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10 Jun 2017

Cosmic Trip Machine "Lord Space Devil” 2008 Belgium Heavy Psych Folk Rock

Cosmic Trip Machine “"Lord Space Devil” 2008 excellent Belgium Heavy Psych Folk Rock,,,,recommended..
watch interview by psychedelic baby…….

Take your time and let the music flow. Monotony or boredom - what's that? A diversified piece of work with a professional sound mixing - rich on ideas and instrumentation. - ProgArchives ..............

If you're intrigued by psychedelic, progressive or folk sounds, this project is not to be missed. - Concreteweb .................

The talents of composers get high and never go flat or boring. - Amarokprog ....

Records that really have grown on me, even after the first 2-3 listens. - Prog-Sphere .............

All the things in their sound that we love is here! - Gew Gaw Fanzine ...........

A great and delicate psychedelic rock, simply beautiful, which makes you want to know other Cosmic Trip Machine albums and to float in their musical imagination. - Music in Belgium

Cosmic Trip Machine, named in tribute to 60’s and 70’s records, started by recording one album, shortly after Will and Majnun first group split (with angry quarrels and strong divergence in opinion). The two friends collected materials for an opus called Lord Space Devil : unreleased songs, instrumentals, experimental and conceptual ideas. In studio, Cosmic Trip Machine discovered musical freedom and were addicted immediately. The result is Lord Space Devil, an experimental psychedelic folk album with songs that release themselves of any constraints and explore differing sonic boundaries (odd instruments, studio effects, imaginative rock inspired by indian music and B-movies). The result can be downloaded free on band's website. Cosmic Trip Machine is a moving entity, constantly evolving, searching for musicians to play live with.................

This one came up under problematic circumstances. Will and Majnun have already released two promising albums, which I really liked, because they are brimming over with ideas and inspiration. In 2009 plans grew to work out the follower 'Son Of Lord Space Devil' as a double album with four different suites. Many difficulties occured though, disease, depression, technical problems to name a few. Back and forth ... finally they decided to compress and rearrange their material and to call the new album 'The Curse Of Lord Space Devil'. The result is more of an unplugged thing, except the last track the rocking component takes a backseat.
Tribal oriental flavoured percussion, many acoustic guitars and repetitive patterns - they offer a trippy psychedelic atmosphere basically, which is mostly suitable for a campfire session. Will's voice is charming as usual. Quiet Night Thoughts holds a fantastic electric guitar solo and ends with a spacey downfall. Remains Of Amethyst is an excursion which moves deep into cosmic fields. The short Jessica's Nightmare comes as a mourning thing with decent organ adds serving a slight menacing touch.

Hence Son Of Lord Space Devil has failed to reach for the album's title track due to the aforementioned reasons. This extended track contrasts with a rather heavy psych outfit towards the end and probably is useful to defuse an atmosphere which otherwise would have been too dark mooded overall. They start very spacey and then regular acoustic drums appear after a while until finally the last minutes are rrrrocking the studio really.

'The Curse Of Lord Space Devil' is a nice album, not really thrilling though, which means I'm missing a reasonable advancement when considering their predecessor stuff. However, the great guitar work is generally striking and again they offer many haunting melodies. So this one surely is dedicated to fans of trippy psych Rivertree .........................

The most recent album of Cosmic Trip Machine continues the slightly occult themes found also from their earlier album, and deliver a rich display of psychedelic music stylistic choices. The record kicks in dynamically with a folk-oriented psych tones, and the lysergic rock guitar and vocals phase out to void of cosmic soundscapes. "You" moves to some acid folk dronings with leanings also to classic European traditional music, having very pleasant guitars and shimmering abstract aural backgrounds. The story continues with more oppressing tribal horror movie feelings of "Jessica's Nightmare", which is the soothed with acoustic hippie ballad. A really beautiful acoustic guitar cadenza leads to a minor ballad ending to stinging guitar soloing, which merges to a more cosmic space tones and experiments. The concrete tonal elements reappear with a mellow keyboard driven downer ballad, which switches as open guitar experimentation phase in space rock sounds, leading later again to more close to earth feelings with folk rock and tribal music phases. The longest track on the album is the cosmic ender "Son Of Lord Space Devil", sounding little like a more tamer version of Acid Mothers Temple's experimentations.
The album sleeve has a detailed history of the band, and also a description of the journey building the musical entity of this record. From my personal tastes point of view, I maybe did not feel very comfortable with the intensity of changes in moods, as the music has quite strong alterations. I guess this record should be taken as kind of movie for your ears, as Frank Zappa once stated in some of his record, and allow one to be carried with the scenes. The album quality is good in all technical standards, like one might expect from a Nasoni release, and for a psychedelic prog music listener this album is certainly a record worth checking out; there are good changes this might fit to the central of your musical Eetu Pellonpaa .................

Cosmic Trip Machine is a psychedelic project hailing from Belgium and having a sure feeling for the 60/70s hippie atmosphere and musically deep in retro psych folk and heavy.

Lord Space Devil Trilogy began in 2000, but was delayed during 8 years due to divergences with musician from Will Z. and Majnun previous band. The two friends decided to carry on alone because the studio was already booked. Few months later, Lord Space Devil was downloaded more than 5000 times from the official website of the band, by mere word of mouth and recommendations from websites and magazines.

In March 2009, Cosmic Trip Machine recorded Vampyros Roussos, second part of Lord Space Devil Trilogy, an imaginary 70's psychedelic erotic horror soundtrack and rock opera inspired by Vampyros Lesbos, Psych-Out, Beyond the Valley of Dolls, Suspiria, Carnival of Souls, The Holy Mountain and many more. Sloowtapes released a Vampyros Roussos tape collector version, sold out in two weeks. A CD version was then distributed and, finally, two years later, a LP pressed by Nasoni.

Between 2009 and 2010, Cosmic Trip Machine worked on the last Lord Space Devil Trilogy part, Son of Lord Space Devil. Will Z. and Majnun had many difficulties with the preparation of this double album with four different suites (disease, depression, technical problems...). The early takes were judged as "poor". Son of Lord Space Devil was shelved on March 2010: the two musicians thought this album (and the 20 minutes master piece Amethyst in particular) possessed a negative power. However, some of the tracks were salvaged and rearranged, and the album title became The Curse of Lord Space Devil, produced by oG. The band appeared on oG third album, A Flying Leap Over The Fence, and released a final album, Golden Horus Name inspired by Egyptian mythology and psych-folk musician Ramases, before splitting up mid-2014.............

Band members :
Will Z. : steel-string acoustic guitar, vocals, sitar, bass, organ, Siel keyboards, Antonelli plastic shit, percussions, rainstick, tambourine, gong, and screams.
Majnun : electric guitar, steel-string acoustic guitar, classical guitar, guitar-sitar, percussions, flute, and satanic voices (the narrator).

Songs / Tracks Listing
1. Quiet Night Thoughts (3:55)
2. You (5:03)
3. Jessica's Nightmare (2:21)
4. Cosmic Travel (4:19)
5. Strange Is ... (4:35)
6. Fragment Résiduel (1:52)
7. The Secret Song (2:32)
8. Remains Of Amethyst (2:33)
9. I (2:41)
10. Hear The Voice Of The AM (5:30)
11. Son Of Lord Space Devil (9:15)


2013: Golden Horus Name (Nasoni Records) Nasoni124C/OYE009
2011: Mantras, Exorcisms And Rituals (Reverb Worship) RW140/OYE004
2010: The Curse Of Lord Space Devil (Nasoni Records) Nasoni 102/OYE003
2009: Vampyros Roussos (Nasoni Records) OYE002/Moon of the Roe-buck/Nasoni 115
2008: Lord Space Devil OYE001 

Eric Andersen "Blue River'1972 US Folk Rock

Eric Andersen  "Blue River'1972 US Folk Rock

Originally recorded in 1971 and composed during a time of intense creativity, anguish, and physical and mental exhaustion, Eric Andersen's ode to despair and cry for renewal is widely acknowledged to be his masterpiece. Along with Bob Dylan's Blood on the Tracks and Joni Mitchell's Blue, it is a defining moment for the singer/songwriter genre. Andersen delivers these nine country- and gospel-flavored songs as if in a trance; a fragile and flowing analog warmth threads them together. All the airy, spacious lyricism of Norbert Putnam's delicate production is now before the listener, and the musical experience, even for those who know the album well, will be a revelation. The smallest details--Grady Martin's gut-string guitar on "Faithful," Weldon Myrick's steel guitar and Joni Mitchell's intricately phrased harmony on "Blue River," and Farell Morris's barely audible but finely textured vibes on "Florentine"--arise as if for the first time. Columbia has also unearthed two unreleased tracks--a soulful reinterpretation of the early ballad "Come to My Bedside" and a Cajun vamp-up of Hank Williams's "Why Don't You Love Me Like You Used to Do?" If it's a crime that an album this moving ever went out of print, it's also a triumph that it has returned meticulously remastered and elegantly annotated and presented. --Roy Kasten..................

With mid-'60s gems like Violets of Dawn, Thirsty Boots, and Close the Door Lightly, Eric Andersen became the archetypal, literate romantic before the likes of James Taylor and Jackson Browne had even cut their first records, but at the same time seemed to lack direction from album to album. With his eighth album, Blue River, recorded in Nashville in 1972, he found the perfect setting for his gentle, poetic songs. After nearly seven years of dabbling in folk, folk-rock, pop, and country, Andersen found a smart, sympathetic ear in producer Norbert Putnam. Putnam, whose production here is rarely extraneous, utilizes subtle touches of bass, drums, accordion, and organ along with Andersen's own guitar, piano, and harmonica to frame the material. The record, Andersen's first effort for Columbia, also featured his best collection of tunes to date.
Blue River, with its themes of uncertainty and struggle, is by no means a casual record, although songs such as the bittersweet "Is It Really Love at All" and the title track, featuring Joni Mitchell's ethereal supporting vocal, will draw the listener in with their sheer beauty. Andersen, then in his late twenties, was dealing with questions of love, life, and desire with a maturity matched only by a handful of songwriters at the time. Never overly precious or maudlin, nearly every cut resonates with eloquence and grace. Although continuing to grow as a writer in the years to come, Blue River remains Eric Andersen's masterwork and one of the true classics of the Brett Hartenbach.........

This classic album was the early culmination of Andersen's rise to prominence in the sixties with its thoughtful, poignant, and philosophic look both within Andersen himself and in the world as he saw it during a period of personal difficulty and inner turmoil.Eric Andersen is nothing if not a consummate writer, performer, and interpreter of classic folk melodies and subjects, and he delivers on his considerable promise. Certainly both earlier and later professional efforts by Andersen indicate just how talented and durable his abilities as a writer and performer he is. Here he is in superb form, with original songs ranging from the opening stunner "Is It Really Love At All" to "Wind And Sand" to other wistful interpretations like "Florentine" and the very wry "Faithful", which Linda Ronstadt did a terrific cover version of years later. My personal favorites here are ""Blue River", a haunting and evocative song about life simply led, and "More Often Than Not", an unusual (to say the least) take on life as a road-traveling performer. One often hears albums described as a collection of songs, but this is truly a song cycle that has a special mood, atmosphere, and timbre of its own. This is a special album by a monumental talent who has never gotten the wide acclaim and popular recognition his unusually gifted abilities seem to deserve. Buy this CD and I guarantee you will soon find yourself referring to it reverently, as most "folkies" do.........By Barron Laycock........

It's great to see the reissue of this classic 70s album. Now a new generation can hear and appreciate the quiet power of such songs as "Blue River" and "Wind and Sand." This is a prime example of the folk-country collaborations that were gaining popularity then. This CD misses the original linear notes that would give the music some perspective............By Rabbit Warren........

What does an old folksinger, with seven precious albums, two record companies, and his best days seemingly behind him, do in today's highly competitive market? He goes to Columbia, of course. With Tom Rush, Tim Hardin and John Hammond taking the plunge before him, Eric Andersen has now joined the ranks of the disenchanted to seek his piece of the musical popularity pie.
Well, we all know that Columbia knows how to promote their artists, and if they play their cards right this time, it looks like they've got a winner on their hands.
First of all, with or without his beard, Eric is gorgeous, even more beautiful than James Taylor. But more importantly, he writes such lovely songs and delivers them so gently. A few years ago, I used his Tin Can Alley album to fall asleep to every night. Add to this his recent tour with the New Riders and the widespread airplay his album is receiving, and it's easy to see how Eric could possibly becmoe the next heavily-hyped, here today, gone tomorrow superstar. I hope not.

His new album, Blue River, is, in a word, pretty. The songs, the arrangements, and the vocals are all very low-keyed, and they help to achieve a satisfying and relaxed effect. They are mostly love songs, Eric's specialty, and although the lyrics tend to get a bit emotional at times, they merely describe situations he's probably been in and feelings that he's had. And if we can't accept an artist's honesty on his own terms, what are we left with? David Crosby, and how he almost cut his hair? No thanks.

There are no songs here that will rise to the sensitive heights of "Thirsty Boots" or "Violets of Dawn." But cuts like "Wind and Sand" and "Faithful" almost do and many of the others leave you humming, too. The copied Band arrangment of "Pearl's Goodtime Blues" (complete with a "Rag Mama Rag" chorus) is distressing, but somehow the coaxing quality in Eric's voice makes you forget where the song came from.

Unlike a few of his early Vanguard albums, this is not a brilliant album. But I've had a special place in my heart for Eric Andersen, an dif you just take it for what it is, Blue River is nice enough.

- David N. Bromberg, Words & Music, 9-72...................................

I was ready to discard this but because it was so pretty I suffered second thoughts, which is too bad for both of us. In 1967, Andersen sounded like early electric Dylan, so now he sounds like... James Taylor. He's honest enough to back himself with a girlie chorus, but that's as far as his honesty goes. If I'm liable to run into noodleheads like Andersen walking down some country road, I'll feel safer in Central Park. C

- Robert Christgau, Christgau's Record Guide, 1981.

Recorded in Nashville with some of the best country studio pros providing simple, sympathetic backing, Blue River was deemed a minor classic of the singer/songwriter school from an artist whose roots go back to the founding days of folk rock. Reminiscent of James Taylor, a bit too wide-eyed, pretty, and mawkish to sustain the test of time -- or even the movement -- it delivers a resonant, pleasing sound, but little of substance (e.g., "to give my foot another chance to try another shoe"). The best of the bunch is "Sheila," and it's been done better a number of times by a number of others. On the other hand, the sound is excellent -- warm, open, and clean. C-

- Bill Shapiro, Rock & Roll Review: A Guide to Good Rock on CD, 1991...............

Always an expressively poetic songwriter, Eric Andersen displayed a greater sense of musical focus on this release, thanks in part to producer Norbert Putnam’s tasteful blend of folk, country and rock instrumental textures. Anderson offers beautifully drawn character portraits and acute observations about the human heart, matching them with bittersweet melodies. His wistful tenor is in strong shape, adding to the battered romanticism captured in “Is It Really Love At All,” “Faithful” and “Sheila.” “Wind and Sand” and “Round the Bend” probe the bonds between families and friends with a sensitive, empathetic touch. The upbeat “Pearl’s Goodtime Blues” sketches Janis Joplin in vivid, loving strokes. Two songs especially stand out in this set: “More Often Than Not” (an ode to human endurance with the scruffy charm of an outlaw country classic) and the title song (a gospel-rock number reminiscent of the Band, featuring Joni Mitchell on background vocals). Blue River remains Andersen’s most fully-realized album, as well as one of the best singer/songwriter releases of its era.......................

Eric Andersen has maintained a career as a folk-based singer/songwriter since the 1960s. In contrast to such peers as Tom Paxton and Phil Ochs, Andersen's writing has had a romantic/philosophical/poetic bent for the most part, rather than a socially conscious one, though one of his best-known songs, "Thirsty Boots," is about the Freedom Riders in the early '60s. (The song has been recorded by Judy Collins and others.) After emerging from the Northeast folk-club circuit, Andersen began to record in 1965 with Today Is the Highway. His second album, 'Bout Changes & Things, contained some of his most accomplished writing, including the highly poetic "Violets of Dawn," "Thirsty Boots," and "I Shall Go Unbounded." All were sung in Andersen's flexible tenor (he shaded toward a baritone later) backed by rapid, intricate fingerpicking. In the late '60s and early '70s, Andersen experimented with country, pop, and rock music, settling on an amalgamation by the time of his masterpiece Blue River in 1972. This was also his most commercially successful album, but Andersen, like friends Leonard Cohen and Townes Van Zandt, was always too serious-minded for the mainstream. In the '70s and '80s, he recorded sporadically while playing folk clubs around the U.S. and especially in Europe, where he took up residence. His later material, including 1989's Ghosts Upon the Road, recalls his work in the '60s as it ruefully reflects on that decade. The '90s saw Andersen collaborate with friends like Rick Danko and Jonas Fjeld on Danko/Fjeld/Andersen, as well as release a solo album, 1998's Memory of the Future; Andersen also oversaw the release of Stages: The Lost Album, and a 1999 reissue of Blue River. You Can't Relive the Past. Beat Avenue, from 2003, was an ambitious double-CD while 2004's The Street Was Always There was a nostalgic look back at the music of the New York Greenwich Village scene of the early to mid-'60s. 2005's Waves was another album of covers, but with broader material. Andersen released Blue Rain, his first live album, in May 2007. That same year, the compilation So Much on My Mind was issued. The set drew on both catalog tracks and live performances and was issued on Columbia, Arista, and Warner Brothers. Andersen continued to tour and take part in significant cultural events. In 2008, he performed at the Andy Warhol Week Celebration at the Gershwin Hotel (Debbie Harry played the same evening) and received an "Andy" award -- other recipients included Lou Reed, Ultra Violet, Billy Name, and Holly Woodlawn. The following year he performed on the BBC program Greenwich Village Revisited, hosted by Billy Bragg; other guests included Carolyn Hester, Roger McGuinn, and Judy Collins. Andersen also took part in the international celebrations centering around the 50th anniversary of the publication of William Burroughs' Naked Lunch. He contributed an essay entitled "The Danger Zone" to the volume Naked Lunch @ 50: The Anniversary Essays, edited by Oliver Harris and Ian MacFadyen and published by the Southern Illinois University Press. In 2011, Andersen issued his second live offering, The Cologne Concert, through Meyer Records. Along with deep catalog material, the set offered a pair of new songs in "The Dance of Love and Death" and "Sinking Deeper Into You." In May of 2012 he became a member of the newly created European Beat Studies Network under the auspices of William S. Burroughs scholar Oliver Harris. That fall, he was commissioned by Catherine Camus to write original material for the centennial celebration of her father Albert Camus' 100th birthday in Aix en Provence, France. Andersen delivered a song cycle entitled The Shadow and Light of Albert Camus, recorded and released through Meyer in 2014. On September 3, 2015 Andersen took part in a V.I.P. charity concert in Grand Hall at Newstead Abbey Park, the ancestral home of the poet Lord Byron in Ravenshead, Nottingham, U.K. (in Sherwood Forest). Andersen played music he set to Byron’s verse and offered entirely new compositions in the poet's rhyme style. This project was written and developed over the previous two years. Andersen later recorded the songs and issued them as Mingle with the Universe: The Worlds of Lord Byron in the spring of 2017. ~ William Ruhlmann.....................

Accordion – Kevin Kelly (2) (tracks: A5)
Acoustic Guitar, Lead Vocals, Piano, Backing Vocals, Harmonica – Eric Andersen (2)
Arranged By [Woodwind & Strings] – Glenn Spreen* (tracks: A1)
Backing Vocals – Deborah Green Andersen (tracks: A1, A4, A5, B4), Florence Warner, Joni Mitchell (tracks: A5), Temple Riser (tracks: B1), The Holidays* (tracks: B1), The Jordanaires with Millie Kirkham, La Verna Moore, and Sonja Motgomery [sic]* (tracks: B4)
Bass – Mark Spoor (tracks: A1, A5, B2), Norbert Putnam (tracks: A2, A3, A4, B1, B3, B4)
Celesta – David Briggs (2) (tracks: B4)
Dobro – David Bromberg (tracks: B3)
Drums – Jim McKevitt (tracks: B2), Richard Schlosser* (tracks: B3)
Drums, Percussion – Kenneth Buttrey* (tracks: A2, A4, A5, B1, B4)
Electric Guitar – Andy Johnson (tracks: A1, A5, B2, B3), Eddie Hinton (tracks: A2)
Guitar [Gut-String] – Grady Martin (tracks: A4, B1)
Organ – David Briggs (2) (tracks: A2, A4, B4)
Organ, Harpsichord – Glenn Spreen* (tracks: B1)
Percussion – Gerry Carrigan* (tracks: A1)
Piano – Deborah Green Andersen (tracks: A1, A4)
Producer – Norbert Putnam
Steel Guitar – Weldon Myrick (tracks: A5)
Vibraphone – Andy Johnson (tracks: A1), Farrell Morris (tracks: B1)

A1 Is It Really Love At All 5:25
A2 Pearl's Goodtime Blues 2:25
A3 Wind And Sand 4:31
A4 Faithful 3:18
A5 Blue River 4:51
B1 Florentine 3:34
B2 Sheila 4:42
B3 More Often Than Not
Written-By – David Wiffen
B4 Round The Bend 5:40

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 Pop

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

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..............

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

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