Drag City   Yahowha 13 : Magnificance In The Memory (US,1970s,pub.2009)***°'

I have no clue from where they suddenly dug these unreleased recordings from Yahowha 13. I also don’t know how much they originally were intended to be hung together but they show a real pleasant variety, inspired as if from different occasional ideas, with momentual song-improvised directions. Stylistically they seem to span the whole Father Yod/Yahowha period, starting from what came from the Father Yod sort of style weirdness (the over the top screaming on the first track), to the psychedelic guitars and tin drums of the highlighting period of the Yahowha 13 band, as well as some more “normal” somewhat bar contexts of songs, and some surprising humour.

“Camp Of the gypsies” sounds like it is from a live recording, starting with whispery improvised talk on a bed of percussion, a theme full of tension, about sneaking into a camp of gypsies to take or kidnap some son to come with him, as a free choice, but lifting this tension into a rather “amusical” screaming of a rather orgastic nature, freaking out with guitars and with stamping tin drums, and a small electric violin part. This track will need a second listen, I guess. But also here already is revealed a strange surreal exotism and story. One of these chosen ones, son number 182, as he names himself, takes the lead in the next song, chanting an imaginable mantra, which sounds Indonesian. This is very funny, psychedelic and pseudo-exotic as well, but also hypnotic, outsider-weird with the recognisable for Yahowa13 spaced out effects on the electric guitars. The next track is one of the more “normal”, swinging happy bluesrocking songs, sung by Yahowha, like a more “common’ baby” rocking bar song actually, with rough voice, as if with a fully smoked and whisky context occasion effect. The song “Sunshine Man” is weird, in a different way. Here you can hear father’s attractive sort of whistling, full happy feelings, while the guitars keep the spacey psych sort of effects. Don’t I recognise the tune ? Yes, it is the ‘maccarena’ ??? Strange, because this song is from 1992, so this similarity makes this coincidence of similarity (being released only now) a bit in an otherworldly way. Also here are more psych improvised electric guitars added to it, in a more still psychedelically different, bluesrock way. This is followed by a second, short and slightly normal song, a woman-pleasing song, singing this with enjoyable high notes in it. This is followed by a “fertility dance”, once more psychedelic and exotic, with an oriental guitar theme getting heavier with drums and tin drums, in a typical Yahowha manner. Another lovely whistling tune can be heard after this, with a surreal somewhat slide guitar, which sounds strange, slightly abstract, hypnotic and beautiful, also to be heard in the next track. The last short track is another, enjoyable let’s say bar-bluesy song.

A great surprise which is a more than welcome addition to the Yahowha catalogue. It shows his weird, but also humanised aspects.

Audio : "Camp Of The Gypsies", "Nam Yo Ho Renge Kyo","Father Whistling"
Label info : http://www.dragcity.com/bands/yahowha.html (out in june !!)
Other review with audio of "Treat You So Right" : http://www.dustedmagazine.com/reviews/5066
World In Sound   Strawberry Window (US,1967,re.2009)***°'

It’s unbelievable how after so many years it still is possible to make discoveries of an unpublished archive from the 60s, with acceptible sound quality, and with great musical quality. Strawberry Window surely had a strong sound and they also were a bunch of talented musicians (a great drummer, an important quality for convincing with jams, and great guitarists). Somehow they were just slightly ahead of things, while using rather twang guitars, they also used wild and freaky let’s say Hendrix like guitars, with peeping effects and such. They were just fantastic with long jams, pushing the full band forward to great moves, playing this amongst ballads and love songs, strong songs actually that stick with you, like the ballad wishing that the other one will break the girls’s heart so that she would return to him, and even one convincing primitive rock’n roller.

A small minor point that for the first listen might pull a bit off I think was the live opener which is rather badly recorded, and even showing a great playing (fastly played drums, electric twang solos, harmony vocals) and not too long. After a second listen I thought this opener would have fitted perfectly well as a bonus track too, even after the other version of it with which the compilation closed. One of the other live tracks shows also rather distorted vocals but well recorded guitars, so that it actually feels quite well. A great one to check out !

In 1968 they switched guitar players, added a girl singer and changed their name to the Dandelion Wine. Lots of the musicians had afterlives and there were interesting side-stories, all explained well in the 16-page booklet.

Description : http://www.lpcdreissues.com/catalogue/viewItem.php?idProduct=17062
Label : http://www.worldinsound.com/
Black Rills Rec.    Fantasy (US,1969/1970,re.2008)****'

This is the one and only album by the American band Fantasy (lesser known than the English one). It is a rather progressive rock-opera kind of concept with beautiful progressive moves (at times slightly classical in nature, sometimes a bit more bluesrockier), led by a powerful soulful rock voice, (with some male backing vocals), and an important part/use of organ, but also a good rhythm section with lots of rhythm change. The album is a bit comparable to albums from Earth & Fire, Analogy and Julia’s Treatment.  “Stoned cowboy” hypnotically repeats an organ/drum rhythm, loosening on top a long fuzz solo.

From the 2 (bonus tracks) singles, the first track, “Painted Horse” is a nice addition in a similar style. I got the fever has a lighter musical theme, with funny use of organ, and a bit of brass arrangement. The second single has a shorter version of the instrumental fuzz solo.

It is unclear what the lyrical concept is all about. It seems as if it’s about someone who finds certain idealisations valuable, but is confronted with a women who found him great at night, but not for the light of day. It is as if with his lost dream and in this fantasy he tries to find new order in his mind. What happened to her is unclear.
The band existed since 1967. The first singer at some stage disappeared and seems to have died (no info on how or why). After some months she was replaced by a new singer for this recording. The front cover seems to present the (present/past?) singer in the middle of an eternal spiral edged by the 4 musicians, and their 4 astrological signs, spiralling further on the edges into 3 new directions. (During and after listening I had several coincidental ideas and confrontations about crossing other dimensions, and also dreamed about people in mirrors trying to bring me a message which I could not understand…).

A wonderful discovery for fans of the aforemanioned groups. I understand Black Rills interest for this. The music fits also well with some of the Swiss progressive for its use of organ.

Audio : fragment 1, fragment 2, fragment 3, fragment 4
& on http://www.youtube.com/watch?v=QAO_SxOkZZw
Label info with more audio : http://www.blackrills.ch/fantasy.htm (from http://www.blackrills.ch/ )
LATE 60S/70S INSPIRATIONS
review page 6

Magic Bubble ('69/'08)
Curved Air ('75/'08)
Clarck - Hutchinson ('69/'08)
Yahowa presents : Children Of The Sixth Root Race ('73/'08)
Yahowha 13 ('70s)
Fantasy ('69/'70)
Greer ('73)
Naked Lunch ('69)
Strawberry Window ('67)
Sunbeam Rec.   Clark Hutchinson : A=MH² ...expanded (US,1969,re.2008)*****+*°

The album was a consistent, more or less masterpiece of instrumentals which are played in a rather improvised way, led by electrified guitar mostly. -At least, …it gives the feeling that all is led by one mind and by and with guitar as the most important instrument, while the other instruments stimulates the trip with rhythmical repetitions. Only the starting points of musical themes changes a bit, while all tracks are comparable in a very trippy way, with longer solos, with an extra guitar in duet or even with sax on top. And although the themes change, the approach, in mind, as a creative entity, isn’t too different over the whole album. While at times, just slightly, it is a mixture of blues and rock, it also crosses the paths of these areas through its trippier mood. “Acapulco Gold” is more Spanish flavoured, played with technical mastery, in a somewhat post-classical nature even. “Impromptu in “E” minor” is the most psychedelic track, and sounds as if influenced by Pink Floyd (the piano as well as the beautiful and ambitious vocal chorus ala ‘Atom Heart Mother period’), also here playing trippy solos on a ritualistic percussive carpet. On “Textures in ¾” however a sax solo starts at first. On the same track, the continuing rhythms sounds first like a native American rhythm meditation, but become more like a folk dance (I can’t recall from which origin), with more electric guitar solos on top. The last piece is, like it says, an “improvisation on an Indian Scale”, more Indian-flavoured. This piece might have been the first epic raga on electric guitar with a Western vision.

When I resume the album after a few listens I can say there surely was a journey involved that played a bit ingeniously with the idea how Western scales worked. Somehow, all of the tracks keep something in mind as if there is a progress of deeper imagination over time, through different cultures and approaches, that are all equally comparable to these Indian flavoured ideas, no matter when also totally different scales shares this process and consciousness.

It also still is hard to believe that the album was recorded just by 2 persons, like the original notes say, like an “electric symphony orchestra”, it is also thanks to the help of an 8-track recorder.

The album comes with a 16 page booklet with more info and rare photographs.

Also included is their first recording, an album worth of material, which was not published at the time, but which once saw another reissue in 1994 (Little Wing), paired with the duos third and final album.

When reading the liner notes, it sounds clear to me and also more obvious to pair this album with the original ‘blues’ album, because that is also where the duo had started from. They first made this blues album in Decca’s studios, which was refused as not being good enough. In their second chance to rerecord it, they decided to make it this direct-in-studio-invented trip which E=MH² had become.

The formula (A=HM²) from which some associations of explanations are also added in the package, -a reading trip on its own-, refers in fact to the undeliberate, creative and inventive form which had taken place to happen after a certain process of neglect of their usual approach which they had experienced. The text talks about “the mind” that “is desire and memory”, and where this mind needs something to gain from, like a circuit. It usually gets its inspiration from the world. When it can’t get this, it creates its own fantasy & project, to give it back to the world. Without being able to project, through senses and memory, only a short circuit is maintained, which is called withdrawal. With intelligence they still make the right stimuli of what has been remembered to retain a new relationship towards the world. It is clear this is about their own creative process which reconsidered all the known musical forms they had experienced before, and made something new from it, while trying to make it attractive and like a form of energy for the world. It was at that moment for them just like their only choice to gain something unique from inside themselves, and which brought them to the right state of mind to make this rather conceptual album. Just let yourself undergo into the trip, and you will notice there’s more involved underneath the surface!

In ‘Blues’ however, the first album, they were of course still like straight forward practitioners of the recognisable electric blues style. The first track is not really special, but then also this album shows a reasonable to good quality of blues-rock especially thanks to the attractive electric guitar solo style, and with a calmer moodier and longer track to end with. But somehow it remains hard to believe this really is the same duo. Myself, I am more than happy how the original label first refused this ‘blues’ album, because that is also how “A=MH2” became so different, a much more creatively processed concept.

Also good to mention is that Clark & Hutchinson once were part of the earliest (?) group of Indian tabla-player Sam Gopal, ‘Sam Gopal’s Dream’, a slightly psych tingled band who recorded just one album, which I remember as featuring actually rather simple tabla. Instead of Hutchinson, it was Ian Killmister (who would soon become a lead singer and bassplayer for the spacerock band Hawkwind, for a few albums, and later would form his own unique heavy rock band, Motörhead -under the name Lemmy-) who replaced him to record the band’s only album. Mick around that time teamed up instead with Andy Clarck to form a duo.

It is also worth of notice that A=MH² did not remain another obscurity, because it hit the top ten of the UK album charts in 1969, and this for a couple of weeks !

Just a last time suggesion : for this album the listener should not let him be disapointed just at the first moment of recognising certain slower repetions within the rhythmic trips : it is much more rewarding to dig the quality of the trip itself to see to wherelse it leads to; especially then the album will enfold itself like a hall of hidden treasures.

Audio : http://www.myspace.com/clarkhutchinson2 
Audio of later albums & info : http://www.myspace.com/clarkhutchinson
Article on Clark Hutchinson with discography : http://beefheart.com/zine/articles/0110clarkhutchinson.htm
Info on Andy Clarck : http://en.wikipedia.org/wiki/Andy_Clark_(musician)
Homepage Mick Hutchinson : http://www.mickhutchinson.co.uk/
Discography : http://www.alexgitlin.com/npp/c-h.htm
Other descriptions : http://www.fusetronsound.com/...
Other review (with audio track) : http://www.progarchives.com/album.asp?id=8116
Esoteric Rec. Curved Air : Live (UK,1975,re.2008)***°°

Curved Air was one of those successful and popular pop-rock bands which I categorised amongst the other rock bands with “power” female vocalists (like Earth & Fire, Affinity, Sandrose, Analogy, Julia’s Threatment, Heart, Delivery, Grace Slick and Jefferson Airplane, Shocking Blue, Fear Itself and perhaps Julie Driscoll and Janis Joplin, with a band sound led by these vocalists that deserves a genre of their own). Curved Air not only had its convincing vocalist, Sonja Kristina, (who had started performing in the rock opera “Hair” before). Also Darryl Way’s electric violin and presence very much shaped the group’s sound with another lead role. Thirdly, there’s organist Francis Monkman, another classically trained artist, who showed a high level of performance, where musicianship and virtuosity was an important tool that created unique moments of performances, something which for the keyboard parts, especially a live performance like this, shows its capacities well. Where on live performances Darryl’s violin uplifted the band to classical inspired, kind of fusion-jazzrock (his interpretation of Vivaldi’s “Four Seasons”, also on this live performance, will still amaze each listener today). Hardly credited are the electric guitarists, which changed a bit over the years. But from how in this period they make the general sound even stronger, I understand how, together with brilliant outbreaks of moments of violin, keyboards, and vocals, this made the band suitable to share stages with for instance Black Sabbath in those days.

On the liner notes Sonja Kristina’s comments “There was a momentum and excitement to performance that brought out the best in us, and continues to do so. I particularly like feeling free to be spontaneous. The recording process by its nature tends to be analytical and self conscious. Excellence is sculpted and great playing is preserved but at the risk of abandoning oneself to the moment. The concert stage is an honest representation of the band free of these constraints.” Even more, the band seems to take the opportunity that with a safe falling back on a classical and rock song structure to take a ride on it, the band was capable of breaking this open with moments of experiments with inspired inventive sounds as well as melodic, improvised brilliance.

Two recorded concerts were compiled to make this album in 1975. It was an official album to fill up the gap while waiting for the next studio album.

The three opening tracks don’t immediately show the band’s brilliance yet. Also, it does not have the best conditions for Kristina’s voice (the recording shows no reverb on her voice at all, so that it sounds slightly flat, a vocal performance trying to push its energy against the more full sounds of the electrified instruments… So these tracks sound a bit more like a warming up before the unique moments, creating at that point the feeling of experiencing a real concert as a listener. But after that, everything is in the right balance. First Sonja screams herself into it, and from then on one moment of brilliance follows the next (of splendid electric guitar, brilliant keyboards, classical melodic keyboards, perfectly fitting voice and singing parts, experiments and improvisations with violin and with analogue electronic music equipment,..), remaining, for the rest of the album, on a high level of inspiration and performance. It is especially this last 2/3 of the album which makes this album a classic and a must from the Curved Air repertoire.
The reissue contains a 5 page biography and many photographs.

The album didn’t save the band for long. Sonja and Darryl both went solo, Drummer Stewart Copland somewhat later, formed The Police.

Homepage : http://www.curvedair.com
& with audio : http://www.myspace.com/curvedair
and other pages : http://www.alexgitlin.com/curvedair.htm
& http://www.gaudela.net/air/frames.html
Label info : http://www.cherryred.co.uk/esoteric/artists/curvedair.htm

Other albums that I have :

Curved AirAir Conditioning (1970)***°°
Curved AirSecond Album (1971)***°°
Curved AirMidnight Wire (1975)**°?
Curved AirAir Cut (1973)**°?
Curved AirOn Air -BBC sessions-(1970-1976)**°?
Drag City     Yahowa presents :Children Of The Sixth Root Race (US,1973,re.2008)***°°
Songs from The Source

One of bands related with the cult figure Yahowa/Father Yod was ‘Spirit of ’76’. This band was the most song and rock-orientated band, andvery much had an entity of its own, living on the sidelines of their spiritual leader. Djin Aquarian, rhythm guitarist and songwriter of this band wrote the songs from this recently lost-and-found recording, mostly in the year before he joined the Source. Although it is still called “songs from the source” to some degree it also includes the life and consciousness from before joining the the Source and includes its own quest and coming to it, and while being performed by members of the Yahowa tribe, it still has, without its too direct presence of Yahowa as its leader an independent sound, where to a small degree the visions inhabit the earthly-life sounds/styles, but still with its own directing psychedelic inflections of the more Father Yod/Yahowa 13-related recognisable sound of its own. Besides the inclusion of the personal message and energy, including the teachings gathered around the road to identification, it to some degree also has the hidden message to its previous members that perhaps the band has its own energy after all to maintain its own strength and evolution, now when new attention is given to the group and things after whole personal evolutions are questioned once more.  So, for all the remaining members today, when hearing this previous event, I am sure this still could give a new meaning to their existence, after having lost their Father (Yod/Yahowa) so long ago now. When seeing this personal and communal evolution partially in reverse from a point where they might feel lost now, the revealing of this ability within any personal development, like with that of Djin’s own experiences, which were shared and brought to a higher level of expression with The Source, can be another inspiration once more, a proof of how each of them can lead themselves. On the other hand, some of the thoughts involved hearing a few of these prophecies sound more like paranoia today than seriously directing wisdom.* But for this release it is so that, luckily, each expression involved, whatever they were, found a really strong channelling of experimenting energy, a very direct experiencing inspiration in music.

-I once saw a Christian documentary warning about false prophets and the danger of being led by one, as if their own Bible or any of its fortune-tellers ever was able to do so. They said that Edgar Casey, known as being the prophet in his sleep, who, besides claimed he just saw or channelled information from ‘the Source’, supposedly did a few unfulfilled prophecies because he had claimed that in 1969 Atlantis would rise again. But if you consider what was most important in around 1969, one should realize that it was a different and very experimenting conscious, explorative time, all over the world. Djinn refers in the rather humoristic song “we are the dinosaurs” about how they are reincarnated from different previous forms (and now just use the old tricks again) to the incarnated from Atlantis. Imaginations or not, it is this sort of ‘Atlantis’ which often get the reference as a period where people of that time experimented freely, not just with power, but also with their whole mind.-

The group’s name “Children of the sixth root race” usually refers to an evolutionary state in the totality of human’s evolution (so is not referring to the 5 genetic races). After having read “The Source” and listened to some included lectures from Yahowa on the additional CD, it is more clear to me it also refers to the God-state of man to which humanity evolves, a state where the animalistic nature no longer interferes with inevitable desires and fears, but where the mind feels the connections that it should make stronger, just like an adept, a condition which also a group’s consciousness like a musical group in a creative project sometimes is able to achieve because all forces to make it so are able to develop this, so that different purposes are able to reveal and express and even better construct itself during the process.

-Besides, during the last couple of years there has been a lot of discussion and prophecy-like imaginations and theories, based upon Cayey, Blavatski and other peoples references to the new race we’re evolving to, something which also got the ‘Indigo children’ association involved, a term which is now adapted into psychology and which in that field refers to kids of the new society who act totally differently on this rapidly changing world, which in reality, considering their health problems and limited learning capacities, often means suffering from learning and adapting disorders into bigger connections more than an occasion of finding new inner gifts or talents.- **

Also for this band, their own existence was just an experiment, with energy and thought. The previous band name, ‘Spirit of ‘76’, came into existence in 1973, (besides it might with this re-release in mind refer, if this imaginative association is not forced too far,- to the message it could bring as an independent energy to the group, after Yahowa’s coming death in 1975)-. It first of all had been a reference to the birth of America, an ode to the liberal spirit that was consciously brought into the occasion, amendments and symbols. When Apocalyptic vision occurred at first (there was a general paranoia about it during these days), the idealisms of teachings also became a gathering of new members and solutions that would show the difference.

This particular album never was meant as a recording for an LP, but was just a rehearsal before a concert at the Whiskey A Go Go in LA, although it sounds pretty much like a cohesive album of over 50 minutes with a great and logical evolution in it. (It was found only just two years ago by accident). The greatness in it is partially the building up and transforming of energy in it, bringing us from rather let’s say more R&B driven rock tracks (male or female vocals), with bluesy organ, over slightly West Coast vocals to heavy female vocal pop-rock songs with a great female driven backing vocal group, which turns the energy from let’s say the earlier 50s R&B origins, in styles over gospel-rock to the wilder spiritual psychedelic rock spheres with s(w)inging “YaHo’s’” near the end. This evolution includes some occasional jazzrock/Canterbury strengths (at first on “Godmen”), an occasional funky riff (“Do Me”), over great improvisations, and occasional freakouts, a calmer but equally great message song with just percussion and backing vocals (“the great woe”), where thoroughly the Father/Yahowa-theme comes, participating in it, changing with it it's energy to something different, more hypnotically transcending, without losing the feeling for structural inspiration. Especially “Catastrophy” with its apocalyptic visions, has great dramatic arrangements. It is heavier and is convincing as belonging to the Yahowa(13) related Source(s), even when it is originally recorded without Yahowa leading (who checked and produced the recordings, changing only bits, like perhaps the small Indian chant on the last track). It is from that lastly mentioned track on that the energy changed completely, which pretty much works as a trip which continues into the last tracks. “Go with the flow” shows a great psychedelic rock part which include also flute, and on the last track I hear sax added to the rocking and jamming energy. Much more than any Yahowa record especially these highlights showed rather Canterbury-alike moments with incredible progressive shifts. A great discovery!

* There has been yogi-alike attempts to bring the peoples mind more directly to their capability to consciously stimulate its creative evolution. Once when someone is not distracted with his mind by all the failures of body / mind / emotions / cycles people tend to make, but simply tries to learn to act more purely with them, the 'dream state' of the body is no longer as much busy restoring what is destructively maintained, but now is more open to other suggestions, like for destinies which are more like progressions to the whole human being and beyond (all the contexts). At that stage the mind / emotions / destinies unfold themselves more directly in confrontation, and inspirations become much more purified intuition, and come spontaneously and honestly. Thoroughly it can give a higher and different energy level of awareness knowing and acting for what step to take next, dealing with the necessity of circumstances.
Channelling however works on those things that still need to be adapted and accomplished later, not realizing yet how this could make the starting structure of imagination stronger if fully understood. At their stage of inspiration it still is an open structure, which should have a vague destiny because lots still need to be fulfilled. When not vague but with strong images it reveals that the mind is in its last phase of imagination, and tends to cope with its failure and lack of imagination to manifest the needed change.
Every process, no matter how positive, tends to have three phases, starting with discovery, leading to knowledge and understanding, ending in destruction, restriction or failure. Once knowledge has become an easy practical tool, the need for change and transformation will be even more a necessity. If that does not happen quickly enough everything shall works against all free creativity with it.
Whenever a Channelling occurs on that phase it looks into the destiny of a continuation of facts without any transformation process or a change of perspective. Almost every group who started to use open creative imagination began to see visions of world destruction. It never means if this will happen or not, but it indicates it is time for the fundamental source to change its centre, especially when dates are given that such a necessity is a reality.
When Yahowa saw 1975 as a year of destruction, he turned it into his own brought into scene chosen death time, while the world around him and his charismatic centring being renewed itself at that stage.
Apocalyptic visions always occur where there’s need for drastic change of using its core of imagination and perspective, and when it really deals with the world’s reality also there it is the case. If such change of centre does not happen once in a while, opposites will grow more rapidly and aggressively against each other because new possibilities can’t be opening up otherwise.
Any creative mind and life needs change, also from the position of its leading mind or centre of consciousness. In politics, the mistakes from right wing will be solved by left wing and so on. Either weak characters then first take over lead that reveal the worst shadowy heritage of the previous leadership, or new strong characters or ideas will renew, with new injection, from their own source of inspiration. Repetition of the same things could eventually mean or work just like the opposite energy if a new injection can’t be given. No idealisms are ever ideal and universal, while inspirations themselves can either inspire further or with plain restriction only restrict.

** After investigating a lot more from Yahowa, including his writings, I became convinced he not only found a transformed compensation of psychology for his own personality, he also made it into a form in which he could develop an honest spiritual mastership.

There are some analogies you can find, in psychology, as well as in the learning and teaching processes, to Jesus of 2000 years ago, but in a different area and time perspective, which were the perfect times for experimenting and opening new doors : the late 60s and early seventies....

However, if we would look for a fitting Master with the Times of Today again, He will need to deal with a lot more aspects : with the decomposing of the complexity of nature's species, related with the losing a grip on the general resource of people's energy, with the process of a changing magnetism on earth reflecting the difficulties of memory and body balance, with the poisonous addictions to sugar and television, with the replacement of the lower's Self instincts by Mechanical repetitions and ignorance of the participants, an energy stimulated by a governed process, imagined by certain leaders of Power who are constantly constructing and placing certain restrictions and limitations from that order,  behind the scenes ; He has to deal with the fact that we today can hardly escape the noise of air waves that surrounds us, with the increasing number of people causing lack of space in general and lack of sources for anyone in general, with the increasing numbers of political abuse of people just trying to escape all this. And what about the increasing number of certain Groups who tend to take Power over the world at any costs. How do you think you are able to create new ideas to renew our daily living... because certain practical change will have to happen sooner or later.
This is no longer the late 60s, early 70s ! Several opened up doors are already closed now. Media, journalism and educational process and every conscious health process are already taken over by something more mediocre and mechanical. So what do YOU still think to do ? If someone still feels destined to make a different sort of participation, there's only one way to the Master, which is finding a way to purify thoughts, actions and emotions, so that the energy flows more directly, like one says, towards a higher Self and back, to reflect whatever you can do, how the needs of the moment hang well together through its natural evolutions. The amount of brilliance and lightness of your own actions, feelings and thoughts are in fact only yours. It's up to You...
Secondly.. With whom do you think you're dealing with to be able offer something ? People no longer suffer from a chaotic Society, and by the lack of dealing with psychological-logical personal evolutions of persons by their parents (60s), so that they could use some kind of parental substitute, but now are suffering from a closer closed up personal situation which has caused their own ignorant indifference to be able to grasp wider perspectives beyond their own daily consuming relationships and satisfying forms of survival : cause they are not even capable of using their emotional, physical and mental abilities well in affection with a wider ranged natural processes beyond their own bodily processes and direct social confrontations ; there is no energy left to see or to be able to remember historical references in any evolutionary process. Their left over energy is used for escapism instead, and is consumed by the mechanical processes of the fashionable. What in God's sake do YOU think you are able to contribute there as a Mind ? There can’t be any significance to that...

Audio "Godmen", "Do Me", "A Lady"
Label entry : http://www.dragcity.com/catalog/records/dc365.html on dragcity.com
Info : http://elecvp.blogspot.com/2008/04/news-father-yods-children-of-sixth-root.html
& http://naturalismo.wordpress.com/...
& http://www.dragcity.com/press/pimages/pdf/dc365bio.pdf
& http://retrolowfi.com/2009/01/06/...
Other review : http://brainwashed.com/...
* Seperate page I did for Yahowa : http://progressive.homestead.com/yahowa.html  next release->










Fallout   Magic Bubble (CAN,1969,re.2008)*°°'

Magic Bubble is a brother/sister duo with accompanying band, voices that can sound at times with heavy contrasts. Rita Rondell’s voice is, at her best, somewhat soulpop-rock, which sounds most convincing at the strong hit-sensitive opener, “I’m alive”, with additional nice harmony vocals. Frank’s voice on “Whiskey Fire” sounds at his most raw, as something between Beefheart and Dr.John’s Gris Gris, which fit the blues-rocking character and subject of the song. On the mellower “If I should ever Love again” Rita’s voice sounds higher. Rhythmically most songs are somewhat soft and easy going, so that the soul-rock factor on a song like “Cry Cry” comes out less as it could be. Whenever Frank repeats the raw voice, like on “Changes” and “Sunshine Man” this sounds a bit like pushing his voice, which with the easy rhythms sounds still more or less ok, but in fact does not work extremely well. I do like the unusual, rather enjoyable interpretation of “Summertime”, a relaxed, rather moody bluesy version of it, sung by Rita, of which also the organ, which was present on all other tracks, receives its finest portion of a contribution, and it also shows a rewarding electric guitar solo.

Band info & discography : http://jam.canoe.ca/Music/Pop_Encyclopedia/M/Magic_Bubble.html
Info : http://www.soundlinkmusic.com/catalog/fallout/magic-bubble/prod_200.html
Description : http://spincds.com/product.asp?id=9015632
Other reviews of LP : http://www.geocities.com/badcatrecords/MAGICbubble.htm
& on http://www.lysergia.com/AcidArchives/lamaArchiveM.htm
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Erebus Rec.    Greer : Between two worlds (US,1971/1973,re.2008)***'


review might be added later


description : "Obscure artifact out of a local scene that produced cult music for a 15-year period; this is a powerful trip in a song-oriented 1970s British rock/hardrock style, with psych moves on the two long epics. Plenty of raw guitar, some piano and synth, heartfelt vocals, all wrapped in a consistent package that displays talent and self-confidence. May be too much of a '70s mainstream sound for some, and indeed it would have deserved to come out on a major label. Should appeal to fans of Felt on Nasco." --Acid Archives. As with all Erebus Records titles, this was remastered at the legendary Abbey Road Studios. It is presented here for the first time on CD.
collector’s item in the UK on Sugarbush; value US$300+

Info : http://www.ncmusichistory.com/2007/05/mike-greer-all-i-need-1973-from.html
World In Sound    Naked Lunch (US,1969/1970,re.2009)**'

World In Sound released this only surviving (live) tape from this powerful 8-piece San Fransisco band Naked Lunch. Take a bluesrock/R&B influence, a subtle but still pushing Latin Rock influence in the rhythms, some funky brassband arrangements, jazzy trumpet solos, some Santana/Hendrix influenced electric guitar solos, some influences of Santana, Grateful Dead, Bill Graham, Spencer Davis Group, Paul Butterfield Blues Band (with Michael Bloomfield), Blood, Sweat, & Tears, a great drummer, whirling organ, much improvisation, but also occasional ballad moment of a songs, mostly more soulful and heavier, you know what to expect. The quality of the music is highly enjoyable, the sound quality could have been more perfect but still is satisfying.

Three members later took a huge part in helping to create the sound of Latin rock group Malo, on their 1972 debut record, and helped that band become one of the premier latin rock groups of the era. Here are their roots! This release also offers two live tracks from 1970 and an added bonus of 4 songs from Banda de Jesus, the band which included 3 original Naked Lunch members.

Info : http://cdbaby.com/cd/nakedlunch
Label : http://www.worldinsound.de/
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