Earth Island - We Must Survive (1970 usa psych psych pop)

Very good Psych-lite with tinges of Pop and prog. Is music on the same wavelength as The Millennium; light "airy" sort of super-produced pop with (often) positive messages. For a few tracks I could've sworn the lead singer was Curt Boettcher (like on "Seasons of Our Lives"). Even some of the other vocalizations are similar (which is a good thing): --Ooh!-- and --Ahh!-- backing vocals on several tracks along with multiple singers, instrumentation varied from song to song, etc. The album is solid throughout, with no real "clunkers" to be found. Fillers, (see below), yes perhaps... but even the fillers aren't horrible. On repeated listens I've grown to appreciate it more and more. Highlights: "Earth People's Park" "This Island Earth" and "Ride the Universe" stand out to me. I didn't really care for "Peace and Understanding, Toronto 1970" as it just felt like tossed-together filler material compared to the rest of the record. Same with "The Hungry Planet"; they tried to spice it up with backing vocals but it's still a simple blues-themed jam in the end. Actually the second side is the weakest part of the record, with the first few tracks being very solid. If you can get your hands on it and enjoy Psych-lite/Millennium-style 60's Pop, I recommend checking out the first few songs at least.
From RYM (Faltain)

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Floating Opera - The Floating Opera (1971 psych hard psych usa)

Male and female vocal, semi-commercial rock with some hard rock cuts and good period flavor. Grades - 2 B+'s, 1 B, 3 B-'s, 1 C+, and 2 C's. They were from Ann Arbor, Mich. 
From RYM (tymeshifter)

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Christopher - What'cha Gonna Do?(69 heavy psych usa)

A diverse mix of hard rock, blues, punk, and psych, all with a semi-garage flavor, and fairly non-commercial orientation. Grades - 1 A, 2 B's, 3 B-'s, and a C. This issue is anumbered micro-press of 350 copies.
From RYM (tymeshifter)

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T.I.M.E. 1+2 (1968+69 usa psych)

Guitarists Larry Byrom and Bill Richardson had previously been members of San Diego-based The Hardtimes who over the 1966 - 68 timeframe managed to release a series of five singles and one interesting LP (1968's "Blew Mind" World Pacific catalog number WPS 21867), before calling it quits. Relocating to Los Angeles, Byrom and Richardson wasted little time forming their next band - Trust In Men Everywhere (wisely abbreviated to T.I.M.E.). Recruiting drummer Steve Rumph and former Jack London and the Sparrows bassist Nick St Nicholas the quartet was quickly signed by Liberty Records,. Teamed with producer Joe Saraceno, they subsequently made their debut with 1968's cleverly-titled "T.I.M.E.". A musical timepiece, the album was quite diverse, including competent stabs at a broad array of genres including blue-eyed soul, folk-rock, psych, and plenty of sunshine-pop. Unfortunately, nothing here was particularly original, making for one of those fun spot-the-influence collections. In fact, driven by tracks like 'Make It Alright', 'Let the Colors Keep On' and 'What Can It Be' at times the collection sounded like it had been recorded in 1965 rather than 1968. The band's other big problem stemmed from the fact they didn't have a great singer. All four members apparently sang, with most of the tracks having kind if a group vocal feel that added to the album's sense of anonymity. Exemplified by songs like 'Tripping Into Sunshine' and 'You Changed It All' the results weren't bad, but with a more distinctive lead vocalist, the results would have been far more impressive. All of those criticisms aside, it was one of those albums that's better than the sum of its parts. A truly fun collection that simply screams 1960s vibe (good, bad, or indifferent) - Opening up with some sustained guitar feedback, 'Tripping Into Sunshine' quickly shifted gears into a more commercial direction. Yeah, the track retained had a heavy psychedelic feel, but that edge was balanced out by some unexpectedly sunny harmony vocals. Imagine The Mamas and the Papas having decided to record a truly heavy psych tune. rating: **** stars - 'Label It Love' sported a totally unexpected Western influence ... seriously. Complete with Spanish-flavored acoustic guitars and percussion, this rollicking rocker was great. Every time I listen to it I think of zonked out cowboys. rating: **** stars - More fuzz guitar and a pounding,, almost soulful beat, gave 'Finders Keepers' a nifty blue-eyed soul feel, though the abrupt time shifts were disconcerting and detracted from the overall feel. The song highlight was the brief Beatles-styled jangle guitar solo. rating: *** stars - 'Love You Cherish You' found the band shifting gears into lounge act crooner territory. It wasn't much to be excited about, but the highlight came in the form of St. Nicholas' short bass solo. The song was so bad it was almost worth listening to. No idea if these guys played live, but easy to imagine screaming women fans if they played this one. rating: * stars - Complete with a Dylan-styled harmonica solo and some Beatles-styled harmony vocals, 'Make It Alright' had a distinctive folk-rock feel. Much more 1965 than 1968, but catchy and fun and easy to see why Liberty tapped it as the leadoff single. rating: *** stars - Again, it sounded more 1965 than 1968, but 'Let the Colors Keep On' offered up a wonderful slice of sunshine pop. Easy to imagine a group like Spanky and Our Gang having covered this one. rating: *** stars - Side two started with my choice for the set's the best performance - the fuzz guitar propelled rocker 'You Changed It All'. Great tune with nice blend of commercial melody, shiny harmony vocals and a tougher rock edge. Should have been tapped as a single. rating: **** stars - A reflective, slightly acid-tinged ballad, showcasing some of the Byrom's prettiest guitar work, 'I Really Love You' was another highpoint. rating: *** stars - Another personal favorite and the album's hardest rocking performance, 'Make Love To You' probably came the closest to showing some degree of originality. Nice, driving melody with more than a hint of Beatles influences and one of the few tracks with a distinctive lead vocal, though I don't have a clue who handled the lead vocals. rating: **** stars - Kicked along by St Nicholas' impressive fuzz bass and some uncredited jazzy electric piano, 'I Can't Find It' was another track that had a Mamas and the Papas feel to it. Pleasant, but a touch on the campy side and not essential. rating: ** stars - Another folk-rock flavored ballad, 'What Can It Be' had a pretty, acoustic guitar-powered melody and some nice group harmonies. What it lacked was any shred of originality. rating: ** stars - Propelled by some nice electric keyboards, 'Take Me Along' was another decent slice of sunshine-pop. The la-la-la-la chorus almost gave it a bubblegum flavor which may not appeal to some folks. rating: ** stars As mentioned, the album was tapped for a single in the form of: - 1968's 'Make It Alright' b/w 'Take Me Along' (Liberty catalog number 56020) Worth looking for sense you can still find cheap copies. 
From RYM (RDTEN1)

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Ark - Voyages (1978 us psych xstian)

Very good, but not extraordinary album. It's a Christian hard rock LP, with a mix of vocal and instrumental material, and featuring good guitar. I think I'll reserve final judgement until after I listen a few more times, but as of now, atleast half the LP is worth a solid B or better.
From RYM (tymeshifter)

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The Fallen Angels - It's a Long Way Down (68 us psych)

I have read the reviews of this that existed at the time I am writing this. It truly saddens me to read some of the less than stellar reviews, because I know that in almost all cases, the reviewers expectations were heightened by the lofty (though well deserved) accolades posted by other reviewers. Approaching any album with such high hopes inevitably leads to disappointment, but especially so in this case. It is a great record, of course, but one that begs each individual listener to arrive at that conclusion them self. We see "psych masterpiece" bandied about in many of these blurbs - it may be, but it certainly isn't overtly obvious. Actually, not all tracks are even psychedelic. Some are merely mainstream vocal pop. Some tracks are imbued with folk flavor. But most are crafted in such a way as to implant a "seed" in your brain that will grow (kind of like The Alien) long after you've stopped listening, and leave you scratching your head and wondering where you heard the tune that refuses to leave your consciousness. As with their first album, most of these songs garner low grades by themselves. But in the context of the album, they swell to much larger consequence. Don't get your hopes too high, and give this an honest listen, or two, or many, and see if it doesn't meet your expectations, perhaps later rather than sooner. Grades - 1 A-, 2 B+'s, 3 B's, 1 B-, 1 C+, and 4 C's. 
From RYM (tymeshifter)

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

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The Kitchen Cinq - Everything But...(us 1967 garage psych fuzz)

A decent album for garage aficionados, this is a mix of light weight pop with garage flavor, and some harder, grittier cuts, featuring punk flavor and fuzz guitar. They were from Amarillo, Tex. Grades - 3 B's, 3 B-'s, 3 C+'s, and 2 C's 
From RYM (tymeshifter)
 

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The Patron Saints - Fohhoh Bohob (1969 us psych)

You can barely call this bad boy psych; there's a fair amount cribbed from the firm of Lee and MacLean, but just as much music-hall/recital-type stuff, like Cream's lighter moments. The first couple times I listened to this, I thought these guys sounded vocally like a bunch of jocks trying to make sensitive rock on the sly. The enunciation is something, I gotta tell you. But after a few plays its less immediate charms came to the fore. I'm still not going to pretend it's a classic - like you give a damn, ha - but the boys shew a great sense of dynamics as well as a florid touch on the ivories 'n' acoustic. "Do You Think About Me" is the major mis-step, a jaunty knock at th' hillbillies that won't truck in my part of the country. But "White Light," "Andrea" and "My Friend" attain a kind of sad-sack epicness (the latter is particularly emo, but give it time - the sum weight of the couplets add up to TRUTH). I kind of wish these fine gentlemen - genially maintaining their legacy after four decades - had decided to go for some sort of Gatsbyesque gothic. I mean, fine piano + upstate New York + recording in a mansion + deliberate diction could have = upper-crust guest-room masterpiece. But screw what I want, this is a winner. From RYM (silent mike)

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3/3 - 3/3 (japan 1975 psych hard rock)

Consistently fantastic power trio hard rock with strong Hendrix influences, recorded 1974. Bonus disc is live mat'l, recorded 2 years later, in 1976~7, and features some modern style garage/punk. Never mind the out-of-print vinyl reissue (I have a sealed copy if you want one), this CD is the way to go, with bonus tracks on the album reissue disc, plus the whole live bonus disc. Grades for both discs combined - 1 A, 4 A-'s, 9 B+'s, 6 B's, and 4 B-'s, nothing even mediocre on the whole package! These guys wail, and if you're into that heavy early 70's sound, you owe it to yourself to check this one out. From RYM (tymeshifter)

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Lee Michaels - Carnival of Life (1968 superb us psych heavy psych)

Surely his strongest release. Though his albums are generally considered commercial, this one generates strong cross-over appeal to the underground crowd. Just a hint of commercialism flavors this basically hard rock record, which features some strong psych overtones. Some of these tracks are actually pop/psych. Overall, it's a superb album, a real sleeper! Grades - 3 A-'s, 1 B+, 4 B's, and a C+. From RYM (tymeshifter)

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Decennium

Decennium - Song of the Sad Times (hol 1974 soft prog)

decennium_-_1975_-_songs_of_the_sad_timeholP1soft_prog

decennium_-_1975_-_songs_of_the_sad_timeholP2soft_prog

Banana and the Bunch - Mid-Mountain Ranch (1972 us folk rock)

Snippets of bluegrass, rock, jazz, and lachrymose ballads put together in the same laid-back style that characterized the last few Youngbloods sets. Recorded at a point where the group's east-coast-era inventiveness was just beginning to be overwhelmed by their west-coast-era laziness. It's a huge plus to hear Youngbloods-style music not dominated by Jesse Colin Young. From RYM (ochsfan)

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Oliver Walrus - Walrus (us 1972 psych rock)

Not to be confused with the British band of the same name, this outfit featured the talents of singer/percussionist Oliver Walrus (aka Gary Levine). Levine was born and raised in Pennsylvania. Moving to California, he took the name Oliver Walrus (if you've ever seen a picture of the guy, you'll see why), and began playing percussion at various clubs and recording sessions. In the early-1970s he also formed a band - Walrus. So here's a career synopsis in Walrus' own words: "My career began in the 70's with my band Oliver Walrus ... We played the circuits of Los Angeles including the infamous Troubadour and the Whiskey. I was discovered and signed with Chess Janus Records who had known artist(s) like Bo Didley, Chuck Berry and Jimmy Hendrix among others. I recorded my first album in 1972. My song 'Climb, Climb, Climb' was my first top 10 record on the billboard charts [no idea what that means]. My main music background consists of heavy funk that I fused with rock and pop. I am proud to say that I have a huge fan base still building." By the time Walrus and company went into the studio to record 1972's cleverly titled "Walrus", the band showcased the talents of percussionist Warren Bryant, keyboard player Mark Fiedler, guitarist Robert Franklin, bassist Michael Herring, and drummer Warren "Bugs" Pemberton. Produced by Robert Adcock (Joseph Long credited as executive producer), the album typically gets labeled as a slice of horn rock which undoubtedly turns off a big chunk of the potential audience. True, tracks like 'Let Me Save You' and 'Freedom' featured some horn arrangements, but with the exception of 'You Can't Shine', this wasn't anything like a BS&T, or Chicago album. Namesake Walrus had an interesting, if not particularly commercial voice - imagine a gruffer version of Meatloaf and you'll be in the right aural neighborhood. As a band these guys were actually quite tight, though producer Adcock's penchant for adding shrill female backing singers to virtually every track didn't help the proceedings. - The album opened up with a strange R&B-tinged number that's always reminded me of a weird hybrid between Delaney and Bonnie and David Clayton Thomas and BS&T. Imagine Clayton-Thomas singing with a bad head cold and you'd get a feel for what 'Let Me Save You' sounded like. rating: ** stars - Crazy Things' was a breezy, mid-tempo number, boasting a nice melody and an uplifting lyric. Walrus' voice sounded much more comfortable and likeable on this one. If some would have stripped off the irritating female backing singers, this one would have had some commercial potential. rating: **** stars - Opening up with some cool Franklin 'scratch' guitar, 'You Can't Shine' was the track that probably came the closest to the BS&T school of horn rock. Once again Walrus' voice was interesting, though on this one you were left to wonder whether he was going to actually make it through the track. Franklin also turned in a cool, guitar solo - anyone know what the effect was? rating: *** stars - Once you got over the opening horns 'Freedom' was actually a decent rocker with Walrus displaying his best blues voice. Shame about the irritating female backing vocalists. rating: ** stars - The best song on side one, 'Climb, Climb, Climb' was also the most conventional rocker. Opening up with a great Franklin lead guitar, Walrus' raspy voice proved surprisingly well suited to the genre. Would have made a nice FM hit. rating: **** stars - Side two started with the atypical county-fied 'Bakersfield Boogie Boy'. Sung by either Franklin, or Herring, this one sounded like an Commander Cody and the Lost Planet Airmen outtake. Didn't do much for me. rating: ** stars - A straightforward rocker, 'Nobody's Pearl' was another track that featured either Franklin, or Herring on lead vocals. Franklin turned in another nice solo, but the song would have been even better without the horns. rating: *** stars - Hum, hearing 'Clap Together' you were left to wonder how Up with People get on this album? Just kidding though the poppy, uplifting lyrics certainly made you wonderer. rating: *** stars - A mindless and routine blues shuffle, 'Sweet Thing' was made even worse by the upfront horns and those blasted female backing singers. Terrible. The only thing the song had going for it was Franklin's guitar work, but that wasn't enough to salvage the track. rating: * star - An up tempo Gospel flavored number, 'Pass It On' sounded like it was copped from the Blues Brothers soundtrack. I guess it was enthusiastic, but it sounded like hundreds of other Gospel songs. rating: * star - Wow, 'Friends with My Neighbors' sounded like something a Sesame Street character might have sung ... part civics lesson, part nod to Oliver himself. Funny in a goofy fashion. rating: *** stars Sporting one of the year's ugliest covers (blame photographer Tom Wilkes) certainly didn't do a great deal to boost sales ! "After the album was released the band appears to have called it a day, though his musical career took a couple of unexpected turns. This is just speculation on my part, but producer Long may have taken the master tapes from the Walrus sessions and sold them to Morris Levy. That's based on the fact Levy's Tiger Lily label released an Oliver Walrus solo album in 1977 - "Me, Myself & I" (Tiger Lily catalog number TL-14038). Walrus subsequently focused his attention on DJing, finding in steady niche at Gibby's/Bogies Niteclub in Los Angeles where he eventually became the club's talent manager. Suffering from diabeties and on dialysis, Walrus passed on in October, 2006. For anyone interested, I found a copy of his obituary online: Gary A. "Oliver Walrus" Levine. The world was blessed to have known this dynamic musician, visionary and humanitarian. Gary passed peacefully Sunday, Oct. 29, 2006, at the tender age of 60. Gary is survived by his wife, of 35 years, Betty; daughters, Adora Weiss, Denise Graham, both of Nevada, and Renie Price of California; sons, Roger and Michael Masterson, both of California, and Brian Masterson of Nevada; his parents, Gertrude and Walter Levine of California; sisters, Rochelle Fern of Van Nuys, Calif., and Jolene Clark of Culver City, Calif.; brother, Jack Levine of Yuba City, Calif.; 16 grandchildren; five great-grandchildren; and friends worldwide. Memorial services will be at 3 p.m. Tuesday, Oct. 31, at King David Memorial Chapel, 2697 Eldorado Lane. Graveside service will be held in California. From RYM (rdten1)

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Avanço 5 - Somos Jovens (68 bra psych)

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SAINTE ANTHONY'S FIRE - SAME (US psych - 1971)

Salve a tutti!

ho postato questo disco grazie al link che ho ricevuto da un mio amico e spero vi piaccia anche se è rippato da vinile! la musica proposta è un sanissimo hard rock statunitense dei primi anni 70 (1971) e ci sono molte canzoni che meritano ("lone soul road","starlight","love over you" sono molto belle!) Penso che postarlo contribuisca a non farlo cadere nel dimenticatoio quindi...a voi!

Hi!

Today's post is this great hard rock album! One friend of mine sent to me the link for posting this album (i think it's vinyl rip...-192kb) because he thinks it's hard to find it...(In Italy it's not hard...it's impossible!)

review by Jan

Mindfuck biker stupe-rock from the early 70's, the Fyre were a three piece 'grunt' rock band with cheap guitars, thundering drums, wasted bass, and a shitload of microdot and cheap speed. Like Wicked Lady or a third rate Black Sab, these guys were constantly in danger of going one-hit-of-clear-windowpane too far and falling off the edge for good. You already know if this is your kind of thing or not, but if you are a cosmonaut of the armchair variety, let me gently push you in the right direction. Unlike, say, The Beatles, whose acid world was made of plasticine flowerz, these guys' walls were made out of coarse sandpaper. Clue: the drummer's name is "Sharples". Open wide and stick yr. tongue out, it's time to take a (t)rip.

fonte: http://rateyourmusic.com

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Homer - Grown In USA (1970 usa psych)

Vi sto viziando!

tanti post questo periodo! Spero che possa sollevare il numero di contatti anche se i risultati ancora si devono vedere! ma veniamo al disco di oggi...CAPOLAVORO!!!!! Anche questo l'ho scoperto per caso visto che mi incuriosiva in nome (D'oh!!!)...in più ho faticato per cercarlo perchè sia il nome che il titolo in realtà negli U.S.A. sono il nome di una marca di ARANCE!!! Ma torniamo a noi....ripeto: CAPOLAVORO DI MUSICA PSYCH!!!! Ci sono anche dei tocchi prog ma solo accennati!Mi sento di consigliarvi "Circles in the north" "In the beginning" "Dawson Creek" ma è meglio che finisco perchè altrimenti le citerei tutte!!!! mi ripeto...BELLISSIMO!

Una piccola richiesta se possibile...aiutatemi a mantenere un buon flusso di gente su questo blog altrimenti la mia idea di far conoscere una musica non proprio comune cadrà nel vuoto! Vi ringrazio! a presto!

Hi!

This album is only a MASTERPIECE OF PSYCH!!!!

Originally released in 1970 by United Recording Artist. The only album by this San Antonio, Texas based combo. From psychedelia to more progressive rock with some very fine guitar work. There are great song like "Circles in the north","In the beginning"(extraordinary song) and "Dawson creek".There are arwork and 2 bonus track (edited by Akarma Label some years ago...)

You MUST have it. A MASTERPIECE!!!!

bye! i waiting for comments!!!

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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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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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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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