Murahachibu - Live + 1(jap hard rock garage 1973)

Why are there no reviews for this band? I own an album of theirs called 'Live' from 1973 and it is wonderful. The rhythm guitar riffs have a definite Keith Richards influence. The drumming is really strong and 'on the money'. If you enjoy the sound of a real, nonproduced, basic, infectious drum kit then this is the album for you. There are copies of Chuck Berry-type songs and stuff like that. Some of it puts me in mind of The Stooges. Of course the singing is all in Japanese but with music this good, who cares? I would recommend this to anyone who likes good basic no-nonsense real music. From RYM (xvgi)

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Cromwell - At the Gallop (irl blues rock hard rock)

Like the Luxembourg band Cool Feet, Cromwell's sole album is one of the most sought after, and expensive, European albums out there. And also like Cool Feet, the album isn't really that special. A guitar based trio, who play a combination of hard rock and boogie rock. Save for some good leads, most of this can be easily forgotten. Comparable to many rare albums here in America. Indispensable for fans of the rare private press genre, but only to them. From RYM (ashratom)

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Oz Knozz - Ruff Mix (1975 us great hard rock)

One of the better US private press progressive (alliteration allegation) rock albums from the 1970s. Coming from Houston, but having that amateurish production, vocal style (Id's "Where Are We Going" leaped to mind) and overall approach of any US 1970s group from anywhere. Like most bands of the era, the idea was to throw out a few different styles to see if something would stick. Of course the theory was a major label would hear their private album by chance and want to sign them up for a 5 album contract so they could open for Led Zeppelin or Foghat's next US tour. What separates Oz Knozz from the others, is a strong compositional component, with plenty of original ideas and superb instrumentation (especially the guitar work). My favorite track though, has to be the groovy and infectious horn rocker, which sounds as dated as the movement itself and easily could have been from 1969. The fact these guys tried that in 1975 is the equivalent of Genesis releasing a "Foxtrot" like album in 1982. Which explains why Oz Knozz disappeared practically without a trace. Love it. From RYM (ashratom)

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Altona - Chickenfarm (1975 kraut jazz ger)

This is so my style of Jazz Rock song lengths that are within the 4-5 minute range with the exception of the wonderful 10 minute title track song. This album has a lot of catchy tunes and great singing from Karl Heinz Blumenberg for serious Jazz lovers this album wont be to their liking it isnt adventerous enough. However for this guy who does not like crazy heavy jazz fusion i consider that stuff way to hard on the ears this album is great. I believe there are a few different types of Saxaphone's on the album no trumpets and trombones. I like five songs from this album the slower ballad (Lover's Tale) and the uptempo Elephant Walk, Back Again & Ramadam and of course the moody title track. Check this album out its very good From RYM (classicrockman)

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Q65 - Revolution (holl 1966 garage)

Pretty impressive garage rock from this band from the Netherlands. The opener, "The Life I Live" is an excellent opener which, like almost every song, has a very garage feel to it. "I Got Nightmares" has some great rhythmic drum and bass while "Just Who's in Sight" has a definite Eastern feel to it, mostly because of the vocals, droning guitar, and some sort of flute interlude in the middle. The sax on "Mr. Pitiful" is well done as is the pounding rhythms and accompanying harmonica on "I'm a Man." "Summer Thoughts in a Field of Weed" is an excellent down tempo number and "Sour Wine" is another gem with haunting organ and acoustic guitar. "Bring it on Home" is a longer, bluesier thirteen minute jam that is great at times, but not at others, and needed to be about six or seven minutes shorter. From RYM (branting)

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Ax Genrich - Highdelberg (1975 ger krautrock)

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Antares - Over the Hills (1982 ger krautprog)

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Potter-St. Cloud - Potter-St. Cloud (psych pop 1970)

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Gash - A Young Man's Gash (1972 kraut prog germany)

This album is an unexpected surprise! I can think of few albums that start so horribly and end so incredibly! “Angel and Mother” is SO appalling on every level (soppy music, terrible lyrics, cheese-grater-to-the-eardrum vocals) it nearly made me want to throw the disc out of the window when I first heard it! But I stuck with it through the balance of the A-side (“Twentyone Days” is nearly as bad, but “In The Sea” is slightly better, sounding like one of Jane’s cast-offs) to make it to the “A Young Man’s Gash” suite. People, let me tell you this is one of the most amazing, fascinating and one-of-a-kind half-albums I have ever heard! It almost sounds like a completely different band! A blend of haunting rock & roll, orchestration and dark textures (the crazed screaming in Part 2 makes this a must to play around Halloween time!) that sound like nothing else I’ve heard before or since. Wow! Worth hearing for the mind-blowing title suite, but you might want to give the first three tracks a pass. From RYM (progbear)

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Noir - We Had To Let You Have It (1971 uk prog)

This is a very difficult record to describe. To start with, it’s different than anything else I’ve heard from this period. Overall the record is heavy on the keyboards (organ, piano) and is VERY percussive in nature (no drum solos though). Plenty of good wah-wah and fuzz guitar solos as well. The 9 minute opener is dog slow with an almost gospel tinge to it (the vocals throughout have this spiritual, almost Native American feel). It picks up the pace considerably from there. Has a strong white boy R&B vibe, as if Rare Earth recorded an album for the Dawn label. Also hear slight references to Indian Summer as well. (RYM Ashratom)

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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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Bill Plummer and the Cosmic Brotherhood (68 psych jazz us)

Sitars and snake charms and tablas and bongos and bells and clattering free jazz that opens up my third eye good and wide. ...And then there's the lite-jazz lounge cover of "The Look of Love" which sticks out like a sore thumb. Yeah, don't know what they were trying to do there. From RYM (vali666)

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California Earthquake - Reformation (us 71 psych hard rock)

From RYM ()

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Bethlehem Asylum - Commit Yourself (70 us jazz rock)

The first time I played this album I guessed they were a New York-based outfit, but then I noticed that the album had been recorded in Macon, Georgia's Capricorn Studios ... That said, it turns out they were actually from the Clearwater/Tampa area of Florida where drummer Buddy Helm had been a member of Those Five. I also know that the band toured extensively and regularly opened for The Allman Brothers Band. So what else can I tell you? Well, the line up that recorded "Commit Yourself" consisted of sax player Charles Dechant, keyboardist Christian Gandhi, lead guitarist Danny Finley, bassist Jimm Neiman, and drummer Helm. Signed by the New York-based Ampex label, there 1970 debut was produced by Dechant. Featuring six original works, the predominant sound's horn-propelled jazz-rock. That description won't exactly endear it to many folks and I'll readily admit that it left me somewhat cold. That said, there are at least a couple of interesting moments including the atypical folk-ish 'Child of the Mountain', 'Talkin' 'Bout Love' which was an attractive slice of blue-eyed soul, and Finley's nice guitar throughout the rocking 'It's About'' (easily the standout track). Elsewhere Ampex released 'Child of the Mountain' b/w 'Talkin' 'Bout Love' as a single (Ampex catalog number 110298). "Commit Yourself" track listing: (side 1) 1.) Child of the Mountain (Danny Finley) - 3:15 2.) Sailboat Ride (Danny Finley) - 3:10 3.) Earth (Robert Christian Gandhi) - 9:50 (side 2) 1.) Sea Rider (instrumental) (Charles Dechant) - 6:43 2.) Talkin' 'Bout Love (Charles Dechant) - 2:06 3.) It's About (Danny Finley) - 5:13 I've never heard it, but the following year the band recorded a sophomore LP; 1971's "Bethlehem Asylum". Helm briefly played with Tim Buckley and then Frank Zappa. Dechant was a member of Hall and Oates touring band. Finley hooked up with Kinky Friedman and the Texas Jewboys. RYM (redten1)

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Avanço 5 - Somos Jovens (68 bra psych)

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Fantasia - Fantasia (1975 fin prog)

From 1975; a Finnish one-shot obscurity which, as far as I can tell, has never been released on CD. Undoubtedly they didn't have much of a recording budget, but they nonetheless managed to put together a fairly unique set of music. Blend Bardens-era Camel with Nuclear Nightclub-era Wigwam, subtract the virtuoso playing, add an unconventional approach to composition and an appreciation for brevity, and you get the idea. It's not a mind-boggler by any stretch, but it has a certain melancholic charm to it, and it deserves a better fate than to be dismissed out of hand. From RYM (reginod)

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Charity - Charity Now (1968 us psych rock)

Basically soul flavored rock with some horns and a few progressive moves. They were a Cal. band. Grades - 3 B's, 4 B-'s, 1 C+, and a C-, overall, pretty consistent. From RYM (tymeshifter)

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Good Rats - The Good Rats (68-69 hard psych us)

I've been watching the ' Rats, and their predecessor group, The U-Men, since before I was old enough to be in the venues they were playing in, thanks to my girlfriend's older sister. I still catch them every time they play in town (they play at a local club, right in my little backwater of a town). On this album, though it's somewhat deeper than most of the pop of it's vintage, there can be no mistaking the commercial orientation of the record. There is a diversity of styles to their mat'l, and Peppi's voice is (and always was) quite distinctive. Probably my biggest criticism is a lack of consistency, but there is plenty enough good to outweigh the mediocre. Grades - 1 A-, 3 B+'s, 2 B's, 2 B-'s, 1 C, and a C-. From RYM (tymeshifter)

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Cymbal and Clinger - Cymbal and Clinger (1972 uk rock /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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Madison Dyke - Zeitmaschine( germ 1977 kraut)

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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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