Lincoln St. Exit - Drive It! (1970 us hard psych)

This disc is a great re-release of Lincoln St. Exit's early material! It easily stands up to the releases of any other underground psychedelic band of the era (The Chob, Moving Sidewalks, etc). Between this and the ENTRANCE album, released under their then current name Xit, in the 70s; one would have the bulk of the Lincoln St. Exit material. This would leave a die-hard fan only to track down their "Who's Been Driving My Little Yellow Taxi Cab b/w Paper Place", "Half a Dream / Sunny Sunday b/w Whatever Happened to Baby Jesus" and the elusive " Whatever Happened Pt. 1 b/w Whatever Happened Pt. 2" singles, to have a complete collection. The DRIVE IT EP features the heaviest and most blazing psychedelic guitar material, while ENTRANCE is on the rather mellow ballad side. The only exceptions on ENTRANCE are the rockin' "Mississippi Riverboat Gamblin' Man", and "She's My Everything" which substitutes sax and piano solos for electric guitar. Between these two releases, only "Soulful Drifter" and "Sunny Sunday Dream" are shared in common. The DRIVE IT version of "Soulful Drifter" is 1:10 shorter than the other version (presumably from an earlier recording), and has no 'string section', organ or tambourine. The DRIVE IT "Sunny Sunday Dream" is a simple studio recording that's basically identical, except the ENTRANCE version is in excellent stereo, and includes a completely different ending in which so much echo is added that it becomes a chaotic mess before the rhythm section drops out, leaving only the organ and howling guitar (for 18 extra seconds). As they headed into the 70s this group became unconcerned with Pop culture's idea of 'hip' and wrote less Pop-oriented tunes; opting instead for drawn out, native drummed, native sung, orchestral concept albums. All great stuff. From RYM (sambson)

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Wichita Fall - Life Is But a Dream (1969 us psych pop))

A true conceptual pop psych gem,blatantly ignored by everyone and still waiting to be reissued.With the structural complexity of a soundtrack and the melodic variety of a pop record.The fact it was released in a major would explain such disdain.It reminds me of "The Revolt of Emily Young" but milder and "The Story of Simon Simopath" but funnier. 
 From RYM (CarlosCastro)

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Saluki - Saluki (1976 nor jazz fusion)

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Skybird - Summer of '73 (folk/songwriter 1973 uk)

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The Freshmen - Peace on Earth (1970 uk psych rock)

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The Hamilton Face Band - The Hamilton Face Band (1969 usa Hard rock rock)

I was hoping to find one of RDTEN1's reviews for this album, perchance to reveal where they were from. All of my research has come up empty. But due to Zappa alumnus Underwood's inclusion, California wouldn't be an unreasonable guess. The music is a rather diverse collection of non-commercial rock. Some of it is semi-hard sounding, while a lot of the rest is difficult to classify. There does seem to be an element of self-indulgence here, though some of the mat'l has good period flavor. Grades - 3 B-'s, 3 C+'s, and 3 C's. From RYM (tymeshifter)
 

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Five Man Electrical Band - Sweet Paradise (rock hard rock can 1973)

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The Hot Dogs - Say What You Mean (1973 rock)

Really good and consistent, somewhat hard, rural flavored rock, featuring great vocal harmony, and quality song writing. My biggest complaint is that some of the tracks are too short, bailing just when they seem to be hitting their stride. Grades - 2 B+'s, 6 B's, 2 B-'s, and a C+. 

The Hot Dogs featured the talents of Memphis-based musicians Greg Reding and Bill Rennie. keyboardist/guitar player Reding had previously been a member of Village Sound, while singer/bass player Rennie had been in The Poor Little Rich Kids (he was known as Bill Renni). Along with former Piccadilly Circus guitarist Jack Holder, in 1970 the pair started playing together under the moniker Silver. The same year the trio went into Memphis' famed Ardent Studios to record some demos. The demos caught the attention of producer Terry Manning who brought in sessions drummer Prouty for backup. Unfortunately Silver fell apart before anything could come of it, with Reding and Rennie subsequently paying their bills as touring sidemen for Albert King. Back in Memphis, 1972 saw Reding and Rennie renew their relationship with producer Manning and with his support went into the Stax-affiliated Ardent Studios to record an album. With backing from Holder, guitarist Robert Johnson, and Prouty, 1973's Manning-produced "Say What You Mean" was a surprisingly likeable set of British-influenced power pop. With Reding and Rennie responsible for much of the material (Manning also contributed several tracks), these guys clearly had an affection for English-styled pop with more than a passing nod to the Fab Four. In fact, imagine what Badfinger would have sounded like if they'd been from Memphis and you'd be in the right aural ballpark. - The title track 'Say What You Mean' was a gorgeous ballad with a haunting melody and some beautiful harmony vocals. Even better were the stunning guitar solos (I'm guessing Holder and Johnson were the featured performers). You had to wonder how this was overlooked as a single. - Kicked along by a xylophone (?), 'Morning Rain' started out with a beguiling laidback tropical feel, before taking brief detours into Uriah Heep organ terrain, following by a Hammond B3 cocktail jazz interlude, and ending with a tasteful lead guitar (Terry manning?). For some reason this one's always reminded me of an early Steely Dan track. It would have slotted nicely on "Can't Buy a Thrill". Very nice. - Shifting gears 'When I Come Home Again' displayed the group's proficiency in the country-rock department. Nice melody with an incidiously catchy chorus be forewarned that this one will stick in your head. - 'Time Is All' started out as an acoustic ballad, but exploded into an outright rocker before returning to it's roots. Not my favorite track, though the guitar solo was pretty hot ... - Side one ended with another acoustic ballad in 'Another Smile'. This one had a pretty melody and some wonderful harmony vocals from the pair. Always liked the chiming twelve strings and the handclap percussion on this one. - 'Thanks' was one of the track that reminded me of something out of the Badfinger catalog. Pretty melody and a dazzling guitar solo made this one of the best songs on the album. Great Rennie bass pattern to boot. - 'Take the Time To Let Me Know' was another pretty ballad, but it didn't really go anywhere. Once again the highlight came in the form of the tasty guitar solo. - Manning's 'Feel Real Fine' offered up a weird mix of country and rock influences. It was definitely weird and almost sounded like a "White Album" outtake. Kicked along by some acoustic slide guitar and harmonica, this was actually one of the catchiest numbers. Beats me why I like it so much. - Starting off as another country-tinged number the mandolin-propelled 'Let Me Look At the Sun' came as another major surprise. Showcasing a fabulous melody and the album's best lead guitar, this was another lost single. - Following a pattern, 'Way To Get To You' opened up with spare acoustic guitars before bursting into a fuller rock arrangement. Another pretty melody with glorious harmony vocals ... - 'Lowdown' ended the album with another out-and-out rocker. While the song was quite good (another killer guitar performance), on this one Reding and Rennie seemed somewhat uncomfortable singing in the high key. This one was tapped at their third and final single. All hyperbole aside, this was one of those rare albums that actually seemed to get better the more often you listened to it. Stax tapped the album for a series of three unsuccessful singles: - 1973's 'Another Smile' b/w 'Way To Go To Get You' (Ardent catalog number ADA 2905) - 1973's 'Morning Rain' b/w 'Say What You Mean' (Ardent catalog number ADA 2906) - 1973's 'Lowdown' b/w 'Let Me Look At the Sun' (Ardent catalog number ADA 2908) "Say What You Mean" track listing: 1.) Say What You Mean (Steve Smith - S.T. Smith) - 6:34 2.) Morning Rain (Greg Reding - Bill Rennie - Terry Manning) - 4:48 3.) When I Come Home Again (Steve Smith - S.T. Smith) - 2:23 4.) Time Is All (Bill Rennie - Jack Holder - Terry Manning - Ruleman) - 3:32 5.) Another Smile (Bill Rennie - Terry Manning) - 2:55 1.) Thanks (Greg Reding - Bill Rennie) - 2:53 2.) Take the Time To Let Me Know (Greg Reding - Jack Holder - Bill Rennie) - 3;34 3.) Feel Real Fine (Terry Manning) - 2:53 4.) Let Me Look At the Sun (Bill Rennie - Terry Manning) - 3:52 5.) Way To Get To You (Greg Reding - Bill Rennie) - 2:33 6.) Lowdown (Greg Reding - Bill Rennie - Terry Manning) - 3:33 With Holder and Prouty on-board as full time members, over the next year the band supported the album and toured extensively. They also recorded a non-LP 45 before calling it quits in 1974. - 1974's 'I Walk the Line' b/w 'Thanks' (Ardent catalog ADA-2910) Holder and Reding subsequently reappeared as members of Black Oak Arkansas playing on at least one LP - 1977's "Race with the Devil". Holder went on to play with the band Cobra, while Reding went on to join The Memphis All Stars. 

From RYM (tymeshifter+ RDTEN1)

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Peter Thorup - Wake Up Your Mind (danish rock 1970)

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Repairs - Repairs (us 1972 rock psych)

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Sounds of Modification - Sounds of Modification (1968 us psych pop)

Sounds of Modification This pop group was ahead of its time. This album must of taken a lot of work. I know at the time it was recorded on 8 tracks at Jubilee recording studios in New York City, 1790 Broadway. With the proper management and guidance this group could of gone a long way. I know this group recorded many recordings. Such as Carry on Carole,Im Down Again,darkness fills my lonely heart, the Umbrella song,I don't know what, and of course their masterpiece A New Place To Live album which I heard was only released in Canada under Mandella records. I would like to collect any and all recordings this rock group has made. The only problem is that I can't find any records to purchase. I know for a fact that Jubilee pressed thousands of copies during 1968 and were distributed throughout the country. But I am still searching. The drummer Mike Cavouto was one of the best drummers on the East coast during the 60s and 70s. Again this group was a sure thing, only if they were managed properly. What a sin. 
From RYM (butchball)

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Zzebra - 74- 76 (uk funk prog)

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Food Brain - Bansan (jap heavy psych prog 1970)

What the hell is this heavy Japanese hard instrumental rock. If the song That Will Do was just a little bit shorter at 9 minutes long it starts to get on my nevers but the first five minutes or so are great. My favorite song here is Clock a nice 5 minute Hammond Organ/Guitar driven rocker. Check It Out it's Food for your Brain. 
From RYM (classicrockman)

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In Spe - In Spe (1983 est prog)

After discovering the wonderful compositions of Erkki-Sven Tuur it came as a surprise for me to learn that he had once led a prog-rock group in the eighties. Some digging around on internet unearthed an MP3 of their impossible-to-obtain first album and it is indeed a treasure trove of finely played (mostly) instrumental prog. Slightly jazzy, a little bit of classical and folk influences and a sound that is somehow entirely its own. I did keep expecting Mike Oldfield to drop in at some moments, there are definite links to his music circa 'Incantations' and 'Ommadawn', another point of reference would be the albums of Pekka Pohjola. Anyway, a worthwhile discovery and I only hope that somebody has the good sense and taste to reissue it sometime. 
 From RYM (reeves)

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Kenny Wayne and The Kamotions - In Motion (1970 us blues)

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