***Los Jaivas (Chile) -El Volantin -Mad wild rare Psych/prog/ethnic raveup!***

Los Jaivas appeared in Chilean music in 1963 as a progressive-rock-andino group, mixing rock with South American ancestral music. The Parra brothers met Mario Mutis and Eduardo "Gato" Alquinta (gato is the Spanish word for cat) in their childhood and joined to play music. They acquired fame in Viña del Mar, by playing at diverse parties and shows.

Name

The former name of the band was High-bass, which related to their differences in height, although another source mentions that it was because the bass guitar played at a very high volume compared to the other instruments. However, they quickly realized that an English-sounding name was not appropriate for a folk band, so they changed it to Jaivas (HIGH-BASS), a "Chileanized" pronunciation of "high bass" which ignores the fact that bass rhymes with base in English. The spelling of Jaivas is also a word play with the word Jaibas, which means crabs in Spanish.

'El Volantin' is one of the most sought after long plays of Chilean music history,fetching prices of 900-1000 USD.

The music on this album was almost completely derived from improvisations, and can be considered as a performance of a "happening". It was pretty wild and free. From 20 hours of work only 40 minutes were used for publication. There were only 500 albums printed. It became not so widely known because it also did not fit to what radio stations usually played. The usual rock groups from that time explored the electroacoustic styles, and were influenced by Cream or Jimi Hendrix and Led Zeppelin. Los Jaivas used the development of improvisation, also during the live concerts.This album was first privately released, with free, freak-out and drugged like versions of music based upon Chilean Folk fundaments and demented percussion. Not always fantastic, but with fine moments. Especially "Cacho" is worth discovering. The rest might be a bit exaggerating. Almost the complete album was totally improvised.

(From:http://progressive.homestead.com/LOSJAIVAS.html)

Los Jaivas are still active in Chile.


Songs / Tracks Listing

1. Cacho (5:44)
2. La Vaquita (7:11)
3. Por Veinticinco Empaná (3:00)
4. Tamborcito De Milagro (4:00)
5. Que O La Tumba Serás (3:22)
6. Foto De Primera Comunión (6:34)
7. Ultimo Día (8:26)
8. Bolerito (0:25)

Total time 38:44

Line-up / Musicians

- Gato Alquinta / lead and backing vocals, electric and acoustic guitars, recorder, ocarina, tumbadora
- Mario Mutis / bass, vocals, acoustic guitar, recorder, tarka, tumbadora, tambotcito de milagro, pandereta
- Eduardo Parra / organ, bongo, kultrum, xylophone, backing vocals
- Claudio Parra / piano, güiro, rasca de metal, pandereta, maracas, tambotcito, backing vocals
- Gabriel Parra / drums, tumbadora, kultrum, caja, maracas, cacho, trutruca, piano introdaction, vocals (2), backing vocals

Guest musicians:
- Geraldo Vandré / vocals
- Monks of Abadia del Viejo Mundo / bells

here

***Tom Ze & Gilberto Assis -Santagustin (Brazil 2002) -This is GREEAAT!!***

The reviewer below also says "I can say that I have yet to hear a bad record by the guy, including his 90s comeback albums Hips of Tradition (1992) and Fabrication Defect: Com Defeito de Fabricao (1998). Strike that. I have yet to hear a Zé record that wasn't pretty great-- and in light of Animal Collective's recent Brazilian odd-ysseys, now is as good a time as any to seek out one of the country's original outsiders."


"Santagustin finds Zé returning to his roots in theater, as he teams with composer Gilberto Assis to provide music for the ballet troupe Grupo Corpo. Ballet? Yes, but check it: It's got homemade answering machine IDM, discordant guitars and flutes with "Tom Sawyer" drums, non-discordant guitars and mandolins that will appeal to the same sect of Brazilian music lovers who dug Sung Tongs, guys and gals going, "Gee-ahhh, oh-way-oh-way, oh-waaayyy!", and lots of pitter patter Brazilian percussion. Apparently, Zé based his music on the ideas of Christian philosopher Saint Augustine, though to read a translation of his comments in the CD booklet is to enter a convoluted world of whimsical theory: "The technique of inducing a controlled infection in order to produce an antidote is well known. In this instance, through controlled error in the tonal functions we create a ferment ranging by degrees between rage and inoculation." It goes on like this. Fortunately, most of this (wordless) music is its own reward.

Opener "Marco da Era" begins as a cold, repetitive cell-phone ring, moving subtly into tones from other phones and eventually morphing into micro-beat electronica. The high pitches and digital precision sound closer to Mille Plateaux than Bahia, and when the messy splatter of brass that ends the piece hits, I wonder if I somehow managed to insert the wrong CD. However, "Ayres da Mantiqueira"-- with synth-flute, off-key whistling, pizzicato plucking and counterpoint of acoustic and electric guitar-- betrays Zé as the heart of this music. Likewise, the bouncy, classically tinged "Nogueira do Monte" sounds practically lifted from one of Zé's mid-70s LPs, with immediately distinctive guitar figures and a vocal melody fit for restless kings.

"Pixinguim-Rasqueira" also features a Zé trademark of short, wordless vocal accents like "oh!" and "ah!" used as percussive thuds and pings, amid more intricate acoustic guitar arpeggios and bizarre horn lines sounding part of a demented circus orchestra. Throughout the CD, there is a faux-chamber orchestral feel (which gets the better of my interest on the fairly tedious "Ciro-Gberto"), though its best moments are invariably the bubbliest and most infectiously catchy. I wouldn't recommend anyone start with Santagustin as an entry into Zé's music, but fans will easily pick out the joyous, eccentric strains of his stuff."

01 - Choro 1: Marco da Era
02 - Choro 2: Ayres da Mantiqueira
03 Choro 3 Nogueira do Monte
04 -Choro 4 Moura-Sion
05 - Choro 5 Pixiguim-Rasqueira Marky-Patifório - Hermetório - Joãogilbertório - Yamanduzório
06 - Choro 6 Ciro-Gberto
07 - Choro 7 Bate-Boca
here

***Tom Ze - Grande Liquidacao -Fantastic Eccentric Tropicalia! (Brazil)***

Tom Zé (Portuguese pronunciation: [ˈtõ ˈzɛ]; born Antônio José Santana Martins, 11 October 1936 in Irará, Bahia, Brazil) is a songwriter, multi-instrumentalist, and composer who was influential in the Tropicália movement of 1960s Brazil. After the peak of the Tropicália period, Zé went into relative obscurity: it was only in the 1990s, when the musician and label head David Byrne discovered an album recorded by Zé many years earlier, that he returned to performing and releasing new material.

In 1968 Tom Ze moved from Salvador, Bahia to Sao Paulo where he hung out and wrote with his friends Gilberto Gil and Caetano Veloso. Although initially part of the Tropicalia movement, Ze was extremely independent and determined to forge his own musical path. He started by recording Grande Liquidacao, a hyperactive pop album backed up by two incredible psychedelic rock bands: Os Brazoes and Os Versateis.

Tom Ze's material on this album includes traditional Brazilian Tropicalia laced with crazy vocal melodies and samples a multitude of genres from funk to psychedelic rock and bossa nova creating, in the process, a sort of unheard pop exotica. This is especially apparent on the track Gloria with its changing tempos, bubbling instrumentation and off-the-wall harmonies. The pace of the album, considering it was the 60s, is brutal, so Ze takes a break between songs to address the listener before resuming his zigzag trajectory. The album here also includes the fantastic Parque Industrial which was later recorded by Gal Costa, Gilberto Gil and Caetano Veloso on the Tropicalia: Panis et Circenses album.

Style

Remaining true to the experimental and Dada impulses of Tropicália, Zé has been noted for both his unorthodox approach to melody and instrumentation, employing various objects as instruments such as the typewriter.[5] He has collaborated with many of the concrete poets of São Paulo, including Augusto de Campos, and employed concrete techniques in his lyrics. Musically, his work appropriates samba, Bossa Nova, Brazilian folk music, forró, and American rock and roll, among others. He has been praised by avant-garde composers for his use of dissonance, polytonality, and unusual time signatures. Because of the experimental nature of many of his compositions, Zé has been compared with American musicians such as Frank Zappa and Captain Beefheart.[6]

One of his last efforts, though, has been a return to Bossa Nova, his Estudando a Bossa - Nordeste Plaza. Says Zé: “That music has inhabited my psyche for 50 to 60 years. Familiar and profound, yet somehow extraterrestrial in my mind. It had to come out, to be dealt with.

***Le Orme -Ad Gloriam -(Italy) -wonderful psychedelia!***

Le Orme (Italian: "The Footprints") is an Italian progressive rock band formed in 1966 in Marghera, a frazione of Venice. The band was one of the major groups of the Italian progressive rock scene in the 1970s. They are one of few Italian bands to have success outside their own country, having played concerts across North America and Europe, and releasing an album in English at the height of their success.

Beginnings (1966-1970)

Le Orme was founded in 1966 in Venice by Aldo Tagliapietra (vocals, guitar), Marino Rebeschini (drums), Nino Smeraldi (lead guitar) and Claudio Galieti (bass guitar). Originally intending to name themselves Le Ombre, a literal translation of The Shadows, they ultimately decided on the similar sounding Le Orme. The band's early work evoked a feel somewhere between beat and psychedelic rock,[1] similar to what was coming out of the United Kingdom at the time. One of their first major performances was June 2, 1966, when they and other local bands accompanied a British beat group, The Rokes, at the Teatre Corso in Mestre.

In 1967, the day after recording their first single, "Fiori e Colori", for Milan's CAR Juke Box label (having been rejected by EMI), Rebeschini left for the military. He was quickly replaced by Michi Dei Rossi of the dissolved Hopopi. The following year, their second single, "Senti l'estate che torna", was chosen to participate in Un disco per l'estate, a televised music competition organised by the Italian Phonographic Association and RAI.[3] It was at this time that Tony Pagliuca (formerly of Hopopi and Delfini) joined the group on keyboards. Later in the same year, the band began recording its first album, Ad gloriam, to be released in 1969. Soon Galieti left for the military as well, leaving Tagliapietra to cover on bass guitar. Not long later Smeraldi left as well, leaving the trio that would be at the core of the band for its most successful era. An evolution in their sound towards more richness and complexity can already be heard in a non-album single the band would publish in 1970, "Il Profumo delle Viole / I Ricordi Più Belli

Mainstream success (1970-1977)

In the spring of 1971 Le Orme recorded their second studio album, Collage. Thanks to its promotion through the RAI radio program Per voi giovani, the album was quickly successful, earning a top 10 placing in the Italian charts.[4] This was followed up with Uomo di pezza in 1972, which topped the Italian charts.[5] Uomo di pezza also generated a hit single, "Gioco di bimba", and the band toured Italy in December 1972 with Peter Hammill of Van der Graaf Generator (VdGG being on hiatus at the time). It was with their next album however, Felona e Sorona, considered to be one of the "finest examples of Italian progressive rock",[6] that Le Orme truly gained prominence beyond their home country. At the request of Tony Stratton-Smith, Le Orme recorded an English version of Felona e Sorona for Charisma Records, with translation provided by Peter Hammill. The band toured the United Kingdom in support of the album, including dates at the Marquee Club and the Commonwealth Institute.

In January 1974, Le Orme recorded their first live album, In concerto at the Teatro Brancaccio in Rome. Later in the year a further studio album, Contrappunti, followed. It also was successful, charting in the top ten, but failed to reach the lofty heights achieved by Felona e Sorona. In 1975 Neil Kempfer-Stocker's Cosmos imprint issued Beyond Leng, a largely instrumental compilation to introduce the band to a wider American audience. The band then headed to Los Angeles to record their next album. At the same time, they hired a guitarist, Tolo Marton, bringing the group to four members. The resulting Smogmagica, boasting a cover by Paul Whitehead, was significantly more commercially-oriented than their previous work, and was largely viewed as a disappointment by fans.[7] Marton left soon after the album was completed, and Germano Serafin was recruited in his stead. The following album, however, Verità nascoste, was a return to form and would prove to be a high point as the band would soon suffer from the downturn in progressive rock's popularity.

Changes in direction (1977-1982)

Following the release of their eight studio album, Storia o leggenda, Le Orme retired from touring to focus on exploring new directions for their music.[9] The result was 1979's Florian in which the band members traded in their electric instruments for classical ones, emerging with a sound more akin to chamber music than rock. The album was critically acclaimed, winning an Italian Music Critics' Award.[10] They followed up with Piccola rapsodia dell'ape, which, although stylistically similar was not nearly as successful. Reverting to their classic trio formation, the band attempted to return to the mainstream with a straight-pop effort, Venerdì. This album was also unsuccessful, and the band split amiably following its release.Reformation (1986-1992)

Le Orme would reform in 1986, intending to play concerts only.[9] They were soon persuaded to enter a single, "Dimmi che cos'è", at the 37th annual Sanremo Music Festival, where it finished seventeenth.[11] Though concentrating their efforts on concerts, the band released another studio album, titled simply Orme in 1990. Another pop effort, the disc went largely unnoticed. In 1992, Pagliuca ended more than two decades with the band to be replaced by Michele Bon. Later the same year the band added Francesco Sartori on piano.

Return to form (1992-present)

Encouraged by the success of their concerts and strong sales of their 1970-1980 anthology, the band returned to the recording studio. The resulting product, 1995's Il fiume, a "triumphant return"[12] to the sound that made them famous more than twenty years before. A string of concerts, culminating in appearances at progressive rock festivals in Los Angeles, Quebec City and Mexico City, followed. Two further albums were released, Elementi in 2001 and L'infinito in 2004, completing with Il fiume a trilogy around the concept of the "becoming" of the human being. Le Orme have since headlined NEARFest 2005, and recently returned to a trio formation. They continue to play concerts both inside and outside of Italy. At the end of
2009, Aldo Tagliapietra left the band.here

***The Tafo Brothers – Plugged In Pakistani Pops (2009)***

01 – Yeh Aaj Mujih Ko
02 – Tut Tooro Tooro Tara Tara
03 – Oh My Love
04 – Bura Honda Juwariyan Da
05 – Par Kahin Aankh Laraee
06 – Bijli Bhari Hai
07 – Dilon Man Laee
08 – To Shamae-Mohabbat
09 – Mera Mehboob Hai Tu
10 – Lakh Karo Inkar
11 – Tere Siwa Dunya Men
12 – Munda Shahr Lahore Da
here

***Andy Votel and Jane Weaver -Europium Alluminate Mix -spooky childlike female vocals!***

This video doesn't i think depict music from the mix, but it does depict its strangeness and surreal charm..
Andy Votel and Jane Weaver have brewed a magical blend of spectral, eldritch, female-centric folk called Europium Alluminate. Its tracklist (damnably AWOL, as is common with many Votel-helmed mixes) emanates from a time when irony in music was mostly unconscionable. The prevalent doe-eyed sincerity is positively touching and the gentle sonic strangeness utterly charming.here

Vague tracklist, from what i managed to 'Shazam'!!:-

*Pearl's Dream (from b/w old film Night of the Hunter)

*My name is Nobody -Ennio Morricone from ??

*Say your prayers -Dot -From comp lp 'Everything you ever wanted to know about Twisted Nerve but were Afraid to Ask'

*Turning in Circles -Jane Weaver from'The Fallen By Watch Bird'

*Valzerino del Nonno -Carlo Savina & Orchestra- from 'Giulietta Degli Spiriti'

*Noctilumina - Jane Weaver- Fallen by Watch Bird

*Lilith -singing in the Dark -Bruno Spoerri - 'Glucksgugel'

*Prinderella -The Holy Mackerel -The Holy Mackerel

*Est-ce que tu -Dusty Trails -'Dusty Trails'

*Magic Man -Heart - 'Dreamboat Annie'

*March of the Siamese Children -Martin Denny -' the Exotic Sounds of Martin Denny'

*Rosemary's Party - Urszula Dudziak -Rosemary's Baby OST

*Tape-Tape-Tape - Jeanne Marie Sens -Dirty French Psychedelics

*H.i.a - Horrific Child - 'Letrange Mr Whinster'

*Jay -Grace Slick -'Manhole'

*Silver Chord -Jane Weaver -the Fallen by Watch Bird

..some of these are definites, some not so much, and there is still much good bits i couldnt tag at all... Never mind!

***Andy Votel (various artists) Vintage Voltage -Global Robotic Rock***

Review From Amazon.co.uk:

Volume 4 of Andy Votel's Fat City Mix CDs, this is another trawl through his global record collection. Whilst the previous three volumes have been mostly of the psych variety, the focus here is on electronic, synth driven pop and rock. Featuring cuts from 72 songs crammed into 78 minutes, there is no one except Votel that could conceive and pull something like this off - it's both audacious and bold but, like the previous volumes, it works perfectly.

Krautrock, Electro-Pop, Library and just about just about every known other-wordly genre - even Bollywood - have been cherry picked for obscure robotic and electronic sounds. It's seamlessly mixed and there is never a dull moment. As usual there's no track list and casual listeners will be hard pushed to name more than a few tracks - Votel does not deal in mainstream music.

Shazam says:

Zodiac ЗОДИАК (zodiac) (russian band)
Toc -tom ze -"estudando o samba" 1976
Robot - Plastics (Japan) - "forever plastico"
@37:21-40:40 -Guitar El Chark -Omar Khorshid -"Rhythms from the Orient" OR "Guitar El Chark" compilation ( <- ON THIS BLOG!!)
Jumping balls -klaus Weiss - Colours of Funk (Various artists)
Medley: Transfert I/Hypnos/Transfert II -Libra -The Shock OST (1970's)
Olamam ki -Gyzin ile Baha
The Pleasure - Metal Boys
La Porta Chiusa -Le Orme (first lp)(ON THIS BLOG!!)

Recommended.here

Mustafa Özkent "Gençlik İle Elele" Psychedelic groovy jazzy breakbeat fusion 1973

Mustafa Özkent "Gençlik İle Elele" 1973

Turkish composer, arranger, and musician Mustafa Ozkent was a lesser-known but significant figure on the Ankara music scene until his music belatedly found a receptive audience in the West more than four decades into his career. Ozkent launched his career as a professional musician in 1960 as the leader of a Turkish pop group called the Teenagers (owing to the fact no one in the group was over the age of 19). A talented guitarist who was known to modify the design of his instruments to create unusual tonal qualities, Ozkent earned a reputation as a gifted maverick and by the dawn of the 1970s was in demand as a session player, arranger, and producer, creating music that fused psychedelic and pop/rock influences with R&B grooves and jazz-influenced improvisations. In 1972, Ozkent partnered with Evren Records, a Turkish label known for its high production standards and audiophile recording techniques; Ozkent booked time at one of Istanbul's finest recording facilities, and with a hand-picked team of musicians he began recording new material dominated by funky vamps, extended percussion jams, hard-grooving organ lines, and wah-wah guitars. The resultant LP, Genclikle Elele (Hand in Hand with Youth), sounded as if it were designed for hip-hop DJs in search of funky breaks, even though it was cut years before the nascent South Bronx scene began to flower (not to mention half a world away). In 2006, the musically omnivorous record collectors at the British Finders Keepers label reissued Ozkent's masterpiece, and it earned rave reviews in the U.K. as well as the United States. Meanwhile, Ozkent (who helped Finders Keepers with the reissue of Genclikle Elele) remains active in Turkey, releasing the album Dijital Guitar in 2005. (Mark Deming)

here

Andy Votel: (Various artists) "I Wonder if They'd Like Something Foreign with a Bit More Drums and Heavier Fuzz" (Promo)

I Wonder...: mixtape of rare foreign psych. The mix is one file but see tracklist, below:
1 Fusioon - Tocata Y Fug

2 François Wertheimer - L'Automne

3 Noor Jehan - I Am Very Sorry

4 Gábor Presser And Anna Adamis - Ringasd El Magad

5 Nahid Akhtar - Sheeshy Ki Botal

6 Dance With Action - Science Fiction Dance Party

7 Jean-Pierre Massiera - Ivresse Des Profondeurs

8 Wolf People - Tiny Circles

9 Ali Babki* - Your Grey Eyes

10 Liftmen, The - Gas Bag

11 Samandtheplants - Story

12 Jane Weaver - My Soul Was Lost, My Soul Was Lost, And No One Save

13 Bran - Breuddwyd

14 Cromagnum Band, The* - Mouth Of Madness

15 Melodians, The - The Good The Bad And The Ugly

16 Tullio De Piscopo - Fastness

17 Runa Lailia* - Meri Marzi Main Gaoon

18 Vampires Of Dartmoore, The - The Fire-Dragon

19 Samandtheplants - Number Three

20 Tafo Brothers - Dear I Love You

21 Laughing Windows, The - Salak Pazar

22 Brigitte Fontaine - Quand Les Ghettos Bruleront

23 Emma Tricca - Monday Morning Yawning

24 Jesus - Song Mortaire

25 Sevil And Ayla (3) - Bebek

26 Fusioon - Tocata Y Fug Reprise


here

***Renaissance 1969-1978 -Heavily symphonic prog with celebrated vocalist Annie Haslam***

****************************************************************


Renaissance s/t 1969


Track listing

No. Title Music Length
1. "Kings and Queens" 10:56
2. "Innocence" 7:07
3. "Island" 5:58
4. "Wanderer" 4:02
5. "Bullet" 11:21

Illusions 1971


Track listing

"Love Goes On" (K.Relf) - 2:51
"Golden Thread" (J.McCarty/K.Relf) - 8:15
"Love Is All" (J.McCarty/B.Thatcher) - 3:40
"Mr. Pine" (M.Dunford) - 7:00
"Face Of Yesterday" (J.McCarty) - 6:06
"Past Orbits Of Dust" (J.McCarty/K.Relf/B.Thatcher) - 14:39

Prologue 1972



Track listing

"Prologue" (Dunford) - 5:39
"Kiev" (McCarty-Thatcher) - 7:38
"Sounds of the Sea" (Dunford-Thatcher) - 7:07
"Spare Some Love" (Dunford-Thatcher) - 5:11
"Bound for Infinity" (McCarty-Thatcher) - 4:23
"Rajah Khan" (Dunford) - 11:31

Ashes are Burning 1973




Track listing

"Can You Understand?" - 9:51
"Let It Grow" - 4:14
"On the Frontier" (McCarty-Thatcher) - 4:55
"Carpet of the Sun" - 3:31
"At the Harbour" - 6:48
"Ashes Are Burning" - 11:20

Turn of the Cards 1974




Track listing

"Running Hard" - 9:36
"I Think of You" - 3:08
"Things I Don't Understand" (Dunford/McCarty) - 9:28
"Black Flame" - 6:25
"Cold Is Being" - 3:02
"Mother Russia" - 9:18

Scheherazade and Other Stories 1975






Track listing

"Trip to the Fair" (Dunford-Thatcher-Tout) - 10:51
"The Vultures Fly High" (Dunford-Thatcher) - 3:04
"Ocean Gypsy" (Dunford-Thatcher) - 7:05
"Song of Scheherazade" (Camp-Dunford-Thatcher-Tout) - 24:39
i. Fanfare - :38 (instrumental)
ii. The Betrayal - 2:05 (instrumental)
iii. The Sultan - 4:45
iv. Love Theme - 2:42 (instrumental)
v. The Young Prince and Princess as told by Scheherazade - 2:29
vi. Festival Preparations - 5:11 (instrumental)
vii. Fugue for the Sultan - 2:10 (instrumental)
viii. The Festival - 2:10
ix. Finale - 2:29


Novella 1977


Track listing

"Can You Hear Me?" (Camp-Dunford-Thatcher) – 13:38
"The Sisters" (Dunford-Thatcher-Tout) – 7:15
"Midas Man" (Dunford-Thatcher) – 5:47
"The Captive Heart" (Camp-Dunford) – 4:16
"Touching Once (Is So Hard to Keep)" (Camp-Dunford) – 9:27


A Song for all Seasons 1978


Track listing

"Opening Out" (Camp-Dunford) – 4:14
"Day of the Dreamer" (Camp-Dunford) – 9:43
"Closer than Yesterday" (Camp-Dunford) – 3:18
"Kindness (At the End)" (Camp) – 4:51
"Back Home Once Again" (Camp-Dunford) – 3:15
"She Is Love" (Dunford-Thatcher) – 4:11
"Northern Lights" (Dunford-Thatcher) – 4:06
"A Song for All Seasons" (Camp-Dunford-Sullivan-Thatcher-Tout) – 10:53

***Mike Oldfield - 4 of the best! symphonic prog rock***

****************************************************************************************



Hergest Ridge 1974



Track listing

All songs written and composed by Mike Oldfield.

"Hergest Ridge, Part 1" – 21:29 (the lovely, relaxing side)
"Hergest Ridge, Part 2" – 18:45 (the side with the epic electronic THUNDERSTORM!!!)

Ommadawn 1975 (Remastered 2010)




"Ommadawn (Part One) 2010 Stereo Mix by Mike Oldfield
"Ommadawn (Part Two)" / "On Horseback" 2010 Stereo Mix by Mike Oldfield
"In Dulci Jubilo"
"First Excursion"
"Argiers"
"Portsmouth"

"Ommadawn (Part One)" 1975 Stereo Mix
"Ommadawn (Part Two)" / "On Horseback" 1975 Stereo Mix
"Ommadawn (Lost Version)" 1975 Demo

Incantations 1978 (2011 Reissue Deluxe CD1)
Incantations 1978 (2011 Reissue Deluxe CD2)





Deluxe Edition track listings
Disc 1

"Incantations Part One" Remastered Stereo Mix
"Incantations Part Two" Remastered Stereo Mix
"Incantations Part Three" Remastered Stereo Mix
"Incantations Part Four" Remastered Stereo Mix
"Guilty" 7-inch Single Version

Disc 2

"Diana" 2011 Stereo Mix
"Northumbrian" 2011 Stereo Mix
"Piano Improvisation" 2011 Stereo Mix
"Hiawatha" 2011 Stereo Mix
"Canon For Two Vibraphones" 2011 Stereo Mix
"William Tell Overture"
"Cuckoo Song"
"Pipe Tune"
"Wrekorder Wrondo"
"Guilty" 2011 Stereo Mix
"Diana - Desiderata" 2011 Stereo Mix

"Diana", "Hiawatha" and "Canon for Two Vibraphones" are remixed versions of excerpts from the original album; "Northumbrian" and "Piano Improvisation" are out-takes from the album sessions (the latter previously used as part of the soundtrack for the documentary Reflection); "Guilty" is based on the original 12-inch mix of the song, but is presented here in a noticeably drier, stripped-off version, which omits all of the reverb on the original mix; finally, "Diana - Desiderata" is a remix of the "Diana" excerpt including, as the title suggests, quotations from Max Ehrmann's famous prose poem Desiderata.

QE2 1980





"Taurus I" (Mike Oldfield) – 10:16
"Sheba" (Oldfield) – 3:33
"Conflict" (Oldfield) – 2:53
"Arrival" (Benny Andersson, Björn Ulvaeus) – 2:48
"Wonderful Land" (Jerry Lordan) – 3:38
"Mirage" (Oldfield) – 4:41
"QE2" (Oldfield, David Hentschel) – 7:38
"Celt" (Oldfield, Tim Cross) – 3:06
"Molly" (Oldfield) – 1:15

***Design -Day of the Fox/ In Flight (2 albums)***

Design -Day of the Fox-In Flight

note:top ratings for these albums on Amazon uk. buy and support!

DESIGN was a British six-piece vocal harmony group in the early 1970s and its members were Barry Alexander, Gabrielle Field, Kathy Manuell, Jeff Matthews, John Mulcahy-Morgan and Geoff Ramseyer.

Design - vocal group magazine photoTheir music has been described as ‘sunshine harmony pop with a light hippy vibe’ and ‘melodic folk-pop with a shimmering, almost psychedelic, West Coast feel’. Design released five albums and thirteen singles in the UK and appeared on more than fifty television shows before they split up in 1976.

Singer and songwriter Tony Smith formed Design while he was working at the BBC in London in December 1968. The group then signed a recording contract with Adrian Kerridge of Lansdowne Studios and recorded their first album Design during the summer of 1969. This led to a two-album deal with Epic Records in the USA.

In November 1970, shortly before the first album was released, Tony Smith left the group and he was replaced by guitarist Jeff Matthews, who had been with John and Geoff in the group Free Expression.

This was Design’s most successful line-up and after their appearances on The Morecambe and Wise Show in 1971 they became one of the most televised groups in the UK, guesting on dozens of programmes with The Two Ronnies, Val Doonican, Benny Hill, Tommy Cooper, and many others.

They toured with Gilbert O’Sullivan, starred in cabaret and at the London Palladium, and recorded the albums Tomorrow Is So Far Away, Day of the Fox and In Flight before Gabrielle Field and Geoff Ramseyer left the group in October 1974.

Barry, John, Kathy and Jeff carried on as a four-piece group and recorded one more album By Design before finally splitting up in October 1976. Since then, Design’s albums have become much sought after by record collectors and they have been highly praised by music critics in magazines and books such as Shindig and Galactic Ramble.

In June 2011 Design's first four albums were reissued for the first time on CD and download by RPM Records. The albums Design and Tomorrow Is So Far Away are available on RPM Records Retro 897 and the albums Day of the Fox and In Flight on RPM Records Retro 898. A third CD of singles and unreleased tracks is planned for release in 2012.

Now once again you can enjoy the glorious sunshine harmonies of the six-piece group described by Noel Edmonds on BBC Radio One as ‘one of the best vocal groups in the world’.



Track Listings
1. NATURE'S CHILDREN
2. DAY OF THE FOX
3. I Feel The Earth Move
4. Can This Be Love
5. Pisces Hymn
6. Meet My Friends
7. If You Think About Me
8. Fallen Angel
9. Yellow Bird (Have You No Home)
10. You'd Better Believe It
11. When Morning Comes
12. Wherever You May Go
13. A Famous Myth
14. Teach Me How To Fly
15. Archie Franks
16. Dirty Work
17. Don't Apologize
18. Second Love
19. End Of The Party
20. I'll Be Back Again
21. I Am The Greene Manne
22. Losing You
23. After The Rain

link above pics. also don't miss their first two albums!!

***WHOOPS AGAIN!!

HAHA LOL i put a new link in for the FANTASTIC 'MOGOLLAR' (below)but buggered up the html so it didnt show!! its there now, or HERE!!

YEAH SOMETIMES I SLIP UP BUT I USUALLY SPOT IT IN A FEW HOURS COZ I KEEP CHECKING THE POSTS LIKE THE MENTAL PERFECTIONIST I AM.....LOL

***Mogollar-S/T 1971 rare 2nd album, fab Turkish Psych with fuzz guitar & Eastern instruments -MUST LISTEN!!!***

*note: i reposted this with more
pictures to illustrate how
colourful and wonderful this
band is!! DON'T MISS, i
wanna see more listeners!
-The band was founded in 1967 by Neco, Aziz Azmet, Aydın Daruga and Murat Ses who were previously members of Silüetler (silhouettes).

However, Neco left the band at the end of 1967. Also, Cahit Berkay, who was a member of Selçuk Alagöz Band, and Haluk Kunt, who was a member of Vahşi Kediler (Wild Cats), both joined the band.

Later, Haluk Kunt was replaced by Hasan Sel, who was a member of Apaşlar (Apachies) in 1968, and Aydın Daruga was replaced by Engin Yörükoğlu in 1969.

In 1970, Hasan Sel was replaced by Taner Öngür, previously a member of Meteorlar (Meteors) and the Erkin Koray Quartet.

The band tried to fuse the technical aspects of pop music with the melodies of Anatolian folk music in late 1960s and early 1970s

In July 1970, Aziz Azmet, the band's vocalist left the band and Ersen Dinleten replaced him for a short time.

Moğollar recorded Ternek/Haliç'te Gün Batışı (Ternek/Sunset on the Golden Horn) 45 rpm, and left for Paris in August 1970.

The group won the Grand Prix du Disque of the Charles Cros Academy (previously won by such groups as Pink Floyd and Jimi Hendrix) in 1971.

Nearly all of the tracks on this album are compositions or traditional arrangements of Murat Ses, the group's keyboardist, arranger and composer. This ambum is compelling work from the Turkish scene of the early 70s -- music that fuses rock and folk roots, and which makes heavy use of the Turkish baglama -- an instrument with strong sitar-like qualities.

Most of the tunes here are instrumentals that lay the baglama solos out over heavier rhythms -- in a driving sound that's certainly got roots in folk, but which comes off with more of a rock-like intensity.

There's a bit of fuzz on some of the instrumentation, but we can't tell for sure how much electricity was used by the band -- and although the English language notes on the CD do a great job of laying out the group's history and recordings, we wish they'd give a bit more specifics on that front!

CD features a fair number of bonus tracks, including key recordings done by Mogollar in Paris -- and titles include "Ozum Kaldi", "Misket", "Behind The Dark", "Hicaz Mandira", "Yine Bir Gulnihal", "Senhaz Longa", "Hitchin", "Dag Ve Cocuk", and "Garip".

Tracklisting:
01.Katip Arzuhalim Yaz Yare Boyle
02.Bachelere Geldi Bahar
03.Hicaz Mandira
04.Uskudara Giderken
05.Karsiki Yayla
06.Yine Bir Gulnihal
07.Sehnaz Longa
08.Drama Koprusu Bolu Beyi
09.Canakkale Icinde Ayanli Carsi
10.Misket
11.Ozum Kaldi
12.Behind the Dark
13.Halicte Gunesin Batsi
14.Hitchin
15.Berkay Oyun Havasi
16.Ternek
17.Yalnizlgin Ackli Guldurusu
18.Dag Ve Cocuk
19.Garip Coban

Mogollar:
*Cahit Berkay – bağlama,guitar,kemenche,mandolin,yaylı tanbur,vocals
*Taner Öngür – bass,vocals
*Engin Yörükoğlu – drums
*Murat Ses – synthesizer, hammond organ

here

***Gryphon -Medieval Prog par excellence!***

Gryphon (1973)

Track listing

"Kemp's Jig" (Trad. arr. Gryphon) – 3:07
"Sir Gavin Grimbold" (Trad. arr. Gulland) – 2:45
"Touch And Go" (Harvey/Taylor) – 1:29
"Three Jolly Butchers" (Trad. arr. Taylor) – 3:54
"Pastime with Good Company" (Henry VIII arr. Gryphon) – 1:31
"The Unquiet Grave" (Trad. arr. Gryphon) – 5:40
"Estampie" (Anon. arr. Gryphon) – 4:53
"Crossing The Stiles" (Taylor) – 2:25
"The Astrologer" (Trad. arr. Gryphon) – 3:12
"Tea Wrecks" (Anon. arr. Gryphon) – 1:06
"Juniper Suite" (Gryphon) – 4:49
"The Devil And The Farmer's Wife" (Trad. arr. Gryphon) – 1:55

Midnight Mushrumps (1974)

Track listing

"Midnight Mushrumps" (Harvey) – 18:58
"The Plough-Boy's Dream" (Trad. Arr. by Gryphon) – 3:02
"The Last Flash Of Gaberdine Taylor" (Taylor) – 3:58
"Gulland Rock" (Gulland) – 5:21
"Dubbel Dutch" (Taylor) – 5:36
"Ethelion" (Trad. Arr.) – 5:15

Red Queen to Gryphon Three (1974)


01. Opening Move (9:42)
02. Second Spasm (8:15)
03. Lament (10:45)
04. Checkmate (9:50)


Raindance (1975)

Track listing

"Down The Dog" (Harvey) - 2:44
"Raindance" (Harvey) - 5:37
"Mother Nature's Son" (Lennon–McCartney) - 3:08
"Le Cambrioleur Est Dans Le Mouchoir" (Taylor/Bennett) - 2:14
"Ormolu" (Harvey) - 1:00
"Fontinental Version" (Taylor) - 5:36
"Wallbanger" (Harvey) - 3:33
"Don't Say Go" (Taylor) - 1:48
"(Ein Klein) Heldenleben (Harvey) - 16:03

Treason (1977)

Track listing

"Spring Song" (Harvey/Sebastion) - 10:00
"Round & Round" (Harvey/Sebastion) - 4:30
"Flash In The Pantry" (Gulland/Sebastion) - 4:57
"Falero Lady" (Harvey/Sebastion) - 4:08
"Snakes And Ladders" (Harvey) - 5:15
"The Fall Of The Leaf" (Harvey/Sebastion) - 4:22
"Major Disaster" (Foster/Sebastion) - 4:04

from wikipedia, the free encyclopedia:

Multi-instrumentalist Richard Harvey and his fellow Royal College of Music graduate Brian Gulland, a woodwind player, began the group as an all-acoustic ensemble that mixed traditional English folk music with medieval and Renaissance influences. Shortly after this, the duo was joined by guitarist Graeme Taylor and drummer/percussionist Dave Oberlé. After their self-titled debut, they expanded their sound to include electric guitars and keyboards as well as wind instruments, such as bassoons and krumhorns, not previously used in rock music. Gryphon's music often sounded as much like rural English folk or renaissance chansons as it did rock, at least on their early recordings. After their third album (Red Queen to Gryphon Three) and the subsequent tour as a supporting act for Yes, their instrumentation became more conventional and the use of non-standard instruments was reduced. Fans and critics generally regard Midnight Mushrumps and the all-instrumental Red Queen to Gryphon Three as their finest albums.