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11 Jun 2016

Flaviola E O Bando Do Sol ”Flaviola E O Bando Do Sol” 1976 Brazil Psych Folk

Flaviola E O Bando Do Sol ”Flaviola E O Bando Do Sol” 1976 Brazil Psych Folk.

full album

Interest in Brazil’s 1960s/1970s music scene is pretty much dominated by Tropicalia these days, but behind this popular front lay a bevy of fantastic psychedelic rock albums that don’t otherwise fit in with the kaleidoscopic coastal sounds of folks like Caetano Veloso, Gal Costa or Os Mutantes. One of these is the self-titled release by Flaviola e o Bando do Sol, an ethereal slice of psychedelic folk music put together by many of the same cats who made Lula Côrtes and Zé Ramalho’s Paêbirú such an enduring classic.
There is a lazy, mellow vibe to the proceedings here that really puts you in a midnight, beach campfire vibe, with jangling acoustic guitars and wispy flashes of percussion bedding Flaviola’s warm, reassuring vocals. Flute, dulcimer, and what sounds like a harp also make appearances here, as well as several other instruments that sound distinctly Brazilian, though I’ll be damned if I can name them. The rare, rapid-fire semi-electric number “Asas” and the catchy “Balalaica” are definitely the numbers to play to Tropicalia fans, featuring the record’s most energetic rhythms, with Flaviola and friends cheerily chanting out the title on the latter (whether or not the song actually makes use of a Russian balalaika I have no idea). Slower pieces like “Noite” and the autoharp punctuated “Canção de Outono” are more personal numbers, with sleepy sways to them and delicate finger picking.
The record is pretty short, at just under half an hour long, so I’ll keep the review short in turn. After all, this isn’t exactly an album that you can say very much about, as it’s more about the magic of hearing all these simple acoustic sounds come together – there is nothing shocking or avant-garde here, simply beautiful music that is bound to stick with you long after the needle’s been lifted. British-based reissue label Mister Bongo has done us all a favor by repressing this one on 180 gram vinyl, though if that’s not your thing (and it should be) then they also have copies on compact disc. Don’t miss this one…
What would happen if Robin Williamson, Mike Heron or Vashti Bunyan had been born in Recife, Brazil? … How they would sound? Probably, we will never know, but for me the closest answer lies in 1974’s album “Flaviola e o Bando do Sol” (Flaviola and the Flock of the Sun).

Williamson, Heron or Bunyan weren’t in Brazil at that time, but Flávio Lira, Lula Côrtes, Pablo Raphael, Robertinho of Recife, and Zé Ramalho certainly were, and they could have been perfectly the “Incredible String Band Brazilian counterparts”, their self tiled lp sounds astonishingly fresh, full of native acoustic Brazilian instruments, gloomy at times [canto funebre], hysterical [asas (pra que te quero)] or extremely poetical [noite].

If you like the folkier side of other Brazilian kids Called Os Mutantes (I know that you like them) you certainly will love Flaviola, as Forced Exposure points: “this is a brilliant album, full of strange moments (cellophane crinkled into the microphone as percussion), some deft acoustic guitar, and some of the prettiest songs this side of Vashti Bunyan”

This mystical album alongside Zé Ramalho & Lula Côrtes “Paêbirú” (recorded the same year and almost with the same lineup as Flaviola…) and Satwa’s “Satwa” constitute the three jewels of Recife’s acid folk crown.

What are you waiting?, put your headphones, turn on the music, and smell the perfumed night of Recife. This could be the cheapest and exciting Holidays ever!
Keep Listening…!!! ….

George Grant “Plimsoll Liner” 1980 UK Private Psych Folk

George Grant “Plimsoll Liner” 1980 UK Private Psych Folk

full album

George Grant biography………….

Omecron “Autumn/Walking Around” 1973 EP German Hard Rock.

The Up “Killer UP!” 1969-72 recordings US proto punk.

The UP Bob Rasmussen, Scott Bailey, Frank Bach, and Gary Rasmussen, in the basement of 1520 Hill Street

The Up “Killer UP!” 1969-72 recordings US proto punk.

full CD

Ann Arbor, Michigan-based proto-punks the Up were formed in the spring of 1967 by vocalist Franklin Bach, then the stage manager and announcer at Detroit’s famed Grande Ballroom. Rounded out by guitarist Bob Rasmussen, bassist Gary Rasmussen and drummer Vic Peraino (soon replaced by Scott Bailey), the group was managed by David Sinclair, the brother of local White Panther Party leader John Sinclair, and as such their history became inextricably linked with that of local revolutionary rockers the MC5, with the two bands even living together at the same Ann Arbor commune. The Up regularly opened for the MC5 as well, and were the opening act at the legendary September 1968 show at the Union Ballroom that so impressed Elektra Records president Jac Holzman that he offered a contract not only to the Five but also the second act on the bill, the Stooges; as both groups went on to national notoriety, the Up remained mired on the regional circuit, becoming the primary musical outlet for the White Panthers’ propaganda after the MC5 broke away from the party. Finally, in 1970 the Up recorded their debut single “Just Like an Aborigine,” a blistering cut similar in sound and spirit to the punk records which emerged from Britain at the end of the decade; a second single, “Free John Now!” – a rallying cry in honor of the imprisoned Sinclair – followed a year later. Although the group disbanded in 1973 – Gary Rasmussen later resurfaced in Sonic’s Rendezvous Band – they left behind enough material for a 1995 retrospective LP, Killer Up! ..

The Up (often styled as The UP) was an American rock band formed in Detroit, Michigan in early 1967. Along with fellow proto-punk bands the MC5 and The Stooges, The Up served as a “house band” for the Grande Ballroom in Detroit.

The original band line-up consisted of vocalist Frank Bach, guitarist Bob Rasmussen, bassist Gary Rasmussen, and drummer Vic Peraino. The band was closely related to the MC5, as both bands’ members lived in White Panther Party founder John Sinclair’s commune. In May 1968, Sinclair moved the commune to Ann Arbor, Michigan and both bands followed. The Up served as the opening act for the MC5 during a September 1968 show at the University of Michigan’s Union Ballroom in Ann Arbor. This show was attended by Elektra Records president Jac Holzman; Holzman was impressed with both the MC5 and The Stooges (who were the concert’s second act) and offered both bands contracts. The Up did not get signed to Elektra and unlike the MC5 and The Stooges, the band never received a major record label contract.

The Up continued to play gigs at the Grande Ballroom and other local venues. In 1969, the MC5 ended their association with John Sinclair and the White Panther Party; The Up took the place of the MC5 as the main musical outlet of the party’s propaganda. The Up disbanded in 1973 and faded further into obscurity. In 1975, the band’s bassist Gary Rasmussen later joined Sonic’s Rendezvous Band, a Detroit rock scene supergroup featuring former members of the MC5, The Stooges, The Up and The Rationals.

In 1995, a retrospective album titled Killer Up! was released containing all of The Up’s song recordings. The album contains all of the band’s singles, songs from a recording session at Head Sound Studios in Ypsilanti, Michigan and several live tracks recorded at the Agora Ballroom in Columbus, Ohio in 1972. John Sinclair states in the album’s liner notes that, “It’s common to name the MC5 and the Stooges among the forefathers of what they call punk rock, but it was their associates in a third band, the Up, who could more accurately be identified as the real precursors of punk.”.. ….

There’s a lot to say about rock and roll from Detroit. Generally, the line goes something like, that’s where proto-punk hails. No, that doesn’t seem off base. And considering that John Cale produced the Stooges disc and the MC5 were…well, the MC5 those that dispute the fact are gonna be fighting an up hill battle. And while all of that seems only vaguely important at this late date, there were a huge clutch of groups performing in and around Detroit  and Ann Arbor. SRC was kicking around, Frijid Pink and Bob Seger were on the scene, but the group that receives the shaken heads (most of the time) regarding its missed opportunity at fame is the UP.

At one time sharing a living space with the MC5, the UP were as much an arm of the White Panther Party as its more famous flat mates. And with the Five eventually heading off to greener pastures, the UP were tapped by John Sinclair to carry on that freeq banner.

Forming during ’67 or so, the UP wouldn’t actually release a single until 1970. The landscape of American music over that three year period under went a tremendous shift. There was still a buncha fey folksy stuff kicking around, but bands like Blue Cheer and Detroit’s the Stooges were either on the way out or just not at the height of their powers any longer.

So along come these politicos, wielding a guitar player - Bob Rasmussen - that clearly had the aggressive tone down,   just not the chops to always come up with the most enticing hooks. Arguably the group’s best known song, “Just Like an Aborigine,” sounds like nothing more than a buncha stoned, red book toting lefties raving up a few chords.

Those few chords, though, ended up being the right ones on other tracks collected on the band’s anthology Killer UP. “Together,” as one should expect is a political polemic that finds Frank Bach, the group’s singer, speaking on nothing but revolutionary tactics and how unity is indispensible. The mix isn’t all that flattering here with the guitar and drums taking up more space than the vocals ever could. But in that, there’s a bit of punk flair that isn’t present all over the rest of the disc.

The ‘60s punk and sludge of “I Don’t Need You” comes off similarly to “Together” apart from the fact that there’s a bit more Blue Cheer inherent on this track. It’s not all drum fills and guitar solos, but both are amply represented.

Patches of Killer UP deliver what Detroit exploito fans are looking for, but it’s pretty spotty overall. And considering the fact that there were more bands in the Detroit/Ann Arbor scene than one could readily recollect – not to mention all of the soul stuff from the same period – the UP’s anthology is only for folks that want or need to fully conceive of the scene that could be considered the jumping off point for punk. It’s an historical nugget, to be sure, just not one that everyone needs to search out……



“Just Like An Aborigine” / “Hassan I Sabbah” (1970) (Sundance 22190)
“Free John Now!” / “Prayer For John Sinclair” (1971) (Rainbow 22191)


Killer Up! (1995) (Total Energy NER 3002)

“Just Like An Aborigine”
Let ‘Em Have It! Vol. 1
Michigan Mixture, Vol. 1

“Hassan I Sabbah”
Michigan Mixture, Vol. 1  

Brother Fox And The Tar Baby “Brother Fox And The Tar Baby“1969 US Psych Pop Rock

 Brother Fox And The Tar Baby “  Brother Fox And The Tar Baby “ 1969 US Psych Pop Rock

full album

Brother Fox and the Tar Baby Originally released 1969 Re-issue Tone Arm Garage Psych Rock With Excellent Fuzz Guitar. Boston’s Brother Fox and the Tar Baby featured the talents of former Profits and The Front Page Review guitarist Richie Bartlett, Pugsley Munion bassist Tom Belliveau, guitarist Dave Christiansen, drummer Bill Garr, singer Steve High. and keyboardist Joe Santangelo. One of the era’s isolated multi-racial bands, the group were signed by the small Oracle label, which released 1969’s Bruce Patch produced Brother Fox and the Tar Baby. Read more on User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.  

Green Bullfrog “The Green Bullfrog Sessions” 1971 UK Blues Rock

Green Bullfrog -“The Green Bullfrog Sessions” 1971 Blues Rock

full album

Green Bullfrog - The Green Bullfrog Sessions (1971) - feat. Ritchie Blackmore, Roger Glover & Ian Paice - ex-Deep Purple) (bonus tracks!)

A CD reissue, remixed at Abbey Road studios in London during 1991.
Re-produced by original producer Derek Lawrence.
Originally engineered by Martin Birch.
Re-mastered by Peter Vince.

Bevy [= Tony Ashton] - keyboards
Boots [= Ritchie Blackmore] - guitar
Boss [= Big Jim Sullivan] - guitar
Jordan [= Earl Jordan] - vocals
Pinta [= Albert Lee] - guitar
Sleepy [= Chas Hodges] - bass
Sorry [= Matthew Fisher] - keyboards
Speedy [= Ian Paice] - drums
Vicar [= Rod Alexander] - keyboards  

Undertakers Circus “Ragnarock” 1973 Norway Prog jazz Rock

Undertakers Circus “Ragnarock” 1973 Norway Prog jazz Rock

full album

A pretty lively record for a group named Undertakers Circus – not the funeral proceedings you might expect, and instead a romping bit of jazz-infused rock, served up with some occasional funky touches! The group clearly draw inspiration both from the brassy sound of North American groups like Chicago or Blood Sweat & Tears, and some of the jazz rock pioneers of the UK scene too – but they’ve also got a heady sound that’s all their own – partly because of their Norwegian lyrics, and partly from the way these guys move past easy rhythms, and often hit these more complicated passages in their tunes. The vocals often come together in this offbeat way – and when things get moody one minute, they’re quickly set free by some riffing guitar – and all of the horn passages you might expect from a jazz rock group. Titles include “Na Sitter Vi Og Venter”, “2007”, “Ragnarock”, “Nettenes Prinsesse”, and “Pa Striklestad”. (Beautiful reissue – heavy vinyl and cover, with heavy inner sleeve, and obi with notes in English!)…..
UNDERTAKERS CIRCUS is a jazz-rock band from Lillestrøm, Norway, with their most active period between 1967 and 1976. With a full horn section accompanying traditional rock instruments their sound resembles bands like CHICAGO and BLOOD, SWEAT & TEARS, but with melodies and harmonies more of the BARCLAY JAMES HARVEST and THE MOODY BLUES mode.

They were the first rock band in Norway to write social critical lyrics in their native language. They also put music to two poems by working class poet Rudolf Nilsen. Other lyrical subjects was, amongst others, Norwegian history and Norse mythology.

In 1968 they released their first single, “Little Boy Blue”/“Gotta Get Away” (both Curtis MAYFIELD covers), but it took them another four years to get signed by Polydor and release their second single, “Riil køntri mjusik”/“Menuet silikose”. A shortened version of “Menuet silikose” later emerged on the bands first album, while “Riil køntri mjusik”, which was an ironic comment to the discussion between music snobs and the rest of the country’s artists, became their greatest ever hit, although, as it was musically based on THE LOVIN’ SPOONFUL’s “Nashville Cats”, it wasn’t very representative for the band’s sound.

The following year they released their first album, “Ragnarock”. At the time the band counted 11 members: Thor S. GRENI (vocals), Per Kristian LINDSTAD (guitar), Frank MYRSETH (guitar), Stein GUDMUNDSEN (vocals, congas), Erik THOEN (bass), Frode KILDAL (drums), Øystein BJØRK (trumpet), Johnny TORP (trombone), Kjell KRISTOFFERSEN (trumpet), Ivar HOVDEN (tenor sax) and Wiggo NILSEN (trombone). HOVDEN left the band later that year to join NEW JORDAL SWINGERS. “Ragnarock” was remastered and re-released by Pan Records in 2004, with “Riil køntri mjusik” and “Menuet silikose” (single version) as bonus tracks.

One of the songs on the album, “Nettenes Prinsesse” (The Princess of the Nights), originally titled “Queen of the Night”, was composed and written, with lyrics in English, by guest piano player Eigil BERG (NEW JORDAL SWINGERS), and later reappeared on his solo album “Alhambra” (1981). The Norwegian lyrics on UNDERTAKERS CIRCUS’ version was written by Thor S GRENI. In 1999 the song once again reappeared, this time as “Long Distance Man”, on “Electric Psalmebook”, an album by BIGBANG, a band fronted by Thor S. GRENI’s son, Øystein GRENI, who has performed with UNDERTAKERS CIRCUS on a few occasions in later years.

In 1975 UNDERTAKERS CIRKUS (now written with a “k”) released their second album, “Brød & Cirkus” (Bread & Circus). By then only four of the eleven members who made “Ragnarock” was left; THOEN, KILDAL, MYRSETH and GRENI, with two new members added on; Arild STAV (woodwinds, piano, vocals), who had appeared as a guest musician on “Ragnarock”, and Tom DANIELSON (piano, guitar, vocals). The horn section on “Brød & Cirkus” consisted of several guests, most notably Bjørn RØSTAD, who later played in Åge ALEKSANDERSEN’s (ex PRUDENCE) backing band, SAMBANDET.

Soon after the release of their second album UNDERTAKERS CIRKUS disbanded, but they’ve come back together for several concerts over the years, and are still active as a live band as of 2015.

Main source:
“Norsk pop- og rockleksikon” (Norwegian Pop and Rock Encyclopedia) from Vega Forlag (Vega Publishers) (2005)
Alto Saxophone [Altsax] – Arild Stav
   Art Direction – Peter Wharton
   Bass – Erik Thoen
   Congas – Earl Wilson
   Drums – Frode Kildal
   Engineer – Inge-Holst Jacobsen*
   Flute – Svein Greni
   Guitar – Frank Myrseth, Per Kristian Lindstad
   Photography By – Jim Bengston
   Piano – Egil Berg (2)
   Producer – Johnny Sareussen
   Tenor Saxophone [Tenor] – Ivar Hovden
   Trombone – Johnny Torp, Wiggo Nilsen
   Trumpet – Kjell Kristoffersen, Øystein Bjørk
   Vocals – Thor S. Greni
   Vocals, Congas – Stein Gudmundsen

V.A. Stevie Ray Vaughan Related “A New Hi Rare” LP (Tempo 2, 1971)

Stevie Ray Vaughan Related “A New Hi Rare” LP (Tempo 2, 1971) mega rare compilation.
Very Rare Texas Psych sampler featuring 2 Psych tracks each by “The Mint” - reissued on Endless Journey, 2 tracks by “Cast Of Thousands” - first appearance by 17 year old Stevie Ray Vaughan .

ful  compilation

This unlikely appearing album cover contains some pretty impressive, cutting-edge psychedelic music from 1971 by a variety of regional groups. The real attraction here is the inclusion of a two tracks by the group “Cast Of Thousands” which featured a young guitarist named Steve Vaughan. The tracks that featured the bands the Mint, Image, Stone Sypher, and Blue Persuasion may be just as slick; in fact, the Mint, led by guitarist Jimmy Wallace, was very popular in the Dallas and North Texas area, and Wallace went on to found the Dallas Guitar Show. Of course, the 16-year-old Vaughan would become a guitar legend renowned the world over..

Stevie Ray Vaughan (in Cast of Thousands) “A New Hi Dallas 1971 – Part 1” Stereo LP and Poster Tempo 2 T-1(1971) While all you Stevie Ray Vaughn fans are going to go crazy over the inclusion of his earliest recorded material (with the band known as Cast of Thousands), this compilation of Dallas, Texas bands from the late 1960s-early 1970s era stands up pretty well on its own right. The bonus poster included with the album is complete with a photo or our teen-aged Stevie. Also included are tracks by the Mint, featuring Jimmy Wallace, a hugely popular local band in their time. In fact, Jimmy (who these days can be found producing the annual Dallas Guitar Show) and Stevie Ray were friends and neighbors, and their respective bands rehearsed across the street from one another!

Homer “Grown in USA” 1970 Private Texas Rural Heavy Psych

Homer “Grown in USA” 1970  mega rare Private Texas Rural Heavy Psych.

full album

“Grown in U.S.A” was their only album, released as a private pressing in 1970.  Rural psychedelic rock with early prog  hints fuelled by   stunning lead / dual guitar, melodic vocals and occasional mellotron.


Phil Bepko - vocals
Frank Coy - vocals
Galen Niles - lead guitar
Howard Gloor - lead & steel guitar
Chet Himes - bass
Gene Coleman - drums
Rob Meurer - Mellotron


1. Circles In The North
2. Taking Me Home
3. Dawson Creek
4. Survivor
5. In The Beginning
6. Love’s Coming
7. Four Days And Nights “Without You”
8. Cyrano In The Dark
9. Lonely Woman

Bonus tracks:

10. Sunrise
11. Dandelion Wine

johnkatsmc5, welcome music..