Zeca Afonso - Eu Vou Ser Como A Toupeira (1972)

Eu Vou Ser Como A Toupeira is the Sixth Album by the Portuguese Traditional/Protest Musician Zeca Afonso.
After the release of Cantigas Do Maio, Zeca returned to Portugal and resumed his political and Musical activities. His persecution by the Fascist Police continued and many of his concerts were cancelled, and his connections to LUAR (roughly translated to League for Unity And Revolutionary Action, a Far-Left urban Guerrilla) deepened more than they ever had. This change, a notorious radicalization if compared to Albums 3 years back, was clear to everyone. Some of the songs present in Eu Vou Ser Como A Toupeira were directly about the atrocities committed by the Fascists (The opening Song, "A Morte Saiu À Rua", Death is out in the Streets, is probably is second best-known song, only after "Grândola Vila Morena", about the cold-blooded assassination of the Painter and Communist militant, José Dias Coelho). This Album, released around the Christmas of 1972, would see lead him to be arrested and jailed for 2 months in the Caxias Fortress, where Torture was a common practice before sending the prisioners to other Political Prisons, and which caused on him a tremendous impact (My Grandfather heard him crying from his room, where he was also imprisoned, and told me that for Zeca, being arrested was the ultimate punishment). The Carnation Revolution was just behind the door. In less than a year a Revolution brought the Regime down and installed the Revolutionary Socialist government Zeca and so many others had so valiantly fought for, for more than 48 years.
Best Tracks - "A Morte Saíu à Rua", "Fui À Beira do Mar", "Sete Fadas me Fadaram", "Ó Minha Amora Madura", "O Avô Cavernoso", "Ó Ti Alves", "No Comboio Descendente", "Eu Vou Ser Como A Toupeira" and "Por Detrás Daquela Janela". Another notable change is the abandonment of the arrangements of the previous record, for a harsher quality of sound, many times simply a-capella and using the typical accent of Southern Portugal. I regard it as one of his best works, and even though slightly inferior to Cantigas Do Maio, a landmark in Portuguese Music. Long live the Carnation Revolution of 25th of April, 1974!

Zeca Afonso (Eu Vou Ser Como A Toupeira Personnel):

- Benedicto.

- Carlos Alberto Moniz.

- Carlos Medrano.

- Carlos Villa.

- Ernesto Duarte.

- José Dominguez.

- José Jorge Letria.

- José Niza.

- Maite.

- Maria do Amparo.

- Pedro Vicedo.

- Pepe Ébano.

- Teresa Silva Carvalho.

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The Pictures below shows his coffin in the day of his funeral, there are no colors, but the coffin was covered with a Red Flag, as he had asked for.

Richie Havens - Richard P. Havens, 1983 (1969)

Richard P. Havens, 1983 is the Fifth Album by the American Folk Musician Richie Havens.

Much in the same style as the previous Post, Sweet Child by Pentangle, Richie Havens also embarked in journey to release a Double-Album, combining both Live and Studio performances, only difference between both records was the extraordinary number of Musicians Havens employed compared to those 5 British Musicians. In classic Havens style, a great number of the songs were covers of other Musicians, and it shows as an example how they should be made, very different from the original, a true appropriation of the Song, to reflect the feelings and desires of the performing artist. I have yet to listen to a Cover of The Beatles by him which i didn't enjoy immensely, event though I ain't able to decide which of the two is best (there are 4 Beatles covers among the 17 tracks that comprise the Double-Record). The Live Performance was recorded in July of 1968, and only saw the light of the day, almost a year after, in May of 1969. It was his second best charting Album, with a spot at 80, bested by Alarm Clock's 29th spot, nonetheless it was also a success in terms of Critic response to it, which was mostly very positive and appraisal.

Best Tracks - "Stop Pulling and Pushing Me", "For Heaven's Sake", "Strawberry Fields Forever", "What More Can I Say, John?", "Lady Madonna", "Priests", "Indian Rope Man", "She's Leaving Home", "Putting Out The Vibration, and Hoping It Comes Home", "The Parable of Ramon", "With a Little Help from My Friends", "Wear Your Love Like Heaven", "Run Shaker Life" and "Do You Feel Good?". Richie Havens passed away yesterday (22/04/13). He was one of the Musicians I held highest in my consideration, due not only to his Musical capacities, but also his humane thought which led him to embrace several just causes throughout his life (Pete Seeger's Fundraising, participation in the Avante! Festival and many others). I took an immediate liking to him when I first saw the Woodstock Documentary and I am sure he will be a Musician remember throughout the next generations. My highest respects go to him, Havens, a hero of his generation and many others to come.

Richie Havens (Richard P. Havens, 1983 Personnel):

Due to the extensiveness of the list, check it out here.

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Pentangle - Sweet Child (1968)

Sweet Child is the Second Album by the British Folk-Rock Band Pentangle.
That Pentangle had an extremely active Musical life right from the start is not something of note, since this was a group of people who already had an extensive Musical career and a very rich Discography as part of Groups or as Solo Artists. No wonder their very first concert as a group was a sold-out performance in the Royal Festival Hall. After a Debut Album in Early 1968, by November of that same year, they were ready to deliver another work to Humanity, a Double-Album, comprising both a Live (The First Album) and a Studio (The Second Album) Performance (altogether 22 songs, with a total approximate 84 minutes of music). The Concert was recorded in the 29th of June, once again in the Royal Festival Hall. Many of the Songs went on to be recorded by John Renbourn as a Solo Artists, mainly on his Instrumental, Sir John Alot of Merry Englandes..., and others were covers from other Folk Artists, like Anne Briggs's "The Time Has Come", with whom Bert Jansch had had a romantic relationship prior to Pentangle, or simply one of the various genres they explored like Jazz, Traditional Songs and adaptations of Medieval/Renaissance compositions. The Pentangle designed on the Cover of the Album was made by Peter Blake, who had earlier entered history by projecting the cover of The Beatles, Sgt. Peppers Record. 1969 would see them release Basket of Light and their consolidation as one of the best acts of the Generation.
Best Tracks - "Market Song", "No More My Lord", "Turn Your Money Green", "Haitian Fight Song", "A Woman Like You", "Three Dances - Brentzel Gay; La Rotta; The Earle of Salisbury", "So Early in the Spring", "No Exit", "The Time Has Come", "Bruton Town", "Sweet Child", "Three Part Thing", "The Trees They Do Grow High" and "Hole In The Coal". The Live Album is without a doubt the best of the two. It has a passion and feeling that the Studio Performance lacks at some of the songs. It is a pity that they didn't record more Live Albums during this period, they were some of the Best Live acts i have heard.

Pentangle:

- Terry Cox - Drums, Glockenspiel, Vocals.

- Bert Jansch - Guitar, Vocals.

- Jacqui McShee - Vocals.

- John Renbourn - Guitar, Vocals.

- Danny Thompson - Double Bass.

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Machine - Machine (1970)

Machine is the First and Only Album by the Dutch Psychedelic-Rock Band Machine.
Machine evolved from another group, also based in the city of Rotterdam, Netherlands, called The Swinging Soul Machine, which after losing a couple of its members, reformed, with Dragonfly's Vocalist John Caljouw joining them to fill the hole left by the departure of the Bands former Singer, Iwan "Spooky" Groeneveld (who left to form a Duo called Spooky & Sue). Two other Musicians also came from numerous Bands to support the new developing Heavy-Psychedelia Sound they were creating (François Content and Maarten Beckers). Their Sole record was released by Polydor, but it failed to gather attention, and even though they kept playing their instruments for the next 2 years, by 1972 they were done with it. Another incarnation was launched in 1973, by Content and Wim Warby, but it also did not make it and by 1974 drew their very last breath. No information on any potential Single was found so it is very likely that this Sole Album is the only example of their sound available in the webs, and maybe even the world.
Best Tracks - "Virgin", "Say Goodbye To Your Friends", "God's Children", "Old Black Magic", "Spanish Roads", "Lonesome Tree" and "Sunset Eye". They are very good at what they do, only doing far to less slower Tracks, which they were very good at (even better than the Heavy pieces which they are better known for). A great example of the fantastic music being made in the Netherlands and other such countries and Denmark etc. which were being made in the 60's.

Machine:

- John Caljouw - Vocals.
- Francois Content - Trumpet.
- Wim Warby - Tenor Sax.
- Maarten Beckers - Saxophone, Flute, Clarinet.
- Hans Sel - Guitar.
- Paul Vink - Keyboards.
- Jan Warby - Bass.
- Jan Bliek - Drums.

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The Insect Trust - Hoboken Saturday Night (1970)

Hoboken Saturday Night is the Second and Last Album by the American Psychedelic/Art-Rock Band The Insect Trust.
The only thing that really remained with them from the Debut Album was the core Quintet of Musicians and the experimental Folk and Country tinged Psychedelic music. They had changed to another Label, (From Capitol Records to ATCO Records), and moved to another town, Hoboken, to which they seemed to be intimately connected with. Many, many years after the true identity of the Band still escapes us, with some of its members defending that the Band was a completely equalitarian collective, which worked together for each and every one of the Songs, others state that the Band was nothing more than a scheme to make some profit (something they never did). What they really were escapes us, and with so many contradiction behind the story of this Band, where we can't even trust safely the words of the Musicians that played there as there are always more than two different opinions  about how things really did get along, we must stick with the only objective reality has to offer us, their Music, which shows if not a collective machine on the works, an extremely inventive group which recorded two of the best Underground Records in Psychedelic Music history.
Best Tracks - "Hoboken Saturday Night", "The Eyes Of A New York Woman", "Ragtime Millionaire", "Our Sister the Sun", "Trip on Me", "Now Then Sweet Man", "Glade Song" and "Ducks". You can read to their story more detailed on my other Blog post, about the Band's Debut Album here. There are quite a few Songs with a Marching Band taste, something that I can't really stand, even though they are some of the Best I've heard on the style. The Rest of the Songs should be ones gripping you, so it doesn't really matter.

The Insect Trust:

- Robert Palmer - Alto-Saxophone, Clarinet, Recorder.
- Trevor Koehler - Baritone-Saxophone, Soprano-Saxophone, Piccolo, Flute, Drums.

- Joseph Macho - Bass.

- William Folwell - Bass, Trumpet.

- Bob Bushnell - Bass.
- Charlie Macey - Bass, Rhythm-Guitar.
- Bernard "Pretty" Purdie - Drums.

- Charles Nealy - Drums.

- Donald MacDonald - Drums.

- Elvin Jones - Drums.
- Bill Barth - Guitar, Steel-Guitar.
- Luke Faust - Harmonica, Banjo, Electric-Guitar, Fiddle.
- Ralph Casale - Rhythm-Guitar.
- Hugh McCracken - Rhythm Guitar.
- Warren Gardner - Trumpet.
- Nancy Jeffries - Vocals.

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Steppenwolf - The Second (1968)

The Second is the Second Album by the Canadian-American Hard-Acid-Rock Band Steppenwolf.
Steppenwolf's First Album, the Self-titled Steppenwolf, released in the same year as The Second, was already a success, so by the time this one was sent out to the stores in October of 1968, it once again went straight into the hands of thousands of young people, striving for Freedom and Music. In a single year they managed to branch out their style of Growled Hard-Rock into a mesh of Blues, Psychedelic, Jazz and even an Acoustic song, which work very well with them and make it truly a shame that they wouldn't delved more into that territory. None of this Songs aged as well as "Born To Be Wild", even though there are some great Counterculture hymns as "Don't Step On The Grass, Sam", which is without a doubt much better than "Born To Be Wild", both lyrically, as that one as really something which it aims at, and musically, a groove much stronger than the simpler Riff used on the first song. After the Recording of the Album, Rushton Moreve had to be fired from the Band, as he refused to play any concerts on the East Coast, as he was reportedly afraid that there was going to be a Big Earthquake and a quick rise of Sea Water levels. Easy Rider came out the next year, 1969, featuring 2 of their Songs and printing their name on the book of History.
Best Tracks - "Faster Than The Speed Of Life", "Tighten Up Your Wig", "None Of Your Doing", "Spiritual Fantasy", "Don't Step On The Grass, Sam", "28", "Magic Carpet Ride", "Hodge Podge Strained Through A Leslie" and "Reflections". The Second, while it lacks Singles like "Born To Be Wild" or "The Pusher", manages to have far better songs and which work perfectly with one another, no matter how different they are from eachother. It became a Landmark is 60's counterculture Music and is often cited as one of its best examples, with reason.

Steppenwolf:

- John Kay - Lead-Vocals, Guitar, Harmonica.

- Michael Monarch - Lead-Guitar.

- Goldy McJohn - Organ, Piano.

- Rushton Moreve - Bass.

- Jerry Edmonton - Drums, Vocals.

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Jethro Tull - Benefit (1970)

Benefit is the Third Album by the British Progressive, Hard-Folk-Rock Band Jethro Tull.
To anyone familiar with Jethro Tull, their constant Sound renewal is no novelty, and after listening to their Albums you can sort of distinguish the differences from one to another and see how the next changes would come along. In Benefit, long were the days of This Was Blues, or the Folky qualities of Stand Up, all this past experiences are meshed into a single unit, ready to bloom into a Hard-Rocking monster, but not quite yet. Pianist John Evan was brought in and participated in the creation of the Record as a full fledged member, yet not being already considered as part of Jethro Tull, he would keep playing with the Band, already as one of their Musicians all throughout the 70's. On the other hand, Glenn Cornick, the Band's Bassist since its creation would be invited to leave by the Manager shortly after the release of Benefit, supposedly due to a growing distance between him and the others. Their Third effort would fail to impress the critics which constantly bash the Album as being one of the weakest during this period, which is an idea i might subscribe only if we agree that even the worst of their Albums from the Late 60's, Early 70's is incredibly good.
Best Tracks - "With You There To Help Me", "Nothing To Say", "Alive And Well And Living In", "Son", "For Michael Collins, Jeffrey And Me", "To Cry You A Song", "A Time For Everything?", "Inside", "Play In Time" and "Sossity, You're A Woman" (All the Songs. I couldn't bare to leave any of the songs out). Jethro Tull is one of that Bands. They have made some of the best Albums I have heard, ever. Their sound is truly unique, and you won't find anything better than this guys. There ain't much to say except, listen to it, listen to it all.

Jethro Tull:

- Ian Anderson - Vocals, Guitar, Flute, Keyboards.
- Martin Barre - Electric Guitar.
- Glenn Cornick - Bass, Hammond Organ.
- Clive Bunker - Drums.
- John Evan - Piano, Organ.

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Family - Fearless (1971)

Fearless is the Fifth Album by the English Psychedelic/Progressive-Rock Band Family.
Family is a strange Band, mainly because they Toured all the big cities, played all the Big Festivals and Venues billed with some of the most important acts of their generation (Only Woodstock missed their appearance, they were in Hyde Park, both Isle of Wight, the Fillmore East, and playing with Ten Years After, The Nice, Pink Floyd and Soft Machine). They rarely charted in America, but had a constant good charting in the UK (Fearless is one of those rare examples where they managed a good place in the US). The Line-up changes were also characteristic of the Band, which kept on a steady pace all throughout its existence, but was only by one Musician at a time, attenuating the difficulties behind losing and gaining membership. Fearless as been hailed as one of their best efforts by their Fans even thought most critics consider it a "uneven" work, with many ups and downs (a vision which I tend to follow). In 1971 they were on the edge of their success cliff, the next Album would not fare very well and the Last would not fare at all. Their concerts were unattended and when opening for other bands rarely received any ovation at all. They broke up in 1973, with a Reunion concert in 2013 to commemorate the 40th anniversary of their demise.
Best Tracks - "Between Blue And Me", "Sat'd'y Barfly", "Larf And Sing", "Take Your Partners", "Children", "Blind" and "Burning Bridges". The elements of Progressive-Rock are very present and the use of dissonances abundant. Some of the songs are very Genesis-like, with great musical work, while others are very hard for me to hear, very aggressive and all-out unenjoyable. Overall the work is fantastic and very demonstrating of the great work the Progressive Bands were doing in the Early 70's.

Family:

- Roger Chapman - Vocals, Guitar, Percussion.

- Charlie Whitney - Guitar, Mandolin, Percussion.

- John "Poli" Palmer - Keyboards, Vibes, Vocals, Flute, Percussion.

- John Wetton - Guitar, Bass, Vocals, Keyboards.

- Rob Townsend - Drums, Paiste Cymbals, Percussion.

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Jan & Lorraine - Gypsy People (1969)

Gypsy People is the First and Only Album by the American Psychedelic/Folk-Rock Duo Jan & Lorraine.
Jan Hendin and Lorraine Le Fevre formed their Duo in an unknown year, in a Location which is yet to be disclosed, but it would probably be either America (Detroit, Michigan, according to an anonymous Internet user) or England where they recorded their sole effort, Canada is also a possibility as some of the Songs seem to have been co-written by Richard Keelan from the Canadian Band Perth County Conspiracy. The Album was recorded in London's IBC Studios with an all-British Session Musician cast, what the Duo was doing in England we don't know, and why they went to record their Album there to end up only releasing it in America and Canada. Davy Graham also co-wrote one of the Songs and Terry Cox from Pentangle also participated. There ain't no indication on how well did this ABC Records Album fare, but since we don't know anything about them, I'm guessing they did not exactly achieve what they were aiming for. As soon as they appeared, they were gone.

Best Tracks - "Break Out The Wine", "Gypsy People", "Life's Parade", "The Assignment Song - Sequence", "Number 33" and "Don't You Feel Fine?". Behind some good Vocal Harmonies and nice overall musicianship there are a couple weak spots and some songs which are bad. Other Songs are quite good and worth it. A Rare Album that a specific group with an interest on obscure records might take a liking to it, but the majority will find better Psychedelic-Folk Albums out there.

Jan & Lorraine:

- Jan Hendin - Guitar, Piano, Organ, Vocals, Kazoo.

- Lorraine Le Fevre - Guitar, Vocals.

- Brian Odgers - Bass.
- Clem Cattini - Drums.

- Rod Mirfield - Percussion.

- Terry Cox - Percussion.

- Kaesav Sathe - Tabla.

- Nazir Jair Azbhoy - Tambura.

- Taki Hendin - Vocals.

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Viva Chávez!

Kevin Ayers - Whatevershebringswesing (1971)

Whatevershebringswesing is the Third Album by the English Experimental/Psychedelic Musician Kevin Ayers.
With the lack of success of Kevin Ayers backing Band, The Whole World, supposedly because of Ayers lack of taste for Live Performance, he set off to record his Third Solo Album, with the help of most of the Bands and Musicians with which he had worked with since the Wilde Flowers days (Soft Machine, The Whole World and Gong). Mike Oldfield, already done with his familiar Band The Sallyangie, was a very sought-after Studio Musician, and had already been picked up by Ayers for his previous Record. His importance for this Album and the fame it achieved was fulcral, with many of his compositions and arrangements making their way up there. It was Oldfield that supposedly created the Song "Champagne Cowboy Blues", with the help of Studio Engineer, Peter Mew, on Studio 2, Abbey Road, when no one appeared for a Recording Session, including Ayers, who re-wrote the Lyrics and added it to the Record, after and angry fit upon his very late arrival. Whatevershebringswesing features a very eclectic choice of Music Genres and experiences, and is thus the most famous of his Albums, which would continue all through the 70's and 80's. Kevin Ayers died on the 18th of February of 2013.
Best Tracks - "There Is Loving/Among Us/There Is Loving", "Margaret", "Song From The Bottom Of A Well", "Whatevershebringswesing", "Stranger In Blue Suede Shoes", "Champagne Cowboy Blues" and "Lullaby". I originally didn't enjoy much of the Album (while enjoying Daevid Allen and Robert Wyatt) and took a lot of time between listens until i finally started seeing something in it. The only song i do not thing is great is "Oh My" with its carnival-like sound. Ayers Vocals are also not my cup of tea, but the instrumentals compensate.

Kevin Ayers (Whatevershebringswesing Personnel):

- Kevin Ayers - Vocals, Guitar, Bass.

- David Bedford - Keyboards.

- Mike Oldfield - Bass, Guitar.

- Dave Dufort - Drums.

- William Murray - Percussion.

- Tony Carr - Drums.

- Robert Wyatt - Back-Vocals.

- Didier Malherbe - Saxophone, Flute.

- Gerry Fields - Violin.

- Johnny Van Derek - Violin.

- Bruce Malamut - Flugelhorns, Incidental Brass.

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Captain Beefheart & His Magic Band - Strictly Personal (1968)

Strictly Personal is the Second Album by the American Blues/Psychedelic-Rock Band Captain Beefheart And His Magic Band.
After Safe As Milk was generally accepted as one of the most interesting and unique Albums to come out in 1967, getting the attention of Frank Zappa and The Beatles, but the period following this Record was not very productive and happy for the Band itself. Captain Beefheart was having serious conflicts with most of the members of the Magic Band (which includes episodes involving guns) and which would lead  to a couple Line-Up changes (and which would lead to Ry Cooder officially joining the Band for a couple months), the Heavy use of LSD by Beefheart and a wave of paranoia caused by it and finally the dismissal of their follow-up by Buddah Records. The Band (already without Cooder, who didn't like to see Beefheart unable to perform after a Bad Trip) had recorded a Double-Disc as their next effort, and were suddenly turned down by the Label. Producer Bob Krasnow picked them up in their Label, Blue Thumb, and after a re-recording of a vast number of their previously recorded material, and the addition of phasing by Krasnow to the Record, leading to a big dispute between Beefheart and him, refusing to accept what the Producer had done.
Best Tracks - "Ah Feel Like Ahcid", "Safe As Milk", "Son of Mirror Man-Mere Man", "On Tomorrow" and "Kandy Korn". It is not definitively the Album they wanted to record, some of the songs just drag, and few of them could really be considered very good. Overall it is a good Album, as all Beefheart's Records are, but it doesn't leave a mark.

Captain Beefheart & His Magic Band:

- Don Van Vliet - Vocals, Harmonica.

- Alex St. Clair - Guitar.

- Jeff Cotton - Guitar.

- Jerry Handley - Bass.

- John French - Drums.

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Alexander "Skip" Spence - Oar (1969)

Oar is the First and Only Solo Album by the Canadian-American Psychedelic-Rock Musician Alexander "Skip" Spence.
The Story of Skip Spence is one of the major Myths of the Psychedelic Generation. He went through dome of the most famous Bands of its age, starting his career in Quicksilver Messenger Service, moving to Jefferson Airplane, with an invitation by Marty Balin, and playing the Drums on their Debut Album and finally co-founding Moby Grape, back on his former position as a Guitarist, but he is most famous for his LSD-induced paranoid Axe-attack at his Bandmates hotel rooms, smashing the doors and not killing them for sheer luck. After this, he spent a while in Detention Centers and Hospitals in Manhattan were he recorded all the songs that would feature in Oar, before being taken to a Mental Hospital, where he stayed for more than 6 months, being treated for Schizophrenia. As soon as he was released from the there, he headed to Nashville, where he quickly, in a matter of less than a week, he recorded the Album, without the help of any other Musician. Columbia Records released the Album in 1969, but did not make any publicity of it, turning Oar into the worst selling Album in the Label's History. Gradually this would become one of the most famous and well-regarded Albums of the 60's.
Best Tracks - "Little Hands", "Cripple Creek", "Diana", "War In Peace", "All Come To Meet Her", "Lawrence Of Euphoria" and "Grey/Afro". There are two different attitudes and sounds on Oar. He goes on, from Psychedelic to Country-like songs, with his deep Voice, nonetheless filled with emotion. The Psychedelic Songs are definitively the best part of the experience, some of the best there is to listen out there.

Alexander "Skip" Spence (Oar Personnel):

- Alexander "Skip" Spence - Guitar, Bass, Drums, Percussion, Vocals.

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Love - Da Capo (1967)

Da Capo is the Second Album by the American Psychedelic-Rock Album Love.
Love were one of those Bands that were riding the Psychedelic Wave, breaking way towards a Brave New World and creating a whole new sounds with their own bare instruments. The Summer of Love was just around the door and the Psychedelic Genre was being improved with a new fundamental Album every year. The Band was implementing a whole new array of instruments to their arsenal (Saxophone, Flutes, Harpsichord...) and were also on the forefront of the soon to be famous 20 plus minute Songs, which were still particularly rare in Late 1966 and the beginnings of 1967, and The Rolling Stones would later use as their inspiration, after seeing them play in the Los Angeles Club Circuit. Much like the previous effort, they failed to chart high, getting to number 80 in the Billboard Charts, and the next Album, Forever Changes, usually considered one of the Major works of the 60's and of Rock Music in general, went the same way, being slightly better received however. After their two Records in 1967, the Band would cripple under the pressure of not achieving their goals and of some cases of severe Heroin Addictions, living Band Leader, Arthur Lee, as the sole Musician and carrier of the Name.
Best Tracks - "Stephanie Knows Who", "Orange Skies", "Que Vida!", "Seven & Seven Is", "The Castle", "She Comes In Colors" and "Revelation" (all the songs within the Record). It manages to be a strong, ferocious, quick Album while still being soft and amazingly attractive. They mastered the Psychedelic Genre and are without a doubt, one of the most fantastic Bands to come out of the 60's, driven by Lee's Voice and the Great Horns Section.

Love:

- Arthur Lee – Lead-Vocals, Harmonica, Guitar, Drums, Percussion.

- Johnny Echols – Lead-Guitar.

- Bryan MacLean – Rhythm-Guitar, Vocals.

- Ken Forssi – Bass.

- Alban "Snoopy" Pfisterer – Organ, Harpsichord.

- Michael Stuart – Drums, Percussion.

- Tjay Cantrelli – Saxophone, Flute, Percussion.

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The Electric Prunes - Mass In F Minor (1968)

Mass In F Minor is the Third Album by the American Psychedelic-Rock Band The Electric Prunes.
The Electric Prunes could hardly be considered a Band during their Underground Recording Session, and The Electric Prunes that recorded Mass In F Minor manages to get even further away from the Definition of Band. Most of the Band was now gone, and even those Band Members would record only a small portion of the Album, while the rest being assured by several Session Musicians and the whole Canadian Band The Collectors. Their previous "owner", David Hassinger, encouraged them to sell their name and rights to David Axelrod, who got immediately hired by Reprise Records to Produce a new The Electric Prunes Album, as he pleased. Axelrod decided thus to record a Liturgical Mass with all the Psychedelic Musical elements with it, combining Fuzzy-Guitars and Electric Instruments with the Latin Hymns of the Christian Rite. The Band worked not as Musicians but as players of instruments under the complete direction of Axelrod, who arranged and composed all the Songs by himself, and who the credited as the sole compositor in all of them. Mass In F Minor did sell pretty well, but at the same time was badly received by the Critics.
Best Tracks - "Kyrie Eleison", "Credo", "Sanctus", "Benedictus" and "Agnus Dei". This last semester I spent quite a while learning each and every Track in the Christian Rite, and the holidays at which specific ones would be played. We are presented here with a very different (and in some cases more enjoyable) version of the Ordinary, played throughout the year which you can listen to at any church near your home. I actually enjoyed this Album a lot, the songs were very good, once again with the Instrumental Jams taking all the deserved attention. Overall not an excellent but a fairly good 3/5, 4 stars Record.

The Electric Prunes:

- James Lowe - Lead-Vocals.
- Mark Tulin - Bass, Organ.
- Ken Williams - Lead-Guitar.
- Mike Gannon - Rhythm-Guitar.
- Quint - Drums.
- Howie Vickers - Lead-Vocals.
- Bill Henderson - Lead-Guitar, Lead-Vocals, Keyboards.
- Claire Lawrence - Saxophone, Flute, Keyboards, Harmonica, Vocals.
- Glenn Miller - Bass, Vocals.
- Ross Turney - Drums.
- Richie Podolor - Guitar.

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Hawkwind - Hawkwind (1970)

Hawkwind is the Debut Album by the Psychedelic/Space-Rock Band Hawkwind.
Hawkwind just kind of built itself from casualty. Dave Brock and Mick Slattery had met John Harrison and the trio expressed their love for Electronic Music, and as such started a Group to further explore it. Two friends of them who had offered to help transporting the amps and other paraphernalia, Nik Turner and Michael 'Dik Mik' Davies, were eventually included as Band Members and worked and contributed as such. The Band continued without a name or any rehearsed song, fortunately hitting jackpot when in a Talent Show they crashed, John Peel watched their improvised rendering of The Byrds, "Eight Miles High", which lasted over 20 minutes, and a few days later they saw themselves with a contract by Liberty Records on their hands. They finally decided upon a name, using Turner's nickname (a combination of Hawking and flatulence Wind). Continued attempts at capturing the Bands spirit on Studio by The Pretty Things, Dick Taylor, proved unsuccessful, so it was all settled with a Live Studio Recording, more improvised than not. The main objective, both Musical and Lyrical, is to recreate a Psychedelic Trip, and the allusions to it are endless.
Best Tracks - "Hurry On Sundown", "Be Yourself", "Paranoia (Part 1)", "Paranoia (Part 2)", "Seeing It As You Really Are" and "Mirror Of Illusion". I haven't listened to any other Hawkwind Record, and it seems this is their best one, according to many. It is indeed a fantastic Album, which almost on itself began the Space-Rock Genre. I've listened and re-listened to it several times now, and everytime, it sounds as new and fresh as it did on the first experience. An excellent Album.

Hawkwind:

- Dave Brock – Guitar, Keyboards, Vocals.

- Nik Turner – Saxophone, Flute, Vocals.

- Mick Slattery – Guitar.

- Huw Lloyd-Langton – Guitar, Vocals.

- John A. Harrison – Bass, Vocals.

- Michael 'Dik Mik' Davies – Synthesizer.

- Terry Ollis – Drums.

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The Flock - The Flock (1969)

The Flock is the Debut Album by the American Psychedelic/Jazz-Rock Band The Flock.

Once again, we come to the story of a Band who had it all, but was unexplainable shun from the Highlights. Forming in 1965 in the city of Chicago, they went for a much different and original sound, counting a Violin and two Horns as their basic sound (The Band Chicago is often cited alongside them as they were also implementing Horns to a strict Electrical environment). The reason for The Flock's inability to chart and reach the mainstream, was probably due to their intricate compositions which drew immensely from Jazz-Fusion, for they had none other than Jerry Goodman, the Violinist, who would later join John McLaughlin in his Mahavishnu Orchestra. With their Septet finally completed in 1969, and quickly recorded and released their Debut Album for Columbia Records (who apart from Chicago had also been releasing Miles Davis Jazz-Fusion) and were heavily endorsed by John Mayall. They did not manage to capture the attentions of all but a few more dedicate Music listeners, and despite playing a couple of the best Festivals on the circuit, were faced with a even least successful follow-up and a Label who would rather get rid of them than pursue in advertising the Band.
Best Tracks - "Introduction", "Clown", "I Am The Tall Tree", "Tired Of Waiting", "Store Bought Store Thought" and "Truth" (All the Tracks in the Album). Truth be told the Vocals might be the least interesting part of it, but the Instrumental is fantastic. Full of emotion and stamina, the sound of the Violin is really biting and surreal, creating a cohesive and strong wall of pure sound. Extremely advised to give this Album a try, as it is one of those unique Sounds, you won't find elsewhere.

The Flock:

- Jerry Goodman - Violin, Guitars, Vocals.

- Fred Glickstein - Guitars, Lead-Vocals.

- Jerry Smith - Bass, Vocals.

- Ron Karpman - Drums.

- Rick Canoff - Tenor-Saxophone, Vocals.

- Tom Webb - Tenor-Saxophone, Harmonica.

- Frank Posa - Trumpet.

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The Sallyangie - Children Of The Sun (1969)

Children Of The Sun is the First and Only Album by the Irish Folk Duo The Sallyangie.
The Oldfield family has long been known for their Musical capacities, with both Mike and Sally Oldfield hosting successful Solo careers, and their brother Terry, who obviously wasn't part of the group, being a famed music composer for Television and Films. Sally decided to not proceed with her studies, after graduating in English Literature and Philosophy, and was brought to a Studio in 1968 by Mick Jagger (The Rolling Stones) where she recorded a couple of Demos (lost) with her fifteen year-old brother Mike. The Sallyangie was created in that same year, combining Sally's name with Davy Graham's song "Angie" (also known as "Angy"). They played in the Folk Circuit where eventually they came into contact with John Renbourn, in the Troubadour Folk Club, and by his suggestion were recruited by Transatlantic Records and by August, 1968 were already in Studio, with a couple veteran Musicians assigned to help them, preparing their Debut (Terry Cox from Pentangle being one of them). When released in 1969 it proved not to be as successful as previously expected and after a short Tour around the country in support of the Album The Sallyangie project was terminated, still being good enough to open the doors of the Music Industry to both brothers.
Best Tracks - "Strangers", "Children Of The Sun", "A Lover For All Seasons", "Banquet On The Water", "Balloons", "Midsummer Night's Happening", "Chameleon" and "Murder Of The Children of San Francisco". Sally's voice is quite exceptional and with a stunning vibrato, while Mike's voice is quite inferior and more basic and normal, his guitar playing was extremely good for a 16 year-old kid, and one of the highlights of the Record. It is a quite good Album and also quite forgotten, rare and underplayed. Highly Recommended.

The Sallyangie:

- Sally Oldfield - Lead-Vocals.

- Mike Oldfield - Acoustic-Guitar, Vocals.

- Terry Cox - Percussion.

- Ray Warleigh - Flute.

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Five Man Electrical Band - Good-Byes And Butterflies (1970)

Good-Byes And Butterflies is the Second Album by the Canadian Psychedelic-Rock Band Five Man Electrical Band.
The Staccatos history dates way back to 1963. They were lead by Les Emmerson (who had joined in 1964) and released quite a couple of successful Singles in Canada, by 66' they were already in the Top Ten and in the process of recording a split Album with The Guess Who. After that, they seemed to be unable to put forth a commercially successful Song in Canada, let alone the States, and during the recording of the Band's Second Album they were faced with the necessity of changing their name. Five Man Electrical Band was the name of one of Emmerson's Songs and it portrayed exactly what they were (obviously there were 5 of them), and when the Album was released in Early 1969, both the Band name and the Title showed the group's reincarnation, but didn't save them from being discarded by Capitol Records, even though they quickly managed to get signed to MGM Records. The Five Man Electrical Band finally managed to kick it off, selling extremely well (even getting a Gold Record from RIAA, proud DMCA'er of this Blog), partly due to the famous "Signs". This was the high-point of their career, and even though they staunchly maintained their activities until 1975, they never again reached their prime again.
Best Tracks - "Signs", "Dance Of The Swamp Woman", "Butterfly", "Forever Together", "All Is Right With The World Tonight" and "Variations On A Theme Of Lepidoptera". It never really reaches the level that the first Song anticipated. It is a quite nice Album, good to give a couple listens now and again, but it fails to reach the expectations.

Five Man Electrical Band:

- Brian Rading - Bass.
- Mike Bell - Drums, Lead-Vocals.
- Les Emmerson - Lead-Vocals, Lead-Guitar.
- Rick Bell - Percussion, Lead-Vocals.
- Ted Gerow - Piano, Organ.

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Leonard Cohen - The Songs Of Leonard Cohen (1967)

The Songs Of Leonard Cohen is the Debut Album by the Canadian Folk Singer Leonard Cohen.
His writing career wasn't going anywhere. Relocating to New York was the only sensible thing left for Leonard Cohen had to do, and in 1967 he saw himself in one of the epicenters of Cultural Development. He mainly played in Folk Clubs and Festivals and hanged around Andy Warhol's The Factory, where he used to watch Nico play. His friendship with Nico (whom he never managed to seduce) brought him to close contact with Lou Reed, who is now one of his closest friends (Lou inducted Cohen in the Rock & Roll Hall of Fame). During one of his performances in a Folk Festival he was spotted by Columbia Records John H. Hammond, who got him signed to the Label and was decided on keeping his connection with Cohen and Produce his Debut Album. When they were about to start the Recording, in August, 1967, Hammond got sick, and was unable to work, leading to Producer John Simon (Cheap Thrills by the Big Brother And The Holding Company, and Music From Big Pink by The Band, are two examples of his work) coming in as a substitute. Simon's desire to add Strings and Horns Arrangements began a serious clash between him and Cohen, who wanted it to be as simple as it could get. Even though he managed to remove some of the Arrangements made by Simon, some are still there.
Best Tracks - "Suzanne", "Master Song", "Stranger Song", "So Long, Marianne", "Stories of the Street", "Teachers" and "One of Us Cannot Be Wrong". Some of this Songs are without a doubt an example of his prime work. "So Long, Marianne" is simply amazing, "Suzanne" a classic and "Teachers" and extremely good example of how he can put such thrill, emotion and angst into a Song. Fantastic work.

Leonard Cohen (The Songs Of Leonard Cohen Personnel):
Couldn't find any information about the Personnel involved with the Recording, unfortunately. It mostly is Cohen's voice while he plays the Guitar.

Joni Mitchell - Blue (1971)

Blue is the Fourth Album by the Canadian Folk Singer Joni Mitchell.
In 1970, Joni decided to stop performing for a year to dedicate herself to writing and painting. She also ended her long relationship with Graham Nash. Blue shows us a depressed Joni Mitchell, moving away from the Acoustic Folk, in which her first Albums were based on, to a more Jazzistic and Rocker side. The reviews were fantastic, almost all of them were 5 out of 5 stars (or the equivalent), and it managed to get to 20 in the Billboard Chart.
"All I Want" starts very well, the Vocal work is superb. This is a very good song to see how good Mitchell's voice is, the way she raises the tone is really amazing. "My Old Man" is the proof of the influence of Jazz in this Album. Unlike her other albums, the instrument who is backing her is a Piano. "Little Green" is my favourite song. The Lyrics are really interesting and the Refrain is just beautiful. "Carey" is probably the only joyful song on the Album. It also features some really strange Back-Vocals, something I wasn't expecting. "Blue" is too melancholic for me, the song is very good, but it sounds very sad. "California" has a really interesting Steel Guitar use, it stays very well with this song. "This Flight Tonight" in the middle of the song it suddenly transforms into something that sounds like it was recorded on the first recorded ever. Another of the melancholic songs, "River". The song consists mostly of the Piano line, playing tunes simillar to Christmas carols.
One of the great Classics of the 60's Folk-Rock.

Joni Mitchell (Blue Personnel):
- Joni Mitchell - Appalachian dulcimer, Guitar, Piano, Lead-Vocals.
- Stephen Stills - Bass, Guitar.
- James Taylor - Guitar.
- Sneaky Pete Kleinow - Pedal Steel Guitar.
- Russ Kunkel - Drums.

Rhinoceros - Satin Chickens (1969)

Satin Chickens is the Second Album by the American Psychedelic-Rock Band Rhinoceros.
Elektra Records was, at the end of the 60's, one of the most important Psychedelic-Rock Labels out there, counting among their ranks such acts as The Doors, Love and The Stooges. Paul A. Rothchild was one of the Label's most active Talent Scouts and had been instrumental in the creation of Buffalo Springfield, and although he did not participate with such enthusiasm as he once had, he was still the creative spark behind the creation of Rhinoceros, with the collaboration of Producer Frazier Mohawk (also worked with Buffalo Springfield and with other Bands like Kaleidoscope and Paul Butterfield). They auditioned a couple dozen Musicians from different Bands, and finally concluded the Line-Up in Early 1968, which now consisted of members of Iron Butterfly, The Electric Flag and The Mothers Of Invention. Skipping the Debut, which despite being critically acclaimed and having massive advertisement failed to sell, we see ourselves in 1969, Rothchild and Mohawk had abandoned the (sinking) ship, and a big part of the original group had changed, but nonetheless, the Band kept on, releasing Satin Chickens on that year. It failed as would their next and final effort, Better Times Are Coming, released in 1970, just a year prior to their Break-Up.
Best Tracks - "Satin Doll", "Monkee Man", "Find My Hand", "Don't Come Crying". "Chicken", "It's The Same Thing" and "Back Door". The Band has got the Bluesy feeling of Free, while not having such a good Vocalist or Guitarist and being far more into Funk. Quite an interesting Album of very good quality music, really good, far above the average Psychedelic Album. They could have tried to do a lot of stronger, quicker instead of the 1 minute tracks, but it is very good as it is.

Rhinoceros:

- John FIinley – Vocals.
- Alan Gerber – Vocals, Piano.
- Danny Weis – Guitar, Piano.
- Doug Hastings – Guitar.
- Michael Fonfara – Organ, Piano.
- Peter Hodgson – Bass.
- Billy Mundi – Drums, Percussion.

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Simon And Garfunkel - Bookends (1968)

Bookends is the Fourth Album by the American Folk Duo Simon And Garfunkel.
While Mike Nichols was recording his 1967 Film "The Graduate", he became more and more influenced by the Music of Simon & Garfunkel, eventually asking them to compose three songs to be featured in the Film. The endless touring lead to no more than one song being recorded and prepared for the Film ("Mrs Robinson", the version in the Film was still incomplete, other Songs were used), but it was an instant success nonetheless. With the recognition of their Song, they quickly released Bookends, which had already been recorded during the years of 1966-67, and topped both American and British Charts and receiving the best grades in almost every Review. Unlike the previous records, Bookends show a clear swerve towards the growing Progressive trend, dedicating much more effort and time into the recording and Studio work of each individual song ("Punky's Dilemma" supposedly took more than 50 hours of Studio-Work alone). In 1969, the Single "Mrs Robinson", won the Record of the Year, Grammy Award, further establishing as one of the most successful Songs of the Decade.

Best Tracks - "Bookends Theme", "Save The Life Of My Child", "America", "Overs", "Old Friends", "Bookends Theme", "Fakin' It", "Punky's Dilemma", "Mrs Robinson", "A Hazy Shade Of Winter" and "At The Zoo". Some of the songs do break the boundaries of how we see Simon & Garfunkel, with sounds and arrangements you would expect to hear from a Psychedelic Band (especially "Save The Life Of My Child). There ain't a bad Simon & Garfunkel Album out there, so dig in a and enjoy.

Simon And Garfunkel:

- Paul Simon - Vocals, Guitar.

- Art Garfunkel - Vocals.

- Hal Blaine - Drums, Percussion.

- Joe Osborn - Bass.

- Larry Knechtel - Piano, Keyboards.

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Led Zeppelin - Led Zeppelin II (1969)

Led Zeppelin II is the Second Album by the English Hard-Rock Band Led Zeppelin.
After the exceptional success of their Debut Album, they spent the remainder of 1969 touring both America and Europe, while at the same time, recording their next Album with the tunes they would pick up from Jimmy Page's on-stage improvisations and the Lyrics written by both Page and Robert Plant. Despite the huge popularity and attention they were receiving, almost no Singles were released and rarely did they accept playing in TV Shows, as they thought that it killed the energy they had while playing Live, playing no more than a couple TV Gigs, and even the few singles released were prepared without their consent. All the Songs were recorded in the very few moments they had free, in several different studios, throughout the world, with the final mix being prepared in A&R Studios. The two first Albums are not very different from one another, with the exception of the heavier beat of the second effort, which gained it the title of being the Birth-Album of Heavy Metal (an idea only supported by a couple people). It certainly achieved a much better position than its proceeder, getting to the Top of both American and English Charts, and it certainly is a much different effort from their next Record, Led Zeppelin III.

Best Tracks - "Whole Lotta Love", "What Is And What Should Never", "The Lemon Song", "Thank You", "Heartbreaker", "Living Loving Maid (She's Just A Woman)", "Ramble On", "Moby Dick" and "Bring It On Home" (All the Songs on the Album). The first 4 Led Zeppelin Albums are classic Rock Landmarks, no other Band was doing anything thing like this. No element is weak, no song is worse than another, it never stops and as the Band wanted, it works perfectly as a single entity. Fantastic Album.

Led Zeppelin:

- John Bonham – Drums, Timpani, Back-Vocals.

- John Paul Jones – Bass, Organ, Back-Vocals.

- Jimmy Page – Electric and Acoustic-Guitar, Back-Vocals, Theremin.

- Robert Plant – Lead-Vocals, Harmonica.

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The Byrds - Mr. Tambourine Man (1965)

Mr. Tambourine Man is the Debut Album by the American Pop/Folk-Rock Band The Byrds.

The Byrds formation was very slow and spawns a period of over a year, where they grew one member at a time, starting with the core Duo Jim McGuinn (Later he would change his name to Roger, for which he is best known) and Gene Clark, and later adding David Crosby, Chris Hillman and Michael Clarke. All of them had a previous experience with Folk, Bluegrass and Pop-Rock Music, and were starting to create their own personal sound, experimenting with their instruments to create an unique identity. Their connection with Jim Dickson, who had permission to use the World Pacific Studios, led to them having a Recording Studio whenever they wanted to rehearse as well as having all the new acetates they wanted at will (They heard Mr. Tambourine Man prior to its release). Originally called The Jet Set, with the complete Line-Up they changed their name to The Byrds in November, 1964, as well as getting signed up to Columbia Records. The lack of confidence the Columbia Producer had on them led to "Mr. Tambourine Man", (Song), being recorded mostly by Session Musicians, while the rest of the Album was completely recorded by The Byrds themselves, after proving they could play, and do it extremely effectively.

Best Tracks - "Mr Tambourine Man", "I'll Feel A Whole Lot Better", "Here Without You", "The Bells Of Rhymney", "I Knew I'd Want You", "It's No Use" and "Chimes Of Freedom". They were not yet dwelling in the more Psychedelic Sounds they would be using in the next 2, 3 years, and to fans of that era (Younger Than Yesterday...) it might not sound as full and the tracks less completed and worked upon. I liked it mostly for the interest in listening to the Roots of such an important Band in Rock History.

The Byrds:

- Jim (Roger) McGuinn - Lead-Guitar, Vocals.

- Gene Clark - Rhythm-Guitar, Tambourine, Vocals.

- David Crosby - Rhythm-Guitar, Vocals.

- Chris Hillman - Bass.

- Michael Clarke - Drums.

- Jerry Cole - Rhythm-Guitar.

- Larry Knechtel - Bass.

- Leon Russell - Electric Piano.

- Hal Blaine - Drums.

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