Tuesday, October 31, 2006

Folque- Folque (1974 Norwegian Folk-Rock, Debut)

This Norwegian folk outfit started out in the early 70s mixing acoustic instruments (fiddle, mandolin, banjo and piano) with the electric guitar, bass and keyboards. They created an earthy music made up of playful, catchy melodies with male/female vocal interplay. Despite important personnel changes over the years (their first-rate lead female singer was replaced, among others), they have managed to remain true to their sound and have churned out over ten fine albums between 1974 and 1998. In 2004, they reunited to play a gig at the Norsk Folkemuseum and don’t seem to show any signs of slowing down.Their highest rated album is their third, entitled “Vardøger”, closely followed by their first two, “Folque” and “Kjempene På Dovrefjell” released in the mid-70s, and by “Fredløs” and “Sort Messe” released in the early 80s. Their material is pure, often foot-stomping folk with Norwegian vocals. Despite the mostly minor keys, it is fresh and exhilirating and dons some wonderful arrangements.Highly recommended to fans of MALICORNE, The POGUES, KEBNEKAISE and GRYPHON as well as those heavily into Nordic and Irish folk. A good introduction is the recent live sampler “Stormkast”,
From progarchives.com.

A good album, but sometimes too traditional for me. I was amazed with the 5th song, incredible vocals by female singer. Check it out.


Monday, October 30, 2006

Derroll Adams-Songs of the banjoman (Compilation-Folk)

Ask the average folk enthusiast who Derroll Adams is, and chances are you'll get a vague glimmer of recognition, followed by a shrug of puzzlement. Few figures have effected as much of an impact on other musicians, while falling by the wayside before the public. Indeed, the only comparable figure who comes immediately to mind is England's Davy Graham, who influenced an entire generation of folk and rock guitarists, and at least one superstar (Paul Simon), but hasn't courted serious record sales in decades. Born Derroll Lewis Thompson in Portland, Oregon, he was the son of a vaudeville juggler and master storyteller. At age 16, just about the time that the Second World War was breaking out, Adams joined the Army, but was discharged within a few months when his age was discovered. He later served in the United States Coast Guard, after which he attended art school — it was during this time that Adams chanced to see a concert by Josh White, which set him on the road to becoming a musician. His subsequent hearing of records by Pete Seeger, Woody Guthrie, and Cisco Houston only reinforced his love of folk music, and in a surprisingly short time, he'd become proficient on the guitar and a near-virtuoso on the banjo. He played for audiences as part of former Vice President Henry Wallace's 1948 presidential campaign. During the 1950s, Adams hooked up with the folk singer Odetta in an organization known as "World Folk Artists," and began building an audience; by the end of the decade, his banjo playing was being used on some film soundtracks. In 1957, Adams had his first successful song, "Portland Town," an account of birth, life, and death that became his magnum opus, covered widely over the years by other folk singers. Around the same time, he met up with Ramblin' Jack Elliott, who, with his wife, invited Adams to come to England with them. Over the next few years, the three played numerous folk clubs in England, while Adams resided for a time with songwriter Lionel Bart and also performed on the European continent. Adams and Elliott also made recordings together for Topic Records, which was then England's leading folk label. In 1966, while traveling through Europe, they cut an album together in Milan, Italy. By this time, Adams was a fixture on the European folk scene, his rough-hewn voice and distinctive banjo style drawing a serious following, especially among the new generation of folk performers coming up behind him. All wasn't well, however, as Adams became increasingly disenchanted with the widening audience for folk music. Where the clubs in the early '60s had been attended by serious listeners with an honest interest, by 1966 he found himself playing more often to rowdy, drunken listeners who cared little for what he was actually doing. He became known for incidents in which he would smash his guitar and leave the stage. Finally, he met a woman from Belgium who became his fourth wife, and he left the music business to help run her decorating business. His influence lingered, however. In 1967, even as Adams was temporarily retired, he became the subject of perhaps the best song that Donovan Leitch (aka Donovan) has ever written, "Epistle to Derroll." Appearing on the Gift From a Flower to a Garden album, the words and music reflected the debt that Leitch owed Adams as a musician and songwriter — the entire song, and specifically the line "bring me word of the banjo man with the tattoo on his hand," may be the most poignant and haunting in Donovan's entire song output. Both his wife's business and the accompanying marriage failed, however, and Adams resumed his performing career in Europe's folk clubs, his name still widely known on his adopted continent. He proved a fairly controversial figure, however, for his rejection of authenticity and his purist approach to folk music; he insisted that old songs could be performed perfectly well in new ways, and he occasionally got drunk and swore on-stage . Still, he continued playing, and in 1991, the folk community — including the members of Pentangle, as well as his former partner Elliott and veterans like Happy Traum — turned out for a concert celebrating Adams' 65th birthday, which was later released on record. Derroll Adams passed away on February 6, 2000 in Antwerp, Belgium. He remains unjustifiably better known in Europe than in the country of his birth. (from www.allmusic.com)

I did not know this musician (as a singer) , although I did know he was playing with Ramblin Jack Elliot.
A friend of mine told me about him and suddenly something changed inside me when I listened to him. Maybe he is one of the best folkers around. I do not like banjo very much,
I don’t like the sound of banjo. But with this man, I adore banjo, his voice, the guitar, everything. He is a real troubadour, no doubts. “Feelin Fine” was first posted by janisfarm in http://lost-in-tyme.blogspot.com/, you should get this also!
Many thanks to janisfarm for letting me know Derroll. After I listened to him, I finally found this compilation, Songs of the banjoman. It is a great record!!

Now I am also looking for his first record, Portland Town-1967.

Amazing lyrics, hippie emotional lyrics..check it out:

Derroll Adams - The Valley

Autumn time is getting closer
Soon green leaves will start to fade
Dripping rain they'll start a-falling
Summer's gone and past away
Children's hopes are like green leaves
They soon fade and tumble down
Come to rest in that lonesome valley
Where they never can again be found
That lonesome valley's name is sadness
Flowers they are coloured blue
Autumn leaves are coloured sorrow
There's not many left to fall
Children's hopes are like green leaves
They soon fade and tumble down
Come to rest in that lonesome valley
Where they never can again be found...
Winds played rain will be the music
Played upon those falling leaves
Played deep within that frost white valley
Summer's gone and past away
Children's hopes are like green leaves
They soon fade and tumble down
Come to rest in that lonesome valley
Where they never can again be found...

Derroll Adams - Lovesong

My heart is like a flower for my love
That blooms as I hold her tenderly
But it's planted deep in fear
Just as heavy as the tear
That whispers low her love is not for me
My love is true
For her it is true
And I pray that her love is mine
My love is like the first star of the night
That brightens up the world's first darkness
Like love stories very old
That a million times been told
Her eyes are worth more than bright diamonds
My love is true
For her it is true
And I pray that her love is mine
Alone at night in my dark lonesome room
I lay awake and sadly dreaming
Though she's not very near But still I can hear
Her soft and tender heart a-beating
My love is true
For her it is true
And I pray that her love is mine

Highly Recommended!!!!!!!!!!!!!! Amazing true voice!!


(By Request) Joni Mitchell-Song to a seagull (1968-Debut)

Joni Mitchell's debut release is a concept album. Side one, subtitled "I Came to the City," generally exhibits songs about urban subjects that are often dour or repressed in some way. "Out of the City and Down to the Seaside," by contrast, is a celebration of nature and countryside, mostly containing selections of a charming, positive, or more outgoing nature. What sets this release apart from those of other confession-style singer/songwriters of the time is the craft, subtlety, and evocative power of Mitchell's lyrics and harmonic style. Numbers such as "Marcie," "Michael From Mountains," "The Dawntreader," and "The Pirate of Penance" effectively utilize sophisticated chord progressions rarely found in this genre. Verses are substantive and highly charged, exhibiting careful workmanship. "Song to a Seagull" has graceful and vivid lyrics about the joys of freedom set to a haunting, wide-ranging vocal line. Conversely, "Cactus Tree" explores the downside of a no-strings-attached approach to life, the fear of committing to a relationship (ironically wedding these words to a hopeful melody and pulsating guitar texture). "Marcie" utilizes poignant, twisting music set to desolately lonely lyrics about a jilted woman; the recurrent use of red and green imagery in the verses is especially clever. Character studies such as "I Had a King" and "Nathan la Franeer" are painfully bleak in contrast to the lithe domestic scene of "Sisotowbell Lane" and the winsomely reserved love song "Michael From Mountains." Unusual in her oeuvre are the overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty honky tonk stylings of "Night in the City." Mitchell sings in a light, gossamer, at times diffident manner; vocal harmony is sparingly employed here. David Crosby's production is simple and effective. This excellent debut is well worth hearing, by David Cleary

Anonymous request.

Get it

Sunday, October 29, 2006

(By request) Dave Van Ronk-Folksinger (1967, recordings 1962)

Many die-hard folkys consider Dave Van Ronk in a class apart from his contemporaries — such as Bob Dylan, Eric Von Schmidt, or Jean Ritchie. Likewise, when asked to pick their favorite of his recordings, Dave Van Ronk, Folksinger is likely among the first mentioned. The original LP features a baker's dozen of Van Ronk's most memorable performances, presented in the intimate context of his own solo guitar accompaniment. This unadorned musical approach seemingly raised the bar for many Washington Square folk devotees. His deceptively simplistic delivery acts as both a gateway to, as well as an archetypal interpreter of, a roots-based folk music that is steeped in the American experience. Dave Van Ronk, Folksinger is the first in a series of sides that Van Ronk would cut for Prestige and features a selection of traditional material, most of which hadn't been included on his earlier Folkways albums. What is most immediately striking about Van Ronk's approach is the overwhelming solitude inherent within his delivery. The unadorned humanity is expressed practically by default. Examples can be found throughout the disc, be it in the soul-rendering visage of a junkie in "Cocaine Blues" or the lamentations of "Hang Me, Oh Hang Me." As well as forging a unique style, Van Ronk also reflects the enormous inspiration of his varied influences. The rambunctious "Samson and Delilah" certainly takes a page from the talkin' blues delivery of Rev. Gary Davis. The mournful and despondent "He Was a Friend of Mine" comes from the same mold that forged Bob Dylan's original. Van Ronk was a vocal supporter of Dylan in that he was one of, if not the first artist to have covered one of his tunes. The version heard here can be likened to Dylan's paternal twin, as the song's essence remains true to form. However, not all of Van Ronk's material is so somber. John Henry's bawdy blues "You've Been a Good Old Wagon" and the traditional "Chicken Is Nice" are charming in their unaffected, almost accidental whimsy. As there is nothing new about the material, once again the impassive delivery and subtle intonations are at the core of making these readings so amusing. In the case of the former, Van Ronk's assertion to keep the narrative voice either feminine — or possibly gay — allows tremendous insight into the type of humor Van Ronk successfully asserts. The April 1962 sessions that yielded Folksinger would also produce enough material for his follow-up LP, Inside Dave Van Ronk, for Prestige's spin-off label, Folklore. Both albums are available on the 1989 CD reissue, also titled Inside Dave Van Ronk. This is a vital touchstone of Americana and likewise is highly recommended as a key component of any serious collection of 20th century folk music.
by Lindsay Planer

One of the best Van Ronk's albums indeed.

Anonymous request.


(BY REQUEST) Gordon Lightfoot-Sundown (1974-Folk)

Lightfoot's commercial peak came with this album, which topped the US charts, containing both the #1 title song and the Top 10 hit "Carefree Highway." But songs like "Somewhere U.S.A." and "High and Dry" are textured, catchy folk/rock on a par with the better known tunes, by William Ruhlmann

Requested by Panos1


Friday, October 27, 2006

Spring-Spring (Rare UK Progressive Rock-1971)

Here’s a legendary band from the Early British Progressive Rock Movement, the sixtet SPRING including Pat Moran (vocals, Mellotron), Ray Martinez (lead guitar, Mellotron, 12-string guitar), Adrian Maloney (bass guitar), Pique Withers (drums, Glockenspiel) and Kips Brown (piano, organ and Mellotron). Peter Decindis played bass on two tracks. This is a one-shot band that released the album "Spring" in 1971 and put on CD by Laser’s Edge in ’92. It contains 3 previously unreleased bonustracks. Producer Gus Dudgeon (known for his work with Eric Clapton, David Bowie and Elton John) died a few years ago and drummer Pique Withers became famous with Dire Straits. The sound of SPRING is a ‘Mellotron’s heaven’, no less than three members use this marvellous instrument! So it ain’t no surprise that this album is loaded with Mellotron (flute - and violin-sound) but it doesn’t harm the compositions, there’s no overkill. All 8 songs from the original LP from ’71 sound warm and melodic with strong vocals, many floods of organ and sensitive electric guitarwork and beautiful twanging 12-string guitarplay. To my surprise, the 3 bonus tracks doesn’t contain Mellotron. The emphasis in these songs is on the organ in fluent rhythms with nice, slightly shifting moods. Certainly one of the gems, beloved by the ‘connaiseurs’.

Amazing rare album!! Good vocals, superb guitar solos, mellotron use and 12-string guitars. Good progressive guitar riffs, nice change of rhythms. Incredible melodies, got me into it for a long time. Deserves to be widely known. I like the cover artwork too.
An excellent album!!

- Pat Moran / vocals, mellotron
- Ray Martinez / guitars, mellotron
- Adrian 'Bone' Maloney / bass guitar
- Pick Withers / drums
- Kipps Brown / piano, organ, mellotron

Highly Recommended!!

Get it!

Van Dyke Parks - Song Cycle (1968-Experimental Folk/ Rock/ Pop)

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. by Jason Ankeny, www.allmusic.com

An interesting experimental album. Sometimes too weird for me, but maybe some of you will love this one!! It is really unique. Check it out!!


Thursday, October 26, 2006

Commander Cody and his Lost Planet Airmen-Hot Licks, Cold Steel & Truckers' Favorites (1972-Country Rock)

Again, a groundbreaking release from the wildest band in country music (during the '70s). This time around they are honoring the American trucker. A part of society few see into, the music that keeps the big rigs running is something else again. With originals and some oldies, the Commander and his band make a big sound that is still reverberating through time. With their own trucker tunes, "Truck Stop Rock" and "Semi Truck," leading the way, this LP includes some classics like "Looking' at the World Through a Windshield," "Mama Hated Diesels," and the granddaddy of the bunch, "Truck Drivin' Man," a performance hit for Rick Nelson and the New Riders of the Purple Sage as well. Other high-powered covers include Little Richard's "Tutti Frutti" done up in a way no one will forget. The Cajun "Diggy Liggy Lo" is given a workout as is "Rip It Up," and the Commander's class-A performance of "It Should've Been Me" leaves no doubt as to the punch this outfit gives to everything they do. From the band comes "Cravin' Your Love," "Watch My .38," and "Kentucky Hills of Tennessee." Again, every cut counts. As with Lost in the Ozone, this is top-flight music in every regard that shows another side to this great band. by Jana Pendragon


Family - Music in a Dolls House (Debut-1968)

The non-LP single "Scene Through the Eye of a Lens" b/w "Gypsy Woman" not withstanding, Music in a Doll's House (1968) is the debut full-length release from the earliest incarnation of Family, featuring Roger Chapman (harmonica/tenor sax/vocals), Rick Grech (violin/ cello/bass guitar/vocals), Rob Townsend (percussion/drums), John "Charlie" Whitney (guitar/pedal steel guitar/keyboards), and Jim King (harmonica/keyboards/soprano sax/tenor sax/vocals). Their highly original sound has often been compared to Traffic, which may be in part due to the production skills of Jimmy Miller and Dave Mason, the latter also contributing the organic and rootsy rocker "Never Like This." Additionally, neither band was overtly psychedelic or progressive, contrasting them from the other burgeoning combos such as Soft Machine, Pink Floyd, and Caravan. Family's deceptively involved arrangements are coupled with an equally unique blend of Chapman's commanding vocals driving through the jazz and folk-rooted tunes. "The Chase" is a spirited opener that immediately establishes their unmistakable vibe, which is furthered on the sides "Old Songs for New Songs" and the aggressive rocker "Peace of Mind." The antithesis can be heard on the rural-flavored "Mellowing Grey" and "Winter," or perhaps the almost blatantly trippy "See Through Windows." In 1996, See for Miles issued Music in a Doll's House along with Family Entertainment (1969) on a double-disc anthology, including the previously mentioned pre-LP 7" "Scene Through the Eye of a Lens" b/w "Gypsy Woman," both of which have been released on compact disc for the first time here. The package additionally boasts a 40-page booklet and hardback CD jacket, while the audio has been digitally remastered utilizing Super Bit Mapping. by Lindsay Planer

An interesting album. I am waiting for your comments for this one.

Includes some artwork.

Get it!

Wednesday, October 25, 2006

Odetta-Odetta sings Folk Songs (1963)

What can we say about Odetta? She reminds me of some Greek singers in Zakinthos Island who sing old folk Zakinthos songs (Ionian island songs with strong Italian influences) and they have real huge voices!! (Singers of Zakinthos…I will try to post some…) Maybe Odetta is one of them!! Incredible voice, jazz voice is true. But in folk music, she becomes a legend. In this album, she sings “Blowing in the wind”, “Roberta”, “Anthem of the rainbow” and other folk American songs. A real traditional folk album. Maybe it is not the best of the huge Odetta, but who can deny it? (I think it is a rare one)
Easy going songs. Beautiful melodies, you know when you listen to these that come from far away years.

Don’t miss it! (Links for other Odetta albums will be appreciated, thanks)


Γ.ΖΩΓΡΑΦΟΣ - Τα τραγούδια του Νέου Κύματος (G. Zografos-New Wave Songs, Greek Folk 70’s)

After the rock and folk revolution all around Europe, a new music scene appears in Greece. It is called the new wave (νέο κύμα in Greek), and it refers to songs that have never been heard till these days in 60’s and 70’s. The lyrics have something from British acid folk and are a little obscurd and the instruments used are guitar and maybe bouzouki also. Simple acid folk songs, without a lot of instruments or difficult melodies for the listener to get. It seems like Dylan and Baez have spread their way of playing all around the world! Poetry comes into music too, although this was not something new for Greece, we knew it. These songs are presented in small taverns in Plaka (we call them Buat (Μπουάτ)), and no microphones are been used.
G. Zografos is a master of the Greek New Wave. He is singing with his guitar only (or bouzouki sometimes), and it is clear that a new music scene in Greece has been built. Savopoulos and George Romanos (do u know the progressive rock album "Two little blue horses" ?) are also New Wavers of this period.
This is no rock, jazz, blues, or soul music. It is folk greek music with a lot of English/ American musical influences. I don’t know if you gonna like it, but for Greece this was a golden music period. This is what our parents have described to us about “Plaka” place in 60’s and 70’s. Listen careful «Άκρη δεν έχει ο ουρανός» and you will get why this reminds me of acid. "Αλλού χορεύει η χαρά" is in the same mood.

Request : I am looking for G. Romanos record (Μπαλάντες (Ballads)) if anyone has it feel free to upload it for me!

Just get it!

Tuesday, October 24, 2006

Yatha Sidhra-A Meditation Mass (1974-Instrumental, psychedelia-kraut-progressive)

Yatha Sidhra, from Freiberg,Germany, near both the Swiss and French borders, was a short-lived group that only lasted long enough to record one piece of music. That one piece of music was the 40-minute "A Meditation Mass" which stretched over two sides of the LP of the same name released in 1973 by the legendary Brain label and considered one of the classics of cosmic Krautrock. Yatha Sidhra's roots go back to the mid-'60s, when two brothers, multi-instrumentalist Rolf and drummer Klaus Fichter began playing in various groups together, starting with a soul group called Lea Gamble that consisted of them and two American ex-service men. By the early 1970s the Fichter's were teamed with French bassist Jean-Michel Boivert and flautist Peter Elbracht in a hard rock band called Brontosaurus, which because of the flute sounded a bit like Jethro Tull...
by Rolf Semprebon
Yatha Sidhra's only record, the aptly titled A Meditation Mass, is a strange mystical experience stretched over four parts that segue almost seamlessly into one another, though the Spalax CD has a slight break between tracks two and three, where the original record changed sides. (The earlier Laser Edge reissue ran the tracks without the break.) Though the record was released in the early '70s, it has that late-'60s acid-haze, hippie ambience without coming off clichéd or dated. It starts off with watery noises and a wind hum, until eventually a flanged acoustic guitar riff gently floats into the mix, very dreamy and hypnotic over the whir of electronics. The piece slowly ebbs and flows as other instruments are pulled into the strange cosmic drift of sounds: washes of cymbals, vaguely ethnic percussions, a flute, vibes, and other sounds, even some group chanting with electronically treated voices, while the guitar weaves steadily to keep it together as it slowly builds up. On the second and third part the band veers into far more free-form improvisation, from jazzy sections with an upbeat swing to electric guitar over a trance-like rhythm to a bizarre drum and flute duel to intense freakouts before once again becoming calm and relaxed. Part four winds the album up where it began, with the acoustic guitar riff and tribal percussion and spacy electronics and flute building up to more chanting — there is no beginning or end. One might compare Yatha Sidhra with other Krautrock bands like Ash Ra Tempel, Popul Vuh, or Limbus 3, but Yatha Sidhra's striking originality is like nothing else.
by Rolf Semprebon

Fantastic Album!! What a flute!!
Incredible psychedelia!!


Gordon Lightfoot-Lightfoot! (1966-Folk)

Canadian Gordon Lightfoot first began to gain recognition in the mid-'60s as a songwriter when his compositions "For Lovin' Me" and "Early Morning Rain" became hits for Peter, Paul & Mary, and Marty Robbins topped the country charts with "Ribbon of Darkness." Lightfoot's own style was understated, his tasteful folk arrangements topped by a gentle burr of a voice. His albums began to appear in 1966, but it was not until the start of the '70s that he became a big success as a performer, scoring in 1970 with Sit Down Young Stranger, which contained his hit "If You Could Read My Mind," a song with a typically flowing melodic line and gently poetic lyrics. Thereafter, the first half of the '70s were his. Lightfoot hit a peak in 1974 with Sundown, which went to number one, as did the title song when released on a single. Though he had developed a timeless style, Lightfoot was caught by the popular decline of folk-based music in the latter half of the 1970s, and has performed and recorded less frequently since, sometimes trying to conform to perceived commercial trends without success. But concert appearances in the early '90s confirmed that he remained an engaging performer and that his catalog of original songs was hard to match. A Painter Passing Through was released in 1998. In 2002 Lightfoot suffered a near-fatal abdominal hemorrhage while performing in his hometown of Orillia, Ontario, causing him to cancel his fall tour. When he awoke from a coma weeks later, the tenacious artist immediately began picking tracks from the 18 demos he'd recorded in 2001 and urged his band to flesh them out in the studio. Harmony, his 20th album, was released in May of 2004.
by William Ruhlmann
Lightfoot was already 27 at the time of his solo debut, which might have accounted in part for the unusually fully developed maturity and confidence on this recording, in both his songwriting and vocals. Contains some of his best compositions, including "Early Mornin' Rain," "I'm Not Sayin'," "The Way I Feel," "Lovin' Me," and "Ribbon of Darkness." At this point, Lightfoot was still including some covers in his repertoire, and he handles numbers by Phil Ochs ("Changes"), Ewan McColl ("The First Time Ever I Saw Your Face"), and Hamilton Camp ("Pride of Man") well. The whole album is included on The United Artists Collection.
by Richie Unterberger

His Elvis style of singing is incredible. Great guitar work, great compositions as you can discover. I like “Long River” and Hamilton’s cover of “Pride of man”, the one that Quicksilver used to play back in 60’s. "Ribbon Of Darkness" is also recommendable. Check him out! Any other links to Lightfoot’s records, will be taken under consideration.


Mississippi Fred McDowell - Steakbone Slide Guitar (Blues)

Ten songs recorded by McDowell when he was appearing in England during the mid-'60s, and originally released on the Transatlantic album In London, Vol. 2 and the Archive of Folk Music album Mississippi Fred McDowell. He performs these numbers, including "You Got to Move," "Levee Camp Blues," "I Heard Somebody Call," "Fred's Worried Life Blues," and "The Train I Ride," with a good deal of forcefulness and tension, although the repertory is hardly unique. The cleaning up of the sources has done a lot of good, although there is some evidence on certain tracks that vinyl sources were used for some of this. — Bruce Eder

Great slide guitar work...
If you were wondering where the Stones found “You got to move” (Sticky Fingers), listen to Fred!

Excellent Blues record!

Get it

Monday, October 23, 2006

Dr Strangely Strange - Heavy Petting (Irish Progressive Folk, 1970)

An experimental Irish folk group closely affiliated with the Incredible String Band, Dr. Strangely Strange was formed in Dublin in 1967 by vocalist/guitarist Tim Booth and bassist/keyboardist Ivan Pawle (vocals/bass/keyboards). Soon they teamed with multi-instrumentalist Tim Goulding, an aspiring painter, and began living and rehearsing in a house owned by Goulding's girlfriend, backing vocalist Orphan. Annie (a.k.a. Annie Xmas), which its tenants nicknamed "The Orphanage." After signing with the Incredible String Band's producer and manager Joe Boyd, Dr. Strangely Strange debuted in 1969 with Kip of the Serenes. While on tour with Fotheringay, they enlisted drummer Neil Hopwood, and later in the year appeared on the String Band's Changing Horses LP. After 1970's Heavy Petting, Dr. Strangely Strange began falling apart: Goulding left to enter to a Buddhist monastery, while Pawle and Booth teamed with Gay and Terry Woods for a brief tour. The group soon disbanded, but they reunited in 1973 for an Irish tour, and briefly reconvened again in the early 1980s, Eventually Booth established a second Orphanage which became a springboard for a new generation of Irish rock, helping launch the careers of Thin Lizzy's Phil Lynott, Gary Moore and others.
by Jason Ankeny

On their first album, Irish band Doctor Strangely Strange declared themselves to be "strangely strange but oddly normal," and by their time of their second effort, 1970's Heavy Petting, it's possible that "oddly normal" no longer applied. The spiritual cousins of the Incredible String Band, although less rooted in folk traditions, their music flitted around like a butterfly, rarely settling anywhere for long — and certainly never for the length of an entire song. "Gave My Love an Apple," for example, begins as a folk ditty, and then morphs into an extended electric bluesy guitar solo that has little to do with what went before. Childlike in its innocence, the album seems eager to taste all the possible flavors of music in a short span, making it a miracle that it holds together at all, let alone as well as it does. For make no mistake, Heavy Petting is something of a hippie joy. Joe Boyd's production is pristine, and the playing is well above the amateur standard of so many bands of the ilk, even if the frequent left turns of the material — try "Summer Breeze" and "When Adam Delved" as examples — makes things disorienting, but in a good way. If you're willing to expect the unexpected, you'll love it.
by Chris Nickson

Very good progressive folk album. A lot of changes of rythum and styles of music. Nice guitar solos. Sometimes too folk for me.

Includes artwork

Listen : http://s19.quicksharing.com/v/4680404/dr.rar.html

Sunday, October 22, 2006

Dave Van Ronk with the Ragtime Jug Stompers (1964)

This wild and unrestrained collection of blues, jazz and blues standards makes Van Ronk's Red Onion album sound positively subdued. The rave-up of "Everybody Loves My Baby" is an acoustic equivalent of garage bands-to-come for sheer energy. You can tell that he loves these tunes; and in the notes, Van Ronk says he had been planning to start a jug band for a while, since 1958 (there is no © date on this LP anywhere). In any case, it's a record brimming with an energetic spirit.
by Richard Meyer

Maybe one of the best folkies around..the king of the 50s-60s Folk Scene..check it out!

More Van Ronk’s posts soon!!

Get it : http://s21.quicksharing.com/v/7366602/vrwrjs.rar.html

Saturday, October 21, 2006

Ramblin’ Jack Elliot-The essential Ramblin' Jack Elliot (1964-65)

This release collects the original 1964 Jack Elliott album with a live performance from April 30, 1965.

Titled "The Essential," this was originally the entirety of Ramblin' Jack recordings on the Vanguard label. Musicians on the studio portion include Tedham Porterhouse (alias Bob Dylan), John Herald, Eric Weissberg, Bill Lee, Ian Tyson, and John Hammond, Jr. Humor and confidence at a high, Jack heads up an interesting assortment of studio sessions and a better live performance. Impressions of Lead Belly and an inebriated Scotsman parlay more serious workings of the contemporary "Don't Think Twice" and the vivid howl of "Night Herding Song."
In terms of song selection, this is, indeed, the essential Ramblin' Jack. Originally released as a two-LP set, this 23-song collection is split into studio and live halves. The studio portion consists of a bracing assortment of traditional tunes that Elliott picked up from his many travels. He was, after all, Woody Guthrie's last road companion, and the highlight of the first dozen tunes is Guthrie's dramatic "1913 Massacre." The last section of the CD was recorded in concert at the Town Hall in New York City. The Ramblin' Jack of 1965 was a versatile, likable performer as adept at essaying old cowboy tunes ("Buffalo Skinners," "Night Herding Song") as then-contemporary folk tunes (protégé Bob Dylan's "Don't Think Twice, It's All Right"). One complaint, though: liner notes explaining this linchpin folkie's role as a bridge between generations of troubadours would make The Essential all the more indispensable. --Steven Stolder

If you like Folk, here is another original, or the father of Bob Dylan, as Dylan used to claim back in 60s…
Beautiful Folk/ Country Folk/ Cowboy music…
An American Original…
More Elliot posts will be soon available!

Track List :

1. Roving Gambler (Traditional) - 3:35
2. Will the Circle Be Unbroken? (Traditional) - 2:34
3 Diamond Joe (Traditional) - 2:55
4. Guabi Guabi (Traditional, arranged by Elliott) - 4:40
5. Sowing on the Mountain (Traditional) - 2:12
6. Roll on Buddy (Traditional) - 2:00
7. 1913 Massacre (Guthrie, Woody) - 3:48
8. House of the Rising Sun (Traditional) - 3:24
9. Shade of the Old Apple Tree (Traditional) - 2:38
10. Black Snake (Jefferson) - 3:23
11. Portland Town (Adams, Derroll) - 1:56
12. More Pretty Girls (Traditional) - 2:11
13. San Francisco Bay Blues (Fuller, Jesse) - 2:15
14. Buffalo Skinners (Traditional) - 4:30
15. Sadie Brown (Rodgers, Jimmie) - 3:50
16. Don't Think Twice, It's All Right (Dylan, Bob) - 4:00
17. Blind Lemon Jefferson (Ledbetter, Huddie) - 3:40
18. Ramblin' Round Your City (Guthrie, Woody) - 2:10
19. Talkin' Columbia (Guthrie, Woody) - 3:50
20. Tennessee Stud (Driftwood, Jimmy) - 4:05
21. Night Herding Song (Traditional) - 3:03
22. Love Sick Blues (Friend, Cliff) - 3:10
23. I Belong to Glasgow (Fyffe, Will) - 5:15

GET IT: http://s21.quicksharing.com/v/5589795/essrje.rar.html

Gene Clark-White Light (1971, Folk-Rock)

Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light — though the words never appear on the cover — and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.
by Thom Jurek

Dylan said that he would be proud if he had written “For a Spanish Guitar’ song. Another one of the best singer/ songwriters.
A must have album..

Get it!

Friday, October 20, 2006

Judy Henske & Jerry Yester-Farewell Aldebaran (1969- US Folk)

A fantastic duo creates interesting melodies and beautiful songs. Not all of the songs are great, but this album worth’s to be widely known. A friend of mine told me that Judy Henske was Richard Farina's girlfriend sometime, but I don’t know if this is true. Anyway, this is a good and rare hippie album.

Includes artwork.

Get it!


Here you can make your comments about the albums that have been posted.Its like a chat room..Any requests would be also appreciated..I will publish soon my wish list..maybe you have some links that could help me..Continue sharing music..Use the comments at the end!
C U Soon!

Thursday, October 19, 2006

Mary Anne Paterson - Me (Rare UK Folk 1970-her only album)

Scottish folksinger Mary-Anne Paterson made a nice if modest acoustic traditional-oriented album in 1970, Me. It matched her high, clear vocals, acoustic guitars, and flute with sparse echoed production and very occasional touches of acid folk and pop, though overall the LP had a haunting medieval tone. Most of the songs on the record were traditional folk tunes, though she did write a couple of them herself. Paterson fell into a recording career somewhat by accident in the late '60s, when she was a drama teacher who wrote songs for educational television on the side. A friend convinced her to go to London to make a demo in late 1969, though she did so primarily in hopes of raising money for a children's art center she hoped to set up. Me was done in one session around the beginning of 1970, Paterson backed by some buskers from a London tube station with whom she barely rehearsed, and never saw again. In fact, not many people ever saw the album itself; as she was interested in starting her arts center rather than establishing a professional career, she didn't promote it with any concerts, and no publicity was done on the LP's behalf. In subsequent decades, Paterson worked as a teacher and wrote songs for TV and radio, with Me getting reissued on CD in 2006.
By Richie Unterberger

Incredible voice and amazing guitar playing. “The water is wide” has beautiful lyrics and melody and the rest of the album is just amazing folk/ acid folk. Most songs are traditional, but there are some Mary Ann’s compositions too. Great “Black girl” cover. “Opera” style singing!
Highly recommended!!
Don’t miss it!!

(Includes artwork)

Get it!

Ladies W.C.-Ladies W.C. (Venezuelan Psychedelia-1969)

This late-’60s Venezuelan band is another fine discovery from Shadoks, who seem to be unearthing an endless stream of worthy, neglected psychedelic albums. The liner notes leave many questions unanswered, but the story appears to begin with Venezuelan-born American Steve Scott. A bassist and singer, he found two Venezuelan brothers, Mario and Jaime Seijas, and they then completed a foursome with Adib Casta. Inspired by the times, they recorded one album and became quite popular, playing regularly to large crowds. There’s no information, though, about where the strange name came from, or what happened to the group. In any case, drummer Mario Seijas and Scott lay down a strong, solid rhythm section, with the bass more prominent than usual on records of this time. Jaime Seijas’ rhythm guitar generally lies low and lets lead guitarist Casta wah and wail his way around the songs. That turns out to be a good idea, because Casta can really shine, whether playing clear melodic lines, warbly wah-wah, or intense fuzz leads. The 10 songs here represent, for the most part, prime acid rock. Recorded in 1969, it feels like it, with wah and fuzz represented in spades. Scott’s vocals are strong and clear, with that high-end wail you can hear in so many Nuggets-era bands. Showing some of their blues heritage, they pull out the harmonica for emphasis on a number of songs, with "Put That In Your Pipe and Smoke It" a particularly good example of Scott’s skill there. The 34 minutes range from "I Can’t See Straight" and its harmonica and guitar lead to the vocal harmonies of "And Everywhere I See The Shadow of That Life," with a break featuring some truly blazing psych lead guitar. In general, actually, this album belongs to Casta’s lead guitar displays. From brittle, high-end twangs to watery wah and, best of all, totally space-bound fiery fuzz, he makes me wish the band had recorded more albums. A few of the songs veer from the blues-centered rock. "To Walk On Water" is really a pop song, slow and more orchestrated than most of the others here. The vocals are more in a crooner style than the usual rock feel, but it still works. "The Time Of Hope Is Gone" feels somewhat more calculated, very much of its time. With organ and ending with a portentous spoken-word section, it’s a reasonable attempt at overtly mystical psychedelia. The studio work throughout the album contains a number of nice touches, as they toss in sound effects to liven things up. From the opening toilet flush to a baby crying, they were clearly having fun with it. Definitely a good find, Ladies W.C. can stand with many of the psych stars of the time. If you’ve been enjoying some of the other Shadoks finds like Spectrum and Iota, you won’t be sorry if you pick this one up. You may wish, like me, that the band recorded more than 34 minutes.
By Mason Jones

Amazing Venezuelan Psychedelia...

Get it: http://rapidshare.de/files/37308949/lwc.rar.html

Wednesday, October 18, 2006

Please leave comments!!!!

If you listen to an album, feel free to make a comment about it...
Any requests for albums are welcome..
New postings very soon!!
Keep listening to good music...

Eric Andersen-Blue River (1972, Acoustic Folk/ Rock)

With mid-'60s gems like Violets of Dawn, Thirsty Boots, and Close the Door Lightly, Eric Andersen became the archetypal, literate romantic before the likes of James Taylor and Jackson Browne had even cut their first records, but at the same time seemed to lack direction from album to album. With his eighth album, Blue River, recorded in Nashville in 1972, he found the perfect setting for his gentle, poetic songs. After nearly seven years of dabbling in folk, folk-rock, pop, and country, Andersen found a smart, sympathetic ear in producer Norbert Putnam. Putnam, whose production here is rarely extraneous, utilizes subtle touches of bass, drums, accordion, and organ along with Andersen's own guitar, piano, and harmonica to frame the material. The record, Andersen's first effort for Columbia, also featured his best collection of tunes to date.Blue River, with its themes of uncertainty and struggle, is by no means a casual record, although songs such as the bittersweet "Is It Really Love at All" and the title track, featuring Joni Mitchell's ethereal supporting vocal, will draw the listener in with their sheer beauty. Andersen, then in his late twenties, was dealing with questions of love, life, and desire with a maturity matched only by a handful of songwriters at the time. Never overly precious or maudlin, nearly every cut resonates with eloquence and grace. Although continuing to grow as a writer in the years to come, Blue River remains Eric Andersen's masterwork and one of the true classics of the genre.

by Brett Hartenbach, http://www.allmusic.com/

Very good album by Eric..if you find any links to other albums of Eric, dont hesitate to tell me..

Get it: http://rapidshare.de/files/37232666/eabr72.rar.html

Emtidi-Emtidi (1970 first Emtidi album-Kraut/Folk)

Emtidi rised from the Kraut / folk scene with a rather peaceful, primitive, simplistic charming album. This first effort is exclusively played on various acoustic instruments (essentially guitars and flute). Consequently we can hear pleasant folk / dreamy tunes. Not banal well played and structured but not very original and revolutionary. This Teutonic pastoral music contains a certain dose of emotional, introspect, delicate expressions that can make you relaxed. A calm, pleasant folk music but hard to say that it is a prog rock item. However a good start before their impressive "Saat".
Philippe Blache, from http://www.progarchives.com/

Not so good as “Saat”, but worth’s a listen!

Get it: http://rapidshare.de/files/37205746/em1.rar.html

Ian Janis-Ian Janis (first album, 1967, Folk/ Folk-Rock)

This is the eponymous debut long-player from Janis Ian, who had already written and recorded this disc of completely original material at the tender age of 15. Her brutal honesty and in-your-face ethos were at least three decades too early for the mid-'60s American mainstream pop consumer. However, by the turn of the century, the same audience would embrace similarly liberated and otherwise angst-ridden female artists such as Jewel and Alanis Morissette. The album was commissioned by Atlantic Records who, after hearing the highly controversial material, copped out and declined to release it. After being shopped around to a majority of the major and independent record labels, the single "Society's Child" was picked up by the Forecast subsidiary of the primarily jazz and vocal pop Verve Records. The song's subject matter — dealing with teenage interracial relationships — garnered the attention of conductor Leonard Bernstein, who featured it in a segment of his CBS-TV prime-time network special Inside Pop: The Rock Revolution. This exposure garnered more attention for both the track and the young artist. In early 1967 this album was released, revealing the depth of Ian's craft. While her roots are decidedly folky, her material traverses through a number of genres. One of the more prominent motifs is the dark Baroque flavor accompanying tracks such as "Society's Child," "Janey's Blues," and the stunningly poignant "Hair of Spun Gold" — a deliciously noir tale that had been published in 1963 by the acclaimed and revered folk music journal Broadside when Ian was a mere 12 years old. There are also a couple of trippy blues-rockers, such as the precocious "Too Old to Go 'Way Little Girl" and the punky protest-filled "Younger Generation Blues." However, the vast majority of Janis Ian is steeped in the acoustic-based folk music that she had immersed herself in during her concurrent sets in and around Greenwich Village at venerable venues such as the Gaslight Café and Kettle of Fish. "Then Tangles of My Mind" and the Dylan-esque "I'll Give You a Stone if You'll Throw It" are both intimate examinations. Also noteworthy are the teen prostitution "Pro-Girl" and "New Christ Cardiac Hero," a biting satire of the ambiguous social role that was being acted out by most organized religions of the time in an attempt to remain relevant to an increasingly disenfranchised youthful audience. The confrontational nature of much of the material on this disc would carry over into her three remaining efforts on Verve/Forecast, as well as become a touchstone for Ian's future works.
by Lindsay Planer, http://www.allmusic.com/

Get it: http://rapidshare.de/files/37196340/ian_jan1st.rar.html

Tuesday, October 17, 2006

Dionysis Savvopoulos-To perivolli tou Trelou” (Greek Folk/Psych 1969-Lyra)

Dhionisios Savvopoulos first appeared on the Greek musical scene in 1966 with his debut To Fortigo, an album marked by fine guitar composition and anguished, introspective lyrics. Although he looked unconventional Savvopoulos had long hair and wore large glasses the performer's lyrical content focussed on personal, rather than social, anger. When the military took control, the year after To Fortigo appeared, Savvopoulous's emotional lyrics escaped censorship, being devoid of political commentary. Savvopoulos acknowledged the important influence of gypsy music on his developing style, yet as his career progessed, Savvopoulos moved away from a simple guitar and vocals arrangement, to complex instrumental orchestration which, while it appealed to some, alienated others as being too ornate. Still more listeners lost interest in Savvopoulos after his highly public return to the Orthodox Church. by Leon Jackson, www.allmusic.com

"Perivolli tou trelou" is in my opinion his most psychedelic album and express a long psychedelic period in Greek Folk/Rock music.
Pay attention at his melodies! (to perivoli, thalassografia, oi piso mou selides, eida tin Anna kapote)

Track list:

1. To perivoli (The orchard)
2. I theia maro (Auntie Mary)
3. Thalassografia (Sea chart)
4. Oi piso mou selides (My back pages)
5. I synnefoula (Cloudy)
6. San rempetiko palio (Like an old rebetiko song)
7. Eida tin Anna kapote (I saw Ann once)
8. Ntirlanta (Dirlada)
9. Ta paidia pou xathikan (For the children that have been lost)
10.Odi ston georgio karaiskaki (Ode for G. Karaiskakis)

Listen to it! http://rapidshare.de/files/37109886/mad_ground.rar.html

Mississippi John Hurt (Avalon Blues : Complete 1928 Okeh Recordings)

Mississippi John Hurt recorded 13 country-blues songs for the Okeh Electric Records company in 1928. Then he vanished. Actually, he never went anywhere. Indeed, he never strayed from his hometown of Avalon, Mississippi. He simply put the guitar down. It was the Great Depression, times were tough, money was scarce, and he needed to work. Nearly 30 years later, a blues enthusiast tracked him down, took him back to Washington, D.C., and suddenly Mississippi John's musical career resumed as quickly as it had finished. He recorded again, but these first songs from the late 1920s--with John's melancholy voice and hypnotic guitar playing at its most inspired--are his greatest musical accomplishments. --Percy Keegan

If you like folk, this is for you…Pure Folk-Blues, Pre-Folk Revolution…
Great guitar finger picking too…Dylan style music, decades before Dylan appeared..
An original folkie...

Listen : http://rapidshare.de/files/37102911/avablues.rar.html

John Prine-John Prine (1971, Prine’s first album, US Folk-Rock)

Prine's 1971 self-titled debut set the tone for the rest of his career. A critical smash and a commercial disappointment, the record contains many of his best known compositions. Proving himself capable of tackling folk balladry, country, and rock with ease, Prine seems to spring into being as a fully formed singer-songwriter at age 24. Lyrically diverse, Prine offers topical songs such as "Sam Stone," the tale of a drug addicted Vietnam vet, achingly sad songs, such as the oft-covered "Angel from Montgomery," and, of course, his trademark wit gets ample time in the spotlight. Produced by the legendary Arif Mardin (Aretha Franklin, the Modern Jazz Quartet, Hall and Oates), the record is understated, letting Prine's comfy voice drive things. When needed, the famous house band at American Recording Studios in Memphis kicks in tasteful backing. --Ian Landau

One of the best Singers/ Songwriters…
Highly Recommended!!

Get it : http://rapidshare.de/files/37096649/stone.rar.html

David Blue-These 23 Days in September 1968 (US Folk)

If Blue's second album was not nearly as much of a cultural artifact as his 1966 Elektra debut, which went to embarrassing extremes in its Bob Dylan imitation, it was of greater artistic merit. Most importantly, Blue sang far better, though he still wasn't a great singer, with far fewer of the glaringly off-key notes that had bedeviled his first LP. As both a singer and songwriter, he was still Dylanesque, but was becoming far more his own man, as a world-weary commentator with a growing country influence. Certainly the title song far outstrips anything on David Blue, sounding something like a combination of Dylan and early Leonard Cohen, its haunting minor melody enhanced by judicious touches of accordion and sitar. Nothing else on the record is as affecting, and some of it's rather pedestrian, minor Dylanesque stuff, in fact. But it's not obnoxious, and sometimes the music's rather good, as in "Ambitious Anna," which like some of the other tracks have a border feel. On such tunes, Blue seems like a peer or even slight antecedent to somber cowboys like Townes Van Zandt. The remake of "The Grand Hotel," a highlight of his first album, is sung better here, but has a sparer, less interesting arrangement.
By Richie Unterberger, www.allmusic.com

Here is your link : http://rapidshare.de/files/37089932/David_blue_-_these_23_days_in_september__68.rar.html

Dawnwind-Looking back on the future 1975 (Acoustic singer/songwriter duo, with a very poetic base to their writing)

"Former bootleg and very worthy slice of later UK folk heaven, Dawnwind's lone LP has been done up real righteous by your friends at Sunbeam. A British counterpart to Spain's Book of Am, America's Trees, and Scotland's Caedmon in the splintered, post-Nam, last-gasp class of debuts that graduated the free world's folk revival into oblivion, the perfectly titled Looking Back on the Future was released to a fleeting audience in '76. Always the opening act, never the stars, the duo of Jon Harflett and John Perkins crawled up the mountain together for nearly ten years before making an LP of their very own. As the scene died, the duet recorded a sentimental, celebratory, and defiant solemnization of Greenwich Village, acid-nonviolence, Dylan's harmonica, and freedom busking that, like the best long-awaited debuts, displays striking self-discovery and fully honed vision. While the surreal opener 'Don't Look Now, Karen's Gone to the Moon' is an anachronistic spoon-June folk-psych stunner that stands as one of the select sputniks of the era, their haunting Simon & Garfunkel-style take on John Prine's 'Sam Stone' will bring you all back home. It's not clear if the master tapes survived on this one, but you can trust that Sunbeam's work is peerlessly culled from the finest depots, having filled up the product with the usual exemplary Abbey Road mastering, bonus tracks, original artwork, photos, liners, & legitimacy. Have one." -- Kris Price.

Fantastic!! John Prine's Sam Stone is fantastic...Dogs of war could be written yesterday!!
(Look what is happening in Iraq...)

Take a look at the lyrics:

DOGS OF WAR (Harflett/Perkins)

I think I hear the dogs of war Howling on the hill
And, though they say the world's at peace,I hear them howling still.
Oh, the masters they are shrieking and they shout in freedom's name,
Their words alone can never hide the bleeding face of pain
For our fathers died in freedom's cloak but the world remained the same.

For the armies they are marching to the beating of the drum
And the distant sound of thunder is telling us to come
But we have heard the message a thousand times before.
Will a million voices answer NO to the howling dogs of war?

Though they mock the dead with poppies, the ones who never went
And speak in shameful whispers, of the heroes who were sent.
Still the masters grew much richer, and the common man was slain
And now the curs are thirsting for our young men's blood again
For our fathers died in freedom's cloak but the world remains the same.

Speak not to me of glory, tell to me no lies
For the widows and the orphans are crying in your eyes,
And a dreadful toll of murder is lying at your feet,
and when your lives are ended, the armies you will meet.
And the ones you calmly slaughtered will be your judges then,
and your riches will not save you from the butchered sons of men.

Here is your link: http://rapidshare.de/files/37071455/Dawnwind75.rar.html