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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

 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

String Driven Thing ‎ “String Driven Thing” 1970 Scotland Psych Folk Rock


String Driven Thing ‎ “String Driven Thing” 1970 Scotland Psych  Folk Rock 
full with bonus……
Scotland's contribution to progressive rock may appear rather minute, but the role the Scots played in the development of folk rock (and by the same extent progressive folk)is simply enormous. After Donovan, the Incredible String Band, the Pentangle and a few more, came this Glaswegian trio called String Driven Thing in 67, composed of Chris Adams and his wife and guitarist John Mannion. While they stayed rather unsuccessful for a long while, with their debut album completely unnoticed on a independent label. By 71, the group had seen Mannion leaving, but he was replaced with violinist Grahame Smith and bassist Colin Wilson. Soon they got signed to the Charisma label and with Shel Talmy producing two excellent albums, encountering a certain kind of success in Continental Europe, but staying close to unknown in the Isles. After health-related problems in a tour founder Chris Adams quit with his wife leaving Grahame Smith reforming the group from scratch for two further albums. Neither of these albums will have the charm or adventure of the two earlier albums, developing a more AOR rock that had no real distinction except for a violin sound and the group folded in the mis-70's.

SDT reformed in the mid-90's under Chris Adams' instigation releasing a live album. SDT still plays now and again as the millennium is well under Hugues Chantraine.................

 First album and a complete unknown from the public since it was released on the Concord album with only 100 copies printed, which makes it one of the more expensive albums around. Fortunately for you, this album has been released in the Cd format in a compilation: The Early Years 68-72. At the time the group consisted of a trio including Scott husband and wife team Pauline and Chris Adams and 12-string guitarist Mannion. Released in 70, this album sank without a trace, but can still be of an interest to progheads even if it sounds quite different of their better-known Machine That Cried album. We have a relatively strange mix of west-coast folk rock (CSNY-type) with classic Moody Blues period intonations and some tracks come with some mellotrons, others with string arrangements. Some acid-folk vocal arrangements can make think of a cross between Spirogyra and TMB. Somehow Genesis' FGTR's sound (but poppier) is not that far away in sprit from this album as the overall arrangements can appear to burry the original ideas.
While there are some rather out of place country feels (their West Coast influences), there are many tracks that have quite a bit of charm and although not really progressive per se, they have many endearing qualities to progheads. Not quite essential, but if you are into SDT, you might want to investigate it. The bonus tracks are from home demos (of the future album to come for the most part) and some are of poor quality, but still worth a listen, but overall this is a worthy release of TRC, which is the only correct labels marketed by the SPM/WWR galaxy. For confirmed fans only, Sean Trane .......

One of the finest bands signed to the Charisma label during its early-'70s heyday, Scotland's String Driven Thing originally formed as a trio in 1969, led by the husband-and-wife team of Chris and Pauline Adams, plus percussionist John Mannion. Locally popular at the tail end of the 1960s, the band faded from view shortly after releasing a self-titled debut album in 1970. They continued playing, however, with the lineup expanding to include bassist Colin Wilson.
String Driven Thing - 1972 In early 1972, Chris Adams journeyed to London, hoping to interest the Strawbs' management with a three-song demo. Finding himself with some free time, he was flicking through the record labels section of the Yellow Pages when he spotted Stratton Smith Enterprises. He called and found himself in conversation with the head of Charisma chief Tony Stratton Smith's publishing company, Mooncrest Music. Within a week, Stratton Smith himself was in Glasgow, for a String Driven Thing showcase at the Burns' Howff pub; a week after that, the band signed with his label.
Shedding Mannion around the same time, the group returned to Glasgow with a princely retainer of 20 pounds per week, to rehearse. A month later, they went back south for their first ever live shows as a "signed" band: a community hall in the town of Tunbridge Wells, where Strat had his country retreat, and the 1972 Reading Festival. It was an audacious entry, but it worked and the group quickly set to work on its first Charisma album, to be titled — like its independent predecessor — String Driven Thing.

Recorded in two weeks in August 1972 with producer Shel Talmy, the album landed rave reviews across the music press, with Melody Maker in particular leaping onto the group's side. (Amusingly, it later transpired that the album's distinctive gatefold sleeve, designed by Po of Hipgnosis, cost more than the actual recording sessions!)

The band continued pushing forward. Visiting France, they stopped by the renowned Chateau D'Heuroville studios (the Honky Chateau of Elton John fame), where they were filmed recording some songs with a French producer, who later claimed he'd done a better job than Shel Talmy ("he had a point," mused Adams); December 1972, meanwhile, saw the band fly to New York to support Genesis at that band's first ever American show, at the Philharmonic Hall.
1973 - 1975
String Driven Thing's rise ought to have been inexorable. Their latest single, "Circus," was making waves on both sides of the Atlantic, and plans were afoot for the group to join Genesis on their own latest tours of both Britain and the U.S. Unfortunately, the beginning of 1973 saw Chris Adams hospitalized with a collapsed lung, an event that was to have a serious impact on String Driven Thing's future.
That experience, and the nightmare of the next week's worth of agonizing recuperation was to form the inspiration for much of The Machine That Cried, String Driven Thing's next album. However, although the band did make it onto the British dates, the American shows never happened; instead, the band found itself shunting up and down the British highway system, playing small clubs and universities, and breaking in the new material.
The group's management at this time was being handled by Charisma's own in-house team, a less than satisfactory arrangement, but one that Stratton Smith seemed unwilling to change. Indeed, when Adams approached him to speak of the group's "total lack of confidence" in the setup, he simply "hummed and hawed and did nothing." Neither was that the end of the group's travails. In conversation with another label staffer one day, Adams mentioned that the band was considering adding a drummer to the lineup. A few days later, Stratton Smith showed up at a concert in Oxford, and instead offered them a keyboard player, Robert John Godfrey. He survived a week of rehearsals, but just one show, at the London Roundhouse, before the band declared him unsuitable and brought in a drummer (fellow Glaswegian Billy Fairley) after all. Godfrey went on to his own solo career at Charisma.
In this form, String Driven Thing returned to the studio to record The Machine That Cried, alongside what remains their best-known number, the single "It's a Game." The LP has since been acclaimed not merely String Driven Thing's masterpiece, but one of the finest progressive rock albums of the entire era — its CD reissue on the British Ozit label was widely heralded as among the most intelligent re-releases of recent years, and the excitement that greeted the re-formed String Driven Thing's return to action hailed almost wholly from memories of this marvelous album. At the time, however, all seemed doom-laden. "It's a Game," although it received plenty of British airplay, went nowhere (although a hit Bay City Rollers cover later went some way toward making amends); The Machine That Cried simply died and, by the end of the year, String Driven Thing looked to have followed it, as both the Adams and Colin Wilson walked out. Stratton Smith alone was left to carry the flag, rebuilding the group around himself and newfound vocalist Kim Beacon, and soldiering on until 1975. The two albums that followed both have their place in the prog rock pantheon, but the magic had gone from the band.
It returned in the early '90s, as the Adams returned to the helm, overseeing both reissues of the band's original albums, and the preparation of new material and concerts.................

String Driven Thing formed in Glasgow in 1967 as a three part harmony folk band with the Adamses and guitarist John Mannion. After paying their dues on the Scottish folk circuit they put out a self-titled album on the independent Concord label (copies of which are collectable and difficult to find) although a long way from their later Charisma label output. The group moved to London in 1970 and Chris Adams began to steer the band towards the electric folk-rock genre where his song writing abilities, which often feature hard-bitten and bitter observations capturing the harsher side of life, would be seen to better effect. By 1972 he had recruited classically-trained violinist Graham Smith and guitarist Colin Wilson on bass, but soon afterwards Mannion left, citing musical differences.
Adams then secured a deal with Tony Stratton-Smith's Charisma label and another eponymous album came out, produced by Shel Talmy at London's IBC Studios, with the songs "Circus", "Jack Diamond" and "Easy To Be Free" among the standout tracks. With Smith's high octane violin and Adams' distinctive vocals, the band toured the UK and Europe with Charisma stablemates Lindisfarne and Genesis. This exposure raised their profile and led to TV appearances and an American tour. A second album, The Machine That Cried, was recorded in February 1973 at IBC, but now with the addition of a drummer, Billy "The Kid" Fairley. This was a much bleaker and rockier offering and though reviews were mixed at the time, it is now regarded as a forgotten classic. Standout tracks include "Heartfeeder", "The Machine That Cried" and "Sold Down The River". The song "Night Club", which opened Side Two, was inspired by the cover of their first Charisma album, designed by Hipgnosis, famous for their work with Pink Floyd. Recorded while Chris Adams was suffering health problems, including a collapsed lung and depression, the album is on the whole a very dark affair. Despite its cult status, it did not sell well at the time.
By 1974 the constant touring was taking its toll and Wilson was replaced by Bill Hatje on bass, then Billy Fairley gave way to Colin Fairley (former Beggars Opera but no relation.) Soon afterwards, disillusioned with life on the road, the Adamses quit and returned to their native Glasgow. With their departure the band disintegrated, but Charisma recruited three musicians to continue touring with Smith and Fairley. Singer Kim Beacon, guitarist Andy Roberts and bassist James Exel joined the band, with Roberts and Exel collaborating for much of the songwriting, including the single "Cruel To Fool" produced by Shel Talmy. Two albums followed. Please Mind Your Head, recorded by engineer Tony Taverner at Escape Studios in Kent, and Keep Yer A'nd On It, produced by Andy Johns at Island's Basing Street studios......................


String Driven Thing formed as a three part harmony folk band in 1967 with the Adamses and guitarist John Mannion and put out a self-titled album on the small independent Concord label (copies of which are collectable and difficult to find) although some way from their later Charisma label output which was much more folk-rock. The group moved from Scotland to London and Chris Adams decided to try and take the band away from its folk roots into the folk-rock genre where his song writing abilities, which often feature hard-bitten bitter observations capturing the harsher side of life, would be seen to better effect. He met up with classically-trained violinist Graham Smith and folk guitarist Colin Wilson, who moved to bass, but soon afterwards lost John Mannion who did not think the new direction suited him.
Record deal and tour

They secured a deal with Tony Stratton-Smith's famous Charisma label[3] and another self-titled album came out, produced by Shel Talmy, with the songs "Circus", "Jack Diamond" and "Easy To Be Free" amongst the standout tracks. With Graham Smith's violin and Chris Adams' Bob Dylan-like vocal style the band toured with other Charisma artists such as Genesis. This helped them raise their profile and included some TV appearances, an American tour and a second album, The Machine That Cried, which was recorded with the addition of a drummer, Billy 'The Kid' Fairley, which was a much bleaker and rockier offering and a forgotten classic. Standout tracks include "Heartfeeder", "The Machine That Cried" and "Sold Down The River". The song "Night Club" was inspired by the cover of their first Charisma album. Recorded while Chris Adams was suffering health problems, including a collapsed lung and depression, the album did not sell particularly well.
After Wilson was replaced by Bill Hatje on bass the Adamses became disillusioned and left around end 1973 and the band disintegrated with Graham Smith taking over and recruiting several studio musicians to continue touring. Two further Charisma albums followed, Keep Yer (H)And On It (featuring the only known song with the footballer Stan Bowles in the title ("Chains (I want to be just like Stan Bowles")) and Please Mind Your Head featuring only Smith from the original Charisma line-up, both solid rock albums but not in the same class as the Chris Adams era material. Lead singer Kim Beacon, guitarist Alun Roberts and drummer Colin Fairley (ex-Beggars Opera) were all part of the new line-up with new bass guitarist James Exell and Alun Roberts doing much of the writing and composing. The group finally split up around 1976.
String Driven Thing put out quite a few singles on the Charisma label, some tracks of which are not on any of the vinyl albums but do appear as bonus tracks on the Ozit Records cds. Two of the best are the Chris Adams compositions "It's a Game" and "Eddie". "It's A Game" was covered by the Bay City Rollers in 1977 and became a chart hit in England and Germany. Chris and Pauline Adams later put out a few singles again on the Charisma label both as 'Chris and Pauline Adams' and just 'Adams'. The b-side of their first single "The City at Night" features Graham Smith and is worth a listen but most are more for the folk market. Colin Wilson went on to put out a solo folk album called Cloudburst on the Tabitha label which is also hard to find and has recently been reissued. The Chris Adams/Graham Smith String Driven Thing line up has reconvened on several occasions most notably in 1991, 2001 and in 2004 which also saw an appearance from Pauline Adams.
Late career and breakup

An unfortunate appearance at the end of their career highlighted issues that the band had with categorising their music and finding an appropriate audience. In October 1975 String Driven Thing opened for Lou Reed at the Capitol Theater in Passaic, New Jersey. The raucous crowd was there for Reed and had little tolerance for the violin-led folk-rock music. String Driven Thing was booed off the stage.
String Driven Thing's violinist, Graham Smith, later joined his Charisma labelmates Van der Graaf in 1977 and also featured on some Peter Hammill albums and put out three solo albums in Iceland later reissued on CD by String Driven Thing specialist label Ozit Morpheus Records. Vocalist Kim Beacon sang lead on Tony Banks' solo debut, A Curious Feeling, in 1979 and also had some solo material issued. Chris Adams recorded some solo material in the 1990s and subsequently reformed String Driven Thing with a largely different line-up, although his wife and Graham Smith have sporadically appeared live. A new album was recorded and toured in 2008.
All String Driven Thing, Chris Adams and Graham Smith albums are available on CD (Ozit Morpheus Records) as are some live material and some hard to find tracks and outtakes on a CD called Dischotomy with some alternate takes and rare material not found anywhere else. There are several BBC transcription discs of String Driven Thing live performances featuring both line-ups and two of these sets are on a German live bootleg CD called It's a Game.

In April 2009 String Driven Thing refounded as String Driven. With an Americana-inspired sound and still led by Chris Adams a new album, Songs from Another Country, was released in the United Kingdom on Backshop Records.
The new sound was first heard publicly at Fifestock in March 2009. A new website was launched at the same time as the album release to help promote it.................................

Former members
Chris Adams - guitar, vocals (1967–1974, 1991–1994, 2001-2016; died 2016)
John Mannion - guitar (1967–1972)
Colin Wilson - bass (1970–1974; died 2013)
Billy "The Kid" Fairley - drums (1973–1974)
Bill Hatje - bass (1974)
Colin Fairley - drums (1974–1975)
Kim Beacon - vocals (1974–1975; died 2001)
Andy Roberts - guitar (1974–1975)
James Exel - bass (1974–1975)
George Tucker - guitar (1991,1994–2004)
John Bradley - drums (1991, 1994–2001)
Bob Cairns - violin (1994–1995)

Current members
Pauline Adams - vocals, percussion (1967–1974, 1991, 2001, 2004, 2012–present)
Graham Smith - violin (1972–1975, 1991, 2001, 2004, 2012–present)
Robin Adams - guitar (2004–present)
Andy Allan - bass (2001–present)
Dick Drake - drums (2004–present)

July Morning
Say What You Like
Magic Garden
Wonderful Places
I Don't Wanna Wake Up
City Man
Another Night In This City
That's My Lady
Catch As Catch Can
No More You And I
Lie Back And Let It Happen
One Of The Lonely People


String Driven Thing (1968) (Concord)
String Driven Thing (1972) (Charisma)
The Machine That Cried (1973) (Charisma)
The Machine that Cried (band's official version) (Ozit)
Please Mind Your Head (1974) (Charisma)
Keep yer 'and on it (1975) (Charisma)
Suicide (Live in Berlin) (Ozit)
In the Studio '72 (first Charisma album plus) (Ozit)
The Early Years (all of the Concord first album plus)(Ozit)
It's a Game (German bootleg of two BBC concerts London 1973 and 1974, originally on BBC transcription discs with Solid Gold Cadillac and Blodwyn Pig) 

"Another night in this old city / Say what you like"
"Eddie / Hooked on the road"
"Are you a rocknroller demo only"
"Circus / My real hero"
"I'll sing one for you / To see you"
"It's a Game / Are you a rocknroller"
"Overdrive / Timpani for the devil"
"Mrs O'Reilly / Keep on moving"
"Stand back in amazement / But I do"
"Cruel to fool / Josephine" 

Solo releases
The Damage (Chris Adams)
The Damage II (Chris Adams) (Ozit)
Touch of Magic (Graham Smith) (Ozit)
Arrival of Spring (Graham Smith) (Ozit)
Cloudburst (Colin Wilson)
Kalinka (Graham Smith) (Ozit)

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“A Revolutionary New Triumph in Tape” 1958

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