Κυριακή, 29 Ιουνίου 2008

5th TRIPolis Rock Fest - 5th and 6th of July 2008

5th TRIPolis Rock Fest - 5th and 6th of July 2008

On the 5th (Sat) and 6th (Sun) of July ’08, in ancient Pan’s homeland, Tripolis, Peloponnesus, Greece!

5th TRIPolis Rock Fest - 5th and 6th of July 2008

Summer time here kitties and it’s time to take a TRIP on the 5th TRIPolis Rock Festival,

on the 5th (Sat) and 6th (Sun) of July ’08, in ancient Pan’s homeland, Tripolis, Peloponnesus, Greece!
This year, our fest becomes “International”, now that, bands are coming from Germany and Italy, visiting for the very first time our country, Greece!

The schedule of the 2-days festival goes like this:
Headliners of the first day (Sat 5 July) will be the band of Vibravoid coming straight from Düsseldorf (Germany). 3 other Greek bands are gonna play the same day, Drug Free Youth (Athens), The Snails (Athens) and Anthi Antekdikisis (Tripolis).

Atomic Workers (with members from Italy, Netherlands and England) are headlining the 2nd day of the fest (Sun 6 July), supported by 3 other Greek bands, Warehouse (Patra), Flames Of Love (Tripolis) and Sleepwalkers (Tripolis).

Heavy doses of Psychedelic Space Rock along with sixties garage beats alternating with more indie even classic shades of pure rock .
Doors Open at……I Forgot…..There are No Doors! … The Place is a replica of an ancient Greek Theater … and the Admission is FREE!!!Be there at 19:00.

For More Info : mtimelord@gmail.com


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Σάββατο, 28 Ιουνίου 2008

Jethro Tull - Carnegie Hall, New York - November 4, 1970

by Bruce Eder
Where the first Jethro Tull box five years earlier, 20 Years of Jethro Tull, mostly traded on radio broadcast performances and rarities, a few outtakes, and a remastered collection of key songs, 25th Anniversary Boxed Set benefits from a more thorough raid on the vaults that has yielded up one essential addition to any Jethro Tull collection. Disc two is the centerpiece of the set, containing an additional hour of the group's November 4, 1970 concert at Carnegie Hall in New York (two pieces were previously issued on Living in the Past). Preserved on a 16-track master tape, this benefit show for the drug rehabilitation program Phoenix House was the group's most prominent American gig up to that time. It's a good representation of what the band sounded like in its second incarnation, when they were still establishing themselves outside of England. The group had still not reached — or even approached — its progressive rock period, and the sound is very stripped down, a pounding mix of hard rock, acoustic folk music, jazz elements, and Ian Anderson's vocals, alternately sage-like and fierce; some of the flute acrobatics don't translate too well to tape, even in Carnegie Hall, but the transition from "Sossity, You're a Woman" into "Reasons for Waiting" — featuring exquisite organ playing by John Evan — is beautiful enough as to make up for the flaws elsewhere, as well as reminding listeners of one of the more hauntingly beautiful songs in the group's early repertory; they also unveil a song that was still, by Anderson's own account, a work-in-progress, entitled "My God."HISTORY
Jethro Tull had its roots in the British blues boom of the late '60s. Anderson (b. Aug. 10, 1947, Edinburgh, Scotland) had moved to Blackpool when he was 12. His first band was called the Blades, named after James Bond's club, with Michael Stephens on guitar, Jeffrey Hammond-Hammond (b. July 30, 1946) on bass and John Evans (b. Mar. 28, 1948) on drums, playing a mix of jazzy blues and soulful dance music on the northern club circuit. In 1965, they changed their name to the John Evan Band (Evan having dropped the "s" in his name at Hammond's suggestion) and later the John Evan Smash. By the end of 1967, Glenn Cornick (b. Apr. 24, 1947, Barrow-in-Furness, Cumbria, England) had replaced Hammond-Hammond on bass. The group moved to Luton in order to be closer to London, the center of the British blues boom, and the band began to fall apart, when Anderson and Cornick met guitarist/singer Mick Abrahams (b. Apr. 7, 1943, Luton, Bedfordshire, England) and drummer Clive Bunker (b. Dec. 12, 1946), who had previously played together in the Toggery Five and were now members of a local blues band called McGregor's Engine.
In December of 1967, the four of them agreed to form a new group. They began playing two shows a week, trying out different names, including Navy Blue and Bag of Blues. One of the names that they used, Jethro Tull, borrowed from an 18th-century farmer/inventor, proved popular and memorable, and it stuck. In January of 1968, they cut a rather derivative pop-folk single called "Sunshine Day," released by MGM Records (under the misprinted name Jethro Toe) the following month. The single went nowhere, but the group managed to land a residency at the Marquee Club in London, where they became very popular.Early on, they had to face a problem of image and configuration, however. In the late spring of 1968, managers Terry Ellis and Chris Wright (who later founded Chrysalis Records) first broached the idea that Anderson give up playing the flute, and to allow Mick Abrahams to take center stage. At the time, a lot of blues enthusiasts didn't accept wind instruments at all, especially the flute, as seminal to the sound they were looking for, and as a group struggling for success and recognition, Jethro Tull was just a little too strange in that regard. Abrahams was a hardcore blues enthusiast who idolized British blues godfather Alexis Korner, and he was pushing for a more traditional band configuration, which would've put him and his guitar out front. As it turned out, they were both right. Abrahams' blues sensibilities were impeccable, but the audience for British blues by itself couldn't elevate Jethro Tull any higher than being a top club act. Anderson's antics on-stage, jumping around in a ragged overcoat and standing on one leg while playing the flute, and his use of folk sources as well as blues and jazz, gave the band the potential to grab a bigger audience and some much-needed press attention.They opened for Pink Floyd on June 29, 1968, at the first free rock festival in London's Hyde Park, and in August they were the hit of the Sunbury Jazz & Blues Festival in Sunbury-on-Thames. By the end of the summer, they had a recording contract with Island Records. The resulting album, This Was, was issued in November. By this time, Anderson was the dominant member of the group on-stage, and at the end of the month Abrahams exited the band. The group went through two hastily recruited and rejected replacements, future Black Sabbath guitarist Tony Iommi (who was in Tull for a week, just long enough to show up in their appearance on the Rolling Stones' Rock 'N Roll Circus extravaganza), and Davy O'List, the former guitarist with the Nice. Finally, Martin Barre (b. Nov. 17, 1946), a former architecture student, was the choice for a permanent replacement.It wasn't until April of 1969 that This Was got a U.S. release. Ironically, the first small wave of American Jethro Tull fans were admiring a group whose sound had already changed radically; in May of 1969, Barre's first recording with the group, "Living in the Past," reached the British number three spot and the group made its debut on Top of the Pops performing the song. The group played a number of festivals that summer, including the Newport Jazz Festival. Their next album, Stand Up, with all of its material (except "Bouree," which was composed by Johann Sebastian Bach) written by Ian Anderson, reached the number one spot in England the next month. Stand Up also contained the first orchestrated track by Tull, "Reasons for Waiting," which featured strings arranged by David Palmer, a Royal Academy of Music graduate and theatrical conductor who had arranged horns on one track from This Was. Palmer would play an increasingly large role in subsequent albums, and finally join the group officially in 1977. Meanwhile, "Sweet Dream," issued in November, rose to number seven in England, and was the group's first release on Wright and Ellis' newly formed Chrysalis label. Their next single, "The Witch's Promise," got to number four in England in January of 1970. The group's next album, Benefit, marked their last look back at the blues, and also the presence of Anderson's longtime friend and former bandmate John Evan — who had long since given up the drums in favor of keyboards — on piano and organ. Benefit reached the number three spot in England, but, much more important, it ascended to number 11 in America, and its songs, including "Teacher" and "Sossity, You're A Woman," formed a key part of Tull's stage repertory. In early July of 1970, the group shared a bill with Jimi Hendrix, B.B. King, and Johnny Winter at the Atlanta Pop Festival in Byron, GA, before 200,000 people. By the following December, after another U.S. tour, Cornick had decided to leave the group, and was replaced on bass by Anderson's childhood friend Jeffrey Hammond-Hammond. .......


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Ten Years After - Helsinki Finland December.03.1969

Ten Years After Live In Kulttuuritalo, Helsinki Finland December 3, 1969 Set List Includes:
Spoonful 7:40, I May Be Wrong But I Won’t Be Wrong Always 9:40, Hobbit 11:10, Good Morning Little School Girl 7:30, No Title 11:25 Skoobly Oobly Doobob / I Can’t Keep From Crying Sometimes 18:30 Ten Years After Jam, Instrumental 7:50

After several years of local success in the Nottingham/Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats), and later as Ivan Jay and the Jaymen, Ten Years After was founded by Alvin Lee and Leo Lyons. Ivan Jay sang lead vocals from late 1960 to 1962 and was joined by Ric Lee in August 1965, replacing original drummer Dave Quickmire, who had joined in 1962. In 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and decided to change their name to Blues Trip, Blues Yard (under which they played a show at the legendary Marquee Club supporting Bonzo Dog Band), and finally in November 1966, to Ten Years After ( in honour of Elvis Presley, an idol of Lee's whose momentous year in rock, 1956, helps to better explain the band's title). They became the first band of the soon-to-be Chrysalis Agency. They secured a residency at the Marquee, and received an invitation to play at the renowned Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary company of Decca – the first band so signed without a hit single. In October, their 1967 self-titled debut album was released.
In 1968, after touring Scandinavia and the United States, Ten Years After released their second album, live Undead, which brought their first classic, "I'm Going Home." This was followed in February 1969 by studio issue, Stonedhenge, a British hit, that included another classic, "Hear Me Calling" (it was released also as a single, and covered in 1972 by British glam rock rising stars, Slade). In July 1969 they appeared at the Newport Jazz Festival, in the first event to which rock bands were invited. In August, the band performed a breakthrough American appearance at Woodstock; their furious-to-soft-to-furious rendition of "I'm Going Home" was featured in both the subsequent film and soundtrack album and catapulted them to star status.
During 1970, Ten Years After released "Love Like a Man," their only hit in the UK Singles Chart. This song was on their fifth album, Cricklewood Green. The name of the album comes from a friend of the group who lived in Cricklewood, London. He grew a sort of plant which was said to have hallucinogenic effects. The band did not know the name of this plant, so they called their album Cricklewood Green. It was the first record to be issued with a different playing speed on both sides – one a three-minute edit at 45rpm, the other, a nine-minute live version at 33rpm. In August, Ten Years After played the Isle of Wight Festival 1970 to an audience of 600,000.
In 1971, the band released the album A Space in Time which marked a move toward more commercial material. It featured their biggest hit, "I'd Love To Change The World". But a few albums later, the band broke up after the 1974 album "Positive Vibrations". In 1988, they re-united for a few concerts and recorded the album About Time (1989).
Alvin Lee has since then mostly played and recorded under his own name. In 2004, the other band members substituted him with Joe Gooch and recorded the album Now. Material from the following tour was used for the 2005 double album Roadworks. Ric Lee is currently in a band called The Breakers, along with Ian Ellis (Clouds).
At The Beat Club , Germany

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John 'Spider' Koerner ,Dave'Snaker' Ray & Tony 'Little Sun' Glover - Blues, Rags, and Hollers (1963)

Dave 'Snaker' Ray passed away at home in his sleep at 6:15 AM 11/28/02 R.I.P.

Koerner, Ray & Glover
“Spider” John Koerner. Dave “Snaker” Ray. Tony “Little Sun” Glover. The names are legendary, and the seminal country-blues trio they formed in the early Sixties influenced a musical era with its passionate treatments of rare blues stylings. A self-described fun-loving trio of misfits, they turned audiences on their heads with foot-stomping performances throughout the U.S., and their series of Elektra recordings, commencing with Blues, Rags and Hollers, are considered the cornerstone of the Sixties folk/blues revival. Though based in Minneapolis, Koerner, Ray and Glover first connected in New York City in the spring of 1962. Glover was visiting his pal Ray when Koerner dropped in from Upstate. Amidst the bar hopping and jamming, the three clicked, and the trio was born. By that fall, they were back in the Twin Cities, jamming and playing clubs and parties. In 1963, with the help of the editors of the Little Sandy Review, Koerner, Ray & Glover hooked up with Audiophile records in Milwaukee and in one twelve hour session, recorded Blues, Rags & Hollers. They sold several hundred records at gigs and put copies into the hands of a few influential people, including Jac Holzman at Elektra Records. When Holzman got around to listening to it he was blown away, and signed them to a recording contract. Elektra also bought the Blues, Rags & Hollers masters from Audiophile, but found that the album’s significant length posed mastering problems, and deleted four songs before releasing it in November.
Eventually, Koerner, Ray & Glover cut five albums for Elektra, with an intriguing mix of string-band, ragtime and down-home blues styles. They performed at the Newport and Philadelphia Folk Festivals as well as on the club and college circuit. Their raucous enthusiasm and musical acumen breathed life into traditional material and they earned fans that included John Lennon and the Doors. During the Sixties, Koerner kept up his solo career and in 1969 recorded the classic Elektra album Running, Jumping, Standing Still with Willie Murphy.
In the Seventies, he turned to other interests and moved to Denmark for several years. In Denmark, Koerner immersed himself in traditional American folk music. Falling in love with this genre, he began to forgo original compositions for traditional songs into which he infused his own interpretation, style and energy. Back in Minnesota in 1980, Koerner went into the studio with an outstanding group of sidemen that included Peter Ostroushko, Butch Thompson, Willie Murphy, Tony Glover, Dakota Dave Hull, and the Boston area’s bones-rattling wizard Mr. Bones. In one night while a tornado raged outside, the group recorded what has been described as one of the great folk records of all time. In late 1986, Red House released the session under the title Nobody Knows the Trouble I’ve Been. The critical response was unanimous, with accolades like “Comeback of the Year” and “Leave it to Spider John Koerner - Minnesota's premier blues picker - to salvage the soul of American folk music.” Today, Koerner is still exploring the range of folk traditions. There have been two more critically-acclaimed Red House recordings, Legends of Folk (with Utah Phillips and Ramblin’ Jack Elliott) and Raised By Humans. Red House also released a re-mastered, expanded CD version of the out-of-print Running, Jumping, Standing Still. Koerner’s rollicking treatments of traditional folk songs and self-penned classics seem to only get better and more seasoned with age.
During the Seventies and Eighties, Koerner, Ray & Glover reunited for special shows, including Folk Festivals in Winnipeg and Vancouver, and Sing Out! magazine’s thirtieth anniversary concert. One of their last trio shows in 1984 formed the foundation for Blues, Rags & Hollers: The Koerner, Ray & Glover Story, a two-hour performance documentary video produced by Glover. The Minnesota Music Awards named Koerner, Ray & Glover “Best Folk Group” and elected them to the Minnesota Music Hall of Fame along with Bob Dylan and Prince. Koerner and Ray & Glover’s recent recordings have only served to increase their legendary status, whetting the appetites of their long term fans and bringing a younger generation of music lovers on board. In response, Red House Records has secured the rights to Blues, Rags & Hollers for release on CD. In the process the four lost tracks that Elektra cut have been restored. The excitement generated by this release proves that the Little Sandy Review was remarkably prophetic when they predicted in 1963: “[Blues, Rags & Hollers] is a disc that will surely be a collector’s item in the future, as surely as the best blues of the 1930’s are collector’s items now.”
This reissue has been digitallyremastered and includes all the tunes from the 1963 Audiophile release, including the four that Elektra dropped on their disc .

Red House's reissue of Blues Rags and Hollers, the first album from Koerner Ray & Glover, follows through on the folk and country-blues leanings of the blues revival. The result is a strong, catchy album that nevertheless sounds closer to folkies than the typical British blues record. — Thom Owen

heres the link
get it here ,enjoy

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Παρασκευή, 27 Ιουνίου 2008

ΔΙΟΝΥΣΗΣ ΧΑΡΙΤΟΠΟΥΛΟΣ - Μοντέρνες δουλειές

Στις σύγχρονες επιχειρήσεις η εργασιακή σκλαβιά επανήλθε λουστραρισμένη, αλλάεξίσου εξοντωτική.
Η μοίρα του σπουδασμένου εργαζόμενου είναι δυσμενέστερη απότου αγράμματου εργάτη.
Ο πραγματικός πλούτος της χώρας παράγεται στο χωράφι και στο εργοστάσιο· γι' αυτό οι αγρότες και οι εργάτες δεν διανοήθηκαν ποτέ να επικαλεστούν κάποια νεφελώδη ιδεολογήματα για τη δουλειά τους.
Η προσφορά τους είναι αυταπόδεικτη.
Αντιθέτως, οι απασχολούμενοι στον τριτογενή τομέα, των υπηρεσιών, δεν αρκούνται στην υψηλότερη αμοιβή που εισπράττουν· αγωνιούν να δώσουν και ανώτερο νόημα σ' αυτό που κάνουν.
Το επάγγελμα έγινε ιδεολογία.
Ο καλώς εννοούμενος επικερδής χαρακτήρας του αποσιωπάται συστηματικά και προβάλλεται κατά κόρον σαν ζωτική ωφέλεια για το κοινωνικό σύνολο.
Οιχρηματιστές κόπτονται για την "ανάπτυξη", οι διαφημιστές μοχθούν για την"επικοινωνία", οι ασφαλιστές χτίζουν την "ασφαλιστική συνείδηση" κ.ο.κ .
Εξ ου και το καταγέλαστο ορισμένων ότι ασκούν λειτούργημα.
Η κοινωνία, που διευθύνεται από τους εγγράμματους, έχει περί πολλού αυτά τα επαγγέλματα και περιφρονεί εξόφθαλμα τον αγρότη και τον εργάτη.
Απόδειξη, ότι τους αμείβει με τα χαμηλότερα των εισοδημάτων και τους επιφυλάσσει πενιχρές συντάξεις και ανεπαρκέστατη υγειονομική περίθαλψη.
Ουδείς ζηλεύει τη μοίρα τους.
Οι νέοι ονειρεύονται να σπουδάσουν για να κάνουν καριέρα σε κάποια από τιςμοντέρνες και αστραφτερές δουλειές. Αυτές έχουν πέραση· προσφέρουν υψηλέςαμοιβές και απείρως υψηλότερο κοινωνικό στάτους.
Δεν υποψιάζονται καν πως η καριέρα είναι η δική τους κοιλάδα των δακρύων.

Για να πετύχεις σ' αυτές τις δουλειές, το παν είναι να ξέρεις να πουλάς τον εαυτό σου.Να είσαι αυτό που επιθυμεί ο άλλος να είσαι.
Αλλού σε θέλουν τολμηρό και επιθετικό και αλλού μετρημένο και αξιόπιστο.
Οι απαιτήσεις αλλάζουν ανάλογα μετον κλάδο· άλλο σέιλς κι άλλο φαϊνάνς.
Αυτή την κωμωδία του αγκρέσιβ ή τουριλάιαμπλ δεν θα σταματήσεις ποτέ να την παίζεις· αυτή θα σε κρατάει στη δουλειά.
Επίσης, από τη μέρα που θα εισέλθεις σε κάποιον κλάδο, θα πρέπει να ασπαστείς και τις ιδεοληψίες του· σαν να μυείσαι σε θρησκευτική αίρεση.
Ο κλάδος υπεράνω όλων.***

Είναι ο ιερός δεσμός που προστατεύει και ανυψώνει τα μέλη του, ασχέτως τωνεσωτερικών ανταγωνισμών. Με αυτή τη συντεχνιακή αντίληψη της χειρίστης μορφής οι "συνάδελφοι" θωρακίζουν την επαγγελματική τους ιδιότητα και διεκδικούν από την κοινωνία διαρκώς και νέα προνόμια.
Μαζί με την είσοδο στην αγορά εργασίας των νέων επαγγελμάτων εισήχθη και η δυτική νοοτροπία του ολοκληρωτικά αφοσιωμένου στη δουλειά του προτεστάντη.
Ο χρόνος που αφιερώνουν οι υπάλληλοι στην εταιρεία είναι τρομαχτικός.
Στις σύγχρονες επιχειρήσεις η εργασιακή σκλαβιά επανήλθε λουστραρισμένη, αλλά εξίσου εξοντωτική.
Η μοίρα του σπουδασμένου εργαζόμενου είναι δυσμενέστερη απότου αγράμματου εργάτη.
Το καθορισμένο ωράριο θεωρείται παρωχημένη αντίληψη, και η αμοιβή για υπερωρίες είναι αδιανόητη.
Οι υπάλληλοι δουλεύουν εντυπωσιακά περισσότερες ώρες από τις προβλεπόμενες από τον νόμο, απασχολούνται Σαββατοκύριακα και αργίες χωρίς την ανάλογη αμοιβή.
Τα εξοντωτικά 12ωρα και 14ωρα δουλειάς είναι νον στοπ.
Η μεσημβρινή σιέστα έχει τεθεί πλέον και στη χώρα μας υπό διωγμόν· κατάντησε μομφή. Λένε "αυτός κοιμάται μεσημέρι" εννοώντας πως είναι εκτός πνεύματος· εν ολίγοις ακατάλληλος.
Αν οι επιστήμονες μπορούσαν να καταθέσουν δημοσίως για τις ευεργετικέςιδιότητες του μεσημβρινού ύπνου, θα είχε καταρρεύσει προ πολλού το δυτικόεργασιακό μοντέλο.
Ο ύπνος του μεσημεριού είναι βάλσαμο για την ψυχική και τη σωματική μας υγεία και, εννοείται, συμβάλλει καίρια στη μακροβιότητα.
Είναι κατάπολύ πιο απαραίτητος και ζωογόνος από όλες τις "χελθ" βιταμίνες, τα "σπα" και τις λοιπές τεχνικές στήριξης του ανθρώπινου οργανισμού.
Ο ευπρεπής μισθός και ίσως κάποιο ετήσιο μπόνους που παρέχουν οι εταιρείες στα μοντέρνα εργατόσκυλα δεν αντισταθμίζουν τις ατελείωτες ώρες πρόσθετης δουλειάς.
Γι' αυτό υπάρχουν συνήθως και κάποιες έξτρα παροχές κολακείας· το ωραίο γραφείο
(με παράθυρο ή όχι, ανάλογα με τη θέση σου στην ιεραρχία της επιχείρησης)
και κάποιοι φανταχτεροί τίτλοι, που ουσιαστικά δεν σημαίνουν τίποτα. ***

Προβιβάζεσαι σε εξέκιουτιβ, σίνιορ εξέκιουτιβ, κοoρντινέιτορ, σουπερβάιζορ, νταϊρέκτορ,
βάις πρέζιντεντ, τσιφ, μέλος του εξέκιουτιβ μπορντ και άλλα του σωρού και χωρίς νόημα.
Η μακροβιότητα της καριέρας σε μια σύγχρονη εταιρεία κρίνεται από δύο βασικά στοιχεία: την όλο και μεγαλύτερη "τρέλα" για δουλειά και το λόγιαλτι (τηνπιστότητα) στην εταιρεία και στους στόχους της.
Επίσης, είναι απαραίτητο να συμμεριστείς κάποιες νέες "αξίες".
Όπως το σχιζοφρενικό "άλλο δουλειά κι άλλο φιλία", λες κι ο άνθρωπος μπορεί να κάνει αναστολή αισθημάτων.
Ή το δόγμα ότι με κάθε θυσία πρέπει να φέρεις σε πέρας τη δουλειά που σου ανέθεσαν.Όλα αυτά καλύπτονται με την πρόστυχη στρεψοδικία του σωστού "επαγγελματία".
Που σημαίνει ότι, προκειμένου να γίνει η δουλειά σου, όλα επιτρέπονται·
η δουλειάπροηγείται κάθε ανθρώπινου αισθήματος· φιλία, αγάπη, δίκιο, κατανόηση είναι δευτερεύοντα.
Λένε "είμαι προφέσιοναλ" κι αυτό τα εξηγεί όλα.
Κι ο Αλ Καπόνε "προφέσιοναλ" ήτανε.
Μάλιστα, οι νέοι επαγγελματίες διηγούνται εμφατικά το παράδειγμα του Ωνάση που φιλοξενούσε έναν φίλο του, επίσης εφοπλιστή, στη θαλαμηγό του.
Ενώ έπαιζαν τάβλι, ο άλλος του αποκάλυψε χαρούμενος πως έδωσε εντολή αγοράς δύο πλοίων που μόλις είχαν βγει προς πώληση.
Ο Ωνάσης δεν φάνηκε να δίνει σημασία στην πληροφορία· συνέχισαν το παιχνίδι,
μα κάποια στιγμή σηκώθηκε, να πάει στην τουαλέτα, και άργησε λίγο.
Όταν επέστρεψε,ξανάπιασε τα ζάρια και είπε χαμογελαστός στον φίλο του πως τα πλοία που του είχε αναφέρει τα αγόρασε μόλις πριν ένα λεπτό εκείνος.
Αυτόν τον κτηνώδη αμοραλισμό εννοούν όταν λένε "είμαι προφέσιοναλ".
Το πλέον ψυχοφθόρο για τον εργαζόμενο είναι πως πρέπει να δίνει κάθε μέρα εξετάσεις.
Τα σύγχρονα επαγγέλματα έχουν υψηλό βαθμό ανασφάλειας σε σχέση μετα παραδοσιακά. Και απείρως σκληρότερο ανταγωνισμό·
τόσο εξωτερικό, από άλλες ομοειδείς εταιρείες, όσο και εσωτερικό, από άλλους καπάτσους που εποφθαλμιούν την ίδια θέση.
Ακόμη και το υψηλόβαθμο στέλεχος δεν αισθάνεται σιγουριά· πάει έναπρωί, και χωρίς καμία προειδοποίηση βρίσκει το γραφείο του στον διάδρομο.
Δυστυχώς στην ίδια λούμπα έπεσαν και οι γυναίκες.
Μέχρι πρόσφατα δεν επιδείκνυαν την ολοκληρωτική αφοσίωση των αντρών στη δουλειά τους.
Ως όντα πιο πολύπλοκα, αισθαντικά και ερωτικά, έδιναν μεγαλύτερη σημασία στα αισθήματα και στις χαρές της ζωής.
Γι' αυτή την ανεξαρτησία τους η κοινωνία τις φιλοδώρησε εκδικητικά με σωρεία κατηγοριών· άπιστες, ελαφρόμυαλες, ανεύθυνες, γλωσσούδες κ.λπ.
Η χαρά και ο ερωτισμός δεν συγχωρούνται στην παραγωγή.
Τελευταίως μάλιστα, αν αποπειραθείς στη δουλειά ένα πονηρό αστείο, κάποιο υπονοούμενο, καραδοκεί η εξευτελιστική κατηγορία της "σεξουαλικής παρενόχλησης".
Αυτό κι αν είναι ευνουχισμός· σημαίνει "όσοι περάσετε αυτή την πόρτα αφήστε έξω το φύλο σας".
Οι γυναίκες, στην προσπάθειά τους να κατακτήσουν ένα ακόμη αντρικό οχυρό,γίνονται κι αυτές "προφέσιοναλ" θύματα.
Τυπικές, σοβαρές, με πολυάσχολο ύφος,ασέξουαλ ντύσιμο, κάτι σκούρα ταγιέρ σαν αντρικά κουστούμια, λευκό πουκάμισο και απομίμηση γραβάτας.
Έσβησε το χαμόγελο, το σκέρτσο και το παιχνίδισμα, που τις έκαναν αξιολάτρευτες.
Έχασαν το πλεονέκτημα της ζωής που είχαν έναντι των εξουθενωμένων από τηδουλειά αντρών.
Ο Γκι Ντεμπόρ το έγραψε με συνταρακτική απλότητα: "Μόνο όσοι δεν δουλεύουν ζουν".
Στο πίσω μέρος του κεφαλιού μας όλοι ξέρουμε ότι στον κόσμο δεν ήρθαμε για να κάνουμε καριέρα, λεφτά και όνομα· ήρθαμε πρωτίστως για να ζήσουμε και, ει δυνατόν, να αφήσουμε αυτόν τον κόσμο λίγο καλύτερο απ' ό,τι τον βρήκαμε.
Αλλά δεν ζούμε.
Κι αυτό μας τρελαίνει.
"Το άγχος, το στρες, ο φόβος, η ντροπή, η περιφρόνηση, η επιθετικότητα, η θέληση της δύναμης γεννιούνται από μια καταπιεσμένη θέληση για ζωή".
Με την πιο κοινή λογική, όσες ώρες δουλεύεις, άλλες τόσες πρέπει να έχεις ελεύθερες για να χαρείς αυτά που έβγαλες.
Όμως ο νέος άνθρωπος σπαταλά όλο τον χρόνο του, την ευφυΐα, την εφευρετικότητα και τις εμπνεύσεις του υπέρ της καριέρας του και όχι της ζωής του.
Ο ψυχισμός του μολύνεται από αυτό το δηλητηριώδες αλισβερίσι.
Φυσικώ τω τρόπω, το εξέκιουτιβ τερατάκι γραφείου θα μεταφέρει μακάβρια το πάρε δώσε και στις προσωπικές τουσχέσεις:

"Αυτά έκανα για σένα, περιμένω ανταπόδοση".

Μοιραία οι λαμπρές καριέρες είναι πυραμίδες που θεμελιώνονται πάνω σε προσωπικές και οικογενειακές τραγωδίες.

ΔΙΟΝΥΣΗΣ ΧΑΡΙΤΟΠΟΥΛΟΣ - Μοντέρνες δουλειές

(ΤΑ ΝΕΑ , 07/12/2002 , Σελ.: P35Κωδικός άρθρου: A17510P351)

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Τρίτη, 24 Ιουνίου 2008

Jorma Kaukonen -78-02-04 Old Waldorf-San Francisco

Jorma Kaukonen (Solo-Acoustic)2/04/197 8Old Waldorf - San Francisco, Ca.

Show Notes: Very relaxed acoustic show. Very intimate setting with about 30-40 fans. Flanger used on several cuts. Next to perfect sound quality. Late Show. To my knowledge no other sources exist.

Jorma Kaukonen is one of the real legends of American rock. He started his career as an acoustic finger picker. He got his first taste of the main stream when he became a member of the San Francisco rock band, The Jefferson Airplane. He was inducted into the Rock and Roll Hall of Fame in 1995 as a founding member of the band. Jorma has released more than two dozen albums and has been a part of a number of ensembles. Jorma's most recent CD, "Blue Country Heart," demonstrates his love for bluegrass, country and old-time blues songs. Jorma also wants to give something back to society. He has combined his passion with his lifelong interest in teaching, this combination has resulted in Fur Peace Ranch, a successful guitar camp founded by Jorma and Vanessa Kaukonen in southeast Ohio.
Jorma Kaukonen was born in Washington, D.C. And he spent most of his childhood there. It is here that he discovered his love for the guitar. He shifted to the San Francisco Bay Area in the early '60s, here he often played as backup to singer Janis Joplin in local San Francisco clubs. It was in 1965 after Kaukonen founded the rock group Jefferson Airplane, that he really got fame. The band was a huge hit and its popularity soared in 1967. Though Kaukonen did not contribute as much in the vocal department of the band his distinctive guitar-playing was the core of the band's music.

Home is where the heart is!

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HANDGJORT - Handgjort - Acid Psychedelic Indian Folk (Sweden 1971- Silence Records SRC4602)


Guy Ohrstrom - acoustic guitar
Theo Greyerz - tablas
Stig Ame Karlsson - sitar
Marcus Brandelius - sarod, ezra
Bjorn json lindh - flute
Kenneth Armstrom - Sax
Dallas Smith - clarinet
Brullet Green - oboe
Jan Bandel - - gong

HANDGJORT - Handgjort - Acid Psychedelic Indian Folk (Sweden 1971- Silence Records SRC4602)
This is the rarest Silence albumby far,released in separately handmade cover designs.the music smells of incense , as this is an exotic fusion of indian and western music, with sitar, tablas, flutes,sarod, tambouraand acoustic guitar.This mainly instrumental music has an open air, rural feel , which was ideally suitable for the hippie festivals of the time.

The album is most memorable for two extended tracks.
(from Scented Gardens Of The Mind , by Dag Erik Asbjornsen)
All track composed by Handgjort except the traditional ones.Recorded at Decibel Sound Studios, Stockholm, September 1970.Produced by Gran Ahlin.

Handgjort :

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Το 1854 ο Μεγάλος Λευκός Αρχηγός στην Ουάσιγκτον (ο Φράνκλιν Πηρς, Πρόεδρος των Ηνωμένων Πολιτειών) πρότεινε να αγοράσει μια μεγάλη ζώνη από τις εκτάσεις των Ινδιάνων και υποσχέθηκε να δημιουργήσει μια περιοχή ελεγχόμενης εγκατάστασης για τον ινδιάνικο λαό.

Η απάντηση του Αρχηγού των Ινδιάνων του Σηάτλ, που δημοσιεύουμε εδώ ολόκληρη, θεωρήθηκε ως η πιο ωραία και πιο ουσιαστική διακήρυξη που έγινε ποτέ για το περιβάλλον:

ΠΩΣ ΜΠΟΡΕΙΤΕ Ν' ΑΓΟΡΑΣΕΤΕ ή να πουλήσετε τον ουρανό ή τη ζεστασιά της γης. Η ιδέα μας φαίνεται περίεργη επειδή ακριβώς δεν μας ανήκουν η δροσιά του αέρα και η διαύγεια του νερού, πώς είναι δυνατό να τα αγοράσετε;
Κάθε κομμάτι αυτής της γης είναι ιερό για το λαό μου. Κάθε βελόνα του λαμπερού πεύκου, κάθε αμμουδερή κοίτη ποταμού, κάθε κομματάκι ομίχλης μέσα στα σκοτεινά δάση, κάθε ξέφωτο και κάθε βούισμα εντόμου είναι ιερό στη μνήμη και στην εμπειρία του λαού μου.
Οι χυμοί που τρέχουν μέσα στα δέντρα μεταφέρουν τις μνήμες του ερυθρόδερμου ανθρώπου.
Οι νεκροί των λευκών ανθρώπων ξεχνούν τον τόπο που γεννήθηκαν όταν πάνε περίπατο μέσα στα άστρα.
Οι δικοί μας νεκροί δεν ξεχνούν ποτέ αυτή την υπέροχη γη γιατί είναι η μητέρα του ερυθρόδερμου ανθρώπου.
Είμαστε ένα μέρος της γης.
Κι αυτή πάλι, ένα κομμάτι από μας.
Το ελάφι, το άλογο, ο μεγάλος αετός, είναι οι αδελφοί μας.
Τα βράχια στους λόφους, το πράσινο χρώμα των λιβαδιών, η ζεστασιά του πόνου και ο άνθρωπος, όλα ανήκουν στην ίδια οικογένεια.
Γι αυτό και όταν ο Μεγάλος Αρχηγός στην Ουάσιγκτον μας παραγγέλνει ότι θέλει ν' αγοράσει τη γη μας, ζητάει πολλά από μας.
Αυτό το πεντακάθαρο νερό που κυλά στα ρυάκια και στα ποτάμια δεν είναι μόνο νερό, αλλά και το αίμα των προγόνων μας.
Αν σας πουλήσουμε γη πρέπει να θυμάστε ότι είναι ιερή και ότι κάθε αντανάκλαση στο καθαρό νερό των λιμνών μιλά για τα γεγονότα και τις μνήμες της ζωής του λαού μου.
Ο ψίθυρος του νερού είναι η φωνή του πατέρα του πατέρα μου.
Ξέρουμε ότι ο λευκός άνθρωπος δεν καταλαβαίνει τα ήθη μας. Ένα κομμάτι γης μοιάζει σ' αυτόν μ' ένα οποιοδήποτε άλλο κομμάτι, γιατί είναι ένας ξένος που έρχεται μέσα στη νύχτα και παίρνει απ' τη γη αυτό που έχει ανάγκη.
Η γη δεν είναι ο αδελφός του, αλλά ο εχθρός του και μόλις την κυριεύσει, πηγαίνει μακρύτερα. Εγκαταλείπει τους τάφους των προγόνων του κι αυτό δεν τον ενοχλεί.
Παίρνει τη γη απ' τα παιδιά του και αυτό δεν τον ενοχλεί.
Ο τάφος των προγόνων του και η κληρονομιά για τα παιδιά του πέφτουν στη λήθη. Συμπεριφέρεται στη μητέρα του, τη γη και στον αδελφό του τον ουρανό, σα να ήταν πράγματα που αγοράζονται, που λεηλατούνται, που πουλιούνται, όπως τα πρόβατα ή τα λαμπερά μαργαριτάρια.
Η απληστία του θα καταβροχθίσει τη γη και δεν θα αφήσει πίσω της παρά μια έρημο.
Δεν ξέρω τίποτα. Τα ήθη μας είναι διαφορετικά από τα δικά σας.
Η όψη των πόλεών σας προξενεί κακό στα μάτια των ερυθρόδερμων ανθρώπων.
Αλλά αυτό μπορεί και να οφείλεται στο ότι ο ερυθρόδερμος είναι άγριος και δεν καταλαβαίνει.
Ο αέρας είναι πολύτιμος για τον ερυθρόδερμο, γιατί όλα τα πράγματα μοιράζονται την ίδια αναπνοή - τα ζώα, τα δέντρα, ο άνθρωπος μοιράζονται όλοι την ίδια ανάσα.
Ο λευκός άνθρωπος δεν φαίνεται να δίνει σημασία στον αέρα που αναπνέει.
Σαν ένα άνθρωπο που θέλει πολλές μέρες για να πεθάνει, είναι αδιάφορος για τη δυσοσμία.
Είμαι ένας άγριος και δεν γνωρίζω άλλον τρόπο ζωής, είδα κάπου χίλια αγριοβούβαλα να σαπίζουν στο λιβάδι, εγκαταλειμμένα από τον λευκό άνθρωπο, που τα είχε χτυπήσει μ' ένα τραίνο που περνούσε από εκεί.
Τι είναι ο άνθρωπος χωρίς τα ζώα; Αν εξαφανίζονταν όλα τα ζώα, ο άνθρωπος θα πέθαινε από μια μεγάλη πνευματική ερημιά. Γιατί αυτό που συμβαίνει στα ζώα, σε λίγο συμβαίνει και στον άνθρωπο. Όλα τα πράγματα είναι αλληλένδετα.
Πρέπει να διδάξετε στα παιδιά σας ότι το χώμα που πατούν έχει γίνει από τις στάχτες των προγόνων μας.
Διδάξτε στα παιδιά σας, αυτό που διδάξαμε κι εμείς στα δικά μας, ότι η γη είναι η μητέρα μας.
Ότι συμβαίνει στη γη συμβαίνει και στους γιους της γης.
Ξέρουμε τουλάχιστον αυτό:
H γη δεν ανήκει στον άνθρωπο, ο άνθρωπος ανήκει στη γη.
Αυτό το ξέρουμε.Ακόμα κι ο λευκός άνθρωπος δεν μπορεί να απαλλαγεί από την κοινή μοίρα. Βέβαια, ίσως είμαστε αδέλφια. Αυτό θα το δούμε.
Ένα πράγμα που ξέρουμε εμείς - και που ο λευκός άνθρωπος θα ανακαλύψει ίσως κάποτε - είναι ότι ο Θεός μας είναι ο ίδιος Θεός. Ίσως να σκέφτεστε να τον αποκτήσετε τώρα, όπως θέλετε να αποκτήσετε τη γη μας, αλλά δεν μπορείτε.
Είναι ο Θεός του ανθρώπου και το έλεός του είναι το ίδιο και για τον λευκό και για τον ερυθρόδερμο άνθρωπο…
Αναρτήθηκε από VARALIS στις 12:03 πμ

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Κυριακή, 8 Ιουνίου 2008

Steve Goodman - Somebody Else Troubles 1973 (US Country Folk)

Personal life
Born on Chicago's North Side to a middle-class Jewish family, Goodman began writing and performing songs as a teenager, after his family had moved to the near north suburbs. He graduated from Maine East High School in Park Ridge, Illinois in 1965. In 1968 Goodman began performing at the Earl of Old Town in Chicago and attracted a following.By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer in Chicago, while attending Lake Forest College. During this time Goodman supported himself by singing advertising jingles.
It was also in early 1969 that Goodman was diagnosed with leukemia, the disease that would be present during the entirety of his recording career, until his death in 1984. In September of 1969 he met Nancy Pruter, who was attending college while supporting herself as a waitress. They were married in February, 1970. Though he experienced periods of remission, Goodman never felt that he was living on anything other than borrowed time, and some critics, listeners and friends have said that his music reflects this sentiment. His wife, writing in the liner notes to the posthumous collection No Big Surprise, characterized him this way:
“Basically, Steve was exactly who he appeared to be: an ambitious, well-adjusted man from a loving, middle-class Jewish home in the Chicago suburbs, whose life and talent were directed by the physical pain and time constraints of a fatal disease which he kept at bay, at times, seemingly by willpower alone . . . Steve wanted to live as normal a life as possible, only he had to live it as fast as he could . . . He extracted meaning from the mundane.”

Music career
Goodman's songs first appeared on a locally-produced record, Gathering at The Earl of Old Town, in 1971. As a close friend of Earl Pionke, the owner of the folk music bar, Goodman performed at The Earl dozens of times, including customary New Year's Eve concerts. He also remained closely involved with Chicago's Old Town School of Folk Music, where he had met and mentored his good friend, John Prine.
Later in 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka, who brought Goodman to New York to record some demos. These resulted in Goodman signing a contract with Buddah Records.
All this time, Goodman had been busy writing many of his most enduring songs, and this avid songwriting would lead to an important break for him. While at the Quiet Knight, Goodman saw Arlo Guthrie, and asked to be allowed to play a song for him. Guthrie grudgingly agreed, on the condition that Goodman buy him a beer first; Guthrie would listen to Goodman for as long as it took Guthrie to drink the beer. @@@@@
@@@@Goodman played "City of New Orleans", (original lyrics) which Guthrie liked enough that he asked to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial and artistic success to make his music a full-time career. The song, about the Illinois Central's City of New Orleans train, would become an American standard, covered by such musicians as Johnny Cash, Judy Collins, and Willie Nelson, whose recording earned Goodman a posthumous Grammy Award for Best Country Song in 1985. A French translation of the song, "Salut Les Amoureux", was recorded by Joe Dassin in 1979. According to his wife, the song began as Goodman in his imagination wandered all the way to New Orleans while on a train from Chicago to visit her elderly grandmother in Mattoon, Illinois. In 1974, singer David Allan Coe achieved considerable success on the country charts with Goodman's and Prine's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics. Prine refused to take a songwriter's credit of the song, although Goodman bought Prine a jukebox as a gift from his publishing royalties.
Goodman's success as a recording artist was more limited. Although he was known in folk circles as an excellent and influential songwriter, his albums received more critical than commercial success. Ironically, one of Goodman's biggest hits was a song he didn't write – "The Dutchman", written by Michael Peter Smith.
During the mid- and late-seventies, Goodman became a regular guest on Easter Day on Vin Scelsa’s radio show in New York City. Scelsa’s personal recordings of these sessions eventually led to an album of selections from these appearances, The Easter Tapes.
In 1977, Goodman performed on the Tom Paxton live album New Songs From the Briarpatch (Vanguard Records), which contained some of Paxton's topical songs of the 1970s, including "Talking Watergate" and "White Bones of Allende", as well as a song dedicated to Mississippi John Hurt entitled "Did You Hear John Hurt?"
Goodman wrote and performed many humorous songs about Chicago, including three about the Chicago Cubs: "A Dying Cub Fan's Last Request", "When the Cubs Go Marching In" and "Go, Cubs, Go" (which has frequently been played on Cubs' broadcasts and at Wrigley Field after Cubs wins.) The Cubs songs grew out of his fanatical devotion to the team, which included many clubhouse and on-field visits with Cub players. Other songs about Chicago included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone", about Mayor Richard J. Daley. Another comic highlight is "Vegematic", about a man who falls asleep while watching late-night TV and dreams he ordered many products that he saw on infomercials. He could also write serious songs, most notably "My Old Man", a tribute to Goodman's father, Bud Goodman, a used car salesman and World War II veteran.
Goodman won his second Grammy, for Best Contemporary Folk Album in 1988 for his album, Unfinished Business.
On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington, his life finally taken by the leukemia from which he had anointed himself with the tongue-in-cheek nickname “Cool Hand Leuk” (others nicknames included “Chicago Shorty” and “The Little Prince”). He was only 36. Eleven days later, the Chicago Cubs played their first post-season game since 1945; Goodman had been asked to sing "The Star-Spangled Banner" before it; Jimmy Buffett filled in, and dedicated the song to Goodman. Echoing a line from "Dying Cub Fan", some of Goodman's ashes were scattered at Wrigley Field, the home of the Chicago Cubs. He was survived by his wife and three daughters. (From Wikipedia, the free encyclopedia)

John Prine, Arlo Guthrie, Kris Kristofferson, Marty Stuart, and others discuss Steve Goodman. Steve passed away from leukemia in 1984.

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CALLINAN-FLYNN Freedom's Lament, (Folk Psych Ireland 1971) Mushroom Rec. 150 MR 18

dave callinan & mick flynn
David Callinan, once part of the Callinan/Flynn duo whose 1972 album Freedom’s Lament now fetches a cool £200-plus a copy on the collector’s market.

This Irish duo are supplemented by other musicians on their now ultra-rare album, which was only pressed in very small quantities (around 200) by Mushroom. It contained 12 folk-rock cuts, nine of which were written by the band.(first time posted at chocoreve)
My album has become a collector’s item
(Posted in Music with tags albums, bestsellers, Callinan-Flynn, folk music on July 6, 2007)

by david callinan :
"I was quite amazed when I found out that an album I made in 1972 has become a surprise underground rare hit and been sought after by fans and collectors all over the world. Here’s one site that people are dowloading tracks from http://www.last.fm/music/Callinan-Flynn”
They are calling it folk-psych (whatever that is). A new wave Irish chanteur, Sean Tyrrell has also recorded some songs I wrote many years ago.
Could be the start of a revival."

1. puckaree2. freedom's lament3. paddy's green shamrock shore4. moon coin reel5. the old mand and the flower6. the banks of newfoundland7. beyond the pale8. ballad of belfast9. marion's song10. paddy's delight (tinker's polka)11. london NW12. fortune for the finder13. we are the people (the road to derry town14. a woman is a woman.
get it here ,enjoy!

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Σάββατο, 7 Ιουνίου 2008

Chris Thompson - self titled - N.Z.- folk psych(Village Thing Records Released UK 1973)

Chris Thompson is a professional singer/songwriter, living in Hamilton, New Zealand. His music spans the country, folk, and blues styles, and his current catalogue consists of nearly two hundred original songs and guitar instrumentals.
Chris learnt guitar from Dave Calder of the Hamilton County Bluegrass Band, turned professional in 1968 while living in Auckland, and was employed as Julie Felix's guitarist in London in 1971. He made his first, self-titled LP for Village Thing Records in 1973, and during the seventies returned to tour with acts including Sonny Terry & Brownie McGhee, Waves, and John Hanlon.

“Here in lies the complete self-titled 1973 Village Thing label album (recorded 1971 – 73) with bonus tracks. Shimmering, hypnotic, flowing, psych-tinged, original acoustic folk guitar and vocal. Backed by various friends include Magic Carpet members Keshav Sathe and Clem Alford (providing and Eastern influence), and one cut with Ed Deane, guitarist from the Woods Band. Hailing from New Zealand, Chris Thompson arrived on the folk guitar scene in the United Kingdom in 1971 and hung out and gigged with Wizz Jones, Davy Graham, Bert Jansch, John Martyn, Derroll Adams and others. A window into time gone by, evoking both a spatial and temporal quality that contemporary music oft seeks to emulate or revive, but will not come our way again.”
A great sounding and well presented album, Chris’ new CD features a photograph taken in Paris of Chris with a famous groupie Monique Brossier, a.k.a. “The Girl” or “Girl Freiberg”, whose friends in San Francisco and L.A. included the Quicksilver Messenger Service, the Byrds, Crosby Stills & Nash, etc.

This album has the unfair distinction of being the lowest sellers on the classic Village Scene folk label of the early 1970s due to poor distribution. It is very rare on album and became somewhat legendary as it is one of the few records which balances it's scarcity with spellbinding quality. Chris Thompson came from New Zealand and travelled around the world in the late 1960s before ending up in the UK. He brings to his music a wandering rootless quality that reminds of Bert Jansch. The psychedelic era was at it's core about liberation and in Chris Thompson we find this quality meaning people consistently describe the album as psychedelic when it is not typical of that sound. The songs are simple circular acoustic folk based with his yearning vocals weaving over the top. These songs are hypnotic, never repeating yet evolving and exploring melodic themes. Some of the tracks are complemented by members of Magic Carpet, an innovative folk-raga band. The first song an instrumental used sitar and guitar, others used tablas and eastern percussion and this is where the psychedelic influence is most prominent. The song writing is every bit as good as Nick Drake or Steve Tilston with whom the album shares a stark, direct quality. 'London Blues' has pleading, haunting lyrics about inner city vagrancy which is then explored on 'Back In The City', an earlier version with sitar and hand percussion. The CD has excellent notes and has tracks from later albums added back in. It's a complete and definitive reissue from 'Scenesof' who are to be congratulated. For fans of folk music and the curious genre of wyrd-folk it is utterly essential and an album that you will return to throughout your life.

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Mandrake Memorial – Medium 1969 (Original LP/EP Label: Poppy 40003)

Craig Anderton - guitar/modulator - formerly with The Flowers of Evil (University of Pennsylvania).
Michael Kac - keyboards/vocals - formerly with Philadelphia-based band Cat's Cradle.
Randy Monaco - bass/vocals - d. late-1970s - formerly with NYC-based band The Novae Police.
Kevin Lally - drums - formerly with NYC-based band The Novae Police.

Mandrake Memorial – Medium
Originally released: 1968

Track listing:
Snake Charmer, Witness the End/Celebration, Other Side, Last Number, After Pascal, Smokescreen, Barnaby

Anyone who lived in Philadelphia in the late '60s would remember the Mandrake Memorial well. They opened for many of the star rock bands who passed through the city, and in terms of local popularity, they were probably only second to the Nazz. Outside of Philadelphia, they were scarcely known whatsoever, though they did manage to produce some fine second-division psychedelia. As vocalists they were adequate, but they were accomplished players and interesting writers, dressing their solid melodies with liberal jazz and Middle Eastern influences. Guitarist Craig Anderton became a noted music technology writer, contributing to magazines such as Electronic Musician. ~ Richie Unterberger, (All Music Guide)
listen on line

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The Association - And Then Along Comes The Association 1966 (Valiant VLS-25002) (stereo),

And Then...Along Comes the Association was the first album by The Association. It was originally released on Valiant Records in July, 1966; subsequently, when Valiant was acquired by Warner Bros. Records, Warners reissued the album in June, 1967.
Jerry Scheff Bass Jim Yester Guitar, Keyboards, Saxophone, Vocals, Brian Cole Bass, flute,Vocals Mike Deasy Sr. Guitar Russ Giguere Guitar, Vocals Gary "Jules" Alexander Guitar, Vocals, Ted Bluechel Drums, Vocals Terry Kirkman Drums, Wind, Vocals

Track listing
Side 1
Enter the Young (Kirkman) 2:45
Your Own Love (Alexander, Alexander, Yester) 2:19
Don't Blame It on Me (Addrisi, Addrisi) 2:30
Blistered (Wheeler) 1:52
I'll Be Your Man (Giguere) 2:48
Along Comes Mary (Almer) 2:49
Side 2
Cherish (Kirkman) 3:27
Standing Still (Bluechel) 2:47
Message of Our Love (Almer, Boettcher) 4:06
Round Again (Alexander, Alexander) 1:49
Remember (Alexander, Alexander) 2:36
Changes (Alexander, Alexander) 2:32

The Association is a pop music band from California in the sunshine pop genre. They are best known for their popularity in the 1960s, when they had numerous hits at or near the top of the Billboard charts. As of 2007, they are still "playing". They are also notable for being the lead-off band at 1967's Monterey Pop Festival, essentially the first multi-group rock festival. They are known for tight vocal harmony. Beginnings
Jules Alexander (born September 25, 1943), was in Hawaii in 1962, serving a stint in the Navy, when he met Terry Kirkman (born 1939), who was visiting. The two young musicians jammed together and promised to get together once Alexander was discharged. That happened a year later; the two eventually moved to Los Angeles and began exploring LA's early 60s scene. This led, in 1964, to the forming of The Men, a 13 piece folk-rock band. This group had a brief spell as the house band at The Troubadour, the famed LA nightclub. After a short time, however, The Men disbanded, with 6 of the members electing to continue on their own. At the suggestion of Kirkman's then-fiancée, Judy, they took the name The Association. The original lineup consisted of Alexander (credited as Gary Alexander on the first 2 albums) on vocals and lead guitar; Kirkman on vocals and a variety of wind and brass instruments; Brian Cole (1942-1972) on vocals and bass; Russ Giguere (born October 18, 1943) on vocals, percussion and guitar; Ted Bluechel, Jr (born December 2, 1942) on drums and vocals; and Bob Page (born May 13, 1943) on guitar and vocals. Page's time in the band was brief; he was soon replaced by Jim Yester (born November 24, 1939) on vocals, guitar, and keyboards. Also Tony Mafia was briefly part of the Association. He was voted out because of 'artisticdifferences'. He had been with The Innertubes who after just a few gigs became The Men.
The band spent about 5 months rehearsing before they began performing around the Los Angeles area, most notably a regular stint at The Ice House in Pasadena, and its sister club in Glendale. They also auditioned for record labels, but faced resistance due to their unique sound. Eventually, the small Jubilee label issued a single of "Babe I'm Gonna Leave You" (a version of the Joan Baez song, later popularized by Led Zeppelin) but nothing happened. Finally, Valiant Records gave them a contract, with the first result being a version of Bob Dylan's "One Too Many Mornings". It gained some local notoriety, but didn't break outside of LA.

First success
That national break would come with the song "Along Comes Mary", written by Tandyn Almer. Alexander first heard the song when he was hired to play on a demo version, and persuaded Almer to give The Association first crack at it. The recording went to #7 on the Billboard charts, and led to the group's first album, And Then... Along Comes the Association, produced by Curt Boettcher. A song from the album, "Cherish", written by Kirkman, would become The Association's first #1 in September 1966.
The group followed with their second album, Renaissance, released in early 1967. Somewhat surprisingly, the band changed producers, dumping Boettcher in favor of Jerry Yester (brother of Jim and formerly of The Modern Folk Quartet). The album did not spawn any major hits (the highest charting single, "Pandora's Golden Heebie Jeebies" stalled at #35) and the album only reached #34, compared with a #5 showing for its predecessor.
The ASSOCIATION, Bucknell University, December 10, 1968 (byRon Karr)

In late 1966 Warner Bros. Records, which had been distributing Valiant, bought the smaller label (and with it, The Association's contract.) In 1967, Jules Alexander left the band to study meditation in India; he was replaced by Larry Ramos (born April 19, 1942) who had played with The New Christy Minstrels and recorded a solo single for Columbia Records.
With the lineup settled, the group returned to the studio, this time with Bones Howe in the producer's chair. The first fruits of this pairing would be the single "Windy" (sample (help·info)) written by Ruthann Friedman. It reached #1 on the charts in May of 1967, and was followed closely by the album Insight Out which made it to #8 in June. On June 16, 1967, The Association had the unique honor of being the first act to perform at the Monterey Pop Festival. (The Criterion Collection DVD of the festival includes their spirited reading of "Along Comes Mary" on disc 3.) The group's winning streak continued with their next single, "Never My Love" written by Don and Dick Addrisi; it went to #2 in Billboard and #1 in Cash Box in autumn 1967. It became the group's only double-sided charted record as its B-side, "Requiem For The Masses", made a brief showing on the Billboard chart.
After rejecting the recording of an entire cantata written by Jimmy Webb, which included the song "MacArthur Park", the group in early 1968 produced its fourth album, Birthday, with Bones Howe again at the controls. This album spawned the top 10 hit "Everything That Touches You" and another top 40 hit in "Time for Livin'". Later that year, the group released a self-produced single, the harder-edged "Six Man Band". This song would also appear on Greatest Hits, released in November.

Comings and goings
In early 1969, Jules Alexander returned to the group he had helped found. With Larry Ramos staying, The Association was now a seven-man band (which they acknowledged by changing the title and lyric of "Six-Man Band" to match.) The first project with the seven-piece band was music for the soundtrack of Goodbye, Columbus, the film version of Philip Roth's best-selling novel. The title track, written by Yester, rose only to #80, an ominous sign in retrospect. John Boylan, who would become one of the most important record producers of the '70s and '80s, worked with the group on the soundtrack, and stayed on board for the next album, The Association. Not surprisingly, many of the tracks have a decided country-rock feel. None of the singles made any impact, so the group re-teamed with Curt Boettcher for a one-off single, "Just About the Same", a reworking of a song Boettcher had recorded with his group, The Millennium. This failed to hit as well.
Despite all this, the band remained a popular concert draw, and in early 1970, a Salt Lake City performance was recorded for The Association "Live". In 1971 Russ Giguere left the band; he would release a solo album, Hexagram 16, that same year. The Association replaced him with keyboardist/singer Richard Thompson (no relation to the English singer-songwriter), who had contributed to previous albums and would go on to be known primarily in jazz circles. 1971 saw the release of Stop Your Motor. Despite some good tracks (notably a cover of Jimmy Webb's "P.F. Sloan" with Brian Cole imitating Roy Rogers in the bargain), the album was their worst selling to date, reaching only #158 on the Billboard chart.
Stop Your Motor also marked the end of The Association's tenure at Warner Bros. In early 1972, they resurfaced on Columbia with Waterbeds in Trinidad!, produced by Lewis Merenstein (best known for producing Van Morrison's Astral Weeks). The album fared even worse than Stop Your Motor, reaching #194, while a single of The Lovin' Spoonful's "Darlin' Be Home Soon" failed to break the top 100. For the band, however, the worst was yet to come.(From Wikipedia, the free encyclopedia)

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