 genre: heavy, prog
country: uk
audio: lossless (flac, cue, log, scans, 228 mb)
time: 47'54" misc.: '89
Tapestry of Delights:
From Ilford in Essex, this heavy rock band's finest moment was undoubtedly the frenetic Race With The Devil, which was subsequently reissued in 1979 and 1982. It also achieved some Chart success. The follow-up, Drives You Mad, was similar in style. Their first album's front cover was the first designed by Roger Dean and musically, it was very much part of the first wave of British hard-rock. Both their albums were psychedelic/progressive crossover items and could potentially also appeal to fans of either of these genres.
The Gurvitz brothers progressed to Three Man Army after Gun's demise. Later on, Adrian Gurvitz recorded solo albums. Farrell also played with The Bulldog Breed. Pete Dunton went on to T2 and also recorded a solo 45.
Jon Anderson was their vocalist in a pre-recording line-up.
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 genre: sympho prog
country: spain
audio: lossless (flac, cue, log, scans, 228 mb)
time: 30'34"
ProgArchives:
Gualberto (Garcia Perez) has developed a unique manner to play a mix between flamenco and fusion rock music. He created flamenco sitar which consists to perform flamenco basic scales on sitar. He first introduced his musical "fusion" approach in his first band Smash in the early seventies. Two albums of progressive rock will be published under this name. During these recent years he appeared in Woodstock festival and also met Frank Zappa. In 1975 he started his career in solo, recording his first album personal album "A La Vida Al Dolor" ("To the life and the pain") a monumental progressive psych album. It features an important use of electric rock guitar next to acoustic parts delivered by flamenco guitar, sitar and violin. In 1976 he released his second official album called "Vericuetos", one of the major contributions for the development of Spanish rock music. After these two classic albums, Gualberto worked for numerous projects with others musicians, notably with Ricardo Mino for a serie of albums more in the genre of traditional flamenco music composed with an evident use of sitar and Hindu's accents ("Puento Magico" in 1983, "Sin commentario" at the beginning of the 90's). He recently released an album "Resistances" (1998) with the great flamenco guitar interpreter Ricardo Mino.
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 genre: flower pop, psych
country: us
audio: lossless (flac, cue, log, covers, 232 mb)
time: 36'52"
Fuzz Acid & Flowers:
The above psychedelic rock album is one of the better Mainstream issues. Side one opens with Hard Hard Year, full of pleasant vocal harmonies and melodic guitar work. Edge Of Time is an uptempo number with great guitar work. Tomorrow Has Been Cancelled and A Boy I Once Knew Well both feature harmonised vocals and some great guitar. Side two relies more on covers. There's some great guitar playing in their version of Mister You're A Better Man Than I and in Other Side Of Life and they've an individual interpretation of Steve Still's Sit Down I Think I Love You. ~ (Vernon Joynson / Max Waller)
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 genre: psych
country: netherlands
audio: lossless (ape, cue, log, covers, size: 375 mb)
time: 1:05'48"
Gibraltar:
Group 1850 formed in The Hague in 1964 as The Klits, but chose their new name in January 1965 when Hugo Gordijn became their manager. They signed a deal with Phonogram and soon they were ready for their first album and "Agemo's Trip" was the result. It just happens to be massively psychedelic, even though not very widely known. The original sleeve notes tell of a trip of a mythical being whose spiritual father sends him on a search for enlightenment. He goes to a place (Earth) where people follow organised religion without knowing why. He enlightens the people of the world and leads them to the place (and state of mind) that he came from.
It was released in 1968, sank without a trace, and gradually became an expensive collector's item.
There are echoes of Chocolate Watchband and Misunderstood on the opener (Steel Sings), which climaxes in a stunning Airplane-like guitar solo. 'Little Fly' compounds the influences even further, sounding a bit Canterburyish in places. 'I Put My Hand On Your Shoulder' is a 13-minute epic with tremendously heavy phasing, and insistent voices talking alternately in Dutch and English. The totally surreal vocals and the drum phasing getting deeper and deeper make the track extremely freaky, but there's a reassuring quality in the midst of all the psychedelic mayhem. This track really is a psychedelic classic that make "Agemo's Trip" a must for any collection of psychedelia.
'You Did It Too Hard,' is a bit of an oddity with spaced-out hippy improvised spoken bits at the end. The album continues in similar insane style on 'A Point In This Life' with harpsichord and sliding distorted guitar. Things calm down for 'Refound" and "Reborn" the final two tracks on the original album, with gentle flutes and female vocals asking us to "look inside and find the inner light", not to mention sitar-like guitar solos and twittering birds.
There are a dozen bonus tracks on the CD reissue, mostly singles. 'Misty Night,' their first single has a tremendous garagey feel, and on 'Mother No-Head' incredibly, there is an overdriven guitar playing 'Frere Jacques' Unexpected to say the least, but it really works! From the value-for-money standpoint, it's a good idea to include these songs; whether it works artistically to include them with the concept album is doubtful. -- Andras Sumegi
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 genre: country
country: us
audio: lossless (ape, cue, log, covers, size: 481 mb)
time: 1:19'24"
Wiki:
Wake of the Flood is the sixth studio album by the Grateful Dead. It was recorded between August 4 and September 1, 1973, and originally released on October 15, 1973. It was the first release under the band's own label, Grateful Dead Records, after fulfilling their contract with Warner Bros. Records. It was their first full-length studio album in nearly three years, since 1970's American Beauty. It was also the first studio album without Ron "Pigpen" McKernan, who had recently died. His absence and new piano player Keith Godchaux's tendency towards jazz (rather than McKernan's tendency towards the blues) changed the band's sound.
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 genre: soft, beat
country: us
audio: lossless (flac, cue, log, covers, size: 332 mb)
time: 51'17"
Fuzz Acid & Flowers:
The Grass Roots was originated by the writer/producer team of P.F. Sloan and Steve Barri as a pseudonym under which they would release a body of Byrds/Beau Brummels-style folk-rock. Sloan and Barri were contracted songwriters for Trousdale Music, the publishing arm of Dunhill Records, which wanted to cash in on the folk-rock boom of 1965. Dunhill asked Sloan and Barri to come up with this material, and a group alias under which they would release it. The resulting Grass Roots debut song, Where Were You When I Needed You, sung by Sloan, was sent to a Los Angeles radio station, which began playing it. The problem was, there was no Grass Roots. The next step was to recruit a band that could become The Grass Roots. Sloan found a San Francisco group called The Bedouins that seemed promising on the basis of their lead singer, Bill Fulton. Fulton recorded a new vocal over the backing tracks laid down for the P.F. Sloan version of the song. The Bedouins were, at first, content to put their future in the hands of Sloan and Barri as producers. However, the rest of the group was offended when Fulton was told to record their debut single, a cover of Bob Dylan's The Ballad Of A Thin Man, backed by studio musicians. When that single, released in October of 1965, became only a modest hit, The Bedouins - except for their drummer, Joel Larson - departed for San Francisco, to re-form as The Unquenchable Thirst. Sloan and Barri continued to record and released Where Were You When I Needed You. The album never charted.
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 genre: psych, prog
country: uk
audio: lossless (flac, cue, log, covers, size: 441 mb)
time: 1:14'28" misc.: rec. 71-74
Previously unreleased early 70's underground-psychedelic/hippy/progressive rock, pleasantsoft dreamy mellow prog. with mellotron, acid guitar, touch with spacey effects, from the orig. masters. Superb, previously unreleased material by these melodic prog-rock wayfarers 1970-74. Floyd-like vocals, dreamy mellotron and spaced-out acid guitar are the hallmarks of Graphite. UK underground psychedelic / hippy / progressive - similar in places to Fantasy. Good songs and instrumentation. Excellent sound quality with mellotrons, guitars etc
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 genre: hard
country: uk
audio: lossless (flac, cue, log, covers, size: 361 mb)
time: 55'19"
Wiki:
We're An American Band is the seventh studio album by American hard rock band Grand Funk Railroad, credited as Grand Funk. The album was released by Capitol Records on July 15, 1973 (see 1973 in music) and was certified gold by the Recording Industry Association of America a little over a month after its release. Two singles were released from the album. The first single, "We're an American Band", was released on July 2, 1973 and the second, "Walk Like a Man", was released on October 29, 1973. Both singles were sung by drummer Don Brewer.
The album cover was originally covered in gold-colored foil on the outside, and the initial run of pressings were pressed in clear, dark-yellow vinyl. A Quadraphonic mix of the album was available in the Quadraphonic 8-Track cartridge format.
The album is #200 of the National Association of Recording Merchandisers (NARM) Definitive 200 albums of all time.
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 genre: prog, psych
country: uk
audio: lossless (ape, cue, log, covers, size: 238 mb)
time: 40'20"
Discogs:
Originating as the South London mod band The Game in Autumn 1968, fronted by songwriter/guitarist Terry Spencer, as they moved to more complex original progressive sounds they changed name to Grail when Terry left and adopted a new focus. In between concerts on the Continent, Grail recorded their debut LP in London, with production credits going to Rod Stewart (apparently a fan of the band). Despite this, however, they never got any takers, and the album remained unreleased for a while. They had no such problems in Germany however, selling the tapes to Metronome, who released two tracks as a single in November 1970 followed by the album in early-1971, after which the band had already disbanded.
01. Power 7:24
02. Bleek Wind High 4:36
03. Day After Day 3:30
04. Grail 4:49
05. Camel Dung 5:10
06. Sunday Morning 3:35
07. Czechers 6:22
08. The Square 4:54
Paul Barrett: guitar, clarinet, vocals
Dave Blake: cello, sitar, flute, vocals
Stan Decker: bass, guitar, keyboards
Chris Perry: drums, percussion
Chris Williams: vocals, autoharp
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 genre: heavy
country: us
audio: lossless (flac, cue, log, covers, size: 198 mb)
time: 34'31"
Fuzz Acid & Flowers:
A Long Island Italian-American band led by the Marchello brothers. Their first album was produced by Ron Hoffkins and Barry Osslander but flopped. The Good Rats persevered, returning in 1974 with Tasty on Warner and enjoyed some success at the end of the seventies. Their singer, Peppi Marchello, was notable for his raunchy timbre. ~ (Stephane Rebeschini)
... further history read in wiki
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 genre: hard
country: us
audio: lossless (flac, cue, log, covers, size: 257 mb)
time: 34'12"
Fuzz Acid & Flowers:
From Kentucky, a hard rock act heavily influenced by Deep Purple. ~ (Stephane Rebeschini)
01. We're Not Afraid 5:13
02. Ordinary Guy 5:04
03. Tell Me You're Satisfied 4:18
04. Silver Girl 3:05
05. Dead Drunk Screamin' 6:05
06. Hot Rock and Thunder 6:02
07. The Apocalypse 4:26
Dave Wood - grand pno, moog, clavinet, vcl
Paul Bays - l gtr, vcl
Jim Kitchen - l vcl
Bill Peters - bss gtr, vcl
Steve Peters - drms
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 genre: heavy psych
country: us
audio: lossless (flac, cue, log, covers, size: 218 mb)
time: 35'49"
Fuzz Acid & Flowers:
From Los Angeles, Goldenrod were part of the "Our Productions" crew, along with Mike Deasy, Lee Mallory and Curt Boettcher. As part of this talented group of people, they contributed to numerous albums and sessions in addition to those released as Goldenrod. Some of these included Tommy Roe and backing the Association on their first two albums. Much of this session work was done on a "conveyor" belt system; with all the instrumental tracks being cut at Gary Paxton's studio, and vocals for the more well known acts cut at Columbia.
All three had earlier played with Ballroom with Boettcher and together with Mallory, they formed the basis of the original line-up of Millennium. Scheff contributed Dandelion Wine to the Millennium repertoire, but all three left when it looked like Millennium would turn into a 'proper' band rather than a studio project. Goldenrod are also thought to have backed Lee Mallory live.
The Goldenrod album contains four elongated tracks consisting of extended and improvised jamming with mystical titles, such as Karmic Dream Sequences and Descent Of The Cyclopeans. The former was written by Curt Boettcher and Lee Mallory, and was later also recorded by Millennium.
Apparently the group first met while they were recruited to back The Fifth Dimension and they all went on to become top LA session men; Scheff also went on to back Elvis Presley and backed Benay appeared in Fun Zone in the seventies. ~ (Vernon Joynson / Max Waller / Joe Foster)
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 genre: psych
country: us
audio: lossless (ape, cue, log, covers, size: 219 mb)
time: 32'23"
Fuzz Acid & Flowers:
Taking their name from the esoteric teachings and philosophy of the Hermetic Tradition, this band was formed in Austin in 1967. The 13th Floor Elevators got them a recording contract with International Artists. Indeed, George Kinney and Roky Erickson had grown up together in South Austin, attended the same school and played together in The Fugitives, a garage band from 1964/65. Kinney also played in Chelsea from late 1965 to late 1966 joining The Golden Dawn at the invitation of some high school friends when Chelsea fell apart.
The album is one of the best on the label with fine psychedelic instrumentation and thought provoking lyrics. Sadly, International Artists failed to promote it and the band fell apart when Kinney, determined to have nothing more to do with them, headed for California. Together with George Banks (who did the artwork for the album) Kinney later published Roky Erickson's book "Openers" whilst Roky was in Rusk State Hospital and the book helped to win his release. One cut from the album, Starvation, was later issued on an EP by Radarscope (RAD 88) 1978 in the U.K. along with cuts by the 13th Floor Elevators, The Red Krayola and The Lost and Found. Copies were given away at Red Krayola's 1978 reunion gig at London's Hope and Anchor pub.
Bill Hallmark went on to sing & play guitar for Rubayyat along with the 13th Floor Elevators' Danny Galindo.
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 genre: heavy psych
country: us
audio: lossless (flac, cue, log, scans, size: 461 mb)
time: 1:18'45"
With nine songs recorded in the studio at Golden State Recorders in San Francisco in 1969 and 1970, plus eight songs (in decent if imperfect fidelity) from a live show at the Fillmore West on March 3, 1970, this is a generous document - lasting 78 minutes in all - of a San Francisco band that only got to release one obscure single, never putting out an LP. (Both sides of that single, "No Parking"/"Summertime" - the latter produced by Country Joe McDonald, who also plays clavichord on the track - are here, though the notes don't make it clear if these were the same recordings used on the 45.)
It's a decent slab of period late-'60s San Francisco rock, though Gold were neither top-tier when judged against the many similar bands from the time and region, nor possessed of a fully formed musical identity.
Certainly you can hear bits and pieces of other major Bay Area acts - "High on Love" and "When I Saw You" have the spacey languor of Quicksilver Messenger Service at their most folk-rocking wistful, and "Conquistadores" is very much in the spirit of Santana's first album (in fact both bands had "Fried Neck Bones," heard on the live portion of this CD, in their repertoire).
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 genre: prog
country: italy
audio: lossless (flac, cue, log, scans, size: 392 mb)
time: 1:12'16"
Wiki:
The soundtrack to the film Deep Red was mainly composed and performed by the Italian progressive rock band Goblin. Director Dario Argento had originally contacted jazz pianist and composer Giorgio Gaslini to score the film, but he was unhappy with his output, deeming it "awful". After failing to get Pink Floyd to write music for the film, Argento turned back to Italy and found Goblin. In the final score, only three of Gaslini's original themes were retained; however, in the film's original theatrical release, Gaslini was given full composer credit for the entire score, while Goblin were wrongly credited only as performers [i.e. "Music by Giorgio Gaslini, performed by Goblin"]. This was corrected in subsequent home video releases
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 genre: heavy psych, blues
country: us
audio: lossless (ape, cue, log, scans, size: 224 mb)
time: 41'36"
Fuzz Acid $ Flowers:
Jimmy Carl Black and Bunk Gardner were previously in the Mothers of Invention, Tjay Contrelli was in Love circa Da Capo and Denny Walley was a member of Big Mouth.
Their first album was produced by Keith Olsen (the former Music Machine / Millenium member) and should particularly interest the Zappa and Captain Beefheart fans. Musically it mixes blues (Low Ridin' Man), instrumental tracks (Siesta, Quaker's Earthquake) and rock tracks (Other Man, L.A. County Jail 59, Let Us Live); its high point being An American National Anthem written by JC Black about the Indian killings ("Indian Land is stolen, 52 million dead, each one's head is scalped by a trick taught by white man hunters coming over the land"). The lyrics and musicianship are both really strong. Buzz Gardner, Murray Roman and a small string section also played on this underrated album.
Geronimo Black reformed in 1980 to record Welcome Back on the small Helios label, with new versions of Low Ridin' Man, Other Man and An American National Anthem plus four new songs and covers of Hoochie Coochie Man and Lovesick Blues with the help of other ex-Mothers of Invention: Ray Collins, Don Preston and Buzz Gardner. ~ (Stephane Rebeschini)
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 genre: psych
country: uk
audio: lossless (flac, cue, log, scans, size: 371 mb)
time: 57'34"
Tapestry of Delights:
This Coventry band are best remembered for hard rock single, Flames, a cut from their first album which narrowly missed the charts in 1967. Featuring Richard Hudson and John Ford of The Strawbs and Hudson-Ford fame the album was full of variety spanning Motown, pop-psych and harder rock genres. Other tracks which catch the ear include the laid back Oscar Brown song I Was Cool, the instrumental Walter Sly Meets Bill Bailey, the Eastern-influenced sitar-based Air, the Beatlesque What's The Point Of Leaving, the melodic Long Nights Of Summer and two tracks - Dream Starts and Reactions Of A Young Man - which veered towards psychedelia.
For the later single, Volcano, they shortened their name to Velvet Opera and also recorded a second album under that name. Although a popular underground band, commercial success eluded them. Ford and Hudson joined The Strawbs when The Velvet Opera disintegrated. In the seventies Elmer Gantry was in Stretch.
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