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Saturday, 10 June 2017

Stoneground “Sunstruck” 1979 UK Private Psych Folk Rock

Stoneground “Sunstruck” 1979 UK Private Psych Folk Rock
John Richard Howarth - vocals, guitar, electric piano, synthesider & Dave Walmishley-vocals, guitar, mandolin
Prog Folk/Rock Duo

-Other musician's-
Mike Green - flute / Joe Howley - bass
Alexander's Ragtime Band : "Alexander Oldham / Cissie Oldham / Dave Robinson" Heather Whittaker - backing vocals

A1 Mediterranean Lady
Written-By – Dave Walmisley, John Richard Howarth
A2 Antalya
Written-By – Dave Walmisley, John Richard Howarth
A3 Black Is The Colour
Arranged By – Walmisley*, Howarth*
Written-By – Traditional
A4 Fighting And A-Feuding
Written-By – Derek Brimstone
A5 Plainsong
Written-By – Dave Walmisley, John Richard Howarth
B1 Senuous Lady
Written-By – Dave Walmisley, John Richard Howarth
B2 Bombay Rag
Written-By – Dave Walmisley, John Richard Howarth
B3 Blind Joe
Written-By – Dave Walmisley, John Richard Howarth
B4 More Than A Friend
Written-By – Dave Walmisley, John Richard Howarth
B5 Plymouth Farewell
Written-By – Dave Walmisley, John Richard Howarth

Mike Tingley “The Abstract Prince” 1968 US Psych Folk Baroque Pop

Mike Tingley “The Abstract Prince” 1968 US Psych Folk Baroque Pop
full vk

It's a true hidden treasure, a real gem of early pop psych folk, with nice vocals, well-crafted songs, interesting orchestral and baroque arrangements and so cool 60's vibes. It's the sole LP of this Californian artist, released in Holland in 1968. It has an impressive opening with the totally Barrett-with-strings "A Real Fine Time". A rather rich production - the basic rock instruments with something like a strings ensemble - often creating an amazing wall-of-sound, contrasting with the unusual melodic lines that Tingley uses in several tracks. This is rather different from the use of strings in other psychedelic records, like in "Forever Changes" and closer to Phil Spector's way. Sometimes flutes, layered vocals, tablas and acoustic guitars are used to give the desired psychedelic (or folky in a few cases) sound. Very very English. Would be a nice piece of English psychedelia if he wasn't American...
I wouldn't know if the producer, Tony Vos (also jazz saxophonist and DJ in famous Radio Veronica) or Mike Tingley himself had studied the Beatles' arrangements in Rubber Soul or Sgt.Pepper that was released a little earlier, but this album is standing between the psychedelic era of the Byrds, Syd Barrett and Sgt. Pepper. True masterpiece !!! This brilliant record remains undiscovered until today, never reissued.. ~

Well, 40 years latter it appears that a few people are still listening to my Lp.
Hey, thanks! Pretty quaint stuff hey? What can I was the sixties.
I remained a professional musician for about 10 years and I still compose and record (with my son).
I have been a winemaker in California for the past 28 years. It's a good life!
Anyway, thanks for listening. .....Mike Tingley...~

Have been searchin' for this LP half of my life, but found it finally in a dealers list. Must say it was worth the waitin' & searchin' effort. Great record: very baroque sound & acidfolky vocals. The catalogue nr. is two numbers earlier than the Nacht & Ontij LP from Boudewijn de Groot; this is also a great record. The similarity between the two records is that on both LP's the Bert Paige Orkestra did accompanying work. Maybe both LP's were recorded at the same time? Perhaps Mike himself (hi,below!) can answer this ....~

Review by Mr. Mike Tingley : 
I have been asked to write a few lines for this LP. But where do I start? I think I am just now realising what has taken place. I will start by thanking to everyone who was involved in the making of this record. And there are so many that added so much to it. My producer, Tony Vos, whose guidance and supervision I couldn't have done without. My recording technician, Gerard Beckers, whose skill in a control room was consistently outstanding. The drummer, Cees Kranenburg and the bass player, Jan Hollesteller, who both demonstrated the only thing that only a good musician can...talent and plenty of it. And speaking of musicians, I really owe a special debt gratitude to Bert Paige, who did all the orchestra arrangements and to all the studio musicians participated in this LP. There is only one word to describe their contribution to this music...beautiful. There are so many other people directly or indirectly involved, that I could never write them at down on this jacket. But my heart felt thanks go out to each one of them just the same. I was also asked to explain each of my songs. I thought a lot about it and decided that it wasn't fair, in a way, to you the listener. Although, when I wrote each song I had a definite idea in my mind, these were only my impressions. I feel that if I were to explain each song to you, it wouldn't give you an honest chance to develop your own impressions. And this is what I think is one of the most important parts of any music: the capacity to be interpreted differently, depending on who the listener is. I would like to end by thanking you, the listener, for giving me this opportunity to express the many emotions and thoughts that are contained in each and every groove of this LP....~

A real gem of early pop-psych-folk. It´s the solo LP of this Californian artist, released in Holland in 1968. The basic rock instruments with something like a strings ensemble, often creating an amazing wall-of-sound, constrasting with the unusual melodic lines that Tingley used in several tracks. Sometimes flutes, layered vocals, tablas and acoustic guitars are used to give the desired psychedelic (or folky in a few cases) sound. This album is standing between the psychedelic era of the Byrds, Syd Barrett and Sgt. Pepper. ...~
Mike Tingley is an Psychedelic Folk singer. Born in Anaheim, CA, Mike Tingley recorded this rare LP in Holland. He also recorded several 45s on Philips, including Twenty-Four Floors/You and Me, and Souls of Sanctity/Like A Man on the Canadian label Tulip. "It's a true hidden treasure, a real gem of early pop-psych-folk, with nice vocals, well-crafted songs, interesting orchestral arrangements and so cool 60's vibes. It's the sole LP of this Californian artist, released in Holland in 1968." (Fantasy)....~ 
A1 A Real Fine Time 2:47 
A2 Begin The Sun 2:50 
A3 Connected To Nothing 1:41 
A4 Emotions And May 2:55 
A5 Monotony's Message 3:28 
A6 See The People 2:12 
B1 Abstract Prince 2:56 
B2 Of Sand 1:25 
B3 Of Soul And Deep 2:55 
B4 I Weep 3:14 
B5 It's Time To Leave Her 2:46 
B6 Crossroads 1:56 

Roky Erickson And The Aliens ‎"Roky Erickson And The Aliens" 1980 reissued as the 15-track “The Evil One” US Psych Rock

Roky Erickson And The Aliens ‎"Roky Erickson And The Aliens" 1980 reissued as the 15-track “The Evil One” US Psych Hard Rock
Roky Erickson was very much a changed man when he re-emerged on the music scene in the late '70s after a deeply troubling stay in a mental institution following an arrest for drugs in 1969. The graceful but energetic proto-psychedelia of Erickson's music with the 13th Floor Elevators was replaced by a hot-wired straight-ahead rock sound which suggested an updated version of the teenaged garage pounders Roky recorded with his early group the Spades, and the charming psychobabble of Tommy Hall's lyrics with the Elevators gave way to twisted narratives documenting Roky's obsessive enthusiasm for cheezoid horror movies of the 1950s. It wasn't until 1980 that Erickson released his first solo album, and that disc has had a rather eventful history. Stu Cook (ex-Creedence Clearwater Revival) produced the sessions over a period of two years, and the album appeared in Europe as Roky Erickson & the Aliens (released by CBS in England, making it Roky's only major-label release to date), while in America it came out as The Evil One on the San Francisco indie 415 Records. The British and American releases featured different track lineups, and each version featured songs which didn't show up on the other; to complicate matters all the more, early versions of three of the songs were released on a small-label EP in France. His band, the Aliens, are in sharp, precise form; Erickson's vocals confirm he's a blues-rock belter of the first order (even when he's raving about creatures with atom brains, two-headed dogs, or the Evil One himself), and if the songs are a bit odd lyrically (which you would expect from the titles), the tunes are clever and punchy and rock on out. While the serene and evocative folk-rock of All That May Do My Rhyme represents Roky Erickson's strongest solo work, The Evil One shows just how strong a rocker he could be -- and how good a band he could put together. Great stuff, and certainly the best representation of Roky's "latter-day punk" Mark Deming ..........

Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by Roky Erickson in the 1980s: The Evil One (LITA 097), Don’t Slander Me (LITA 098) and Gremlins Have Pictures (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages.

As the core member of the 13th Floor Elevators and an undisputed pioneer of psychedelic rock, the ’60s were thrilling times for Erickson. His band riding high in their native Texas and beyond, the howling single ‘You’re Gonna Miss Me’ was his calling card, but Erickson’s ‘60s ended in the stuff of nightmares. Under sharp scrutiny by the authorities due to the band’s well-expounded fondness for psychedelic drugs, Erickson was found with a single joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital for the criminally insane, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment. Erickson pulled through his three and a half years at Rusk, and even put together a band while incarcerated. The Missing Links contained Roky plus two murderers and a rapist.

Released from the institution in 1974, Roky found his legend had grown while he’d been away – not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation. He formed a band, the Aliens, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 1981’s The Evil One. Produced over a period of two years by Stu Cook, from Creedence Clearwater Revival, it’s a masterful collection of songs about zombies, demons, vampires and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best.

At the time, Roky explained the album this way: “It’s gonna go back to the ferocious kind of rock ‘n’ roll of the Kinks, the Who and the Yardbirds. It’s the kind of music that makes you wish you were playing it or listening to it for the first time ‘way back when.’” But the record would not reach the mass audience of those bands, its success hampered by erratic release schedules and disastrously awkward press interviews. A year after its release, Erickson would become convinced that a Martian had inhabited his body. He would soon become obsessed with mail, and take to taping it, unopened, to his bedroom walls. Many of Erickson’s demons were yet to show their faces. But the B-movie demons he exorcised on this record gave us one of hard rock’s strangest, most inventive albums................

Erickson, the bleating voice of psychedelic pilgrims the 13th Floor Elevators, was only a few years past a ruinous stay in a Texas mental hospital when he made this improbably magical 1980 LP, first issued in the U.K. (as Five Symbols) and produced by Creedence Clearwater Revival's Stu Cook. The songs are rife with specters that stayed with Erickson – paranoia, ghouls, bloody retribution – and his third-eye way with syntax and pre-acid roots: the delirious-Buddy Holly bop "Mine Mine Mind"; Erickson's boogie with the devil, "Don't Shake Me Lucifer." His band, the Aliens, had the Elevators' surging glow, too – a most welcome spirit.......Rolling Stone review.........

It’s been quite the trip – lately – with all these Roky Erickson reissues, first Don’t Slander Me and then Gremlins Have Pictures and now The Evil One. (Actually, they all arrived at once, I’m speaking about how I received them). The Evil One was first released in 1980 in the UK as a 10-track album called Five Symbols. It was re-released a year later under the name The Evil One with five songs replaced. This version gathers all 15 songs from the sessions between 1977-79 as overseen by Stu Cook (yes, he of Creedence Clearwater Revival fame).

The three albums together – these three recent reissues – are all telling versions of the same story; of a creative patch in Roky’s life following his release from the Rusk State Hospital for the criminally insane in 1974. In the early 1970s the inclusion of You’re Gonna Miss Me on the Nuggets compilation had proved prophetic; had seen Roky’s legend grow.

Roky’s obsession with demons, ghosts, vampires, aliens and other creations of myth and fiction saw an album of songs devoted to Halloween and horror themes; an album inspired by sci-fi and horror movies.

As with the other albums from this reissue series there’s a clear hint of influence on Frank Black – here it’s even in the songwriting material as well as the delivery.

Of the three albums to be reissued this is the one that actually – perhaps ironically given its false-start/re-write on original release – plays out the most like a complete album, a collection of themed songs grouped together with reason. I Think of Demons is a highlight and sounds – almost suspiciously – like the material Lindsey Buckingham was creating at the time, as both solo act and with Fleetwood Mac.

Creature With The Atom Brain and Don’t Shake Me Lucifer are further highlights. So often here Erickson is simply rewriting the rock’n’roll of his youth with his own horror-movie dreamscape lyrics.

It’s been a strange trip working through these albums. And a total blast. They’re worth hearing – they’re worth having.................

There are many Roky Erickson albums, but "The Evil One", originally released by CBS Records in Europe in 1980, was the first of them, and many would say, the best. This re-issue also includes the five additional songs contained on the 1981 US release of "The Evil One" on San Francisco's 415 Records, and thus contains all of the Roky Erickson material from these great recording sessions produced by Stu Cook for Orb Productions from 1978 to 1980. For the first time included on this reissue are additional bonus tracks, including earlier versions of "Mine Mine Mind", "Two Headed Dog" and "Click Your Fingers Applauding The Play", previously released by France's Sponge Records in 1976..............

Roky Erickson, for those uninitiated, is an Austin TX music legend that first gained musical prominence in 1966 when his band The 13th Floor Elevators had a top 40 hit with their single “You’re Gonna Miss Me”. The Elevators were one of the first true psychedelic rock bands. They were involved with LSD and drugs from the onset, something that had them in and out of trouble with the law in their home state of Texas throughout their career. When singer Erickson was caught with a marijuana joint by some Texas police officers, he pleaded insanity instead of guilt and spent more than three years in a Texas mental institution, where he was forced to undergo electroshock “therapy” to try and cure him. The results have impacted his life ever since, with Erickson having lived a somewhat tortured existence, while also creating some absolutely incredible music.

The Evil One, as reissued recently by Light In The Attic Records, is the first full-length album that Roky would record after his release from the mental institution. It was the culmination of nearly five years of writing and performing in both Austin and in Northern California, originally under the wings of Texas troubadour Doug Sahm, but later one in sessions produced by former Creedence Clearwater Revival member Stu Cook. The story of how this all came to be is a fascinating one – as well as being far too long to tell here in a record review – but through Sahm bringing Erickson to open for him in California Erickson managed to find a manager and get to rehearse and later record this album at Cosmo’s Factory, which was once CCR’s own practice and studio facility.

As an album The Evil One is quite a remarkable debut. The band that Erickson fronts on the album features an electric autoharp as well as dual guitars, so the sound is a pretty noisey one that is harder hitting than his previous recordings with the Elevators. Thankfully, the electroshock treatments didn’t affect Erickson’s amazing singing voice, which is somewhere between Little Richard’s howl and a Texas twang. He’s in good form throughout the record, although as the extensive liner notes essay explains, most of the vocals had to be painstakingly pieced together on the fly by Cook, as Erickson was often quite erratic and off the wall when in the studio to record.

Some of Erickson’s greatest solo songs are found on this album, including the opening “Two-Headed Dog”, “I Walked WIth a Vampire”, “Creature With The Atom Brain” and “Bloody Hammer”. A lot of the lyrics deal with horror movies and comics, an obsession that Erickson has had for years. The backing band, dubbed the Aliens, do a great job backing Roky on the fifteen songs up for offer here. This is a strong collection of songs that works well despite the fact it is really two albums made into one.

The first time this album was released it came out in the UK under the title Five Symbols back in 1980. That album is contained in its entirety on the first record. One year later, half of that album was released in the USA alongside five more songs from the same sessions as The Evil One. Light In the Attic have combined the two versions for a three sided double LP, with the fourth side having an etched drawing of, naturally, a two-headed dog. It is presented in a heavy duty gatefold cover which opens up to show a beautiful black and white press photo of the band from around the same time these sessions took place. The album also contains a very nice LP sized booklet that contains a twenty-page essay by Joe Nick Patoski chronicling the years before and up to the recording of this album and many previously unseen photos.

The layout of both the booklet and the front cover obi-strip that surrounds the spine were handled by award winning designer Henry Owings, who also runs the Chunklet Magazine empire. Everything about this record was done the way you want a reissue to look. It looks right, it sounds great and it is about as informative as it could be. This is an excellent reissue, one of three Roky Erickson albums to be unveiled by Light In The Attic, and is highly recommended. It’s also Erickson’s personal favourite of his recorded career, so if you are curious it is arguably the best place to introduce yourself to an enigmatic, somewhat damaged visionary that hasn’t let up for nearly fifty years..........

To this date, I haven’t really acquaintanced with the 13th Floor Elevators’ work, apart from the Nuggets-made-famous “You’re Gonna Miss Me”, so I can’t really compare Roky Erickson’s style with his new ‘band’ with that one. Based on the description of his previous works, however, this could not be a hell of a stylistic change, there are still traces of garage rock sounds, coupled with typical seventies hard rock/roots rock style.

Despite being released in 1980, a quick listen to the album’s sound shows that this record still belongs to the seventies: just a typical garage band with guitar-bass-drums and minimal amount of electronic keyboards. To go with the new sound, apparently Roky made himself a formula: typical mid-tempo/fast hard rock with loud riffs, powerful screaming and a couple special effects thrown in for a good measure. The melodies are not really memorable; even if there’s an attempt to catch the listeners in, be it by a couple vocal hooks, sometimes going for different grooves, different tempos, etc., yet I have a hard time telling the songs from one to another. Okay, so “Two Headed Dog” may be one of the most memorable here, underpinned by a riff similar to the one found at the Kinks’ “Set Me Free”. There’s also an unexpected shifts in moods, to the cheerier one, like the CCR-esque “I Walked With a Zombie” (I wonder if the sound has got anything to do with Stu Cook producing?), or the more upbeat “Mine Mine Mind”.

The rest of the album, however, are rather difficult to go in one sitting, at least for me. There’s nothing really offensive to be found–yet it sounds way too formulaic to catch my attention throughout. I guess repeated listening will do the trick, as I haven’t subjected this to more than one proper listen; in the end, this could be recommended to any Elevators’ fan looking for more products, or any typical seventies garage/hard rock fans. Don’t expect a mind-blowing masterpiece, Hidayatullah.................

Stu Cook (bass on number 6 and 14)
Roky Erickson (vocal, guitar)
Duane Aslaksen (guitars)
Bill Miller (electric autoharp)
Andre Lewis (electric keyboard)
Steven Morgan Burgess (bass)
Fuzzy Furioso (drums)
Scott Matthews (drums on number 15)
Link Davis jr. (Organ on number 11)
Jeff Sutton (drums on number 6 and 14)

Two-Headed Dog (Red Temple Prayer)
I Think Of Demons
I Walked With A Zombie
Don't Shake Me Lucifer
Night Of The Vampire
White Faces
Cold Night For Alligators
Creature With The Atom Brain
Mine Mine Mind
Stand For The Fire Demon

Country Weather “Country Weather” 1969-71 San Franjisco Psych Rock

Country Weather at the Barn, 1969

Country Weather, It's a Beautiful Day, Big Mama Thornton ,Avalon Ballroom (San Francisco, CA) Feb 14, 1969 Artist R. Crumb,Gilbert Shelton.

Country Weather. Left to right Bill Baron, drums; Steve Derr, vocals & rhythm guitar; Dave Carter, vocals & bass; Greg Douglass, guitar and vocals.

November 14-15, 1969 The Old Fillmore, San Francisco Country WeatherSanpakuFloating Bridge

Ten Years After, Spirit and Country Weather at Fillmore West, March 1969

Country Weather “Country Weather” 1969-71 San Franjisco Psych Rock
Country Weather was a good example of the depth of music from many lesser/unknown bands around the Bay Area in the late 60's/early 70's. The band--Bill Barron-drums, Dave Carter-bass/vocals, Steve Derr-rhythm guitar/vocals, and Greg Douglass-lead guitar/vocals (who also later played with Steve Miller among others)--opened for many well known bands like Quicksilver Messenger Service, Country Joe & The Fish, Joe Cocker, Jeff Beck/Rod Stewart, B.B. King, Spirit, Ten Years After, and many others of the period. Originally called The Virtues, after an "herb" smoking session the band came up with their new name. Bill Graham (among others) heard and liked the band and booked them at the Fillmore, Winterland, and other venues. But because of the depth of so many good bands in the area, the band never made it to the "big time".

This album includes the band's very rare, one-sided five song album from 1969, designed to (hopefully) get the band more gigs and more radio play in the Bay Area. Only 50 copies were pressed, making it a sought after example of the Bay area music scene during it's hey-day. Also here are five live tracks from 1970, four studio tracks from 1971, and one track ("There I've Known") with no information--no one seems to remember much about it.

The band's sound sometimes reminds me of Moby Grape, especially the vocals and the arrangements. Are they the equal of The Grape? No, so don't think that's what you're getting here. But there's an appealing feel to the band's sound, especially if you're a fan/collector (like me) of that period of Bay area music. Every track is certainly of it's time-especially the live tracks. The band sounds tighter (and for my money better) on the studio tracks (again the Moby Grape sound), where the guitars weave in and out, the tough drumming and two and three part vocals give the songs some life, as opposed to the live stuff where they tend to get a bit unfocused at times. But saying that, the live songs are good examples of live music of the period.

The first four tracks are from 1971 and will tell you a lot about the band's sound. "Over And Over" and "Out On The Trail" are good examples. Tracks five through nine are the rare 1969 album and are some of the better tracks here. Listen to "New York City Blues", a period blues with some stinging guitar from Douglass (sounding like Barrie Melton) and vocals reminiscent of Country Joe McDonald. And "Carry A Spare" is a a tough guitar based tune--listen to Douglass in front of a tough rhythm section. "Black Mountain Rag", at just under 1 1/2 minutes shows another side to the band, and gets a workout in the live (7 minutes) version. But pay attention to "Why Time Is Leaving Me Behind", with the (supposed to be there) pause in the music for what sounds like the sounds made by the run-off grooves on an LP, and then the music picks up again. Hmmm. It was a strange era.

The live tracks have surprisingly good sound--slightly flat--but very acceptable--sounding like other live tracks from the era. Live the band sounds like Moby Grape on the shorter tunes and in parts of the longer songs, but the lengthy songs sometimes become unfocused. The 15 minute "Wake Me Shake Me" (made popular by Blues Project) comes complete with a fuzzed out bass solo and a drum solo--it was the late 60's/early 70's after all. Likewise "Fly To New York", is another example of live music from the period--both good and (depending on your tastes) bad. "Black Mountain Rag" at 7 minutes is very lively and gives the band a chance to stretch out on this cool little tune.

If you're a fan of late 60's/early 70's Bay Area rock you should probably check this out. Is this a "long lost classic"? Maybe not. But it does bring back that whole period when there were so many well and lesser known bands playing good music all over the Bay Area--and Country Weather was one of them. I've always wondered what happened to bands like Country Weather, Sun Bear, Dry Creek Road, and a few others I remember from those long ago times in the Bay Area when I was in college. Listening to this set brings back good memories of that time, and when you include several of the better tracks included here this is worth adding to your collection of bands from the period from the S.F. area. And maybe that's enough.

The disc snaps inside a tri-fold cardboard holder. Inside there's a very short essay on the band and a couple of period photos of the band, plus there's track information. The sound has been digitally mastered and is pretty clean and open--less so on the live tracks. This was also issued on a European label on vinyl some time back with a cover painting of a "typical" country scene.....ByStuart Jefferson.................

"And where did they come from?" I cite myself, but this is the first thing that came to my mind when I found this Country Weather CD in my hands: Certainly, as far as one can make a local mind, a band that in its short musical life has released a single A disc, engraved on a facade and with five tracks, in print of 50 copies does not remain imprinted in the mind. But then read the notes on the diskette, this name reminds me of something! Take Your Lovely Box Of The Rhino Love Is The Song We Sing, San Francisco Nuggets 1965-1970, and Tac, etc., CD 2, song 17, Country Weather - Fly To New York! According to some of the best secrets of the San Francisco psychedelic of those years, according to others, a footprint on the beach, which left no marks.
In the meantime, you start listening: the CD compiler and the notes extender Mike Somavilla, who assembled these tracks, followed a non-chronological course, leaving the end with four tracks recorded in 1971 at The Church in San Anselmo, CA, Sound quality not good but good, and content, interesting, though it may not fully justify the interest created around this project, Over And Over, a delightful country-rock vaguely Bydsiano last time, beautiful voices and harmonies by Dave Carter Greg Douglass (yet, cock, ops, even this name tells me, will not be the Steve Miller Band guitarist? Yes, it's him!), The typical sound of the era, Boy Without A Home, which is definitely more rock Sound approaches Jefferson Airplane, Quicksilver, Country Joe, Creedence even with the Douglass guitar that begins to travel, and even more on Out On The Trail, with almost stone gods and the beautiful choral ballad N use slides that respond to the name of Yes That's Right. In short, nothing to lose our heads, a group as there were a thousand in the Bay Area in those years. Back in 1969, Bill Graham calls them to open Fillmore West and Winterland Ballroom for Big Brother, Quicksilver, Spirit, Country Joe, so the band has this promo of 5 songs to send to Radio: Why Time Is Leaving Me Behind is pure acid psychedelic rock, soft but interesting and "strange" at some point seems finished, with the pin that bounces on the last leg, but then starts again, New York City Blues is a blues Acid worthy of the best things in Country Joe or the Big Brother, with Douglass guitar in the foreground, Carry A Spare remembers a lot of Jefferson Airplane traction Kaukonen, always Acid-rock, Fly To New York, their most famous piece, combines California's sound with the first Pink Floyd, the most experimental ones with remarkable results, Black Mountain Rag is a small instrumental piece designed to be expanded in their Or live performances.
The tenth track There I've Known is the only unpublished of this album, remembers New Riders Country-rock, Grateful Dead, Manassas. (The only one not included in the double vinyl released for the Swiss RD Records in 2005, with two more live tracks !!). At this point comes the most interesting part, five live songs recorded between 31 July and 1 August at the Walnut Creek Civic Center, in the suburbs of San Francisco, where the band came from: there are forty minutes that show why the band Was considered among the best of the time, I Do not Know, a country-rock-boogie-boogie song with Dave Carter's bass and Bill Baron's drunken drum kit supporting the evolution of Greg Douglass's guitar, Beautiful vocal harmonies and a lot of grit, (Pakistan) Ring Around The Moon, nothing to do with Eastern music, the best recorded song of the album, allows us to still enjoy the healthy rock, then extrinsized in the longest, about 15 minutes, Wake Me Shake Me, a song that had nothing to envy in the blueprint of the blues project, the powerful rock-blues between Cream, Canned Heat and Jefferson Airplane, plus a bass guitar pulls the other, does not miss q Dave Carter's bass, even fuzzy bass, which has nothing to envy to Jack Bruce or Larry Taylor, you just have to raise the volume to enjoy it all the way to the inevitable Baron drum solo, rather than "stoner rock" That would arrive in the '90s is stoned rock, but the guys played. This was the end of the concert, but it was two different nights, for the strange sequence of the pieces we still find a very long version of Fly To New York, worthy of Happy Trails and the instrumental Black Mountain Rag, both with a great Greg Douglass on the guitar . A beautiful (re) discovery! Conti.................

Back in the days of Jefferson Airplane, Country Joe & The Fish and the great bands from the San Francisco Sound, a band called Country Weather was a shaker on the scene and played with all the hip bands at the Fillmore, including Jeff Beck, Rod Stewart, Joe Cocker, Muddy Waters and many more.

They recorded an album of 9 tunes that never found its way to vinyl. More than 40 years later, this incredible album comes to light along with 6 bonus tracks. ............

 Country Weather is an American psychedelic rock band that were closely associated with the San Francisco music scene of the late 1960s. 

Originally named The Virtues, the band was formed in the San Francisco suburb of Walnut Creek, California, by high school students Dave Carter (vocals, bass),Denny Rogan (lead guitar) and Steve Derr (vocals, rhythm guitar) in 1966. They were initially joined by Paul White and Craig T. Nelson, who were soon replaced by Greg Douglass (lead guitar) and Bill Baron (drums)
In 1967, the band changed their name to Country Weather, at the suggestion of San Francisco music promoter Chet Helms. Chet also suggested that the band stop playing cover versions and concentrate on writing their own original material.[2] Soon after, they began opening for various psychedelic bands at key counter-culture venues in San Francisco, including the Avalon Ballroom, the Fillmore Auditorium, and Winterland.

Although Country Weather never signed to a major record label or released any singles or albums during their 1960s heyday, they did record a five song promotional demo in 1969 to help them get gigs. 50 copies of this demo record were produced (making it a much sought-after rarity among collectors) and it received considerable airplay on local radio stations.

Country Weather disbanded in 1973 when Greg Douglass left the band to join Mistress. Later he joined the Steve Miller Band and has also played as a sideman to established artists, including Van Morrison. Dave Carter went on to play with Quicksilver Messenger Service and also played with former Moby Grape member, Skip Spence.

The group reformed in 2000, for a benefit show to help raise funds for a liver transplant for a friend of the band. The result was a full reformation, with Greg Douglass and Bill Baron being replaced by Graham Cooper (guitar), and Lloyd Ferris (drums).

The band released their first CD in 2003, entitled Makin' Music Again. This 13 track CD featured new and vintage songs, including a recording of "Yes That's Right" taken from a Fillmore Auditorium show in July 1969.[ In 2005, a double vinyl LP entitled Country Weather was released by RD Records. This double album featured the band’s 1969 five song demo, previously unreleased live recordings from summer 1970 and a studio session from 1971

In 2007, the band’s signature song, "Fly to New York", appeared on Rhino Records’ Love Is the Song We Sing: San Francisco Nuggets 1965–1970 compilation, which was nominated for a Grammy Award in the historical category. When Rolling Stone magazine reviewed the album for their October edition, they cited "Fly to New York" as a "great freakout". In February 2009, Country Weather released a three song demo CD recorded in 2008 and 2009, which included a new recording of "Fly to New York"

Bass, Vocals – Dave Carter (4)
Drums – Bill Baron (2)
Lead Guitar, Vocals – Greg Douglass
Rhythm Guitar, Vocals – Steve Derr

1 Over And Over 4:42
2 Boy Without A Home 3:55
3 Out On The Trail 3:15
4 Yes That's Right 3:45
5 Why Time Is Leaving Me Behind 3:58
6 New York City Blues 4:32
7 Carry A Spare 5:05
8 Fly To New York 6:49
9 Black Mountain Rag 1:25
10 There I've Known 3:49
11 I Don't Know (Live) 3:59
12 Pakistan (Ring Around The Moon) (Live) 2:45
13 Wake Me Shake Me (Live) 15:05
14 Fly To New York (Live) 9:15
15 Black Mountain Rag (Live) 7:10

Chris Braun Band “Foreign Lady” 1973 Germany Prog Art Blues Rock

Chris Braun Band “Foreign Lady” 1973 Germany Prog Art Blues Rock
full vk

Don't know much about Chris Braun. The band was situated in Dortmund, a town in the Ruhrgebiet region. I'm unfortunately not able to compare with the predecessor debut. However - this album has not plenty to offer when trying to examine significant prog elements. Produced by legendary engineer Dieter Dierks at his studio 'Foreign Lady' is fairly diversified with the blues as the fundament but also jazz (piano), heavy rock (guitars) and additionally provided with some weird moog elements. Chris Braun sounds similar to Inga Rumpf, the smoky voice of FRUMPY and this band is a close reference for this album as for the stylistical category.
Nobody but you is provided with a diversified structure, sometimes sounding jazzy because of the electric piano but also alternating with heavy rocking parts. Chris Braun and the guitar, played by Bernd Adamkewitz, are acting in in parallel. One of the better tracks for sure. The same with the title song which begins relatively plain but when Klaus Melchers starts to add some moog scratches the song reaches for his unique identity. The contemporary rock song Times Growing Worse is contributed with a catchy melody but nothing to get excited about.
The same with the following tracks except the long closing piece Be Proud. Starting with some hallucinatory impressions based on synthesizer and mellotron the song develops to a jazz rock grooving thing until Chris Braun undertakes the controls leading the song with a rock structure furthermore. Flute and saxophone are appearing partially. In the same way as the opening song this shines with variety and some experimental approach.
'Foreign Lady' is an interesting blues and rock based album with reasonable songs. Some of them and typical elements like the use of moog and mellotron here and there are caring for some prog Rivertree ..

Line-up / Musicians 

- Chris Braun / vocals 
- Jochen Bernstein / bass 
- Elmar Krohn / drums 
- Bernd Adamkewitz / guitar, saxophone 
- Klaus Melchers / piano, moog, mellotron 

guest musicians: 

- Linda Fields / backing vocals, choir 
- Peter Hast / percussion 
- Jiggs Wigham / trombone (6) 


A1 Nobody But You (Viktring) 4:30 
A2 Foreign Lady 
Synthesizer [Moog], Mellotron – Klaus Melchers 
A3 Times Growing Worse 3:21 
A4 While You Are Thinking 
Synthesizer [Moog], Mellotron – Klaus Melchers 
B1 The Narrator 4:10
B2 He's Got No Joker 
Trombone – Jiggs Whigham 
B3 Be Proud 
Synthesizer [Moog], Mellotron – Klaus Melchers 

johnkatsmc5, welcome music..







Cassette Deck

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Hi`s Master`s Voice

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music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958