Psychedelic Folk Pop: The George-Edwards Group - 38:38 / 1977 (2009 Bella Terra)

Originally released in a miniscule private pressing of 100 albums in 1977, 38:38 is among the most celebrated rarities of its time. Blending synthesizers and acoustic guitars for a sound that prefigures the "folktronica" concept of two decades hence, this is a skillfully constructed pop album with a subtly psychedelic feel and some genuinely great songs.(Charity Stafford, allmusic.com)

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Psych Garage Rock: The Churchills - The Churchills 1968 (2001 Rockfever)

The Churchills' sole album is above average for a rare psychedelic late-'60s obscurity, and an important document as the only Israeli psychedelic record to achieve even a bit of an international cult, but not as interesting as some of the buzz generated on the collector's circuit may have you believe.

Heavily influenced by both West Coast psychedelia and late-'60s British hard rock, there's often a Jack Bruce-type resonance to the vocals, and a garage-Doors vibe to the guitar-organ interplay and spacy-but-somber lyrics. Sometimes they let more of a Middle Eastern element into play, as on "Subsequent Final," a mandolin tune which sounds like a psychedelic hora dance.

The CD reissue adds four bonus tracks from early-1970s singles, including covers of Led Zeppelin's "Living Loving" and the Beatles' "She's a Woman," that are more run-of-the-mill hard rock. (Richie Unterberger, allmusic.com)

The album can convince with good songs. Garage Rock as well as good arranged psych pop songs like ''When you're gone''. The album is really fun and it's a pity that it remained the only one of the band.^(Frank)

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Psychedelic Pop, Experimental, Jazzy, Rock: The Web - Fully Interlocking 1968 (2008 Esoteric)

One of the more eclectically inclined bands to emerge out of the British psychedelic scene, the Web hailed from the same neck of the woods as Robert Fripp, Greg Lake, and Al Stewart, and very much shared in the same serious outlook that characterized those talents.

Jazz-tinged and blues-laden, the Web moved to London in 1966, eventually signing to one of the few labels that actually seemed geared toward their darkly uncommercial brew, Decca's Deram subsidiary, but the three albums the band cut were never going to set the charts on fire, no matter how sincerely atmospheric the music therein.

Moodily produced by Mike Vernon, 1968's Fully Interlocking debut is generally regarded as the band's finest hour, a thoughtful and oftentimes dense exploration of themes, rhythms, and melancholies that were uniquely their own.

Three bonus tracks then bounce this reissue up to 13 songs via an intoxicating blueprint for Blood, Sweat & Tears' "I'm a Man" and "God Bless the Child," and -- standing out like more sore thumbs than any single band should be able to raise -- the Bee Gees' "To Love Somebody." What were they thinking? (Dave Thompson, allmusic.com)

 ''Fully Interlocking'' is compared to the usual pop music quite different. But i think the band was underrated back then. On one hand pop songs, sometimes sounding a little bit easy listening, on the other hand jazzy sounds and songs without any chance for commercial success but still great songs.
I really like this album and it's certainly worth a listen for open minded pop fans of late sixties pop music.The band released two further albums after this and when there is interest i'll post them later, too.(Frank)

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British Folk, Folk Rock, Folk Prog: Tudor Lodge - Tudor Lodge 1971 (1994 Si Wan, S.Korea)

The trio of Lyndon Green, John Stannard, and Ann Steuart, backed by a heavyweight band of folk and classical legends (the redoubtable rhythm section of Danny Thompson and Terry Cox included), Tudor Lodge were unashamedly pastoral -- their music is the sound of a summer's day in centuries past, where "grey-backed squirrels run to safety," ("Forest"), ladies "disappear into the sunset, shrouded in organdie and wine" ("Willow Tree"), and even bloody battlefields become a place for quiet contemplation ("Help Me Find Myself").

And, all the while, clarinets twinkle, violins sigh, and cellos call to one another across the verdant fields. Recorded in a mere two weeks in early 1971, Tudor Lodge is very much a child of its times -- hopeful, gentle, and so delicately melodic that, even with harmonies hurtling like asteroids across "I See a Man," there is a Spartan simplicity to the record that surely exacted a major toll on the latter-day likes of Belle & Sebastian -- a comparison that the almost raunchy guitar and psych-soaked wah-wah of "The Lady's Changing Home" only amplifies.

In its original vinyl form, Tudor Lodge was released in a grandiose six-panel die-cut sleeve, decorated with the intricate penciled sketches of artist Phil Duffy. In common with Akarma's other Vertigo reissues, this fabulous packaging has been restored in its entirety. Like the music, it's breathtaking. (Jo-Anne Green, allmusic.com)

The album of the same name by Tudor Lodge, released in 1971, convinces with appealing arrangements, great vocals and a strong songwriting. The songs are arranged in a very own way, often pop-oriented. The orchestral sounds fit into the songs completely naturally and reinforce the positive impressions the album leaves on me. A marvelous album.(Frank)

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Pete Brown & Piblokto! - Thousands On A Raft 1970 (2009 Repertoire)

Thousands on a Raft is remembered as much for its cover as anything else -- a picture of a model Titanic and a model Concorde sinking in a puddle, as rafts of toast ferry thousands of baked beans to the shore. Musically it was some good jazz-rock, with the emphasis not always on Brown's vocals and elliptical lyrics, as Jim Mullen's "Highland Song" offered an inventive, lengthy instrumental as the disc's centerpiece.

The title cut has a Pink Floyd edge, surprising given Brown's predilection for jazz and blues, but it works well in the context. Guitarist Mullen is co-writer throughout, while the rhythm section of Rob Tait and Steve Glover swing rather than plod.

"Station Song Platform Two" employs Mellotron to full prog rock effect, while "Got a Letter from a Computer" seems eerily ahead of its time for the early '70s. This was the last gasp of this incarnation of Piblokto!, but there's no doubt they went out on a high note.(Chris Nickson, allmusic.com)

Pete Brown was a talented all-round artist, if you will. Poet, lyricist, singer and musician. And all his art always took place at a high level. Most commercially successful certainly with his work for Cream. As versatile as Brown as an artist is this album and I can only recommend it to everyone. (Frank)

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                                         pass: SB1

Moby Grape - Truly Fine Citizen 1969 (2007 Sundazed) Reissue, remastered, bonus tracks '67-'68

1969's Truly Fine Citizen was the last gasp for the original incarnation of Moby Grape. The departures of guitarist Skip Spence and bassist Bob Mosley had reduced the once-mighty band to a trio, and sessionman Bob Moore had to be brought in to fill out the lineup. Columbia Records decided Moby Grape needed a break from producer and studio collaborator David Rubinson, and they were sent to Nashville to record with Bob Johnston, best known for his work with Bob Dylan.

Johnston reportedly began the sessions by announcing the album had to be recorded in a mere three days, and if the musicians didn't like it they were free to leave. And Moby Grape were in the midst of an ugly legal dispute with their manager that resulted in most of the songs on the album being credited to Tom Dell'ara, their road manager. Given all this, it's a pleasant surprise that Truly Fine Citizen isn't a disaster -- it's a loose but amiable set of sunny psychedelic pop-rock with a decided country influence.

Guitarists Peter Lewis and Jerry Miller had already shown their country leanings on Moby Grape '69, and here it comes to the forefront with some solid Nashville-style picking, and their harmonies with drummer Don Stevenson remain one of the highlights of the group's sound. There are a few good songs on board, including "Looper" (which had been in the Grape's repertoire since their earliest days), the sunny "Changes, Circles Spinning" and the title cut, a tribute to a mystic healer the band had met on the road. But Truly Fine Citizen was basically a rush job recorded to finish out Moby Grape's contract with Columbia, and too much of the time that's just what it sounds like, despite the obvious talent of the musicians, and the jazzy "Love Song, Pt. Two" and "Now I Know High," which at 6:14 meanders twice as long as the album's second longest tune, are clear filler on an album that's barely over a half-hour long.

Moby Grape were still capable of making a good album when they cut Truly Fine Citizen, but they scarcely had the opportunity to demonstrate that.(Mark Deming, allmusic.com)

Of course, only half of the original Moby's were still together here, but the musicians they brought in justified the trust placed in them. Despite unfavourable conditions the band presented a good album.(Frank)

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Psychedelic Pop, Rock, Prog from Iceland: Trubrot - Undir Ahrifum 1970 (2009 Shadoks)

The second album by early-'70s Icelandic group Trúbrot marks a significant change in their sound, the result of extensive personnel upheaval. While the band was originally the combination of members from some of Iceland's biggest bands, Hljómar and Flowers, their female vocalist, Shady Owens, departed before the album was recorded, as did organist Karl Sighvatsson and drummer Gunnar Jökull Hákonarson.

The two remaining members, Gunnar Pordarson and Rúnnar Júlíusson, found two replacements and moved forward as a quartet. The band's earlier sound, which mixed '60s pop with occasionally heavy boogie in the vein of Deep Purple or Led Zeppelin, was largely abandoned on Undir Áhrifum, in favor of a looser, folkier sound based on vocal harmonies.

Many songs recall Crosby, Stills & Nash with their multi-part vocals and jangling acoustic guitars, while others -- "Tracks" in particular -- sound very influenced by Rod Stewart's work with the Faces, and the nearly 11-minute "Feel Me," with its liturgical organ and hammering drums, sounds like Uriah Heep at their most depressive. In another major shift, almost all the lyrics are in English, rather than Icelandic, something that was controversial in their homeland at the time. This is a strong example of early-'70s progressive rock, recommended to fans of the type of thing the Shadoks label typically unearths and puts out.(Phil Freeman, allmusic.com)

The album has a lot to offer. Above all good songs and despite different styles the album still sounds like from one casting. This is mainly due to the excellent vocal passages which give the songs a high recognition value. After the band was almost at the end, the remaining two band members managed to record a versatile second album. Recommended.(Frank)

 

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Allan Clarke - My Real Name Is 'Arold 1972 (2009 Magic Records)

I think it's unnecessary to explain who Allan ''arold'' Clarke is. The voice of the Hollies presented his first solo work with this album and I anticipate it: also his best solo work. Every song on the album is first class. Both the passionate vocal performance and the great songwriting and of course the wonderful arrangements lift this album above all other Clarke albums. None of his later albums could reach this intensity.
No matter if the balladesque songs or the rock songs, Clarke presents the songs with his voice and musicianship really masterfully. Highly recommended. (Frank)

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Anno Domini - On This New Day 1971 (2006 Repertoire)

Rare and sought-after UK Psych-folk album from 1971. Formed in Ireland by Tiger Taylor (Ex Eire Apparent), their album makes one think of what the Byrds would have sounded had they been British.

Mostly original songs, although they do a brilliant cover of "So you want to be a Rock'n'Roll star", the record combines melodic folk tunes with other guitar-drenched rockers; great voices and delicious original songs. If you like the Byrds but are a fan of British psychedelia, this is for you.(rockadrome.com)

Sometimes a few words are enough to describe an album (as good as possible). If you like the Byrds and british psychedelia from the mid sixties to the beginning of the seventies and a dose of nice folk pop you are right here. The songs are full of fine melodies, tasteful guitar work and i couldn't find a weak song here. Enjoy.(Frank)

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Steve Howe ‎– Mothballs - Groups & Sessions 1964-69 (2001 Big Eye Music)

Before joining Yes, Steve Howe had nearly a decade's worth of experience with other groups under his belt. This is a first-rate 25-track compilation of his '60s work, with six previously unreleased cuts, starting in 1964 with the raw R&B/beat band the Syndicats, moving to soul-mod with the In Crowd, psychedelia with Tomorrow (six of the better tracks from their sole LP are included), and progressive rock with Bodast.

Howe's playing is always interesting, and the material is pretty solid, serving almost as a road map of British rock trends of the '60s. It also includes the unreleased instrumental single he cut under his own name in 1967, a rare single by Tomorrow singer Keith West, and an unreleased track by the short-lived Canto, which was renamed Bodast. Although the six tracks by Tomorrow and the three by Bodast are easily available on separate CDs devoted to those groups, the remainder are quite hard to find.

As a whole, it shows him as a player nearly the equal of Jimmy Page in versatility and imagination, although Howe's work from this time is much less widely recognized. (Richie Unterberger, allmusic.com)

Of course Steve Howe is one of the great guitarists in pop and rock from the 60s/70s decade and this collection is a good cross section from the second half of the sixties which shows not only the different musical styles but also his development as guitarist.(Frank)

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