Katerinas Magic World

A group that seemed sadly destined to cult-band obscurity, with no commercial recordings to document one of the first musical projects of the artists whose unique genius would later flower into the hauntingly surreal Americana of 16 Horsepower and Slim Cessna's Auto Club, the recordings of the Denver Gentlemen were unceremoniously shelved and hung in limbo for five years before ever seeing official release. By then, however, the band had long since broken up, leaving the curious to pour over their lost holy grail of encoded American Gothic affectations and wonder what was and what might have been.

A puzzling and otherworldly mix of old time jazz, gospel, cabaret, Acadian, country, and European folk, the Denver Gentlemen was formed in 1988 by vocalist Jeffrey-Paul Norlander (eventually shortened to Jeffrey-Paul) and David Eugene Edwards in Denver, CO. After a brief sojourn to Los Angeles, the duo would return to Denver with Frenchman Jen-Yves Tola in tow. Slim Cessna, already in Denver, was next to join. Unfortunately, although this original lineup would serve as an ideological and stylistic homeland for their future musical explorations, they wouldn't stay united for long. After a fascinating but short-lived romp through Denver's burgeoning alternative country scene, the band began to splinter off to follow their own distinctive muses. By 1992, Edwards and Tola would be riding a wave of critical acclaim following the release of the first 16 Horsepower album, Cessna had departed to form Slim Cessna's Auto Club, and Jeffrey-Paul was left to pick up the pieces with Jon Stubbs, Mark McCoin, Valerie Ferry and David Wiley. Still, they were able to follow the original vision unabated, with Jeffrey-Paul leading his newly-fashioned crew into the recording studio to bang out what was to be their debut release, live to tape, one afternoon in 1995. However strong the results, when a record deal was slow in coming, Jeffrey-Paul disbanded the Denver Gentlemen and joined up with his former band mates in 16 Horsepower.

With the band's legendary status building, Absalom records would unearth the master tapes and ready Introducing… for release in December of 2000 to positively glowing reviews. With Jeffrey-Paul again a free agent, having left 16 Horsepower to spend more time with his family, he began to reassemble the Denver Gentlemen and play shows around the Denver area, helping to dispel some of the rumors surrounding their legend in the process.
Tracks
When the Lord, He Speak to Me
The Blue Parrot
Mid-Day Merry-Go-Round
Little Darlin'
W
The Denver Grab
The Potters Field Special
Vulture Girl
The Legs of Polka
That Certain Kind of Woman
Holiday
All My Lady's Women
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Life is the debut studio album by the English indie rock band Inspiral Carpets. It was released April 23, 1990 on Cow Records, through Mute Records, during the period dubbed Madchester by the British media. The group released three singles from this album, "Move", "This Is How It Feels" and "She Comes In The Fall", with the latter two in different versions than those found on the album.
Tracks
01. Real Thing (3:10)
02. Song For A Family (3:03)
03. This Is How It Feels (3:05)
04. Directing Traffik (3:54)
05. Besides Me (2:24)
06. Happy Returns (3:07)
07. Cries Of You (2:15)
08. She Comes In The Fall (4:41)
09. Monkey On My Back (1:59)
10. Sun Don't Shine (3:35)
11. Inside My Head (2:01)
12. Move (3:26)
13. Sackville (6:43)
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"Walrus" by Walrus was released in late 1970 on the Deram label in the UK. Their lone album - like so many LPs on Deram (Decca's progressive rock label imprint) sold precious little at the time, but in hindsight has become something of a sought-after rarity. I've seen it command sums way into three figures sterling - much more than its guide price - and the two 7" singles that surrounded the release are impossibly rare and hard to get too.

Here's the breakdown (44:20 minutes):

Tracks 1 to 7 make up the album "Walrus", issued December 1970 on Deram SML 1072 in the UK only (there is another Walrus by Walrus in the USA, but it's not the same band)

The 1st and only other single issued around the album was "Who Can I Trust" b/w "Tomorrow Never Comes" (Tracks 1 and 7 on the LP); it was issued the same month as the album, December 1970 on Deram DM 308

The 8-man band consisted of:
STEVE HAWTHORN on Bass Guitar (founder member)
JOHN SCATES on Lead & Rhythm Guitar
BARRY PARFITT on Piano and Organ
NICK GARB and ROGER HARRISON on Drums
NOEL GREENAWAY on Vocals
DON RICHARDS on Trumpet, ROY VACE on Tenor Sax and BILL HOAD on Alto & Baritone Saxophones and Flutes

The tunes are sometimes a little over complicated for their own good and the lyrics to "Why" are cringingly awful hippy lore, but I just love the B, S & T feel on almost all of the tracks which they combine with that Mick Abrahams/Blodwyn Pig background of sound. A particular highlight is "Coloured Rain", a seven-minute TRAFFIC cover version done instrumental style. by M. Barry
Tracks
1. Who Can I Trust?
2. Rags and Old Iron/Blind Man/Roadside
3. Why?
4. Turning/Woman/Turning
5. Sunshine Needs Me
6. Coloured Rain/Mother's Dead Face in Memoriam/Coloured Rain (Reprise)
7. Tomorrow Never Comes
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Another one of those little-known American prog rock bands, I noticed this country's prog rock scene consisted of very few bands that actually made it big, only KANSAS did, because they included uniquely American elements in their European-influenced prog sound. Most of the other bands were unlucky, only having small, local or regional labels back them up (good examples go to acts like CATHEDRAL or BABYLON) or they had to privately issue the album themselves. There were a few that were lucky to get on major labels, giving them at least a small chance for national exposure like STARCASTLE (Epic Records), HAPPY THE MAN (Arista) or ETHOS (Capitol), but of course, you know how American radio was to prog in the second half of the '70s (not exactly the most friendly, and they'd prefer the most AOR stuff from KANSAS).
FIREBALLET at least had the decency to record for Passport Records, a small label that at least was able to distribute nationwide, and had quite a few great prog acts on its roster (ARTHUR BROWN'S KINGDOM COME, CAPABILITY BROWN, NEKTAR, SYNERGY, BRAND X, etc.). As for the rule of American prog (with a few exceptions, of course), most of these bands were either from the Midwest or the East Coast, and FIREBALLET was no exception, they hailed from New Jersey, which was also the home to Passport Records. "A Night On Bald Mountain" was their debut, and best known for being produced by Ian McDonald, who was previously a member of KING CRIMSON, and later a member of the multi-platinum selling AOR act FOREIGNER (a band that I don't need to explain to those who have even the slightest knowledge in FM rock).

The band consisted of drummer Jim Cuomo, keyboardist Bryan Howe, guitarist Ryche Chlanda, keyboardist Frank Petto, and bassist Martyn Biglin, all credited to vocal duties aside from the bassist, and Cuomo was the guy responsible for the lead vocals. His vocals tended to be on the dramatic side, and he had to try to imitate a European accent.

To me, I thought the album sounded like GENESIS or YES playing the Mussorgsky and Debussy songbook. In fact the title track, of course, is the band doing a version of Mussorgsky's famous work, but they also included some Debussy in there too. I kept hearing how this album is a Mellotron masterpiece. Don't buy in to that, the Mellotron is used nowhere as many claim, I mostly hear it on the short "Atmospheres", that's it, really. I more hear the RMI electric piano/harpsichord, ARP 2600, and Hammond organ. "Les Cathedrales" find the band borring a theme from George Martin's "Theme One" (the one VAN DER GRAAF GENERATOR covered as a single they released in 1972, and included on the American LP of "Pawn Hearts"). "Centurion (Tales of the Fireball Kids)" is a prime example of Jim Cuomo being dramatic in his vocals. Somewhere you hear a theme from Holst's "The Planets". Of course the band went and tackled on Mussorgsky's famous work, stretching around 18 minutes, the title track is a prog version of that work, but near the end, the band seemed to abandoned rock and put emphasis on pipe organ and more classical structures.

Around this time, Passport Records started promoting the Sansui QS quad-stereo unit (you can see this promo also on Synergy's Electronic Realizations For Rock Orchestra), from my understanding you can only get quad stereo from these titles if you owned a Sansui quad (and also my understanding was that reel-to-reels were better at quad than LPs).

Unfortunately the only way you can get this on CD is through a Brazilian label called Rock Symphony which they also paired their second album Two, Too (which is usually regarded as not so good as their debut, but I hadn't heard that album). Passport Records went belly-up around 1988, making many titles difficult to get reissued if they weren't on other labels (BRAND X was on Charisma in the UK and NEKTAR was on BELLAPHON in Germany, so that's why those titles ended up on CD reissues). By Proghead.
Line-up / Musicians
- Martyn Biglin / bass, 12 string acoustic guitar, backing vocals
- Ryche Chlanda / acoustic & electric guitars, electronic devices, backing vocals
- Jim Cuomo / lead & backing vocals, percussion
- Brian Hough / Hammond & other organs, keyboards, backing vocals
- Frank Petto / acoustic & electric pianos, synths, Mellotron, backing vocals
Tracks
1. Les cathédrales (10:16)
2. Centurion (tales of the fireball kids) (4:46)
3. The fireballet (5:15)
4. Atmospheres (3:40)
5. Night on bald mountain: (18:55)
a) Night on bald mountain
b) Night-tale
c) The engulfed cathedrale
d) Night-tale (reprise)
e) Night on bald mountain (finale)
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Out of this world prog psych! Rumoured to be one of the most ellusive psych monsters ever. with only 25 copies printed at time of release. Fortunately there's a cd release with a nice informative booklet and several bonus cuts.
Bass Guitar, Vocals, Claves - Jim Clapper
Drums, Bongos, Maracas, Cymbal [Finger], Lyrics By - John DePugh
Engineer - George Damon
Guitar [Lead], Lead Vocals, Chimes [Wind], Percussion [Sand Blocks] - David Johnson
Guitar, Lead Vocals, Recorder, Piano, Percussion - Bob Walkenhorst
Producer, Arranged By - Phantasia
Tracks
01 - Transparent Face
02 - Winter Wind
03 - Talk To The Moon
04 - Chasing Now The Flying Time
05 - Featheredge
06 - Genena
07 - Willow Creek
08 - Give Life Another Try
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What do you get when you combine a Beach Boy (David Marks), an Arrow (Larry Brown of Davie Allan & the Arrows) & garage rock legend Matthew Moore...one of the most unjustly overlooked studio aggregations of the 1960s.The Moon's only two lps that were released/recorded back in '67 & '68 are quite ahead of it's time, considering the debut lp was done on a three track, the later on a 4 track! The sound is hugh with psych "analog" punch (especially the bass). Although the debut lp "Without Earth," is a little bit bright (nothing a good EQ can't change), there's still that big bottom end "full of wall" sound. Nevermind the some songs are killer "Beatles (think Magical Mystery Tour era) Psych style" full tilt. Others that have over the top hooks, and even one track that has sort of a funk groove (Got To Be On My Way) going on. The real candy psych tracks- Pleasure, I Should Be Dreaming (backward drums), Brother Lou's Love Colony, Someday Girl, Papers, and Faces, keep you coming back for more and more.
Tracks
1. Mothers And Fathers
2. Pleasure
3. I Should Be Dreaming
4. Brother Lous Love Colony
5. Got To Be On My Way
6. Someday Girl
7. Papers
8. Faces
9. Never Mind
10. Give Me More
11. Shes On My Mind
12. Walking Around
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A legendary album and rightfully so, Charlie Haden's 1969 protest piece, "Liberation Music Orchestra", is one of the essential pieces of music of his era. Assembling an extended cast of musicians to support the music with arrangements by the versatile Carla Bley, the music blends free jazz with folk traditions from the United States and Europe. Along the way, a series of fantastic individual performances underscore just how brilliant the record is.

The record, as all LPs were, was originally two sides, and Bley took advantage of this in the arranging, with the two sides being very different-- opening with a passionate theme (titled just "The Introduction") featuring superb alto playing from Dewey Redman-- this quickly descends into the first folk piece, the Eastern European "Song of the United Front" before moving into a medley of Spanish folk forms. Standout performances from guitarist Sam Brown (who is positively brilliant throuhgout the extended suite) and Don Cherry (whose cornet solo is totally brilliant) threaten to hide the brilliant arrangement-- Bley cleverly interweaves Spanish themes over an "oom-pa-pa" beat implying an Eastern European waltz in the middle of the piece-- the effect is nothing short of stunning. Eventually, her introduction is reprised, again performed with enormous passion and power, leaving one having experienced something stunning and noteworthy.

The second side isn't quite as good, admittedly-- without a unified sound, its more of a straight jazz performance-- with two originals by Haden ("Song for Che" and bass feature "Circus 68 69") surrounding an Ornette Coleman composition ("War Orphans") and an interlude composed by Bley. Don't get me wrong-- the performances are great, its just that the first side is so stunning in its genre blending that with the second side being more or less straight free jazz (if such a thing makes sense), its not quite as exciting. Still, standout solos from tenorman Gato Barbieri and Haden himself highlight the Haden originals. "Summer '68 '69" is interesting in that it quotes a couple patriotic pieces throughout while tenorman Gato Barbieri wails away recklessly, Bley slyly phrases "We Shall Overcome" on organ, hinting at the closer. A stunning performance of that folk theme with trombonist Roswell Rudd positively overwhelming, it really is something to hear.

When it's over, you feel like you've experienced something. Not many records can say that. If you don't have this one and you're reading this, you probably should. Essential listening. By M. Stack
Tracks
1. The Introduction
2. Song Of The United Front
3. Medley: El Quinto Regimiento
4. The Ending To The First Side
5. Song For Che
6. War Orphans
7. The Interlude (Drinking Music)
8. Circus '68 '69
9. We Shall Overcome
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HQ finds Roy in 1975 as part of a rock quartet, Trigger. The album opens with The Game, one of Harper's most compelling long songs--it's a rocker with a smart lyric and includes David Gilmour and John Paul Jones. The next 2 tracks are solid rockers, "Spirit" is an anti-religion song, and "Grown ups" is a great 50's style boogie displaying Roy's playful wit. "Referendum" has some sweet guitar from Spedding and switches between acoustic and electric. "Forget Me Not" is the first acoustic song on the album and is a beautiful love song. "Hallucinating Light" is beautiful and finely crafted, and the album is superbly topped off with "Cricketer," an emotional and lovely take on aging and the proud memories of a life. The bonus tracks are good, but not as essential as the original album songs. Throughout, Roy's voice is top-notch. The lyrics are some of his finest, and his band is tight and rocking. By Elliot Knapp
Tracks
1. The Game (Parts 1-5)
2. The Spirit Lives
3. Grown Ups Are Just Silly Children
4. Referendum (Legend)
5. Forget Me Not
6. Hallucinating Light
7. When An Old Cricketer Leaves The Crease
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I'm the One was the first album by Annette Peacock, and was released in 1972.

I'm the One featured Annette Peacock's multiple vocal and instrumental talents. The album fuses Blues, Jazz, avant garde electronic music (including extensive treatment of her own voice through a Moog synthesiser) and free form poetry and rap.
Tracks
01. I'm the One
02. 7 Days
03. Pony
04. Been & Gone
05. Blood
06. One Way
07. Love Me Tender (Elvis Presley, Vera Matson)
08. Gesture Without Plot
09. Did you Hear Me Mommy?
Listening removed. Asked by author.
if you like her music please check the following
http://www.cdbaby.com/Artist/AnnettePeacock
http://www.annettepeacock.com
http://www.myspace.com/annettepeacock

This is Blackshaw's first real CD release and contains two new pieces. Blackshaw comes from the Robbie Basho school of raga-infused acoustic explorations. The peaks and valleys on Sunshrine form an impressive mountain of folk meanderings. Sunshrine eases you into its gaze before beginning a full-on assault on all your senses. It is aural magic. Along with the 26 minute title track is the short and reflective "Skylark Herald's Dawn." Blackshaw brings you back to earth slowly, allowing you to catch your breath before closing your eyes. It doesn't get much better than this. The follow-up to Blackshaw's debut recording, Celeste, on Campbell Knealeıs Celebrate Psi Phenomenon imprint, is an absolute beauty: an
out-of-nowhere set of solo thought scored for open-tuned 12-string
guitar, harmonium, radio, bells, ride cymbal and floor tom. Lost Prayers And Motionless Dances navigates the void in a fug of Celtic-sounding modes and fistfuls of drone in a way that recalls Volume 1 of Robbie
Bashoıs masterful The Falconerıs Arm. Wire that with electricity, patch it to the moon and strap on a set of goggles for one of the most
satisfyingly psychedelic conceptions recently beamed from the brains of a loner.
More on Blackshaw and how to obtain his music, HERE.
Tracks
01. Sunshrine
02. Skylar'k Herald's Dawn
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The All Music Guide describes Damien Youth: A mysterious cassette-only artist who began putting out material on tape in the late 1980s, although some of it started to appear on CD in the late 1990s. His music is haunting, acoustic rock with a sense of British whimsy akin to Robyn Hitchcock or Donovan (although, as his tapes were distributed from Louisiana, it's uncertain whether the singer is British). It's solid, melodic stuff that would most likely appeal to Hitchcock fans, despite the sparse production. His BRIDE OF THE ASYLUM CD of 1998 put some of his work into slightly larger circulation, in better fidelity

This 6 song E.P. was also recorded in 1990. Damien is joined by the great steele guitar player DAVE EASLEY. But don't expect to hear steele guitar. Dave has turned his steele guitar into a small string section! These are also home recordings but the sound stays consistant as all 6 songs were recorded at the same session. This E.P. is only available as a free bonus with purchase of THE MAN WHO INVENTED GOD.
Check out all there is to know about Damien Youth and buy his records HERE.
Tracks
01. Mortuary
02. Widow Witch
03. Cradle Room
04. Jonathon Child
05. Mary Wake Up
06. Agatha Crain
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Between 1963 and 1969 beat music was really happening in the Netherlands. Renowned bands such as the Outsiders, The Motions and Q65 received a great deal of attention. They got a lot of airplay, resulting in many hits and even more gigs. The familiar Beat sound, which was mainly played by Radio veronica, was contagious and all over Holland people were playing the Beat. Hundreds of musicians rehearsed in attics, sheds and garages. Many bands got the chance to record a single...
Tracks
Disc 1
1.The Heralds - I Wish I Was Strong (2:37)
2.Names en Faces - You're an Old Leaf (2:58)
3.The Caps - Dance a Little Longer (2:21)
4.The Nicols - This World Is My World (2:53)
5.Attention - I Must Go on Without You (2:43)
6.Test - It's a Hard Way (2:49)
7.The Moan - Everyday Is Just the Same (2:37)
8.Linda van Dyck - Seduction Song (3:25)
9.The First Move - Gingerbread Man (2:44)
10.The Sharons - It's a Wonder (2:46)
11.Het - S.O.S. (2:11)
12.Bob Revvel en The 'A' Ones - It Takes Time (3:24)
13.The Jumping Pop-In - If You Like (2:14)
14.Short '66 - Hard to Get Up in the Morning (2:28)
15.The Bumble Bees - I Was Blind (2:06)
16.The Scarlets - Now I Know (2:32)
17.The Coopers - Leave This Man Alone (3:00)
18.Count - I Should Be Better Off Without You (2:36)
19.The Sound Magics - Whatever You Do (2:27)
20.Het Poco Mania - Heikrekel (2:56)
21.Names en Faces - The Killer (5:08)
22.Crash - Last Week (2:14)
23.The Nicols - Gotta Go (2:26)
24.The Moan - Chocolate Sue (1:44)
25.The Beat Buddies - Pins in My Heart (1:50)
Disc 2
1.The Heralds - Wait (For Me) (3:17)
2.Names en Faces - Keep Smiling (2:17)
3.The Caps - All I Need (2:02)
4.The Nicols - Fantasy Girl (3:05)
5.Attention - Change Your Mind (2:08)
6.Test - If I Were a King (2:14)
7.The Moan - Flowers Everywhere (2:55)
8.Linda van Dyck - Unlock My Door (3:55)
9.The Finest Move - Just a Little Bit (2:06)
10.The Sharons - Weekend in the Wood (2:49)
11.Het - I Call You Bluff (2:41)
12.Bob Revvel en The 'A' Ones - I Need Love (3:50)
13.The Jumping Pop-In - The Silly Chap (2:37)
14.Short '66 - I'L'N'Double U (3:28)
15.The Bumble Bees - Girl of My Kind (2:05)
16.The Scarlets - Please Come Home (2:43)
17.The Coopers - No One's Brave Enough (2:41)
18.Count - Stay with Me (2:31)
19.The Sound Magics - Just for You (2:44)
20.Het Poco Mania - Peterselie (2:54)
21.Names en Faces - Tarantula (3:38)
22.Crash - One Rainy Day (2:12)
23.The Nicols - She Had a Name to Find Out (2:48)
24.The Moan - Dringing Too Much Beer (2:22)
25.Het - Die....Pil (2:08)

The sound from this one shot band (rooted in the early Seventies and disbanded in 1981) is melodic and the compositions are alternating: the tracks "Woman", Aim at your head" and "Your breath enjoyer" contain lots of howling guitar and lush keyboards. More dreamy and rather compelling are "Heavy like a child", King of clouds" and the highlight "Brain damage" featuring beautiful duo-keyboard work and wonderful electric guitarplay. This album has echoes from Camel, it often sounds like guest appearances from Latimer and Barden!
Line-up Half Dutch half Belgium members. / Musicians
- Lu Rousseau / lead vocals, percussion
- Ruud Worthman / acoustic and electric guitars
- Jack van Liesdonck / acoustic and electric piano, clavinet, synthesizer
- Leo Cornelissens / electric organ, mellotron, string ensemble, vocals
- Hans Boeye / drums, percussion
- Hans Marynissen / percussion
- Peter Dekeersmaeker / bass, vocals
Tracks
1. Woman (4:47)
2. Heavy Like A Child (5:28)
3. Grace (5:08)
4. You:Re Free I Guess (5:59)
5. Aim At The Head (4:29)
6. Your Breath Enjoyer (4:14)
7. King Of Clouds (4:43)
8. Brain Damage (4:50)
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Youth of America is the second album by the punk band Wipers. The album marks a distinctive change in the band's sound. Compared to its predecessor Is This Real?, which was composed mostly of raw, sleek and relatively traditional songs, Youth of America features much longer and complex compositions; the title track alone clocks in at over 10 minutes. This change of pace was according to Greg Sage a deliberate counter-reaction against the trend of releasing short songs, which many punk bands did at the time. The album was, according to Sage, not well-received in the United States at the time of its release, though it did fare better in Europe. Along with other records by the Wipers, Youth of America has since come to be acknowledged as an important album in the development of American underground and independent rock movements of the early 80s.
Tracks
01. No Fair - 4:25
02. Youth of America - 10:30
03. Taking Too Long - 3:05
04. Can This Be - 2:55
05. Pushing the Extreme - 3:15
06. When It's Over - 6:30
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Captain Ilor is pretty much like Can, but without the repetitiveness. Compilation of tracks recorded between 1974 and 1977. Highly recommended psych monster with freaked out guitars and mindblowing sounds by CAPTAIN ILOR & SWARA
SAMRAT. a classic of German progpsych, an alltime krautrock classic...a must for psychheads that love long tracks containing bright songwriting as well as underground jams, killer
fuzz guitars, heavy bass, far out hippie lyrics, lysergic effects, trippy early 70s vibes & reefer madness of the special
kind...a perfect mix of psychedelia and progressive music...a highlight!!!
Captain Ilor: Guitar, Vocals, Moog and Piano in track 3; Bass and Drums in track 5
Swara Samrat: Guitar and Vocals
Space Man: Bass in tracks 1,2,3 and 4
Merlin: Moog in tracks 1,2 and 4
Karl Deter: Drums and Percussion in tracks 1,2 and 4
Orlando Hernandez: Percussion
Tracks
1 Dedication 9:30
2 The Only Life 9:53
3 Mindfuck (Spanish Version) 6:28
4 Museum of My Feelings 10:41
5 Maybe a Sailor 5:51
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The album and 12" are real classics, since it can only be estimated how many copies were made and how many are still existing (generally, first releases for albums from independent artists who paid the costs on their own were made in a quantity of 300-500 pcs and 500-1,000 pcs for singles). Unfortunately, the studio in which the tracks were recorded had closed a long time ago, and it´s unknown where the records were pressed.

New Scientists were a trio located in Wolfsburg (Germany), consisting of Lutz Froberg (voc), Rene Bachmann (synth) and Uwe Kallenbach (synth). 'Pictures Of Reality' was recorded in the Delight-Tonstudio, Hannover on the 3/4 of January 1986.

This album is basically featuring Synthpop similar to other German artists like Boytronic, nothing too special but far away of being bad.
Although the single 'The Storm' had radio airplay during a popular weekend party broadcast (on NDR2, 'Der Club'), the people weren´t too eager to head for the record stores the following Monday. Hard to understand, as this track was the strongest outtake from this album and doesn´t had to hide behind other artists which were unequally more successful.
And so, the career of a young band ended before it had really begun, and the New Scientists went into oblivion.

Today, Uwe Kallenbach is a member of Syntec, another Synthpop band, and Lutz Froberg is the co-owner of a store for DJ and stage supplies. The whereabouts of Rene Bachmann are unknown.

It´s almost impossible to find this rarity today. Nonetheless, whenever the occasion occurs, take the chance and get it!
Tracks
01. What Will The Future Bring
02. Tell Me When Your Heart Beats
03. The Storm
04. South Africa
05. Shame On You
06. Atomic War
07. Why Don´t You Stay
08. Watch Out
09. I Miss You
10. The Storm 12" mix
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Blue Cheer released this debut in 1968 when groups and artists like Cream, Jimi Hendrix Experience, Iron Butterfly, Steppenwolf and The Doors were putting out psychedelic rock. Blue Cheer were three guys who played loud psychedelic rock and I can still see those stacks of Marshall amps piled a mile high. These guys had one major hit "Summertime Blues" which has been covered by other artists. Their version stands alone by itself as my favorite. The other songs on this album such as "Out Of Focus" and "Parchment Farm" are pure psychedelic kick a.. rock. This groups follow up album "Outsideinside" was also much of the same. Too bad these guys didn't get the credit they deserved and were lost in the shuffle of all the psychedelic groups
popping up in the late 60's.
This record is considered by some to be the first heavy metal album. Certainly, its influence has reverberated throughout the world of highly-amplified rock music since its release, ranging across various stylistic sub-categories, from the psychedelic period through the present.

Vincebus Eruptum peaked at #11 on Billboard's Pop Albums chart in North America, while the single, a cover of Eddie Cochran's "Summertime Blues," peaked at #14 on the Pop Singles chart and #3 on the Canadian RPM magazine charts.
Tracks
1. Summertime Blues
2. Rock Me Baby
3. Doctor Please
4. Out Of Focus
5. Parchment Farm
6. Second Time Around
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Dutch progressive superband with amongst others singer/bassist Jacques Zwart (ex-HET)
Known for the close harmonies. The producer was Frans Peters. Shortly after the recordings the band split up.
Aad van der Kreeft guitar
Hans Jansen Keys
Jacques Zwart singer
Rob de Graaf drums
Tracks
01. together
02. a man is a fool
03. rolling on the railroad
04. my love
05. keep on changing
06. Hold my hand
07. pictures of youth
08. She's my friend
09. Don't say goodbye
10. the door that stand for life
11. what's life
12. for our friends
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2003 compilation for one of the 70s most successful funk bands. 'Trespassin'' comprises recordings made between 1968 & 1969 when the group were making the transition from their early southern R&B sound into the realms of funk. Although recorded in New York. These sides have a raw, gritty sound more akin to those being made in Memphis at the time. Highlights include the hit title track & covers of 'Over The Rainbow' & 'Summertime'.
Tracks
1. Stop Lying to Yourself
2. Over the Rainbow
3. You Don't Mean It
4. Summertime
5. Here Today and Gone Tomorrow
6. Lonely Street
7. Bad Bargain
8. It's a Crying Shame
9. Tell Me Why
10. Find Someone to Love
11. Trespassin'
12. Mother-In-Law
13. Cold, Cold World
14. Man That I Am
15. Street Party
16. Thing Called Love
17. My Neighbors
18. Lonely Streets at Midnight
19. I Gotta Get Away
20. I've Got to Hold On
21. Love Slips Through My Fingers
22. Little Soul Party
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The Mugwumps were a 1960s rock band. The Mugwumps made some recordings in the mid-60s, but the short-lived New York group, formed in 1964, is principally remembered for what its members did after they split up.

Members Mama Cass Elliot and Denny Doherty would become one-half of the Mamas and the Papas. Zal Yanovsky would join the Lovin' Spoonful. Jim Hendricks formed The Lamp of Childhood, which recorded three singles for Dunhill Records.

Jim Hendricks (not to be confused with rock guitarist legend, Jimi Hendrix) was the odd man out, not achieving any notable subsequent fame, but still having considerable success as a performer and songwriter. He wrote the top 15 hit "Summer Rain" for Johnny Rivers, and the theme song "Long Lonesome Highway" for the TV show Then Came Bronson. His 1989 album Running in the Light is considered a classic of Christian music.[citation needed] Now living in Nashville, Tennessee, Hendricks has recorded over 50 albums of traditional American folk, Mountain, Gospel, and Western music.
Tracks
01. Searchin'
02. I don't Wanna Know
03. I'll Remember Tonight
04. Here It is Another Day
05. Do You Know What I Mean
06. You Can't Judge A Book By It's Cover
07. Everybody's Been Talking
08. Do What They Don't Say
09. So Fine
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An extremely ambitious project from Bootsy, decidedly ignoring pop industry standards. Utilizing some deeeep fuzz bass, funked up guitar sounds from Buckethead, vocal samples from the film Naked Lunch, and other weirdness, Bootsy creates a coherent (if chaotic) landscape of funk fused with almost industrial music.

A Fuzzface was an early distortion device for guitars, that created a "fuzzy" tune for the instrument. The little box looked like it had a face on it, hence the name. Bootsy cleverly adopts this as a personality. The intro, "CBI Files" consists of noise, garbled voices and sirens. It's the wake up call for the album. "Bugg-Lite" has some ultra-funky bass playing from Bootsy and thunderous guitar rumblings from Buckethead. This song is a true groove, with Bootsy spouting some great lyrics like 'How you gonna feel some pain, with the absence of a brain'. "Fuzz Face" is fast, funky, furious and features fat beats. Mind-boggling bass-playing here. "Exterminate" is a hardcore-type jam, cut in with assorted spoken word samples from the film Naked Lunch. ('Exterminate all rational thought.') "Smell The Secrets" is another hardcore song that delves into paranoia and conspiracies, mentioning UFO's, 'political partying' and the like. "Count Zero" is another chatter-filled song that has some chilling keyboards from Bernie Worrell and more hard-hitting bass leads. "Bootsy And The Beast" has an interesting lead-in: an interview with a guy who claims that he introduced Bootsy to freebasing cocaine. The songs takes on interesting meanings--could 'the beast' mean cocaine? "No Fly Zone" is another hard rocker, with heavy fuzz bass, including a great solo. "The Passion Continues" is a superb ballad that consciously revisits old ones, with lines like 'They used to call me the sugar crook...but I went to jail for that.'

A great concept for Bootsy, perhaps a little heavy in the hardcore Buckethead department, but has him playing like he hasn't in years. The theme of paranoia, both from within and without, is excellent. Fans of Bootsy's work with Praxis will eat this up with a spoon; Rubber Band fans will still find plenty to like
Tracks
01. C.B.I. Files {Bootsy Collins} 6:19
02. Buggg Lite {Bootsy Collins} 7:568
03. Fuzz Face {Bootsy Collins} 2:38
04. Exterminate {Bill Laswell} 3:02
05. Smell the Secrets {Bill Laswell, Bootsy Collins, Buckethead} 5:57
06. Count Zero {Bill Laswell, Bootsy Collins} 5:12
07. Bootsy and The Beast {Bill Laswell, Bootsy Collins, Buckethead} 6:57
08. No Fly Zone (The Devil's Playground) [Bootsy Collins} 5:04
09. The Passion Continues {Bill Laswell, Bootsy Collins, Buckethead}
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Relatively obscure uk psychedelia/acid folk from 1971. Astral Navigations is really a recording of two different bands, Lightyears Away and Thundermother. Lightyears Away is folk/psych (more toward the folk end) and features Bill Nelson who was later to join with Be-Bop Deluxe. It is mostly pleasant singing (male, some female) over piano with some short, very fuzzed guitar breaks. The song had some nice diversity in style. For example, at one time the piano is replaced with acoustic guitar and flute. Not bad and worth a listen if you're into the folk end of psych/prog. Thundermother are more straight-ahead rock with heavy guitars.
Tracks
1. Lightyears Away: Fourth Coming
2. Lightyears Away: Path of Stone
3. Lightyears Away: Windows of Limited Time - The Astral Navigator
4. Lightyears Away: Yesterday -
5. Lightyears Away: Today (North Country Cinderella)
6. Lightyears Away: Tomorrow (Buffalo)
7. Thundermother: Someday
8. Thundermother: Country Lines
9. Thundermother: Boogie Music/Rock Me [UFO Mix]
10. Rock Me Babe Jam
11. Come On Home (space version)
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