Dando Shaft - Dando Shaft (1971)

Dando Shaft is the Second Album by the British Psychedelic/Progressive Folk Band Dando Shaft.

For their Second Album, they were moved to another Label RCA (Neon, a subsidiary Label of RCA, to be precise, as they would only get to the Major Label with the next effort). This wasn't the only change, mind-you. Polly Barton, a very good Singer joined the Band in the time between the Debut and the Second Album, bringing Dando Shaft and Pentangle even further together. The strong Folky roots of the Debut gave birth to a more Jazzy, Progressive Sound, much richer than the one before, and also the use of Bulgarian tempos was responsible for a much more exotic Sonority. Even though they were quite well-regarded by the critics, they never managed to call the attention of the normal Music buyer, leading to quite poor sales, which surely does not correspond to the quality of the Album. Dando Shaft went on to record another Album before disbanding. I was called to the attention a few days ago that Multi-Instrumentalist Martin Jenkins passed away, early this year, Jenkins was the Vocalist, Guitarist and the player of Flute, Fiddle and Saxophone. Some Sad news.

Best Tracks - "Coming Home To Me", "Sometimes", "Waves Upon The Ether", "Railway", "Whispering Ned" and "Kayope Driver". I must say I enjoyed this one quite a lot more than the previous. It is a far more interesting mesh of different Genres and does sound a lot more free.

Dando Shaft:

- Kevin Dempsey – Guitar, Vocals.

- Martin Jenkins – Vocals, Flute, Mandolin, Fiddle, Guitar.

- Ted Kay – Tabla, Percussion.

- Roger Bullen – Bass.

- Dave Cooper – Guitar, Vocals.

- Polly Barton – Vocals.

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Colosseum - Valentyne Suite (1969)

Valentyne Suite is the Second Album by the British Jazz-Rock Band Colosseum.

Formed in September in 1968, Colosseum was almost a mesh of Musicians from two diverse famous Bands in the Jazz and Blues tradition. There were Members of the John Mayall And The Bluesbreakers and the Graham Bond Organization there, all of them, therefore, experienced Musicians. Upon their Live Debut they were recorded and featured on the Radio Show, Top Gear, of the great DJ John Peel, which gave them a lot of exposure, as John Peel's Show was highly regarded by everyone, back then and still today. They used numerous compositions by Graham Bond, using some in their Debut Album, released in 1969. Before the release of this Album in November of the same year, Colosseum played the recorded Jam Session called Supershow, which featured Led Zeppelin, Stephen Stills, Jack Bruce and Eric Clapton. Trading their previous Label Fontana for the new Vertigo Records, the subsidiary of Phillips which released more Underground Acts (Black Sabbath were one of the First Bands in the Label), Colosseum released their Second Album, Valentyne Suite which is seen by many Fans as their Masterpiece. Valentyne Suite is mostly Jazz-Rock experimentalism.

Best Tracks - "The Kettle", "Elegy". "Butty's Blues", "The Valentyne Suite Theme One - January's Search", "The Valentyne Suite Theme Two - February's Valentyne" and "The Valentyne Suite Theme Three - The Grass Is Always Greener". This is not my favorite Band and i did not find this Album amazing. It is a nice and good listen, but no more than that.

Colosseum:

- Dave Greenslade - Hammond Organ, Vibraphone, Piano, Back-Vocals.

- Dick Heckstall-Smith - Saxophone, Flute.

- Jon Hiseman - Drums.

- James Litherland - Guitar, Lead-Vocals.

- Tony Reeves - Bass.

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Gil Scott-Heron - Small Talk At 125th And Lenox Ave (1970)

Small Talk At 125th And Lenox Ave is the Debut Album by the American Jazz Poet Gil Scott-Heron.

Since his early childhood Scott-Heron was praised by everyone for his amazing writing abilities, even earning himself a place in a very restrict school where only rich kids and exceptional students had a place (the fact that there were 5 Black kids in the school, Scott-Heron included probably explains it all). When he went to college (Lincoln University in Pennsylvania, the same attended by Communist writer Langston Hughes, his biggest influence) he started to form Bands, with such names as Black & Blues, showing already his distinct Black-Pride. Just two years after entering college he took a year off so that he could devote his attentions to writing two novels (The Vulture and The Nigger Factory), the first one released in 1970, same year as this Album, got fantastic reviews and helped this Album get good reviews by contact (he had also release a volume of his poetry). The Album was recorded Live in a Bar located between 125th Street and Lenox Avenue, Scott-Heron providing the Vocals and three Percussion Musicians the Music. The Poems are mostly about numerous parts of the Black Struggle and White Middle-Class Trash. He was heavily influenced by the likes of Richie Havens, Otis Redding and Malcolm X.

Best Tracks - "The Revolution Will Not Be Televised", "Omen", "Brother", "Comment 1#", "The Subject Was Faggots", "Evolution (And Flashback)", "The Vulture", "Enough", "Who'll Pay Reparations On My Soul" and "Everyday". Gil Scott-Heron is a fantastic Poet (and from what I've heard he is also a great Novelist) and as this is the Sole Album I have heard from him, until now, I can't say anything about his whole Discography. If they are like this one then i can say that they are all excellent.

Gil Scott-Heron (Small Talk At 125th And Lenox Ave):

- David Barnes – Percussion, Vocals.

- Charlie Saunders - Congas.

- Eddie Knowles – Congas.

- Gil Scott-Heron – Guitar, Piano, Vocals.

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Pearls Before Swine - The Use Of Ashes (1970)

The Use Of Ashes is the Fourth Album by the American Psychedelic-Folk Band Pearls Before Swine.

After the release of the previous Album (These Things Too) all the original Musicians had left with the exception of its leader Tom Rapp. Abandoned by his fellow Musicians, Rapp moved to the home-country of his wife Elisabeth, the Netherlands. It was during this months in a house near Utrecht that Rapp wrote most of the Lyrics to the Songs used here, and generally considered to be some of the best Lyrics of the whole PSB Discography. When Rapp left the Netherlands he quickly assembled a group of the Best session Musicians available in Nashville and recorded the Songs, which basically is a Tom Rapp Solo Album, as he had the last word in everything. Most of this Musicians were Members of the Country Rock Band Area Code 615 (Released two Albums before disbanding). As all the other Albums in PSB discography the Cover-Art also features a piece of Classical Art from the Renaissance, in this case a piece of a Flemish Tapestry from the 15th Century called "The Hunt of the Unicorn: VI, The unicorn is brought to the castle", featuring three knights bringing down a unicorn with their spears.

Best Tracks - "The Jeweler", "From The Movie Of The Same Name", "Rocket Man", "Margery", "Riegal" and "When The War Began". Even though it is considered by many as the best Album by Rapp, I still think that both Balaklava and One Nation Underground are better, more interesting Albums overall. The Use Of Ashes has some amazing Songs and is definitively a great Album.

Pearls Before Swine:

- Tom Rapp - Vocals, Guitar.

- Elisabeth - Vocals.

- Charlie McCoy - Dobro, Guitar, Bass, Harmonica.

- Norbert Putnam - Bass.

- Kenneth Buttrey - Drums.

- Buddy Spicher - Violin, Cello, Viola.

- Mac Gayden - Guitar.

- David Briggs - Piano, Harpsichord.

- John Duke - Oboe, Flute.

- Hutch Davie - Keyboard.

- Bill Pippin - Oboe, Flute.

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Free - Fire And Water (1970)

Fire And Water is the Third Album by the English Hard-Blues Rock Band Free.

After the difficulties over the making of the previous Album (The Self-Titled Free, released in 1969, which you can check out in the Blog) Fire And Water came out much smoother, with a much more cohesive Band, and a new sound. Fire & Water was a huge success, climbing its way to Number 1 on the Billboard Chats in the UK (Number 17 in America), a huge difference, since their previous two Albums had failed to Chart at all. "All Right Now" became their theme Song after the huge performance in the Isle Of Wight Festival, 1970 in front of over 600,000 spectators. At the time of the release the Members of the Band were aged from 18 to 20. In Later years the Band would re-open the wounds healed by Island Records owner Alexis Korner, splitting-up and re-uniting in 1972 only leading to Andy Fraser's departure in 1972 in a clash with Guitarist Paul Kossoff and his growing Drug-Addiction (He would often now show up to concerts and even when he appeared, sometimes he hadn't the capacity to play) and differences with Vocalist Paul Rodgers. Eventually, Free broke-up for good in 1973, each Member going on a new direction. (Kossoff died in 1976, due to complications over his Drug Addiction).

Best Tracks - "Fire And Water", "Oh I Wept", "Remember", "Heavy Load", "Mr. Big" and "All Right Now". An amazing Album and just superb Vocals. Free were truly one of the Best Bands of it's Time. All of them were amazing Musicians and it is a shame there were so many problems that led to their extinction.

Free:

- Paul Rodgers - Vocals.

- Paul Kossoff - Guitars.

- Andy Fraser - Bass.

- Simon Kirke - Drums.

Ford Theatre - Trilogy For The Masses (1968)

Trilogy For The Masses is the Debut Album by the American Progressive/Psychedelic Rock Band Ford Theatre.

Ford's Theater was the place where Abraham Lincoln was murdered. They chose this name to present themselves as a voice of the present (at least the present 40 years ago, where the Vietnam War was at the highest pick and Kennedy had just been assassinated). A Present filled with assassinations and violence. This was the main idea expressed on the liner notes of the Album, and idea amplified by the fact that all the lyrics are in the second Person, talking directly to You (or Us). Ford Theatre was formed from the ashes of a Boston-based Band (Joyful Noise) and a Composer called Harry Palmer, when the latter saw them play on a College, and decided they were the ones who could bring his Ideas to life, slowly he became a Member of the Band and the Name was changed accordingly. By the Summer of 67 the Band was already playing under this moniker and in the Setlist was already Trilogy For The Masses, which caused a big sensation on a DJ from Boston called Dick Summers and who got them the deal with ABC Records. Trilogy was recorded in two takes with the Band playing the Setlist continuously as if they were playing a Live Concert.

Best Tracks - "Theme For The Masses", "101 Harrison Street (Who You Belong To)", "Excerpt (From The Theme)", "From A Back Door Window", "Theme For The Masses" and "Postlude Looking Back". This has to be probably one of the Best Albums i have ever heard, it has an aura in it, there is something that grips me to this Record and doesn't let me go. It is far better Psychedelia than some of the things that were being made back-then. I haven't listened to it enough times to list it as one of my Top Ten's but in time he may find a way to get there. It has amazing melodies driven by a very strong Keyboard and some very relaxing Vocals. The Cover-Art is also amazing! A Drawn eye with a real eye in the middle, very somber.

Ford Theatre:

- Harry Palmer - Guitar.
- Robert "Bobby" Tamagni - Drums, Vocals.
- Arthur "Butch" Webster - Guitar.
- James "Jimmy" Altieri - Bass.
- Joey Scott - Vocals.
- John "Mazz" Mazzarelli - Organ, Vocals.
- Bernard Eichen - Strings.
- Charles McCracken - Strings.
- George Ricci - Strings.
- Aaron Rosand - Strings.

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Richie Havens - Alarm Clock (1971)

Alarm Clock is the Seventh Album by the American Folk Musician Richie Havens.

After the big success of his performance in the Woodstock Festival, where he, as you all know, opened the festivities and performed for a huge crowd for about 3 hours, as the other Musicians scheduled were being flown to the precinct by Helicopter. You have all heard "Motherless Child" so you can get why he got so famous after that. Following this, he created his own Label, Stormy Forest, in which he released 6 Albums, starting with Stonehenge and ending in Mixed Bad II, in the latter he was already a subsidiary to Polydor (It looks like Stormy Forest is again on activity and is re-printing Richie's Albums from this Period). Alarm Clock consists mostly of Havens Compositions except for the opening track, a fantastic rendition of George Harrison's "Here Comes The Sun", and the rest of the Songs feature exactly what we are all expecting, fantastic songs with Havens strong Vocals and quick guitar strumming. Alarm Clock was also the first Album that reached the Top 30 stop on the Billboard Charts, showing the evolution of popularity he was feeling at the time.

Best Tracks - "Here Comes The Sun", "To Give All Your Love Away", "Younger Men Grow Older", "Girls Don't Run Away", "Missing Train" and "Alarm Clock". It is not definitively Mixed Bag, but it is a quite good Album by a fantastic Artist. There are some really worthwhile songs on here and should be listened to.

Richie Havens (Alarm Clock Personnel):

(currently trying to find the Personnel, if anyone has it, please contact me via my e-mail on the side)

Milton Nascimento E Lô Borges - Clube Da Esquina (1972)

Clube Da Esquina is the Debut Album by the Brazilian Collective of Musicians Clube Da Esquina (Credited to Milton Nascimento E Lô Borges).

Milton Nascimento moved to the capital of Minas Gerais (Belo Horizonte) in 1963, and it was there that he met Lô and Márcio Borges, as they both lived on the same building. One day, after watching Jules Et Jim by Truffaut numerous times, non-stop, they started composing songs together, dividing by the two of them the roles of composer and lyricist (Milton composed the Songs and Márcio wrote them). Milton started recording Solo Albums in 1967 (with his Debut, Travessia, already posted on this Blog), but many of them were with the help of Márcio and Lô who had become good friends and important collaborators. It wasn't until 1972 however that they (Clube Da Esquina) released their Debut, composed of 21 Songs and 2 LP's. At the time of its release however it was treated by the Critics as a disgusting and uninteresting Album, but after it gained International recognition, they changed their opinion, god knows why... Clube Da Esquina is now seen as one of the Top-10 Albums to come out of Brasil (That's what the country is called, with an S, Americans imagine it with a Z if you want).

Best Tracks - "Tudo Que Você Podia Ser", "O Trem Azul", "Saídas E Bandeiras Nº 1", "Cravo E Canela", "Dos Cruces", "Um Girassol Da Cor Do Seu Cabelo", "Clube Da Esquina Nº 2", "Os Povos", "Saídas E Bandeiras Nº 2", "Lilia", "Trem De Doido" and "Ao Que Vai Nascer". Something attracts me to Milton's Voice, and that added to the high-quallity Musicians and Lyrics are really something. Rolling Stone graded it as the seventh greatest Brazilian Album Ever. The Cover depicts two boys, (one black and the other white) symbol of the unity between Milton and Lô.

Clube Da Esquina:

- Lô Borges - Vocals, Guitar, Viola, Percussion, Back-Vocals.

- Milton Nascimento - Vocals, Guitar, Viola, Piano.

- Tavito - Vocals, Guitar, 12-String Guitar, Viola.

- Beto Guedes - Vocals, Viola, Back-Vocals.

- Alaide Costa - Vocals.

- Nelson Angelo - Guitar, Piano, Surdo, Percussion.

- Toninho Horta - Guitar, Percussion, Back-Vocals.

- Wagner Tiso - Piano, Electric Piano, Organ.

- Robertinho Silva - Drums, Percussion.

- Luís Alves - Caxixi.

- Paulinho Braga - Percussion.

- Luiz Gonzaga - Back-Vocals.

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Soft Machine - Third (1970)

Third is the Third Album by the English Canterbury Scene Progressive Rock Band Soft Machine.

Shortly after the Release of Volume Two, their previous Album, 4 Horn Musicians were added to the Band, even though after a couple of months only 1/4 of those Musicians remained in the Band (Elton Dean and his Saxophone). The Albums consists basically of one composition divided in 4 and in 2 different LP's, much in the style of Miles Davis Bitches Brew, marking their evolution from Psychedelic Rock to full-blown Jazz Fusion. Third was in print for over 10 years, a rarity in those days when most Bands were given a single print, and very few copies. The songs were worked with different effects, using old Live recordings and riffs, slowing down and speeding up the tracks, using collages of different songs and creating a old and raunchy sound, due to the use of home recordings and the collages. There are still some Vocals on the Album, even though for the most part the songs are already Instrumental. Their next Album (called Forth) would be their First full Instrumental LP and also the last featuring Robert Wyatt, who would go on to form Matching Mole.

Best Tracks - "Facelift", "Slightly All The Time", "Moon In June" and "Out-Bloody-Rageous" (All the 4 songs are awesome, getting them all to the Best Track status). This is a great Album, especially if you are into Jazz. However it is not as good as Volume Two, at least in my perspective. Third is considered to be the Soft Machine's Masterpiece obviously by the above statement you can see I don't see it that way. The Psychedelic sounds of their previous are far more interesting.

Soft Machine:

- Mike Ratledge – Hohner Pianet, Lowrey organ, Piano.

- Hugh Hopper – Bass.

- Robert Wyatt – drums, vocals, Hammond Organ, Hohner Pianet, Piano, Bass.

- Elton Dean – Alto Saxophone, Saxello.

- Lyn Dobson – Soprano Saxophone, Flute.

- Jimmy Hastings – Flute, Bass Clarinet.

- Rab Spall – Violin.

- Nick Evans – Trombone.

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Montreal - A Summer's Night (1970)

A Summer's Night is the First and Only Album by the Canadian Psychedelic-Folk/Jazz Band Montreal.

A Summer's Night was recorded shortly before a series of events in Quebec known as the October Crisis, led by a terrorist Marxist-Leninist independence group called Front de libération du Québec. This movement deeply influenced Quebec Musicians who dropped the English language and started singing on their native language, French (only one of the Songs on A Summer's Night features French lyrics). Canadian Musicians Fran Losier, Gilles Losier and Jean Cousineau went to New York where 4 other American Musicians joined them to record the Album, including Richie Havens who plays the Sitar, and is also the Producer. Needless to say, the Album failed to Chart, and i couldn't track the whereabouts of the Musicians after this effort. A Summer's Night isn't obviously a record with the capacity to get to the charts, as it is calm, reflective Music, with many Jazz arrangements and an incredible rendition of "Summertime". Fran Lousier's Voice is probably what i would consider to be the highlight of the whole endeavor.

Best Tracks - "What About The Wind?", "A Summer's Night", "Every Passing Moment", "Summertime" and "Infinity". The Album is very good, no weak points. Soft Psychedelia, Jazz and Folk combined to create a product fit to listen to any fan of the 60's. It grows more and more interesting and enjoyable with each listen.

Montreal:

- Jeremy Stieg - Flute.

- Buzzy Linhart - Vibes.

- Skeeter Camera - Drums.

- Richie Havens - Sitar.

- Fran Losier - Vocals.

- Gilles Losier - Piano, Bass.

- Jean Cousineau - Guitar.

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Tyrannosaurus Rex - Prophets, Seers & Sages: The Angels Of The Ages (1968)

Prophets, Seers & Sages: The Angels Of The Ages is the Second Album by the English Psychedelic-Folk Duo Tyrannosaurus Rex.

Mark Bolan was obviously influenced by the Lord Of The Rings, as his fellow Musician in Tyrannosaurus Rex was named Steve Peregrin Took, which most of you know, is one of the names of the 4 hobbits. For this one any mention of the 20th century was completely erased, dedicating all the songs to Greek and Persian mythology, and once again basing his compositions on LOTR. Overall though the Album is quite similar to their Debut, My People Were Fair And Had Sky In Their Hair... But Now They're Content To Wear Stars On Their Brows and the time between both releases was of just a few months, from July to September, but the follow-up sounds as if they had lost some of their energy, it is all there mind you, but it lacks the Freakish sounds of the Debut. In 1969 Took started getting involved with the more Anarchic, Drug-Taking, Wild faction of the 60's Musicians, influenced by the Pink Fairies and Mick Farren, leading to the first divergence with Bolan, eventually leading to their break-up.

Best Tracks - "Deboraarobed", "Stacey Grove", "Wind Quartets", "Aznageel The Mage", "Salamanda Palaganda", "Eastern Spell" and "Scenescof Dynasty". As I previously said, this one lacks some of the energy and the overall weird arrangements of the Debut, but it is a pretty good Album and should be listened to nonetheless.

Tyrannosaurus Rex:

- Marc Bolan - Vocals, Guitar.

- Steve Peregrine Took - Bongos, African Drums, Kazoo, Pixiephone, Chinese Gong.

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Steeleye Span - Below The Salt (1972)

Below The Salt is the Fourth Album by the English Folk-Rock Band Steeleye Span.

Below The Salt was the First Album by the new Line-up of Steeleye Span, Ashley Hutchings and Martin Carthy had left, disapproving of the new direction the Band was going to, and going on to pursue more purist Folk Sounds. Below The Salt is often regarded as one of the best Albums by the Band and also the one closer to the Medieval Music (Some of the tracks are reinterpretations of old Renaissance songs). Even the name of the Album is a reference to a practice which happened in the Middle Ages, when the Lords set some Salt on the dining table (Salt as almost every substance of its genre was extremely rare and costly) to separate themselves from their subjects, who sat "below the salt". Their Fourth Album also features their first Hit song "Gaudette", an old christmas song, without any instruments. This did not help the Album that much as they still only reached number 43 on the English Charts. I do not see it as being their best Album, as their previous 3 were better, especially Please To See The King. They were Signed to Chrysalis now, the same Label in which Jethro Tull were, expanding even further the friendship between the Bands.

Best Tracks - "Spotted Cow", "Rosebud In June", "Sheep-Crook And Black Dog", "Royal Forester", "King Henry", "Gaudete", "John Barleycorn" and "Saucy Sailor". Steeleye Span were and are a fantastic Band and after what I've heard until now (5 Albums) they haven't let me down. Maddy Prior especially is amazing on this one, her voice is superb and gets her to the same level of other Folk-Singers as the likes of Sandy Denny. Highly recommended!

Steeleye Span:

- Maddy Prior - Vocals.

- Tim Hart - Vocals, Appalachian Dulcimer, Guitar.

- Peter Knight - Violin, Viola, Mandolin, Banjo, Piano, Vocals.

- Rick Kemp - Bass, Drum, Vocals.

- Bob Johnson - Guitar, Vocals.

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Ralph McTell - Spiral Staircase (1969)

Spiral Staircase is the Second Album by the English Folk Singer/Guitarist Ralph McTell.

McTell was heavily influenced by foreign Art movements. African Music and the American Beatniks led him to pick up an Ukelele, later getting a Guitar (The Guitar was only introduced to England on the 50's). Ralph led a life outside of the law, traveling all over the world (Yugoslavia, France, Belgium and Germany) and living in a Caravan in Cornwall. During this period, McTell started playing the Folk Clubs, getting in contact with such personalities as Jacqui McShee and Martin Carthy. The Rhythm of his travels continued, this time through Italy and Greece, when he stopped in Paris, a city he would go to often, he studied Guitar with the famous Reverend Gary Davis. It was in 1966 that he took up the name of McTell, the same time when he started being requested to play in a number of Clubs. From then on his career was set, in 1967 he landed a deal with Transatlantic Records and released his Debut the following year. John Peel and the BBC were pretty enthusiastic with his work and played it on the Radio numerous times giving him a lot of airplay. His Second Album features what is now considered to be his signature song.

Best Tracks - "Streets of London", "Mrs. Adlam's Angels", "Wino And The Mouse", "Last Train And Ride", "Spiral Staircase", "Daddy's Here" and "Rizraklaru (Anag)". I was recommended a book called "Electric Eden" which I currently reading and they mention Ralph over there, as many other artists from the 60's Folk Revival, which led me to a sudden interest in Folk music. This is a very good Album, not one of the best though, it is a landmark Album and an important landmark in Folk history. Thank you again, person who recommended the book! I am enjoying it a whole lot.

Ralph McTell (Spiral Staircase Personnel):

- Ralph McTell - Guitar, Vocals.

- Brian "Brock" Brocklehurst - Double Bass.

- Mick "Henry VIII" Bartlett - Jug.

- "Whispering Mick" Bennett - Washboard.

- Peter Berryman - Guitar.

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Donovan - Mellow Yellow (1967)

Mellow Yellow is the Fourth Album by the Scottish Singer and Guitarist Donovan.

As Sunshine Superman, Mellow Yellow wasn't released in the UK due to Legal problems. This prompted the release of this two Albums together in June 1967, Mellow Yellow blending in with Sunshine Superman under the latter's name. But Mellow Yellow was quite different from the previous record. Mellow Yellow is a transition Album, some of the Songs keep up with the earlier work, some of them being left-overs, but others give the Album a somber sound, showing Donovan's new writing style. An early John Paul Jones features on the Album as an arranger, supposedly against Donovan's will, even though Mickie Most, Donovan's Producer liked his arrangements a lot. Donovan makes a reference to Bert Jansch, undoubtedly one of the most important figures on the Folk Revival of 1965 (if maybe not the most). The Song "House of Jansch". Mellow Yellow was Donovan's Second Electric Album, showing the evolution of Folk Music as just two years earlier Dylan made his famous Electric Debut on the Newport Folk Festival.

Best Tracks - "Mellow Yellow", "Writer In The Sun", "Sand And Foam", "House Of Jansch", "Young Girl Blues", "Museum", "Hampstead Incident" and "Sunny South Kensington". I do think that Sunshine Superman is quite superior, both the Lyrics and the Songs. That does not mean it is not a fantastic Album because it is, listening is mandatory.

Donovan (Mellow Yellow Personnel):

- Donovan - Vocals, Acoustic Guitar.

- Joe Moretti - Rhythm Guitar

- John McLaughlin - Rhythm Guitar

- John Cameron - Piano, Harpsichord, Organ, Celesta.

- Big Jim Sullivan - Electric Guitar.

- Jimmy Page - Electric Guitar.

- Eric Ford - Electric Guitar.

- Danny Thompson - Bass.

- Spike Heatley - Bass.

- John Paul Jones - Bass.

- Phil Seamon - Drums.

- Bobby Orr - Drums.

- Tony Carr - Percussion, Drums.

- Danny Moss - Saxophone.

- Ronnie Ross - Saxophone

- Harold McNair - Flute.

- Shawn Phillips - Sitar.

- Pat Halling - Violin.

In Comments.

Soft Machine - Volume Two (1969)

Volume Two is the Second Album by the English Canterbury Scene Progressive Rock Band Soft Machine.

The Jimi Hendrix Experience were managed by the same managers of Soft Machine, getting them to open to Hendrix's Tour in 1968. It was during this period that Wyatt, Ayers and Ratledge were exposed to large audiences (Daevid Allen went to France when he was denied entry on UK and formed Gong) but in the last concert, Ayers went in another direction (He released some excellent Solo Albums) and thus the Band was no more. Fortunately they had an obligation to the Label to record more Albums, leading Wyatt and Ratledge to re-form again, inviting their Road-Manager and Bassist Hugh Hopper to form a Trio, and getting their hands to work. They were extremely influenced by The Mothers Of Invention 1967 Album Absolutely Free, making them opt for 2 long songs and 2 quick ones instead one 14 separate ones. Even though it was not on purpose, their Sound was starting to evolve into the Jazz Fusion sonority, which they later developed in following Albums. This Line-up was the Backing-Band to Syd Barret's The Madcap Laughs, even though they were uncredited.

Best Tracks - "Pataphysical Introduction - Pt I", "Hibou, Anemone And Bear", "Dada Was Here", "Out Of Tunes", "As Long As He Lies Perfectly Still", "Dedicated To You But You Weren't Listening", "Pig", "A Door Opens And Closes" and "10.30 Returns To The Bedroom" (Since there are only 2 big Songs and two smaller I wrote the best divided Parts of the Songs). This Album revived my interest on the Canterbury Scene and Wyatt (Robert Wyatt is one of my favorite Musicians), it has great Sounds and very Psychedelic-Progrevisse taints. The Cover is also quite weird a sort of collage of a woman's body, all weird, and quite resembling a childhood draw. I can't seem to understand the idea behind it, but it is very appealing.

Soft Machine:

- Robert Wyatt – Drums, Vocals.

- Hugh Hopper – Bass, Acoustic Guitar, Alto Saxophone.

- Brian Hopper – Soprano And Tenor Saxophone.

- Mike Ratledge –Piano, Lowrey Holiday De Luxe Organ, Hammond Organ, Harpsichord, Flute.

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Ravi Shankar - At The Woodstock Festival (1969)

At The Woodstock Festival is a Live Album by the Indian Sitar player Ravi Shankar.

By 1966, after he started hanging out with the likes of George Harrison, Ravi was a very well regarded musician to the whole Hippie crew. Raga Rock was at its peak and he was a mentor to anyone who liked the genre and was seen as the most famous Indian Musician in the whole World. He was sometimes seen around Haight-Astbury in San Francisco. He participated on the Monterey Pop Festival in 1967 where he literally blew the minds of both the crowd and the other Musicians performing there (including Jimi Hendrix, who listened to Shankar with his mouth open, as seen in the Recordings of the Festival). After being such great act in Monterey he was thus invited to play the Woodstock Festival in August 1969. Shankar hated the concert and was never a proponent of it, as he also broke up with the Hippie community at the time, he was however the first Musician to release his concert, and one of the few to release the whole performance. By 1970 Shankar had definitely nothing to do with the Hippies, but who cares, by 1970 the Hippies were done with (to my dislike obviously).

Best Tracks - "Raga Puriya - Dhanashri Gat In Sawarital", "Tabla Solo In Jhaptal" and "Raga Manj Khamaj" (all the three songs on the Album). It is not only Shankar who displays a full control over his instrument. Alla Rakha, the Tabla player, is also considered as one of the best Indian Musicians of his age and he shows that abundantly on this Album. This is not his best moment, but it is a great performance in the most famous Festival of all times.

Ravi Shankar (At The Woodstock Festival Personnel):

- Ravi Shankar - Sitar.

- Alla Rakha - Tabla.

- Maya Kulkarni - Tamboura.

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Okko - Sitar & Electronics (1971)

Sitar & Electronics is the Debut Solo Album by the Dutch Multi-instrumentalist Okko Bekker.

I'll start by saying that i did not find much information on Okko. Okko Bekker emerged on the Hamburg scene on the Late 60's, obviously influenced by Eastern Sounds and Synth music. In 1971 Okko Bekker set of to record his Debut Album where he mixed those two influential Sonority's thus creating Sitar & Electronics (a quite explicit name) where he played the Sitar and Synthesizer accompanied by some Flutes, Guitars and Tablas played by some Psychedelic Musicians. The Album was recorded in Windrose-Dumont-Time Studios, if anyone is interested to know. Of the 8 songs present on the Album there are two covers, both Beatles songs ("A Day In The Life" and "If I Needed Someone"). They are quite good covers, with little resemblance to the original songs, which is what all Covers should be like. I heard that he went on to play with some Bands which names i do not know. The Producer of this Album is Henning Ruete and the Artists responsible for its trippy cover were Christian Rabbe and Harke, Rabbe for the Photo and Harke for the Art improvements.

Best Tracks - "Ganges Delta", "East Indian Traffic", "If I Needed Someone", "Shivas Lullaby", "Painted Sails On Ganges" and "A Day in the Life". The Album is not magnificent but very interesting and enjoyable if you are deeply into Instrumental Sitar.

Okko:

- Herb Geller - Flute.

- Peter Haesslein - Guitar.

- Okko Bekker - Tabla, Sitar, Moog Synthesizer.

- Simon Alcott - Moog Synthesizer.

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Miles Davis - Bitches Brew (1970)

Bitches Brew is the Thirty Forth Album by the American Jazz Musician Miles Davis.

In 1968, acts like Sly & The Family Stone, Jimi Hendrix and James Brown, influenced immensely Miles, along with the growing Acid-Rock movement. Miles entered then his Electrical age, transforming his Old-Style quintet in a full garnished "Rock" Band, and adding new Members of the new generations tho his ranks. Chick Corea and John McLaughlin were replacing the older Members (even though they would still play with him numerous times) and bringing new sounds to the group, both Live and in Studio. Bitches Brew was recorded in just 3 days, and the numerous Musicians who played on it where not given any orientation on what to do until some moments before the recording, and even then they were just told basic stuff like the Tempo, some chords and the basic Melody. On some of the quieter moments you can even hear Miles talking to some of the Musicians telling them what they should do now. Miles wanted to work this way to force the Musicians to pay more attention to eachother. This Album earned Miles Davis his first Gold Record and is nowadays considered to be on the Top Ten Jazz Albums ever.

Best Tracks - "Pharaoh's Dance", "Bitches Brew", "Spanish Key", "John McLaughlin" and "Miles Runs The Voodoo Down". Bitches Brew is also considered to be one of the first Jazz-Rock Fusion Albums ever, and many of the Members of the Band like McLaughlin and Corea would go on to expand the genre with other seminal works of the Genre.

Bitches Brew:

- Miles Davis – Trumpet

- Wayne Shorter – Soprano Saxophone.

- Bennie Maupin – Bass Clarinet.

- Joe Zawinul – Electric Piano.

- Chick Corea – Electric Piano.

- John McLaughlin – Electric Guitar.

- Dave Holland – Bass.

- Harvey Brooks – Electric Bass.

- Lenny White – Drums.

- Jack DeJohnette – Drums.

- Don Alias – Drums, Congas.

- Juma Santos (Jim Riley) – Shaker, Congas.

- Larry Young – Electric Piano.