Joe Peace - Find Peace Of Mind (1972 US Psych folk rock)

Buon disco con un miscuglio psych folk...personalmente non conosco molto
di Joe peace ma penso che sia particolarmente apprezzanto oltreoceano...io nel complesso amo di più altri generi di dischi ma qui c'è la parte psych che è interessante un po' meno quella folk...Buono ma non eccelso!

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Pentagon - Die Vertreibung der bösen Geister aus dem Pentagon (1970 Germ Krautrock)

Sounding very much like the trio they were, this is mostly instrumental, somewhat crudely produced, fairly heavy, garage-driven blues/rock with some prog influences. Grades - 5 B's, 1 B-, and a C-, extremely consistently good, except for a completely out-of-place short inst. at the end ("Dawn"). Comes with booklet. From RYM (tymeshifter)

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Snow - Snow (1969 usa psych pop)

Another great obscure late 60's American Pop/Psych band. geez...why didn't anyone buy this stuff. "Caterpillar" is just great period psychedelic freakiness and some of the more straight ahead pop tracks like "Where Has My Old Friend Billy Jones Gone" are first class. Yea sure....there are some sappy moments....but hey, that's typical of the era, and actually quite an achievement when you find something sappy...and yet STILL want to listen to it. ....definitely worth a listen for late 60's pop/rock fans. From RYM (progrockasaurus)

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KGB - KGB (1976 us supergroup - blues rock)

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Spontaneous Combustion - Triad 1972(superb hard rock-prog)

 

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Spindrift - Spindrift Liberate the Pirates of Penzance (72 psych pop usa)

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Plum Nelly - Deceptive Lines (1971 us psych rock)

Bassist Peter Harris, drummer Christopher Lloyd, singer/keyboardist Ric Prince, rhythm guitarist Steve Ross and lead guitarist John Earl Walker started out playing under the name "Creedmore State". The group subsequently got their first break when New York City-based club owners Arnie and Nicky Ungano took an interest in them. Giving them exposure via their nite club, the Unganos also suggested changing the band name to "Plum Nelly" and used their industry connections to help the band audition and sign with Capitol Records. Over the years I'd read good things about 1971's Ken Cooper produced "Deceptive Lines". Ironically, while the set was released by Capitol Records, finding a copy (let alone one in decent condition) was a surprisingly tough challenge. Having finally stumbled across a copy, I have to admit that it took awhile for the album to reveal its charms to me. Featuring a series of extended tracks (only one out of six clocks in under four minutes), band originals such as 'Deception' and 'Carry On' were rather conventional rock, sporting occasional progressive and surprisingly jazzy touches (the latter courtesy of Jeremy Steig's flute - of Jeremy and the Satyrs fame). As lead singer Prince had a decent voice, though his performances were frequently a little on the shrill side for my tastes ('Carry On'). More to my liking were John Earl Walker's chunky lead guitar moves ('Lonely Man's Cry'). Personal favor; the intense 'Demon'. In terms of talent, these guys were clearly above most of their competition; a fact made even more impressive given they were still in their teens, but in terms of originality this one's still lacking. - Judging by the back cover, these guys looked like your conventional hard rock quintet, so the flute solo opening on 'Deception' came as a surprise. In spite of the jazzy opening, the good news is that the song quickly picked up speed, turning into a more conventional power ballad. While occasionally a bit on the shrill side, the song also served to showcase Prince's voice in a nice context. A grower ... rating: *** stars - Drummer Lloyd's sole contribution to the album, complete with Latin percussion and a fantastic Santana-influenced Walker solo, 'Carry On' had a nice funky shuffle feel to it. rating: **** stars - Even with the Jeremy Steig flute solo, the hard rocker 'Demon' was easily the album's standout performance. Sporting a great melody and Prince's best vocal, this one started out tough and simply got better and better as it went along. rating: **** stars - A bluesy-rocker. 'Lonely Man's Cry' was an okay performance, though for some reason Prince's vocal and the lyric have always reminded me a bit of a Styx number. Can't say that backing from The Sweet Inspirations, or the freak-out flute solo at the end of the song added anything to this one. rating: ** stars - Clocking in at ten minutes, the album's opus, 'Sail Away' featured a bit of everything, including sensitive singer/songwriter moves, hard rock segments, Allman Brothers-styled guitar solos, and more of Steig's jazzy flute. Parts of the song were great (the crunching heavy metal opening segment and Walker's Allman solo), but stretched over ten minutes the song simply lost itself. rating: *** stars - At least to my ears 'Never Done' was interesting given it sounded like the band was trying to adopt a British progressive sound. That said, powered by some nice Walker guitar, this was probably the album's most commercial performance, sporting a highly catchy melody. That said, drummer Lloyd was the song's secret weapon. Besides, how could you not enjoy a song with a lyric like "people running everywhere hoping they're' on time and bother the end of library week they nearly lost their minds .." ? rating: **** stars Curisosly, Capitol doesn't seem to have done a great deal to promote the LP. As far as I can tell, they never even released a single odd the collection. That was a shame since several of these songs had FM potential. Over the next three years the band toured extensively, opening for a diverse group of name acts ranging from Joe Cocker to The Kinks. 1974 saw them relocate to LA where they underwent a series of personnel changes. Long time bassist Harris was replaced by Bob Feit, who was in turn quickly replaced by John Murphy. Murphy was then replaced by Rick Rheinish. The band struggled on through 1976 at which point Walker called it quits, eventually turning up as front man for the cleverly titled John Earl Walker Band. Walker has a nice Plum Nelly website at: http://www.johnearlwalker.com/plumnelly.html From RYM (rdten1)

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Catharsis - Catharsis (1971 psych prog france)

The original French issue title of this album was "Masq". This is adventuresome prog with tribal rhythms and non-lyrical vocals, mixed with some much less interesting folk flavored mat'l. Grades - 1 B+, 1 B, 1 B-, and a C+.
From RYM (tymeshifter)

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Sheshet - Sheshet (77 isr prog jazz)

Eponymous album by this Israeli group led by Shem Tov Levy, who also wrote almost all the music, and including the best local musicians at the time. This Prog / Jazz-Rock outfit created a great blend of western, Latin and middle-eastern music, which sounds as fresh today as it did at the time of the recording. Lead vocals are by Yehudith Ravitz, who later became a major Israeli star. The compositions are heavily influenced by Prog (Gentle Giant in particular) and the album ranks among Israel’s all time best albums. The beautiful new edition includes as a bonus the extra-rare (just a few copies of the original LP are known to be in existence) second album by Sheshet, never previously released on CD, which the group recorded as soundtrack of the Israeli film “The Stretcher March” (see note). The only vocal track on the second album is sung by no other than Gidi Gov, who also played a leading role in the film. The reissue of this album is a major feast for the Israeli Prog discography. Side note: Following the 1973 Yom Kippur War, the Israeli society entered a period of major upheaval and a radical re-examination of its values and social / political perspectives. The pioneering and bold film “The Stretcher March” was the first of its kind to openly examine the moral and psychological difficulties faced by soldiers in the IDF, a subject that was a complete taboo beforehand. This film and later other similar films and books written / published in the late 1970’s were all a result of this fascinating period in Israel’s society formative years. 
From RYM (jazzis)
 

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Indexi - Modra rijeka (ex yug prog 1978)

Modra Rijeka is album based poetry of Mak Dizdar, one of the greatest Bosnian (and Yugoslav) poets of the of the twentieth century. But poetry is not the only thing on this album, so if you don't understand language don't worry. Except 2 spoken word tracks there are 7 tracks of great music. The mayor problem if you live outside of ex-Yugoslavia is that it is difficult to find it in Music Shop, but you can find in somewhere on internet for sure. Modra Rijeka - Spoken word track. Blago (7/10) Brod (9/10) More (11/10) - In my opinion, and probably many others this is best track on album. Zapis O Zemlji - Spoken word track. Slovo O Covjeku (8/10) Pustinja (7/10) More II (9/10) Modra Rijeka II (8/10) From RYM (itakoto)

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The Game-S/t (1969-1970[?]uk v.good psych prog)

 

vi posto questo disco che a mio avviso è molto bello ma di più non so che dirvi visto che non ho trovato un accidenti di informazioni...quindi come al solito ogni suggerimento è apprezzato!come per i maelstrom non so se la copertina è giusta!!!comunque un buon tassello per la vostra collezione!!! Hi folks...well...i don't know if this is the right cover of the album...if anyone have some info...please post a comment!!!

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Young Flowers - 1&2 (dan 68 69 heavy psych blues)

Disk 1 tracklist: 
A1 Ouverture / Take Warning 
A2 The Moment Life Appeared, 
A3 25 Øre B1 Oppe I Træet, 
B2 To You, 
B3 Down Along the Cove, 
B4 April '68 (Instrumental) 
Disk 2: 
A1 You Upset My Baby 
A2 And Who But I Should Be 
A3 Calypso 
A4 Won't You Take My Place in the Queue 
B1 Slow Down Driver 
B2 The Daybreak 
B3 Kragerne Vender (Instrumental) 

Wow, this is an example of good Cream emulation. This is also a huge improvement over the first album. The only weak track is the opener, "You Upset Me Baby". It's relatively bland blues rock. Don't be fooled into thinking that this represents the rest of the album. The second track, "And Who But I Should Be", has a very experimental sound, with changing tempos, alternating moods, lots of phasing, a whole bunch of sound effects. It's very interesting to say the least, and, overall, it's pulled off quite well. The third track was originally an upbeat folk track called "Calypso" (from what I've read), but the reissues replaced it with the heavy-blues "Party Beat", which has a very strong Cream vibe. The next two tracks, "Won't You Take My Place in the Queue" and "Slow Down Driver", are quite simply some of the finest examples of heavy blues you'll ever hear, with an extra emphasis on "heavy". Very heavy for 1969. With extra loud fuzz. Incredible as these two tracks may be, the track immediately after, "The Daybreak", continues the heavy tone of the previous tracks. It also happens to be the best track of the album. It's hard to describe how good it is. The slow blues rhythm (which is catchy as hell) grabs your attention immediately, and the amazing solo compliments it perfectly. Pure sonic bliss for 6 minutes straight. And finally, the album ends with the 10 minute "Kragerne Vender". I used to hate this song, but it really grew on me. Unlike the rest of the album, this track is jazzy (after the bluesy first half), and not just because of the saxophone. The bass-line is easily recognisable as a jazz-rhythm, and the guitar even sounds exactly like the solo from the opening track of the Catapilla debut from 1970 (perhaps they heard this album?). Anyway, this is highly recommended to anybody that enjoys heavy rock and doesn't mind the blues. 
From RYM (Andrupchik)

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The Fourmyula - The Fourmyula+Green B Holiday (68-69 us soft psych)

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Kandahar - In the Court of Catharina Squeezer (1975 bel prog)

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Cargoe - Cargoe (1972 us blues southern)

This is a groovy not too well known LP. If in-the-pocket 70's rock with a slight psych-ish sound is your thing, this one's for you. Great guitars all over this one. Not a bad track on it. 
From RYM (newarkpsych)

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Zior - Zior ...Plus (1971 uk hard rock)

Own this for the bonus tracks. Album to be reviewed when I get to it in my vinyl. This is decent, prog flavored hard rock with a bar-band sound, and featuring some funky blues mat'l and gruffy vocals. The 8 bonus cuts included here are all good, and consitent with the stuff on the album. All 8 are taken from their second LP. My grades for these are - 3 B+'s, 3 B's, and 2 B-'s. Comes with a fold-out cover card. From RYM (tymeshifter)

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Silk - Smooth As Raw Silk (1969 us hard psych)

This may be the most maddening album I've ever encountered. It starts out well, and ends with the superlative ballad "For All Time". In these moments, and a few others near the beginning and end of the disc, the music is silky indeed. Polished but not slickened. It has the same feel as the excellent Jasper Wrath. In between is the kind of cheap gimmickry that gives psychedelia a bad name, culminating in "Custody", a schmaltzy country track that would make Tammy Wynette blush. Docked an extra half star for taking a budding masterpiece and turning it into schizophrenic mush.
From RYM (ochsfan)

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The Eleventh House - The Eleventh House - Level One ( excellent 75 jazz fusion)

What's the matter with this album by The Eleventh House? Since its not released on CD like the other two

Because there's nothing wrong with it. Infact I will say its probably their best, well it is in my and many others opinion.
It has the best selection of tunes, the tightest sound and highest energy. Its simply The Eleventh House at its peak in 1975 with their second of three very good fusion albums.

This is one of the best albums of its kind, and I can't believe its left behind.
Everywhere its "Introducing", which is a great album no doubt. But believe it or not, "Level One" are even better
From RYM (gao)

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Gulliver's Travels - Gulliver's Travels (1969 uk rock psych exp)

This album is a significant collectible, though probably not worthy of such status. It's a real hodgepodge of short snippets from the Immediate record label stable of recordings, assembled by label owner Oldham in 1968 as a sort of musical interpretation of J. Swift's famous tome. There are some lengthier tracks separated by these short, image building excerpts, some used as tape loops similar to The Dreamies album. Overall, I would probably rate the album a failure in regards to it's original intent. But there are a few interesting portions to investigate. It should be noted that the track list accompanying this entry is taken from the disc label as it appears there. However, there are six distinct bands on side 1, and eight on side 2. Also, though the album uses snippets from The Small Faces singles here and there, they also recorded some special mat'l specifically for this album. Grades - 1 A-, 1 B+, 2 C+'s, and 1 C-.
From RYM (tymeshifter)

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Band of Light - Total Union (1973 A'lian blues hard rock)

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陳信輝 - Chen Shinki & His Friends (1971 jap heavy psych psych)

An orgy of fuzz and pretty much every other form of excess (musical and otherwise) ya wanna reel off, Shinki Chen’s 1971 solo LP is a cherished artifact among brain-damaged low life everywhere.

Backed up by his short-lived blues outfit, Power House, “Friends” is little more than a monument to Chen’s beyond wasted guitar pyrotechnics– and whatever adjective exceeds “beyond”– wasted psyche. Beginning with cymbals and who-knows-what-the-fuck-else (most likely 50 reasons why you should be stoned before you proceed any further) on a backwards loop augmented by some ivory-tinklin’, you are then treated to 40 minutes of heavily-phased vocals (so much so that you’ll feel like you’ve been underwater for nearly three-quarters of an hour), charmingly inept drumming and the sweet tonality of Chen’s beatifically sustained, singing licks. The undoubted masterpiece is “Farewell to Hypocrites,” 13 minutes of unhinged riffing that somehow manages to soar despite some monotone– in fact, kinda robotic– backing, courtesy of “His Friends,” who occasionally drag things down to a Procol Plod. Luckily, Thee Shink’s inventive string-bendin’ is always there to save the day.
From RYM (theepope)

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Catch - Catch (1969 us rock - west coast)

Here's another unknown late 1960s outfit ... Apparently a California-based quintet, their self-titled 1969 album doesn't even provide performance credits.

Produced by J.R. Shankin, "Catch" has it's moments. With the 11 tracks credited to M. Collings and R. White, most of the set sports a modest country-rock feel. In this case that's meant as a compliment since tracks such as 'Amber' and 'Come Near Me' emphasize the genres' best characteristics - tight harmonies and some catchy melodies. 'Storm' and 'The Dandelion and the Butterfly' offer up more orchestrated pop, but are just as good. Unlike anything else on the album, 'Crash and Burn' is a take no-prisoners slice of fuzz guitar rock. It's easily the stand out track. Also worth hearing is the moody eight minute 'Nine Roses'. Too bad they didn't have more of these in their catalog. Elsewhere Dot tapped the LP for two unsuccessful singles:

- 1969's 'I'm On The Road To Memphis' b/w 'Amber' (Dot catalog number 45-17277)
- 1969's 'Storm' b/w 'City Ditty' (Dot catalog number 45-17304)

"Catch" track listing:
(side 1)
1.) Amber (M. Collings - R. White) - 1:45
2.) Come Near Me ( M. Collings - R. White) - 3:00
3.) Storm ( M. Collings - R. White) - 5:05
4.) City Ditty ( M. Collings - R. White) - 2:00
5.) The Dandelion and the Butterfly ( M. Collings - R. White) - 5:05
6.) Live ( M. Collings - R. White) - 4:15

(side 2)
1.) I'm On the Road To Memphis ( M. Collings - R. White) - 2:20
2.) Something Golden ( M. Collings - R. White) - 3:15
3.) Crash and Burn ( M. Collings - R. White) - 2:35
4.) Nine Roses ( M. Collings - R. White) - 8:30
5.) Just a Closer Walk with Thee ( M. Collings - R. White) - 4:20
From RYM (RDTEN1)

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Hawk - Africa She Too Can Cry (1972 s. africa prog)

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Les Champignons - Première capsule (1972 can prog psych)

Starts off in a trite go-go 1960s way, with an energetic keyboard driven instrumental number. This is followed by a very slow, depressing and excruciatingly boring 7 minute blues song with French vocals. From track three on Side 1 to the conclusion of the record, it's all aces. The music becomes primarily instrumental while taking on a darker stance. The guitar has that ominous fuzz tone, and there's an underlying jazzy structure lead by the fine flute and sax work. For these excellent tracks I'm reminded of the Eden Rose / Sandrose family out of France, and the relative progression from one to the other. If Champignons were lead by a female vocalist, that would solidify the Sandrose comparison.
From RYM (ashratom)

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Art Boys Collection - Stoned Wall (1972 austrian prog psych)

Overall, a very pleasant surprise! Not a particularly compelling cover, or band name for that matter, I bought this based on the fact that I have never gotten a weak release from this reissue label. I was sure it was worthy of investigation, and was not disappointed. Though, at times reminiscent of Squeeze or 10cc., this bands sound is a mix of soft and hard pop, with strong psychedelic flavor via the use of various psych effects, and with some prog influences as well. Also present are some nice vocal harmonies. Fully 3/4 of the tracks offered get a B- or better from me. I have little doubt that this will continue to grow on me. As usual, the accompanying booklet will fill your head with all things Art Boys Collection. Recommended..
From RYM (tymeshifter)

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