wilson himself, his music has defied easy categorization, and such descriptions as country folk, country blues, folk blues, country-narrative folk, and a mixture of soul and country all represent attempts to characterize Wilson's work.

Born on October 7, 1940, in Swainsboro to Louise Phillips and John Tyler Wilson, Larry Jon Wilson was raised in Augusta. He attended high school at Carlisle Military Academy in Bamberg, South Carolina, before matriculating at the University of Georgia to major in chemistry. From 1963 to 1973 he worked in Langley, South Carolina, for United Merchants and Manufacturers as a technical consultant in fiberglass manufacturing.

At the age of thirty, Wilson received his first guitar and taught himself to play. Four years later Wilson—by then a husband and the father of three children—abandoned the world of polymers for his music. In 1975 his first album, aptly titled New Beginnings, debuted to critical acclaim. Other albums with the Monument label of CBS Records followed, including Let Me Sing My Song to You (1976), Loose Change (1977), and The Sojourner (1979) . His compositions reflect his experiences, and many focus on his southern childhood; one writer calls them "eloquent, elegiac songs of the South." Of his first album, the critic for the Saturday Review in New York says, "Larry Jon Wilson's New Beginnings is, to sum up, the best thing I have heard in country, rock, pop, or you-name-it for a very long time." Wilson developed a devoted following of fans and critics on the touring circuit and gained the respect of well-known music colleagues. He was a favorite at the famed Bluebird Cafe in Nashville, Tennessee.

DL 1
DL 2


"Voyages" 1978

Simpsonville, South Carolina trio whose mega-rare custom lp sounds remarkably like The Doors, both instrumentally and vocally. Ark rocks quite strongly on the ‘Roadhouse Blues’-ish opener ‘When The Son Comes Out’, the heavily fuzzed ‘Sidewalk Preacherman’ and the instrumental ‘In The Desert’ (which has some neat air raid siren effects). The bulk of the album, however, suggests The Doors’ softer side - a most welcome sound completely unexplored in Christian music. Witness the playful psychedelia of ‘New Civilization?’ with its surreal stroll-along groove, fluttering flute flourishes and extended spacey electric guitar noodling. Or the dreamy adrift mood of the ballad ‘Sea Of Life’ and the ethereal harmonics of the acoustic instrumental ‘Peace Of Mind’. ‘Blue Angel’ and ‘Drifting’ both have irresistible loungy electric grooves that capture what Jim Morrison might have sounded like had he gotten saved and begun singing at Holiday Inns. In fact the lead vocals are generally relaxed throughout, even on the heavier selections. Good electric guitar work throughout by Eddie Herold, rounded out by bandmates Charles Moses (bass, acoustic guitar) and Lee Henderson (drums, percussion). Forget that late date - this stuff sounds more like 1970. Cool primitive b&w cover art. Was valued at one point around $1000, due no doubt to reports that only 100 were made, though copies do seem to turn up occasionally. A more affordable Belgian re-issue appeared in 1994. (Ken Scott - Archivist)

by request...
posted first at Heavenly Grooves


by Jhonny #7

Mimi Fariña "Solo" 1986

The Richard & Mimi Fariña Fan Site:
Solo was Mimi's first solo album, and, aside from a few guest appearances on albums by Joan and various friends, it was her only major release since Take Heart in 1971. Mimi had compiled much of this material in the early seventies, after her split with Tom Jans in 1972. Three of the songs on had been recorded previously by Mimi. "Best of Friends" and "Mary Call" both appear on Joan Baez's 1973 album, Where Are You Now, My Son? The two versions of "Best of Friends" are fairly similar, while the second "Mary Call" was jazzed up a bit, sounding more spirited on Solo. "The Quiet Joys of Brotherhood" of course appeared on Richard and Mimi's Memories. That version was also Mimi solo, having been recorded after Richard's death. Many of the other songs on Solo Mimi had been playing for years in her concerts; thus, the album had a long germination, with a somewhat complicated history. Mimi's efforts to release an album, in her own style, date back to her days with A&M in the early seventies, and after artistic differences with several labels, Solo was released on the Cambridge folk label Rounder in 1986.

The album is a strong collection of songs thankfully out of touch with the trends of the eighties. Featuring Irish pipes, bodhran, banjo and tenor banjo, violin, viola, mandolin, and mandocello, this album has a much more folky, earthy sound than one might expect from the eighties. As with Take Heart, many of the songs are melancholy, but overall the album has a warmth and a quiet strength that grow on you after several listenings. The album featured Banana (Lowell Levinger), the multi-instrumentalist of the Youngbloods who accompanied Mimi in concert for many years. He co-wrote the song "Big Party" and co-arranged several others.

In spite of its strengths, however, one feels that the album could have been better, considering its years in the making. Their should have been more of Mimi's own songs (she had quite a backlog of unreleased material), and more prominent guitar playing. She doesn't quite live up to her reputation as a guitar genius on the album, and the lack of an intrumental song in the tradition of the brilliant Mimi & Tom guitar duet "After the Sugar Harvest" and the numerous Dick & Mimi instrumentals is one of the chief disappointments of this album. Also, the electric bass is too prominent and punchy; an acoustic bass would have been much more suitable. It's impossible to tell whether these faults were the results of Mimi's decisions or the producer's.

The album was discussed briefly in The San Francisco Chronicle, in an article about Mimi and Joan, by Ben Fong-Torres:

"Baez, asked about the album, at first read from a prepared statement, calling her sister 'a superlative musician' who has 'survived the changing musical times with great integrity.' She then adds, 'There were parts of it that she couldn't rise above, but some of them, she just took off, and I thought they were wonderful. I think she does best when she's singing in a duet or trio; I think she's more sure...' On her own, Farina has produced a lovely album, a celebration of pure and simple folk singing, one in which her soprano can't help but remind of Baez' but which also soars to its own heights."

A Note on "Mary Call"
The song "Mary Call" was originally written for a movie, Where the Lilies Bloom (1974), based on a novel by Vera and Bill Cleaver, about a family living in the Appalaichan Mountains. The main character, Mary Call Luther, has to raise her brother and sister after their father dies. Mimi wrote in the liner notes, "At the screening of the movie I was so taken by a young actress who portrayed one of the lead characters that I wrote this song for her. Her natural talent was untrained but she carried the movie. I prayed that Hollywood would not interest her. They didn't use my song and I can't help but feel that that's how it was supposed to be." They reportedly felt that Mimi's lyrics gave away too much of the plot, and they chose instead two songs by Barbara Mauritz--though there is a scene at the end that really screams for Mimi's song. The soundtrack is by Earl Scruggs. Despite the Disneyish, kiddie-movie appearance of the video cover, Where the Lilies Bloom is a very good film, worth renting for the Scruggs soundtrack alone. If you liked Songcatcher, you'll like this one.

1. Best of Friends
2. Big Party
3. Mary Call
4. Walk Me 'Round Your Garden (Dick Pinney)
5. If My Eyes Were Blind (David Olney)
6. Old Woman
7. Deep Feelings
8. How Can We Hang On To A Dream (Tim Hardin)
9. Disappointed Again
10. Quiet Joys of Brotherhood (Richard Fariña)

MimiFariña: guitar, vocals
Chris Able: Irish pipes, bodhran
Banana: vocals, guitar, banjo, DX7 synthesizer
Robin Batteau: violin
Mark Egan: bass
Jeff Lass: piano
Mick Moloney: tenor banjo, mandolin
John Nagy: guitar, mandocello
Christopher Voelker: viola
Produced, engineered and mixed by John Nagy
Photography by Russ Kendall
Design by Susan Marsh

by Paul #13

The Clancy Brothers with Tommy Makem
"Irish Songs of Rebellion" 1993 (CD VBR Rip 192-224)

In 1956, The Clancy Brothers and Tommy Makin released the first of many LPs, namely, "The Rising of the Moon - Irish Songs of Rebellion" under the individual singers' names of Tommy Makem, Liam Clancy, Patrick Clancy and Tom Clancy. Reportedly, only about 200 copies were released.
The LP was musically reworked and re-issued in 1959 this time with the artists as "The Clancy Brothers and Tommy Makem". Since then, the album has been re-released several times mainly under the title "Irish Songs of Rebellion". This is a 1993 USA re-issue. The album also forms half
of their compilation CD "Irish Songs of Drinking and Rebellion".
This is a great album as evidenced by its many re-releases.

1. O Donnell Aboo
2. The Croppy Boy
3. The Rising Moon
4. The Foggy Dew
5. The Minstrel Boy
6. The Wind that shakes the Barley
7. Tipperary far away
8. Kelly the Boy from Killane
9. Kevin Barry
10. Whack fol the diddle
11. The Men of the West
12. Eamonn An Chniuic
13. Nell Flaherty's Drake
14. Boulavogue
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