Tapestry of Delights:
This Birmingham beat group formed in 1964. They relocated to Italy in the mid-sixties and actually had several albums released out there, and in other countries such as Holland. Obviously popular in Finland, as well, they also appeared in a film Topralli ("Top Rally"), directed by Yrjo Tahtela in 1966. In addition to the four UK 45s, which are all hard to find now, they also cut an acetate, Bye Bye Johnny/She Lied for Morden-based Oak records.
One of their more interesting releases was 13 Women, a Bill Haley hit, originally released in Europe, which found its way onto President for a 1968 45. One of their singles was a No 1 hit in Finland in 1965. ~ (Vernon Joynson/Mike Warth/Hitomi Ishikawa/Raimo Blomberg)
Fuzz Acid & Flowers:
A highly regarded Massachusetts punk band, who were originally known as Barry and The Remains. They had quite a reputation in the Boston area in the late sixties, and opened for The Beatles last tour in the Summer of 1966.
Strong covers and one stellar original, Why Do I Cry, prove once again that The Remains were one of the very best.
Briggs and Tashian were later part of an embryonic Flying Burrito Brothers line-up and Barry was also connected with Chirco who released one rather rare LP The Visitation on Crested Butte. He's still an active musician on the folk circuit and has published a book 'Ticket To Ride' - his diary of The Beatles last U.S. tour on which The Remains were a support act.
Although Billy Vera wrote Don't Look BackThe Remains made it their own. The song was also recorded by The Instincts, and by The Rising Storm on their Calm Before LP (also featured on Endless journey - Phase 1).
In 1998 Barry, Billy, Vern and original pre-Beatles-Tour drummer Chip Damiani were invited to Spain, where they still enjoy a fanatical following, for a reunion event. This was followed by the Cavestomp '98 event nearer to home in NYC in November, and turned out to be a warm-up for a historic homecoming at the Paradise Club in Boston on 20th March 1999. Headlining with a reformed Lost and The Rising Storm, this was the ultimate Boston tea-party. The Remains were in smokin' form, tight and rockin', with Barry's vocals in fine fettle. The band seemed to get as much of a buzz as the 600+ sell-out crowd, whose age-range attested to their timeless appeal. ~
(Vernon Joynson / Anuj Goyal / Max Waller / Joe Nagarya)
b) The Big Time
3. Caption For The City Night Life
4. Fantasy Of Horses
a) Early Light
g) Cliff Edge
Julian Browning / guitar, keyboards
Ferg McKinnon / bass
Graeme Carter / drums, percussion
Keith Hoban / vocals, organ
Frank Graham / trumpet
Martin West / saxophone, clarinet
Ian Relf / trombone
Tricia Shevenan / flute
Chris Stock / oboe
Karin McGechie / violin
Stephen Daunt / violin
Nya Murray / violin
Rowan Thomas / alto
Sara Glenie / violoncello
quality: lossless (ape, cue, log, covers, 547 mb)
The sixth album by the British rock band, The Pretty Things. It's the second album without founding member Dick Taylor and the first without bassist Wally Waller as a full member, who has been with the band since the band's 1967 album Emotions (however, he did produce the album, as well as sing vocals on one of the tracks). The group had a major lineup increase, by adding a violin player, a viola player and a cello player, as well as a second guitar player.
After scoring a Top Five hit with "Magic" in 1975, it is incomprehensible that "January," the ultra-catchy single from Pilot's sophomore album, Second Flight, stalled at a measly number 87 in the U.S. The song was much more successful overseas, and the album from which it comes is nearly as good as the group's debut. It's hard to pinpoint exactly what it is about Pilot that inspires such fanaticism among a devoted few, but the unlikely blending of bubblegum pop with prog rock -- replete with sunny hooks, handclaps, ambiguous cliché-ridden lyrics, and stellar musicianship -- is easy to love. "Call Me Round" would have been the perfect follow-up hit had "January" performed better in the U.S., and the lovely and elaborate "Love Is" suggests the ambitious arrangements of late-'60s Beach Boys. Alan Parsons produced this album, and the instrumental "55 North 3 West" veers toward disco while anticipating the music three-fourths of the group would soon help make on the Alan Parsons Project album I Robot a year later. It's a rare treat to hear such accomplished artists apply their abilities to pure pop music. ~
genre: beat, pop
quality: lossless (flac, cue, log, covers, 379 mb)
misc.: compilation of '67-'71
01. Golden Glass 3:01
02. Shoot me up to the Moon 2:45
03. Summerwind 2:52
04. Roses for Kathy 2:44
05. Misty Island 2:39
06. Pretty Liza 2:36
07. The Fountain 2:14
08. Some sunny Sunday Morning 2:56
09. On the Road with my Bag 3:35
10. Blue Fire Light 3:38
11. Pictures 2:26
12. The Dream 2:54
13. Keep on 3:10
14. My World 3:21
15. Don't you feel like me? 2:51
16. Good good Donna 3:47
17. Rainy Day 4:02
18. On the Road drinking Wine 2:38
19. Baby Man 4:45
20. Hello my Friend 3:46
genre: psych folk
quality: lossless (flac, cue, log, covers, 250 mb)
By early 1969, the original line-up of Pearls Before Swine - which had only ever performed in the studio, never live - was disintegrating around its leader and mainstay, singer and songwriter Tom Rapp. Original members Lane Lederer and Roger Crissinger had left, and Rapp had married Dutch traveller Elisabeth (surname unrecorded), whom he had met in New York when recording the album Balaklava. Original member Wayne Harley remained in the group, but left shortly after These Things Too was recorded.
The group had now left ESP-Disk and joined Reprise, a major label, and Rapp and producer Richard Alderson recruited studio musicians to play on the album. Chief among these was Jim Fairs, formerly of garage band The Cryan' Shames, who acted as co-producer and arranger as well as musician. Other musicians included violinist Richard Greene, later of Seatrain, and jazz drummer Grady Tate. These Things Too has been described as Rapp's "dreamy" album, and it is generally less well regarded by critics than the albums which immediately preceded and followed it, Balaklava (1968) and The Use of Ashes (1970). Rapp stated that it was the first Pearls Before Swine album which reflected drug use in the writing of the songs.