***Mode Plagal -III -fantastic Greek Jazz with folk infusions!***

Mode Plagal, a pioneering jazz-folk Greek fusion group offering a unique approach to traditional music, has created a signature sound both familiar and refreshingly new, that has led to their album topping many lists of the best recordings of 2001 in Greece. This is a work produced with great care, with an international audience in mind, including excellent bilingual liner notes (with a special English-only text on the history of vernacular Greek music), and the high caliber (and high profile) of guest singers. All those things are simply supportive of the main ingredient of the album, the group itself. Propelling the music with a verve and dignity that shows both great musicianship and deep admiration for the original material, Mode Plagal reinvent it without betrayal. Joyful and vibrant, their versions are an adaptation of the age-old material for contemporary society, conserving the tradition's intrinsic value in a way that no amount of faithful interpretation ever can. This is music produced over centuries, where reinterpretation was part of its appeal. The skillful performances of that material have an easy air, despite the apparent novelty of the jazz orchestration. It appears that Mode Plagal thought long and hard about the way their music would sound, but then performed it with total abandon. The high point of this album, and the difference from the previous two, is the participation of four noted guest performers. They deliver some of their best interpretations on record. Savina Yannatou is her usual wildly improvisational self, but it's quite rare for her to allow herself so much leeway, certainly more than on any of her solo records with the possible exception of the live Terra Nostra. Theodossia Tsatsou, who is best known for her ethereal vocals with her former band Blé and her ensuing solo career, delivers a highly original version of a twentieth century drunkard's song. Eleni Tsaligopoulou offers a minimalist but highly effective version of an immigrant's song in a career-high performance. Yiota Vei elaborates and attenuates lyrics that in the hands of a lesser singer would have appeared banal. Her treatment brings forth the soul of the songs, especially on "Deli Papas." The importance that Greeks have been placing on 'levendià,' a traditional manly characteristic and a word that is really untranslatable, comes to life with her performance. That this is a song about a priest is just indicative of her ability. Also featured is Evgenios Spatharis, a voice that is familiar to every Greek as the chief contemporary performer of "shadow plays," a traditional theatrical form of Middle Eastern ancestry akin to a puppet show, where the heroes are visible only through their projections on a screen. That is the only one that loses a lot of its majesty for non-Greek speakers, as the hilarious improvised dialogue is impossible to reproduce. Mode Plagal have once again developed their particular niche, this time through the help of their esteemed guests, and it seems that the sky is the limit for them. Together with the 'Greeks & Indians' co-operative, they should be considered the pre-eminent ambassadors of the much-maligned vernacular Greek music in the 21st century, a worthy accolade for a group of rare musical instinct.» (Nondas Kitsos, CDRoots) PART 1 PART 2

***Maddy Prior & the Carnival Band -A Tapestry of Carols(1987) -gorgeous old worlde folk, must listen!!***

Note: Maddy & band have done about 5 Christmas albums like this, so do check them out if you like Olde Worlde folk! it's great stuff!!

From Wikipedia:
A Tapestry of Carols is an album by Maddy Prior. It is a collection of ancient carols from across Europe, played by The Carnival Band on replicas of medieval instruments. It was recorded at The Quaker Meeting House, Frenchay, near Bristol and released in 1987.

Personnel

Maddy Prior – vocals
Bill Badley – baroque guitar, guitar, gittern, banjo, mandolin, mandocello, cittern, vocals
Andrew Davis – double bass
Charles Fullbrook – tabors, basel trommel, glockenspiel, bells, wood blocks, triangle, cymbals, vocals
Giles Lewin – violin, recorders, vocals
Andrew Watts – Flemish bagpipes, bassoon, curtal, clarinet, recorders, shawm, vocals
Arrangements by Andrew Watts
"Angels From The Realms Of Glory" arranged by Andrew Watts and Giles Lewin.

Track listing

"The Sans Day Carol" (Traditional Cornish)
"In Dulci Jubilo" (German 14th Cent)
"God Rest Ye Merry Gentlemen" (Traditional English)
"It Came Upon The Midnight Clear" (Tune trad Eng, words EH Sears)
"The Holly and the Ivy" (Traditional English)
"The Coventry Carol" (English 16th Cent)
"Ding Dong Merrily On High" (Tune trad French 16th Cent, words GR Woodward)
"The Angel Gabriel" (Tune trad Basque, words S Baring-Gould)
"Angels From The Realms of Glory" (Tune trad French, words J Montgomery)
"Infant Holy" (Traditional Polish)
"A Virgin Most Pure" (Traditional English)
"Unto Us A Boy Is Born" (German Medieval)
"Rejoice And Be Merry" (Traditional English)
"Joseph Dearest" (German 16th Cent)
"Personent Hodie" (German 14th Cent)
"On Christmas Night" (Sussex Carol) (Traditional English)

here

***Bosphorus & Mode Plagal - Beyond The Bosphorus- (Greece, Turkey, -bewitching fusion of folky traditional music & modern Jazz with female vocals)***

“Greek jazz ensemble Mode Plagal collaborate with Bosphorus, a group with Turkish musicians and traditional instruments who bring forth the sound and experience of the Eastern and Anatolian musical tradition. The symbolism of the Bosphorus straits as a passage from one world to the another, from one sea to the other and from one continent to a new world.”

"'It was bound to happen, someday.'
That was the first thing that crossed my mind when I came across the news that Bosphorus and Mode Plagal were to collaborate on a record.

Bosphorus, a group of Turkish musicians from Istanbul who for almost twenty years now have been studying the musical tradition of that city through its many periods have been churning out amazing records off the mainstream. They have been exploring, among other things, the musical tradition of Greek composers of the city, as well as the interplay between what existed in the city (the Byzantine tradition of the time when the city used to be called Contantinople) and what came after (the Ottoman musical tradition both on the level of court music and popular one.)

Mode Plagal have already been covered extensively in Rootsworld, as they have been following a similar path regarding Greek music, but with an added focus on jazz experimentation.

Listen!
So, in many ways, both groups have been dealing with the same questions: What does it mean to be at the crossroads between East and West, Now and Then? What have been the results of the influences of other people on the musical tradition of the region? Are there traces of the past to be found and are there any of those worthy of retention for the future? All that and beautiful sounds!

The latter is where Beyond the Bosphorus succeeds effortlessly: this is a compelling, seductive record that doesn't sound academic at all, while it combines music from three different musical traditions; the learned Eastern musical system (the ancient one), the folk tradition of the Alevi communities, and the western-influenced one, as is noted in the beautiful and very informative trilingual liner notes (Greek, English and French.) There were times that this record sounded pop. At others, it reminded me strongly of Morphine (the band from Boston) or an ethnomusicologist's pet research project. On "Oceania," the last song, the U2 of the late 1980s comes to mind. All that and it never sounds forced, grotesque or garish.

As in the previous collaborative work of Mode Plagal (the Yorgos Margaritis CD recently reviewed), this record sounds like Bosphorus, possessed by Mode Plagal. The way in which they go in and out of the picture, blending in or coming to the forefront, depending on the musical needs or whim of the moment, is fascinating.

Apart from the usual high musicianship of Mode Plagal (who use saxophones, electric and acoustic guitars, drums and bass) and the exquisite learned virtuosity of Bosphorus (who play kemenche, rebab, violin, ney, cello, kudum, bendir, kaval, saz, kanun and tanbur), Vassiliki Papageorgiou, who sings on almost all the tracks, should be singled out for particular praise, as her laid back, spacey yet curiously earthy voice is often the highlight of a song. Providing a stylistic unity to the record which otherwise would have been torn apart by its various musical influences, Papageorgiou inhabits the role of the narrator of this fascinating musical journey, as she sings about love in the city, important Islamic religious feasts, Sappho and most of all about the city: Konstantiniye/Istanbul. - Nondas Kitsos

The press info:
The symbolism of Bosphorus straights as a passage from one world to another, from one sea to the other and from one continent to a new world, has marked through myths the spiritual memory and heritage of migrating tribes as well as that of sea-faring people in the greater basin of the Easter Mediterranean.

Those tribes coming from the South, following the south to north migration of the cranes, believed in the a hyperborean haven and heaven whirling beyond the North Star (Polaris), whereas those arriving from the Ease longed for a Western Paradise somewhere along the shores of the Atlantic. On the crossroads, at the exact point of intersection of the axis, there at the divide between Europe and Asia, a City was founded which it was hoped would reflect the heavenly peace (Irini) and Wisdom (Sophia)- the Byzantine Constantinople, Konstantiniye of the Ottomans- the present dat Istanbul.

The space of all around seems to resound - Aghia Sophia, the Bosphorus, the mosques, the domes, the golden horn, everything seems to whirl around a mysterious and inaudible sound which is perceptible only to those who have managed to emerge free from the murky and channeled waters of urban material existence. Beyond, rises yet another deafening but silent sound, the dirge of a Metropolis which has lost the dream to embrace within her womb all the religions and people suffering tribulations and by this way, becoming admired by all the nations as an example of ecumenicity.

We have tried to capture with our music the echo of this indescribable sound. To achieve this -which is also a game with different musical systems and tunings- two different groups collaborated: Bosphorus with turkish musicians and ancient traditional instruments which bring forth the sound and experience of the Eastern and Anatolian musical tradition and Mode Plagal, a greek avant-garde group which is experimenting a contemporary approach to greek traditional Folk music. The compositions, besides the traditional songs and tunes, are by the musicians of both groups and are put to the lyrics and poetry of G. Seferis, T. Syrelis and V. Papageorgiou around the theme of "Beyond Bosphorus".

They are interpreted by Vasiliki Papageorgiou, with a traditional Alevi prayer to the 12 Imams by Engin Arslan. The musical direction is by Nikiforos Metaxas. Bosphorus and Mode Plagal have been collaborating for some time now, Mode Plagla have been visiting Turkey quite often and both groups have given joint concerts the last couple of years in Greece, Turkey -in Istanbul and Smyrni for the 100 years of G. Seferis- in Belgium, Holland etc.

Apart from the usual high musicianship of Mode Plagal (who use saxophones, electric and acoustic guitars, drums and bass) and the exquisite learned virtuosity of Bosphorus (who play kemenche, rebab, violin, ney, cello, kudum, bendir, kaval, saz, kanun and tanbur), Vassiliki Papageorgiou, who sings on almost all the tracks, should be singled out for particular praise, as her laid back, spacey yet curiously earthy voice is often the highlight of a song. Providing a stylistic unity to the record which otherwise would have been torn apart by its various musical influences, Papageorgiou inhabits the role of the narrator of this fascinating musical journey, as she sings about love in the city, important Islamic religious feasts, Sappho and most of all about the city: Konstantiniye/Istanbul." - Nondas Kitsos, RootsWorld

“Beyond The Bosphorus is a collaboration between Greek band Mode Plagal and the most recent incarnation of the Turkish group Bosphorus, which now includes such leading performers of Turkish art music as Hasan Esen (kemençe) and Murat Aydemir (tanbur). On vocals is Vasiliki Papayeoryiou, who has worked with Bosphorus in the past. In short, this is an impressive line-up. - Chris Williams”
Track Listing
-------------
01. Improvisation: Rebab-Cello
02. Konstantiniye
03. The Tumult Of Torrents
04. Ey Zahit
05. Shuttle Boats
06. Beyond The Bosphorus
07. Until Such Time
08. Itinerary
09. Twelve Imams
10. Tatavla
11. For Sappho
12. Erotikos Logos
13. Lullaby
14. Faraway Lady
15. This Night
16. Oceania


here

Meic Stevens - Ghost Town (Rare Release, Folk-Psych)

Tracklist

1 Roedd Gennyf I Gariad (I Had A Love)
2 Factory Girl
3 One Night Wonder
4 Love Owed
5 It Takes A Country Boy To Sing A Country Song
6 Need For Need
7 Ghost Town
8 Myfi Yw'r Dechreuad (I Am The Beginning)
9 Sing A Song Of Sadness
10 Ghosts Of Nothing Lie
11 Clown In The Alley
12 Yorric
13 Ghosts Of Solva

meic stevens - ghost town

Meic Stevens -Outlander (Uk 1970, Folk, Folk-Psych Sundazed - The Welsh Bob Dylan!)

Born: 1942, Solva, North Pembrokeshire, Wales, United Kingdom Member of: Bara Menyn

Tracklist:

01. Rowena [Full Version]
02. Love Owed
03. Left Over Time
04. Lying to Myself
05. Sailor and Madonna
06. Ox Blood
07. Yorric
08. Midnight Comes
09. Ghost Town
10. Dau Rhosyn Coch
11. Ballad of Old Joe Blind
12. Great Houdini
13. All About a Dream
14. Evening Comes Up
15. Upon the Mountain
16. Where Have All My People Gone
17. Yorric [Early Version]
18. Sailor and Madonna [Early Version]
19. Blue Sleep
20. Ballad of Old Joe Blind [Alternate Version]

Info: Meic Stevens may not be a familiar name in much of the world, but in his native Wales the singer-songwriter's stature is often compared to that of Bob Dylan. A local legend whose psych-folk influence can be heard in such contemporary Welsh groups as Super Furry Animals and Gorky's Zygotic Mynci, Stevens also founded his country's first independent record company, the estimable Sain label. Stevens sang mostly in his native language, a political act not unlike speaking Basque in Spain or Cherokee in the U.S. His one English-language album is 1970's Outlander, an outstanding marriage of musicianship and eclecticism. Arising from the same fertile soil as the work of the late-'60s icons, Stevens's album nonetheless manages to avoid easy comparisons. Its jazz-Indo-psych ragas merge seamlessly with its acid folksongs and Dylan-esque meditations on relationships and politics. Performed by a remarkable cast of musicians hand-picked by English rock tastemaker Ian Samwell, Outlander was created with a minimum of rehearsal and consists largely of first takes. Greeted with critical acclaim upon Outlander's U.K. release, Stevens traveled Stateside for a two-week tour in the summer of 1970. But the album never crossed the Atlantic; its very first U.S. release is this expanded, remastered Rhino Handmade issue. Copies of the LP have fetched upwards of $500 on the collectors' market, a testimony to the enduring quality of its songs. Now, fans can enjoy the original album in its entirety, along with nine bonus tracks, including outtakes, alternate versions, and the 1970 B-side "Blue Sleep." Outlander is available as an individually numbered limited edition of 2,500 copies. greetings... ~ by Amadeus.

Outlander.zip

***REPOST - QUALITY ISSUES NOW SORTED! -Franzl Lang -Der Koenigsjodler (The King of Yodlers!)

Franzl Lang Biography

Franz "Franzl" Lang (born December 28, 1930), known as the Yodelking, is a famous yodeler from Bavaria, a southern region of Germany.

Lang also sings and plays the guitar and the accordion; he has further authored several books on yodeling. Lang's genre is German folk music; he typically sings in Bavarian dialect of the rural Alpine regions and its inhabitants. He inevitably breaks into yodeling at some point within each song. Now retired as a performer, he still occasionally records.

By general consensus, Lang is considered to be the best Alpine yodler in the world; he is certainly the best-selling. From Wikipedia

Track Listings
1. Kufsteiner Lied
2. Ich Wunsch' Mir eine Jodlerbraut
3. Jodler zum Juchzen
4. Zillertal du Bist Mei' Freud
5. Wenn Ich auf Hohen Bergen Steh'
6. Jodelexpress
7. Alt- Aussee'r Postillion
8. In d'Hah Is Guat Schiab'n
9. Solang der Alte Peter
10. Tiroler Wollte Jagen
11. Wildschutz Jennerwein
12. Echo-Jodler Vom Konigssee
13. Tiroler Holzhackerbuam
14. Schatz Schenk' Mir a Zwickerbussl
15. Tiroler Bravour: Jodler
16. In Munchen Steht ein Hofbrauhaus
17. Guater Halt's Aus
18. Ja Da Legst Di'nieder
19. Mei Vata Is a Appenzeller
20. Sorgenbrecher: Jodler
21. Jodeln Ist Mein Leben
22. S Kammerfensterln
23. Schutzenliesl
24. Guter Kamerad
25. Klarinettenmuckl: Jodler
26. Munchner Schafflertanz
27. Wenn der Auerhahn Balzt
28. Meine Heimat Sind Die Berge
29. Hoch auf dem Gelben Wagen
30. Hohe Tannen
31. Bergvagabunden
32. Erzherzog-Johann Jodler
33. Aber Dirnderl Sei G'scheit
34. Abschiedsjodler
35. Meine Bayerischen Berge
36. Konigsjodler

Der/Koenigsjodler

C.O.B -Moyshe McStiff & The Tartan Lancers of the Sacred Heart

Featuring Incredible String Band founder Clive Palmer, COB made some of the most imaginative and moving music of their time, and this 1972 masterpiece is considered by many to be the finest psych folk record ever to emerge from the British Isles. An overwhelmingly beautiful and compelling collection of songs set to Eastern-tinged arrangements. Released in UK on Polydor / Folk Mill (238 3161) in a beautiful textured gatefold sleeve.

Personnel:
Clive Palmer - guitar, banjo, vocals
Genevieve Baker - percussion & sax
John Bidwell - keyboards, banjo, dulcitar, vocals, balalaika
Mick Bennett - percussion, keyboards, vocals

Produced by Ralph McTell


Track Listing:
1. Sheba’s Return / Lion Of Judah
2. Let It Be You
3. Solomon’s Song
4. Eleven Willows
5. I Told Her
6. Oh Bright Eyed One
7. Chain Of Love
8. Pretty Kerry
9. Martha and Mary
10. Heart Dancer

Bonus tracks:
11. Blue Morning (non-album 45a)
12. Bones (non-album 45b)

tartan lancers.rar

****C.O.B -Spirit of Love (1971) -Great & Achingly beautiful Incredible String Band-related Folk-Psych. DON'T MISS THIS ONE!!****

C.O.B stands for Clive’s Original Band and Spirit of Love was their first album released in 1971 on CBS (69010). Clive Palmer is a well known British folk musician that started out as one of the original Incredible String Band members.

On this album, the C.O.B. trio was completed by multi-instrumentalists and singers John Bidwell and Mick Bennett, with some other musicians (including Ralph McTell) lending a hand on some tracks. The record is a surprisingly engaging piece of rock- and psychedelic-tinged British folk music reminiscent of the Incredible String Band at their most melodic. It rounds off some of the grating bent notes, vocals, and weirdness that both got the ISB some cred with psychedelic fans and annoyed others.
- allmusic

Personnel:
Clive Palmer - Banjo, Vocals, Arranger, Guitar (12 String), Guitar
Ursula Smith - Cello
Mickey "Tickey" Bennett - Organ, Percussion, Voices, Vocals, Arranger, Washboard
Michael Bennett - Percussion, Keyboards, Vocals
Gillian McPherson - Voices
John Bidwell - Organ, Banjo, Keyboards, Arranger, Vocals, Voices, Indian Organ, Dulcitone, Recorder
Steve Bonnett - Bass, Guitar
Ralph McTell - Guitar, Drums, Producer

Tracks:
1. Spirit Of Love
2. Music Of The Ages
3. Soft Touches Of Love
4. Banjo Land
5. Scranky Black Farmer
6. Evening Air
7. Serpent's Kiss
8. Sweet Slavery
9. When He Came Home

THIS IS TOO BEAUTIFUL, MAKES ME CRY!!

Folk is Not a four Letter Word- (Vols 1 & 2) Various (Andy Votel compilation)

Folk Is Not A Four Letter Word (Vol 1)- Compiled by Andy Votel

1. Carol Batton - Beeing (Intro)
2. Kathy Smith - It's Taking So Long
3. Sarofeen & Smoke - It's Love
4. Brigitte Fontaine - Brigitte
5. Linda Perhacs - Hey, Who Really Cares?
6. Breakout - Usta Me Ogrzej (Warm Up My Lips)
7. Musica Dispersa - Cefalea
8. Poppy Family - Shadows On My Wall
9. Wendy & Bonnie - By The Sea
10. Bonnie Koloc - My Aunt Edna
11. Heaven & Earth - Jenny Listen
12. Erica Pomerance - You Used To Think
13. Audience - Man On Box
14. The Roundtable - Scarborough Fair
15. Sidan - Gobiath
16. Sidan - Ar Goll

Folking great stuff!


Folk Is Not a Four Letter Word (Vol. 2) - Compiled by Andy Votel



1. Carol Batton - Intro
2. Midsommar - Balladen Om Belfast
3. Y Triban - A Night In The City
4. These Trails - Of Broken Links
5. Chuck & Mary Perrin - Flying
6. Jan & Lorraine - Number 33
7. Elly & Rikkert - Heksenkring
8. Susan Christie - Paint A Lady
9. Paul Parrish - Dialogue Of Wind And Lover
10. Emmanuelle Parrenin - Apres Londee
11. Naomi - How Do?
12. Parchment - Son Of God
13. Alexis Korner & CCS - Sunrise
14. Woody Simmons - Grey Today
15. Vainica Doble - Dime Felix
16. 11.59 - The Waters Of Babylon
17. Midwinter - Maids And Gentlemen
18. Pentangle - I Saw An Angel
19. Sibylle Baier - Softly
20. Turid - Song
21. Turid - På Tredje Dagen Uppståndna

another folking great album!!

Alan Stivell -Chemins De Terre

01. Susy MacGuire
02. Ian Morrison Reel
03. She moved through the Fair
04. Can Y Melinydd
05. Oidhche Mhait
06. An Dro Nevez
07. Maro Ma Mestrez
08. Brezhoneg' Raok
09. An Hani A Garan
10. Metig
11. Kimiad

*See comments!/make comments!

Broselmaschine -Broselmaschine

Languorous atmospheres, lovely vocals, iridescent melodies, and shimmering solos combine on Bröselmaschine's self-titled 1971 debut album, the apotheosis of the German folk-prog scene. The quintet took their cue from England's Canterbury scene and even a traditional folk song, "Lassie," from that green and pleasant land. The band's signature sound was derived from Jenni Schucker's delicate and at times ethereal vocals in harmony with Willi Kissmer's stronger tenor, and that sound took on a Teutonic tinge when the pair switched from English to German lyrics. But it was the group's extraordinary use of acoustic and electric guitars that cemented its reputation. On "The Old Man's Song," one of four vocal cuts on the set, Kissmer's wah-wah guitar wafts and winds around Peter Bursch's acoustic strums. On "Gitarrenstück," the electric leads smolder like embers around the fiery acoustic rhythm guitar, while Schucker's wordless vocals float hauntingly above. It's the flute that soars overhead on "Gedanken," counterpointed by the moody Spanish-styled guitar, which itself is offset by the excitement of Kissmer's electric lead. Lutz Ringer's bassline adds an almost funky flair to "Lassie," and is also crucial to the album's two instrumentals, "Schmetterling" and the wittily titled "Nossa Bova." The former is a showcase for the band's percussionist, Mike Hellbach, who fills the number with tablas, instantly taking the sound into Eastern climes, a sighting enhanced by Bursch's sitar, even as a pastoral flute delicately dances above and the acoustic guitar shimmers in an ecstasy of chiming strums below. "Nossa Bova" also utilizes tablas, but its setting shivers between the Spanish plains and England's rolling rural hills. The music is gorgeous, but it's the relaxed atmospheres that truly entrance; there's not a forced note or extravagant moment within, with the music easily ebbing and flowing like water downhill. So self-confident were the bandmembers that they had no need for flashy musicianship, preferring instead to impress by the very understatement of their solos. The ambience is exquisite, casting a spell that isn't broken until the final note fades. A masterful album from start to finish. ~ Jo-Ann Greene, All Music Guide

Songs / Tracks Listing

1. Gedanken (5:06)
2. Lassie (traditional) (5:06)
3. Gitarrenstuck (2:03)
4. The Old Man's Song (5:26)
5. Schmetterling (9:31)
6. Nossa Boba (8:06)

Total Time: 35:18

Line-up / Musicians
- Jenni Schucker / vocals, flute, shells
- Willi Kismer / vocals, guitars, zither
- Lutz Ringer / metallophon, bass
- Mike Hellbach / congas, tabla, spoons, mellotron
- Peter Bursch / vocals, acoustic guitar, sitar, flute

folk-a-doodle-do

Emtidi -Saat (1972) (Incredibly beautiful seminal German Acid-Folk) (mostly sung in English) HIGHLY RECOMMENDED!

Besides Broselmaschine, Holderlin, and Lang'Syne, this is perhaps the best of the four top albums of 70's german psych-acid-folk era.

"A beautiful, dreamy album by GERMAN FOLK ROCKers Emtidi! This one belongs to Pilz catalogue (where have been signed al the best of German "acid" folk at the beginning of the 70's). A similar experience to Hoelderlin's "Traum" with its entire enchanting, calm and "pastoral" atmosphere. The omnipresence of the deep, fragile and emotional voice of the female singer provides a delicate touch of poetry. The instrumental accompaniment is very classic: a textural world of acoustic sounds from medieval to Celtic, always played with serenity. A few tracks include keyboards' arrangements as in the celestial; epic and organ dominated "Touch the Sun"..." - philippe-ProgArchives-

Maik Hirschfeldt / vocals, guitars, bass, synthesizer, flute, cymbals, vibraphone, Muzzle drums-
Dolly Holmes / vocals, organs, electric piano, piano, Mellotron, electric spinet
With:- Dieter Dierks / percussions, bass and help with Mellotron.

Track Listing :

1. Walkin' in the Park (6:27)
2. Träume (3:15)
3. Touch the Sun (11:42)
4. Love Time Rain (2:43)
5. Saat (4:07)
6. Die Reise (10:04)

http://www.mediafire.com/?zmdwlmjzjm2

Sunforest -Sound of Sunforest (great classic 60's Psychy-Folk Album)

Sunforest were a sort of poppier, all-female American (albeit Uk-based) version of The Incredible String Band (albeit not so weird). Their lone 1969 album is a good period piece, full of warm and gentle beatlesque psycho-pop tunes, tinged with slight Renaissance reminiscences. Terry Tucker went to London with two girlfriends, Erika Eigen & Freya Houg become pop singers and were discovered almost right away in a working cla cafe drinking tea. A man came in a fur coat from Decca Records, wanted to hea their songs and they went to the studio that night and recorded a demo. Two weeks later they wanted to record an album and he became their manager. They were his American girls. They recorded their one and only album Sound of Sunforest in 1969. Kubrick wanted them to record Overture for the Sun [and Lighthouse Keeper] for the soundtrack [to A Clockwork Orange]. It got recorded again, Terry wrote some changes in the arrangement for the film. […] Overture is instrumental, like a little renaissance piece. Terry wrote and arranged it, played harpsichord on it. Lighthouse Keeper is a song that Erica wrote and Terry sang backup on it and played the piano. Terry stayed in England about 12 years and came home to the US after the band broke up. (MalcolmMcDowell.net)

Tracklisting:

01.Overture To The Sun (1:40)
02.Where Are You (2:42)
03.Bonny River (2:41)
04.Be Like Me (2:10)
05.Mr. Bumble (1:49)
06.And I Was Blue (2:49)
07.Lighthouse Keeper (2:04)
08.Old Cluck (2:41)
09.Lady Next Door (2:26)
10.Peppermint Store (2:00)
11.Magician In The Mountain (4:09)
12.Lovely Day (2:45)
13.Give Me All Your Loving (2:38)
14.Garden Rug (2:13)
15.All In Good Time (3:45)

Sunforest: Terry Tucker - Piano, Harmonium, Harpsichord, Hammond Organ and Vocals
Freya Houge - Spanish Guitar, Banjo and Vocals
Erika Eigen - Latin American Percussion, Ankle Bells and Vocals

Special musicians:

*Tunea Percussion - Reg Weller, Jim Lawless, John Blanchard
*Bass Guitars - Herbie Flowers, Joe Mudele
*Drums - Dougie Wright, Ronnie Verre
*Electric Guitar - Jim Sullivan
*Violins - R. Mosley, D. Wolfsta
*Viola - F. Riddle
*Cello - Malca Cossak
*Trumpets - Ralph EizenLess London, Cliff Haines
*French Horns - John Burden, Andy McGavin
*Piccolo, Flute, Bass Clarinet - Harry Smith
*Oboes - S. Sutcliffe, Les Baldwin

Sunforest.rar