Rare 1976 private press prog rock record from Nebraska. This one hardly ever turns up and I've been sitting on this copy for over 15 years. Never turned up in quantity, tiny pressing, local Nebraska band that faded away into oblivion. Side one is mainstream midwestern 70s FM rock and side two is exciting 70s prog rock with synths, guitars firing on all cylinders, even the flute makes an appearance. What a strange record!.....
The only record of the American band originally from Nebraska. The album was recorded in Iowa in 1976 and consists of 2 parts. Obviously, musicians quite consciously titled one side of the "light side" and the other "dark side." The first side is a country-rock a la «Eagles», but the other side of her perfect contrast: there are synthesizers, and everything becomes much more interesting. The last track «Rousing The Ghost» - instrumental symphonic prog with beautiful guitar, keyboards and flute. It's hard to say what the band were trying to achieve by writing on one plate material is two completely different musical directions, but, obviously, this is the nature of the American underground. One part of the standard music, and one part of this inspiration. However, mixing different styles were very common for groups of 70. Craig Nance, who was the guitarist on this album, now lives in Harlan (Iowa), which provides music lessons and still performs with various jazz groups. Tells Collin Thompson, drummer and vocalist: "In the late '70s, we went on tour with the band« Fireball », and when they released the album under the name of« Luna Sea «, is so upset us, we decided of initiating their claim." Next, the story makes it clear that the court was lost, musical equipment had to sell to pay court costs, and to dissolve the group. Thus ended the story of «Luna Sea». An interesting detail: the British group «Queen» for his album «Innuendo», released in 1991, used the exact same cover, only the color.......
Personnel: Craig Nance — guitars, banjo, flute, vocals Barry Anderson — keyboards, synthesizer, vocals Carl Willadsen — bass, vocals Collin Thompson — drums, vocals
Tracklist: 01. Please Be Good To Me 3:10 02. Rollin’ Out Of Thunder Bay 3:46 03. Cold Nights And The Lonely 2:41 04. Almost Profound Melancholia 2:50 05. Wait, Norma Wait 3:14 06. Everybody You Ever Met 3:55 07. Flash In The Pan 5:43 08. Rousing The Ghost 6:37 09. Luna Tunes 0:48
Globe-trotting artist Bodo Molitor may have been born in Germany, but heêll forever be associated with the psychedelic scene in Mexico. In addition to creating the zoomorphic art for his own bizarre album, he also created the psychedelic art for the Kaleidoscope album, for La Libre Expresion, and for his brother Reinholdês solo album. As for –Hits Internacionales”, it has all the ambience and psychedelic delirium of the time, full of devastating fuzz and wacked out rhythms. And then there is Bodoês raspy and savage voice. Impressive. As Antonio Malcara says in his book “Catologo subjetivo y segregacionista del Rock Mexicano”, this LP and that of Kaleidoscope are the two most important and representative pieces of Mexican garage rock-psychedelia. Collectors offer thousands of dollars to be able to get an original copy of –Hits Internacionales” in good condition.
Musicians *Bodo Molitor - Vocals, Guitar *Juan García Aragón - Guitar *Jorge René González - Organ
Tracks 1. Sookie, sookie (Don Covey) - 2:16 2. Real real (N.Simone) - 2:17 3. She’s a woman (McCartney) - 3:08 4. You don’t know (Molitor, Costa) - 2:06 5. St. James Infirmary (Joe Primroge) - 2:30 6. Wen I was seventeen (Lonnie Donnegan) - 3:20 7. I wish i knew how (B.Taylor) - 2:37 8. A girl I knew (John Kay, Morgan Cavett) - 2:24 9. Don’t le me be misunderstood (Benjamin, Marcus, Cadwell) - 2:31 10.Laziness (Molitor, Costa) - 1:37 11.The midnight hour (Pickett, Cropper) - 2:42 12.Try minnie try (Molitor, Costa) - 2:10 13.Hello, i love you (Morrison, Manzarek) - 1:56 14.You don’t know (Molitor, Costa) - 2:09 15.St. James infirmary (Joe Primroge) - 2:33 16.A girl I knew (John Kay, Morgan Cavett) - 2:22
Very obscure local private pressing from california folk based lp with male/female vocals and lots of backing. From 1984 but with a 70's vibe. Hippie electric folk with acid tinges and great instrumentation (guitars, bass, drums, mandolin, percussion, violin, horns…)
Track List a1.Caught Between The Phases a2.Just Being Here a3.Dawn Of Love a4.Being a5.Bondolero b1.Journey’s Long b2.Running Water b3.Hard Road To Glory
Barbara has a very nice Earthy full deeper tenor voice with a little grit in places, and sometimes very gentle, perfect. I love he voice. She is also a very good guitar player.
I personally prefer to listen to Barbara more than say Joan Baez.
Her 1964 version of “Babe I’m Gonna Leave You” reminds me a little of the 1969 Led Zeppelin version, both instrumentally (the guitar) and the vocal, interesting.
Canadian songwriter Sonia Brock wrote 4 of the songs including “All Hallows”, which according to the albums liner notes explores “the Dark Mysteries of the Witches’ Sabbath, reflecting Sonia’s once intense interest in the Occult.” (Perhaps she even had an early interest in Alistair Crowley, before Zep?!?)
Recorded live in August 1964, in the Chapel of the Theological Seminary
A1 Country Wedding 2:37
A2 Morning Dew 2:27
A3 She Who Would Not When She Could, Could Not When She Would 1:33
1967 hippie-folk LP in the Greenwich Village style. According to Acid Archives Brown later became a “holy wandering man” in the Haight-Ashbury scene, and may have been the subject of the Grateful Dead’s “Cosmic Charlie”.
During Charlie Brown’s (aka Charles Artman) travels he befriended mountain climbers in the Tetons of Wyoming. The Teton Tea Parties were initially led by Billy Briggs in the Jackson Hole area (later led by Charlie in Berkeley) and consisted of all night folk music playing events for climbers and musicians that would later reach “mythical status as a sort of mountaineering Woodstock”. This album, recorded in 1966, features anecdotes about, and inspirations from, his travels. The songs are accompanied with dulcimer, banjo and, even, musical saw (like in “Down in the Valley” on which he also yodels)
1967 hippie-folk LP in the Greenwich Village style. According to Acid Archives Brown later became a "holy wandering man" in the Haight-Ashbury scene, and may have been the subject of the Grateful Dead's "Cosmic Charlie".
The last original copy of this 1973 LP to pop up on eBay went for 210 pounds (sterling). Which is a decent amount of dough. Especially if you are a pauper or a drug addict. What led 18 human beings (or their mechanized bidding accomplices) to bid ever increasing amounts on this item? Well, here’s the British seller’s description:
“Very Very rare private Hippie Folk - Psych Acid out of New Mexico. This is One of the holy grails of Psych LPs, this one is listed in the famous Acid Archives and is almost impossible to find due to an extremely limited press run!! Don’t miss the opportunity to get hold of this rarity in excellent condition!!!!!!!!”
This is a description almost worthy of the legendary Beautiful Penis fanzine, but to get a real Penis-flavor (as it were), I decided to do a cut-up of the actual Acid Archives entry, just the way that Our Dear Leader did when he was creating liner notes for Vermonster’s Spirit Of Yma LP. But I will attempt to use every word in the original. Here goes:
“The ‘I Love You’ LP of ’67 is on! As an LP for post-‘60s retreats (five years later) that also grabs the folk genre (several years earlier) for a trip that is a second high-point into the communal New Mex acid daze of 1975. Even though some players cover the all-impressive malefemale (mostly shorter male) domains, there is no doubt that the guru trip had replaced hallucinogens for them. Apparently a good yardstick works with a reflective, dignified mood. Way above-average attention there boosts the obvious similarities of/to Greenwood-Curlee- Thompson, which is not good.
While somewhat overlooked, the spiritual talents feel thoughtful and the light rock arrangements create a somber mood. Pro-sounding archetypal country and singer-songwriter moves deliver awesome rural counterculture autobiography. They recapped both songwriting and vocals (of hippie-style folk) in recording songs with a whole East- West syncreticism, suggesting that ‘It’s All the Same.’ The one side recalls a relatively more psychedelic trio LP, while the hippie goes all-out on side two. ‘Rivers Of Time’ – extended from (and to) the way that is clean. The last track is with your bases and has the gold dust appear into Tomales Bay. Who has an acid-drenched front cover as an additional bonus? This LP here!” ––Gorgo from El Paso
Anyway, I am glad that I do not have to spend 210 pounds (sterling) in order to hear this album. It has been reissued in compact disc form for the pleasure of those like me – impoverished drug addicts who have not had their curiosity destroyed by the economy and poor health. Like many other Holy Grail! Folk – Psych – Acid!!! LPs, the Wilcox Sullivan Wilcox album is exciting in direct proportion to the number of dull hippie folk records you’ve wept or slept through. My own experience with this genre is higher than average, so all I really hope for with these kinds of releases is a couple of cool songs.
In that respect, WSW is semi-golden. There are a few songs that have a very nice acidic (if low-key) edge to the guitar, and the acoustic playing has a feel that somehow seems more English than American (which is generally a good thing, since it avoids any subliminal style references to Hootenanny-ism). The vocals are pretty ‘mersh, but pleasant, and the lyrical religious references (of which there are plenty) don’t fall into the mawk-pit that mars many similar efforts. There’s also a distinct country vibe at certain points, but it definitely seems to stem from a ruralist (rather than shit-kicker) impulse, so the aural effect is more like ’73 Terry Reid than ’73 Charlie Pride or something. I was a bit disappointed to not find a single drug reference (unless “Dylan blew my mind” means something other’n what I think), but there are two-three excellent folk tracks with non-offensive lyrics and vocals, and frankly, that’s more than most such albums can boast.
Is it almost totally better than any Don McLean album? I say, YES!!!
Motherheast Ohio USA, is a place where the waves of media influence from the east and the west coasts seem to come crashing in and collide, the result being a splashing forth of some unique talent individuals.It was there, in 1969 midway between the towns of Warren and Cortland, that five determined young musicians, Ray Escott - Lead Vocals, LJ Fortier - Drums, John Harrow - Lead Guitar, Vocals, "Buster" McCarthy - Bass, Vocals, and Kurt Sunderman - Rhythm Guitar, Vocals, started getting together in the damp basement of LJ's parents home on Sunday mornings in aa effort to try to carry on with their dreams of being in a successful Rock band.
Having won the Starshine Productions' "Battle of the Bands" in 1970, the five-member Freeman Sound was established as the most popular of several bands (including Morly Grey), that had records released on the Starshine label. This special collection of original songs and sounds is an exciting bit of rock history that documents some of the charm, wit and depth of talent that made Freeman Sound the special local phenomenon they were.
This release includes 12 great, quality tracks with bio and photos. You'll get stoned on some mind-bending vocals backed by instrumentation that includes some very intense, heavy fuzz and wah pedal guitar sounds, solid drums and a screaming organ, with flashes of famous British groups. Prepare to get off on cuts like the 17 minute "Heavy Trip #70", the Hendrix-like "Tomorrow Is Plastic" and what we would venture to say is the heaviest version of Merle Travis' "16 Tons" ever recorded! This band broke up before they were able to make the most of their popularity. LJ Fortier's, Official Home Page ......
Another group that represents the late 60s, early 70s heavy psychedelic era scene in northeast Ohio, USA (the same region that Dragonwyck is from). Having won the Starshine Productions' "Battle of the Bands" in 1970, the five-member FREEMAN SOUND was established as the most popular of several bands (including Morly Grey), that had records released on the Starshine label. This special collection of original songs and sounds is an exciting bit of rock history that documents some of the charm, wit and depth of talent that made FREEMAN SOUND the special local phenomenon they were. This release includes 12 great, quality tracks ( LP-version is 180g vinyl and extra 7" 45 rpm record), with bio and photo inserts. You'll get stoned on some mind-bending vocals backed by instrumentation that includes some very intense, heavy fuzz and wah pedal guitar sounds, solid drums and a screaming organ (with flashes of famous British groups such as Free, Spooky Tooth or Arcadium). Prepare to get off on cuts like the 18 minute "Heavy Trip #70", the Hendrix-like "Tomorrow Is Plastic" and what we would venture to say is the heaviest version of Merle Travis' "16 Tons" ever recorded! This band broke up before they were able to make the most of their popularity. With this previously unreleased album, they may be taking up where they left off. For fans of intelligently executed psychedelic hard rock and pop with a message. Highly recommended! ....
* Ray Escott - Lead Vocals
* LJ Fortier - Drums
* John Harrow - Lead Guitar, Vocals
* "Buster" McCarthy - Bass, Vocals
* Kurt Sunderman - Rhythm Guitar, Vocals
1. Tomorrow Is Plastic - 4:13
2. Heavy Trip # 70 - 17:25
3. All I Need - 4:38
4. If I Could Only - 5:17
5. Wanting To Be Free (John Harrow) - 3:57
6. All Roads Lead Home - 5:37
7. 16 Tons (M. Travis) - 3:50
8. Singing My Own Song - 3:20
9. On The Way - 3:34
10.Get It While You Can - 2:24
11.I Just Can not Stop Lovin 'You Babe - 3:52
12.Christmas Card - 2:24