Music Saves Lives

Synanthesia

2007-12-22T01:07:00.000-08:00

Though recorded quickly over two days — and indeed, literally recorded live in the studio with no overdubs — Synanthesia's sole album from 1969 is a gentle treat for anyone interested in the obscurer realms of late-'60s U.K. folk and its descendants. It's always a pleasure to hear something that did not deservedly go out of print — and therefore get an unnecessary reputation. Instead, the combination of bandleader Dennis Homes' gentle vocals and delicate guitar work, Leslie Cook's equally strong talents, and the ace-in-the-hole performing of sax and flute player Jim Fraser is often quite magical. That the band openly has a debt to the Incredible String Band and Bert Jansch practically goes without saying, but there's a difference between mere aping and finding a particular spin on a sound, and Synanthesia firmly comes down on the side of the latter. For such a rushed and in-the-moment album, the sound is often quite rich — credit not only to Vic Gamm's inspired engineering, but to the band's clear abilities as a solid live act. Hearing Homes' gentle vibes work on "Peek Strangely and Worried Evening" or Cook's flourishes on mandolin for "Fates" shows how well each complements the other songwriter's work. Yet Fraser in many ways is the key throughout — clearly picking up on jazz influences as much as folk ones, much like his bandmates, and the result is a detailed, fluid series of performances on his chosen instruments, ranging from the restrained then strutting sax parts on "Morpheus" to gentle background flute on "Rolling and Tumbling." The band's weakest element might be the lyrics, but nothing is outright bad, just sometimes awkward. Sunbeam's 2006 re-release, in keeping with the label's similar work, features not only excellent sound but winning, retrospective liner notes from Homes and a slew of rare pictures, plus a bonus track, "Shifting Sands," that originally appeared on an obscure compilation album from 1970.
~from allmusicguide.

Synanthesia

Lida & Spyros-Ilektrikos Aposperitis (Folk Rock, 1972)

2007-09-30T04:07:00.000-07:00

Listen

Summer Folk Compilation

2007-07-29T03:32:00.000-07:00

Everynody enjoy your holidays..

See you in September..

1. Dave Van Ronk-Another Time and place

2. Dave Evans-The words in between

3. Gim Groce-I got a name

4. Joan Baez-Long Black Veil

5. Hamilton Cap-Pride of man

6. Bulent Ortcgil-Anlamsybz

7. Lida-Spyros-Einai kati karavia sto limani

8. Nick Castro-Waltz for a little bird

9. Simon Finn-Walkie Talkie

10.Donovan-Wear your love like heaven

11.Wizz Jones-Pastures of plenty

12.Jonas og Einar-on a river boat

13.Donovan-Belated foregiveness plea

14.Mariza Kox-Arampas

15.Simon Finn-How about that

16.Langsyne-No_Name

17.Dionysis Savvopoulos-oi palioi mas filoi

18.Derrol Adams-The valley

19.Joan Baez-Mary Hamilton

20.Fionn Regan-Put a penny in the slot

21.Elizabeth Cotten- Freight Train

22.Richard Thompson-Coyotes

23.Ian Tyson-Four strong winds

24.Dorothy Carter- Balinderry (Old Irish Melodies)-Tree of Life (Essene Hymn)

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Angelo Branduardi-Highdown Fair (1976)

2007-07-21T09:51:00.000-07:00

"The fable, the fantastic story, are never so simple as they seem to a superficial analysis; in any type of fable there is never the pure taste of the representation, there is also this taste, but each story postpones to another reality; I believe in the evocative power of the words, I believe that each word, each syllable, sung in a certain way and accompanied to certain sounds, goes beyond its literal meaning, evoking other worlds, emotions and moods even buried in the memory."

By Angelo Branduardi

Enjoy

Mick Softley -Songs For Swingin' Survivors (1965)

2007-06-10T00:21:00.000-07:00

Softley's debut LP is one of the rarest '60s British folk albums, and one of the most coveted by collectors. While it's not as musically impressive as it is collectable, it's notable as one of the first U.K. singer/songwriter folk albums in the contemporary style pioneered earlier in the U.S. by Bob Dylan and the North American performers Dylan inspired. Indeed, there were few others in Britain taking a similar approach at the time of Songs for Swingin' Survivors' release, with the exception of Donovan and perhaps Bert Jansch. Early Donovan is an unavoidable point of comparison when listening to this solo acoustic guitar album, both for the earnest social consciousness and romanticism, and also since Softley actually wrote a few songs covered by Donovan in 1965. One of them, "The War Drags On," appears here in Softley's own version, and while it's not as good as Donovan's, it's notable as one of the first protest songs to directly mention the Vietnam War. Softley isn't as good a singer or tunesmith as early Donovan, however; his voice is a bit on the nasal and restrained side, sometimes coming off a little like a male equivalent to how Marianne Faithfull sounded after her voice lowered. Other than "The War Drags On," the voice of protest is felt in "After the Third World War Is Over," but, in fact, Softley was a fairly versatile writer, espousing early Donovan-like romance in "All I Want Is a Chance" and "What Makes the Wind to Blow"; got-to-ramble troubadourisms in "Keep Movin' On"; and a surprisingly direct (for 1965) reference to cocaine addiction in the love lament "Jeannie." Not everything is youthful singer/songwriting, as there are also covers of "Strange Fruit," "The Bells of Rhymney," and Woody Guthrie's "Plains of the Buffalo," as well as a couple of folk-blues instrumentals. Though it might be a minor album in all, it's still a rather good one, more tuneful than many a mid-'60s folk record based around original material, with impressive guitar work, allmusic.

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Changes-Fire of Life (1974, Apokalyptic/ Dark Folk)

2007-06-04T11:03:00.000-07:00

This album has never been issued until now and is taken from tapes made during 1969 to 1974 by Robert Taylor and Nicholas Teslak. In theory they make simple acoustic guitar based folk music similar to Tir Na Nog, however this is much stranger and darker concern. The two performers were part of the 'Process' church, a cult like group that was obsessed with apocalypse, gothic doom and was also interested in Satan. They had a curious uniform of black clothes, clocks shoulder length hair and goatee beards. Taking themselves very seriously they were part of the proliferation of such post-hippie groups and were much seen in London and New York in the late sixties before splintering and falling apart. Musically this album is stark, very dark folk based songs with acoustic guitar, intense vocals, gothic lyrics and occasional harmony vocals and flutes. Fans of dark folk groups like Current 93 or Nature and Organisation will find much here that they will enjoy. Also fans of Comus, the legendary pagan psychedelic-folk band of the same era will find a companion album of similar sound and strangeness.
Because the artists take themselves so seriously this music can be slightly intimidating. I is fine musically but doesn't stand out emotionally, it is more haunting than moving. The first song 'Fire of Life' taken from is intense and unsettling with it's lyrics of 'the world if burning, in fact it sounds just like late period Swans and Michael Gira their leader singing. The second song 'Sweet Eve' is more normal sounding like Tir Na Nog with flute and delicate melodies. 'Bleeding Out Your Feelings Evermore' is a baroque ballad style song with a female joining on the vocals to excellent effect. 'Early Morning Hours of the Night' reminds of early Steve Tilston with a distant quality. 'Horizons That I See' has nice folk picking guitar and was written in a desert. A song fragment from a lost fuller work 'Satanic Hymn #2' is churning in the Comus style. 'The Stranger In The Mirrow' is a pagan Medieval styled ballad Last track 'Twilight of the West' is a ten minute epic recorded poorly but strangely this seems to add to the air of incense and intensity. This won't be an album that will appeal to everyone, but those attracted to the darker and stranger edges of psychedelic folk will find much to enjoy. These are essentially amateur tapes but there is enough here to entertain and occasionally put a chill up the spine, from the unbroken circle.

One of my all time favorites.
If you like folk, this is for you.

'Bleeding Out Your Feelings Evermore' has haunted me...

Enjoy!

Panos Savvopoulos-Epeisodio (1971-Folk/ Acid Folk)

2007-06-02T03:47:00.000-07:00

Just try this rare greek record...

Forgotten but not lost..

Many thanks to Aggeliki for this one...

One more from this guy coming soon..

Waiting for your comments..

Blue moon...Blue moon!!

Listen!

Simon Finn-Magic Moments (2005)

2007-05-28T01:22:00.000-07:00

This is the first new release by Simon Finn after 30 years, and it’s nice to see nothing of his honest slightly open-emotional playing has changed over the years. The songs are more sparsely arranged, but with well played acoustic guitar, and just some flute and violin by Joolie Wood. The songs don’t really need much more to sound good. The emotionality from the early album and songs concerns are the same. The song perspective has matured, while Simon's essential nature remains unchanged. I wish all singer-songwriters had this kind of musical stability, even when it has its own specific tiny human so called "unstable" aspects that make it even better, more human, and which gives it an integral musicality. Just the kind of "raw" "inner struggle" to speak out of an earlier age, is now more tempered. It's not replaced by something like a different vision but by continuity strength in grabbing its own visions. Well done.

from http://singersong.homestead.com

Simon

Lucas Sideras-One Day (1973)

2007-05-12T03:01:00.001-07:00

After Aphrodite's Child's break up:

Demis Roussos embarked on his solo career recording his first single "We Shall Dance" and touring all around Europe. Vangelis finished "666" and begun to devote his music beginning an incredible and wonderful career. Loukas Sideras followed Demis in his european tour; he did a single 45 release of "Break" (from "666"), then released Lps "One Day" in 1972 and "Pax Spray" in 1973; co-wrote "White Sails" which Demis covered on album "My Only Fascination"; in 1977 with Axis and Lakis Vlavianos formed the group "Ypsilon" recording one album: "Metro Music Man"; co-wrote also "Seasons of love" with Vangelis. Silver Koulouris showed up on Demis albums "Souvenirs To Souvenirs", "Happy To Be..." and "Reflection".

One Day

Gram Parsons-G.P. (1972)

2007-04-21T07:55:00.000-07:00

Given Gram Parsons' habit of taking control of the bands he played with (and his disinclination towards staying with them for very long), it was inevitable that he would eventually strike out on his own, and his first solo album, 1973's G.P., is probably the best realized expression of his musical personality. Working with a crack band of L.A. and Nashville's finest (including James Burton on guitar, Ronnie Tutt on drums, Byron Berline on fiddle, and Glen D. Hardin on piano), he drew from them a sound that merged breezy confidence with deeply felt Southern soul, and he in turn pulled off some of his most subtle and finely detailed vocal performances; "She" and "A Song for You," in particular, are masterful examples of passion finding balance with understatement. Parsons also discovered that rare artist with whom he can be said to have genuinely collaborated (rather than played beside), Emmylou Harris; Gram and Harris' spot-on harmonies and exchanged verses on "We'll Sweep out the Ashes in the Morning" and "That's All It Took" are achingly beautiful and instantly established her as one country music's most gifted vocalists. On G.P., Parsons' ambitious vision encompassed hard-country weepers, wistful ballads, up-tempo dance tunes, and even horn-driven rhythm and blues. He managed to make them all work, both as individual tunes and as a unified whole. If it falls just short of being his greatest work (an honor that goes to The Flying Burrito Bothers' The Gilded Palace of Sin) thanks to a couple songs that are a bit too oblique for their own good ("The New Soft Shoe" may be beautiful, but who knows just what it's supposed to be about), this album remains one that is hauntingly and has only gotten better with the passing years.

Relax

Keith Christmas-Fable of the wings (Folk Rock 1970)

2007-04-19T10:56:00.000-07:00

While Keith Christmas' second album was an improvement over his debut, there was still the sense that it was a stretch of his talents to fill an entire record with decent material. In its favor, it had some nicely integrated, varied arrangements that show more imagination than many other British folk-rock recordings of the early '70s: the jazzy piano-dominated vamp of "Waiting for the Wind to Rise," the lovely female backup harmonies on "The Fawn," the languid tempo of "Lorri," the gothic organ of "Kent Lullaby," the Mellotron-acoustic guitar-piano combination of "Hamlin," the rapid whirl of acoustic guitar picking on "Fable of the Wings." About half of the songs were mighty pretty, particularly "Hamlin" and the delicate "The Fawn." Christmas was good at establishing an attractively melancholy musical setting, but his rambling lyrics just couldn't hold up their part of the weight, and he was given to tracks that went on and on for way too long before fading, particularly on "Waiting for the Wind to Rise."

all music guide

Check it out

REPOST

2007-04-14T03:20:00.000-07:00

Popi Asteriadi w Lakis Papas-Another Sunday Gone (1969 Greek Acid Folk)

http://rapidshare.com/files/25931983/asteriadh_poph_-_pappas_lakhs_-_paei_ki_ayth_h_kyriakh.rar.html

REPOSTS

2007-04-10T07:47:00.001-07:00

http://rapidshare.de/files/37698191/Shelagh_McDonald.rar http://rapidshare.de/files/37697801/Accolade.rar http://rapidshare.de/files/37697617/Sedmina.rar
http://rapidshare.de/files/37689972/Mary-Anne__Paterson_.rar http://rapidshare.de/files/37698283/Synanthesia.rar

Elizabeth Cotten-Freight train & other North Carolina folk songs & tunes (1958)

2007-02-27T06:33:00.000-08:00

Elizabeth Cotten was born in January of 1895 in Chapel Hill, NC, where her father worked in the mines and her mother was a maid servant and laundress. She began playing guitar at the age of eight, secretly practicing on her older brother's instrument. At the age of 12, she began to work with her mother in helping the family to scrape by, though she continued to play music with her family, in particular her siblings. Sometime around 1912 she was married and joined the church, which occasioned her to give up playing music for the next 25 years. Through a series of strange accidents, she once found the daughter of Peggy and Pete Seeger in a department store and came to work for them, which led to her re-involvement with music. She played frequently during the '60s and '70s, often with Mike Seeger; the recordings collected here were made during 1957 and 1958 at her home in Washington. Cotten has a very distinctive picking style and a beautifully fragile and off-key voice; both make these recordings a pleasure. Included are a mix of originals and personal versions. Of note are "Vastopol," which sounds nothing like the John Fahey version, and "Sweet Bye and Bye," of which this version might be specific to North Carolina. Also enjoyable is "Honey Babe Your Papa Cares for You," whose melodically vague style is characteristic of Cotten's ear and unique way of suppressing melody. If this album intrigues you, you might want to check out her live album on Arhoolie, which some believe to be even better, allmusicguide.

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Requests-Older posts (Links to other sites)

2007-02-27T05:45:00.000-08:00

Odetta-1965-Sings Dylan from Lost-in-Tyme blog

http://rapidshare.com/files/5195019/Odetta_-__1965__odetta_sings_dylan.rar

David Blue-1966-David Blue from Lost-in-Tyme blog

http://rapidshare.com/files/7903750/David_Blue_-_1966_-_David_Blue.rar

Mary Anne Paterson-Me (1970) from Lost-In-Tyme blog

http://rapidshare.com/files/5185809/mannme.rar

Synanthesia (1969-Acid Folk/Rock)

2007-02-24T02:22:00.000-08:00

Strongly Recommended…check “Vesta” and "Mnemoysne" feelings…

Listen!

Sedmina-II Dejanje (1982-Acid Folk)

2007-02-23T02:05:00.000-08:00

The second album of SEDMINA was released in 1982. The band featured the same line-up like on the debut. However, the arrangements are somewhat different, offering longer tracks and more psychedelic, acid-folk sound. Unlike the debut, this one does not attract a listener on the first attempt, but several listens are needed to grasp the feeling. The performance is done with mastery and confidence. The leading instruments are clarinet, violin (and viola, probably because I cannot quite tell the difference) and saxophone, with backing acoustic guitars. Melody lines invoke the medieval or baroque ballads of typical European and Mediterranean musical legacy, but occasional hints of even American folk tunes are also present. "Ciganka" ("Gypsy Woman") is very dylanesque lively folky tune with violin. The epic "Circus" brings an extended violin solo with some eerie, melancholic passages turning more optimistic at the end of the song, with Veno's vocals and saxophone. "Pav" shows the incredible abilities of Lado Jaksa playing outstanding clarinet solo party. Closing "Kolo" brings a drunken, quite morbid and strange tonality, sounding like they had been tuning their instruments along the way - very trippy and mind-bending. The second half of the song is more optimistic because the rhythm is stronger and violin is accompanied very nice solo on acoustic guitar. "II dejanje" is a very dark album. It is also not very accessible and requires attention and patience. At times, it contains rather noisy and cacophonic moments which may force you to stop playing. It is demanding. But we are talking here about "progressive" and "experimental" music, aren't we? This album deserves a lot of guts from listeners. And from reviewers it also deserves something - a recommendation. It is simply not an average folksy troubadour "cry baby", from progarchives.com.

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Stone Harbour-Emerges (1974-Acid Folk/ Progressive)

2007-02-22T23:50:00.000-08:00

Check this weird album..Psychedelia, acid folk and some progressive chords..
Early Byrds like album, everyone that dont know this should try it and tell me..
Nice guitar solos, though the music quality is not the best!
Just two guys stoned to the bone playing psych in a basement, private press..

Listen!

Accolade-Accolade (1970)

2007-02-21T00:22:00.000-08:00

Notable, more than anything, for the inclusion of busker Don Partridge (a successful solo artist with several hit singles) and singer Gordon Giltrap (who remained for only one album), Accolade were a light acoustic band who completely eschewed electric instruments, even as they developed a kind of folk/jazz fusion. They recorded two albums and one single before going their separate ways, by allmusicguide.

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Re-posts (2)

2007-02-20T01:05:00.000-08:00

Songs of Freedom-Theodorakis, Farantouri, Williams (1971)

http://download.yousendit.com/956E8EA811765CC6

Shelagh McDonald-Stargazer (1971)

2007-02-15T23:35:00.000-08:00

This record could well represent the closest anyone has ever come to crossing circa-1970 Joni Mitchell with circa-1970 Sandy Denny. As a composer, McDonald leans toward the Mitchell half of that equation, with a similarly angular melodic sense, and a phrasing that often shifts register quickly and substantially. It would be mighty surprising if she didn't ingest songs like Mitchell's "Marcie" thoroughly before coming up with narratives in the same style like "Liz's Song." The parallels come out most in the songs in which McDonald emphasizes her piano rather than her guitar. As a singer, her tonal quality is more similar to Denny's. The result is a double-edged sword. The album can be unequivocally recommended to fans of Mitchell and Denny who have run out of things to buy by those two singers, and want something that's for the most part undiscovered, but with a similar vibe. At the same time, McDonald inevitably comes up short in the unavoidable comparisons with those role models, as she puts far less of her own personality into her work than either Mitchell or Denny did. Dogmatic criticism aside, it's a pleasant album with subdued folk-rock arrangements, and the piano ballad "Lonely King" is haunting enough to make one forget the obvious likenesses to Mitchell's own piano outings for the moment. Occasionally, there are effective slight departures from the standard production of folk-rock albums from the period, as with the sad strings and operatic backup vocals on the title track, and the extremely Garth Hudson-esque organ of "Good Times." The CD reissue adds five bonus tracks from other 1971 sessions, three of which were previously unreleased, and two of which only appeared on compilation LPs in the early 1970s. Unfortunately, the liner notes do not make it clear which two of the other twelve songs were the ones used on compilations, rather than on the Stargazer LP itself, allmusic guide.

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Re-posts

2007-02-12T02:19:00.000-08:00

Judy Henske & Jerry Yester - Farewell Aldebaran (1969)

Iraklis-Se allous kosmous (1976-Progressive Folk)

2007-02-06T00:34:00.000-08:00

Iraklis Triantafyllidis comes to discography for the first time in 72 with his group Iraklis+DNA and the single «Same Dreans/John» with progressive folk rock style, one of the best singles recorded that time in Greece. In 1976 with his new group Iraklis & Lernea Ydra and with the help in production from Terens Quick! the double LP «Σε άλλους κόσμους (In other worlds) is a fact. He is using the same progressive folk-rock style and this one in my opinion is one of the best progressive folk albums in Greece, maybe worldwide also.

Strongly Recommended!!!

Listen!!

Malvina Reynolds-Malvina (1972-Folk)

2007-01-24T00:36:00.000-08:00

Reynolds is best known for Pete Seeger's versions of her compositions, songs like "Little Boxes" and "What Have They Done to the Rain." The first is included on this collection, along with 11 other uncompromisingly political songs that mark Reynolds as one of the great topical songwriters of the 60s. She has other excellent albums (including a long out-of-print Columbia LP), but this is a good place to start, allmusic guide.

Side1: Little Boxes - You'll Be A Man - The Albatross - No Room - Turn Around - The Little Red Hen.

Side2: There's A Bottom Below - Green Shadows - The Day The Freeway Froze - The Money Crop - Somewhere Between - This World.

Artists: Guitars: Malvina Reynolds, Clark Maffitt, Brian Davies, Dick Rosmini, Eric Weissberg. Bass: Steve Le Fever, Bill Lee. Drums: Michael Batts. Piano: Alex Hassilev.

Little boxes on the hillside, Little boxes made of tickytacky

Little boxes on the hillside, little boxes all the same

There's a green one and a pink one and a blue one and a yellow one

And they're all made out of ticky tacky and they all look just the same.

And the people in the houses all went to the university

Where they were put in boxes and they came out all the same,

And there's doctors and there's lawyers, and business executives

And they're all made out of ticky tacky and they all look just the same.

And they all play on the golf course and drink their martinis dry,

And they all have pretty children and the children go to school

And the children go to summer camp and then to the university

Where they are put in boxes and they come out all the same.

And the boys go into business and marry and raise a family

In boxes made of ticky tacky and they all look just the same.

Get it!

Yellow Autumn-Children of the mist (1977, Rare, one song missing..)

2007-01-22T23:33:00.000-08:00

Incredible album. A masterpiece I think. Try it, the quality is not perfect, but ok. Anyone that could offer “Song of the weeping willow” is always welcome! The original has 8 songs and here “song of the weeping willow” is missing. Help.

Enjoy!

Roy Harper - Sophisticated Beggar (Debut, 1966)

2007-01-18T23:12:00.000-08:00

Recorded under primitive circumstances and not distributed well on initial release, Harper's debut proves that the definitive cult folk-rock singer's idiosyncratic weirdness was firmly in place from the start. Mostly but not wholly acoustic, there are lingering similarities to Donovan and Bert Jansch, as well as a light similarity to Al Stewart on occasion. But Harper's scrambled lyricism is already his own, as is his peculiar melismatic phrasing. Those two traits combine to give the impression of a singer-songwriting dyslexic, not able or willing to write words that are easily digested and apparently unsequenced in any linear fashion. That isn't the most appetizing recipe, but it's leavened by fairly attractive British folk melodies and very accomplished guitar work (the liner notes infer that John Renbourn and Ritchie Blackmore helped out). Although this is largely acoustic, electric guitar and backing are used from time to time, as well as reverb and backwards effects that give it a dated charm. Certainly the most uncharacteristic arrangement is "Committed," a crunching, ominous rock tune whose first-person account of madness recalls Syd Barrett's most distraught work (and is if anything more distraught than Barrett's loony tunes). And speaking of Pink Floyd, "October 12th" makes you wonder if Harper's influence didn't find its way into the post-Syd Floyd on tunes like "Grantchester Meadows." , allmusic guide.

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Randy Burns - Songs for an Uncertain Lady (1970)

2007-01-18T23:09:00.000-08:00

Try this Randy’s album, not his best- Evening of the magician (1969) is still his best I think, but this one has its moments. Psychedelic/ Acoustic/ Loner Folk, something like that…I like Randy Burns, I think he really made emotional albums….i like his voice too…In all these kind of albums, the minor inside major chords is killing me…what to say..Actually I think in all these folk guys, the melody is been built with the sudden use of a minor chord between of all major chords (the scale)…Just my point of view….

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Thanassis Gaifylias-The unfinished journey of (1975-Psych Folk-Rock)

2007-01-13T00:35:00.000-08:00

Greek artist from Komotini town composes a very interesting album back in 70s, probably he is been influenced by two factors: european psychedelic/ acid rock movement and Greek folk tradition, so he mixes up. Featuring the voice of Mariza Koch in “ekdromi” song. Nice guitars and emotionally vocals, a melancholic-revolutionary album actually. Interesting acoustic guitar riffs and songs that stick in your mind for weeks (as the first, the second the fifth and the seventh one). Its too bad lyrics are in Greek and you wont be able to understand what he is talking about. Anyway, the music has its own value! Try this one, I think its one of the best greek psych-prog-folk-rock ever. I cannot categorize this one, so forgive me for some wrong music labels maybe.

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Just Others-Amalgam (1974-Apocalyptic/ Acoustic/ Melancholy Folk-Rock)

2007-01-11T03:30:00.000-08:00

Masterpiece. This is an unknown masterpiece. You should try it! Incredible lyrics, amazing voices and fine guitar work. This is a very very interesting album.

Close your eyes to the Sun(Words and Music by Geoff Twiggarr. Rodgers/Twigg)

Lay back, close your eyes to the sun
And dream of me
Somewhere, in a land far away,
I am dreaming of you
Dreaming of you Sunshine, and you are lying on golden sands
Lie with me
Sailing to the twinkling distant stars
Fly with me
All through the night we will search for the dawn
And in the light of the morning,I will lead you to your home.
Lay back, close you eyes to the sun
And dream of me.
Somewhere, in a land far awayI am dreaming of you,
Dreaming of you.

Get it!!

Fionn Regan-End of History (Folk/ Acoustic-2006)

2007-01-11T03:04:00.000-08:00

A really good effort by Fionn Regan, a new Irish musician. Great guitar finger picking technique and a mellow voice over the guitar. Percussion is also been discovered in this album. That’s something for 2006, taking into consideration that Fionn is a new artist, a true talented guy. A folk album with many early Dylan-Drake influences. We are waiting in vein for such efforts, that’s all we need. Ok he is not Drake, but maybe a new Drake is been born…..Why not?

Favorite Track: Put a Penny in the slot

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Dave Van Ronk-Just Dave Van Ronk (Request-1964)

2007-01-09T00:04:00.000-08:00

This collection is comprised of solo guitar and vocal interpretations of blues and traditional standards. Van Ronk's understated guitar style is perfect for these intimate performances. His naturally rough voice allows him to sing these songs believably without any ethnic affectation or false energy, review by all music guide.

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Nick Castro-A spy in the house of god (Acid Folk, 2004)

2007-01-05T07:03:00.000-08:00

Nick Castro (Hollywood, N.Y.), has made here a wonderful, only partly singer-songwriter album, with some nice songs, with acoustic guitars and oud (like the beautiful "Jack of All Seasons” or "No Sweeter thing"), and with some more acoustic meandering textures, and small instrumental improvisations (like the "Ukelin suite" ; with on “Zoey” and on the intro of “If Your Soul Could Sing” the use of some tape-experimenting and semi-acoustic experiments), with the use of an Incredible String Band like- flute (like on the beautiful psych-folk song "Winter's Chill", and even more on the instrumental "Flight of the Mourning Dove"). All these elements give the complete album an overall and definite acid / psychedelic folk result. Another instrumental, “This was that and then” is a dreamy improvisation on dulcimer, sitar, oud and flute. The song "Dear Stranger" with acoustic guitar might follow a bit the tradition of early John Renbourne, even when it reminds me also of a Pink Floyd song, then it turns into a psych-folk instrumental with additional flute and harmonium, called "The Opposite of it". The only track which falls a bit off in quality is the more flat / weeping last track, called “Ordinary Life”. A recommended album, from psychedelicfolk website.

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Songs of Freedom-Theodorakis-Farantouri-John Williams (1971)

2007-01-05T05:34:00.000-08:00

Maria Farantouri here sings with that great huge voice she had back in 70s. Great compositions by Mikis Theodorakis actually, nice songs, mostly acoustic-revolutionary folk. Great Federico Garcia Lorca lyrics in some songs. Not easy to describe that kind of music, but not the usual Theodorakis style. Great cooperation with John Williams, that great flamenco guitar player, really incredible guitar. A mixture of greek folk music with flamenco guitar playing and eastern influences. This record is not widely known, but deserves so. Try it and let me hear about your opinion. Please do leave comments about that, not so psychedelic, but great music and cooperation in my own opinion. Something different, interesting work. To Yelasto Pedi (The Smiling Boy) is one of my all time favorites songs! With this record (ok, not only with this one) I always remember that guitar is the best musical instrument.

All compositions by Mikis Theodorakis

Seven Songs of Federico Garcia Lorca Arr. Dodgson:
Tou Pikramenou (He With the sorrow)
Antonio Torres Xepentia I (Capture of Antonito el Camborio)
Antonio Torres Xepentia II (Death of Antonito el Camborio)
Xamos Apo Agapi (Lost through love)
I Kaloggria i Tsingana (The Gypsy Nun)
Tou Anemou (The Wind and the Gypsy Girl)

I Pandermi

Four Epitafios Arr. by Myers for Solo Guitar
Epitafio No. 2 [02.01]
Epitafio No. 3 [02.21]
Epitafio No. 4 [02.14]
Epitafio No. 5 [01.15]

Three Songs Arr. Dodgson for Voice and Guitar:
To Yelasto Pedi The Smiling Boy (Theme from "Z") [03.48]
Silva
Irthan i Anthropoi (The one who was taken by the road)

Enjoy

David Blue-Me, S. David Cohen (Rare-1970)

2006-12-28T02:41:00.000-08:00

For this album only, David Blue reverted to his name, David Cohen. By this time, impressively, the overt Bob Dylan-isms of his 1966 debut had faded far enough that most listeners would not automatically peg him as a Dylan imitator anymore. It's a little Dylan-esque, certainly, but not more so than several other singer/songwriters of the period. More specifically, his voice was coming more into his own personality as a low-key country-rocker who was able to keep in tune much more than he had as a Dylan clone. Recorded in Nashville, as was fashionable among folk-rock singer/songwriters in the late '60s and early '70s, it's a low-key but pleasant record, coming as close to Townes Van Zandt as Bob Dylan. There are sturdy, somber story songs like "Atlanta Farewell"; breezy, poetic romantic ones like "Turning Towards You," which has an almost jazzy, breezy feel at points; and an occasional Tex-Mex border mood (as there had been on 1968's These 23 Days in September), which comes particularly to the fore on "He Holds the Wings She Wore" and "Better off Free." Certainly the most ambitious track is "Sara," which mixes Leonard Cohen-style spoken poetry with Mexican-influenced barroom lament. It might be a minor 1970 singer/songwriter/folk-rock album, but as such albums go, it's one of the better ones, by Richie Unterberger, allmusic guide.

Listen!

George Romanos-Balandes (1965-Ultra Rare Greek Acoustic-Acid Folk)

2006-12-17T06:38:00.000-08:00

George Romanos sings here various’ artists songs that contain an acid feeling. The lyrics are in Greek and great (although sometimes too much lyricism of course), and the whole feeling of this album is amazing. The instruments used are various, but the guitar plays the basic role. Great guitars and vocals by Romanos (Guitar finger picking in some songs). This is an ultra rare album, you can not find either the cover in the internet . (cover taken by http://www.music.gr/). I think Romanos is one of the best artists (musicians) of all times in Greece. The composers of the songs are various, not easy to define them, anyone that knows more on this should help me out!

Check it out, this is amazing!!

This is a present from me for Christmas!!

Download!

Popi Asteriadi with Lakis Pappas-Another Sunday Gone (Psych-Acid Folk, Greece-Rare 1969)

2006-12-14T23:50:00.000-08:00

Popi Asteriadi and Lakis Pappas recorded Another Sunday Gone during a peak moment of creativity in late 1960s Greece. Their sound was part of the Neo Kyma (New Wave), a style that blended the acoustic guitar-based psychedelic folk of France and England with the traditional bouzouki music of local Greek fishermen's bars. A lovely girl in her early 20s, Popi Asteriadi sings on about half these songs, accompanied by guitarist Lakis Pappas, who sings on some of the other tracks by himself and in duets on others. There's purity and tenderness inherent in both of their voices, with the evocative beauty of the Greek language transcending the need to comprehend the lyric's meaning. A sense of wide-eyed and wondrous discovery pervades the album-to be young, beautiful, and in love in Greece. All is perfect, yet the ache of the heart remains; no amount of earthly beauty can satisfy them. The title track finds Asteriadi singing a soft ballad over the gentle acoustic picking of Pappas, who then takes a vocal turn on the next track, "And You Dare Talk to Me," (Kai ustera mou milas) aided by an unabashedly romantic string section, tinkling piano, and drums, his voice a sweetened, husky, romantically tortured croon. "Wild Bird" (Agriopouli) features recognizably "psychedelic" orchestration, with clavichord, piano, electric bass, and flute, as well as Pappas' flickering-candlelight vocals. The album progresses rather like a magical third date, as the sweetly romantic confessions and wistful stares give way to passionate dancing and merriment, with cafι tables pushed back to make room for dancing and celebration. More traditional Greek melodies get dusted off along with the bouzouki and tin whistle for tracks like "Not Our Wine," (Den einai aspro to krasi mas) with Pappas adding vibrato to her voice as she harmonizes with Asteriadi. The sound of this Neo Kyma album is elusive-at some level it's like Mexican mariachi music, at other times sweet folk ΰ la Nick Drake. With its mix of melodies old and new, rich tradition merges with a global movement of youth, and no one leaves until the sun comes up, even though they know with that sinking Sunday feeling that their boat's leaving at 9 a.m, by Daily CD.

Recommended!

"Agriopouli" is the best song for me..

Get it!

David Blue-Stories (1972-Rare)

2006-12-13T09:21:00.000-08:00

Once known as one of the "new Dylans," David Blue signed to Asylum Records and released this collection of tunes that are harrowing, yet fulfilling. From the drugged images of "House of Changing Faces" to the longing of "Looking For a Friend," Blue spins his Stories with verve. Fans of the singer-songwriter genre should keep an eye out for this one.
From all music guide.

Get this..

Blue Things-Blue Things (1966 Psychedelic Folk-Rock)

2006-12-05T23:19:00.000-08:00

Along with the Remains, the Blue Things are serious contenders for the title of the Great Lost Mid-'60s American Band. The Kansas group was extremely popular in the Midwest and Texas, but remained unknown on a national level, despite a deal with RCA. Piloted by the songwriting of singer and guitarist Val Stecklein, the group often sounded like a cross between the Byrds and the Beau Brummels with their melodic, energetic, guitar-oriented folk-rock and haunting harmonies. The group's sole album (Listen & See, 1966) and several singles chart a rapid growth from British Invasion-like material with a heavy Searchers and Buddy Holly influence to full-blown psychedelic efforts with careening guitars, organ, and backward effects. Quite innovative for the time, these 1966 psychedelic singles met with no more than regional success. The group's impetus was derailed by the departure of Stecklein at the end of 1966, although they struggled on for a bit. Stecklein went to California and recorded a disappointing MOR folk album for Dot in the late '60s that reprised some of his Blue Things songs. (all music guide)

http://rapidshare.com/files/6026540/blue_things_-_blue_things__killer_ks_folkrock_delight_1966_.rar.html

Paul Adolphus-The Dawn Wind (1973-stoned acid folk)

2006-12-05T23:15:00.000-08:00

Heavy reissue from Shadoks of a stoned 1973 acid folk side recorded in Kyoto, Japan. Similar blasted/decadent air to that of John Cale’s great Paris 1919 and aspects of Cale’s work with Wally Tax of The Outsiders’ later group, Tax Free. Classic ‘period’ atmosphere, somnambulant acoustic guitar with stoned puffs of lung, shakuhachi, flute, piano, organ and zoned harmonies. Laminated gatefold sleeve and 180g vinyl, another absolute beauty from the most consistently mind-blowing reissue label in the world.

Amazing Stoned Acid Folk, dont miss it!

Link:

http://rapidshare.com/files/6201956/paul_adolphus__1969__the_dawn_wind.rar.html

Eric Andersen-Today is the highway (1965 Debut)

2006-11-28T08:48:00.000-08:00

This was made back in the days when it was just the singer, his guitar and his harmonica. Oh yes the comparisons to Bob Dylan were endless and for good reason. Andersen was blessed with the similar talents of Dylan. Just like Dylan's early albums there are plenty of good self penned songs that are sung with the same intensity a lone folksinger would require to succeed. Unlike Dylan, Eric's songs are less political and surreal. They tend more toward romantical topics. Also Eric is a fingerpicker (pretty much pattern style) which gives a softer backdrop to his songs.

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Rosebud (1971)

2006-11-27T08:09:00.000-08:00

The short-lived Rosebud have sometimes been classified as an outgrowth of the duo of Judy Henske and Jerry Yester, who did one album, the underrated cult classic Farewell Aldebaran, in 1969. In fact, although Henske and Yester were both key performers and songwriters in Rosebud, Rosebud were an entirely separate entity from Henske-Yester. It was in fact a group consisting of Henske, Yester, keyboardist/vocalist Craig Doerge, drummer/vocalist John Seiter (who had been in Spanky & Our Gang and the Turtles), and bassist David Vaught. Henske and Yester did write six of the ten songs on their sole album, Rosebud (1971)

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The Search Party-Montgomery Chapel (1969-Psychedelia)

2006-11-22T06:08:00.000-08:00

There were many psychedelic albums like this issued in small press runs in the late '60s: folky, bittersweet melodies that tilted toward the downright sad and melancholy; high strident female vocals sharing duties with less memorable, more normal-sounding male singing; a studied over-seriousness to the vocal delivery; a naïve, questing for the meaning of life tone to the compositions; and organ residing in a halfway house between the LSD trip and the mortuary. Even if you take it as a given that most of these albums have a dated pretentiousness that many would poke fun at, however, this is certainly one of the better such efforts in this mini-genre, and possessed of some real musical appeal in spite of its considerable flaws. Most of the arrangements have an understated, effective (if somewhat creepy) eeriness. Songs like "Speak to Me," "Renee Child," "Poem By George Hall," and "The Decidedly Short Epic of Mr. Alvira" are good time-capsule mood pieces in their evocative otherworldliness, at times sounding a little like a psychedelic seance. Although the brief liner notes do intimate that the musicians were "trying to produce relevant, religious music," any religious overtones are pretty subtle. As often happened with bands whose strengths lay in these approaches, they tend to lose much of their charm when they try to rock out, piling on too many gimmicky, clichéd fuzz guitar riffs. And even one of the gentler numbers, "All But This," is too uncomfortably close to Jefferson Airplane's "Comin' Back to Me" to merit praise. It's a worthwhile obscurity if you go for this sort of thing in a big way, though, and has more concision than most projects of the sort, with just one of the cuts (the nine-minute "So Many Things Have Got Me Down") lasting more than five minutes, by Richie Unterberger, allmusic guide.

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Agincourt-Fly away (1970-Acid Folk-Rock)

2006-11-18T01:30:00.000-08:00

Though Agincourt's album is sometimes described as folk-rock, it's really more accurately pegged as a combination of folk-rock (of the contemporary rather than traditional British variety), a bit of psychedelia, and a bit of swooning pop. Certainly it's got more drive and catchy pop melodies than most of the plentiful oodles of obscure barely pressed British folk-rock releases of the early '70s, though there are similarities in the gentleness of the approach and the wistful, slightly sad melodies. As these kind of U.K. folk-rockish rarities go, it's certainly one of the better ones — not on the level of the most famous British folk-rockers, mind you, but among the upper tier of things you should check out if you're accumulating unknown albums in that realm. Lee Menelaus has a sweet, high voice that's lighter and more innocent-sounding (to good effect) than many woman singers of the style, and the original tunes have a way of shining with pleasing sunniness while steering clear of the saccharine. Not everything here is that good — some of the occasional harder-rocking tunes are more ordinary than the fetching folkier ones ("Mirabella" sounds almost like a garage Moody Blues), and the fairly homespun recording quality (particularly on the drums), while not a serious distraction, keeps some of this from coming across as well as it could have, by Richie Unterberger

Check it out!

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White Noise-An electric storm (1968-Electronic/Experimental/Psychedelic)

2006-11-16T01:01:00.000-08:00

Welcome to the world of the frequency shifter, signal generator and azimuth co-ordinator. A world that existed before the dawn of the synthesizer, when a 'sample'was a length of recording tape delicately and skillfully spliced in place. The 1968 "White Noise -- An Electric Storm"LP became the holy grail amongst collectors of 'Science Dimension' music, a staple ingredient for lovers of cosmic electronic space-rock. White Noise was really one David Vorhaus (b,sc,dip.elec) American born, son of a black-listed film director. He avoided the draft by coming to the UK. Later he became a post graduate doing an electronics degree at the Northern Poly whilst studying classical music playing the double bass. After having attended a lecture by the group Unit Delta Plus, Vorhaus was compelled to combine his love of music with his scientific background and start making his own music. At the time Unit Delta Plus were Brian Hodgson and Delie Derbyshire who were persuaded to collaborate with Vorhaus on his early recordings whilst they continued their day jobs at the BBC's radio phonic workshop, itself a shrine to new electronic music and birthplace of the famous Dr. Who theme. After recording two tracks on a six-revox set up all synchronised by one remote control, (i.e. the mains on/off switch), Vorhaus found himslef introduced by chance to Island Records' Chris Blackwell. Chris was so captivated by the white noise experience that he shunned their appeal for a one-off singles deal and demanded that they do a whole album of material. An instant cheque for £3,000 quenched their fears about not earning a quick buck through a hit single and our band of merry pranksters set about building theur own sonic laboratiry in London's Camden Town out of 'borrowed' gear, home made gizmos and equipment more assiciated with a scince lab than a recording studio. 'Songs' took ages to build, each note being a compilation of various tape edits painstakingly stuck together. After a year Island Records became nervous and demanded a conclusion in a matter of days which, luckily, White Noise managed to pull off. The album was released in a total vacuum. Vorhaus played no gigs and did no interviews. Word of mouth over many years caused this album to sell tens of thousands of records. Like stablemates Art and Nirvana, this album remained on catalogue deep into the seventies and became the hit of many a bedroom and sicth form commonroom. Five years after its release Vorhaus made a second album on Virgin and a third in 1980 for the Pulse label. He continues to make music, a good deal for film and television work, and threatens a new album for the nineties. One album per decade is hardly a Prince-like output but when the quality is this high does it really matter?

Weird Psychedelic-Electronic-Experimental Rock, you have to try it.
Its not for anyone, but deserves a listen. It's really something different.

ENJOY

Caedmon-Caedmon (1978-Kissing Spell)

2006-11-12T02:52:00.000-08:00

Caedmon's privately issued 1978 LP, has since it's rediscovery in 1992, been established as an expensive collectors item, rated as the best folk-rock album ever made, perhaps 2nd only to “Mellow Candle”. The sublime sound of Caedmon results from an unusual blend of styles, the fragile female vocals, admirable use of tension and atmosphere, savage fuzz-guitar, art rock leanings - everything from exquisite understatement to frantic show-off musicianship - a classic, by golly!

Some say best folk-rock made!

Check it out

Artists

Jim Bisset - Electric and acoustic guitars, vocals
Simon Jaquet - Acoustic guitar, mandolin, bongos, vocals
Angela Naylor - Lead vocals
Ken Patterson - Keyboards, cello, acoustic guitar, vocals
Sam Wilson - Bass guitar, vocals

Link : http://rapidshare.com/files/2906796/caedmon_hymn.rar.html

Wizz Jones-Right Now (1972)

2006-11-10T00:09:00.000-08:00

Though it was issued as late as 1972, Right Now reveals why, long before he ever recorded, Wizz Jones was one of the most revered guitarists and songwriters on the British folk scene, along with Michael Chapman, Bert Jansch, and John Renbourn; Jansch and Renbourn both produced and played on this album (sitar and harmonica). While Jones can claim none of the gorgeous electric guitar parts here — Peter Berryman handled the electric Telecaster chores — it's in the unreal, almost otherworldly acoustic guitar stylings where Jones' particular genius can be found. Like John Fahey, his North American counterpart, Jones' style is an amalgam of many very traditional musics: from Delta blues and early Anglo and Celtic minstrel cultures to classical Indian music and country music. On Right Now, he uses the guitar as a means to deliver 75 percent of the song's ability. There aren't any endlessly strummed tunes on this album; here nothing is ever static. From the down-home, minor-key, sitar- blues arrangement of Pete Seeger's "One Grain of Sand"; to the greasy, folk/funk of Alan Turnbridge's dark rant against L.A., "City of the Angels"; Jones' own songs, and those he collaborated on with Turnbridge, such as "The Raven," are full of tonal variations and quirky strangeness. "The Raven" is based on a 17th century melodic and lyrical framework, where the singer plays "call and response" with himself. The tonal variations bring the track — and another, "No More Time to Try," — into modal territory, and are made more possible by the use of a 12-string with a dodgy capo tuned to an open D. Also notable is Jones' jazzed-out reading of Seeger's arrangement of "American Land." The disc ends with another collaboration between Jones and Turnbridge: "Deep Water," a Gary Davis-styled ragtime blues song. The turnarounds at the bottom end are just astonishing. Unlike most of his contemporaries, Jones was gifted with a beautiful tenor singing voice, which gave him the legs to play in front of an audience and not apologize for anything. "Deep Water," besides being a great twin-guitar vehicle for Jones and Berryman, showcases the range and expressive qualities of Jones' singing voice. It closes the album on a high note, leaving the listener shocked at the array of music he/she has just been witness to, and wanting for more...much more. By Thom Jurek

Fantastic! "City of the angels" beautiful guitar playing! "American Land", what a song, strange feelings! Incredible!
In my opinion, this is a true masterpiece!

Highly Recommended!!

Get it!

John Martyn-London Conversation (1967 debut album, UK Folk)

2006-11-09T03:15:00.000-08:00

In 1967, John Martyn became the first white solo act to sign with Island Records. While this is notable in the history of the label, his initial release, London Conversation, on the other hand, stands as a mere footnote. The record, though incorporating touches of blues and his characteristic guitar and vocal, doesn't really prepare you for what's to come from Martyn. The album is a basic, no-frills, guitar and voice effort, although one track, the droning dulcimer and flute-driven "Rolling Home," shows Martyn's urge to stretch, which would become much more evident in the coming years. His vocal delivery is traditionally British, while his playing is steeped in the eclectic folk of British artists such as Davey Graham and Bert Jansch, as well as American blues and folk. London Conversation, whose material (written primarily by Martyn) reflects the era and his age (18 years old), comes across as a young, although soon to be important artist looking for a voice.
by Brett Hartenbach

Although some of you maybe think other Martyn’s albums are better, I think this one is good too. Remember that he was only 18 at the time of its release. True folk guitar and singing in a lot of his compositions. I believe it was a great debut. Great guitar finger picking, I am really trying to reach him at this point at my guitar playing! One of the best folk guitarits for me actually!

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Extradition-Hush (1971-Australian Acid Folk/ Psych/ Psychedelic)

2006-11-07T09:19:00.000-08:00

Simply gorgeous presentation of this classic Australian acid-folk item. Extradition have everything you want from this genre: a female singer with a voice like a bell (Shayna Karlin), male singers who don't suck; long hair; beards; songs that romanticize Ice Ages and the phases of the Sun and the Moon; harmonium; nine-minute songs; frolics with sticks, stones, gongs, chimes, palm fronds, and drums in the name of Meher Baba. The live recording tacked onto the reissue as a bonus is just as valuable - Oscar Wilde's "Ballad of Reading Gaol" set to music, covers of Tom Paxton and Leroy Carr, a few bluesier Extradition originals, and a stunning version of the album's "Ice." (From rateyourmusic.com)

Amazing album! Incredible psych-acid feeling, sometimes psychedelic, sometimes eastern influences too!Veeeeery interesting!!

Download!

Guy Clark-Old No. 1 (Debut 1975, Country-Folk)

2006-11-07T08:33:00.000-08:00

Though Guy Clark recorded only two albums for RCA, the label was fortunate to have him at all at the beginning of his career. If only every country songwriter could release a debut album as auspicious and fine as this one. Houston's Guy Clark, well known to the outlaw movement for his poetic, stripped-to-the-truth songs about ramblers, history, the aged and infirm, the drunken, the lost, and the simple dignity of working people who confront the darkness and joy of life quietly, issued Old #1 when his compadres had already been making waves with his songs. Jerry Jeff Walker had already cut "L.A. Freeway" and other tunes by Clark, as had Gary Stewart, Billy Joe Shaver, and others. But the definitive versions come from Clark himself. On this disc with help from Emmylou Harris, fellow Houstoners (a young) Steve Earle and Rodney Crowell, guitar wizards Chip and Reggie Young, Mickey Raphael on harp, pianist David Briggs, fiddle boss Johnny Gimble, and the angel-voiced Sammi Smith, Clark executed a song cycle that is as intimate and immediate as it is quietly devastating with its vision of brokenness and melancholy, loose wild times, and unforgettable characters. The opener is the up-tempo Texas swing of "Rita Ballou," a woman out for all she can get and then some; the outlaw's statement of love's determination on "L.A. Freeway" to not get killed or caught; and the summation of so much of what is contained here and on the follow-up to this album, Texas Cookin', "That Old Time Feelin," which should be the new "Auld Lang Syne." Acoustic guitars dominate everything here. Old #1 is a quiet record because its songs don't need to be amplified; they speak for themselves in a straight, poetic, and powerful way. In addition to the above, two Clark classics are here as well, the amazing recollection "Desperadoes Waiting for a Train" and one of the most beautiful and confessional love songs ever written in any genre, "Like a Coat From the Cold." The most underrated track is an aural movie called "Instant Coffee Blues," where Clark's protagonist is a lonesome rambler, aimlessly hitchhiking his way to who knows where. He is picked up by a single working woman who is also on the wrong side of alone; they have an evening of companionship that has its share of intimacy and passion — until morning when, "she just had to go to work/and he just had to go." The disc closes with "Let Him Roll," a snappy, laid-back observation about destiny having its own way at staying out of its way. Old #1 was unequaled in 1975 for the depth of its vision and the largeness of its artistic and empathetic heart; only Bruce Springsteen's Born to Run came close to it in terms of aesthetic merit, by Thom Jurek

Amazing beautiful debut!! Very interesting melodies.

Check it!

Randy Burns-Evening of the Magician (1968-Folk)

2006-11-07T07:07:00.000-08:00

Randy Burns' second album, 1968's Evening of the Magician, is an enormous improvement over his 1967 debut, Of Love and War. That album, while fine for what it was, included too many covers of songs by Burns' contemporaries in the Greenwich Village folk scene to show what the singer/songwriter was capable of. This album, which features 10 good to great Burns originals, is far superior and much more personal feeling. Burns' new backing trio, the Sky Dog Band, provide sympathetic and low-key backing on keyboards (Mat Kastner), bass and flute (Bruce Samuels) and percussion (John O'Leary). The acid folk settings are similar to those of Burns' ESP-Disk labelmates Pearls Before Swine, but his solid, simple songs lack Tom Rapp's psychedelic flightiness. (This is either a good or bad thing depending on one's point of view), by Stewart Mason

For me, the best Randy Burns here.

Listen!

Hamilton Cap-Paths of Victory (1964)

2006-11-06T01:13:00.000-08:00

The Paths of Victory album is most renowned for the inclusion of the original version of "Pride of Man," later covered in an electric folk-rock arrangement by Quicksilver Messenger Service, who made it a highlight of their first album. Camp's acoustic version is good in its own right, and considering how moving the song's Biblical-toned lyrics and mournful tune are, it comes as something of a surprise to find that it's the only original composition on the LP. No less than seven of the thirteen tracks are Bob Dylan covers, and it's evident that the strategy was to find unfamiliar Dylan songs at that. Only one of the Dylan tunes, "Girl of the North Country," had been released on his Columbia albums when this Camp LP appeared; most of them remain damned obscure today. Even big Dylan fans may have never heard any version of "Guess I'm Doin' Fine" and "Long Time Gone," for instance, though "Tomorrow Is a Long Time," "Paths of Victory," and "Walkin' Down the Line" are among the better Dylan originals from the early 1960s that he elected not to release at the time. What the heck — if you're going to run with an idea, you might as well take it into the end zone, right? Whether this was a crass strategy or not really doesn't matter, since Camp did a good job with the covers and since the album as a whole is fairly good. The use of a bass and double-tracked vocals on some selections gives the material more force than many such folk albums of the period, and Camp is an earnest yet forceful vocalist and interpreter. If only in hindsight, it's something of a link between the cornier troubadour recordings of the early 1960s folk revival, and a more personal singer-songwriter style that would evolve in the late 1960s among folk and folk-rock performers. Incidentally, this also includes one of the earlier covers of Dino Valenti's future folk-rock standard "Get Together," and was produced by Jim Dickson, shortly to become an important folk-rock architect as an early manager of the Byrds. In sum, a good album, definitely cuts above the average for such efforts from the time just preceding acoustic folk music's makeover by electric instruments and original material.

Ooh…real great album!! First version of “Pride of Man”, later from Gordon Lightfoot and the Quicksilver. Some Dylan song's covers.

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Peloma Bokiu-Peloma Bokiu (1972-Great Greek psychedelic rock)

2006-11-03T06:26:00.000-08:00

The band’s name Peloma Bokiu came from band mates’ surnames. Nikos Daperis, Nikos Logothetis, Takis Marinakis, Vlassis Mponatsos and Yiannis Kiourtzoglou formed in 70’s one of the best rock bands in Greece ever. Their first single “Garyfale, Garyfale” is a classic one until today and had really great lyrics and feeling. The band was playing heavy progressive rock music with strong influences from Santana. It was one of the most capable greek rock bands. Vlassis Mponatsos (Stevie Winwood like singer-second one from left counting) was a very talented guy, he continued playing music and singing until his death last year. He was also starring in T.V. Shows and other T.V. productions and was acting in great theatrical productions, like when he starred Che Guevara role with great Greek female actor Aliki Vougiouclakis starring in Evita musical with great success. Listen to him on “Ύμνος στη ζωή” (Life’s Hymn), this great song from their album. “Κάποιος πεθαίνει” (Somebody is dying) and "Ψεύτικη Ζωή" (Fake Life) are great songs also. Mponatsos did a few albums during the following decades but nothing was like this one with Peloma Bokiu band.

Vlassis is still among us. These people never really die.

LIFE’S HYMN!!

LISTEN

Malvina Reynolds-Sings the truth (1967-Folk)

2006-11-02T10:15:00.000-08:00

Born Malvina Milder of Jewish socialist immigrant parents in San Francisco, Malvina was refused her diploma by Lowell High School because her parents were opposed to US participation in World War I. She entered UC Berkeley anyway, and received her BA and MA in English. She married William Reynolds, a carpenter and organizer, in 1934 and had one child, Nancy, in 1935. She completed her dissertation and was awarded her Doctorate in 1936. It was the middle of the Depression, she was Jewish, socialist, and a woman. She could not find a job teaching at the college level. She became a social worker and a columnist for the People's World and, when World War II started, an assembly-line worker at a bomb factory. When her father died, she and her husband took over her parents' naval tailor shop in Long Beach, California. There in the late forties she met Earl Robinson, Pete Seeger and other folk singers and songwriters and began writing songs. She returned to Berkeley, and to the University, where she took music theory classes in the early fifties. She gained recognition as a songwriter when Harry Belafonte sang her “Turn Around.” Her songs were recorded by Joan Baez, Judy Collins, The Seekers, Pete Seeger, and the Limeliters, among others. She wrote songs for Women for Peace, the Nestle Boycott, the sit-ins in San Francisco on auto row and at the Sheraton-Palace, the fight against putting a freeway through Golden Gate Park and other causes. She toured Scandinavia, England and Japan. A film biography, Love It Like a Fool, was made a few years before she died in 1978. Ellen Stekert is writing a biography and would like information about Malvina's pre-1945 activities.

Excellent album!!

Highly Recommended!!

Download!

Elyse-Elyse (1968)

2006-11-02T09:42:00.000-08:00

Picked up for reissue in 2001 by Orange Twin Records and earmarked as a rediscovered psych-pop classic, this long-overlooked record is primarily composed of quietly plucked acoustic guitars, overlain with Elyse's Elyse Weinberg's hearty vocals, which bear some resemblance to other endearingly hoarse-voiced performers like Janis Joplin and Melissa Etheridge, and her fellow Toronto contemporary, Joni Mitchell. The air of psychedelia is fairly faint, springing up in the mystical traces of sitars that appear in songs like "Deed I Do" and in lyrics that refer to lovers with names like Sir John Velveteen. In its day, sometime in 1968, the record drew praise from many circles and even earned Elyse a spot on The Johnny Carson Show. However, subsequent records were left unreleased and Elyse faded into history. Elyse is lo-fi, in that the record itself is fairly straightforward musically and that, while the release is on CD, one can hear the crackle and hiss of vinyl, perhaps indicating that this reissue was not remastered from the original. However, given the tone of the music, the low-level record noises are a positive thing, adding to the overall feel of this record's vintage status. The quiet acoustics take a back-seat on "Spirit of the Letter," which is a full-on rock song, and somewhat surprisingly, largely better than many of the quieter songs. Perhaps the record's most noteworthy track is "Houses," a gorgeous song about the impossibility of trading places; beautiful on its own, its brilliance is amplified by featured guest Neil Young. The album-closer "What You Call It," and in some ways the album as a whole, brings to mind the longing tone of Jeremy Enigk's sans Sunny Day Real Estate effort, Return of the Frog Queen. — Karen E. Graves

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David Allen Coe-Penitentiary Blues (1968)

2006-11-02T00:16:00.000-08:00

David Allan Coe's debut album, released in 1969 shortly after his release from prison, is in its way a wonder. Penitentiary Blues is far more a blues album than it is a country record, musically styled after the dark, loungy blues of Charlie Rich and Jerry Lee Lewis in his Mercury period as well as the rawer mercurial blues of Bo Diddley, Lightnin' Hopkins, and Tony Joe White. The subject matter is far darker and foreshadows the subjects and themes of Coe's later country records. The title cut mentions everything from working for the first time to taking blood tests in his heroin veins. "Cell 33" is a wide-open rocking shuffle with Jerry Lee Lewis piano coming out of the backdrop of a muddy mix and playing solo after choogling guitar riff over lines like: "They'll find me hangin' here tomorrow/If they don't come with the key." Musically, Coe was wrapped in the blues, particularly the barroom tradition. At the time, his band was clearly not capable of handling the more sophisticated honky tonk songs he would be writing shortly thereafter, some appearing on his next recording, Requiem for a Harlequin. This is redneck music, pure and simple, fresh out of hell and trying to communicate the giddiness of reprieve as well as its horrors to the listener. There's an obsession with hoodoo imagery and death, with self-loathing and boasting, and the contradictions in a man who doesn't want to go back to prison but who seems resigned to the fact he will because he's been inside so long (for Coe it was almost 20 years), he has no idea how to live on the outside. There are hints and traces of the lyrical genius Coe would display later, but taken as a whole, Penitentiary is thoroughly enjoyable as a rowdy, funky, and crude blues record full of out-of-tune guitars, slippery performances, and an attitude of "f*%$ it, let's get it done and get it out," which was a trademark of Plantation Records during the era. Penitentiary Blues is a set of voodoo blues from a future country legend and pariah.
By Thom Jurek

Excellent Blues outlaw record. His lyrics are a pain in your stomach. Great guitar work.
Prison blues, actually.

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

2006-10-31T02:55:00.000-08:00

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.

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

2006-10-30T08:34:00.000-08:00

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!!

Listen!!!

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

2006-10-30T07:52:00.000-08:00

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

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

2006-10-29T03:43:00.000-08:00

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.

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

2006-10-29T02:33:00.000-08:00

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

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Spring-Spring (Rare UK Progressive Rock-1971)

2006-10-27T08:54:00.000-07:00

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!!

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

2006-10-27T02:38:00.000-07:00

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!!

Listen!!

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

2006-10-26T07:16:00.000-07:00

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

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

2006-10-26T02:52:00.000-07:00

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.

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Odetta-Odetta sings Folk Songs (1963)

2006-10-25T03:23:00.000-07:00

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)

Listen!!

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

2006-10-25T01:16:00.000-07:00

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!

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

2006-10-24T10:45:00.000-07:00

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!!

Enjoy!!

Gordon Lightfoot-Lightfoot! (1966-Folk)

2006-10-24T04:15:00.000-07:00

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.

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Mississippi Fred McDowell - Steakbone Slide Guitar (Blues)

2006-10-24T02:46:00.000-07:00

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

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

2006-10-23T01:32:00.000-07:00

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

Dave Van Ronk with the Ragtime Jug Stompers (1964)

2006-10-22T03:39:00.000-07:00

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

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

2006-10-21T09:14:00.000-07:00

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)

2006-10-21T06:14:00.000-07:00

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!

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

2006-10-20T02:20:00.000-07:00

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!

COMMENTS/ REQUEST SECTION

2006-10-20T01:53:00.000-07:00

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!

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

2006-10-19T03:40:00.000-07:00

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)

2006-10-19T01:21:00.000-07:00

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...
Enjoy!

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

Please leave comments!!!!

2006-10-18T10:31:00.000-07:00

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)

2006-10-18T09:25:00.000-07:00

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..
Thanks...

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

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

2006-10-18T05:39:00.000-07:00

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)

2006-10-18T05:27:00.000-07:00

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

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

2006-10-17T10:24:00.000-07:00

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)

2006-10-17T09:03:00.000-07:00

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)

2006-10-17T08:10:00.000-07:00

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)

2006-10-17T05:59:00.000-07:00

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)

2006-10-17T03:31:00.000-07:00

"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