The Spiders- Let's Go Spiders!![66-68 Japan Group Sounds\

Highly Recommended
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aka gs i love you vol.3 1966-68

28 tracks of beat and garage tracks
with maybe some psych influences
The Spiders are one of my fav. group sounds
bands after The Mops and maybe the better material
by Golden Cups(the punky garage stuff and not the orchestrated ballads wich their record company forced them to do)
and some other bands i have on various compilations

most of the stuff The Spiders made between
66-68 is excellent British Invasion Beat/Garage Rock
with sometimes some psych influences
which makes you tap your feet on the ground!

allmusic review:
The Spiders recorded from the mid-'60s through around 1970 in a variety of styles. However, this 28-song compilation is exclusively comprised of the 1966-1968 British Invasion-garage-psych material with the strongest appeal to international collectors. Looked at in the cold objective light of day, it couldn't be rated among the best such stuff to pour forth from non-English-speaking lands, although it's certainly brimming with frenzied energy. Their weaknesses were common to many such bands, whatever their native language. Their original material was frequently derivative, and lacked the melodic invention and instrumental skill of their inspirations; many of these are feverish but basic R&B-pop hybrids. Getting past all that -- few people are checking this out expecting something on the order of the Yardbirds or even the Chocolate Watch Band, after all -- it's brash, if oft-rudimentary, beat music with some unusual twists, particularly in the ants-in-the-pants raunchy vocals, sung in both Japanese and English. "Kuroyuri No Uta" is a clever psych-pop number that appropriates a vocal hook from the Association's "Cherish"; "Lucky Rain" is a good illustration of their occasional facility with brooding, minor-keyed tunes; "Summer Girl" illustrates their occasional bent toward Beach Boys-influenced California pop; and "Kaze Ga Naiteriru" and "Ano Niji Wo Tsukamo" summon some genuinely weird moods with their mix of growly spy guitar and cinematic orchestration.

some litle information about GS

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Kim Jung Mi-Songs of Shin Jung Hyun[female folksinger, south korea '72]

Highly Recommended
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Archigram of Voltage Controlled Technicollor posted
her Now album some time ago(excellent album,go get it!)
there was also a second picture and that is this album
straight from vinyl
no cd reissue availible if i am informed correctly


to bad the first track is corrupted and doesnt work
but still there are 7 more excellent tracks to enjoy
tracks are tagged in english

again its good folk pop
with some psych pop influences,which is mainly due the fact
that Shin Jung Hyun plays guitar on this album


some info(taken from Voltage Controlled Technicollor)
Kim Jung Mi has a somewhat distant, yet emotional voice, having been compared to Marianne Faithfull and Francoise Hardy. The backing band is led by Korean superstar guitar hero Shin Jung Hyun, who at this time was the leading (if not the only) rock star equivalent in South Korea

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JA Caesar-Heresy[''72 Japan Avantgarde Rock]

Highly Recommended!(and im not lying)
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first record by the guy with the longest hair(JA Caesar also
known as JA Seazer)
one of the reall hipies in japan
19 tracks of awesome psychedelic avantgarde rock
with some folk mixed in
this was probaly used for some Shuji Terayama theatre play
wich was also performed outside japan(also in the netherlands)
this is a recording of the only show they did in japan
excellent quality

also contains some kan mikami performances

some information:
Beautiful book/CD Japan-only reissue of a particularly inspired side from Tenjo Sajiki, the Japanese avant guerrilla theatre company founded by legendary poet/film maker/counter-cultural provocateur Shuji Terayama that existed contemporaneously to first wave avantists like Flower Travellin’ Band, Keiji Haino’s Lost Aaraaff and Les Rallizes Denudes and that featured dusted acid/rock/folk/avant moves composed and executed by the young wunderkind JA Seazer. Alan Cummings rates this particular one as a real early peak for Seazer’s music. Written for a series of foreign performances in 1971 – Nancy, Rotterdam, Belgrade, Zagreb and other areas of the Balkans – Seazer is rumoured to have composed and recorded all of the music for Jashumon/Heresy in the space of a few hours the night before the troupe left. This particular recording is drawn from the only Japanese performance of the play, January 1972 in Tokyo. Released at the time on a now very rare side by Victor, this massive new edition adds a clutch of new material, including two powerful performances by Kan Mikami. The music is fairly astounding throughout and for the most part defies any attempt at pithy generic description but the piece include flashes of huge, organ-led marches supported by clouds of choral song and throat-shredding death/folk vocals, brief episodes of forlorn traditional breath lost in a thin soup of electronics and gongs, massed acid chants ala Ya Ho Wha 13 and bursts of modal guitar psych. The accompanying book is a beauty, featuring a ton of performance shots and all-Japanese text.
Highest recommendation.

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Pink Floyd 1974 Tour Comic

no music today,but something music related
i uploaded this for someone yesterday,aint thought some
blog visitors might enjoy it
highest quality scans i saw of it(1704 X 2204 pixels)
get it


tomorrow some JA Caesar(his first album)
i posted his denen ni shisu(Death In The Country) soundtrack sometime
ago his first album is sort of a strange breed of experimental prog rock

Ellufant-Release Concert[72 Obscure Dutch Experimental Rock]

Highly recommended
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originalaly only 150 copies pressed
this is the limited repress of 500 copies(vinyl not on cd)
so its quite obscure
has two 16 minute+ jams

its similiar to early pink floydfloyd and german bands like can
and experimental electronic music


Why was this record released? Release, a dutch foundation and social workers organisation which was trying to find alternative ways of helping young people with various problems, needed money and decided to organise a benefit concert in the Rotterdam Youth Center 'De Ruimte' in April 1972.

They taped the concert by Dutch experimental band Ellufant or Abandoned Elephant or 11 phant, as they were also known as and pressed approx 150 copies of the album to sell in aid of the foundation.

What about the music? Ellufant was a two man band from Rotterdam, the Netherlands; keyboard player Ernst Kersting and percussionist Cees P. de Visser. Kersting used a modified keyboard, which he calls a V.S.K. Electronics organ on the sleeve. The music is dark, haunting underground improv sometimes comparable to early Pink Floyd, at other times sounding like german bands e.g. Can or even like electronic experimental music.

Not bad sound quality either for what is basically a private press on a shop label (Diskothiel was a record shop in Rotterdam).

more information here

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Waterpipes & Dykes Dutch Psychedelic Underground 1966-1972

Highly Recommended!
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high quality artwork included(front and back)

18 tracks of awesome & obscure dutch psychedelia
only stupid track is the song by Karel Appel(yes,that painter)
who sings in very bad english(or is it mumbling)

ends with 2 long tracks(10 minutes +)
one being from my province(children of jubal)

one funny thing is that its volume 1,while there is not
a volume 2(yet!) and there's not even info when volume might
come

The Arnhem Institute of Music presents the lost archives of original Dutch Krautrock and Psychedelia. From the sublime to the ridiculous, and often within the same song, this compilation is a rare gem.

"After 30 years this musical pearl is wrested from oblivion and this unique collection of recordings finally gets its well-deserved recognition in the world of pop music...

Long awaited compilation of Dutch psych. Holland produced some of the best '60s psych singles but few have been compiled, until now... This amazing comp is housed in a full colour psych sleeve with fully annotated booklet. It features gems from Mothers Love, NV Groep 65, Crash, Dirty, Karel Appel, St. Giles System and more...

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Nederbeat Singles 63-69::the b-sides volume 2

Highly Recommended!
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second(and last) volume in this b-sides compilation
serie

again 50 tracks of excellent b-sides

contains some excellent tracks
like Lemon Coloured Honey Tree by After Tea
wich is a great psych pop song
and some other excellent songs by The Motions,Bintangs,Sandy Coast and Shoes to name a few

taken from the shindig review:
the usual (classy) suspects are here as they were on the box set itself, Q65, Outsiders, Golden Earrings, Cuby & The Blizzards et al. However, these apart across the four discs, there are some great finds which make these well worth having;

After Tea's 'Lemon Coloured Honey Tree' is, as you would expect from such a title, a great pop (psych edged) number, as is their 'The Time Is High'; one of the Sandy Coast's later numbers, 'My Friend Abdullah' is a mid paced floating psych ballad (if such a genre exists!), anything by Zen is just fine by me, and their rendition of 'Aquarius' is the most pucker version I have ever heard; The Hunters 'When I See Babette' is a fab floaty balladic number but skip their 'It Ain't Me Babe' which despite the R&B implications of the title sounds like a cowboy song! Hu & The Hilltops put in a few great appearances and The Dukes 'The Day That Changed My Life' and Bojoura's 'Faceless Sorrow' are two of the nuggets that make me glad I own the discs. Overall, if you want a goodie bag of Dutch '60s sounds these sets largely give you that; pop, R&B and beat that bring a smile to the face and a lively tap to the toe, a bit of chaff here and there (hey they are B sides!)

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Nederbeat Singles 63-69::the b-sides volume 1

Highly Recommended
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a late post today,because it was a huge upload
and my computer one time overheated (lol)
so i had to let him cool down

50 tracks of nederbeat(dutch beat) b-sides(251 MB)
Q65,RO-D-YS, The Outsiders,early Golden Earrings
Haigs,The Motions,Group 1850,Bintangs,Les Baroques ,Dragonfly
and much much more

the second volume should follow tomorrow
a review here:

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San Ul Lim-Volume 1:Ah! Already[77 Korean Psychedelic Rock]

HIGHLY RECOMMENDED
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first album by san ul lim
contains the track:Perhaps, It Was a Late Summer
wich was on various compilations including the asian volume of
the love peace and poetry compilation serie's
and some more compilations i cant remember.

it would be awesome if they dedicated a volume to korea
there would be enough material to fill a volume
not to mention all Shin Jung Hyun groups:the donkeys,the men,the questions
and the golden grapes to name a few



all tracks are tagged in english.

some info:
After their first album release, many Korean young peoples were surprised by their music!!

Their music was very unique and fresh and it distinguished them from previous Korean pop music.

Anyway their first album became a million seller in the Korean 1970s pop scene over the time. The record sold immediately over five hundreds of thousands copies! But band members were in confusion. They didn’t know their music would be that good. So they said that “After our first album release, we are just left with our musical instruments and lost our music.”

"San Ul Lim (translated as 'That Mountain Echo', alternate spellings include 'Sanulim', 'Sanullim' and 'San Ul Rim') was formed by three brothers born of privilege in Seoul, South Korea. With confidence gained from endless practising and competing in a university student song contest, they approached record label SRB (because it was near their house!) and recorded their first album in just one day. Upon its release in 1977, the LP sold over a half-million copies and paved the way for many further volumes. The songs are full of fuzz guitar, tinny keyboards and simple production, reminding one of the American garage and pop-psychedelic groups from the sixties, but with an Asian flavor. For this new reissue World Psychedelia have included two pages of English liner notes, explaining the significance of the final track, a cover of the traditional Korean folk song 'Arirang'."

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Kan Mikami Live x2[71 & 72 Japan Folk]

Highly Recommended!
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Kan Mikami is great!
one of my fav. folk singers
i love his emotional and powerfull voice
he was also part of the avantgarde music group
Tokyo Kid Brothers
and i posted kan mikami's album Bang! here
wich is an excellent album


some info on this guy
You don't have to speak Japanese to love the music of Mikami Kan. The music is the single digit (read 1) trigger finger--the impetus to the Universal Fucking Blast. Mikami is a guitarist/songwriter, loosely described as folk or in his own words, Japanese blues. Now a fixture in the Tokyo underground, Kan has been around for over three decades pummeling us with his soft hammer. In addition to playing his solo material in Tokyo live houses regularly, Mikami is an actor and a writer. He also plays in an improvisational trio called Vajra with Haino Keiji and Ishizuka Toshi.

His first thought on arriving in Tokyo in 1968 was violence. Thus, with that universal emotion, a whole new species of blues was born. The Japanese blues... the Mikami mojo. A pristine silver thread of those universals run through all of Mikami's recordings. It's a thread composed of brutality and tenderness, angst, empathy and all that is ineffable and, as a result, crosses linguistic barriers. It's a graceful sonic melee sung through Mikami's singular rasp turned tender. It's also a body of work which is instantly recognizable as Mikami, yet the subtle variations between records sets each directly beneath its own beam of light. So far, each record has defined its own personality. Kan always goes back to the same well, but the dirty water he draws is a little different every time. Perhaps the most striking of Mikami's muses is his use of anger. It's a crisp and muddy flavor- an acquired taste, a powerful homegrown tonic of rustic wisdom and urban cynicism. There are frequently violent episodes in his music and lyrics, whether it is overt or understated.

But let it be known that his take on anger is not at all sensationalistic. It's purity incarnate. Part of the joy of experiencing Mikami is his incisive criticism and avoidance of fascile social and musical trend. And that's a big deal in Japan today, with its oft hasty acceptance of even the most trite whims of Western pop culture. In any case, over the past 3 decades, Mikami has managed to flood a juggernaut of a body of work at us; it rushes over us, swallows us in its austere white intensity, freezes our blood in vein, and stops us cold in our tracks. He is genuinely engaging, oddly spiritual, but most of all he captures the essence of the blues, translates it into his language, then releases the dam back in our direction.

read the rest here

71 Japan Folk Jamboree
7 excellent live tracks

Live 72 no idea were recorded
1o excellent live tracks

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Too Much-Too Much['71 Japan Hard Rock]

Recommended
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Update:
it is indeed the helpfull soul
and original LP copy's of this record
are worth 2000 dollars or 3000 with obi-strip

when i listened the first time to this album
i heard something familiar:the vocalist from
The Helpfull Soul!
i was not sure so i started the first track from the helpfull soul album
and it really was him

maybe its the helpfull soul under a other name,but im not sure.
its excellent bluesy hard rock
similiar to flower travelin' band,blues creation and Helpfull Soul
but then with some slow bluesy songs thrown in

and the album ends with a 12 minute song

short desccription from freakemporium:
Great 1971 Japanese rock album similar to Flower Travelling Band with powerful riffing and great guitar work. At times it feels like it was recorded by a band from Texas or Georgia. Southern style rock then, with plenty of cool guitar work that grooves along very nicely.

rockadrome:
Too Much CD. Reissue of excellent early 70s Japanese hard rock with blues edge featuring fantastic vocals, songs and guitarwork. A classic in the genre.

sample:
Grease It Out

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Erkin Koray-Erkin Koray [''73 Turkish Rock?]

Highly Recommended
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ive been digging the music by this guy lately
he is a excellent guitar played,and was called the turkish jimi hendrix for some time

great music for this hot weather
has a fine turkish vibe to it

the music from this record ranges from ''68 to 73
and you can hear that(go listen to the track Sana Bir Seyler Olmus and some other wich sound like a turkish take on beat music) but most of it sounds psychedelic(like the awesome Istemem)


Most known Turkish Progressive Music musician here in the rest of the West is Erkin Koray.
The attention was grown after the bootleg reissue from Xotic mind in Sweden.
Also collectors became aware of a potential in Turkey.
This expensively sold record was recorded directly from bootleg tapes and records, contained several recording mistakes, but it made people curious.
The way Erkin plays the electric guitar and crosses borders from an advanced rockbeat up until even (ethno-)psychedelica (for some recording he was even called the Turkish Jimmy Hendrix) is undeniable. His early records from the seventies should interest many collectors.

Erkin's most progressive period dates from around 1974. From this period exist a bootleg live recording with Jimmy Hendrix in Woodstock like mood on the track "Mesafeler", the only recording from it with a still listenable recording quality.(to baf that bootleg is a audience recording)

Erkin was banned by TRT(turkish state tv) for a long time.
His records were not being played until 1992.

some more info from forced exposure:
Absolutely over the top debut album by Turkish psychedelic guitar guru. At last reissued on vinyl, this is the rarest of all Erkin albums but also the rarest Turkish psych album ever. This album, originally released in 1973, is actually a compilation of singles from the previous years since 1968. You can notice the difference in time when listening to the album, with some tracks kinda pre- psychedelic and some others heavily into it, but all of them with that unique Eastern feel that the guitar master gives to their recordings. Definitely, the best Koray album together with Elektronik Turkuler, a total masterpiece.

and an other huge article here

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no post today

its just to hot here
and im to tired(slept quite bad yesterday)
to upload & choose something to post
& write and research some info about it

go take a dive in the archives guys
maybe's there something you missed

or check this blog
http://playitagainmax.blogspot.com/

lots of stuff that never was released on cd


not uploaded by,me but by some one i know

J-Zone-Experienced!(Jimi Hendrix Remixed)

only 1000 copy's pressed
uploaded by some one i know

10 beats all made up of Jimi Hendrix samples(voice,guitar ect...)

you might say Blasphemy!!!! hang this brotah!
but calm down,its in my humble opinion he (a fan) did a good job on it
would make good auto driving music
some tracks are good,some not

best tracks:hit 'n run,Pimp Palace Magic,Funky Child
but the rest is not bad,but could have been done better
but i(as a rock listener with a bread musical taste) didnt find any fillers


Review i found

J-Zone, whose skills behind the boards have been just as lauded as his skills behind the mic, pays tribute to a legend way beyond his time with "Experienced": Jimi Hendrix.

"Experienced" is essentially an instrumental album where J-Zone samples, rearranges, and loops Hendrix riffs into a hip-hop-ish pattern, similar to what Danger Mouse did to the Beatles' "White Album" for the much-discussed Jay-Z remix "The Grey Album." And much like that album, "Experienced" is impressive considering the circumstances.

I'd be interested to see what Hendrix fans think of this. Whenever a project like this is done, it results in strong reactions. But as you listen to "Experienced," it's obvious that J-Zone genuinely cares about honoring the legend who he happens to be a fan of. It's much easier to accept a reinterpretation when it's done by a fellow fan, especially a fan as talented as J-Zone.

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Tokedashita Garasubako-Selftitled['70 Japan Acid Folk)

Very Highly Recommended!
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thanks to Johhny Roberts for this

excellent psychedelic folk
this is not acoustic
enough electric guitar and other things

also known as Melting Glass Box
the song Kimi Wa Dare Nanda was on the Love Peace and Poetry
volume dedicated to japan(where the song was badly tagged)
wich is one of the best volumes in the whole series(the turkish one is also good)

this might apeal to Happy End/Hosono fans
becuase he had a certain role in it
guitar is done by the guitarist of Blues Creation

contains correctly tagged song titles in Romaji
this is probaly one of my favourite "folk" albums

but enough by me

information provided by ...... from the japan based label tiliqua records

Regarding Tokedashuta Garasu Hako – . In any case, it is a wonderful album, not really poppy – I guess you got that description from a site that had this Australian guy writing a lot of wrong imformation about a lot of albums….almost all he wrote had some mistakes in it. But anyway it was a sympathetic attempt.

Anyway, brief sketch on Tokedashita

Jack’s drummer Kida Takasuke became, after he left the Jacks, involved in one of Japan’s legendary acid folk recordings, being the “Tokedashita Garasu Hako” (溶け出したガラス箱/ Melting Glass Box) which was released in 1970 on URC Records. The main player and concept mastermind originator of this venture was Nishioka Takashi (西岡たかし) who was initially not a musician but a man who provided artists with conceptual ideas. For this effort however, he sat behind the wheels of creation himself.

The album turned out to be one of URC’s uncrowned acid folk and psychedelic rock products that embraced a surrealistic sound, which Nishioka himself referred to as being almost Dadaistic in nature. Next to him the other main participants in the creation of this album were Kida Takasuke and folk singer Saito Tetsuo (斉藤哲夫). The three of them formed the main forces of the Tokedashita Garasu Hako unit and called in, during the recording of their sonic master plan, the help of some friends to assist them such as guitarist Kato Kazuhiko(加藤和彦), Apryl Fool and Happy End key figure Hosono Haruomi (細野春臣), Blues Creation guitar mangler Takeda Kazuo (竹田知夫) and bassist Saeki Masashi (佐伯正志), perfuming the overall atmosphere of the recording session with the scents of avant-garde and experimental components. In a manner of speaking, it can be adhered to as an experiment spinning out one single image fusing words and sound. After all, it was an attempt that, through the merger of personal and characteristic feelings omnipresent amongst these radical musicians, could unravel a sonic picture scroll that beheld surrealistic color sensations.

The mysterious and other worldy sounding flute play of Kitada, which evoked and incorporated a closely resembling Jacks garage-tinted, Hosono’s bass playing that resembles scenes drifting in from the other side of the shore and the acidic guitar licks dripping out Takeda’s flowing playing style all add extra texture to the ethereal sonic experience. After the Tokedashita Garasu Hako experiment, Toshioka joined the Itsutsu no Akai Fûsen folk group, whose “Open Sky” LP of July 1971 contained a one side long progressive folk piece “Tokidoki Sore Wa” (時々それは) that to some extent tried to recapture some of the sonically spheres present on Garasu Hako.

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The Dream-The Dream Archives[Dutch Psychedelic Rock]

Highly Recommended!
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excellent dutch psychedelic rock
from 68 to 71

this contains all single's and unreleased tracks for a album wich was planned to be released
thanks to max from the philephines for this
(his brother was in the band)

sadly the b-side for the first single was not included on the cd
personally i added the a-side from the first single
and a track from the band Mother's Love(the a-side of their first single from '67)
the album by Mother's Love still is not re-released

this seems to be out of print

Biography:
In 1966 the psychedelic group. Mother’s Love is founded in Tiel, not far from Utrecht in the centre of the Netherlands. One year later two singles and an LP are released of which suprisingly, the album is also released in Italy. The LP is titled Take one and becomes an instant flop. Soon after that, the group name is changed into The Dream. Under this name the single The doting king is released in 1968. By then the band has already more success then they had with Mother’s Love. During their existence over 1.000 concerts are given, with film projection psychedelic background. They also play Paris (Golfe Drouot), London (Speakeasy) and a couple of Dutch double-concerts with Pink Floyd in Amsterdam and Maastricht. In 1970 the band is invited for some popfestivals like Bilzen, Kralingen and the first edition of Pinkpop. They also perform on tv, for over an hour in the program Dit is het begin, where they perform parts of the rock-opera The peacock and the rat. Most important group member is Floris Kolvenbach, composing all songs and writing all the lyrics. In 1969 and 1971 two more singles are relased at minor success but in 1973 it is all over and the band folds. Floris Kolvenbach attracts attention afterwards with the project Mirakel Music and the experimental formation Metal Voices.

Reviews:
he music The Dream makes is mainly sixties psychedelic music with some blues influences, as can be heard on Can you hear me howlin' or on Sleeping rose. Sometimes they remind me of The Kinks (We'll be back yesterday morning) or The Doors (Dino, Four phonecalls). The music is mainly vocal oriented, but there is also a big part for the guitarist. The most progressive track is The diamond and the fool.

Unfortunately the CD doesn't give much information on when or where the tracks are recorded, so it is hard to tell how their music evolved.

So don't expect some early progressive music from this band, but there are some fine moments on this compilation.

Complete unreleased album from Holland's best kept psychedelic secret, from the late 60's. Having formed out of Mother's Love, this band went on to make this collection of tunes which would lay on the shelves for years, collecting dust. This is unheard dutch pyschedelia that will be a must for collectors.

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San Ul Lim-Live[Korean Psychedelic Rock]

Highly Recommended!
live bootleg by korean psych band San Ul Lim
i posted their second one some time ago


excellent quality
quite a long concert(32 tracks 1 hour and 30 minutes)
year unknown,but i think around 78?
or around their first album because i dont hear any organ
but theirs quite some stuff from volume 2

also includes some acoustic tracks

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Part1[100 mb]
Part2[7 mb] reuploaded
Part 2[alternate link]

Ahora Mazda-Selftitled['71 Dutch Psychedelic Prog-Rock]

Highly Recommended!

Excellent dutch psychedelic rock with some jazz influences.

tomorrow some again some japanese stuff

biography:

In 1965 jazz musicians Rob van Wageningen (flute, saxophone) and the brothers Peter and Winky Abbink (bass and drums respectively) are playing regurlary with other jazz musicians like Hans Dulfer, Henk van Es and Theo Taldik but also under the name of Free Art Group. In this group they play in the jazz tradition with the intention of free expression, inspired by musicians like Ornette Coleman, Sun Ra and John Coltrane. They also accompany poets during jazz and poetry meetings.

They are joined by Tony Schreuder (bass) in 1968, whilst they call themselves Group 67/68. Tony is a colleague of Rob from the record shop where both work. The arrival of a bass player makes Peter Abbink switch to guitar. During concerts in Felix Meritis they meet Ruud Tegelaar, manager of center Fantasio. He asks them to become the house band in Fantasio. By now their name is changed to Ahora Mazda, which comes from Ahoera Mazda, the god of light from the holy book Zend Avesta. The name is suggested by Tegelaar. Under the influence of Jimi Hendrix, Captain Beefheart and The Mothers Of Invention the music is changed from avant-garde jazz to psychedelic rock. Also the influences of world music play a part in the musical explorations of the new band. Percussion becomes an increasingly important ingredient and Rob also starts to play the kalimba (a thumb piano) and various oriental flutes. Lyrics both recited and sung are more and more interwoven into the musical trip. Not only do the play in Fantasio, but they also participate in the Provadya? tour and play regularly in Paradiso. They also appear at benefit concerts like Musicians for Vietnam. They are also be seen in double acts with bands like Shocking Blue, Groep 1850 and Circus.

In 1970 there is some interest form the American record label E.S.P., but a deal is never been closed. However they do record an album for Bovema (on the experimental label Catfish, where also the first Solution album was released), with Joop Visser as producer. They don't record the long jam sessions they were known for, but they choose shorter, more arranged songs. The album is recorded in three days and released on May 31, 1970.

During 1971 Tony Schreuder and Winky Abbink are having more and more problems playing and rehearsing the music. At concerts they need the help of substitute musicians, like guitarist Jan Landkroon and Michiel Krijnen. Abbink is replaced by Paul van Wageningen, who played drums in Groep 1850. Because of these difficulties and the lack of atmosphere that came with the substitutes the band ceased to exist.

(sources: Oor Popencyclopedie, Nationaal Pop Instituut, Album sleeves, Nederpop)

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Tonite Let's All Make Love in London[1967]

Highly Recommended!
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an interesting movie about the (music) scene in london in ''67
also includes Pink Floyd,The Animals,Vashti bunyan,The Rolling Stones and more!

this wasn't uploaded by me,downloaded it some time ago
and discovered that it was still online,and with the recent death of Syd
it would be a interesting movie for the Floydians

tomorrow i will again post some non-pink floyd stuff


Peter Whitehead's 1967 documentary of London scene in the swinging-60's is a visual treat for Mod enthusiasts everywhere. Featuring a who's-who of the scene, Tonight Let's All Make Love In London is a visual patchwork of 60's culture, seen through the eyes of the people leading it. Mick Jagger, Michael Caine, Vanessa Redgrave, Allen Ginsberg, and Julie Christie are all here, alongside counter-culture artists and other musicians who helped shape their generation and future ones to come. Most of the musical content comes in the form of extremely rare concert footage and inside studio recording sessions, while other segments include candid interviews, strange political demonstration footage, and even a segment on the radical art of body painting! Yes, politics and sex are on the palette here as the psychedelic soundtrack from a very young Pink Floyd, swirls and pushes the film on towards the climax of it's brisk 70 minute running time. Languishing in distribution limbo for too long, Tonight Let's All Make Love In London is a fitting testimonial to the changing times in the mid-60's and one that should be able to live on in the years to come for the young and old to look back on and enjoy.
~ Jeremy Wheeler, All Movie Guide

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stats:
maximumspeed:+/- 900 kb/s +
size:500 MB +

Rest In Peace Syd Barrett

Syd Barret(founding member of Pink Floyd)
who was in pink floyd until '68
died friday the 7th
personaly i was quite shocked
when i read that he died
and probaly also dropped some tears
while listening to some songs by him
i prefered the syd perriod of Pink Floyd
and his solo records are also good(wich i really need to get)


bbc article

oor article(dutch)
Rolling Stone interview from '71


Roger Keith "Syd" Barrett (January 6, 1946 – July 7, 2006)


here´s a good video tribute to Syd
http://www.youtube.com/watch?v=pU8z6r5XDFM&search=syd%20barrett
http://www.youtube.com/watch?v=A_jxkchlpgM

here's some Music:
i assume everybody who visits my blog allready has his solo works
so here are some compilations with different versions and non-album tracks

Opel[Japan/UK version]
For several years, the existence of "lost" material by Barrett had been speculated on by the singer's vociferous cult, fueled by numerous patchy bootlegs of intriguing outtakes. The release of Opel lived up to, and perhaps exceeded, fans' expectations. With 14 tracks spanning 1968 to 1970, including six alternate takes and eight songs that had never been officially released in any form, it is equally as essential as his two 1970 LPs. The tone is very much in keeping with his pair of solo albums; ragged, predominantly acoustic, melodic, and teetering on the edge of dementia. At the same time, it's charming and lyrically pungent, with Barrett's inimitable sense of childlike whimsy. The production is generally more minimal than on his other albums, even bare-bones at times, but if anything, this adds to the music's stark power. Highlights are the lengthy brooding title track, the multi-layered swirl of "Swan Lee," the alternate take of "Dark Globe" (with much better, more restrained vocals than the previous version), and the exuberant, infectious "Milky Way." Meticulous liner notes and excellent sound complete this lovingly archival package.
[allmusic.com]
this is the japanese version wich has 19 tracks
wich is the same as the uk version

get it

Last Recording Session 1974(Have You Got It Yet? Disc 4)


tracks from an unfinished Syd Barrett solo project (1974).
all are instrumental
get it

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Come on you stranger, you legend, you martyr, and shine!



It's awfully considerate of you to think of me here And I'm much obliged to you for making it clear That I'm not here."
- Jugband Blues

Les Baroques- Les Baroques['66 Dutch Beat]

Highly Recommended!
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excellent dutch beat
this is an excellent vinyl rip

you may think whats so special about this band
well they play quite variable music on one album
garage rock,blues,folk and pure popmusic
their second album(Barbarians With Love) seems to be quite
hard to find


allmusic bio:

One of the strangest and best Dutch bands of the mid-'60s, Les Baroques always seemed out of synch with the real world. They had a French name, a lead singer with an obviously anglicized pseudonym (Gary O'Shannon, real name Gerard Schoenaker), and played R&B-tinged pop-rock with odd streaks of European folk tunes and corny orchestral arrangements. Their reputation hinges chiefly upon their first four singles and self-titled 1966 LP, all recorded with O'Shannon before the singer left the group at the end of 1966. At his best, O'Shannon could sound like a less polished, neurotic version of Van Morrison, delivering songs that, like much Dutch beat of the mid-'60s, were sullen and minor-keyed. Les Baroques took this moodiness to extremes, however, in cuts like "Silky" and "Summer Beach," which had a dreamlike sheen and forlorn, doomed atmosphere. At other times, they espoused an earthier, R&B-based sound more in line with some British groups of the time, especially in the sharp organ riffs; "She's Mine" closely approximates Them's ballads, while "O, O, Baby Give Me That Show" is a good Animals clone.




"Such a Cad," a weird punky number that was, like several of their 45s, embellished with bassoon (!) fills, was a big Dutch hit in 1966. But after one more fine single, the typically inscrutable "I'll Send You to the Moon," O'Shannon had to leave the band for military service. Les Baroques did continue for five more singles and a second LP with Michel van Dijk as lead singer, but it wasn't the same, although the first two singles with this lineup, "Working on a Tsing Tsang" and "Bottle Party," were acceptably twisted pop numbers.

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192kbits

Excellent Obscure Funk & Soul Mix

Very Highly Recommended!
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this is for the funk and soul fans!

one of the best Funk & Soul mixes!
(also contains 1 electro track and 2 funky rap classics)
made by Turntablists DJ Shadow & Cut Chemist
this mix was made with all the original 45 rpm singles


DJ Shadow & Cut Chemist-Brainfreeze
It's the CD that made many music fans, male and female, urinate in their underwear for the world to see. It caused (and still causes) a hysteria on eBay when you do a search, and the magic "word" somehow makes records sell twice or three times their value. It has caused stress and amazement among long time collectors of funk and soul records, records that never moved or were unknown suddenly became famous with the release of the underground favorite, Brainfreeze (Sixty7). The recording by DJ Shadow and Cut Chemist was an uncut practice session for a show in February 1999, as part of the Future Primitive Soundsession in San Francisco. Turntablism fans loved the CD by Cut Chemist and Shortkut, and when word of this show surfaced, people were hopeful for some amazing music. When it was heard that the entire set would be done with 45 rpm records, there was a silent but collective "oooooh!

The show was formally recorded by the Future Primitive people. A bootleg live recording does exist (where both are obviously nervous and a bit sloppy), but fans had hoped the live recording would be released. Then it was heard that there was a "secret practice session". Then the rumor came out that it would never be released. Then it came out. It was sold by word of mouth for $15 each. The initial 1000 copies sold out. That was going to be it, but another 1000 were pressed up. It was with this second pressing that started the fricken ruckus. No one knows what happened, but suddenly these dusty old funky tracks that no one really cared about were being absorbed. In many ways these classic sides were being rediscovered by fans who weren't even alive or thought of when they were recorded. Just as the sampling of James Brown caused hip hop to sample everything and everything by him in the late 80's, Brainfreeze pretty much did its own form of damage.

The recording itself also allowed DJ Shadow and Cut Chemist to show off the original records that they either both sampled in their own respective works, stuff that were familiar to most hip hop fans, or to show their true love of funk and soul, both known and obscure.

When DJ Shadow and Cut Chemist would tour together in October 1999, Cut Chemist found his records stolen after a show in Portland, Oregon. When a fan bought 15 copies of the CD from an L.A. record store, it forced Cut Chemist react with a post on eBay. It was too late. When supply was gone, the CD could easily sell for as high as \$85. Someone bootlegged the CD and even came out with it on vinyl. It seemed to come full circle in an odd way, the CD that was supposed to be kept on the hush was now selling more than a Flavor Flav 12". The CD that was released to look like a bootleg was now being bootlegged itself.

Regardless of the drama that has come forth since the release of this CD, it is the music that makes the lasting effect

tracklist+images of the 45's

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get it

Datetenryu-Untu['75-78 Japan Psychedelic Prog-Rock]

Highly Recommended
do leave comments
second official release by Psych Prog Rockers Datetenryu
recorded between 75-78

this album is out of print

Funky bass, swirling keyboards, melodic riffs, epic, soaring solos -- Japan's Datetenryu sports all the hallmarks of the notorious psychedelic prog-rock genre. And well it should: This group from the Kansai area (Osaka/Kobe/Kyoto) dates back to 1971, and is considered a prog progenitor in its native land. The band -- which was named after a racehorse (Datetenryu loosely translates as "cool flying dragon")


bitrate:320 kbits
Part1
Part2

The Taj Mahal Travellers-August 1974 ['74 Japan Free Improvisation]

Highly Recommended!
This one is for the fans of Ghost and early Tangerine Dream
psychedelic droning free improvisation jams!
somewhat relaxing music


Double CD reissue of the 2nd Taj Mahal Travellers album, originally issued by Japanese Columbia in 1974 as a 2LP set. Along with their not-yet-reissued debut album July 15th, 1972 (released by Japanese CBS in '72),
these are some of the most hallowed and whispered about documents of the avant-garde artifact-era (a set of these on original LP would set you back $1000+ even 10-15 years ago & have very rarely been offered anywhere).
Legendary higher-key improv-drone extravaganzas that more than live up to their reputation,

this reissue is going to make a certain sector of underground society very happy.
The group was led by the infamous Fluxus member Takehisa Kosugi (electric violin, harmonica, voice, etc.), with: Kyo Koike (electric double bass), suntool, voice, etc.), Yukio Tsuchiya (bass-tuba, percussion), Beiji Nagai (trumpet, synthesizer Mini-Korg, timpani), Tokio Hasegaw (voice, percussion), Kinji Hayashi (electronic technique), Hirokeszu Sato (percussion, voice).

Recorded live at Nippon Columbia Studio #1, Tokyo, August 19, 1974.
Four side-long improvisations."Places and times of the trip: coffee houses, small galleries of Tokyo.
They perform also on lonely beaches at dawn or on deserted hills in the afternoon. Aslo in Sweden, India, Iran, and England. Wherever a power supply is available. 'This music is not rehearsed, it happens. Without written notes or oral instructions; without an ensemble leader, each one having his own discourse immediately integrated into a slow, irregular throbbing of complex sound waves.
Sound waves surfing.' Verfremdung: instruments are amplified with delay through echo machines.
Previously produced sounds delivered by distant loudspeakers have already become something beyond reach when heard. This feedback -- actually a time-space lag -- is the basis of their music. The instrument arsenal: a violin played with glissandi in the same manner as the Indian sitar, string bass, guitar, drums, harmonica, small synthesizers, santurs (Iranian dulcimer played with two spoon-shaped mallets), a shahnal (Indian oboe), voices (Japanese Buddhist chanting, harmonic singing such as LaMonte Young does or as heard in Stockhausen's 'Stimmung'). Amplifiers: a heterodyne (voltage controlled filters connected to infrasonic wave sources) which changes tone colors back and forth very slowly. Also, other rather primitive hand-made electronic devices. All these contribute to the everchanging diversity of the ensemble. Close your eyes, relax and musically receive passing clouds, breezes, surging waves. This music is slow as a Japanese tea ceremony and as peacefully full of cheer as ancient scroll paintings."
--Yuji Takahashi.
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265 kbits!

Disc1
Disc2

Far East Family Band-Tenkujin['77 Japan Rare Prog-Rock]

Recommended!
includes artwork
last and hardest to find Far East Family Band release

its not their best,but certainly not bad
its better than the stuff i read about it
its more in their earlier style,but still there are the usual
spacey synthesizers


small review i found:
Tenkujin was the final album for Far East Family Band. After the Klaus Schulze style of electronic experimentations of Parallel World, the band decided to go back to the earlier sound, A lot of reasons for that was Kitaro left, embarking on his soon to be famous solo career. Akira Ito also left, also to embark on a solo career, but he ended up not being very well known in New Age circles. This is a trimmed down Far East Family Band with guitarist/vocalist Fumio Miyashita, guitarist Hirohito Fukushima, and bassist Akira Fukukusa. For a new drummer, they brought in Yujin Harada.

Yujin Harada was in a band called Samurai back in the late '60s and early '70s. Not to be confused with the UK band with the same name that featured future Greenslade guy Dave Lawson. This Samurai was a Japanese band that resided in London, with Tetsu Yamauchi (later of Free and Rod Stewart's Faces), as well as a few British musicians they recruited while staying in London (including Graham Smith on harmonica, he was later the violinist for String Driven Thing, and Van der Graaf Generator during their final days). This Samurai released an album in 1970 called Green Tea which is basically late '60s psych, with some prog leanings and the occasional Japanese influences.

Let's get back to Tenkujin. This album had an American release on the small and short-lived California-based All Ears label, hoping to break them in the American market. Without Kitaro and Akira Ito anymore, all synth duties were left to Fumio Miyashita. The album opens up with a synth experiment called "Descension" before seguing in to the wonderful title track. This piece has vocals in Japanese, with great guitar and spacy synthesizers. "Timeless Phase" is a Pink Floyd-like ballad with more than a passing resemblance to The Dark Side of the Moon. It also features some cheesy strings that threw me off. "Nagare" and "From Far East" are more of the typical ballads found here, with the occasional Japanese influences (koto, shakuhachi). These songs are sung partly in English and in Japanese. Unfortunately the album bottoms out with the awful "Ascension". It's a rather cheesy instrumental piece sticking too close to that dreaded New Age style.


and if some one has that Samurai album mentioned here please send a email

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192kbits

The Helpfull Soul-First Album['69 Japan Psychedelic Blues Rock]

Highly Recommended!
Includes high quality artwork
one of the best japanes blues rock albums ever
this is one for the people who like Blues Creation

ive been searching this one for some time
and some days ago i got it from some korean guy
at 320 kbits!(Whoo!)

i also found the rare last album by Far East Family Band!
wich will be posted soon!


Reissue of super rare and phenomenal 1969 Japanese psychedelic acid blues rock guitar insanity.
The 10+ minute track "Peace for Fools" is a mega monster....and it's not the only one!
See the 14+ minute "Spoonful" for more madness.
Holy shit! I've had this thing for 10 years and never realized how much it totally kills!
-rockadrome.com

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part1
part2

Les Rallizes Denudes-Mizutani[Japan]

Highly Recommended
do leave comments
Second official Les Rallizes Denudes release

LSD March was influenced by this record(i assume,they really remind me of this record)

1 - 6 All Tracks Recorded in Kyoto '70 Studio & Live (Monoral), Arrangements by Mizutani / Kubota / Makino
7 Track Recorded in Tokyo '73 Live (Stereo),

Arrangements by Les Rallizes Denudes In Kyoto '70
Mizutani Takashi: vocal / fuzz & side guitar
Makino Tadanaka: all purcussions
Kubota Makoto: backing lead guitar also lead guitar on the first half of the 6th track / bass guitar / purcussions

In Tokyo '73 Les Rallizes Denudes :
Mizutani Takashi: vocal / lead guitar
Nakamura Takeshi: rythem guitar
Shoda Shunichiro: drums

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get it

Sadistic Mika Band-Black Ship['74 Japan Glam-Rock]

Highly Recommended!
Excellent Glam-Rock with some Hard Rock touches

Second album by japanese glam rock band
the first one was posted on my blog sometime ago
they are one of the less glam-rock bands from japan
the other one i know is Vodka Collins
and if you didnt get that one yet do it!

A black ship was a Steam Boat

Biography from '74
When, three years ago, he formed a rock band, Kazuhiko Katoh ran into more than a little local opposition: the locality being Tokyo - the world's largest and most technologically advanced urban complex, simultaneously one of the most resistant to changes of attitude. The Japanese music business didn't appreciate Kazuhiko's move, not only beacause he was abandoning his position as one of the country's biggest solo stars, but also because a rock band was not considered a viable proposition in itself - it was suicidal, they said, to complete with Western rock 'n' roll on its own terms.

Which was precisely what Kazuhiko intended to do: no mere duplication of Western nabds - which in Tokyo would have been a safer bet commercially - but an original style of music. He sought out four of the most accomplished musicians in the country and together they began writing and rehearsing their own material, evolving an individual brand of music. It was bona-fide rock 'n' roll; it was also distinctly Japanese.

They became the Sadistic Mika Band. The name remains a mystery. Any explanation offered is likely to hide the truth; the Japanese after all are ultra-polite. (Certainly Tokyo is the world capital of S. & M., bondage and other arcane leisure activities). Anyway, Mika joined the band, as singer, odalisque and iconoclast. Beautiful, extrovert and unpredictable (by Japanese standards a total eccentric), she completed the band's line-up and clinched its distinctive identity: both musically and visually, original, sophisticated and bizarre.

About the same time Kazuhiko, in London (to buy a Rolls-Royce),

met Chris Thomas, producer of Pink Floyd, Procol Harum and Roxy Music,
and already an admirer of the Sadistic Mika Band.
It was arranged for him to produce the band's next album in Tokyo,
and the result was the stunningly impressive "Black Ship". Above all it confirmed the band's mystery in both composition and performance, and their right to recognition on a world scale. As on their first album (which the New Musical Express described as possessing the "finest album cover photo of the year"), the group's visual flair was demonstrated on "Black Ship" by the extraordinary image of the group floating - as if with wings in mid-air (an idea recently cribbed by a much more famous band). "Black Ship" shot into the Japanese charts - something which Western bands rarely achieve.

In Britain "Black Ship" received numerous critical accolades. John Ingham in Time Out called it "1975's most essential record". "Found at last, real rock 'n' roll in Tokyo", declared the New Musical Express. Sounds praised its "inventive and abrasive rock 'n' roll"; "an important new force", said Music Week; "this sextet will stagger you", announced Derek Jewell in the Sunday Times. ("Makes very little sense to me", complained the Disc reviewer). U.S. crtics were no less impressed: Cashbox called the band a "supermonster from Japan" playing "exciting commercial rock 'n' roll with an accuracy not possessed of many American groups"; "let the Occident beware", warned Circus magazine.
from here

thanks to opa-loka greece for sending this one

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265 kbits

Q65-Revolution['66 Dutch Beat]

Highly Recommended!

Exccellent Dutch Garagish Beat
was introduced to this band
trough one of the Pebbles compilations focused on
the netherlands


In the '60s there were lots of killer beat bands in Holland. Many '60s garage fan are into them now, Outsiders and Q65 being the most prominet..
They started the band in early 1965. Befor Q, Peter Vink (bass) and Jay Baar (drums) played in another blues band called Leadbelly's Limited . In The Hague there were lots of Indonesian Dutch bands played instrumental number from the '50s. Their mysterious sound also influenced to Q65. In the middle of '65 ,they had some live gigs and were called the "Dutch Pretty Things" because of their Ugly sound!

But Peter Vink said "We were influenced by R&B, Sam and Dave, Wilson Pickett, Otis Redding.. not Pretty Things".

They released their first single"You 're the Victor" in Feb '66. It was frantic R&B punk with strange vocals and harp. It made #11 hit and stayed in the charts for 13 weeks..

Their 2nd single was "The Life I Live". In this song they established their ugly sound.
To adverise it, the record company made them reckless promotion . They were asled to go London by rubbur lifeboat! Then they would play at club in London but they were unable to obtain work permits, so they only appeared press and photo sessions.

They went back by rubber lifeboat again, (actually they rode on a ship"Zilver'mee"which means Silver Seagull),and as soon as they saw Schevenning shore they boaded the rubber lifeboat as if they had sailed from England that way.
At Schevenning shore,30000 fans were waiting for them. Kjoe(same pronouced Q in Dutch, which is what the fans called the band) had to run away to escape the enthusiastic fans. They had a gig at the pier. This promotion went well and it garnered them a Top 10 hit.

n '66 they released their first album "Revolution" (they chose the title because they felt it was a "revolutinary "album for them)which also inclueded a version of Sonny boy Williamson's "Bring It Home" which lasted nearly fourteen minutes and other Blues and R&B covers. The album alsohad the killer original tunes,"I got Nightmares""Sour Wine" .

This fab R&B punk album sold 35000copies.They joined the Small Faces,Spencer Davis Group,Kinks Pretty Things in Holland. In '67 they released Kjoe Blues EP(Q's Blues), including 3Blues covers and a original "80%O"(it was an acid instrumental song about 80% Opium).

They were into soft drag , and their sound changed. Their lyrics had mysterious double meanings. In '68 Wim was drafted into teh Army. This marked the end of the first Q65 era.

password:citiesonflame
265 kbits
Part 1
Part 2