Sunday, November 30, 2008

An Announcement

hello there,

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

please wait till tomorrow...

Saturday, November 29, 2008

The Yetties

Fifty Stone Of Loveliness (1969)

Acorn CF 203

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

pass: highqualitymp3

Thursday, November 27, 2008

Pop Song

The Cars - Let's Go (1979)


by Gonzo

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

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

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

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

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

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

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

DL (incl. full artworks)

Obtain CURRENT password from:

Tuesday, November 25, 2008

Alex Campbell

Best Loved Songs Of Bonnie Scotland (1963)

Fidelity FID 2169 LP

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

pass: highqualitymp3

by Peter

Freelance Band - Rough 'N Tough (1980)

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

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

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

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


Freelance Band - Midnight Power House (1985)

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


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


Thanks for your understanding.
I really appreciate it....

Monday, November 24, 2008


Live At The Plumpton Festival 1970

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

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

pass: highqualitymp3

Sunday, November 23, 2008

by Peter

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

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

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

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

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


Saturday, November 22, 2008

To Keep Goin'

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

Please understand our situation...



by Peter

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

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

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

Gob Iron - Death Songs for the Living (2006)

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

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


by Gonzo

Roy Bailey - Hard Times (1982)

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

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

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


For password: Send an email to:-

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

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Friday, November 21, 2008

The Doors

2 famous shows in rare source...

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

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

not from bootleg CD...


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

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

not from bootleg CD...


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

by Jim Noell

Mark-Almond - The Last And Alive

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

sorry for inconvenience...


Thursday, November 20, 2008

by Peter

Jim Lauderdale

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

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

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

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

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

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

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

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

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

Jim Lauderdale - Bluegrass (2006)

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

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

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

Bran (Pre Pererin)

Bran - Ail Ddechra (1975)

SAIN 1038M

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

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

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

Quality: 224 kbps

pass: highqualitymp3

Bran (Pre Pererin)

Hedfan (1976)

SAIN 1070M

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

Quality: 192 kbps

pass: highqualitymp3

Wednesday, November 19, 2008

YouTube 720p HD

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


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

by Peter

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

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

Canadian singer-songwriter, Bob Carpenter's first and only album, produced by Brian Ahern and recorded between 1971 and 1974 buy not released until 1984 because of contractual problems. Anne Murray and Emmylou Harris supply Background vocals. It's a decent country rock album. mentions a "Bob Carpenter" but it's unclear if this is the same guy as of this album.

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

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

Bruce Robison - Eleven Stories (2006)

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


Tuesday, November 18, 2008

by Eliseo Mauas Pinto

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

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

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

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

Best regards to all!

DL (reuped)

Monday, November 17, 2008

Link to Mark-Almond II

by Franco


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

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

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

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

Sunday, November 16, 2008

Ian A. Anderson

A Vulture Is Not a Bird You Can Trust @ psych_folk

Saturday, November 15, 2008

The Doors

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


Nick Drake

River Man



Captured Live (1972)

DL 1
DL 2

Kevin Ayers & The Whole World

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


by Peter

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

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

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

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

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

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

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

Ed Kuepper - Exotic Mail Order Moods (1995)


by Franco

Eric Andersen - Waves (2005)

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

Eric Andersen - Blue Rain (2007)

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

The Doors

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

DL 1
DL 2
DL 3

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

etc. etc...

by Bjørn

Have I got a treat for you!

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

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

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

Front cover artwork included. 192 kpbs MP3.

Slinkombas - Slinkombas (1979)


Slinkombas - ...og bas igjen (1982)


by Nel

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

Foggy - Simple Gifts (1972)

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

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

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



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

A few requests

If you have following...

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

thanks in advance

by Franco

Eric Andersen - Beat Avenue (2003)

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

Eric Andersen - The Street Was Always There (2004)

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


Friday, November 14, 2008

by Chrille

David Ackles - David Ackles (1968)

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

David Ackles - Subway To The Country (1969)

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

Alexander Skip Spence - Oar (1969)

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

Van Dyke Parks - Song Cykle (1968)

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

John Cale - Vintage Violence (1970)

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

Roger Rodier - Upon Velveatur (1972)

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

Judee Sill - Judee Sill (1971)

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

Judee Sill - Heart Food (1973)

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