ET CETERA - ET CETERA (1970 Kraut Psych)

Et Cetera

"The Crack In The Cosmic Egg"
Ever the entrepreneur of new musical revolutions, Wolfgang Dauner hatched the idea for one of the most elaborate con-jobs in Krautrock history. He managed to relaunch the Wolfgang Dauner Group as Et Cetera and promoted them as a new band, with an LP cover that was eye-catchingly psychedelic, and deliberately obscure in its references as to who the musicians were. And so, despite being on a jazz label, the album ET CETERA was launched onto the rock buying market. Amazingly Dauner's radical concoction of rock, jazz, ethnic and avant-garde musics caught the attention of many, Et Cetera being voted as newcomer band of the year in a German Sounds readers poll, despite the fact that the band had actually been in existence since 1968 (under various names) and recorded numerous albums! ET CETERA itself is an extraordinary album of weirdly trippy fusion that rides somewhere between instrumental Amon Düül II, Embryo and Dauner's own earlier classic OUTPUT. Full of ethnic and avant-garde elements, with lots of ethnic colour added by Sigi Schwab and his vast range of instruments, and many surprises, not least notable being the offbeat poem "Lady Blue".
All three Et Cetera albums were full of surprises, not least so in that excepting Wolfgang Dauner and Fred Braceful, the rest of the band was different on each album. Totally unexpected is the Hendrixy song by Larry Coryell that opens KNIRSCH, contrasting totally with the rest of album. And then there's the double live album which featured all new compositions and the talents of newcomers: the avant-gardist Jürgen Schmidt-Oehm and former Eulenspygel member Matthias Thurow. There's lots of great spacey Embryo styled fusion on this, archetypal Dauner riffing jazz topped by his unique keyboard style, avant-garde experimental works, and a trippy blues that recalls Beaver & Kraus' "Walking Green Algae Blues" and even a synthesizer track!

Wolfgang Dauner (synthesizer, piano, clavinet, clavichord, ring modulator, electric percussion, trumpet, flute),

Sigi Schwab (guitars, sitar, tarang, lute, veena, sarangi, flute, balafon, ring modulator),

Fred Braceful (percussion, vocals), Roland Wittich (percussion),

Eberhard Weber (basses, cello)

Discography
ET CETERA (9-12/12/70)LP Global 6306 901 (1971)
KNIRSCH (3/72)LP BASF/MPS 21 21432-2 (1972)
LIVE (5/73)2LP BASF/MPS 29 21754-2 (1973)

Et_Cetera_-_1970_Et_Cetera__German_Prog._Rock_192_.rar

Natural Acoustic Band - Branching In (1972 UK Psych Folk)

Natural Acoustic Band From Wikipedia, the free encyclopedia
The Natural Acoustic Band was a British acid-folk band, which was formed in 1969 in Milngavie, Glasgow, Scotland. There were a number of personnel changes throughout the band's history, but the best known line up was:
Tom Hoy (born 5.2.1950, in Glasgow Strathclyde, Scot) - Guitar and Vocals
Robin Thyne (born 1.11.1950, in Newcastle-upon-Tyne, Northumberland) — Guitar Bongo's Recorders and Vocals
Krysia Kocjan (born 10.8.1953, in Craigendoran, Scotland, Died 21st February 2007 in Portland, Oregon, America) — Vocals and Guitar
The band only produced two albums and one single (reaching No 1 in the Melody Maker folk charts).

Watch Them OnlineVideo

Natural Acoustic Band - The Weeley Festival. Clacton On Sea . Essex. August 27th-29th 1971.
THREE people from Glasgow with words and music of their ownNthat's the Natural Acoustic Band. For Krysia Kocjan (17), Robin Thine (20) and Tom Hoy (21 ) believe implicitly in their own music and only occasionally make any con-cession to anyone else's. KRYSIA ( pronounced Kree-sha) has been singing for years and writes a high percentage of the group's material. She captures in words, and an incredible vocal range, what many people have tried for years to do. TOM plays guitar and writes the more commercial of the group's material. Like "Learning to Live" and "All I Want is Your Love" which have already received praise from various sources including Melody Maker. ROBIN plays guitar, re-corders, bongos, skulls and Glockenspiel with equal equanimity. His skill in being able to adapt to so many instruments gives a variety that many groups will envy. Together they make a sound that is very much their own. And their appearances on TV, radio and concert (with, among others, Fairport Convention and
Roy Harper), just serve to enhance their reputation. For a spell they had a double bass player but he left to further his University career. So they're back to their original line-up. And happy with it.
The Weeley Festival. Poster - Clacton On Sea . Essex. August 27th-29th 1971.
Buy Now The 2 Albums In One CD

Natural_Acoustic_Band_-_1972_-_Branching_In.rar

THESE TRAILS - THESE TRAILS (Marvellous folk psych and the best Hawaiian LP)

THESE TRAILS (Sinergia 4059) 1973 R3

DAVE CHOY recorder

PATRICK COCKETT gtr, tabla, vcls

MARGARET MORGAN gtr, dulcimer, vcls

Marvellous folkpsych and the best Hawaiian LP ever along with Mu. Like tripping out in a botanical garden and having the acid turn your casual stroll into a deep jungle exploration, surrounded by exotic birds and mystic noises, with old volcanos in the distance while ocean waves lap the back of your mind. Dreamy female vocals, surprising twists, and talent all through, courtesy mainly of Margaret Morgan, who sadly passed away recently. The song structures and arrangements are very unusual, and combine with the ethereal vocals to send you into uncharted mind spaces. "Share your water" is a personal fave. Psychedelic exotica doesn't come better than this. The Sinergia CD is from the band themselves.

This is a wonderful and unique album that really defines Hawaiian psych rock. The music is folky/poppy, with clever arrangements that include surprising stop/start sections, little bits of synthesizer noises that feel like rain coming down, and exotic-sounding female vocals. The singing has a naive charm that can't be beat, and the excellent songwriting is breezy and airy.(AcidArchives)

This is an excellent album of folk-psychedelia with male/female vocals from Hawaii (musically it is reminiscent of The Incredible String Band and C.O.B. with dulcimer, tablas, slide guitar and sitar) . The creative force behind the album was Margaret Morgan who composed most of the tracks.
@
Margaret Morgan: (guitar, dulcimer, vocals)
Patrick Cockett: (guitar, slide guitar, tabla, vocals)
Dave Choy: (arp synthesizer, recorder, arrangements, final mix)

Assisted by:
Carlos Pardeiro: (guitar, sitar, vocals)
Eric kingsbury: (guitar)
Ron Rosha: (ipu)
(FUZZ ACID & FLOWERS By Vernon Joynson)

THESE_TRAILS_-_1973_-_These_Trails__US__Hawaii.rar

Taj Mahal - The Real Thing (Live At The Fillmore East 71)

The Real Thing is a 1971 live album by Taj Mahal. It was recorded on February 13, 1971 at the Fillmore East in New York City and features Taj Mahal backed by a band that includes four tuba players.Taj’s first recording with Howard Johnson’s Tuba Band.

LP Columbia 30619 CBS G 30619
See Biography For Henry Saint Clair Fredericks (Taj Mahal)
Producer :David Robinson (original recording), Bob Irwin (CD reissue)

Review AMG
by Lindsay Planer
Taj Mahal followed up Giant Step/De Ole Folks at Home (1969) with another double-disc concert platter whose title pretty much sums up the contents. The Real Thing (1971) is drawn from a mid-February run of shows at the Fillmore East in New York City where he, Spencer Davis, the Chambers Brothers, and Roberta Flack, among others, shared the bill.

Mahal (vocals/banjo/guitar/harmonica/arranger/fife/harp/steel guitar/ harmonica) is supported by an interesting extended aggregate with a brass section consisting of Joseph Daley (tuba/horn/trombone), Bob Stewart (horn), and a pair of former Charles Mingus bandmembers, Earl McIntyre (horn) and Howard Johnson (horn). While at times they tend to overpower the usually intimate nature of the performances, that is certainly not the case for the majority of the arrangements. The opener, "Fishin' Blues," is a solo with Mahal accompanying himself on banjo. "Ain't Gwine to Whistle Dixie (Any Mo')" is significantly lengthened from the form found on Giant Step (1968) as it stretches nearly nine minutes and allows plenty of room for interaction, offering up a spirited fife interlude from Mahal. In addition to providing an overview from his back catalog, The Real Thing contains a few new compositions. The full ensemble gets a workout on the funky "Sweet Mama Janisse" and the toe-tappin' rural flavor of the instrumental "Tom and Sally Drake" is lightly augmented by a sole tuba — presumably that of Johnson. Sleepy John Estes' "Diving Duck Blues" arguably submits the most successful incorporation of brass, sporting a driving, full-throttle rhythm and soulful interpretation. The 2000 CD reissue was extended to fit the entire live set, adding the previously unavailable "She Caught the Katy and Left Me a Mule to Ride," matching the intensity of the sizeable bluesy, closing jam "You Ain't No Street Walker Mama, Honey But I Do Love They Way You Strut."

Tracks

1 Fishin' Blues 2:57

2 Ain't Gwine to Whistle Dixie (Any Mo') 9:11

3 Sweet Mama Janisse 3:32

4 Going up to the Country, Paint My Mailbox Blue 3:24

5 Big Kneed Gal 5:34

6 You're Gonna Need Somebody on Your Bond 6:13

7 Tom and Sally Drake 3:39

8 Diving Duck Blues 8:45

9 John, Ain't It Hard 9:45

10 She Caught the Katy (And Left Me a Mule to Ride) 10:45

11 You Ain't No Street Walker Mama, Honey But I Do Love They Way You ... 11:45

Taj Mahal – Vocals, blues harp, chromatic harmonica, National steel-bodied guitar, five-string guitar, fife
Howard Johnson – Tuba (BB♭, F), baritone saxophone, brass arrangements
Bob Stewart – Tuba (CC), flugelhorn, trumpet
Joseph Daley – Tuba (BB♭), valve trombone
Earle McIntyre – Tuba (E♭), bass trombone
Bill Rich – Electric bass
John Simon – piano, electric piano
John Hall – Electric guitar
Greg Thomas – Drums
Kwasi "Rocky" DziDzournu – Congas

http://www.tajblues.com/

Get It Here : Part.1 & Part.2

TAJ_MAHAL_-__1971_-_The_Real_Thing_-_Live_At_The_Fillmore_East_71__192.part1.rar

TAJ_MAHAL_-__1971_-_The_Real_Thing_-_Live_At_The_Fillmore_East_71__192.part2.rar

Raw Material - Selftitled (UK Prog.Rock 1970)

RAW MATERIAL Eclectic Prog United Kingdom

Reviews

Time is ... is a good example of the British early prog scene. A five-piece of drums, bass/a.guitar, keys/vox, guitars and sax/flute/vox, Raw Material have their roots in a blusey and often hard-rocking ground, but they branch out into interesting directions. The blaring sax work and the almost gothic vocal melody on the opening track "Ice Queen" evokes the spirit of King Crimson, while the second track "Empty Houses" is mostly a straight-ahead hardrocker but contains a calmer middle section with an interesting-sounding saxophone solo. "Insolent Lady" and "Sun God" are both longer (9 - 11 minutes), three-part compositions with folky acoustic moments, hard rock sections and then some keyboard-assisted (mainly organ and piano) pomposity that hints at the nascent symphonic rock sound of the time. Two quite straightforward rock tunes round out the album. Hardly an essential album, but certainly of interest to those wishing to explore the development of the genre. Raw but potent material. -- Kai Karmanheimo

1 Time and Illusion Smith 7:30
2 I'd Be Delighted Hatchard, Welch 5:08
3 Fighting Cock Welch 3:49
4 Pear on an Apple TreeSawyer, Welch 2:55
5 Future Recollections Catt, Gunn 3:55
6 Traveller Man Green, Klodzinski, Page 6:12
7 Destruction of America (Unborn Years to Come)

Colin Catt
Keyboards, Vocals
Mick Fletcher
Flute, Harp, Saxophone, Vocals
Dave Green
Guitar
Phil Gunn

Bass
Paul "Mighty Paul" Young
Percussion

Raw Material Arranger
Robin Sylvester Engineer
Ed Welch Producer

Get it Here

Mighty Baby - Live In The Attic 1970 (UK Underground Psychedelic) Blows Your Mind!!!

This is a live recording of a gig at Lanchester University in 1969 supporting Love. Live in the Attic the CD includes two versions of the unreleased song India.

Live In The Attic (1970) (2001)

7 tracks +plus#1

1. India Live 1970

2. Title Unknown Live 1970

3. Title Unknown Live 1970

4. India Live Stdio Version

5. Title Unknown Live Studio Version

6. Winter Passes First Studio Take

7. Winter Passes Second Studio Take

8. Title Unknown (Live studio version)

MIKE EVANS bs

ALAN KING vcls, gtr

ROGER POWELL drms

PETE WATSON gtr

AIAN WHITEMAN Flutes Piano Organ vcls woodwind

MARTIN STONE gtr Cambridge Free Festival August 1970

This superb late sixties underground band were formed from the remnants of pop/soul band The Action, who were popular around the London mod club circuit and issued five singles on Parlophone, including I'll Keep Holding On and Shadows and Reflections between 1965-67.
Both Mighty Baby albums are now very rare. The first, in particular, has a definite psychedelic West Coast influence. Both are important progressive releases and Mighty Baby had their own distinctive and imaginative sound. Their music was often a sophisticated interplay between the twin guitars of King and Stone and the woodwind accompaniment of Whiteman. Its influences were wide-ranging from jazz (Egyptian Tomb) through to country rock (I'm From The Country) and Some Way From The Sun, notable for an hypnotic guitar intro. Egyptian Tomb is unquestionably the most inspired moment on their first album - melodic guitar playing set to a jazzy arrangement.
Alan King later played in Ace whilst Martin Stone (Ex- Savoy Brown Blues band) later fronted Chilli Willi and Red Hot Peppers. Mighty Baby also played on lots of other albums, including Reg King's and others on Head. Evans, Powell and Whiteman were later in Habibiyya.

Mighty Baby biography by Bruce Eder
The British psychedelic band Mighty Baby grew out of the Action, the Liverpool-based R&B outfit signed to Parlophone by George Martin in 1965. Long considered one of Martin's best discoveries this side of the Beatles, the Action consisted of Reggie King (vocals), Alan King (guitar), Pete Watson (guitar), Mike Evans (bass), and Roger Powell (drums). After Watson left in 1967, he was succeeded by keyboardist Ian Whiteman and blues guitarist Martin Stone, a veteran of the Savoy Brown Blues Band. This new lineup evolved beyond the R&B/soul sound that the original Action had played and into a top-flight experimental group, incorporating the kinds of long jams and folk/blues influences that the West Coast bands were starting to export around the world.
They hooked up with ex-Yardbirds manager Giorgio Gomelsky in 1967 and recorded an album's worth of material that went unreleased. Reggie King was gone by early 1968 to record a solo album, and the remaining members went through a number of name changes, at one point calling themselves Azoth. In 1968, they hooked up with the managers who represented Pink Floyd and T. Rex and cut a new series of demo recordings featuring Whiteman (who wrote most of the songs) and Alan King on lead vocals. These demos were even more ambitious than the 1967 sides, extending the structure of the group's songs with long, beautiful guitar progressions and soaring choruses. Unlike a lot of R&B outfits that tried the psychedelic route and failed, they were suited to the new music by inclination and temperament.

Side 1

1. Now You See It

Side 2

1. Stone Unhenged

2. Sweet Mandarin

3. Winter Passes

Side 3

1. Now You Don't Part 1

2. Now You Don't Part 2

Side 4

1. Now You Don't Part 3

2. Now You Don't Part 4

http://www.sunbeamrecords.com/Artists/MIGHTY/MIGHTY.html

The president of the band's new record label, Head Records, for reasons best known to himself, chose "Mighty Baby" as the group's new name. The self-titled album that followed was a masterpiece of late psychedelic rock, with long, fluid guitar lines and radiant harmonies; still, Mighty Baby didn't sell very well, although the group continued to play live shows to enthusiastic audiences. Their record label folded in 1970, and the group eventually signed to the Blue Horizon label, where they released a respectable if not wholly successful second album, A Jug of Love. It was clear by then, however, that their moment had passed, both personally and professionally. Mighty Baby broke up in 1971, although several of the members periodically played together on various projects — Evans and Whiteman even played back-up to Richard and Linda Thompson in the late 1970's. ****This hour-long CD is one of the best bodies of British psychedelia ever released. It contains the complete Mighty Baby album from Head Records, expanded to 13 tracks with the addition of five tracks cut by the Action during its 1967 transition period. The opening number, "Egyptian Tomb," sets the tone for the entire album — in terms of content, structure, and beat, it sounds like the early Allman Brothers, or maybe the Grateful Dead in one of their harder-rocking moments, jamming with Crosby, Stills, Nash & Young on an impromptu version of CSN's "Pre-Road Downs." The beauty of the original Mighty Baby album tracks is that they're psychedelia with a solid beat, none of that noodle-rock that drugged-up Brits usually engaged in. "A Friend You Know But Never See" mighthave passed muster on the Byrds' Notorious Byrd Brothers album. Other songs noodle around too much, but overall this is some of the most energetic psychedelia to come out of England, and anyone who enjoys psychedelic guitar will love Martin Stone's and Alan King's work on this album. The bonus tracks, all "lost" demos, are even better: highly rhythmic, driving rock (check out "Understanding Love") with lots of spacy guitar and tougher-than-normal flower-power introspective lyrics, with some gorgeous harmonies dressing it all up — a near perfect meld of garage rock and psychedelic sensibilities.

First time Posted By heavyrockspectacular.blogspot.com A Great Music Blog !

MIGHTY_BABY_-_1970_-_Live_In_The_Attic__UK_.rar

in loving memory of Mike Evans

Tim Buckley - Once I Was - (John Peel Show 2/4/68.-live in Copenhagen 10/12/68.-the Old Grey Whistle Test 21/5/74.)

Once I Was is a live album by Tim Buckley. The album is a compilation of various live sessions from 1968 to 1974.

Tim Buckley – Guitar, Vocals
Lee Underwood – Guitar, Vocals
Charlie Whitney – Guitar
Niels-Henning Ørsted Pedersen – Double bass
Tim Hinkley – Bass
David Friedman – Vibes
Ian Wallace – Drums *R.I.P
Tim buckley At Newport '68

From the first bars of the "Dolphins" riff leading to Tim singing "Sometimes I think about..." (which has to be one of the best opening lines of a song ever), the warmth and quality of what he did when he was here with us is clear. He took me through the music with such delicacy, such effortless gliding that when I started to draft these notes, I was tempted to write just one word: "listen".
I first heard Tim Buckley's music coming out of an old boyfriend's worn-out stereo speaker one rainy Northern afternoon, in the social experiment 60s council estate that was our home. I flipped the album cover round in my hands and I studied his incredulous face on the front of Sefronia. He looked too pretty to be making those ancient noises with his throat. It was 1978/9 and I was just finishing school, desperate to sing, learn and experience this amazing post hippie/punk world of song and songwriting, which was left for me to explore by all who went before me.
Tim Buckley had already left the planet, having died a few years earlier. I missed out on ever seeing him play but there were the albums; full and heavy with moving vocal and guitar shapes, overwhelming me with the wit of his improvisations. I understood and resonated so completely with what he was doing and have spent the rest of my life searching for the same fearlessness of expression from my own voice.
These eight songs define Tim Buckley's range and beautiful, eclectic choices, whether it be a very blues-influenced jam, typical of the early 70s singer-songwriters ("Honey Man" or "I Don't Need It To Rain", and the tone of his album Greetings From L.A.), or delicately working a song around a fine folk/classical chord structure and arrangement as in "Hallucinations/Troubadour". Listen to how Tim settles into "Once I Was"; it is mesmerising and resonates between the players, whose musicianship must also be acknowledged.
These are remarkable live recordings. Tracks one and two, "Dolphins" and "Honey Man", were recorded for The Old Grey Whistle Test on the 21st of May 1974. The following five songs were recorded live for The John Peel Show on the 2nd of April 1968. Best of all, included on this album is a never before released recording of "I Don't Need It To Rain", a stunning 12 minute long concert performance recorded in Copenhagen on the 10th of December 1968.
This song was found in a box of disintegrating reel-to-reels at Tim's home. It's a great discovery and a powerful listening experience, made even more profound when you realise, as I did, that the crowd made not one sound throughout the playing; no clearing of throats, no movement, all of them in the bliss of real listening and real ego-less calm.
About the song Tim's wife Judy remarks: "Tim would routinely do this vocal warm-up in concert in order to loosen up his voice, after which he would tear into his song list at full strength". I can hear how he takes himself through the singing, like he's walking gingerly over seaweed rocks; he guides the listener. He was a fearless and truly intimate performer. I imagine how it would be if he were still with us, how magnificent it would be to actually witness him sailing over grooves at Glastonbury this summer. At last Tim Buckley seems to be recognised and respected more than 30 years after his death.
We are so lucky to have the little that exists of him on record.As I said earlier, just listen.
Sedania Eddi ReaderJune 1999

1. DOLPHINS 3:11

2. HONEY MAN 5:01

3. MORNING GLORY 3:17

4. COMING HOME TO YOU (HAPPY TIME) 2:56

5. SING A SONG FOR YOU 2:28

6. HALLUCINATIONS/TROUBADOUR 10:35

7. ONCE I WAS 3:57

8. I DON'T NEED IT TO RAIN

Tracks 1 & 2 recorded for the Old Grey Whistle Test 21/5/74.

Produced by Mike AppletonTim Buckley -- Guitar/VocalsIan Wallace -- DrumsTim Hinckley -- BassCharlie Whitney -- Guitar
Tracks 3-7 recorded for the John Peel Show 2/4/68.

Produced by Bernie AndrewsTim Buckley -- Guitar/VocalsLee Underwood -- Guitar/VocalsCarter C.C. Collins -- Bongos
Track 8 recorded live in Copenhagen 10/12/68.

Tim Buckley -- Guitar/VocalsLee Underwood -- Lead GuitarNils Henning -- Double BassDavid Friedman -- Vibes
Tracks 1-7 mastered by Ben Schultz.Track 8 digitally re-mastered by Ben Schultz and Llew Llewellyn.
All tracks mastered at Barefoot Studios.
All songs composed by Tim Buckley except 1 by Fred Neil and 3 & 6 by Beckett/Buckley.All songs published by Carlin Music Corp., except 7 published by Warner Chappell Music Ltd.
Photography -- Elliott Landy.

The Tim Buckley Archives

The Tim Buckley Music
http://www.timbuckley.com/

http://www.timbuckley.org/

http://www.leeunderwood.net/

Rhino Records

Tim's Words :
I was never a folkie. I was always rooted in African rhythms. I still listen to Duke Ellington; all those people playing together as a quintet is just amazing to me.

TIM_BUCKLEY_-_1968_-_1974_Once_I_Was.rar

This Album Is Dedicated to another pioneer rock Legend - Mr. Ian Wallace, who Flew Away ^V^ , Beyond The Horizon, last year...

http://www.ianrwallace.com/