Claire Lepage & Compagnie

 

Les Chemins De L'Amour 3:01

Demain 3:19

Rendez-vous Express 2:51

L'Amour Est Là 2:36

Depuis Que C'Est Arrivé 2:32

Take It Easy 2:54

Tomorrow 2:43

Quand La Nuit Sera Tombée 5:20

We Can't Work It Out 2:05

Un Poète, Un Roi, Une Bergère 3:26

1970

So if you've heard of Claire Lepage, my guess would be you'd know her for her 60's mod kind of French Ye-Ye pop.

It would appear that for the 70's or at least this one LP, she was looking for a harder edge sound.

Maybe something more current tilting on the edge of the revolution.

It's still a pop record but definitely with a harder edge. Crunchy dirty guitars leap out at you on almost every track. It's got cowbells and harmonies, ballads and rockers. It's not psychedelic rock, not any sort of proto-metal, just a good hard rock record in the true turn of the decade style.

At times, it could be Shocking Blue, James Gang or maybe even Savage Rose.

It's got its lighter side for sure. There's a couple of ballads here, but to me they're pretty likeable especially Quit La Nuit Sera Tombee.

It's a gentle breeze.

I'm never really bored of this and can easily take it all in.

Side one is sung all in French, Side two is sung in English, except for the last track.

Les Chemins De L'Amour with it's catchy chorus, multi-tracked backing vocals, shaking percussion and riffed out snipets moves you well into this.

Rendez-vous Express could be a cover of Pre-Downs Road by Crosby, Stills & Nash, at a minimum, it borrows the melody. The next track L'Amour Est La, sounds like a cover of Edison Lighthouse - Love Grows (Where My Rosemary Goes), It's credited to the writers, but not sure if it's what is being sung. Claire has a writing credit too, so it might be her lyrical twist on it.

The next track Depuis Que C'Est sure sounds like The Kinks-You're Lookin' Fine, but there is no Kink Kredited, so, I'm unsure if it's a cover or not.

One way or the other, a standout track showcasing the crafty Gauthier guitar work. One of the reasons you will want this for sure.

The second side starts out rocking with two standout tracks filled with thick Hammonds, crunched up guitars and a heavy vocal sound. This could have come from Detroit, or it might be For Ladies Only.

Either way, two tracks that measure up and should be in your collection if you collect the 69/70 sound.

Personally, I could do without the Beatles cover, but I'm one of those people who thinks Beatle songs should only be performed by Beatles, so no matter how good, you'll never win that one with me.

Overall, one of two weak moments on this for me, the other being Love Grows.....just not my favorite, that's all. The rest of this plays like a dream.

It's one of those LP's that has made me wonder, how could Canada be so close to the U.S. and still have so many overlooked gems in the world of record collecting. This is another record that I can't believe has slipped through the cracks of the 21st Century vinyl re-issue craze.

If it's a steal, grab it. Anyone that knows Claire will not let this go cheaply as it must be her rarest.

Academy - Pop Lore According To The Academy

 

1. Enrol With The Academy 

  2. Munching The Chandy 

  3. Anya Anya 

  4. Quiet & Gentle 

  5. Poor Jean 

  6. Polly Perkins Loves You Georgia Brown 

  7. Rachel's Dream 

  8. Thank You Mary Hayley Bell 

  9. Girl In His Mirror, The 

  10. She Returned Home 

  11. Deadline 

  12. Yellow Star 

1969

An unfortunately short-lived band that had some interesting folk elements, including the charmingly named and sweet-voiced Polly Perkins, named for "Pretty Polly Perkins," a traditional folk song. Academy lasted long enough to generate a single album, Pop Lore According to the Academy, in which the folk elements were adulterated with elements of jazz and psychedelia. One single, "Rachel's Dream," was released to absolutely no acclaim whatsoever, and the band faded away. Perkins turned up as an actress once in a while in the following years, though not of any great note. ~ Steven McDonald, All Music Guide

Sparsely but inventively instrumentated folk-songs, with slight jazzy and psychedelic overtones are to be found on Academy's sole album. The main attractions are the clear voice of Polly and the interesting woodwind parts. Male singer Hardy is less convincing, especially so on the trite Anva. Poor Jean has pretty harmonies but is marred by some out-of key intonations. The best tracks are: Munching The Candy and Rachel's Dream, the latter starting sentimentally, but later on incorporating a lovely Russian theme. 

The Motions ‎– Impressions Of Wonderful 1965 - 1967

 

1 (For) Another Man

2 I've Waited So Long

3 You Bother Me

4 Be The Woman I Need

5 Love Won't Stop

6 Who'll Save My Soul

7 Take Your Time

8 Everything That's Mine

9 There's No Place To Hide

10 Late Last Night

11 To Late To Be Sorry

12 You Can't Fight It

13 You've Hurt Yourself

14 My Babe

15 Sittin' On The Top Of The Roof

16 Hard Time Blues

17 I'm Wondering

18 Ain't That Nice

19 Love Is Good, Love Is Real

20 Suzie Baby

21 Tonight Will Be Stoned

22 Ramblin' Rose

23 Wonderful Impressions

Impressions Of Wonderful

The Motions

Rudy Bennett, Robbie van Leeuwen, Henk Smitskamp, Sieb Warner

The Motions from The Hague were one of the bigger groups of the 1960s Dutch beat explosion. They were formed out of the remnants of Ritchie Clark and the Ricochets in 1964 and went on to become hitmakers for the next several years in the '60s.

Nick Mason's Saucerful Of Secrets ‎– Live At The Roundhouse

 Interstellar Overdrive

Astronomy Domine

Lucifer Sam

Fearless

Obscured By Clouds

When You're In

Remember A Day

Arnold Layne

Vegetable Man

If

Atom Heart Mother

If (Reprise)

The Nile Song

Green Is The Colour

Let There Be More Light

Childhood's End

Set The Controls For The Heart Of The Sun

See Emily Play

Bike

One Of These Days

A Saucerful Of Secrets

Point Me At The Sky

2020

Nick Mason´s of Pink Floyd music revival. Primarily only a live show act to play the more early space-rock oriented music from Pink Floyd made from 1967-1972.

The Nova Local ‎– Nova 1

 

$5 A Ticket 2:55

If You Only Had The Time 2:20

Yascha Knew Deli Intimately 0:35

A Visit From It, The King 1:15

Tobacco Road 6:35

Hitch Hyke 2:50

Morning Dew 5:33

Forgotten Man 2:19

Dear Jimi 0:45

And I Remember 2:13

John Knight's Body 2:12

1968

Psychedelic pop band the Nova Local formed on the Chapel Hill campus of the University of North Carolina in 1965, comprising singer Randy Winburn, guitarists Joe Mendyk (formerly of the Warlocks) and Phil Lambeth, bassist Jim Opton, keyboardist Cam Schinhan, and drummer Bill Levasseur. The group honed its sound on the Chapel Hill fraternity circuit, and when Opton's Phi Mu Alpha house booked Chad & Jeremy for its annual charity concert, he suggested the Nova Local open the show. William Morris Agency representative Rob Heller accompanied Chad & Jeremy to the gig, and was so impressed by the Nova Local that he offered them a contract on the spot -- Heller soon negotiated a deal with Decca, and minus Lambeth (who resigned his duties to attend law school), the band traveled to New York City to record their lone LP, 1967's Nova I.According to an interview Opton gave to U-Spaces, the album was the first ever recorded via the Dolby NR System -- two singles were released ("Games" and "Other Girls"), and the record was also issued in the U.K., but in April 1967 the Nova Local dissolved. When Levasseur's son Jason's band covered the Nova Local track "If You Only Had the Time" with his band, Life in General, on their 2000 album The Lovely, Lovely Singing, Bill played drums on the recording(allmusic.com)

Yuya Uchida & The Flowers - Challenge

 

Combination Of The Two 5:58

Intruder 3:54

Summertime 3:54

I'm So Glad 4:22

Greasy Heart 4:12

Hey Joe 4:11

White Room 4:03

Hidariashi No Otoko 4:37

Piece Of My Heart 4:01

Stone Free 3:52

1969

The greatest "party record" of all time! Katz Kobayashi is one of the greatest steel guitar players to ever walk the earth. Just incredible. This is more than just a "covers" album and that is saying a lot because all but Kobayashi's "Hidariashi No Otoko" are covers. There are those who cover songs and those who develop a very rare, specialized skill doing it. Remi Aso is simply amazing. The whole band is off the chains! There is something very special about this record. Groups like Happy End would soon prove that Americana could influence Japan and you could sing in Japanese doing it, but at this time The Flowers were simply the peak of what was happening in Japan. This record will be well outside the "hipsters" circle of Japanese psych records; which are often brilliant but in no way make this record less fantastic for what it endeavored to achieve. If Kobayashi's steel guitar solo on "White Room" doesn't send chills down your spine, give up on music. The guy was not to be believed.

Reign Ghost

 

1969-Reign Ghost

Travels Of Blue Paradox 4:55

Long Day Journey 3:08

Standing Room Only, Mr. Mars 3:45

Eyes Knows, So Does Ears And Carolina 9:01

Curio Shop 3:22

Black Ode 3:28

Gum Wrapper Song 1:50

Southern Hemisphere Blues Legacy 4:10

Reaching 9:02

Reign Ghost Featuring Lynda Squires 1970

Long Day Journey 3:00

More Than I 3:43

Mother's Got Troubles 3:35

Pudsy's Parable 2:15

Ain't It Great 3:54

Breast Stroke Blues 4:21

Solar Nice 2:38

Breadbox 2:00

Enola Gay 8:20

Reign Ghost

Reign Ghost was a late '60s rock group from Oshawa, Ontario, Canada. The member lineup was a changeable one, consisting at one time or another of singer Lynda Squires, guitarists Bob Bryden and Jim Stright, keyboardist Dave Hair, bassists Jerry Dufek, Russ Erman, and Joe Gallant, and drummers Helge "Rich" Richter and Bob Stright. In 1968, the band signed with the Allied Records label. The result was a self-titled album released in January of the next year. The band dissolved after that, but was quickly reborn under the same name. Still with Allied, the group tried once again to make a go of it, but by 1970 they gave in and moved on to other projects.

Owen B – Owen B

 

1. Share (0:52)

2. Daily News (4:34)

3. All We Are Asking (4:18)

4. Mellow Meadow (8:00)

5. Share (1:10)

6. My Friends (4:09)

7. Weekend (4:18)

8. Leavin' It All Up To You (3:44)

9. Out On Our Own (3:14)

10. Thank You For Listening (3:44)

Owen B

Owen-B (named after the band's black and orange 1954 Mercury), has an interesting, if rather convoluted background. 

Born and raised in Mansfield, Ohio singer / guitarist Terry Van Auker and multi-instrumentalist Tom Zinser got their starts playing in a number of local bands, including Tommy Z And The Sleepers. By 1967, the two were playing in an outfit known as Wildlife. Popular on the local club scene, an audition for Columbia went well, but the company's interest was contingent on the group agreeing to dump their then lead singer Lou Basso. Reluctantly, the rest of the band agreed to the personnel change, subsequently recording a number of demos for the label. The partnership was brief, resulting in the release of one instantly obscure single: 'Time Will Tell' b/w 'Hard Hard Year' (Columbia catalog number 4-44369).  

Back on the club circuit, 1969 saw another personnel change with former Crazy Elephant / Music Explosion drummer Bob Tousignant (aka Bob Avery) signing on.  Another name change followed, with Owen-B emerging.

Unable to interest another major label in their material, the group elected to go the self-issued route. Consequently, 1970's cleverly-titled "Owen-B" was released on their own Ohio-based Mus-i-col label. Self-produced, anyone expecting to hear another set of mid-1960s blue-eyed soul / garage was probably somewhat disappointed by the album. Similarly, anyone buying into dealer hype claiming this was a set of mind melting psych was going to be disappointed. Those comments aren't meant to be taken as criticisms since the collection is quite commercial and somewhat of a lost classic. Featuring ten band-penned originals, musically the set bounced all over the spectrum, including stabs at stoner acoustic folk ('All We Are Asking'), pop ('My Friends'), country-rock ('Weekend'), and conventional hard rock ('Share'). Normally, something as diverse wouldn't hold up particularly well, but when packaged with killer melodies, great harmony vocals, some first-rate guitar (courtesy of Terry Van Auker) and a real sense of fun and enjoyment you ended up with one of the rare exceptions to the rule. Personal favourites include 'Leavin' It All Up To You' and 'Out On My Own' (which add a bit of progressive complexity to the mix). Easy to see why folks hype the album, even if it isn't for the right reasons. Shame they didn't record a follow up set. 

Tinkerbells Fairydust

 Twenty Ten

Marjorine

The Worst That Could Happen

In My Magic Garden

Never My Love

You Keep Me Hanging On

Lazy Day

Every Minute Every Day

Sheila's Back In Town

Jeff's Boogie

They Didn't Believe Me

Whole World

Happy

1969

Where to begin and what to say about Tinkerbell’s Fairydust and a vinyl record that is one of the most highly sought after among collectors, not because of the music, but because of the rarity.

Despite being praised by John Peel, who seems never to have heard a song he didn’t like, after a couple of singles and BBC radio airplay, Tinkerbell’s Fairydust set themselves up for a series of problems. First, they were never able to secure the rights to the name Tinkerbell, and second, they never even attempted to secure the rights to the songs they covered on this album … with the opening track “You Keep Me Hanging On” being a Supremes’ cover, though Tinkerbell’s Fairydust covered the Vanilla Fudge version of the song, leading me to ask, “Why in the world would they decide to do a cover of a cover?”

One would think that in band containing no less than eight players, that at least one member would have the talent to come up with some original material, or at least the chops not to record covers of some of the most unhip AM radio friendly sunshine harmonic pop successful songs of the era, songs that included the Association’s “Never My Love,” “Lazy Day” by Spanky & Our Gand, and the oh so silly, “The Worst That Could Happen” by the Brooklyn Bridge … and they don’t even cover these songs equally as well. And worst of all, the band envisioned themselves a straight ahead psychedelic rock n’ rollers, even branding themselves with a name that was drug suggestive. Nevertheless, in 1969 Decca shined a light on Tinkerbell and they cut their record [SKL/LK 5028], with suggestions that this was for the Japanese market only, as their singles seemed to be hits here, with the cover of “Lazy Days” going head to head with none other than The Beatles’ “Hey Jude.” Now to Decca’s credit, it was instantly recognized that this record was going to be a monumental flop, so the album was pulled, leaving an actual handful of vinyl that survived … two test-pressings and perhaps four finished copies that as I said, jettisoned these records into the stratosphere when it came to collectors.

Of course, with the value of these records few had actually heard them, and rumors, as rumors will, abounded around this release, with the record’s value being in the rarity, and no one citing how bad the music actually was, meaning that those wearing the suits and ties of the recording industry saw these outrageous prices as some sort of indicator, and thought this meant that some hidden gem had escaped them, that people would be clamoring at the gates for a copy, and to that end, Tinkerbell’s Fairydust was reissued in 1998 as both a CD and a vinyl LP.

In all honesty, I cringe when I even say Tinkerbell’s Fairydust, and fall to the ground laughing when people try to tell me that the ups of the music far outweigh the downs, that the cover of “You Keep Me Hanging On” is overlooked and hard rocking, that the music is gritty and even adventurous, that other tracks [and all were laid down in 1967] such as ”Twenty Ten” was a forward looking saga into the pastoral progressive sounds solidly made famous by the likes of Barclay James Harvest or the Moody Blues, implying that Tinkerbell’s Fairydust were some sort of Sgt. Pepper forerunners of all things to come.

All that the reissues have done is to drive down the value of the originals, with people squaring off as to the value of the music, which should probably remain under appreciated and overlooked for all time.

*** The Fun Facts: Tinker Bell [actually two words] was a character from the 1904 play “Peter Pan” by J.M. Barrie, and the novel “Peter and Wendy.” A ‘tinker’ was someone who had the skill to do metal working, hence Tinker Bell was a fairy who mended the pots and kettles in the fairy community, with her speech composed of the sounds of tinkling bells, and only understood by those familiar with the language of fairies. Actually her ‘dust’ was not called ‘fairy dust’ [again two words] but ‘pixie dust.’

NGC-4594 ‎– Skipping Through The Night

 

1 Colors 4:27

2 Negative Zone 4:43

3 Take Off Your Feet 2:01

4 Imagination Dead Imagine 6:21

5 Bloomin' 2:19

6 Out To Play 3:10

7 Forever Gone 6:12

8 Sea Ballad 4:34

9 It's Called Love 2:28

10 Where Are You Coming From? 3:58

11 Nova Express 5:19

12 So Bright 3:22

13 Going Home 2:57

14 Skipping Through The Night 2:54

NGC-4594

Bass, Vocals – Danny Shanok

Drums, Vocals – Bob De Vos

Electric Piano, Vocals – David Bliss

Flute [Electrified], Harmonica – Minty Collins

Guitar, Vocals – Chas Mirsky

Liner Notes – Gray Newell

Organ [Farfisa] – Steve Starger

Producer – Dick Corby

Research, Liner Notes – Max Waller

Замечательная группа,один из забытых алмазов 60-х.в духе тех славных лет !👌

Рецензия с дискоса  

Putting this album under wraps after it’s completion in 1967, and but one single “Skipping Through The Night” / “Going Home” released on Smash Records NGC-4594, most of the world have never heard of NGC-4594 or their heavily oriented pop acid soaked tunes with a deeply buried blues background that come across much like the bands Blues Project, Love and Spirit.

NGC-4594 attempted to lay down a foundation of harmonies, yet it’s when they stop singing that they shine, where their guitar meanderings blossom very much in and of the times. As with many of the bands of the day, the vocals, essentially the lyrics, were very important, a hangover from what was demanded from AM radio, yet these vocals ground the music, refusing to let it soar, which is the direction [in my opinion] that they should have headed, as they were on the cusp of a musical sea-change, yet they didn’t venture into the smoothness that was being demanded by lysergic fueled heads. That being said, the band was genre-ly all over the map, infusing bits and pieces of jazz, swing, rock, folk, but not together as a whole, with nearly each number existing within its own space, and with its own soul, meaning the band never managed to forge a path that listeners were able to follow and connect with.

I would not be at all out of line by saying that the band sounds kind of sloppy, sort of an east coast jazzier version of The Doors [in fact, NGC-4594 did open for The Doors], laced with Timothy Leary-esque acid visions of ego, clear light, inner flight, inner connections, and “The Tibetan Book Of The Dead,” a haunting sort of mystic obliteration of the self, with Dave Bliss saying that, “We were singing almost exclusively about drug experiences” in the liner notes. Though like so many other groups of these hazy times, their star burned out long ago, yet the light from that star continues to travel across the cosmos.

If it’s any consolation, it took me three attempts to get through the album, where on the third attempt, I managed to make it uncomfortably all the way through. This is not a record most people will enjoy, it’s not comfortable, certainly you will not be delightfully couch-bound while listening, and for all intent and purposes, should be seen as a musical link in a timeline of the forgotten.

*** The Fun Facts: With band members admitting that the band’s name was “eminently forgettable,” it came into fruition in true hippie fashion, NGC-4594 was picked while flipping through an astronomy book. NGC-4594, regarded as one of the most majestic of all of the galaxies in the Universe, also known as the Sombrero, about 28 million light years away in the constellation of Virgo. This spiral galaxy has several notable features, it consists of a thick torus-like disc with a dark duty rim and the intense bulbous white glow that emanates from its core, along with a colourful dust lane / ring that crosses in front of the galaxy. The galaxy was discovered in 1781 by Pierre Mechain.

Several members of the band where essential in forming The Tribe, a commune on Coventry Lake.

Steve Strager went back to school though did form another band called Sunshine in the early 70’s that sounded much like Earth Wind & Fire, and managed to open for Steely Dan when they played in Waterbury.

Високосное лето

 

1 Увертюра

2 Похититель Снов

3 Лавка Чудес

4 Мона Лиза

5 Рондо Вне Тональности

6 Зеркала

7 Песня О Бунтаре

8 Парадокс

9 Мир Деревьев

10 Сатанинские Пляски

ВИСОКОСНОЕ ЛЕТО > Рок-опера "Прометей прикованный" (1978)

1. Вступление (А.Ситковецкий)

2. Увертюра (А.Ситковецкий)

3. Ария Прометея (А.Ситковецкий)

4. Эпилог (А.Ситковецкий - А.Ситковецкий, М.Пушкина)

+Группа Ломбард (Новосибирск)

Високосное лето

Високосное лето — советская рок-группа, основанная московским гитаристом-вокалистом Александром Ситковецким и клавишником Крисом Кельми летом 1972 года. 

«Високосное лето» было создано на обломках двух менее известных групп, «Аэро­порт» и «Садко». Сначала группа исполняла англоязычный материал. Позже сложился удачный союз группы с рок-поэтессой Маргаритой Пушкиной. 

Выступления состояли из трёх частей: арт-роковая песенная программа (40 минут), опера «Прометей Прикованный» (45 минут), рок-н-роллы (30 минут). 

Команда распалась в 1979 году из-за противоречий между создателями. После раскола Кельми создал «Рок-ателье», Ситковецкий — «Автограф». Кутиков и Ефремов перешли в «Машину времени», в которой Кутиков ранее играл до 1975 г. 

В 1995 году вышел сборник «Лавка Чудес» (CD). 

К сожалению, группа «Високосное лето» недолго просуществала – всего 6 лет и 10 месяцев (до весны 1979 года). Не имевшая подражателей, группа стала уникальным явлением московской и советской рок-сцены, продемонстрировавшая невероятно высокий композиторский и исполнительский уровень, о которой не забыли до сих пор. 

Bango

 

Inferno No Mundo 02:08

Mas Senti 03:02

Rolar como um barco 02:57

Motor Maravilha 02:53

Marta, Zeca, O Padre, O Prefeito O Doutor E Eu 01:48

Sonho Rocha 02:40

Geninha 03:26

Unicamente 03:08

Vou Caminhar 02:43

Ode To Billy 04:20

Rolar como um barco

Любопытные бразильцы  в составе: Aramis (guitar, violin, vocals), Fernandinho (guitar), Elydio (bass), Roosevelt (keyboards) и Max (drums), записали всего один альбом и растворились. На этом альбоме они играют неплохой вариант психоделии, несколько треков исполняются на английском языке. Есть и жёсткие гитарные вещи (открывающая альбом "Inferno No Mundo (Hell The World)" или "Rock Dream", к примеру), есть лиричные композиции ("Mas Senti (But I Felt)" и "Geninha", отдающая босса-новой), есть треки, напоминающие THE MOVE (например, песня "Marta, Zeca, O Padre, O Doutor (Marta, Zer'ca, The Priest The Mayor, The Doctor & Me)"), заключительная "Ode To Billy" - хард-рок в чистом виде. В целом - психоделический хард-рок, некоторые даже сравнивают его со вторым альбомом LED ZEPPELIN. Весьма редкий релиз, на CD долго не переиздавался, только на виниле да и то не на родине группы, а в Германии.

Omega Plus Featuring Claude Engel ‎– How To Kiss The Sky

 

A1 Unfaithful Woman

A2 Spanish Feeling

A3 Wild Cut

A4 Which Colour?

A5 Do You Need Sugar?

B Voyelles (Marcel Engel-Arthur Rimbaud)

1969

This trio led by Claude Engel made a legendary album . Just 1,000 copies were pressed in 1969. Side one had 5 short songs with English lyrics, ranging from heavy progressive blues-rock to largely acoustic songs (comparable to Cream and Blind Faith). Claude Engel's voice is also quite similar to Jack Bruce's. The other side had a long live track named "Voyelles", based on a poem by Arthur Rimbaud, including a recitation. This is the primal scream of "zeuhl" rock, in a very raw and rudimentary form that quite a few will interpret as vaguely planned three man jamming. Overall the album is undoubtedly historical, but not entirely satisfying for all that.

Omega‎– Michigan Avenue

 

1 Michigan Avenue

2 Echoes of Emptiness

3 Things That Make The World Go Round And Round

4 Minas Morgul

5 1 Corinthians 13

6 Michigan Avenue: Reprise

7 How Long Will It Be

8 Inasmuch

9 How Will I Know

10 Cold Turkey

11 You Came

12 Saturday (Mich. Ave.)

1969

Этот альбом раннехристианской рок-группы Omega. Названный «Мичиган-авеню», он был выпущен в 1969 году на Fellowship FWP-110. Это хорошо сделанный альбом с легкой фузз-гитарой, придающей ему немного психоделического ощущения.

New Dawn – Mainline

 

A1 Dream Music 2:08

A2 Nowhere City - Teddy Bear's Picnic 1:44

A3 Journey - Sea Of Couldn't Care Less 2:00

A4 Love 3:22

A5 Lord Of The Dance 3:03

A6 You And I 1:57

A7 Hill Of Difficulty 2:25

A8 You Don't Know Me - Jungle Of Masks 2:40

A9 I Feel So Lonely 3:45

B1 Seduction Music 1:58

B2 Today Tomorrow 3:19

B3 Hometown - Our Revolution 4:04

B4 Air 1:55

B5 Depression - Doubting Castle 2:13

B6 Drug Country 2:21

B7 Twisting Breaking 2:05

B8 Love's Dim Distant Past 3:15

B9 The Triumph 3:42

LIMITED TO 99 COPIES

Очередной  редкий, видимо единственный альбом на христианскую тему, к тому же концептуальный, как следует из пояснения на обороте обложки (о неком молодом человеке, живущем грустно и одиноко до той поры, пока не понял, что любовь к Господу есть путь к просветлению, но вот как он шёл к этому пониманию и есть настоящая драма). Опять же, исходя из текста на том обороте, к созданию альбома, да и то некоторым образом, причастны Steve Edmonds, Bob Edmonds, Ian Middlemass, Don Knowles, Paul Middleton, а вместе с ними ещё и Chris Griffiths, Anne Henderson да Gavin Hewitt, но музыкальная специализация хотя бы одного из них не указана. Авторские права на все остальные подробности создания релиза принадлежат заведению "The Generation Club" города Durham City, который, кстати, есть и в американском штате Северная Каролина, но поскольку на обложке обозначен адрес этого клуба, то становится понятным, что речь идёт об административном центре одноимённого графства в регионе Северо-Восточная Англия. Между тем рецензентами, помимо чрезвычайной редкости, материал альбома признаётся как очень хороший psych/folk

SRC

 

SRC, одна из ведущих групп на плодородной рок-сцене Мичигана середины-конца 60-х годов, применила более изобретательный подход к своей музыке, чем ее коллеги, такие как MC5 и Stooges, создавая звук в котором преобладали сильные музыкальные взаимодействия и случайные влияния классики, которые предвосхитили движение прогрессивного рока 70-х, но при этом еще обладали страстью и энергией, которые были визитной карточкой детройтского звука.

Самое раннее воплощение SRC произошло от союза двух известных гаражных групп Мичигана середины 60-х годов. The Fugitives - это группа из пригорода Детройта Бирмингема, в которой участвовали Гэри Квакенбуш на соло-гитаре, его брат Гленн Квакенбуш на органе, Стив Лайман на ритм-гитаре, Джон Бойлс на басу и вокале и Э. Клоусон за барабанами. The Fugitives были популярны в подростковых клубах Детройта и выпустили альбом на местном лейбле Hideout, The Fugitives at Dave's Hideout (несмотря на обилие шума толпы, на самом деле он был записан не в подростковом клубе Hideout, а в дом братьев Quackenbush).

К 1967 году Fugitives искали перемены, и когда Джон Бойлс покинул группу, их менеджер, Хью «Джип» Холланд, познакомил их со Скоттом Ричардсоном, вокалистом недавно распущенной группы The Chosen Few (в состав которой входили Рон Эштон и Джеймс Уильямсон, который впоследствии будет играть в «Игги и марионетках»). С Ричардсоном в качестве нового вокалиста и Робином Дейлом на бас-гитаре группа приняла новое имя - Скотт Ричард Кейс. Холланд, не теряя времени, пригласил группу в студию звукозаписи, выпустив на своем лейбле A-Squared Records сингл "I'm So Glad" ч / б "Who Is That Girl" и кавер-версию песни A-side. Блюзовый номер Skip James стал крупным местным хитом. Однако, когда группа начала творчески развиваться, участники группы оказались в разногласиях с Холландом и группа уволила своего менеджера; в ответ он выпустил неизданный трек "Get the Picture" на сингле A-Squared, записанном как"The Old Exciting Scott Richard Case".

К 1968 году группа сменила название с Скотт Ричард Кейс на SRC и привлекла интерес Capitol Records, который подписал контракт с группой и выпустил свой первый альбом, просто названный SRC осенью того же года. Альбом хорошо продавался в районе Детройта, и SRC гастролировали по Восточному побережью, чтобы продвинуть релиз, хотя к концу 1968 года у группы произошла ссора с басистом Дейлом, и на его место был приглашен Эл Уилмот.

Для второго альбома группы, Milestones, SRC записали большую часть альбома на репетиционной площадке в доме своей группы, а финальный трек был записан с наложением на студии Tera Shirma Recording Studios в Детройте, где они записали первый альбом. Milestones получили восторженные отзывы, но на рынке не так хорошо, как дебютный, и до того, как альбом был завершен в начале 1969 года, Стива Лаймана выгнали из группы, а SRC продолжили работу только с одним гитаристом. В то время как группа отыграла пару концертов в Калифорнии для продвижения Milestones, большая часть их концертов прошла в Мичигане, а осенью 1969 года Гэри Квакенбуш поссорился со своими товарищами по группе. Quackenbush покинул SRC, а Рэй Гудман стал их новым гитаристом как раз к их третьему альбому, который был полностью записан в домашней студии SRC.

Traveler's Tale была выпущена в марте 1970 года, и к тому времени, когда она появилась в магазинах, Гудман покинул SRC, а Гэри Квакенбуш вернулся в лоно. Продажи Traveler's Tale были неутешительными, и в 1971 году Capitol отказался от группы, хотя материал на четвертый альбом уже был записан на все более сложной студии SRC. В этот период Эл Уилмот покинул SRC, и Ричард Хаддад, он же Ричард Майклс, стал их новым басистом. Небольшой лейбл Big Casino Records выпустил сингл SRC "Born to Love" ч / б "Badazz Shuffle", но он не привлек к себе особого внимания, и вскоре группа давала концерты под названием Blue Scepter. Blue Scepter заключили контракт с рок-дочерней компанией Motown Rare Earth, которая выпустила сингл группы в начале 1972 года "Out in the Night" ч / б "Gypsy Eyes", но продажи были низкими, и полноформатный альбом Blue Scepter был записан, но так и не выпущен.

В начале 1973 года Ричардсон и Хаддад решили покинуть SRC и сформировать собственную группу, Fallen Angels, а оставшиеся члены SRC решили прекратить работу. В 1993 году записи для предложенного четвертого альбома SRC были выпущены под названием Lost Masters, и по мере того, как с годами интерес к группе среди поклонников мичиганского рока рос, SRC организовали несколько концертов воссоединения в 2011 и 2012 годах. 

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Black Sheep 4:46

Daystar 4:24

Exile 4:20

Marionette 3:48

Onesimpletask 5:32

Paragon Council 4:00

Refugeve 3:38

Interval 5:07

No Secret Destination 4:17

Show Me 3:40

Eye Of The Storm 4:50

I Remember Your Face 1:40

In The Hall Of The Mountain King 6:07

Bolero

Checkmate 3:42

Our Little Secret 2:39

Turn Into Love 2:59

Up All Night 3:04

The Angel Song 8:11

1 A New Crusader 7:04

2 Street Without A Name 5:12

3 Midnight Fever 3:52

4 Never Before Now 3:57

5 By Way Of You 3:17

6 Diana 4:41

7 Across The Land Of Light 6:55

8 The Offering 6:11

Bonus Track

9 My Fortunes Coming True 3:17

SRC

Originally released in 1970.

Track 9 originally released as promo single A-side in 1970.

Rainbow Promise

 

A1 Get Ready 3:03

A2 Someone You Need 3:54

A3 Do You Hear 3:38

A4 Romans 8-28 3:45

A5 The Joy Of The Lord 1:34

B1 I've Got The Rebirth 5:19

B2 Prophecy 5:20

B3 Little Country Church 2:44

B4 Please Don't Refuse Him 3:20

1972

Excellent laid-back West Coast style Christian rock. Similar to Wilson McKinley, though not as good (what is?). The lyrical message is a tad awkward at times, but the vocals are strong and heartfelt, and the abundance of echo-heavy guitar is beautiful and often transcendent. The first song on side two is especially dreamy. A couple of good-timey duds dull the overall impact of this album, but the good stuff here is right at the top of this genre. 

Steve Powell (electric rhythm guitar)

Leonard Brannon (electric bass)

Richard Slaton (acoustic rhythm guitar)

Ric Bowers (electric lead guitar)

Dennis Jones (drums)

Brother Elijah Morse (coordinator and advisor)

Various ‎– Non-Dairy Creamer

 A1 –Little Feat Snakes On Everything

A2 –Rosebud Panama

A3 –Peter Green Hidden Depth

A4 –Curved Air It Happened Today

A5 –Tony Joe White Five Summers For Jimmy

B1 –John & Beverley Martyn Primrose Hill

B2 –Ohio Knox Pound Or My Dog Dad For 

B3 –Jeffrey Cain Mr. Governor

B4 –Zephyr Going Back To Colorado

B5 –Ron Nagle Family Style

B6 –Brownsville Station Rumble

1971

Alexander's Timeless Bloozband

 

1967

A1 Help Me 5:25

A2 Killing Floor 3:00

A3 Guitar Song 2:55

A4 Favorite Things 5:20

B1 Sloppy Drunk 4:08

B2 #1 5:00

B3 Swannoa Tunnel 2:30

B4 Sweet Little Angel 2:30

1968-For Sale

A1 Love So Strong

A2 Horn Song

A3 Plastic Is Organic

A4 Swannanoa Tunnel

A5 Rosie

B1 Front Man

B2 Tight Rope Walker

B3 Life

B4 Darlin'

B5 Help Me

B6 Firefly

Bloozband

Двухальбомная псих-блюз-рок группа из Сан-Диего (штат Калифорния). Сколотили группу Charles Lamont, Carl Lockhart и Larry Marks. Много играли в Ventura County (Калифорния)…Психоделия с хард-блюзовой начинкой.

Saft – 1971-1996

 

1-1 Introduction

1-2 Couple Of Freaks

1-3 Eleanor Rigby

1-4 Fjøsvise

1-5 Don't Look Back

1-6 All The Time

1-7 Fly

1-8 This Is Not Today

1-9 Opus 1

1-10 Min

1-11 So Long

1-12 People In Motion

1-13 Albertine Hall

1-14 Green Grass

1-15 Not Going Bald

1-16 See Me

1-17 Take Off

1-18 Help, I'm In The Middle Of The World

1-19 Rubber Boots

1-20 Sky Hy

1-21 Can't You See

1-22 Can You Feel It

2-1 Working Man

2-2 A La Garage

2-3 Hello Generation

2-4 Chicago Street

2-5 Easy To Give A Helping Hand

2-6 Vatn Og Ved

2-7 Halling Etter Ola Mosafinn 2:21

2-8 Vatn Og Ved - Reprise

2-9 Pusher Man

2-10 Søv Du

2-11 You

2-12 Got To Know You

2-13 Trepak 1:12

2-14 Texas-Låt 1:05

2-15 Stev

2-16 I Can Let The Fire (Shine On You)

2-17 Fem På Tolv

2-18 I Vår Grønne Jord

2-19 I Dreamed I Was In Heaven

2-20 Ryk Og Reis

2-21 Paint It Black

Saft

Saft was a progressive rock band from Bergen, Norway, active in the early 70s. Brothers Ove Thue and Trygve Thue were the backbone of the band. Saft's largest hit was People in Motion, which beat Slade to Norway's first victory in the radio-show "European Pop Jury". Norwegian lyrics and elements of folk music were characteristics of Saft's varied output.