Acoustic folk with a downer psych vibe, backed by the cream of the Los Angeles studios (Carol Kaye, Jim Gordon, Al Casey, Licoln Mayorga and Earl Palmer).~ Fuzz, Acid & Flowers
Paul Giovanni (1933-1990) was an American playwright, actor, director, singer and musician. New Yorker Giovanni was best known for writing the music for the 1973 British horror film The Wicker Man. The soundtrack, which was eventually released by itself in 2002, uses Celtic musical themes, traditional instrumentation played by folk-rock group Magnet and a combination of ancient pagan verse, as well as Giovanni’s own lyrics.~ Wikipedia know
This is almost entirely acoustic guitar driven male vocal duet folk, with some piano and fuzz guitar. At times, it is mildly reminiscent of Simon and Garfunkel, and surprisingly good for it's genre. Grades - 1 B+, 2 B's, 3 B-'s, 5 C+'s, 5 C's, and 5 C-'s. Yeah, there's plenty of mediocre stuff, but the good makes it all worthwhile. Came out on the "M" record label. They were an Arizona outfit.~ tymeshifter from rym
A Massachussefts outfit whose album is full of interesting and quite imaginative pop/folk-rock, obscure enough to have been reissued. Apart from a cover of Tim Hardin's Hang On To A Dream, all the songs were penned by Paul Applebaum. It's certainly worth hearing.~ Fuzz, Acid and Flowers
Prúdy is a rock band formed in the former Czechoslovakia in 1962.~ Wikipedia know
The band consists of Marián Varga on organ and piano, Pavol Hammel on guitar and vocal, Vlado Mallý on drums, Peter Saller on guitar and Fedor Frešo on bass guitar.
With Love - A Pot Of Flowers was originally issued in 1967 by Mainstream Records ostensibly to cash-in upon the growing fascination with San Francisco. In 1966, label boss Bob Shad had issued several unsuccessful singles by Bay Area groups, and by collecting them together on LP he unwittingly created one of the more satisfying surveys of the scene at the time.~ from amazon
The groups included on A Pot Of Flowers were the Wildflower, pioneering folk-rockers who were an early fixture at the Fillmore and Avalon; San Jose's popular garage band the Otherside; legendary East Bay punks the Harbinger Complex; and, from southern California, the idiosyncratic Euphoria, whose off-beat take on psychedelia has given the group a cult reputation.
Although she would eventually become most known as a blues singer, at the outset of her recording career in the mid- to late '60s, Dana Gillespie flirted with pop/rock, folk-rock, and mildly psychedelic baroque pop. All of those styles can be heard on her obscure 1968 debut album, Foolish Seasons, which was oddly issued in the U.S. but not in the U.K., despite the heavily British-European cast to the production and arrangements. The melange of approaches makes for an indecisive direction and uneven quality in certain respects. Yet at the same time, it makes the record an undeniably interesting, at times even exhilarating, slice of eclectic late-'60s Swinging London-tinged pop. Very roughly speaking, Gillespie echoed the material and vocals of fellow British woman pop/rock singers such as Marianne Faithfull and Dusty Springfield at points, though her voice was at once both huskier and smokier than the young Faithfull's, and gentler and more whispery than Springfield's. The styles tried on for size include the breezy psych-pop of "You Just Gotta Know My Mind," a Donovan composition that Donovan himself never recorded; the very Faithfull-esque (in the good sense) wispy folk-pop of "Tears in My Eyes" and Gillespie's own composition "Foolish Seasons"; the sunshine pop-influenced orchestral arrangements of "Life Is Short" and "London Social Degree," both penned by cult British pop/rocker Billy Nicholls; the gothic Euro-pop of "Souvenirs of Stefan," which vaguely recalls the likes of Françoise Hardy; and the downright catchy, sexy, mod pop of "No! No! No!" Further unexpected turns are taken with the almost pre-goth blues-pop death wish "Dead," and the haunting, eccentric cover of Richard Fariña's "Hard Lovin' Loser." Sure, there are a couple of icky-sweet pop clunkers along the way (including Gillespie's sole other self-penned number on the album, "He Loves Me, He Loves Me Not"). On the whole, though, it's an extremely likable (if somewhat stylistically confused) album, with nonstop unpredictably luscious and imaginative production. The U.K. 2006 CD reissue on Rev-Ola has thorough historical liner notes, including many quotes from Gillespie herself.
allmusic.com by Richie Unterberger
A New York band who recorded just one album. All the tracks were composed by group leader Barbour, who came originally from Canton, Ohio. Musically their album is soft, intricate psych with a few more intense tracks also included. Most notable is Dr. Roots Garden, which has an early "Floydish" feel to it, whilst the album as a whole has a very strange sound that is exceptionally unique with beautiful clear female vocals.~Fuzz, Acid and Flowers
It is thought that mono copies of the album were DJ only. Price guides tend to list these as worth less than stereo copies but in fact they are 20 times harder to locate!
Barbour had at least one of his later songs recorded by Martha Velez. Dahaud Elias Shaar went on to play drums with Van Morrison first appearing on his His Band And The Street Choir album. He is also the drummer on the live It's Too Late To Stop Now and Veedon Fleece releases. Paul Album also played with Fear Itself.
A forgotten baroque rock group, produced by Al Kooper who also played on it. Their eleven songs were originals penned by their young leader John Parker Crompton.(Stephane Rebeschini) ~ Fuzz, Acid and Flowers
Robin Batteau became a session man and also recorded some solo albums.
Bed-Sitter Images is the debut album of folk artist Al Stewart, released in 1967, and again in a revised edition with a new cover picture in 1970. The songs were orchestrated by Alexander Faris. Although the cover of both editions spells "Bed-Sitter" with a hyphen, many reviews, and even Al Stewart's official website, spell the title as "Bedsitter Images". ~ Wikipedia know
tracklist:
Sparsely but inventively instrumentated folk-songs, with slight jazzy and psychedelic overtones are to be found on Academy's sole album. The main attraction is the clear voice of Polly and the interesting woodwind parts. Male singer Hardy is less convincing, especially so on the trite Anva. Poor Jean has pretty harmonies but is marred by some out-of key intonations. The best tracks are: Munching The Candy and Rachel's Dream, the latter starting sentimentally, but later on incorporating a lovely Russian theme. They were also issued on a 45. Interesting.
(Marcel Koopman) from Tapestry of Delights
В продолжение темы о Quicksilver Messenger Service. Состав несколько изменился, как и звучание, но это по прежнему всё тот же замечательный добрый QMS. Авторство песен делят Dino Valenti и Gary Duncan.
К сожалению, не имею возможности отсканировать обложку и бэк моего диска.
Архив - 90 МБ, битрейт - 320 Кбит/сек.
Track List:
Превосходная психоделическая фолк-рок группа из Калифорнии: приятные ненавязчевые песни местами с "по-грейтфул-дэдовски" длинными гитарными джемами. Три прекрасных бриллианта конца 60х:
Quicksilver Messenger Service (1968)
Архив - 73 Мб, битрейт - 320 Кбит/сек.
Happy Trails (1969)
Архив - 116 Мб, битрейт - 320 Кбит/сек.
Shady Grove (1969)
Архив - 80 Мб, битрейт - 256 Кбит/сек.
Продолжение следует... (To be continued...)
