Music review by Hildemollerknag

Originally released in 1969, Blues Obituary is the second album by ’60s British blues-rock legends The Groundhogs.
Blues Obituary finds the group beginning to stretch beyond traditional blues forms, as demonstrated on the seven-minute epic “Light Was the Day.” Beyond its memorable cover art, Blues Obituary marks the Groundhogs’ first effort as a power trio, the format in which the band would do its most acclaimed and popular work.
Tracks:
1. B.D.D.
2. Daze of the Weak
3. Times
4. Mistreated
5. Express Man
6. Natchez Burning
7. Light Was the Day
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A little confusingly, the core duo of Pandamonium, singer/songwriter-guitarists Bob Ponton and Martin Curtis, recorded as the figureheads of two different groups in the late '60s and early '70s. At first, with a few other musicians, they did some mid- to late-'60s singles for CBS; then, as Thoughts & Words, they did a 1969 album for Liberty. After that obscure LP, they recorded a 1970 album that went unreleased at the time. That 1970 LP was belatedly released in 2004 in the form of this download/cd, titled The Unreleased Album, and credited to Pandamonium, though it's not clear whether it would have been billed to Pandamonium had it come out in 1970. Certainly Ponton and Curtis were supported by several notable figures on these sessions, including Gerry Conway, Jerry Donahue, and Pat Donaldson from Fotheringay; guitarist Albert Lee; bassist Chas Hodges, later part of hitmaking duo Chas & Dave; top British session drummer Clem Cattini (that is, assuming the "Clem Katiny" credited on this CD is the same guy); engineer John Wood, who worked on numerous major British folk-rock albums of the period by the likes of Fairport Convention and Nick Drake; and Shel Talmy, who's credited as co-producer. For all that, however, the failure of this material to gain release is no mystery. It's affable, diverse, but rather nondescript circa-1970 British rock that doesn't fit comfortably into either the folk-rock or pop/rock categories. Ponton and Curtis put together some fair minor-keyed, introspective numbers like "It's a Long Time" (which is very slightly reminiscent of the Moody Blues) and "I Am What I Am" (which is in turn very slightly reminiscent of the psychedelic Byrds), with touches of folk-rock, orchestrated pop/rock, and singer/songwriter influences, but the songs aren't exceptionally memorable. At other times, like "Sunrise" and the peppy "Sit and Watch the Sunshine," they seem to be gearing toward a more conventionally uplifting single, though the breezier "Waiting for Summer" is a more successful effort along those lines; the country-rock-influenced "Baby I'll Be Yours" is rather like the most lighthearted moments of late-'60s Fairport Convention with the Sandy Denny lineup. There's certainly no harm done that this album's finally available, of course, but it's only recommended to very deep collectors of British rock of the period, or specific fans of Ponton and Curtis.
Tracks
01 - I Know You - 3.17
02 - It´s A Long Time - 3.14
03 - I Am What I Am - 3.53
04 - Sunrise - 4.10
05 - If I Could Be With You - 2.15
06 - Sit And Watch The Sunshine - 3.10
07 - Baby I´ll Be Yours - 3.51
08 - Send Out A Smile - 3.03
09 - Who Knows What We May Find - 3.14
10 - Waiting For The Summer - 2.30
11 - I Believe In You - 3.56
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Black Widow were a rock band that formed in Leicester, England in September 1969. The band were mostly known for its early use of satanic and occult imagery in their music and stage act. The band were often confused with the better-known heavy rock band Black Sabbath, but the bands were only superficially similar.
The band originally formed in 1966 as Pesky Gee! with Kay Garrett (lead vocals), Kip Trevor (lead vocals, guitar and harmonica), Chris Dredge (guitar), Bob Bond (bass guitar), Clive Box (drums and piano), Jess "Zoot" Taylor (organ), Clive Jones (saxophone and flute). Jim Gannon (guitar, vocals and vibes), replaced Dredge in Spring 1969. The band split in September 1969.

The band released one album for Pye Records as Pesky Gee!, 1969's Exclamation Mark, before Garrett left the band. The remaining band members continued on as Black Widow and released their debut album Sacrifice in 1970.Perhaps better known than their music was the band's use of occult references in their music and their live performances, which were made more controversial with the mock sacrifice of a nude woman.These acts at time were very shocking but now a common use in the underground music scene, black metal The band attracted further controversy by consulting infamous witch Alex Sanders for advice.

Unlike one could have imagined, this Return To The Sabbath is not a re-working of the very good debut album of the lesser-known Black Widow. Each song featured on this album is a demo release of what would become Sacrifice which was released in 1970.
All these versions are dating from 1969 and they are being offered in a less achieved way than the ones which were recorded for the official album released in those early days of prog. Most of the songs are shorter in their pre-release formats if you would except the opening number In Ancient Days. The keyboards intro is more solemn and the sax parts longer.
Tracks
1. In ancient days (9:28)
2. Way to power (4:08)
3. Come to the sabbat (4:11)
4. Conjuration (5:53)
5. Seduction (4:41)
6. Attack of the demon (3:57)
7. Sacrifice (10:48)
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Originally released in 1969 on the Maris label (catalogue number 20501), this is the only album the Swiss band Shiver ever released. It also contains both tracks that were issued as a single: "Hey Mr. Holy Man"/"The Peddle." It also features the very first time the famous designer H. R. Giger delivered some of his art to become an album sleeve. Later on he would do it much more, with Emerson, Lake & Palmer’s Brain Salad Surgery being the most famous one.
Musicians:
Dany Ruhle - lead guitar, harmonica, vocal
Jelly Pastorini - organ, piano
Mario Conza - bass, flute, vocal
Roger Maurer - drums, vocal
Peter Robinson - lead vocals
Tracks
01. Repent Walpurgis
02. Ode To The Salvation Army
03. Leave This Man Alone
04. What's Wrong About The Blues
05. Hey Mr. Holy Man
06. Don't Let Me Be Misunderstood
07. No Time
08. The Peddle
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Archie Bell & the Drells from Houston,Texas hit #1 R&B/#1 Pop with the certified million-selling dance classic, "Tighten It Up." They also scored several hits produced or supervised by Philly Soul producers Kenneth Gamble & Leon Huff such as "I Can't Stop Dancing," "(There's Gonna Be A) Showdown," and "The Soul City Walk." The Drells were — at varying times — Archie's brother Lee Bell, James Wise, Joe Cross, Billy Butler, Lucious Larkins and Willie Pernell. Because Bell wanted the group's name to rhyme and to avoid confusion with Harvey, IL based group The Dells, he came up with The Drells.
Archie Bell was still on a tour of duty in Vietnam when "Tighten Up," the B-side of a single he had recorded called "Dog Eat Dog," broke out and hit the top of the charts in 1968. Infectious and utterly danceable, "Tighten Up" became Bell's claim to fame, even though he and the Drells had other hits, including "I Can't Stop Dancing" and "(There's Gonna Be A) Showdown" after they began working with Philly soul producers and writers Kenny Gamble and Leon Huff. All of these are included in this succinct introduction to Archie Bell & the Drells (as well as the fine "A World Without Music"), and for listeners looking for a set with just the hits, this one fills the bill with no frills and no fuss.
Tracks
1 Tighten Up, Pt. 1
2 Tighten Up, Pt. 2
3 I Don't Wanna Be a Playboy
4 You're Mine
5 Knock on Wood
6 Give Me Time Bell
7 In the Midnight Hour
8 When You Left the Heartache Began
9 A Thousand Wonders
10 A Soldier's Prayer
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Magna Carta was originally formed in London on 10 May 1969, by Chris Simpson (guitar, vocals), Lyell Tranter (guitar, vocals) and Glen Stuart (vocals).

The band is renowned for their gentle ballad style and mythical subject matter. Although never purely a folk band, they managed to successfully bridge the gap between folk and folk rock. The trio released albums for Fontana Records and Vertigo Records, enjoying particular success with 1970's Seasons before Tranter returned to Australia. Davey Johnstone joined the line-up as his replacement, recording Songs From Wasties Orchard and In Concert with the band before leaving to work with Elton John, with whom he is still playing.
Tracks
01. Times of change
02. Daughter daughter
03. Old John Parker
04. I am no more
05. Ballad of Francis Alabadalejo
06. Spinning wheels of time
07. Romeo Jack
08. Mid winter
09. Shades of grey
10. Emily thru the window pane
11. Sea & sand (The isle of Pabay)
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The group formed in Las Vegas, NV. Devers, Abernathy and Phillips were backing Bobby Darin at the time when he went on his hiatus to find himself, leaving them looking for a gig. Ryan, Douglas, Sterling and Cernuto were freelance musicians in Vegas looking for work. Thanks to a guitar player by the name of Mike Richards, who originally was in the group, they got together and formed a cover band to make some cash. The band worked a club in Vegas called 'The Pussycat A Go Go' where Andy Williams used to hang out. He signed the band to his label, Barnaby Records, because of the big following the band attracted to its live performances. Andy also got Dave Grusin to produce the album as well as play piano on one track, Dayshine. The album was recorded in a two week period in the Summer of 1969 and other than record promotion concerts and a few club gigs in L.A., the band never toured.

The albums lack of sales caused the group to slowly dissolve to working lounge gigs in Vegas. When that was over the band members went on to other groups. Today, all the members are still working as musicians in one capacity or another except for Douglas, who passed on in 1991.

The groups energy in live performance could never really be captured on record. The horn sound created by the Trumpet, Trombone and Sax with the funky rhythm section was truly incredible.

Tracks:
01. See the Light
02. Keep on Burning
03. Dayshine
04. Time
05. It Couldn't Be Bad
06. Flower Pot
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Jeff Simmons, born May 1949 in Seattle, Washington, is a rock musician and former member of Frank Zappa's Mothers of Invention. Simmons provided bass, guitar, and backing vocals for the group between 1970 and 1971. He left The Mothers just prior to the filming of 200 Motels (where he was replaced in the film by Ringo Starr's chauffeur Martin Lickert) in mid 1971. Jeff later returned to the group for a time during 1972 and 1973. Zappa and Mothers albums he appeared on include Chunga's Revenge (1970), Waka/Jawaka (1972), Roxy & Elsewhere (1974).

Years later Zappa released a number of archival recordings made during this period that feature Jeff including You Can't Do That on Stage Anymore, Vol. 1 (1988), You Can't Do That on Stage Anymore, Vol. 6 (1992), and Playground Psychotics (1992). Jeff also appears in the Zappa movie The True Story Of Frank Zappa's 200 Motels (1989). Numerous Zappa bootleg recordings from the same era also feature Simmons.

Jeff's music career began in Seattle. In 1967 he became a member of the local group Blues Interchange which soon changed its name to 'Easy Chair'. The group self-financed their only recording, released by the regional Vanco label in 1968. The 12" one-sided, three-song album sold well in the independent record shops along University Way NE (known locally as The Ave) in Seattle's University District. Only about 1000 copies of locally produced Easy Chair record were pressed. It is now a highly valued collectible.

Easy Chair was then booked as the opening act for an August 24, 1968 concert by The Mothers of Invention at the Seattle Center Arena (renamed in 1995 to Mercer Arena.) During the sound check Easy Chair was discovered by Zappa, who recognized that the group's musical and lyrical aesthetic and sense of humor was compatible with his own.

The group followed Zappa back to Los Angeles. In December 1968 Easy Chair was a supporting act for Zappa and The Mothers for 2 concerts at the Shrine Auditorium. The concerts were organized to showcase Zappa's two new record labels, Bizarre Records and Straight Records. Other artists appearing at the shows included Alice Cooper, The GTOs, and Wild Man Fischer. But Easy Chair never had the opportunity to make a record in Los Angeles. After disagreements and unexpected delays the group broke up before any recordings were made.

Simmons stayed in Los Angeles and completed two solo albums for Straight. He co-composed the soundtrack for the biker film Naked Angels (1969). His second album Lucille Has Messed My Mind Up (1969), featured Zappa as producer. Zappa wrote two songs and played lead guitar under the pseudonym La Marr Bruister. The engineer was Chris Huston, who also worked on Led Zeppelin II at about the same time. Lucille was voted the 2nd best album on Straight Records by Mojo Magazine. Both albums were re-issued on CD in 2007 by World In Sound Records.

Simmons is one of only a handful of musicians to share a songwriting credit with Zappa. Their collaboration Wonderful Wino appears on Lucille Has Messed My Mind Up and also on Zappa's 1976 album Zoot Allures. The title song of the album Lucille Has Messed My Mind Up was also re-recorded in a completely different arrangement on Zappa's 1979 album Joe's Garage. Simmons is also listed as co-writer (with Zappa and Napoleon Murphy Brock) on Dummy Up from Zappa's 1974 album Roxy & Elsewhere. During a 1982 guest DJ spot on UK's BBC Radio 1 Zappa played some of his favorite recordings including Simmons' song I'm In The Music Business.

Jeff continued to play music with various groups in the Seattle area during the 1980s. He appeared in the 1988 movie Rock and Roll Mobster Girls which was produced on video tape in Seattle during the very early stages of the Grunge music scene. Jeff Simmons' most recent work is Blue Universe (2004).
Tracks
01. Appian Way
02. Zondo Zondo
03. Madame Du Barry
04. I'm In The Music Business
05. Lucille Has Messed My Mind Up
06. Raye
07. Wonderful Wino
08. Tigres
09. Aqueous Humore
10. Conversations With A Recluse
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Cuby is a Dutch band from the town of Grolloo. The band was originally formed by Harry Muskee and other players included:Eelco Gelling, Nico Schröder and Hans Kinds.
The cover shoot for the album caused a small riot. The band invited some farmers over to a pub and ate and drank with them. At some time a stripper was brought in and the farmers went crazy. The whole thing was filmed, but the farmers, learning later (when sobered up) that the whole thing was filmed for a tv special and a cover shoot resisted. The mayor of the town Zweelo had to step in and prevent the footage from ever being released...
Tracks
1. Appleknockers Flophouse (2:31)
2.Unknown Boy (6:46)
3.Help Me (5:36)
4.Go Down Sunshine (7:03)
5.Disappointed Blues (3:22)
6.Midnight Mover (2:38)
7.Black Snake (4:20)
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After the Major Success of the "Turning Point" LP and the FM airplay of "Room To Move", John Mayall had achieved Stardom in the USA at long last. Whilst Touring to Promote "Turning Point" John was planning his next move, that being a Studio LP of New Songs Featuring the Great Musicians: Johnny Almond,Jon Mark and Steve Thompson.

Written and Recorded during 1969, while the tunes, "California" and "Room To Move" were Staples of FM Radio, this new work became "Empty Rooms". John was missing his new favorite place Los Angeles, Ca. and a new Lady in his Life Nancy T. And that shows up in his Writing here, When I first had a listen to this Album in 1970 a friend of mine commented that this Record was a Bummer. Well, it is a bit of a Downer, but THIS IS THE TURNING POINT BAND and for that Mighty Reason Alone it is Worth a Listen.

Again this is a Good Record, But we were all expecting a Great Record to follow "Turning Point". I can not find Fault in these Musicians, they are Top-Notch, and as with the Previous Record the Saxophones and Flutes of Mr. Johnny Almond, are as Good as any Jazz Players of this era. Also of Worth is the Great Bass Player Steve Thompson (Who left Mayall's Band to Hook up with Donovan before these Recordings were Completed).

This Record was another Success for John Mayall, and "Don't Waste My Time" and "Counting The Days" both recieved lots of Plays on the FM. But this Band was to soon Disolve and Jon Mark & Johnny Almond became the very Successful Group: "Mark Almond".And John Mayall rebuilt his Band once again and on the very next release: "USA Union" with a Stronger Bunch of Tunes and the Talents of Fiddler Sugarcane Harris he had another 'Classic' to give us. by Philips Wolfs
Tracks.
1. Don't Waste My Time
2. Plan Your Revolution
3. Don't Pick a Flower
4. Something New
5. People Cling Together
6. Waiting for the Right Time
7. Thinking of My Woman
8. Counting the Days
9. When I Go
10. Many Miles Apart
11. To a Princess
12. Lying in My Bed
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Brave New World is the third album by American rock band The Steve Miller Band, released in 1969. The tracks "Celebration Song" and "My Dark Hour" featured Paul McCartney on backing vocals, drums and bass guitar credited as Paul Ramon.

The primary guitar riff on "My Dark Hour" was also used on the title track to Steve Miller's 1976 album Fly Like An Eagle.

"Space Cowboy" uses the same primary guitar riff as the Beatles' song Lady Madonna. It was released as downloadable content for the video game Rock Band on January 20, 2009.
Brave New World, the third offering by the still-new Steve Miller Band, was released in 1969. Can't you tell? References to celebrations and tripping abound, making this one of the sunniest, trippiest album of the psychedelic era. (Even the album cover is sunny yellow!) The opening of the title track (and the album) is a blast - literally, a bomb blast which hearalds the start of both a fresh, enjoyable tune and a bright new beginning for the world at large. Then, great drumming by Tim Davis kickstarts "Celebration Song," another wonderful vision of a world at play. "Got Love 'Cause You Need It" sounds like it's sung by Miller's infamous Gangster of Love character, full of danger and seduction, while "Seasons" is a gorgeous acoustic ballad, as heartfelt a track as Stevie Guitar has ever recorded. Nice! "Space Cowboy," of course, is the albums BIG HIT, complete with Moog synthesizer space sounds, and a rare, excellent guitar solo from Steve M! (The primary focus of Brave New World is on the material, not solos.) Literally too, too far out! "LT's Midnight Dream" is a fantasy feast, with lyrics like "got a bulldog in my learjet, gonna teach him how to fly"! Too much! Paul McCartney of the Beatles contributes drums, bass, and vocals to the blues-rock "My Dark Hour," (he is billed as Paul Ramon; yes, that is where the band The Ramones got their name!), while "Can't You Hear Your Daddy's Heartbeat?" is a love song in double-quick time and "Kow Kow" (also known as "Kow Kow Calqulator" on the anthologies) combines more fantasy lyrics with quotes from Bobby Blue Bland's "Turn on your Love Light". Outasite!! So, if your looking for something of Steve Miller's beyond the usual, well-crafted 70's material, give Brave New World a listen or two. You may want to start your own celebration!!! By Chris Meezy Food Czar.
Tracks
1. Brave New World
2. Celebration Song
3. Can't You Hear Your Daddy's Heartbeat
4. Got Love 'Cause You Need It
5. Kow Kow
6. Seasons
7. Space Cowboy
8. LT's Midnight Dream
9. My Dark Hour
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For their second album, Kaleidoscope delivered something an awful lot like their debut, a body of pleasant, trippy, spacy raga-rock, with the main difference that they pushed the wattage a little harder on their instruments -- they'd also been performing pretty extensively by the time of their second long-player, and a lot of the music here was material that they'd worked out on-stage in very solid versions. The result is a record just as pretty as their debut but a little punchier and more exciting within each song than their first album. The title track is also one of the more beautiful psychedelic effects pieces of its period, while "A Story from Tom Bitz" is crunchy folk-rock, "(Love Song) For Annie" represents a more lyrical brand of druggy folk-rock, and "If You So Wish" shifts over to Moody Blues-style ballad territory circa late 1968 and early 1969
Tracks
1. Faintly Blowing
2. Poem
3. Snapdragon
4. Story from Tom Bitz
5. (Love Song) For Annie
6. If You So Wish
7. Opinion
8. Bless the Executioner
9. Black Fjord
10. Feathered Tiger
11. I'll Kiss You Once
12. Music
13. Do It Again for Jeffrey
14. Poem [Mono Single Version]
15. Balloon
16. If You So Wish [Mono Single Version)
17. Let the World Wash In [Released as 'I Luv Wight
18. Mediaeval Masquerade [Released as 'I Luv Wight]
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With this album Axlerod based the songs upon the poetry of William Blake, definately a concept type piece.
The album's one of Axelrod's first on his own, cut for Capitol Records at a time when he was working with some of the label's biggest selling soul acts, like Cannonball Adderley and Lou Rawls turning their already-successful sounds into super-hit material by adding some nice funky touches, and excellent baroque production.

"A Poison Tree" and "A Little Girl Lost" are the first two tracks and show Axelrod’s usual heavy orchestration with strings, a loud violin, harpsichord and a strong Chamber Music sound.

"London" is much better with its keys playing and Carol Kaye’s walking bass. The "Sick Rose" goes through a number of parts, each led by a different instrument beginning with the guitar, then strings, and finally an organ joins in at the end. I like the second side much better with the harpsichord and light melody of "SchoolBoy", and bass again "Human Abstract", "The Fly", and the slow developing "A Divine image".
Tracks
01 The Poison Tree 3:10
02 A Little Girl Lost 3:29
03 London 2:49
04 The Sick Rose 4:49
05 The School Boy 2:31
06 The Human Abstract 5:33
07 The Fly 4:52
08 A Divine Image 4:36
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Composers and synth players Paul Beaver and Bernie Krause were among the most high-profile electronic music acts of the late '60s, recording a series of LPs distinguished not only by their groundbreaking studio advances but also by the presence of notables including Gerry Mulligan and Mike Bloomfield. Krause -- a onetime member of the legendary folk group the Weavers -- was working as a staff producer at Elektra Records when he met Beaver, a former jazz musician; under the name Beaver & Krause, they began assembling electronic pieces employing spoken-word passages, acoustic instruments, tape loops and improvisational techniques, debuting in 1968 with The Nonesuch Guide to Electronic Music. After 1969's Ragnarok Electric Funk, the duo issued In a Wild Sanctuary a year later; 1971's Gandharva -- recorded live in San Francisco's Grace Cathedral and featuring cameos from Mulligan and Bloomfield as well as Bud Shank and Ronnie Montrose -- was the most popular of their releases. After 1972's All Good Men, Beaver recorded the solo LP Perchance to Dream; sadly, it was his final work -- he suffered a fatal heart attack on January 16, 1975 at the age of 49. Krause later resurfaced as a noted expert in environmental sound recording.
Tracks
01. Ragnarock
02. The Fisherman
03. Circle X
04. Dill Picolo (Try Not to Twitch)
05. Dr. Fox
06. Moogy Blues Funk, As I Hear it
07. 33rd Stanza of a Hymn to Sancho Panza
08. Fountains of the Dept. of Water & Power
09. Changes
10. Interplay
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While his first albums featured Moondog on the streets, performing solo, this album barely contains any of Moondog’s actual playing. While the first albums had a few guest musicians here and there, playing “instruments” like tap shoes, this album has over half an orchestra, playing flutes, bassoons, cellos and all that fancy stuff. While the first three albums were charming, homemade, do-it-yourself performances, this is a posh classical album. But none of that means you won’t like this record if you loved the first three, because quite honestly, this album is impossible to hate.

I’m not sure what happened in those twelve years between “The Story of Moondog” and this release…I don’t know if it was living on the streets, or his sometimes residence in his cabin upstate with no electricity, or his divorce, or what, but, damn…what a change of pace. I know nothing of classical or jazz music, so I have no idea if this album is clever or breaks any new ground, but it is just about the most catchy and stylish orchestrated music I have heard. Listening to it is like watching a movie: the layers of sound, all fitting together, telling some kind of beautiful, but slightly reckless story. It only lasts a shade over thirty minutes, but there are hardly any wasted notes, and each tune really does capture your attention. I know it sounds corny, but for a virtual homeless, blind, basically self taught, Viking lover of a man to come up with such an impressive, gripping album just makes the album sound that much more cool…you know?

The opening “Theme” begins as a typical Moondog percussion piece, seemingly no different from any of his other records, but slowly the orchestration builds, swirling, rising towards a point just out of reach. To me it sounds like a struggle… and the song ends before the mêlée is decided, leaving you feeling both unfulfilled, but eager for the resolution. “Stomping Ground” doesn’t bring you any closer to closure though. After some brief street noises and a quick spoken word section by Moondog, the orchestration enters on a marching beat. This isn’t military marching though; it is much too loose. Instead it sounds like a city gang; some punk kids swaying down the streets—scheming, spying, and getting ready…creating an extraordinary edginess.

Unfortunately, “Symphonique #3 (Ode to Venus)” brings an end to the tension, with a five-minute, elegant moan, sounding like the scene when Juliet wakes to see Romeo dead and decides to kill herself. Dark and attractive, it is not really something that gets my juices flowing (although I’m no classical connoisseur, so maybe it will really speak to you). “Symphonique #6 (Good for Goodie)” is definitely more my style though, beginning with a bass solo that sounds like the White Stripes. Soon some horns come jiving in, be-bopping and head knobbing their way through a cool riff with swagger and purpose. The song gradually finds dimension, adding instrument after instrument, with the bass getting fortified by a tuba, and all the instruments just groove—they hit it, you know…making this just about the coolest little classical/jazz piece: melodic, tough, and funky!

Another short Moondog poem opens the six-minute “Minisym #1.” At the beginning, this piece sounds like some fantasyland epic movie (like Willow or Lord of the Rings), all bombastic, but with some Medieval, elfin charm. The middle though, is a more introspective section where the horns sound like they are having a deep conversation with themselves, a little cheesy, but tolerable because it leads to the intense closing, taken at breakneck speed, with Moondog’s crazy percussion keeping beat. It has a great rock riff, with the horns taking the place of an electric solo…absolutely smoking.

And the pace doesn’t let up with “Lament 1 "Bird's Lament".” This piece was written for jazz great Charlie Parker when Moondog heard of his friend’s death. But instead of being remorseful, this song cooks as well, having more of a restrained party sound that is outright ear candy. It was used in some minivan commercials in the early part of this decade, so it will probably sound familiar, and it might just be the catchiest thing Moondog ever released…two-minutes of happy horn hooks.

“Witch of Endor” is something completely different, a mini opera done in six-minutes. Each sectioned title perfectly depicts the music, with the opening and closing sounding like some sort of dance ceremony, and the middle going from a prophesy, to a battle, to the main character’s death. Of course, this piece was the inspiration behind George Lucas having both Emperor Palpatine and Darth Vader die on the planet Endor! Seriously though, the music strangely could be used to explain that story perfectly…eerie, but cool J The closing “Symphonique #1 (Portrait of a Monarch)” is the most cartoonish arrangement on the album, with a more bouncy feel…it is still slightly dark, but the humor can be heard here easily. It isn’t my favorite tune on the record, not reaching the standards set by the previous selections until the beautiful coda. Still though, it is goofy and fun and a great change of pace for the closer.

Overall this is fantastic in a way that fairy tales are fantastic: loveable, innocent, touching, but with a slightly dark atmosphere. The brevity does bother me a little, but it only makes me want to play the album over and over again. As I have said a few times, this might not be a great album to the ears of an expert of classical or jazz, but trust me, it is accessible beyond belief, charming, melodic, fun, gorgeous, and a gem that you really need to uncover.Tracks
01 Theme 2:34
02 Stamping Ground 2:39
03 Symphonique #3 (Ode to Venus) 5:51
04 Symphonique #6 (Good for Goodie) 2:47
05 Cuplet 0:09
06 Minisym #1 5:45
07 Lament 1, "Bird's Lament" 1:43
08 Witch of Endor 6:30
09 Symphonique #1 (Portrait of a Monarch) 2:37
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15 Spanish Gipsy songs from 1969-1979, sandwiched between two recent songs.
At first, when the disc begins to play, you have the customary tourist vision of Gypsy music: dancers with their nose up, handclaps and heels beats, Flamenco guitars ... Then you realize there is something more: funky and groovy sounds from that time, completely mixed with the traditional ones. The effect is exhilarating, and it sounds really like nothing else.
The presentation is awesome: the disc is inserted in a gatefold sleeve, and goes with a 112 (!) page booklet, in Spanish, English and Japanese, which includes hundreds of 45s images, artists pictures, complete tracklists, a detailed history of the music ... And the design of the set is absolutely gorgeous, too. I have rarely seen such a beautiful and informative package. If you are looking for something unusual, look no further ... It might not be love at first listening, but it will grow on you. By chrismass61.
Tracks
1. Los Fulanos (Feat. Peret) - Gato
2. Encarnita Polo - Paco, Paco, Paco
3. Chacho - Bum Bum
4. Smash - El Garrotín
5. Los Amaya - Que Mala Suerte La Mía
6. Dolores Vargas - Anana Hip
7. Peret - Si Fulano
8. Dolores Vargas - La Hawaiana
9. Peret - Chaví
10. Rabbit Rumba - Caramelos
11. Rumba Tres - Rumba Tru, La, La
12. Los Chorbos - Sones De Chicharro
13. Los Marismeños - Pares O Nones
14. Los Chunguitos - Baila Mi Ritmo
15. Trigal - Gol
16. Gato Pérez - Tiene Sabor
17. Mantecao Y Su Combo - Achili Funk
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Blond grew out of the Swedish heroes Tages, who ruled Sweden's hit parade during their 1964-67 heyday and arguably was one the best Scandinavian rock groups in the 60's. 1969's Lilac Years, a failed attempt to reach the British music market, is their most psychedelic album featuring moody pop-psych melodies, great guitar works, weird effects and lush orchestration. Produced by Andy Henrickson (King Crimson, Quatermass, Life and Jericho).
Tommy Blom left Swedish band tages in 1968, however the surviving members of the bands line up Danne Larsson rhythm guitarist and backing vocalist, Anders Töpel Lead guitarist and backing vocalist Lasse Svennson Drummer and backing vocalist, together with Tages bassist Göran Lagerberg leading the new project, that came to be known as BLOND named after the Bob Dylan LP Blonde on Blonde together with their old producer they went into full force to try once more to record an album, and they decided to do this over in England. The Lilac years, is an ace grand production, that goes deep trough fields of rock n and pop, blues jazz, and even deeper into folk music, to me one never senses the absence of their former front man Blom,
Lagerbergs grand melodic genius who now comes into light more than ever before, and while tages was a group of tight direct yet perfect little nuggets, with blond, the band becomes a bit braver, and manages to move out even more of the pop nugget frames and successfully emerges into even bigger arrangements at places, were they either go into more epic lengths around 6 or 7 minutes ( as on the albums title track, the folk rock arranged retitled Swedish folksong de sålde sina hemman, or the groovy blues jam Caroline complete with hand drums and percussion flowing throughout the track ) and if not they manages to take their shorter songs trough many fantastic levels as well, notable on the fantastic Sailing Cross The Ocean that crosses between swing rock, raga rock and folksy/waltz crossings

At first glance The Lilac Years might seem stiffer and more forced than Tages late 60s, But really the songs never loose their touch, and a lot of effort was put in the production, that it must have been exhausting, but hard work paid of as BLOND put out a complete and awfully strong effort, thick, but filled with melodic genius, and really stellar musicianship, and a great ambition to hit of grand, and make a grand production, with all ideas given space to flow trough, in magnificent arrangements, this album also features ace arrangements from the London symphony orchestra, that sweeps along on striking songs such as the magnificent “flowers in the morning” also recorded by British Cilla Black the same year(although under a different title If I thought you’d ever change your mind), and by Swedish Doris, a few years later, a strong beautiful ballad that captures a great melodic sense and that captures one to a great extent, during its three minutes of play time.
It features some gripping organ work to, and together with Deep inside my heart, they are the two strong ballad numbers that balance a already colourful and strong production, we have top ace rock n roll, on songs such as _six white horses; with mean guitars (some overdubbed by Anders Nord) and Hoy can I pray when I don’t believe Pick on a Buss
swaying Pschycadelic folk lost child reminiscent of Crosby stills and Nash a bit in the arrangement , we have country and western touches in Sun in her hand featuring banjo plucking and such together, together with a flowing piano, and orchestra and organ,
And we have a jazz swing rocker in the girl I once had with killing brass thrown in and some really ace boogie rhythm and neat vocal delivery.

Neat upbeat flowing is all over in I Wake up and call and Time is Mine in the end it comes of as a warmly crafted ambitious album, a colourful and truly ace production, that should be considered as a real gem, that really captures the time of the late 60s well, as well as being a strong and very creative effort, and this should to be considered as one of the top albums of the 60s, and perhaps it should have been, if the group toured more, and the album was spread more widely. Apparently it did not turn out this way, as some members left the group to go for military service, and other projects came in crossing their path, but before the group dissolved in 1971, Björn Linder and Anders Nord came in as substitutes (the two had made some overdubs on the album tracks Caroline and six white horses for the album) Nord wouldn’t stay around for to but was around long enough to feature on the blond single were they’ve backed Örjan Ramberg on the Balladen Om Killen single release, produced and written by Lagerberg, that captures the moody feel of a restless teenager, looking back in reflective and nostalgic mood which is also featured on the CD. While this line up never got to play live in front of an audience Nords substitute came to be Björn Töpel, Anders Töpels kid brother. Lost Child/How can I play when I don’t believe came as the groups last single, and in between they also managed to perform on Swedish TV , which was recorded in December 69, and broadcasted in December the following year. By JanFreidun
Tracks
01. Deep Inside My Heart
02. Sailing Across The Ocean
03. Six White Horses
04. Time Is Mine
05. The Girl I Once Had
06. The Lilac Years
07. I Wake Up And Call
08. Sun In Her Hand
09. I Pick Up The Bus
10. There's A Man Standing In The Corner
11. I Will Bring You Flowers In The Morning
12. Caroline
13. Lost Child *
14. How Can I Pray When I Don't Even Believe *
15. Balladen Om Killen (Del 1) *
16. Balladen Om Killen (Del 2) *
17. The Weight (Live/Bonus) *
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The GTOs were a "groupie group" that consisted of Miss Pamela (Pamela Des Barres), Miss Sparky (Linda Sue Parker), Miss Lucy (Lucy McLaren), Miss Christine (Christine Frka), Miss Sandra (Sandra Leano), Miss Mercy (Mercy Fontentot) and Miss Cynderella (Cynthia Wells, later Cynthia Cale-Binion). The group hailed from the area around Los Angeles in the late 1960s, with most of the girls being denizens of the Sunset Strip scene. Their only album, Permanent Damage, was released in 1969.

Miss Pamela and Miss Sparky met while attending Cleveland High School. Miss Christine had travelled to LA from San Pedro with Miss Sandra, and both lived in the basement of Frank Zappa's log cabin in the mid 1960s. Miss Christine was the live-in nanny for Zappa's eldest two children, Dweezil and Moon Unit, before Miss Pamela took over the position during the late 1960s. Miss Mercy had emigrated from the Haight Ashbury hippie scene to LA due to "boredom", alleging she "couldn't be a hippie forever". Miss Cynderella was an addition to the group brought by Mercy after the nucleus of the group had been formed. This accounts for Cynderella's presence in some, but not all of the GTOs publicity shots. Miss Lucy was also not an original member and joined after the recording of Permanent Damage.

Originally known as "The Laurel Canyon Ballet Company", they changed their name to The GTOs on the advice of Frank Zappa, their financial supporter and producer. The new name is an acronym which, as Stanley Booth wrote, could mean "Girls Together Outrageously or Orally or anything else starting with O." The members were connected by their association with Zappa, who was a complex musician who encouraged their artistic endeavors, even though the GTOs were not singers of renown. Performances by the group were sparse, although they created a strong impression at their 1968 performance at the Shrine Auditorium. A mix of theatrics, singing and dance were staples of their act. Their only album, Permanent Damage (Straight Records), was produced in 1969 by Frank Zappa with the assistance of Lowell George (track 7 and 11). The songs are mixed in with conversations had between the members of the group, friends, and others, including Cynthia Plaster Caster and Rodney Bingenheimer. The album features songwriting contributions from Lowell George, Jeff Beck and Davy Jones. Permanent Damage was re-issued on CD in 1989 by Enigma Retro.

Miss Mercy and Miss Lucy were involved with a male version of a GTO - a "BTO" - named Mr. Bernardo, a half-Indian multi-sexual. Interestingly, Miss Christine and Miss Sandra were both of Serbian parentage, while Miss Lucy herself was Mexican-American.

Miss Pamela (born 1948) is the most famous and successful of the GTOs. Prior to joining the group she had been a member of Vito Paulekis' dancing troupe. Des Barres is the author of three memoirs with the first, I'm With The Band, based primarily on a diary she faithfully kept from high school through her eventual marriage, due, in part, to the encouragement she received from Zappa. All of the books describe life during the 1960s and the groupie scene, which Des Barres's book, Let's Spend the Night Together, a collection of interviews with fellow rock groupies, (2007) defends. Miss Pamela married and divorced musician Michael Des Barres. Together they have a son, musician Nicholas Des Barres, born in 1978.
Miss Mercy has been referred to as “a human facsimilie", by Miss Pamela. They still remain close friends. Miss Mercy's 'biography' in I’m With The Band was expanded at length within the chapter entitled, "Miss Mercy's Blues".
After the demise of the GTOs, Miss Cynderella briefly married John Cale of Velvet Underground, but the marriage ended in divorce. Cynderella died on February 19th, 1997 in Palm Desert, California but her death was not widely reported until 2007 when Pamela Des Barres mentioned it in her book Let's Spend the Night Together (inadvertently listing the wrong death year for some reason).
Miss Christine died on November 5, 1972, of an overdose in a house in Cohasset, Massachusetts which was being being rented out by Jonathan Richman and his original group, The Modern Lovers. Her death occurred shortly after she had spent close to a year in a full body cast to correct her crooked spine. She appears on the cover of Frank Zappa's album Hot Rats. Christine also dated Vincent Damon Furnier from labelmates Alice Cooper, as well as Todd Rundgren and members of the Flying Burrito Brothers.
Miss Lucy was married to the late Gordon McLaren (bassist for the NYC band called, ironically, The Groupies) from 1975 to 1981. She also appeared in Frank Zappa's "underground" film 200 Motels. Sadly, Lucy died in 1991 of complications from AIDS.
During her time as a GTO, Miss Sandra became pregnant by Zappa's resident artist, Calvin Schenkel, and had a daughter named Raven. Miss Sandra later moved back to San Pedro and eventually Italy after marrying and giving birth to three children. She died of ovarian cancer on April 23, 1991.
Miss Sparky performed on the song "Disco Boy" on Zappa's 1976 album, "Zoot Allures" (credited under the name "Sharkie Barker"), and has also worked at the Walt Disney Corporation.
Track Listing
01. The Eureka Springs Garbage Lady
02. Miss Pamela and Miss Sparky discuss STUFFED BRAS and some of their early gym class experiences
03. Who's Jim Sox?
04. Kansas and the BTO's
05. The Captain's Fat Theresa Shoes
06. Wouldn't It Be Sad If There Were No Cones?
07. Do Me In Once And I'll Be Sad, Do Me In Twice And I'll Know Better (Circular Circulation)
08. The Moche Monster Review
09. TV Lives
10. Rodney
11. I Have A Paintbrush In My Hand To Color A Triangle
12. Miss Christine's First Conversation With The Plaster Casters Of Chicago
13. The Original GTO's
14. The Ghost Chained To The Past, Present and Future (Shock Treatment)
15. Love On An Eleven Year Old Level
16. Miss Pamela's First Conversation With The Plaster Casters Of Chicago
17. I'm In Love With The Ooh-Ooh Man
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After the recording of the tapes which would eventually be released as All Our Own Work (and later Sandy And The Strawbs), Dave Cousins set out to find a UK record label (they were signed to Danish Sonet Records). However, Sandy Denny then decided to go back to her blossoming solo career, and subsequently joined Fairport Convention. US label A&M were just starting up a London office, and Sonet's head, Karl Knudsen, sent a copy of the Sandy tapes to a contact at A&M, and as a result the Strawbs became the first UK band signed to the label. They quickly recorded a single "Oh How She Changed"/"Or Am I Dreaming", which proved quite popular, and they settled down to make an album.

The album they initially put together was a pop masterpiece - however, A&M thought they'd signed progressive folkies rather than pop hopefuls, and, despite having spent large wedges of cash already, the Strawbs went back to the studio to record some more tracks. The album as released received critical acclaim, though not commercial success. The single from the album "The Man Who Called Himself Jesus" was, predictably, banned by the BBC. The outtakes from the intial sessions appeared on the limited pressing Strawberry Sampler No. 1 along with some other demos and rarities.
Tracks
01. The Man Who Called Himself Jesus
02. That Which Once Was Mine
03. All The Little Ladies
04. Pieces Of 79 And 15
05. Tell Me What You See In Me
06. Oh How She Changed
07. Or Am I Dreaming
08. Where Is This Dream Of Your Youth
09. Poor Jimmy Wilson
10. Where Am I/I'll Show You Where To Sleep
11. The Battle
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Formerly known as Piccadilly Line, Edwards Hand are a musical group formed by Englishmen Rod Edwards (keyboard and vocals) and Roger Hand (acoustic guitar and vocals). After a 1968 album released under their former name, in 1969 Edwards Hand released an eponymous album produced by George Martin who, taking a break from working on The Beatles' White Album, described their music as "exceptional".
Recorded in stereo at the EMI studios in St John's Wood, London, the album was released in the United States on vinyl and cassette by GRT Records of Sunset Boulevard, Los Angeles, California. The cover art is a golden autumnal scene featuring two faces, presumably those of Rod Edwards and Roger Hand, with a tree in the background. All songs were written by Edwards and Hand except If I thought You'd Ever Change Your Mind by John Cameron.
Tracks
1. Banjo Pier
2. Friday Hill
3. Episodes, Being The First Part
4. Close My Eyes
5. House Of Cards
6.If I Thought You'd Ever Change Your Mind
7. Characters Number One
8. Orange Peel
9. Sing Along With The Singer
10. Magic Car
11. Days Of Our Life
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