My GERRY GOFFIN REVIEW from 2008 is Still Alive and Well on the Internet

 dalia davis BEATLES BRIDGES

 

GERRY GOFFIN  it ain't exactly entertainment

 

It Ain't Exactly Entertainment Review

 

by Joe Viglione

  [-]

Seventeen songs on a double LP released in 1973 are not what fans of Gerry Goffin and Carole King's '60s pop would expect. Two recording studios in Muscle Shoals, AL, gave birth to this earthy and energetic statement. The comparison to Bob Dylan is inevitable, especially on "Reverend Bottom's Tojo Saloon," a five-minute-and-16-second party which sounds like Gerry is stuck inside of Mobile with the Memphis blues. But the tongue-in-cheek protest of "Cherokee Medicine" is much too quaint to be as boastful as Zimmerman, Al Lester's fiddle venturing off in its own direction as the song concludes. Longtime Carole King bassist Charles Larkey co-wrote the first tune, "Down on the Street," though he's not credited as a performer here. "Chicago (You)" has a funky barroom attitude with keyboard fills that supplement Goffin's lecture. "Chicago You" is a coded message that is hard to decipher, but fun just the same, making the title of this album rather misleading. It is very entertaining to hear the guy behind so many Top 40 hits laying back and jamming on tunes that are as short as the minute-and-21 second "Sail Away Ladies (P.D.)" to the 12-minute-31-second groove of "Set Job." There are revelations all over these four sides, a semi-gospel flavor on "Maryland Again" and Goffin sounding like a very drunk Ian Hunter in a setting that Ian has yet to visit. The musicianship sparkles with a carefree spirit -- it's not like any of these tunes are shooting for chart action. "The Last Cha Cha on Jackson Highway," co-written by Russ Titelman, Barry Goldberg, and Goffin, is like a great, lost Jimmy Buffet tune. "It's Not the Spotlight" is perhaps the most commercial and uplifting song on this collection, a beautiful chorus, the musicianship more serious and precise. Things fall apart in a good way with the George Harrison-sounding guitar bursts that evolve into "It's Alright to Be Alive." Just when you think it is going to become Beatlesque, it dissolves into a boogie-woogie celebration. "Sister Henry," the second of the two Titelman/Goldberg/Goffin compositions, is a Rolling Stones-gone-country-flavored chorus. Gerry replaces the Dylan sounds with the folksy, preachy "Honorable Peace," a protest song. "Rainy Day Flying" continues the sentiment -- Arlo Guthrie take note -- as the backing vocalists keep a Dixie/gospel melody in the rhythm. Goffin raps about shrapnel exploding, very Vietnam. There is a tremendous chorus mixed with witty vocals to enhance "Zebulon Pike," the story of an explorer who keeps ending up in the wrong place. May be a subliminal autobiographical song with first-rate production and a band that works hard. This music really is a treasure worth seeking out.

interesting comments: thank you

 

THE DOORS

 https://www.allmusic.com/album/no-one-here-gets-out-alive-the-doors-tribute-to-jim-morrison-video-dvd--mw0001240658

 

No One Here Gets Out Alive: The Doors' Tribute to Jim Morrison [Video/DVD] Review

 

by Joe Viglione

  [-]

Originally produced in 1981 and released in 1990 on VHS courtesy of Warners, this approximately 60-minute DVD was inspired by Danny Sugarman and Jerry Hopkins' book No One Here Gets Out Alive. With Ben Fong-Torres as script consultant, an appearance by the late Paul Rothchild -- the Doors' longtime producer -- and interviews with Sugarman, Hopkins, and the surviving Doors members (Ray Manzarek, John Densmore, and Robbie Krieger), this is a good overview of highlights of one of America's premier rock bands and the enigmatic figure that was their voice. There are performances from The Smothers Brothers and Ed Sullivan shows, as well as a very cool set of Jim Morrison photo stills over the song "The Changeling," among other delights. The mini film clip of "L.A. Woman" is said to be full-length, but it feels truncated, though that's a minor quibble. The inclusion of footage from Francis Ford Coppola's Apocalypse Now for "The End" makes a good impact here -- the Doors translate well to DVD. There's no music to click onto for the "song discography," and at the rate Bright Midnight Records is releasing new/old Doors projects, the list of their previous recordings without an update is a letdown. There are six full chapters to this disc: "Intro," "Starting Out," "Living on the Edge," "The Miami Concert," "From L.A. to Paris," and "End Credits," with a fine outtake of "Touch Me" playing over the credits. The song "The End" is looped for the selection menu to these four "doors" on the root menu. Well put together, the No One Here Gets Out Alive DVD is a good starting point for the casual fan of the Doors. The cool interview in black and white with the voice from the past, Morrison himself, adds that other dimension to this interesting collection of stories and song.

 

 COOL BLOG

http://time-has-told-me.blogspot.com/2006_10_01_archive.html

OUT-OF-PRINT & RARITIES SELECTED BY LIZARDSON & FRIENDS

 

 

 

 

 

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"Poet and The One Man Band" (UK Folk-Rock 1969)

A couple of years ago, See for Miles records has issued a CD By Head, Hands & Feet, called 'Home from Home- The Missing album'. The Compiler claims it is a long-shelved, never-issued album of 1968 by Head, Hands & Feet, but if you pay attention to the Line Up: Tony Colton, Albert Lee, Pat Donaldson, Ray Smith, Pete Gavin, Mike O'Neill and Jerry Donahue, you realise it is not an early Head Hands & Feet, but actually a Poet & the One man Band album.

Poet and the One Man Band was Donaldson & Donahue's (& Albert Lee) Pre-Fotheringay Band. They made an album on the Paramount Label in the sixties, which has its good moments. Pete Frame writes that the label folded right after that. This might be the reason why these recordings were not released before 95. Poet & the O.M.B. became Head, H & F when Donaldson & initially Albert Lee, then Donahue left to start Fotheringay with Sandy, Trevor & Gerry Conway.

Tony Colton (vocals)
Ray Smith (guitar)
Jerry Donahue (guitar)
Pat Donaldson (bass)
Mike O'Neill (keyboards)
Pete Gavin (drums)
Albert Lee (guitar)
Nicky Hopkins (piano)

SATURDAY, OCTOBER 28, 2006

Request
Jimmy Campbell "Son of Anastasia" (UK Folk 1969)

Jimmy is one of the great, undiscovered talents of the Mersey scene. A singer songwriter Merseyside can be proud of and an artist to compare with singer songwriters such as James Taylor.

Jimmy joined a group called the Tuxedos in the late 1950s and in 1961 they changed their name to the Panthers. During 1963 they were appearing regularly at the Cavern and compere Bob Wooler suggested they change their name to the Kirbys, which was the area of Liverpool they came from. The group decided to turn professional in 1964 and at one time were managed by Brian Epstein's former secretary, Beryl Adams. The group had their first single, 'It's A Crime' c/w 'I've Never Been So Much In Love' (RCA (E) 11 66), penned by Jimmy, issued in Finland in 1966, a country in which they had a large following. During the same year they provided backing for the Merseys (the duo of Tony Crane and Billy Kinsley, former members of the Merseybeats). During 1968 they changed their name to the 23rd Turn Off.

Jimmy penned 'Michelangelo c/w 'Leave Me Here I Want To Stay Forever' as the group's single, which was issued on Deram. Following its lack of success Jimmy left the music business for six months, then returned to record an album for Fontana, 'Son Of Anastasia' (Fontana STL 5508), which was issued in 1969. The tracks were: 'When I Sit Down To Reason'/ 'Mother's Boy'/ 'Another Vincent Van Gogh'/ 'Penny In My Pocket'/ 'Bright Side Of The Hill'/ 'Dear Marge'/Lyanna'/ 'They All Came Marching Home'/ 'On A Monday'/ 'Lovely Elisa Cope Is Dead'/ 'You'll Break My Heart In Two'/ 'Tremendous Commercial Potential'/ 'Adrian Henri's Party Night'/ 'Another Springtime's Passed Me By'/ 'Michelangelo'/ 'Painting A Song'. A single 'On A Monday' c/w 'Dear Marge' (Fontana TF 1009) was also released that year. Two further singles, 'Lyanna' c/w 'Frankie Joe' (Fontana TF 1076) and 'Don't Leave Me Now' c/w 'So Lonely Without You' (Fontana 6007 025) were issued the following year. ~Mersey Beat

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Assagai "Zimbabwe" (Afro Rock 1971/72)

The second Assagai album has an interesting and somewhat schizophrenic history. It was initially released in late 1971 under the name Zimbabwe - a test pressing was made on the Vertigo "swirl" label (#6360 058) but the actual release of the album took place on the Philips label. The album's cover and sleeve were designed and draw by noted album-artist Roger Dean. All musicians are credited on the back cover; Jade Warrior members Tony Duhig, Jon Field, and Glyn Havard are credited for both performance and song-writing.

Jade Warrior had some interesting interactions with fellow Vertigo band Assagai during this time. Assagai was anchored by respected African musicians Louis Moholo, Mongezi Feza, and Dudu Pukwana, and was signed by Vertigo in the label's attempt to capitalize on the popularity of Afro-rock bands such as Osibisa.
Assagai released two albums; the first (self-titled) contained their cover version of Jade Warrior's "Telephone Girl", and a song "Irin Ajolawa" co-written by Tony Duhig. The second album (released originally as "Zimbabwe", and re-issued by a different label under the name "AfroRock") contains covers of Jade Warrior's "Barazinbar" (from "Released") and "Sanga" (from "Eclipse"), and a song "Kinzambi" written by Tony Duhig.

Duhig, Field, and Havard are credited with performances on the second Assagai album. They recorded one session together with several of the members of Assagai, under the band name of "Simba". Two songs from this session were released on a 45 single, and later issued on a multi-band collection LP entitled "Afro Rock Festival". The songs: "Movin' On" and "Louie Louie"!

FRIDAY, OCTOBER 27, 2006

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"Justine" (UK Psychedelic Folk-Rock 1970)

by Mark Coyle:
Justine were a band of five vocalists and two guitarists augmented in recording by orchestra and further musicians. They sit between the psychedelic folk-rock sound of LA (Mamas & Papas, Loving Spoonful, Byrds), UK (S F Sorrow or Piper At The Gates of Dawn) and progressive rock. The five vocalists weave in harmony providing a rich sound and it is this that binds the album. The songs are soft early folk rock like Donovan's 'Gift From A Garden To A Flower' with psychedelic electric guitar and effects. The first track 'Flying' lives up to it's title with flute fluttering, swooning strings and tight harmonies. The songs mix the innocent, quirky and strange to heady effect. The songs are fairly unique in folk as they mix in horns which expands the mix giving a warmth that folk sometimes finds hard to achieve. In the last track they create a classic that lives up literally to it's title of 'Amazing Journey'. It starts with folk guitar, introduces fuzz guitar then wah wah builds to a crescendo and drops back to a delicate folk ballad within the first minute. It builds up introducing 'A Day In The Life' style strings and massed vocals. Towards the end it explodes with a staggeirng number of layers that Roy Wood in The Move was expert at. Strange effects come in, wild guitars solo, flutes, horn and strings abound and a propulsive rhythm section drives the whole thing explosively as the singer moves from folk whispers into Robert Plant style wails. An excellent track on a most enjoyable album which shows the link between the earlier psychedelic sound and the later musical indulgence of progressive rock.

Original - UNI UNLS 111 (UK 1970)
Reissue - Elegy E6401 (UK 2004)

Keith Trowsdale: vo, g
John McBurnie: vo, g
Valerie Cope: vo
Bethlyn Bates: vo
Laurette Stivers: vo
Dougie Wright: ds

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Wizz Jones "Magical Flight" 1977

In folk collectors circles, the original LP of this album fetches a three-figure price tag. Reissued on CD it is, thankfully, more financially possible to hear the magnificent work of this English singer/songwriter. The obscure British folk revival artist's friends and fans may include Ralph McTell and the Incredible String Band, the most prominent buddy being one Burt Jansch, and the pair have often tipped hats to each other throughout their long careers. On this '70s LP, Jones followed a similar direction to Jansch by including small band backing, when he was previously a dogmatic voice/guitar performer. This adds a little lushness to his sound, and a gentle rhythmic propulsion that brings to mind the Pentangle. Like Jansch and John Renbourn, he maintains a cathartic edginess even in the most gentle songs — deceptively heavy listening. "See How the Time Is Flying" is absolutely Ralph McTell, but, incidentally, Wizz Jones was pioneering this folk revival sound as early as 1958, and on hearing his astonishing guitar technique and vocal delivery, his students certainly included Roy Harper and Ralph McTell. Not until the late '90s would his stunning albums, the rocky Right Now and stripped-back solo acoustic collection Dazzling Stranger, appear in the U.S.A., thanks to Massachusetts independent Scenescoff. Magical Flight is an exquisite production from the '70s that may have slid under the carpet at the time, but it is no less than a vital chapter in the British folk scene. ~Skip Jansen, All Muaic Guide

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THURSDAY, OCTOBER 26, 2006

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Martin Carthy with Dave Swarbrick "Byker Hill" 1967

Byker Hill was the first album on which Carthy and Swarbrick had more than two or three hours' studio time, and, as a result, which was actually rehearsed and programmed weeks in advance. The results are less spontaneous than their earlier work, but also show a level of professionalism that few folk albums of the era ever demonstrated. The differences lie in the careful nuances, and the sophistication of the paired voice and instruments, which are much more studied than anything previously heard. The music is glorious in its own unassuming way--Carthy's acapella performance on the haunting "Brigg Fair" (a Lincolnshire tune originally collected by Percy Grainger, and which was the basis for a classical piece by Frederick Delius), the interweaving of Carthy's voice and Swarbrick's violin on "The Bloody Gardener," the dazzling title track, and maybe the best version of "John Barleycorn" ever recorded, are among 14 of the most prized songs in their careers. ~ Bruce Eder, All Music Guide

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"Sounds of Salvation" (UK Christian Psych Folk 1974)

Freak Emporium:
Compilation of various Christian hyms, songs, prayers and meditations - all with some cool rock music backing. Whether you use this for devotional purposes or just to enjoy some good rock music in unusual settings you'll certainly enjoy this one.





Record seller 1:
Reissue of rare British religious psychedelic folk album from the 70's most sought after by folk-collectors. A fine mixture of Folk, rock and psychedelica.

Record seller 2:
A christian psych-folk masterpiece of the highest order, with gorgeous female/male vocals, weird & challenging arrangements and fantastic compositions throughout…
A true cult item in all respects and surely a must have for the psych-folk collector.

The Wooden O "A Handful Of Pleasant Delites" 1969

Recorded and released in 1969, A Handeful of Pleasant Delites (sic), on the Middle Earth label, is the only known album by England's Wooden O. While critics at the time reviewed it as a kind of progressive folk music, the tunes here were more deeply influenced by progressive jazz and Baroque music than anything else. Led by recorder player James Harpham, the rest of the ensemble played mandolin (Hugo Dalton), double bass (Arthur Watts), harp (David Snell), and second recorder (Christopher Taylor). Italy's fine Akarma label has reissued this lost bit of '60s lore in an LP-like package with a gatefold sleeve. Remastered sound and the sheer unusual sound of this ensemble make the album a perfect post-psychedelic head-scratcher in the 21st century. There are 14 cuts here, all of them gorgeously played and arranged -- most notable is the opener, "Toye Tune," in which the recorder melodies play a sort of head and then go forth to melodically improvise like crazy. "Dance Tune" is a lush combination of Italian Renaissance melody and jazz improvisation. Watts' double bass is the perfect ground for this music because he swings no matter what he plays. There is also a Bach concerto here, entitled simply "Concerto," arranged by the band to weave British theater music, salon music, and jazz into the heart of pre-classical music. The second side is just as astonishing as the first, beginning with Watts' driven double bass on "Maypole." The two recorders play in harmonic counterpoint and offer a sense of true flight before the improvisation begins in a call-and-response way between the bass and the recorders. The jazzy backwoods stroll of "Sweet-Bedded" is a deeply reflective and moving piece as Snell's harp creates a countermelody that bridges the recorders. The bottom line on A Handeful of Pleasant Delites is that freak folk fans may be interested in this because of the craft and gentleness of the tunes, but those interested in chamber jazz will find this both eye-opening and utterly enjoyable. ~ Thom Jurek, All Music Guide

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"Storyteller" (UK Folk-Rock 1970)

Reviewer: A music fan
The melodies in this album seemed, at the time of its original issue, to be at the cutting edge of the peaceful folksy pop idiom which it so well represented, and thirty years later this genre is still clearly defined by Storyteller.The moods and sympathies which are portrayed and the stories which are concisely and captivatingly related are timeless. The tunes themselves seemed then to have an easy familiarity which ensured an entertaining first hearing; and now, for me at least, summon up everything that was cool in this evocative vein - the voices are downhome and unaffected, the harmonisation is empathetic, and the items are individually gems of their era. Whilst the whole album is an irresistible mingle of fact and fancy. The addition of half-a-dozen bonus tracks to the original album will give a pleasant jolt to hard-core Storyteller fans who've got it down, and can now just groove a little further.

Caroline Attard: vocals
Terry Durham: vocals
Mike Rogers: vocals, guitar
Roger Moon: vocals, guitar
Rod Clark: bass

Produced by Peter Frampton & Andy Bown

Sample pic: 1, 2

WEDNESDAY, OCTOBER 25, 2006

Marc Ellington "Rains/Reins Of Change" 1971















By Ralph M. Chapman "dwwashburn" (toronto, ontario Canada):
A must own for Richard Thompson/Sandy Denny/Iain Matthews completists recorded in '71. RT's lead guitar dominates the record while Sandy and Iain do some wonderful harmony work. Dave Mattacks is also there as well, so this is fascinating for Fairport fans (it was for me anyway!). All the songs are excellent, with a southern California country rock feel (no doubt due to the presence also of Chris Hillman, Sneaky Pete, and Rick Roberts) that seeps in. Forgetting the star studded back up, Ellington's sweet voice, great songs, and uncluttered, sympathetic arrangements and production make this a very nice addition.
Nicely put together package with lyrics, full credits and great remastered sound . The disc is on a fairly obscure label (talking elephant), so I HIGHLY suggest you get it while you can.

Marc Ellington, voices, accoustic guitar, Highland bagpipes;
Richard Thompson, electric guitar;
Gordon Huntley, steel guitar;
Sneaky Pete, steel guitar;
Mike Deghan, acoustic guitar;
Karen Ellington, banjo;
Chris Hillman, mandolin, backing vocals;
Tony Cox, piano;
Steve Rye, harmonica;
Gerry Field, fiddle;
Mick French, fiddle;
Pat Donaldson, bass guitar;
Mark Griffiths, bass guitar;
Dave Pegg, bass guitar;
Gerry Conway, drums;
Roy Duffy, drums;
Dave Mattacks, drums;
Sandy Denny, backing vocals on I'm Leaving (America) and Alligator Man;
Fritz Fryer, backing vocals;
Trevor Lucas, backing vocals on Alligator Man;
Ian Mattews, backing vocals;
Rick Roberts, backing vocals;
U.S. Marine Corp. & Young Friends, backing vocals

Sample pic: Click

Keith Christmas "Stimulus" 1969

Originally released in 1969 this is a lost treasure on which Keith was backed by members of Mighty Baby who together created a late 60's "laid back Dylan, John St. Field/early John Martyn/Mick Softley/Roy Harper" styled album.
The emphasis is on long tracks "Trial & Judgement" & "I know You Can't Loose" showing great songwriting and impressive overlapping guitar parts.
Keith Christmas also appeared at the first Glastonbury Festival. ~Freak Emporium

Keith's first album was reissued on CD in a limited amount on a small English label. First two tracks still are somewhat times-typical lightweight pop. The guitar instrumental "Roundabout" shows that Keith masters a certain guitar creativity. A song like "Ice Man" shows that he has even more in his pocket. It has a great performance and a convincing guitar and arrangements.
At those days Keith was one of the persons to stimulate the beautiful voice and s/sw-folksinger Shelagh McDonald (with "Stargazer" from 1971 as her future highlight). She even sketched a portrait of Keith which appeared on the LP. Both artists appeared along with Synasthesia (another great acid folkrock band which album luckily also found reissues), on a compilation called "49 Greek Street".
The following track, "I know you can't loose" has in fact a nicer version by Shelagh McDonald on her debut album. Last tracks "Metropolis" and "Trial and Judgement" might still be influenced by American folk and songwriters. The album shows potentional, but does not show his best side yet.

TUESDAY, OCTOBER 24, 2006

Kazuki Tomokawa

Inu (Dog): Akita Concert Live 1979

01. Circus
02. Jakumetsu (Nirvana)
03. Shinizokonai no Uta
(Song for the man who escaped death)
04. Dojyokko Funakko*
05. Kondo no Niku wa Tegowai
(The next meat is tough)
06. Aiueo** Kyouka***
07. Kojo (On the lake)
08. Dagazuku****
09. Ikiterutte Ittemiro (Say, I'm living)
10. Akarui Yoru (Bright night)
11. Boya (Little boy)

*Dojyokko Funakko (Dojyo & Funa): Japanese freshwater fish
**Aiueo: Roman alphabet equivalents using for Japanese Hiragana and Katakana
***Kyoka: Humorous Tanka
****Dagazugu: no meaning, same as "Na Na Na" "Da Da Da"


Muzan no Bi (Beauty without Mercy) 1986

01. Kare ga Ita "Souda! Tako Hachiro ga Ita"
(He was there. "Yes!, Tako Hachiro* was there.")
02. Umi Mitai na Sora da (The sky looks like the sea)
03. Muzan no Bi (Beauty without Mercy)
04. Ido no Naka de Kamisama ga Naite Ita (God was crying in the Ido**)
05. Dododon
06. Waltz
07. Sora (Sky)
08. Eien -Fukushima Yasuki-shi ni Sasagu-
(Forever -Dedicate to Yasuki Fukushima***-)
09. Hitotsu no Marchen (One Marchen)
10. Hanabi (Fireworks)
11. Boya (Little boy)

*Tako Hachiro=Seisaku Saito (1940-1985): Japanese pro-boxer, comedian, actor
**Ido: Click
***Yasuki Fukushima: Jyushoku (Master of Japanese temple), poet


Pistol: Shibuya Apia Live 2003 (Video)

Sins We Can't Absolve:
Here's the complete show of Tomokawa at Shibuya Apia, in 2003. This is a DVD-Rip of Pistol, the DVD he released in 2004. These files were uploaded by ark80, my YouTube friend. The three videos he uploaded last time were from this show.

01 Pistol
02 Circus
03 Kuwana no Eki (Station of Kuwana)
04 Ayakashi no Tsuki (Strange Moon)
05 Erise no Me (The Eyes of Elise)
06 Niatta Seishun (Suitable Youth)
07 Wake no Wakaran Kimochi (Strange Feeling)
08 *Medaka Zanmai (Complete Absorption in *Medaka)
09 Konoyo o Odore (To Dance This World)
10 Jean Gene ni Kike (Ask for Jean Gene)
11 **Shishamo
12 Satoru
13 Natsu no Hi no Uta (Summer Day Song)
14 Shinizokonai no Uta (Song For The Man Who Has Escaped Death)
15 Waltz
16 Mata kon Haru (Spring Has Come Again)
17 Deracine
18 Ikite Shinu to iu (Living Die)

* Medaka: Japanese freshwater fish
** Shishamo: Japanese sea fish

Stone Angel

"The Holy Rood of Bromholm" 1975
"East of the Sun" 2001

After the demise of their folk group Midwinter, Corrick, Burroughes and Saul formed Stone Angel and gave their first public performance on December 20, 1974 at the Great Yarmouth Folk Club, bringing in Joan Bartle on vocals and Dave Lambert on fiddle. Because many fans already knew them in their prior incarnation, Stone Angel quickly developed a following and gave numerous concerts throughout the U.K. In February 1975 the band decided to record a demo, which was privately released under the title Stone Angel. The band continued touring, until Corrick and Burroughes left for university in the fall of 1975. The group, now a trio, began to play more traditional and acoustic material, due to the departure of Corrick on electric guitar. Their 1976 concert in a Filby church was recorded, but not released until 1994. Around 1977, Dave Lambert left to work with various other groups before ending up in Australia working with The Legends, while Bartle and Saul married and settled down in Filby.

Now down to just two members, Stone Angel took a long hiatus, though Bartle and Saul remained involved in various projects involving early and antique music. Finally, around 1985, a new lineup was assembled, and the band began touring again, at first under the name The Village Band, then Arkenstone (reflecting the prevalence of Tolkienesque elements in their compositions), but soon reverting to Stone Angel for the sake of convenience and reputation. After various delays and work in theatre groups, the group was surprised when, after an article in the magazine Record Collector, they were approached in 1993 by indie label Kissing Spell to release their only recordings: the original Stone Angel LP and the live recording The Holy Rood of Bromholm, as well as the earlier Midwinter album The Waters of Sweet Sorrow.

With public interest and renewed critical attention (inexplicably, much of it in Japan and Korea), the band recorded their first new material in 2000, releasing East of the Sun with a slightly modified lineup. A new vocalist and drummer, Jane Denny, joined them in 2002 for the release of Lonely Waters.

More informations here: Psychedelic Folk

MONDAY, OCTOBER 23, 2006

honeybean

Finaly, honeybean opend own blog site "HONEYBEAN"!
His/Her current post is:

Meic Stevens - Ghost Town (1968- 1969)

Welcome!!

Bob Pegg

Bob Pegg "Ancient Maps" is updated.
Now you can download whole album.
Click

And also, following titles are re-posted.
Ian Matthews "Valley Hi": Click
Ian Matthews "Some Days You Eat the Bear...": Click
Honeybus "She Flies Like A Bird": Click

by honeybean...
Hamish Imlach "The Definitive Transatlantic Collection" 1966-72

This collection culls the best of the best from the seven albums the Scottish satirist and folksinger made for the influential folk revival label Transatlantic between 1966-1972. His trademark tune, "Beer Is Best," "Anthony Riley," and "37 Bus Medley" display his best upbeat scatological humor which won him hundreds of hysterical, giggling fans during the '60s. "McPherson's Farewell," "Calton Weaver," and "Foggy Dew" display some of the most heart-wrenching and desolate folk tunes he ever recorded, and "If It Wasn't for the Unions" is a self-explanatory political rave which equally popularized the singer in his homeland. For fans of Irish folk this collection is worth the price of admission for its versions of "Kilbogie" and "Johnny O'Breadislee" alone. ~ Skip Jansen, All Music Guide

Music Saves Lives

Let's welcome Vlasdance and his blog "Music Saves Lives"
His current post is...

Dave Van Ronk "Ragtime Jug Stompers" 1964

Thanks for the info, Joe.

SUNDAY, OCTOBER 22, 2006

The Boys of the Lough

"III: Recorded Live" (aka. "Live at Passim")
Recorded at the Passim Club, Cambridge, Massachusetts, USA on 17-19th, November 1974

The Boys of the Lough influenced countless other traditional Irish groups in the early '70s, and the reissue of their classic live album (recorded in 1974 at the legendary Passim club in Harvard Square) is cause for rejoicing. At that time, the quartet consisted of mandolinist Dave Richardson, flutist Cathal McDonnell, the legendary fiddler Aly Bain and Robin Morton on bodhran and concertina. Apart from the raw-edged but sprightly jigs and reels that one would expect, the set also includes a couple of hilarious songs and an interesting number called "The Hound and the Hare," a tone poem complete with baying dogs and the rabbit's screaming death. One wonders whether there might not have been some outtakes available to lengthen the CD program (this is a 20-year-old recording, after all, being reissued at full price), but it's still a wise investment. Highly recommended. ~ Rick Anderson, All Music Guide

Robin Williamson

Hymns & Haws (1963-64)
with Owen Hand & Cive Palmer





















This is bootleg copy.
I have no informations about this recordings. Please let me know if you have any info.

Palmer and Williamson first came together during the British folk revival of the early '60s. In 1963, several tracks from their performance at the Edinburgh Folk Festival were featured on a multi-artist compilation issued by Decca. ~part from All Music Guide

Tracks:
01. The Mole Catcher (Robin & Owen)
02. The Holy Ground (Robin & Owen)
03. The Boys Of Wexford (Robin & Owen)
04. East Colorado (Robin & Owen)
05. Johnny Cope (Robin & Clive)
06. Johnny Lad (Robin & Clive)
07. The Working Chap (Robin & Clive)
08. Do You Think I'm A Liar (Robin & Clive)
09. Jazz Bo's Holiday (Robin & Clive)

DL


Wolfgang:
The last track is from the '63 folk festival and was on a compilation Lp. Tracks 1-4 are from the St Andrews Folk Club Oct. 63, tracks 5-8 from the same club from Nov 64.

Thanks again, Wolfgang!!

SATURDAY, OCTOBER 21, 2006

Recommended by honeybean...
Hamish Imlach "Live!" (Scottish Folk 1967)
Paisley Folk Song Club. February 24th, 1967

Hamish Imlach (1940-1996) was a folksinger from Glasgow, Scotland. Despite being little-known in the US and outside of the folk community, he influenced many other artists, including most notably John Martyn and Billy Connolly.
He had his biggest hit in the late 1960s with "Cod Liver Oil and the Orange Juice," a scurrilous and hilarious take on the American gospel standard "Virgin Mary Had a Little Baby" written by Ron Clark and Carl MacDougall. The song was banned by the BBC as it was assumed to be full of double meanings, but at one point became the most requested song on British Forces Radio.
He was described by Ewan McVicar, the scottish storyteller and singer, as "a raconteur who taught Billy Connolly, a singer who taught Christy Moore, a blues guitarist who taught John Martyn". ~Wikipedia

Hamish Imlach had a multi-layered performing career, as an anti-nuclear activist, comedian, folk-singer, and political satirist. A native of Scotland, he began his recording career in 1966 on Transatlantic Records' XTRA label and ultimately cut eight popular LPs for the company over the next seven years. He loved traditional folk songs, but was a performer of many parts, with a topical political bent to his work--relfected in his performances of Scottish and Irish political songs--but it was his comical songs about various bodily functions that found Imlach his widest audience. Imlach's mixture of folk music and comedy, which made him resemble a kind of politicized, scatological Scottish version of Allan Sherman, had a profound influence on an entire generation of up-and-coming performers in England, and can be felt even in the work of Monty Python's Flying Circus. His 300 pound physique, and his enjoyment of smoking and drinking took a toll on his health, and during the last years of his life, Imlach's performing career was severely curtailed, although he did contribute vocals and arrangement expertise to Sinead O'Connor's 1990 album Lion In A Cage. In 1992, he wrote and published an autobiography, Cod Liver Oil And The Orange Juice - Reminiscences Of A Fat Folk Singer. The first part of the book title was also the name of one of his most popular songs, and other Imlach numbers that fans especially enjoyed were "Black Is The Color Of My True Love's Hair, "This Sporting Life," and "Sonny's Dream." ~ Bruce Eder, All Music Guide

More about Hamish Imlach here: TheBalladeers.com
Personally, I can feel similar atmosphere as Vin Garbutt's live album
"The Young Tin Whistle Pest".

Linda Hoyle "Pieces of Me" 1971

This rare 1971 album, features the amazing vocals of Linda Hoyle (of Affinity and Nucleus renown), often referred to as 'the British Grace Slick'. Includes a cover of Nina Simone's "Backlash Blues" and Laura Nyro's "Lonely Woman". The album's line-up includes guitarist Chris Spedding, drummer John Marshall and bassist Karl Jenkins. ~Freak Emporium

It probably isn't surprising to learn that Hoyle's solo debut, cut following the final dissolution of Affinity in 1971, does not deviate too far from that band's jazz-rock modus operandi. However, in seeking to trim the instrumental fat from Affinity's sometimes gruelling work-outs, and concentrate the attention on the songs (and lyrics) themselves, it rises far above its role model, to showcase Hoyle as a far more exciting figure than her footnotes in history would have you believe.

Reminiscent in places of the best of Julie Driscoll's late 1960s work - a role model that Hoyle was singularly well-placed to succeed - Pieces Of Me likewise borrows from several of Driscoll's own influences. The Nina Simone and Laura Nyro songbooks both contribute to the proceedings, with the latter's "Lonely Woman" standing among the best tracks on the entire album. But Hoyle's own work, largely written in tandem with keyboard player Karl Jenkins, is equally powerful, with the eerie "Hymn To Valerie Solanis" (titled for, but never mentioning the woman who shot Andy Warhol), and the regretful "Journey's End" ranking among the other highlights. The intriguing "Ballad Of Marty Mole", meanwhile, reads like a cross between Bob Dylan and Beatrix Potter, and could well give children nightmares for days. ~ Dave Thompson, All Music Guide

Gerry Goffin "It Ain't Exactly Entertainment" 1973

Seventeen songs on a double LP released in 1973 are not what fans of Gerry Goffin and Carole King's '60s pop would expect. Two recording studios in Muscle Shoals, AL, gave birth to this earthy and energetic statement. The comparison to Bob Dylan is inevitable, especially on "Reverend Bottom's Tojo Saloon," a five-minute-and-16-second party which sounds like Gerry is stuck inside of Mobile with the Memphis blues. But the tongue-in-cheek protest of "Cherokee Medicine" is much too quaint to be as boastful as Zimmerman, Al Lester's fiddle venturing off in its own direction as the song concludes. Longtime Carole King bassist Charles Larkey co-wrote the first tune, "Down on the Street," though he's not credited as a performer here. "Chicago (You)" has a funky barroom attitude with keyboard fills that supplement Goffin's lecture. "Chicago You" is a coded message that is hard to decipher, but fun just the same, making the title of this album rather misleading. It is very entertaining to hear the guy behind so many Top 40 hits laying back and jamming on tunes that are as short as the minute-and-21 second "Sail Away Ladies (P.D.)" to the 12-minute-31-second groove of "Set Job." There are revelations all over these four sides, a semi-gospel flavor on "Maryland Again" and Goffin sounding like a very drunk Ian Hunter in a setting that Ian has yet to visit. The musicianship sparkles with a carefree spirit -- it's not like any of these tunes are shooting for chart action. "The Last Cha Cha on Jackson Highway," co-written by Russ Titelman, Barry Goldberg, and Goffin, is like a great, lost Jimmy Buffet tune. "It's Not the Spotlight" is perhaps the most commercial and uplifting song on this collection, a beautiful chorus, the musicianship more serious and precise. Things fall apart in a good way with the George Harrison-sounding guitar bursts that evolve into "It's Alright to Be Alive." Just when you think it is going to become Beatlesque, it dissolves into a boogie-woogie celebration. "Sister Henry," the second of the two Titelman/Goldberg/Goffin compositions, is a Rolling Stones-gone-country-flavored chorus. Gerry replaces the Dylan sounds with the folksy, preachy "Honorable Peace," a protest song. "Rainy Day Flying" continues the sentiment -- Arlo Guthrie take note -- as the backing vocalists keep a Dixie/gospel melody in the rhythm. Goffin raps about shrapnel exploding, very Vietnam. There is a tremendous chorus mixed with witty vocals to enhance "Zebulon Pike," the story of an explorer who keeps ending up in the wrong place. May be a subliminal autobiographical song with first-rate production and a band that works hard. This music really is a treasure worth seeking out. ~ Joe Viglione, All Music Guide