Leo Kottke - 6 & 12 String Guitar (Sonet, Licenced from Takoma Records, 1972, USA)

Leo Kottke is an American folk/fingerpicker guitarist virtuoso (Athens, GA, 1945), championed as one of the major figures in the American Primitivism movement and is often credited along with legends like John Fahey or Robbie Basho.

Most of his fame is due to his first record, which will be the topic of this new entry. And the fact is that he conceived a top notch album, a timeless piece of art. He was not an innovator –we already had the guitar excursions of the extraordinaire Fahey, or the fantasias of Sandy Bull- but he was so bold in fussing his immaculate virtuosity and speed with tons of passion, resulting on a stunning beautiful record, a record that swings between the thick line of experimentation and meditation. Raising the acoustic guitar into new aces as a solo concerto instrument.

Kottke was a savior vagabond; he hitchhiked all over North-America in his adolescence, with his eyes wide open (he partially lost his audition while manipulating a firecracker) absorbing as much folk musical influences as he could. And that’s what this album is about: his idealization of rural America. You can be illegally riding in a freight train; be hit by a dust bowl; hitch-hick with a beat companion; breath the freshness of the Appalachian forests or even jam with Mississippi John Hurt.

The pieces chosen are short, not exceeding the 3 minutes, and are very eclectic. Styles range between acoustic blues structures, traditional folk, rags, classical or even guitar excursions à la Fahey with weird tunings, a delightful use of the slide and a delicious tone of the crystalline jangly 12 string guitar.

Almost every track is a scorcher, and don’t be fooled if doesn’t appeal at first listen, play it on a regular basis and you will become heavily addicted. By the way, the chain between “The Sailor’s Grave on the Praire”, “Vaseline Machine Gun” and “Jack Fig” is stellar.

So, hope you enjoy this terrific piece of art as I do. I treasure this one along with Dale Miller Kicking Mule releases and several Fahey and Basho projects as pristine examples of top-notch fingerpicking/American primitivism relics.

Tracks

A1. The Driving of the Year Nail (Kottke)

A2. The Last of the Arkansas Greyhounds (Kottke)

A3. Ojo (Kottke)

A4. Crow River Waltz (Kottke)

A5. The Sailor’s Grave on the Praire (Kottke)

A6. Vaseline Machine Gun (Kottke)

A7. Jack Fig (Kottke)

B1. Watermelon (Kottke)

B2. Jesu, Joy of Man’s Desiring (composed by J. S. Bach;arranged by Kottke)

B3. The Fisherman (Kottke)

B4. The Tennesse Toad (Kottke)

B5. Busted Bicycle (Kottke)

B6. The Brain of the Purple Mountain (Kottke)

B7. Coolidge Rising (Kottke)

Personnel

Leo Kotke: Accoustic 6 & 12 string guitar

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Red Devils - 12 Top Hits (Sonocord, 1969, Switzerland)

Red Devils, known before as Les Diables Rouges, were a Beat pop group formed sometime in the mid sixties in Basel, Switzerland. They were the first Helvetic band to play at the mythical Star Club in Hamburg.

The main attraction of this LP is its rarity, mainly because was never issued in their native country and has been kept as a guarded secret until recently. The copy of today was only edited in Spain and in Germany, on the Intercord label.

Musically speaking is an appealing record, containing catchy tunes in the vein of the soft beat/psychedelic pop, with some splashes of barroquism, reminiscent to what practiced groups such as the earlier incarnations of The Bee Gees.

Sober arrangements, angelical harmonies, delightful 60’s organ, gentle drumming and a bit of horns and flutes here and there can only whet my appetite of poppy sugar. And even I ignore what my doctor says about my diabetes I’m a good kiddo.

A full covers album, they made a very decent rendition to the original tracks. Starting with a delightful execution of Barry Ryan’s seminal classic “Eloise”, it continues with the lovely lovely “Sweet Inspiration”, proceeds to the instrumental exoticism of “Soul Coaching” and explodes into the most psychedelic track of the LP: “Why”. A treasure of contemplative lysergia. Other interesting cuts are the moody “Where do you go to my lovely” and the tender Bee Gee’s “First of May”. There’s also time for a goofy interpretation of “Ob-La-Di Ob-La-Da”.

Don’t be fooled by my attitude towards my doctor. I balance my levels of insulin with a heavy dose of histrionic punk. Enjoy!

Tracks

A1. Eloisa (Ryan)

A2. Sweet Inspiration (Dennington/Holdham)

A3. Soul Coaxing (Polnareff)

A4. Why (Staple)

A5. You Don’t Know Like I know (Hayes/Porter)

A6. I’ve Gotta Get a Message to You (B.R. & M. Gibb)

B1. Where Do You Go to My Lovely (Starstedt)

B2. Mr. Pitiful (Redding/Cropper)

B3. Ob-La-Di Ob-La-Da (Lennon/MacCartney)

B4. First of May (B.R. & M. Gibb)

B5. Hold On I’m Comin’ (Hayes/Porter)
B6. Atlantis (Leitch)

Personnel

Markus Schaub: Lead vocals, guitar

Michel Koeb: Bass, guitar, vocals

Hans-Peter Schweizer: Drums, vocals

Peter Wütrich: Organ, piano, trombone

Benny Bopp: Sax, flute, trumpet, vocals

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All broken links fixed

For your delight.

Unicorn - Blue Pine Trees (Harvest-EMI, 1974, UK)

Unicorn was an English folk/country rock band formed in 1963 by a bunch of scholars in their teens as an amateur project. Later, they dropped out school and started to take their hobby into a more professional basis, practicing almost every day and playing regular gigs. They were heavily influenced by the ”Laurel Canyon Sound”, specially by the countrified outfit of The Byrds and the superb vocal harmonies of CSN & Y.

It took almost eight years until they released their first record. Second one, featured on this new entry, was released eleven years later. And it’s certainly a landmark, a very appealing and gentle LP:  West Coast rock made in UK. What is found inside is not psychedelia or even progressive –as the precious art cover could suggest- but a delicious collection of melodic soft rock tunes produced by no other than David Gilmour. It resembles a lost Byrd’s circa “Ballad of Easy Rider” session, featuring Clarence White!

Instrumentation includes delicious jangly 12 string Rickenbacker; superb male vocal harmonies –I’m already satisfied-; cool chicken pickin’ licks; acoustic guitars and mandolin; delightful piano accompaniments; ultimate ‘70s drumming; groovy bass lines; even a xylophone in “Rat Race” and astonishing pedal steel guitar effects trademark of maestro Gilmour.  

Almost every track is worth checking. There’s a lot going on musically speaking and contains a beautiful assortment of diversity. You can find joyful jingle jangle in “Electric Night” and “Sleep Song”; laid-back mystery intoxications in “Winter Wine”; countrified ballad sensibility in “Just Wanna Hold You” and “The Farmer”; country-funk blasts in “In the Gym”; dusty rockin’ excursions in “Holand”; delicate soulful acoustic folk in “Ooh! Mother”.  And I leave the best for the last: the self-titled cut. Exquisite.

Just play it while gambling with a Tarantula Juice in hand. A grower, definetly. 

Tracks

A1. Electric Night (Baker)

A2. Sleep Song (Baker)

A3. Autumn Wine (Smith, St. John, Waters)

A4. Rat Race (Smith, St. John, Waters)

A5. Just Wanna Hold You

B1. Holland (Baker)

B2. Nightingale Crescent (Baker)

B3. The Farmer (Baker)

B4. In the Gym (Baker)

B5. Blue Pine Trees (Baker)

B6. Ooh! Mother (Baker)

Personnel

Kevin Smith: Lead Guitar, Mandolin

Pete Perrier: Drums, Lead Vocals

Pat Martin: Bass, Vocals

Kenny Baker: Guitar, Keyboards, Vocals
David Gilmour: Pedal Steel Guitar

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Lafayette Afro-Rock Band -- Soul Makossa (Musidisc, 1973, USA-France)

Laffayette Afro-Rock Band was a French funk/Afrobeat group (Paris, 1972) formed by American expatriates who decided to try fortune in the Roquefort country after realizing the funk scene in USA was too saturated. In there they became impregnated by African rhythms and schemes and where savior to fuse them with their funky ensemble. They were called Bobby Boyd Congress and Ice before their definitive name.

The band didn’t hit the spot of international success as did Funkadelic or Fela Kuti -they were even considered an obscure group- but now, their reputation has increased significantly and are celebrated as a premier example of funk outfit in the ’70, becoming sampled by an endless list of hip hop artists.

This new entry covers their second and last LP, for most people their best –me included-, so be prepared for a wicked exhibition of outstanding tight grooves. This album is gorgeous and extremely exciting! A full-time instrumental one (ok, if you exclude the yellings of “Soul Makossa”), plenty of large soloing passages (hot and fierce horn section, demented fuzzy funky guitar, cool jazz-funk keyboards) boosted by a luxury rhythm section: tight heavy bass and a hats off drumming and percussion section, it’s so close and consistent!

Three tracks each face make a total of six cuts, all of them essential. Side one starts with a funky and heavy-African-percussion revision of Manu Dibango seminal classic “Soul Makossa”, passing though the laid-back beautifulness of “Azeta” and finishes with the wild “Oglenon”. Side two is my favorite, taking off with the gorgeous “Voodounon”, hitting the hot spot of grooviness pinnacle “Hihache” and closing with the hard bopper “Nicky”.

Hot stuff guaranteed. An incendiary funky paradise!

Tracks

A1. Soul Makossa (Manu Dibango)

A2. Azeta (Frank Abel)

A3. Oglenon (Michael Mc Ewan)

B1. Voodounon (Arthur Young)

B2. Hihache (Leroy Gomes)

B3. Nicky (Lafayette Hudson)

Personnel

Larry Jones: Guitar

Laffayette Hudson: Bass

Frank Abel: Keyboards

Ronnie James Buttacavoli: Horns

Arthur Young: Horns, percussion

Ernest “Donny” Donable: Drums

Keno Speller: Percussion

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Machito et son orchestre Afro-Cubain - Mambo a la Machito (Fontana, 19??, Cuba-USA)

Machito was a Cuban percussionist, singer and orchestra director, who was instrumental in merging afrocuban rhythms with jazz improvisations, resulting in the creation of a new genre: afrocuban jazz. 

The EP of today is an insane blast of exotic Cuban-mambo rhythms that will make move your skeleton like a possessed voodoo zombie: devilish percussion and spirited brass section. Just the way it has to be.

“Si Si – No No” is a casual sexual elegy, featuring the seductive voice of Machito’s foster sister Graciela Pérez-Gutierrez, commonly referred as The First Lady of Latin Jazz. “Mambo Mucho Mambo” is a cool interpretation of the seminal classic. “Negro Nanamboro” has diverse passages of Latin vibes, a must. These last three cuts contain vocals while “Oboe Mambo” is an instrumental with hot rhythm section featuring Mitch Miller as an oboe soloist.

Who said that records that played our grandparents weren’t good? This is awesome!

Tracks

A1. Si Si - No No (mambo) (Suazo)

A2. Mambo Mucho Mambo (Blanco)

B1. Negro Nanamboro (mambo) (Merceron)

B2. Oboe Mambo (Hernandez)

Personnel (no personnel is credited besides Mitch Miller, but I have found this in RYM)

Machito: vocals, maracas, claves

Mario Bauzá: trumpet

Graciela: vocals, claves

Paquito Davila: trumpet

Bobby Woodlen: trumpet

Eugene Johnson: alto saxophone

Freddy Skerritt: alto saxophone

José Madera: tenor saxophone

Leslie Johnakins: baritone saxophone

René Hernandez: piano

Roberto Rodriquez: bass

Ubaldo Nieto: timbales

Ralph Miranda: conga

Luis Miranda: conga

José Mangual: bongos

Mitch Miller: oboe in B2

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Al Cohn & Zoot Sims - Motoring Along (Discophon-Sonet Giants of Jazz, USA-Sweden, 1974)

For sure one the most successful symbiosis seen in the jazz universe. I guess there’s no need to introduce these two giants.

As I continued thinking about Sweden, this record has come to my mind –ok, beautiful blonde girls too-. But as far I’m concerned, this is a music blog.

What we find in the LP is an impressive selection of refined, smooth jazz, ideal for chilling and palate expensive liquor. Just perfect for that mood and highly enjoyable for both the jazz connoisseur and the aficionado.

Rhythm section is damn consistent and solid, providing the climax for the soloist phrasings. Horace Parlan at piano brings security and sane harmonization with its delightful tone and beautiful interludes (“Fallin’” shines) while Danish drummer Sven Erik Norregaard impresses with its precision and impeccable tempo. But it’s Danish bassist Hugo Rasmussen who raises the act with its conviction power. And Al and Zoot are impeccable in their melodic swing, interpenetrating themselves without losing their identity: a sane exercise of mutual respect.

The six cuts selected for the session include two Cohn originals (the bebop blast of “Stockholm-L.A.” and the romantic “Fallin’”), and four perfectly-picked standards like Parker’s “Yardbird Suite”, a gorgeous version of “My Funny Valentine”, the speedy “Motoring Along” and a particular interpretation of Bacharach-David “What the World Needs Now”.

A gentle, pleasing, delicate album, for sybarite palates.  

Tracks

A1. Stockholm - L.A. (Al Cohn)

A2. My Funny Valentine (Richard Rodgers)

A3. Yardbird Suite (C. Parker)

B1. Motoring Along (J. McGriff)

B2. Fallin' (Al Cohn)

B3. What the World Needs Now (Bacharach-David)

Personnel

Al Cohn and Zoot Sims: Saxes

Horace Parlan: Piano

Hugo Rasmussen: Bass

Sven Erik Norregaard: Drums

Rune Persson: Engineer

Rune Öfwerman: Producer

Recorded: November 25th, 1974

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Rune Gustafsson - Rune At The Top (BELTER, 1969, Sweden)

Rune Gustafsson was a Swedish jazz guitarist and composer, who played in his early times with famed clarinetist Putte Wickman and Arne Domnérus bands. He gained recognition in the seventies for composing Swedish film soundtracks like cult classic “The Man Who Quit Smoking. He also contributed in two Zoot Sims recordings.

This entry covers his second record, consisting on a bright ensemble of jazzy easy listening songs –as an exercise to get rid of the freezing climate in Sweden- where the acoustic concerto guitar is the main character.

There’s nothing outstanding yet it’s a really nice listening experience, especially for the relaxed and joyful mood it transpires. The guitar playing is pretty good and pleasant, in a Jim Hall way. As said, guitar is mainly acoustic with the exception of few tracks where he switches to electric. Rhythm section is well balanced in a sober way, including piano, bass and drums. Arrangements are very nice too, with satisfying string and brass sections.    

Most of the songs are jazzy covers of well-known pop songs like “California Soul”, “The Fool on the Hill”, “California Dreaming” and “The Look of Love”. There are three Jim Webb classics too. “Me on the See-Saw” is perhaps the most conventional jazz track of the album, a good one indeed.  

So don’t be fooled by the Swedish climate, here we have a delightful easy-listening record, just perfect for a laid-back mood contemplating the sunset!!!

Tracks

A1.California Soul (Nickolas Ashford-Valerie Simpson)

A2. Wichita Lineman (Jim Webb)

A3. The Fool on the Hill (John Lennon-Paul MacCartney)

A4. The Look of Love (Burt Bacharach-Hal David)

A5. Me on the See-Saw (Pugh Rogefeldt)

B1. Son of a Preacher Man (David John Hurley-Stephen Ronnie Wilkins)

B2. California Dreaming (John Phillips)

B3. Waltz-A-Nova (Bengt Hallberg)

B4. By the Time I Get to Phoenix (Jim Webb)

B5. Up-up and Away (Jim Webb)

Personnel

Rune Gustafsson: Guitars

Kjell Öhman: Piano

George Wadenius: Bass

John Christiensen: Drums

George Riedel: Arrangements

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Five Man Electrical Band – Five Man Electrical Band (Capitol/Pickwick, Canada, 1969)

Five Man Electrical Band hailed from capital city Ottawa and were originally named The Staccatos in the period comprised between 1963-1969. They achieved national fame with that name releasing interesting singles (“Half Past Midnight” was a Top 10 Hit in 1967) and even recording a split disc with The Guess Who. Later in 1969, they renamed themselves Five Man Electrical Band, noting they were five components. Worldwide fame arrived in 1971 with their seminal single “Signs”.

The record of today is the first they released under his second name and is located in between national and international fame. What is found inside is a delightful set of catchy pop tunes mixed with soft psychedelic elements. They remember a lot bands like Procol Harum, The Beach Boys, early Bee Gees or The Beatles, which is always a nice cover letter.

The hearing experience is very pleasant and is certainly a rotation favorite –I am a sucker of well crafted soft psychedelic pop-. It is in the exquisite harmony voices mixed with the delicious arrangements the album has its staple. The instrumentation includes enjoyable organ and piano, some quality string section, pleasing guitar and soft rhythm section. Anecdotally there are two drummers and they were both brothers.

The repertoire is fantastic. The chain of the four five songs is absolutely outstanding but there’s certainly nothing left in the whole LP. The delicate majestic psychedelia of “Private Train” and “Maple Lane”; the anthem “Half Past Midnight” with its acoustic guitar, marvelous string arrangements and angelic vocals; or the psychedelic excursions of the opening track are just few examples of the high quality found inside.

A delicious proposal for a sunny spring day!

Tracks

A1. Five Man Electrical Band (Les Emmerson)

A2. Last Time I Saw Memphis (Les Emmerson)

A3. Private Train (Les Emmerson)

A4. Half Past Midnight (Les Emmerson)

A5. Black Sheep of the Family (Les Emmerson)

B1. Maple Lane (Les Emmerson)

B2. Fancy Dancin’ Man (Gordon-Bonner)

B3. We Go Together Well (Les Emmerson)

B4. Didn’t Know the Time (Les Emmerson)

B5. Running Back (Les Emmerson)

Personnel

Les Emmerson: Guitar, vocals

Brian Rading: Bass

Ted Gerow: Keyboards (piano, organ)
Rick Belanger: Percussion
Mark Belanger: Drums
Production: Max Hoch and John Gross

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Noel Soto - Alfa y Omega (Polydor, Spain, 1975)

An outstanding effort by the Nador-born though Spanish resident singer/songwriter.

Noel Soto was pioneer in the introduction of the conceptual album in Spain and his second LP, topic of today’s entry, called “Alfa y Omega” is often credited as the first opera rock published in that country.

An unusual and risky project it was –especially for a neophyte in the genre- yet the results are incredible. Thought not selling properly in the release, the album has gained deserved cult status and is considered one of the pinnacles of the progressive pop edited in the Iberian Peninsula.

The musicianship behind this record is praiseworthy. There’s a good dose of majestic organ and mellotron, delightful flutes and great guitar work which match so well with Noel caressing voice. And stunning large instrumentals can be heard here and there, thing that enriches a lot the experience.

The song assortment is very well balanced. There’s absolutely nothing left in the eight tracks that compose the LP but it is so addictive and is so well made you will certainly stand wanting for more. There’s time for progressive instrumentals in the introductory “obertura alfa”, for rocking in “vamos a hacer el amor”, for smoth-jazz vibes in “nos falta comunicación”, some delightful moody pop in “ahora que somos dos” and “tu” or even prophetic progressive experimentations in “misere nobis omega”. References to “Lucy in the sky with diamonds” and to “I can’t get enough (Satisfaction)" can be heard in “flechas en el aire”, which is always a good thing.

I have decided to preserve the original conception of the record consisting in no time separations between cuts, so I fussed all the songs in two major files: side A and side B.   

Man, it’s a shame the author has taken literally the meaning of the album title, not releasing more marvelous material like that!

Tracks

A1. obertura alfa (J.L. de la Fuente; J.L. Izaguirre; L. Forner)

A2. ahora que somos dos (J.L. de la Fuente; J.L. Izaguirre; M.E. Soto)

A3. vamos a hacer el amor (M.E. Soto)

A4. tu (M.E. Soto)

B1. nos falta comunicación (M.E. Soto)

B2. flechas en el aire (M.E. Soto)

B3. sueños de cristal (J.L. de la Fuente; J.L. Izaguirre; M.E. Soto)

B4. miserere nobis omega (J.L. de la Fuente; J.L. Izaguirre; L. Forner; M.E. Soto)

Personnel

Produced by Angel Velázquez; Izaguirre Jr.

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The Underneath - Cosmic Noise (Lost records, USA, 1996?, Limited pressing, copy 604/800)

The Underneath was a heavy space psychedelic band from Dallas, TX formed in the early nineties.

This one is their second album and it’s quite easy to know what is crafted in that monster of LP by just looking at the title and knowing where they came from: a crazy dose of stoner fuzzed-out marshy spatial psychedelia.

The pressing is undoubtedly indie, limited to 800 copies and the cover is hand crafted by spray.

The songs are very dense, atmospheric, loaded with effects where guitar is certainly the protagonist, creating killer multi-layered surrounding effects. Most of the cuts contain muffled and synthesized drugged vocals, with the exception of the last songs of each face (song with no name in the A side and “Space Needle” in the B), which are very experimental yet enjoyable. Almost every track is essential with the exception of “The Pain Won’t Last”, very generic and tiresome in my opinion. “Shivers and Chills” is the most conventional track, containing a catchy easy chord progression riff while “No Words” is very minimalistic and enjoyable. The holy grail is the cosmic blast of a jam “Fifteen”.

Hope you digest this piece of plastic without jamming with demented ectoplasm aliens as a side effect!

Tracks

A1. In a Zone

A2. Her Alien Dream

A3. Freakin' Out

A4. Free My Mind

A5. Get Out of Here

A6.

B1. The Pain Won't Last

B2. Shivers and Chills

B3. No Words

B4. Fifteen

B5. Fly on the Wall

B6. Space Needle

Personnel

No personnel is credited

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Espirituales – The Music Masters, Nueva York (Orlador-Universal, 1970, USA)

Let’s celebrate Easter days with a gorgeous dose of devoted negro-spirituals.

Little information could be found about the group or people under this project; the only credit is for A. Hobbs for being the composer of three originals and the arranger of two tracks; other two songs arrangements are co-credited by Hobbs (the aforementioned?) and Dorsey. Even the band name is not clear. So, more information will be merrily grateful!

The seven tracks of this ten-inch vinyl have soulful vibes (e.g. “I'll wait till my change come” or “I'm working on the building”), dope accelerated gospel (“You've been good to me”) or bluesy rhythms (“Wonderful!”, “Been dipped in the water”) heavenly driven by the keyboards, where the Hammond organ is clearly the protagonist. Black voices are in great shape too, both in choirs (males-females) and in soloists (mainly males), creating addictive passages of question-response. 

So, hope you enjoy this outstanding vitalizing record, just perfect for these dates!

Tracks

A1. Wonderful! (Arr.: A. Hobbs)

A2. You've been good to me (Arr.: Hobbs-Dorsey)

A3. Show me how you want to live (A. Hobbs)

A4. Praise God (Arr.: A. Hobbs)

B1. I'll wait till my change comes (A. Hobbs)

B2. I'm working on the building (Arr.: Hobbs-Dorsey)

B3. Been dipped in the water (A. Hobbs)

Personnel

Arrangements: A. Hobbs; Hobbs and Dorsey

No more personnel is credited 

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Los Guaraguao - Las Casas de Carton (Yare-Suramericana del Disco, Venezuela, 1973)

Los Guaraguao – falcon in aborigine- is a Venezuelan folk group, formed in 1973 in Caracas, framed in the Nueva Canción Latinoamericana movement.  Famous all over Latino America for their extraordinaire protest song “Las casas de carton”, a song that denounced the infrahuman life-conditions of the buildings where poor people lived and still lives today all over the continent.

Critical with their political system, the band adopted the social commitment and activism messages and fused them with great folklore music for being accessible to the citizens. Conspiracy theories popped up when their main songwriter, Alí Primera, was found dead in a car accident in the mid eighties. This led to a major loss for the group, staying inactive during a substantial period, resurfacing in 1996 and being active again since then.

Their first album is the main topic of today’s update. As we said, this was their most famed LP, and despite being projected more than 40 years ago, lyrics still have much effect nowadays. “Perdoname Tio Juan” talks about unequal exchange between developed and underdeveloped countries. “Gaita Margariteña” wonders how can live so many poor people in a country so rich in natural resources, “Que pasa en el mundo” is about difficulties young people find to progress, “No basta rezar” and “Yo pregunto” postulates the activism and union as a complement of passive ways for achieving peace and liberty.

Lyrics are a good reason to like the record but it’s in the fusion with the musical approaches where the record becomes remarkably upgraded: the sadness that evokes the lyrics is cleverly balanced with the festive, warm and mellow acoustic instrumentation. This includes the pleasant 4 string Venezuelan cuatro or the harp (“Gaita Margariteña”), an instrument very popular in Venezuela. There are also good string and horn arrangements in some tracks and enjoyable rhythm section with nice drumming and double bass.

A good proposal for discover the exotic folk world-music rhythms of Venezuela, even though the ones who understand Spanish will enjoy it thoroughly.

Tracks

A1. Casas de Carton (Alí Primera)

A2. Otra Vez (Alí Primera)

A3. Gaita Margariteña (Juan Rojas)

A4. Perdoname Tio Juan (Alí Primera)

A5. Que Pasa en el Mundo (Eduardo Martínez)

B1. Jesus Caminante (José Guerra)

B2. No Basta Rezar (Alí Primera)

B3. Ire Cantando (José Guerra)

B4. Los Estudiantes (Violeta Parra)

B5. Yo Pregunto (Alí Primera)

Personnel

Eduardo Martínez: Soloist and cuatro

Jesus Cordero: Double bass; second voice; chorus

José Guerra: Drums; third voice; chorus

Ricardo Landaeta: Arrangements

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The Dean Davis Company - IInd time Around (ETC Enterprises, USA, 196?)

The Dean Davis Company was an obscure folk-rock group from Colorado, active during the golden era of late sixties/early seventies. Whose brainchild was singer-rhythm guitarist Dean Davis, producing three private pressed records under his name (one as Dean Davies, two as Dean Davis Company) and one other as Winterwood on the odd ETC Enterprises label.

On today’s post we will cover his second LP. A little search in the net has shown me that exist two different covers: the one I own, showing a black and white photo of the four members giving a concert for a peculiar audience of four child mounted on their tricycles (beautiful and peaceful, isn’t it?). The other, consisting on five lines, repeating the disc name each time a row in a black and white descending color scale.

The album has a very nice rural folk period flavor, certainly XIAN, providing an enjoyable listening experience, mostly because of the use of acoustic instrumentation (12 string acoustic guitar!), minimalistic electric guitar arrangements, byrdish suave drumming and beautiful and subtle male/female harmony vocals.  

Songs are mostly covers of seminal folk artists like Phil Ochs, Arlo Guthrie and Buffy St. Marie, imprinting their own identity with the creation of very beautiful atmospheres and passages. There’s also time for two originals: “What the World Needs Now” and “Suzzanne”. The first one consisting a introductory narrative speech and a second part song. But it’s on the terrific “Suzzanne” where the band suns through the clouds. “Old Blue” is also stunning with their combination of musiqued speech and chorus response, so real!

More information about this amazing artisan band will be warmly welcomed! Drop me a line.

Tracks

A1. Highway in the wind (Arlo Guthrie)

A2. Crucifixion (Phil Ochs)

A3. What the World Needs Now

A4. Saint of CSU (Saint of San Walkeen) (John Stewart)

B1. Lazy Morning (Chet Hanson)

B2. Suzzanne

B3. Old Blue (traditional)

B4. Until It's Time for Me to Go (Buffy St. Marie)

Personnel

Lead Guitar: Dave Bigalow

Rhythm Guitar: Dean Davis

Vocals: Paula Streiff, Rich Curran, Dean Davis

Bass: Ed Bigby

Drums: Vince Haffey

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Yellow Sunshine Explosion - Yellow Sunshine Explosion (Love’s Simple Dreams, Germany, 1987)

Today’s update is about getting high with some quality psych-kraut music. You can tell it by the simple look at the handcrafted art cover: fisheye views, garage-psych revival looks, some big cacti, explosions, pink floyd colours…and if this details aren’t evident enough, just look at the label acronym. 

This record has all the ingredients to get hipped about: it’s very spacey, primitive, raucous, dense and loopy, reminding a lot the likes of the Elevators, the Velvets or the criminally obscure masterpiece ‘Troubled’ by The New Creation.  

Featuring extra-cool repetitive guitar riffs and effects, monotonous drums, raw and drugged vocals, flute, rusty moutharp, and also some eastern influences provided by the sitar, the flutes and the tabla. 

Certainly a grower. So be prepared for enjoying this addictive journey to the depths of this acid monster.

Tracks

A1. Ballad of Dan

A2. Sorry

A3. It's not my fault

A4. Yellow Sunshine Explosion

A5. Feminine Animation

B1. Kaleidoscope

B2. Take it Acid is

B3. Sing Ba Ba Ba

B4. Sun my love

B5. Isabelle

All songs written by Bert Schlexer

Personnel

Bert Schlexer: Lead vocals, Bass

Paul Hadley Langley: Harmonika, Flute, Percussion

Thomas Hopl: Drums, Percussion, Tabla

Georg Schulte: electric and acoustic Guitars, Vocals

Gerd Neumann: Sitar and flute on “Take it Acid is”

Hugggy Borkhardt: Organ on “Feminine Animation”

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