"Lothar And The Hand People - Space Hymn-1969 US":
This was one of the most interesting groups to emerge from America in this era. Originally from Denver, Colorado, they moved to New York to record their two albums.
Lothar was actually the name they gave to the theremin, which, together with two moog synthesisers, Ampex tape decks, keyboards and a linear controller characterised the group's sound.
On their second and last album "Space Hymn", the theremin and other electronic gadgetry is generally used to better effect. The album is composed of a mixture of weird material and more commercial numbers, such as "Yes, I Love You", "Heatwave", and "Say I Do".
The lyrics are often full of the usual hippie cliches. For example, "What Grows On Your Head?" is, as one might expect, romanticising about the freedom and virtues of long hair, while "Midnight Ranger" sounds like the story of a ranger who has had one trip too many! Some of the other material is particularly weird, notably the keyboard instrumental "Wedding Night For Those Who Love", "Sdrawkcab" and "Today Is Only Yesterday's Tomorrow".
The title track, however, reaches new heights of craziness when the vocalist sets about hypnotising his audience! Certainly an interesting album, this is recommended. Apart from "Heatwave", all the material was written by the band.
-by dj fanis: here

"Lothar And The Hand People - Presenting...-1968 US":
A true product of their times, Lothar And The Hand People emerged in the late '60s, only to disappear a few years later. This, their debut album, fully tells the story of the band as Lothar And The Hand People mix folk-rock with psychedelia. It's all done in a manner that decades later sounds less revolutionary than quaint, but it's just this kind of quaintness that lends this album its enduring charm.
Songs like "That's Another Story" show the band's New York City coffeehouse roots. Lothar And The Hand People shift from sounding a bit like The Lovin' Spoonful or The Youngbloods on some tracks, to sounding like a gentler version of Devo. The "Lothar" in the band's name refers to the theremin they'd use on some of the songs.
Members:
John Emelin (vocals, Theremin)
Kim King (guitar, Moog synthesizer, tapes)
Paul Conly (keyboards, Moog synthesizer)
Rusty Ford (electric bass)
Tom Flye (percussion)
-by dj fanis: here

"Ginger Baker's Airforce-Ginger Baker's Airforce 2-1970 UK":

Ginger Baker's Air Force was a jazz-rock fusion band comprising Ginger Baker on drums, Steve Winwood on organ and vocals, Ric Grech on violin and bass, Jeanette Jacobs on vocals, Denny Laine on guitar and vocals, Remi Kabaka on drums, Chris Wood on tenor sax and flute, Graham Bond on alto sax, Harold McNair on tenor sax and flute, and Phil Seamen on percussion.

Their first live shows, at Birmingham Town Hall in 1969 and the Royal Albert Hall, in 1970, also included Jeanette Jacobs and Eleanor Barooshian (both former members of girl group The Cake), and Remi Kabaka.

The band released two albums: "Ginger Baker's Air Force" and "Ginger Baker's Air Force 2". The second album involved substantially different personnel from the first, with Ginger Baker and Graham Bond being the primary constants between albums. Graham Bond took lead vocal duties along with Baker, Diane Stewart and Catherine James. Highly recommended!!!

-by dj fanis: here

"The Blues Project-Planned Obsolescence-1968 US":
The Blues Project was a band from the Greenwich Village neighborhood of New York City that was formed in 1965 and originally split up in 1967. While their songs drew from a wide array of musical styles, they are most remembered as one of the earliest practitioners of psychedelic rock, as well as one of the world's first jam bands, along with The Grateful Dead.
Kalb's first rock and roll band was formed in the spring of 1965, playing under various names at first, until finally settling on The Blues Project moniker as an allusion to Kalb's first foray on record. After a brief hiatus in the summer of 1965 during which Kalb was visiting Europe, the band reformed in September 1965 and were almost immediately a top draw in Greenwich Village. By this time, the band included Danny Kalb on guitar, Steve Katz (having recently departed the Even Dozen Jug Band) also on guitar, Andy Kulberg on bass and flute, Roy Blumenfeld on drums and Tommy Flanders on vocals.
The band's first big break came only a few weeks later when they auditioned for Columbia Records, and failed. The audition was a success, nevertheless, as it garnered them an organist in session musician Al Kooper.
Kooper had begun his career as a session guitarist, but that summer, he began playing organ when he played on the "Like a Rolling Stone" recording session for Bob Dylan's album, "Highway 61 Revisited". In order to improve his musicianship on the new instrument, Kooper joined The Blues Project and began gigging with them almost immediately. Soon thereafter, The Blues Project gained a recording contract from Verve Records, and began recording their first album "Lve at the Cafe Au Go Go" in Greenwich Village over the course of a week in November 1965.
The Blues Project's last hurrah was at the Monterey International Pop Festival held in Monterey, California, in June 1967. By this time, however, half the original line-up was gone. Kooper had formed his own band and played at the festival as well. Katz left soon thereafter, followed by Kalb.
A fourth album, 1968's "Planned Obsolescence", featured only Blumenfeld and Kulberg from the original lineup, but was released under The Blues Project name at Verve's insistence. Future recordings by this lineup would be released under a new band name, Seatrain.
-by dj fanis: here

"Gabor Szabo / Bob Thiele And His New Happy Times Orchestra- Light My Fire- 1967 US":
"LIGHT MY FIRE" was something special," recalls Bob Thiele. "Because I believe it was the first time that we took some contemporary songs like The Doors' "Light My Fire" and recorded with a large orchestra."
With this recording, Thiele seemed to marry his divergent musical tastes.
Without Szabo's incisive solos throughout, "LIGHT MY FIRE" would surely have many of the qualities associated with the anonymous Hollywood rock soundtracks of the period. It is certainly Szabo, and his performance alone, which draws the listener back to this recording.
His blues riffing on "Rainy Day Woman," astounding finger dynamics in "Fakin' It" and typically inventive soloing in his own "Krishna" offer the listener ample pleasure. Szabo seems isolated from the proceedings though. The most interaction he has with the orchestra is in Feller's harmonically-rich arrangement of the Byrds' "Eight Miles High" where, briefly, he even spars with Tom Scott's workmanlike tenor.
Amazing sitar solos by the virtuoso Bill Plummer and also heavy bass by Carol Kaye.
-by dj fanis: here

"Chris Harwood - Nice to Meet Miss Christine -1970 UK":

Chris Harwood's debut LP for Miki Dallon's obscure British Birth label was the only record she ever made. No singles were ever released and it was seldom heard beyond these shores - the making of a record collector's holy grail.
"Nice to Meet Miss Christine" remains one of the most sought after English female folk records ever released. You just have to listen to her cover of CSN&Y's "Wooden Ships" to realise why. Miss Christine's naked vocals ride a rock-solid back beat with clavinet funk and a wash of luscious strings sending you into a trance-like state.
Featuring a veritable who's who of rock and folk, including Yes guitarist Peter Banks, Strawbs guitarist Dave Lambert, Joe Cocker/Juicy Lucy/Sensational Alex Harvey Band hammond organist 'Tommy Eyre' Plummer, bass player Roger Sutton (Brain Auger & Julie Driscoll) - this rare record (fetching in excess of £200 on internet auction sites) is on the wants list of any serious collector of any of the above bands.
-by dj fanis: here

"Seatrain-Watch-1973 US":

Seatrain was an American roots fusion band based initially in Marin County, California, and later in Marblehead, Massachusetts. Seatrain was formed after the breakup of The Blues Project in 1969. The group, which recorded four albums, disbanded in 1973. "Watch" is the fourth and final album of the band Seatrain. It is marked with departure of Peter Rowan and Richard Greene (they formed band Muleskinner) and using of more session musicians on instruments like vibraphone, cello, accordion, tuba and oboe.

"Watch" was originally issued on LP in 1973 and features a cover version of Bob Dylan's "Watching The River Flow", plus their unique version of "Flute Thing", an often-covered Blues Project classic.

Members:

Julio Coronado - drums, percussion

Jim Roberts - vocals

Bill Elliot - keyboards

Peter Walsh - guitar

Lloyd Baskin - keyboards, vocals

Andy Kulberg - bass, flute, vocals

Peter Walsh - guitar

-by dj fanis: here

"The Incredible String Band - Changing Horses- 1969 Scotland":
They really don't write them like this any more. "Big Ted's dead / He was a great old pig," sings Robin Williamson. "He'd eat most anything / Never wore a wig."
Although The Incredible String Band had always been delightfully ramshackle, 1969's "Changing Horses" found the innovative folk-rock duo of Williamson and his mate Mike Heron becoming almost a slipshod stoned parody of themselves with assistance from their girlfriends Rose and Licorice.
Of the six tracks, two ramble on at such length (over 14 minutes) that even such exotic instruments as sarang, gimbiri, Chinese banjo, and the inevitable sitar fail to maintain much interest.
Highly recommended for all unrepentant hippies everywhere.
-by dj fanis: here

"The Sacred Mushroom - S/T-1969 US":
This band operated for several years in the Cincinnati, Ohio area. Their 45, which sounds circa 1967, is melodic pop-rock. This album was originally released in 1969. Both sides were composed by group leader Larry Goshorn.
Their album, which comes housed in a stunning "mushroom" art cover, finds the band playing a heavy blues style which proves an efficient vehicle for Goshorn's distorted guitar leads.
The music is all original except for a cover of Ray Davies' "I'm Not Like Everybody Else".
Highly recommended for collectors of sixties heavy blues/rock.
Members:
Larry Goshorn-Lead Guitar,Vocals
Danny Goshorn-Vocals
Joe Stewart-Bass
Fred Fogwell-Rhythm Guitar
Doug Hamilton-Drums
Rusty York-Harp in "All Good Things Must Have An End"
-by dj fanis: here

"L. Bailly-The American Tribal Love-Rock Musical Hair-Studio Cast -1972 US":

This album is becoming a favorite of mine.On the Greek Zodiac label "Hair" is wrongly written 1979. No information found about L. Bailly, but the singing and music are beautiful, particularly on "Aquarius","Good Morning Starshine- Let The Sunshine In" and "Hare Krishna".
-by dj fanis: here

"Nina Simone - Black Gold -1970 US":
"Black Gold" is a live album by singer/pianist/songwriter Nina Simone recorded in 1969 at the Philharmonic Hall, New York. The album is especially notable because it features the civil rights anthem song "To Be Young Gifted And Black". "Black Is The Color Of My True Love's Hair", the album features two versions of the song, the first sung by Nina, the second sung in a modified version by her guitarist, Emile Latimer.
Nina is almost under a spell on this one. Her storytelling is fascinating and this album contains some of her most astonishing live cuts of all her live albums.
-by dj fanis: here

"Exuma-Life-1973 Bahamas-US":
Macfarlane Gregory Anthony Mackey, who recorded as Exuma, was born in the early 1940s on Cat Island (Bahamas) and died in Nassau in the Bahamas on January 25, 1997.
Exuma was known for his almost unclassifiable music, a strong mixture of carnival, junkanoo, calypso and ballad.
In his early days in New York's Greenwich Village, Tony McKay (his self-given name) performed in small clubs and bars. Later, along with his then-partner and lifelong friend, Sally O'Brien, and several musician friends, Tony launched Exuma - a 7-person group that toured and recorded albums, starting with "Exuma-The Obeah Man" in 1970 and ending with "Rude Boy" in 1986.
His songs invoke influences from calypso, junkanoo, reggae, African and folk music.
The album also features two Rolling Stones' covers, "Paint It Black" and "You Can't Always Get What You Want".
-by dj fanis: here

"Olatunji!-Drums of Passion-1959 Nigeria-US":
Babatunde Olatunji (April 7, 1927 – April 6, 2003) was a Nigerian drummer, educator, social activist and recording artist. Olatunji (often credited as "Michael Olatunji"), was born in the village of Ajido, a small town near Badagry, Lagos State, in southwestern Nigeria. He went to the United States of America in 1950.
Olatunji won a following among jazz musicians, notably creating a strong relationship with John Coltrane and Columbia Records A&R man John Hammond who signed him to the Columbia label in 1957. With Coltrane's help, he founded the Olatunji Center for African Culture in Harlem.
This was the site of Coltrane's final performance. In 1959 Olatunji released his first of six records on the Columbia label, called "Drums of Passion".
In 1969, Carlos Santana had a major hit with his cover version of this first album's "Jin-go-lo-ba," which Santana recorded on his debut album as "Jingo." Olatunji favoured a big percussion sound, and his records typically featured more than 20 players, unusual for a percussion based ensemble.
"Jin-Go-Lo-Ba (Drums Of Passion)" became a major hit and it introduced many people to world music.
-by dj fanis: here

"Taj Mahal - Mo' Roots-1974 US":
American blues musician Taj Mahal, was born Henry Fredericks in New York in 1942. His music is a mix of blues, Caribbean styles, bluegrass and the music of Hawaii, where he lived for a number of years.
On this 1974 recording, Taj Mahal ventures beyond blues and soul to explore the Caribbean side of his heritage. He sings in Spanish on "Why Did You Have to Desert Me?", translates the Anglo folk song "Blackjack Davey" to reggae, and covers The Slickers ("Johnny Too Bad") and Bob Marley ("Slave Driver").
His smoked-glass voice evokes a stormy swamp on "Cajun Waltz" and a sunny island on "Clara (St. Kitts Woman)." Rather than mimicking Third World styles, Mahal incorporates them into his own folk and blues-based aesthetic, while humorously nodding back to Otis Redding again on "Big Mama." I'd highly recommend this to any one who enjoys great music done by a naturally gifted musician.
-by dj fanis: here

"Phil Upchurch -Darkness Darkness- 1972 US":
The 1972 album from one of the most gifted guitarists ever to pick up the instrument. Upchurch is one of the rare guitarists who can walk the line of jazz, blues, rock, soul, and funk and fold them all into one another without sacrificing anything in the process, and that is displayed on countless occasions here.
Phil Upchurch had played with Curtis Mayfield and The Impressions and Jerry Butler, but headed to California to make a name for himself.
This outstanding album was produced by Tommy LiPuma and was musically arranged by the late Donny Hathaway, who also provided much of the keyboard work here, along with The Crusaders' Joe Sample. Upchurch offers amazing renditions of The Youngbloods' "Darkness Darkness", Marvin Gaye's "Inner CIty Blues" and James Taylor's "Fire & Rain".
Members:
Phil Upchurch -Lead Guitar
Arthur Adams-Rhythm Guitar
Chuck Rainey-Bass
Joe Sample-Piano
Harvey Mason-Drums
Bobbi Porterhall-Conga and Tambourines
Horn Arranged by Nick De Caro
-by dj fanis: here

photoblog

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-dj fanis

"The Orient Express-S/T-1969 US":
Originally from Europe this band moved to the States. Guy Duris was actually born on the Left Bank in Paris and later met Golesorkhi, who had been decorated by the Shah of Iran for his drumming and was interested in applying Eastern rhythms to Western music, in Iran. They met Bruno Giet, a Belgian pilot and guitarist, in Paris while travelling around Europe.
Soon the three members headed for America and settled in New York's East Village initially but ended up in California where their album was recorded. It's powerful Eastern-influenced psychedelia similar to Kaleidoscope.
Particularly fine examples of their marriage of Eastern and Western music are "Train To Bombay", "A Little Star" and "For A Moment". They did not release any singles on Mainstream.
This album is highly recommended.
Members:
Guy Duris-Electric Oud,Electric Sitar,Vocals
Bruno Giet-Electric Guitar,Vocals
Farshid Golesorkhi-Electric Melodica,Dumbek,Tympany,Vocals
-by dj fanis: here

"The Devil's Anvil- Hard Rock From The Middle East-1967 US":
The Devil's Anvil got together in the burgeoning hip and happening mid-'60s Greenwich Village scene, playing Middle Eastern influenced music at Folk cafes and Rock clubs. Eventually they teamed up with Felix Pappalardi (producer of Cream's Disraeli Gears, later to play in Mountain). He began playing bass with the band and eventually scored the group a record deal.
The Devil's Anvil really never caught on as a recording act, in part because of the timing of their debut album's release: The very same day that "Hard Rock From The Middle East" hit the stores, the 1967 Arab-Israeli War broke out, and not a single radio station anywhere would go near the album!
Contained herein is absolutely kick ass world-influenced Rock, with impassioned Arabic and Greek vocals(on "Kley" and "Treea Pethya"), electric oud, bouzouki, tamboura, durbeki as well as fuzz guitar, bass and drums.
A unique and happening album.
Members:
Eliezer Adoram-Accordion
Jerry Sappir-Lead Guitar,Vocalist
Kareem Issaq-Oud,Vocalist
Steve Knight-Rhythm Guitar,Bass, Bouzouki
and
Felix Pappalardi -Bass,Guitar,Tamboura,Percussion,Vocalist
Bobby Gregg Or Herb Lovelle-Drums
Mike Mohel-Durbeki(Dumbeg)
-by dj fanis: here

"Frankie Valli-Timeless-1968 US":
Frankie Valli's solo album appeared in July 1968 under the title "Timeless".Was essentially Four Seasons project sans group harmony, with Bob Crewe producing and Bob Gaudio, Charles Calello and Artie Schroeck arranging. This easy listening effort mixed some new original material with Valli's takes on recent standards such as "By the Time I Get to Phoenix," "Sunny," and "Eleanor Rigby." (by request)
-by dj fanis: here

"Bloomsbury People -S/T-1970 US":

Milwaukee-native Sigmund Snopek III may be one of the most fascinating artists to emerge from the late '60s and early '70s.
The Bloomsbury People formed in 1968. The band immediately gained a degree of local success, playing frequently around Milwaukee and the surrounding region and recording a couple of 45s over the next couple years.

The Bloomsbury People, began playing an unconventional mixture of avant-garde rock, classical music, and baroque pop that eventually came to be characterized as progressive rock, recorded their sole self-titled album at Audio Finishers studios,Chicago and released on MGM in 1970.
Sigmund Snopek III continued making intriguing music, ranging from Top 40 pop songs to electronic pieces and jazz compositions to symphonies and operas in a career that lasted well over 30 years, culminating in his most conspicuous role as a sideman for the much-loved alternative pop band The Violent Femmes.
Members:
Jon Wyderka-Vocals,Percussion
Sigmund Snopek III-Keyboards,Trombone,Vocals
Ding Lorenz-Drums,Acoustic Percussion and Dropped Stick
Paul DuJardin-Bass,Trombone,Vocals
Greg Janick-Organ,Saxophones,Vocals
Dennis Lanting-Electric and Acoustic Guitars,Vocals
-by dj fanis: here

"The Millennium - Begin-1968 US":
Curt Boettcher (January 7, 1944 – June 14, 1987), later Curt Boetcher and Curt Becher, was an American singer, songwriter, musician, and record producer from Wisconsin.
Boettcher was one of the most important personalities of Sunshine pop in the 1960s, influencing Brian Wilson before the production of "Pet Sounds". Boettcher worked with The Association, Gary Usher, The Millennium, Sagittarius, and The Beach Boys, among others.
Curt Boettcher was a prodigious talent (sadly he died in 1987 at age 43) whose studio wizardry produced sounds and arrangements way ahead of any at the time and The Millennium album was the culmination of this period. He'd started out with the folk group The Goldebriars , then formed a vocal duo, Summer's Children, before getting into production which included The Association's first LP "And Then Along Comes" and their million-selling "Along Comes Mary" 45.
From then until Millennium he was involved in a plethora of groups and studio projects.
Millennium then, were put together as a vehicle for Boettcher's ideas with the intention to weld Fennelly and Stec's rock background with the avant garde pop of Mallory and Salisbury. Boettcher was to 'Lead the way'... and there was a kind of evangelical fervour about it, best heard on their first single "It's You". Goldenrod who are thought to have acted as a backing group to Lee Mallory, formed the basis of the remaining personnel, originally becoming involved as part of the "Our Productions" house band led by Mike Deasy.
The album is in the mould of Sagittarius, with the standout cut being the astonishing "Karmic Dream Sequence #1". A true voyage into the infinite and six of the most magical minutes that sixties music has to offer.
Group member Sandy Salisbury describes the song: "This piece still evokes everything I felt in those days, from ecstacy to amazement to downright fear. Though I never used drugs, I always felt somehow out of touch when I heard this song - still do. The only explanation for that feeling is that "Karmic Dream Sequence" somehow tells me that Life is far, far deeper and more fascinating than my limited human mind can comprehend - it makes me want to explore, to experience, to feel, no matter how scary it gets".
-by dj fanis: here

"Man - Revelation -(1st Album Psychedelic Rock UK 1969)":
This debut album from this Welsh band is amazing!!!
Heavy Hammond sounds, Mellotron, Fuzzy Psychedelic guitar solos, Effects and weird vocals and falsettos. Is a small masterpiece to my ears. "Erotica" was a hit in Europe in 1969 and received a UK ban. A must for all psych heads out there!!!
Hey people out there please comment, i want to see your response.
by hippy-djkit : here

"The Youngbloods - Ride The Wind -1971 US":
Fresh from the success of "Get Together," The Youngbloods signed to Warner Bros. in 1970 for four albums that ranged from folk, bluegrass, jazz, and country to good old rock ‘n’ roll.
"Ride The Wind", is a favorite of mine, recorded Live In New York, November 26, 28, 29, 1969, find Jesse Colin Young’s mesmerizing guitar and vocals shadowed perfectly by jazzy electric piano and percussion.
"Ride the Wind" is nothing like The Youngbloods' studio albums. Just three members of the band play here: Jesse Colin Young with his bass guitar and expressive vocals, Joe Bauer on drums, and the wild-looking Banana on guitar and electric piano.(vinyl rip)
-by dj fanis: here

"Jim Capaldi -Whale Meat Again-1974 UK":
The second solo effort by Traffic's drummer, released by Island in 1974. This album shows just how much Capaldi contributed to Traffic. Capaldi does not steer away from his Traffic roots on this ablum. Guests include Chris Stanton from Joe Cocker's band, Traffic's Rebop, The Muscle Shoals Horn Section and Steve Winwood.
"Whale Meat Again" yielded his first US hit "It's All Right", the bluesy title track, the soulful "Yellow Sun", the gritty "Low Rider" and the vibrant "I've Got So Much Lovin''. A must have for any Traffic fan.
-by dj fanis: here

"Amazonas - Amazonas Play Santana-1973 UK":
Not a lot of info to be had on this one apart from the fact this is one of Leo Muller’s releases. Leo Muller was a German businessman who developed his own brand of musical exploitation from the mid 1950s to the end of the 70s. He established a new label called Stereo Gold Award from which you’ll find some of the more interesting albums.
"Amazonas Play Santana" is not bad at all. The tracks like "Black Magic Woman","Just In Time To See The Sun" and "Oye Como Va" do sound like worthy covers. The beats and rhythm are solid and the guitar work is impressive.
On the back cover says:
"The pulsating erotic dance rhythms of the best in Afro-Latin percussion. Fluid guitar solos with various spellbinding instrumental colours in a tribute to the hypnotic genius of Santana".
by dj fanis: here

"Lighthouse -One Fine Morning-1971 Canada":
This was one of the most significant groups to come out of Canada in this era and was put together by drummer Skip Prokop in 1968. A horn rock band, they are often considered to be Canada's answer to Chicago and Blood, Sweat and Tears.
Lighthouse recorded in Toronto their fourth album "One Fine Morning", which was much better than the previous albums, and at last they had a hit with the eponymous song.
"One Fine Morning" has strident guitar chords, a horn section which blends in perfectly, catchy melody, strong vocals by their new singer Bob McBride, jazzy piano and guitar solos. A gem of the horn rock genre!
This along with "Love Of A Woman", a soulful jazz-rocker featuring great solo sax work, are the best tracks of the album. The rest, except the soul/gospel influenced "Hats Off (To The Stranger)", "Show Me The Way" and "Sing ,Sing ,Sing" are more mellow, but on "Step Out On To Sea" and "Old Man" there are segments of strong Chicago-like horn instrumentation.
Of interest also is the peaceful "Little Kind Words", which has a very good melody, ideal for late night audition.
-by dj fanis: here