Laura Nyro - Spread Your Wings and Fly: Live at the Fillmore East May 30, 1971

LAURA NYRO - FILLMORE EAST - JUNE 20, 1970

/ AND WHEN I DIE / SAVE THE COUNTRY


Review
by Richie Unterberger
While a couple of the medleys of soul covers have shown up as bonus tracks on the expanded edition of Laura Nyro's Gonna Take a Miracle, everything else from this 1971 show was previously unreleased. In fact two of the songs, the lengthy Nyro originals "American Dove" and "Mother Earth" (the latter clocking in at eight minutes), appear here for the first time anywhere. It's just Nyro and her piano on this recording, and while the sleeve note apologizes for the sound quality due to deterioration of the tape, actually it sounds pretty good, though not pristine. There are both positive and negative ways of viewing this archival find. On one hand the set list, oddly, contained none of her best-known songs ("Wedding Bell Blues," "Stoned Soul Picnic," "Sweet Blindness," "Blowin' Away," and "And When I Die" are all missing for starters), which might disappoint some fans. Also, the unplugged reliance on nothing but piano backup makes this less varied and, in some ways, less interesting than the full arrangements she used on her early studio releases. On the other hand the emphasis on lesser-known songs and soul covers — as well as, for that matter, the use of solo piano arrangements — means that both the material and the setting provide a glimpse of different sides of the singer/songwriter than are apparent in her more familiar studio albums. Nyro sings in a beautifully high range and her piano accompaniment is sensitive, though whether due to the recording flaws or the way she presented herself in live performance, the words aren't always wholly distinct. It's not on par with her early studio releases, and neither "American Dove" nor "Mother Earth" are great songs; they're okay and certainly in her soulful singer/songwriting vein, but a little meandering. But fans will treasure this as a document of Nyro in a more intimate setting than her early official releases allowed.
Laura Nyro
From Wikipedia, the free encyclopedia

http://www.lauranyro.com/

fixit

get it here,enjoy!

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Thursday, April 24, 2008

Lost-In-Tyme Updates

Hallo All !!!Since blogger delete (without warning) the 3 working pages of Lost-In-Tyme plus my account...we're trying to find a better place to host our posts...The first part is the "100 Mirrors project" (we working on it when is possible)...and the second part is to find another host (we working also on some projects)We need from you to have patience and give us some time before we start making new posts regularly...You can send invitations for "Mirror blogs" to the known e-mails...step 1 :create a blog > settings > permissions > add authorsstep 2 :settings > permissions > grand admin privileges*even if you have done this, please check one more time your permissions page....

Thank you all for the Support !the Lost-In-Tyme team

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and the new site stronger than ever!

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Bert Sommer (The Left Banke) Discography...

bert sommer live in woodstock 69

from the marvellous Blog Time Has Told Me


Presented by Lizardson & Friends

by Anonymous - Saturday, April 26, 2008

Bert Sommer (The Left Banke) Discography...
Bert Sommer (The Left Banke) Discography...Bert Sommer (February 7, 1949 – July 23, 1990) was a folk singer who performed at Woodstock in 1969 and had a hit with the song "We're All Playing In The Same Band." He was briefly a member of baroque-pop group The Left Banke, co-writing and singing lead on the "Ivy Ivy"/"And Suddenly" single. He also played Woof in the original Broadway production of "Hair (musical)" and "Flatbush" of Kaptain Kool and the Kongs on The Krofft Supershow in 1976. He died in Troy, NY after a long battle with respiratory illness. His last performance was in Troy on June 11, 1990 with his friend Johnny Rabb.

The Road To Travel (1969). Capitol.

Inside Bert Sommer (1970). Eleuthera.
Bert Sommer (1970). Buddha.

Bert Sommer (1977). Capitol.

Stephan Micus - Athos (1994 ECM)

Stephan Micus Athos

Bavarian zither, sattar, shakuhachi, suling, nay, flowerpots, voice

On The Way

The First Night

The First Day

The Second night

The Second Day

The Third Night

The Third Day

On the Way Back

Recorded November 1993-February 1994ECM 1551

ενας πολίτης του κόσμου ,
ενας μοναχικός πολεμιστής,
μικρός προσευχητής
στην Ομορφιά της Μάνας Γής !!
 οσο ακόμα ..

 

Αν η μουσική , που γεννιέται στις γειτονιές του κόσμου,
είχε πρόσωπο, θα μπορούσε να είναι αυτό του Μίκους.
Μελωδίες και απόηχοι του Κόσμου,
φωνές και όργανα από κάθε γωνία του πλανήτη
ενώνονται και μεταμορφώνονται
σε νέες οντότητες μέσα στο έργο του.

Σαν τα παιδιά ,
που φέρουν το προγονικό τους γονιδio στο μέλλον,
γεφυρώνοντας το χθες με το αύριο,
έτσι και μια δημιουργική,
άχρονη και οικουμενική τέχνη
έρχεται από παντού πηγαίνοντας παντού.

Athos is a 1994 album produced by Stephan Micus for ECM.

Based on a three-day visit to Mount Athos, in it Micus tries to capture his experiences with the Greek Orthodox liturgy he experienced in the monasteries there, framing it with pieces that evoke his emotions at going to and leaving the isolated peninsula. Between them he recreates the liturgical experience of the services during his stay, in six alternating pieces of night and day.

As in his other works, Micus uses a combination of traditional instruments from various cultures to capture the feel of the monastery. These include the sattar (a bowed 10-string instrument used by the Uyghur), the shakuhachi (a Japanese bamboo flute), the suling (a reed flute from Bali), the ney (a Middle Eastern flute), and even 22 flowerpots, filled with water, which he plays with his hands and with mallets. These instruments are only used in the pieces representing the days on Mount Athos.

To emulate the Greek Orthodox tradition of not using musical instruments in their services, his pieces devoted to the nights are performed by a 22-man choir singing prayers to the Virgin Mary.
Wikipedia, the free encyclopedia

απο τα 18 του με πρώτη στάση το Μαρόκο,

πολύ πριν την τουριστική του «αξιοποίηση»,ταξιδεύει στις πέντε ηπείρους.

Γνώρισε λαούς ,τα έθιμά τους ,τον πολιτισμό τους,από πολύ κοντά.

«Δεν μπορείς να νιώσεις τη μουσική ενός τόπου αν δεν ζήσεις, περπατήσεις, εμβαθύνεις στον πολιτισμό τους ,στην κουλτούρα τους,τραφείς με την ντόπια κουζίνα τους»

λέει και έχει δίκιο.

Σπουδάζει δεκάδες τεχνικές και όργανα

από τους ντόπιους ανά τη Γη πρακτικούς οργανοπαίκτες,

και πάνω απο 40 χρόνια τώρα :

επιχειρεί το αδύνατο:

ένα ταξίδι στο χρόνο με ιδιότυπο στοχασμό και ηχοποιΐα ,

αναφερόμενη στην ελληνόφωνη, χριστιανική, βαλκανική και

ανατολική αυτοκρατορία,

στο υπερχιλιετές μεσαιωνικό έπος των

μυρίων δοξασιών και γρίφων.

Η Δεύτερη Μέρα (the Second Day)

listen online on last fm

STEPHAN MICUS on E.C.M.

http://www.discogs.com/Stephan-Micus-Athos/master/237767

http://en.wikipedia.org/wi​ki/Stephan_Micus

http://www.ecmrecords.com/​Catalogue/Artists/micus_st​ephan.php

http://www.trovar.com/ECM/​ECM.php?artist=Micus

http://www.stephanmicus.com/

get it here

καθ'Οδόν (on The Way)


 

πάνω απο 40 χρόνια τώρα επιχειρεί το αδύνατο :

ένα ταξίδι στο χρόνο με ιδιότυπο στοχασμό και ηχοποιΐα ,

αναφερόμενη στην ελληνόφωνη, χριστιανική, βαλκανική και

ανατολική αυτοκρατορία,

στο υπερχιλιετές μεσαιωνικό έπος των μυρίων δοξασιών και γρίφων.

σε κήπους μυστικούς - καλά κρυμμένους απ'τους θεούς,
που για να διαβείς το κατώφλι
αφήνεις για πάντα πίσω σου ,
την κουλτούρα - κοινωνία των σημερινών Νεκρών Πόλεων...

σημείο αναφοράς και ταυτότητα μαζί
για τον κόσμο που χάθηκε στην επιφάνεια των πραγμάτων..

εχουν Επίγνωσιν οι Φύλακες

(Ραψωδία λ )

MAJOR ARCANA - Same (A Major Label ) 1976 Midwest Folk Psych

(A Major Label)
1976 R1
On the same label as Anonymous, an album of West Coast psych folk, with Sigmund Snopek of the Bloomsbury People and Jim Spencer.
Additional participants are thought to have included Jay Borkenhagen (ex-Baroques), Tom Ruppenthal and Rob Fixmer. Jim Spencer, now sadly deceased, had other Milwaukee releases.
(Stephane Rebeschini/Gary Myers) vernon joynson

Artist/publisher Denis Kitchen's brother Jim was in a Milwaukee-based band called Major Arcana with the late Jim Spencer in the mid-70s. This is the only album cover Kitchen ever created, but his psychedlelic image became a minor classic (it also inspired a surrealistic follow-up "story" in the underground comic Mondo Snarfo). He remembers spending "ninety hours" on the intricate cover ("and it wasn't a cash job!"). The music holds up well too. Had Spencer not died at a very early age, he and his group would likely have been commercially successful. But the group achieved only regional and brief fame.

get it here

John Sebastian - I Want My Roots. (1996 US Jug Folk)

Life and career
His father, also named John Sebastian, was a noted classical harmonica player and his mother was a radio script writer. He is the godson of Vivian Vance (Ethel Mertz of I Love Lucy). He grew up surrounded by music and musicians, including Burl Ives and Woody Guthrie and hearing such players as Leadbelly and Mississippi John Hurt in his own neighborhood.
One of his first recording gigs was playing harmonica for Fred Neil on his Bleecker & MacDougal album in 1965. He came up through the Even Dozen Jug Band and The Mugwumps, which split to form the Lovin' Spoonful and the Mamas and Papas. Sebastian was joined by Zal Yanovsky, Steve Boone and Joe Butler in the Spoonful, which was named after a Mississippi John Hurt song. Sebastian also played autoharp on occasion.
The Lovin' Spoonful became part of the American response to the British Invasion and was noted for such folk-flavored hits as "Jug Band Music," "Do You Believe in Magic", "Summer in the City", "Daydream," "Nashville Cats," "Did You Ever Have to Make Up Your Mind," "Six O'Clock," and "Younger Girl." The band, however, began to implode after a 1967 marijuana bust in San Francisco involving Yanovsky, a Canadian citizen. Facing deportation, he gave up the name of his dealer, which caused a fan backlash and internal strife. Neither John Sebastian nor Joe Butler were involved in the matter - weren't even in San Francisco at the time.
Yanovsky left, replaced by Jerry Yester in 1967. Sebastian remained in the band but departed in 1968. He and the original band reunited to appear in the film One Trick Pony starring Paul Simon and Blair Brown.
Sebastian embarked on a moderately successful solo career after leaving the Lovin' Spoonful in 1968. Sebastian was popular among the rock festival circuits. He had a memorable, albeit unscheduled appearance at Woodstock, appearing after Country Joe McDonald's set, playing songs such as "I Had A Dream," "Rainbows All Over Your Blues" and "Younger Generation" which he dedicated to a newborn baby at the festival. Sebastian also returned for Woodstock '94, playing harmonica for Crosby, Stills and Nash. Sebastian released his eponymous LP John B. Sebastian in 1970, which featured him accompanied by various L.A. musicians.
In 1976, Sebastian had a number one single with, Welcome Back, the theme song to the Welcome Back, Kotter television show, which found new life decades later when a sample from it became the hook for rapper Mase's 2004 hit "Welcome Back". Recently, he has played with John Sebastian and the J-Band, a jug band including Fritz Richmond from the Jim Kweskin Jug Band, Yank Rachell, an original jug-band leader, and Geoff Muldaur. Rory Block Vocals, Guitar, Stompboard

Richard Crooks Drums

Yank Rachell Vocals, Mandolin

Annie RainesHarmonica, Backing Vocals

Fritz RichmondWashtub, Jug

Paul RishellVocals, Steel Guitar, Mandolin

John SebastianVocals, Guitar, Banjos Harmonica

John SimonHarmonium

Jimmy VivinoVocals, Guitar, Steel Guitar Mandolin, Autoharp

James Wormworth Drums, Washboard, Stompboard

Producer John Sebastian, Jimmy Vivino
Several modern musicians cite him as a large influence, including renowned blues harmonica player, Mike Tetrault. As a songwriter, Sebastian's songs have been covered by Elvis Costello ("The Room Nobody Lives In"), Dolly Parton, Del McCoury, Helen Reddy, Brenda Lee, Johnny Cash, Bobby Darin, Slade, Joe Cocker and Jimmy Buffett ("The Stories We Can Tell").
In later years, Sebastian hosted several television programs regarding '60s' music, including infomercials for compilations sets, and a half-hour program called The Golden Age of Rock and Roll, which was usually a video footage of various 1960's bands performing on various variety shows. He also hosted a Spoonful retrospective broadcast over PBS in March 2007, talking about various Spoonful numbers in between vintage video clips of the band up to the time he left.
In 2007, John released a guitar instructional DVD for Homespun Video teaching solo guitar adaptations of eight of his Spoonful hits including "Daydream", "Nashville Cats", and his solo hit "Welcome Back". He has also released an instructional DVD teaching beginning level autoharp. (Sebastian played both harmonica and autoharp on Shanachie's 2002 compilation CD "Man of Constant Sorrow".)
Sebastian and the J Band appear in the documentary about the roots and influence of jug band music, Chasin' Gus' Ghost, which screened in August 2007 at the San Francisco Jug Band Festival and made its film festival debut in October 2007 at the Woodstock Film Festival. In the film, Sebastian humorously explains, with musical accompaniment, how his hit song "Younger Girl" was inspired by Gus Cannon's "Prison Wall Blues." He also performed at the festival with other musicians featured in the film, including Geoff Muldaur, Maria Muldaur, Jim Kweskin and David Grisman.
Sebastian played harmonica with The Doors on the song Roadhouse Blues under the pseudonym G. Puglese to avoid problems with his contract, which was featured on Morrison Hotel album, also played on "Little Red Rooster" on the live album Alive, She Cried and on seven songs on Live In Detroit. He is also credited with playing harmonica on Crosby Stills Nash & Young's "Déjà Vu" from the album of the same name.

http://www.johnbsebastian.com/

get it here

Whistler's Jug Band - Foldin' Bed (1930's)