 genre: psych
country: uk
audio: lossless (ape, cue, log, scans)
time: 45'32" size: 288 mb
Tapestry of Delights :
Formed in Hounslow, Middlesex, in 1966, and originally known as Friday's Chyld, their first 45 was a fine slice of pop psychedelia complete with frantic chord changes and a catchy tune on the 'A' side, whilst the 'B' side was almost as good. Their second 45 lacked the sparkle of the first, however, and is consequently far less sought-after and expensive to obtain.
Prior to recording their first 45, they cut some demo's in early '67 at R.G. Jones' Morden studio, and auditioned for Decca with demo versions of Father's Name Is Dad and Treacle Toffee World. Suitably smitten, Decca offered them a deal, and on the strength of the recordings, they were also signed by Apple Publishing.
Their first 45 was released in March '68, many months after it had been recorded, and two versions exist - after Paul McCartney heard it on the radio, he arranged for the band to recut the 'A' side with backing vocals, and doubled guitar riffs an octave higher... It didn't make much difference however, although both versions have now been preserved on the Underground and Overhead album. Following this failure, the band recorded a number of demo tracks, many of which are again featured on the Underground... retrospective, before being forced into recording the second 45.
Rather inexplicably, both sides of the 45 Round The Gum Tree were written by Mike Berry, head of Apple Publishing, after he had rejected all of The Fire's demos as 'unsuitable'. The band refused to play on the disc, and The Fire's contribution to the 45 is limited to Lambert's vocal on the 'A' side.
With their relationship with Decca and Apple Publishing damaged, the band set about demo'ing tracks for what would become The Magic Shoemaker a concept album that revolved around a cobbler and a pair of magic shoes.
In January 1970 they started work on the album with the aid of Strawbs frontman Dave Cousins and Velvet Opera guitarist Paul Brett. It was composed and narrated by David Lambert who was very much the brains behind the group. The album's finer moments include the opening cut, Children Of Imagination; the R&B tinted I Can See The Sky, the experimental passage between Reason For Everything and Only A Dream.
After the band's demise in 1970 Voice and Dufall joined Paul Brett's Sage and Dave Lambert later joined The Strawbs in 1972 and recorded a solo album, Framed, (Polydor) in 1979.
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 genre: prog
country: netherlands
audio: lossless (ape, cue, log, scans)
time: 43'08" size: 288 mb
From ProgressiveRock :
At the end of 1973, drummer Pierre van der Linden left Focus to form Trace with his brother Rick. British drummer Colin Allen was flown in as a replacement. It had been over two years since the band’s last album, as studio recordings in 1973 were shelved. So it’s with some relief that Hamburger Concerto offers another installment of classic Focus. The brief "Delitiae Musicae" opens, confirming both Van Leer and Akkerman’s love of early music, something they pursued in contemporaneous solo works. The rocking "Harem Scarem" follows, tongue firmly in cheek. After its protracted intro, "La Cathederale De Strasbourg" swings beautifully with a Wyatt-esque whistle solo from Van Leer. With its trademark Focus melody, "Birth" reprises itself for another round before ending the side. Allen is surefooted throughout, providing a solid bottom to these rockers. Like Moving Waves, the title track spanns the entire second side of the album. Despite the regal intro, Focus remains humorous throughout, delivering their best composition and performance on record. The classical borrowings and instrumental acrobatics are certainly here, but so is a lot of restraint; neither arrangement nor delivery gets tedious. Van Leer’s use of vocalizing (instead of lyrics) on "Medium" is completely effective. There’s an absolute orgy of analog sounds, including a classic Leslie-driven guitar riff from Akkerman opening "Rare" and Van Leer’s saw-toothed ARP lead on the finale "One For The Road". The album was the last charting album for the band, reaching No. 20 in the UK and No. 66 in the US. The Focus story pretty much ends here. Another album, Mother Focus, was recorded piecemeal in 1975 and featured much shorter tracks, but Akkerman’s contribution was minimal. Worth seeking is the compilation Ship Of Memories containing some of the aborted recordings from 1973 and early versions of tracks from Hamburger Concerto. Massive personal changes ensued before a final best-forgotten album with P.J. Proby was released in 1978.
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 genre: blues, psych
country: us
audio: mp3 (224k, covers)
time: 1:12'24" size: 118 mb
unknonwn:
Bluesy american psychedelic rock from 2001. A lot of people compare this to Hendrix.
Scott Finch & Gypsy got together in Wisconsin back in the eighties to form a compelling and authoritative trio that reawakened our senses and re-ignited our interest in that important period of rock music.
Scott Finch (guitar, vocals), Joe Steil (bass, vocals) and Gregg Slavik (drums, percussion, vocals), are an original blues-rock power trio that ingeniously construct their own identity and style. Finch plays and sounds like Jimi often enough during the course of this larger-than-life release that you may find yourself thinking that it's actually the man himself back from the grave for one more jam session. They readily summon images of the master at several points during the course of the entire 76 minutes found on this generous rock excursion.
In its entirety, this music is like watching several points of light coming together to create a supernova. Finch mentions in the liner notes that musical nirvana is the ultimate goal that the group strives to achieve. I think it's safe to say that musical nirvana is obtainable.
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 genre: prog
country: italy
audio: lossless (ape, cue, log, scans)
time: 36'57" size: 227 mb
Scented Gardens of Mind:
These four musicians recorded three very different records together under three different group names. Flea On The Honey was the first of these, recording an album for the RCA subsidary Delta Records in April 1971. All lyrics to the 10 tracks were sung in English and the group members even adapted English names on the sleeve! The material was very variable, indicative of a group that hadn't yet properly decided its musical direction. Most of it is strongly influenced by late sixties British rock highlighting guitar and organ (Spooky Tooth, Traffic, Raw Material, Deep Purple and many, many more) and it ranges from progressive gospel rock ("Mother Mary") and folk-rock ("Louise") to forceful guitar-based heavy-rock ("Moon Park Woman") and blues-rock ("Face To The Sun"). It's quite a good album, although not indispensable.
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 genre: r&b, soul
country: uk
audio: lossless (flac, cue, log, book scans)
time: 1:13'07"+1:13'40" size: 886 mb
misc: '66-'69's singles & eps
Tapestry of Delights:
Chris Farlowe's real name was John Deighton and he was born on 13 October 1940. Before forming The Thunderbirds in 1964 he'd played in a number of skiffle acts including The John Henry Skiffle Group. The Thunderbirds were reputedly a first rate R&B band, one of the best on the circuit in the mid-sixties, but they got little recognition at the time. They featured a certain Albert Lee on guitar who went on to play in several other bands including Heads Hands and Feet, Joe Cocker and The Cock'n'Bull Band and he also had his own studio-only Albert Lee Band in 1975. Their organist Dave Greenslade also went on to greater things with The Ram Jam Band and Colosseum.
After a one-off release for Decca, Air Travel, passed largely without notice, The Thunderbirds released some first rate R&B singles for EMI's Columbia label, which were ideally suited to Farlowe's powerful rasping vocal style. The rarest and most sought-after of these is Buzz With The Fuzz, which was withdrawn shortly after its release because EMI objected to some of the mod slang in the lyrics. Following this Farlowe released Stormy Monday Blues under the pseudonym of Little Joe Cook on the Sue label. At the time everyone thought the 45 was the work of an obscure black US blues singer.
It wasn't until Farlowe and his band signed to the new Immediate label that they began to enjoy the success they really deserved. The first 45, The Fool, produced by Eric Burdon of The Animals missed out; the follow-up, Think, a Jagger/Richard composition due to be included on the forthcoming Rolling Stones' Aftermath album was a minor hit but the big breakthrough came with another Jagger/Richard number, Out Of Time, which was also on the Aftermath album and shot him to No 1. He later achieved a minor hit with Ride On Baby, another Jagger/Richard song which hadn't made it onto Aftermath.
His two albums around this time, 14 Things To Think About and The Art Of Chris Farlowe, which veered more towards soul and R&B both sold pretty well and he continued to enjoy further 45 successes during 1968 with The Small Faces' My Way Of Giving produced by Marriott and Lane and a cover of the jazz standard Moanin' and Handbags And Gladrags, which had been written by Manfred Mann's Mike D'Abo. Following this brace of minor hits he disbanded The Thunderbirds and took a two year sabbatical from the music scene. During this time he channelled much of his energy into building up his Islington-based collection of Nazi World War II memorabilia. When he returned in the Autumn of 1970 he briefly fronted a band called Hill and then did short stints as vocalist for Colosseum and Atomic Rooster.
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 genre: heavy
country: us
audio: lossless (ape tracks, no cue, log, covers)
time: 40'23" size: 86 mb
01 - Black Lace 6:10
02 - Sing A Song For Freedom 3:00
03 - I'll Never Be Lonely 5:02
04 - Bye Bye Blues 4:57
05 - Pain In My Heart 8:20
06 - Sloony 3:37
07 - I'm Movin' 4:53
08 - I Haven't Got The Time 4:25
TOM BEAUDRY bs
KELLY GREEN ld vcls
RICH STEVERS drms, tympani
GARY THOMPSON gtr
see also: Frijid Pink ~ 1972 ~ Earth Omen
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 genre: prog
country: italy
audio: lossless (flac, cue, log, scans)
time: 30'53" size: 194 mb
Fourth and last album, La grande casa, saw the group's split from Lucio Battisti's production and compositions, the album being produced by lyric writer Mogol with original music by Alberto Radius. This is usually considered their lesser album, with large use of acoustic guitar and very different from the previous one.
The band kept playing as Lucio Battisti's backing band but Formula 3 officially ceased to exist since late 1973.
01 - Rapsodia Di Radius 5:24
02 - La Ciliegia Non E Di Plastica 4:36
03 - Liberta Per Quest'uomo 5:36
04 - La Grande Casa 5:31
05 - Cara Giovanna 5:02
06 - Bambina Sbagliata 4:44
Tony Cicco / drums, percussion, vocals
Gabriele Lorenzi / keyborads, bass, vocals
Alberto Radius / guitars, bass, vocals
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 genre: rock, psych
country: uk
audio: mp3 (320k, scans)
time: 37'17" size: 86 mb
misc.: originally released in Germany only
01. Let Your Mind Roll On 5:32
02. The Blues Today 2:42
03. Bring Down The Wall 2:12
04. Love My Home 3:22
05. Mona Losa 6:12
06. Blue Blue Mohair Suit Shuffler 3:46
07. Misfortune By My Goodluck Sign 2:50
08. Hush Hush Push No Evil 2:18
09. Live Off The Land 2:14
10. Karate Boogaloo 1:53
11. Lay It On Me 4:16
see also: Fair Weather ~ 1971 ~ Beginning From End
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 genre: psych, prog
country: uk
audio: lossless (flac, cue, log, scans)
time: 50'29" size: 328 mb
Tapestry of Delights:
Starting out as a soul-based band from Neath, the Eyes Of Blue gradually turned to the American West Coast sound. All of their recordings are quite collectable.
In collaboration with Quincy Jones they contributed to the 'Toy Grabbers' film score and they later appeared in the film 'Connecting Rooms'. Their albums are diverse with pop, R&B jazz, classical, psychedelic and Eastern influences. The best tracks on the first one are two R&B Graham Bond songs (he also wrote the sleevenotes) Love Is The Law and Crossroads Of Time. It also included good versions of Love's 7 And 7 Is and The Beatles' Yesterday. Also noteworthy are their own Inspiration For A New Day and Prodigal Son, which feature some Eastern-sounding psychedelic guitar work.
Their second album is more progressive. The best tracks are Merry Go Round (from the 'Toy Grabbers' Soundtrack), which is a keyboard-dominated progressive piece with some good guitar breaks and much classical influence; Graham Bond's Spanish Blues, with some jazzy organ; Door, with its spooky vocals, which along with the dreamy title cut indicated the band's interest in the supernatural and the occult (especially reincarnation).
They also recorded an album in October 1968 as the backing band to American singer-songwriter Buzz Linhart, Buzzy. Highlights included a very good R&B version of Tim Hardin's Yellow Cab and Linhart's Willie Jean and End Song. There's a long track on side two which they don't play on which is also very good. On this Linhart is backed by Big Jim Sullivan (gtr) and Keshav Sathe (tabla).
Phil Ryan later played in Man, whilst Weathers went onto play with Pete Brown and Piblokto! and Gentle Giant. Ritchie Francis later made a solo album in 1971. The band later recorded as Big Sleep and aided Ancient Grease on their sole album. ~ (Vernon Joynson / Costas Arvantis).
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 genre: freak folk
country: us
audio: lossless (flac, cue, log, scans)
time: 38'44" size: 366 mb
wiki:
Macfarlane Gregory Anthony Mackey, who recorded as Exuma (18 February 1942 – 25 January 1997) was a Bahamian musician, known for his almost unclassifiable music: a strong mixture of carnival, junkanoo, calypso and ballad. In his early days in New York's Greenwich Village, Tony McKay (his self-given name) performed in small clubs and bars. Later, along with his then-partner and lifelong friend, Sally O'Brien, and several musician friends, Tony launched EXUMA - a 7-person group that toured and recorded albums, starting with Exuma: The Obeah Man in 1970 and ending with Rude Boy in 1986. His songs invoke influences from calypso, junkanoo, reggae, African music and folk music with his lyrics dealing heavily with Obeah. His backing band known only as the Junk Band has included names such as Sally O'Brien, Bogie, Lord Wellington, Villy, Mildred Vaney, Frankie Gearing, Diana Claudia Bunea, and his good friend Peppy Castro.
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 genre: fusion
country: germany
audio: lossless (flac, cue, log, scans)
time: 1:10'57" size: 390 mb
1. The First Tune (7:37)
2. Tönjès Dream Interruption (4:17)
3. Interessante Olé (2:50)
4. Two Times (2:25)
5. Trippin With Birds / Kudu / Horny (18:48)
6. Marilyn F. Kennedy (2:30)
7. Dada (3:36)
8. Adventures With Long S.tea (2:53)
9. 25 Two Seconds Before Sunrise (4:53)
10. Groove Tango Wolperaiso (2:35)
11. Jam Factory For People Insane (4:04)
12. Habits (5:57)
13. Dance Of The Crabs (0:53)
14. Greetings To The Maroccan Farmers (6:36)
15. Last But One Train To Amsterdam (0:56)
Thomas Balluff / organ, electric piano, clavinett-c effects
Fred Braceful / sonor drums, percussion extraordinaire
Andy Göldner / fretless electric bass, electric guitar, alto sax, tape recorder
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 30'06" size: 179 mb
AllMusic.com:
The Earthen Vessel was formed in 1970 in Lansing, Michigan by Leon Morton a tenor with a local Gospel Quartet. Originally known as The Rare Ones, the band soon changed names to The Earthen Vessel after a biblical reference. The band combined Christian philosophy with psychedelic rock music to forge a new genre in American music. In the early 70's Christian music was brought into the forefront because of the popularity of such rock musicals as Jesus Christ Superstar, The Survival Of Saint Joan and Joseph And His Amazing Technicolor Dreamcoat and young musicians discovered that they could still play rock and be true to their Christian ideals. The Earthen Vessel was one such band that broke the traditional mold of what religious music should sound like. The band became popular in the Midwest and toured a number of University campuses, high schools and anti-drug rallies through out early 1971 . In the fall of 1971 the band recorded an album of original material in Nashville's Monument Studios that was released on the small NRS Records label. The music on the album consisted of six hard rock psychedelic songs that praised the Lord in the lyrics while rocked out in the music. While the music had a clear message of love peace and God's word, it was not accepted by many church leaders because of the hard rock sound of the songs and the band subsequently broke up a short time later.
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 36'17" size: 227 mb
Other than oftentimes laughable lyrics (typical of the time) and cheesy instrumentation, this is a collection of quite well-crafted baroque pop and blue-eyed soul and psychedelic Hendrix-inspired tunes. The only real annoyance here is the poor vocals, which are so bad that they almost ruin these tunes. But they don't...
~ Review from jeffgower.com.
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 genre: flower pop
country: us
audio: lossless (flac, cue, log, scans)
time: 1:07'34" size: 389 mb
Fuzz Acid & Flowers:
This New Jersey flower power pop quintet first attracted attention when they recorded Younger Girl, a John Sebastian song from the first Lovin' Spoonful album. The 45 gave them the first of their four U.S. hits and their first album was a delightful summery disc.
Originally called The Vibra-Tones, when they signed up to Kama Sutra Records, they were forced to record covers although the band had a large amount of original material ready. After recording the Jackie DeShannon song Children And Flowers for their first Kama Sutra single, the band wanted the Don-Ciccone original, Mr Dieingly Sad for their second but when the label insisted on Younger Girl, four of the members went on strike rather than record the song. Subsequently, only Don and Kenny appeared on the single.
The record company then relented and Mr Dieingly Sad became their biggest hit. Soon after Don and Bob left to join the Air Force and a few months later, Jack Decker was drafted. Chris Darway then left to return to college and Jimmy Ryan and Kenny Gorka were left to carry the name with some hired musicians
In late '67 they signed to Enoch Light's Project 3 label, whose interest lay in making interesting use of cutting edge recording technology rather than music per se. they were subsequently featured on Light's "Popular Science" series of stereo/quad test LP's.
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 genre: psych
country: uk
audio: lossless (flac, cue, log, scans)
time: 56'24" size: 205 mb
Tapestry of Delights:
These two psychedelic albums are among the most sought-after artefacts of British psychedelia. Only 99 copies of each album by this Blackpool-based band were pressed. Despite the fact the debut album was recorded in November 1970 it sounds like it's straight out of the Summer of love. Basically we're talking echo-laden organ-driven garage psychedelia which is marred only by poor sound quality. Eight of the eleven compositions were penned by Steve Coe and a guy called Mitchell, two were Steve Coe compositions and the finale, Live For The Minute, was the product of a Coe-Shakespeare songwriting collaboration. This has lots of fine guitar organ interplay. Other highlights are Witch's Spell and Storm On The Way, both notable for some punchy organ work and strong vocals and Self Declaration, which has lots of fuzzy guitar and cheesy organ. A couple of tracks, Josie and Madamoiselle Jackie veer more towards pop with a commercial edge.
Despite its rarity and value many collectors regard The Way We Feel, which was recorded at Deroy Sound Studios the following year, as an anti-climax. A few songs, particularly Moving Moor and We Don't Exist, are on a par with the debut album, but overall the quality of material is comparatively disappointing. Soon after the release of this album the band's main songwriter Steve Coe departed. Several years later he re-emerged in Monsoon. The remaining members recorded a five-track acetate for a third album, which remains unreleased, before disbanding
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 genre: psych
country: us
audio: lossless (flac, cue, log, scans)
time: 39'07" size: 235 mb
The Common People are perhaps the greatest remaining enigma in 1960s US rock music.
Their sole album has belatedly been acclaimed as one of the most distinctive recordings of its time, but - despite the best efforts of fans and journalists- none of the musicians involved has yet been found.
Led by Denny Robinett, who is remembered as a deeply charismatic figure, they are known to have originated in California (some say in Baldwin Park, others Fontana), where they are thought to have been bikers.
By then they'd taken to wearing white robes and carrying Biblical staffs, and soon attracted the attention of legendary rock opportunist 'Sir' Tim Hudson, manager of garage heroes the Seeds and the Lollipop Shoppe.
Hudson had the prescience to recognise the uniqueness of Robinett's moody songwriting, and in 1969 he landed them an album deal with Capitol.
With a considerable budget to play with, he hired the legendary David Axelrod to score the material, and set about planning an ambitious fusion of the experimental pop of the Beach Boys, Love and The Velvet Underground with modern classical strings.
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 genre: heavy psych
country: spain
audio: lossless (flac, cue, log, scans)
time: 45'25" size: 301 mb
Scented Gardens of Mind:
This was actually a bunch of Germans (from Hamburg) based in Spain at the time. Evolution originated from the rhythm and blues group Vampires, who recorded a few singles in 1966 and 1967. Their music was quite heavy and intense, full of fuzz guitar and organ. They made cover versions of Santana's "Evil Ways", King Crimson's "21th Century Schizoid Man" and Spirit's "Fresh Garbage". This reveals some of their influences, others might include Spooky Tooth and Traffic. Evolution (1970) will be appreciated by those who like a mix of psychedelic and progressive (but also soul and jazz) influences, also indicated by the colourful front sleeve design. "She's So Fine" had a psychedelic intro with the use of an audio oscillator and the instrumental "I'm Walking High" contained some superb guitar work. An enjoyable album that is very rare nowadays
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 genre: country, psych
country: us
audio: lossless (flac, cue, log, scans)
time: 43'05" size: 301 mb
Fuzz Acid & Flowers:
Originally from California, where they had earlier recorded with Word, they travelled to Houston around 1967 and settled there recording their superb 45 (the flip in particular is an unnerving haunting number). During their stay in Houston they also recorded four unreleased songs:- Pick It Up, In Time, Walking The Dog and Oh Dear, You Look Like A Dog. These are as psychedelic and good as their recorded output. They returned to California to record the album, which ranged from country rock to psychedelia, and is recommended.
Watt also wrote some material for the L.A. based East Side Kids and he and Lincoln wrote for, co-produced and played on Bernie Schwartz' solo album circa 1969/70.
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