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Folk / Singer-Songwriter

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Ed Askew

Post  Spellbound on Sat 5 Dec - 9:29




http://tinangelrecords.bandcamp.com/album/ask-the-unicorn wrote:Ask the Unicorn is an "acid folk" masterpiece and one of the most singular releases from the infamous and historic ESP-Disk catalogue. It was recorded live to tape by a 27 year-old Ed Askew in 1968. Since that time, the impossible-to-find record and the man have acquired a mythological status. This first-ever, fully-remastered reissue has been awaited internationally for over 30 years.

But Ask the Unicorn, one of the most unique and gripping records under the 1960's sun, remained a question and an item of critical and fan devotion. It is finally available on the white vinyl Askew originally requested. The cover for the UK release, reproduced here, is the positive of the US edition. It is a photo of the protests in Stamford following the assassination of Dr. Martin Luther King, Jr.

Ask the Unicorn is a wild album. Inspired by immersion in Lorca and Kurt Weil, Askew's live psych delivery blends "bitter and economical" with deep imagism. The tone of the Martin tiple, the 10-string ultra-resonant acoustic instrument for which Askew is known, is wiry and stark -- a true counterpoint to contemporary psychedelic music. Ask the Unicorn is also a very rare and important work by an openly gay songwriter in the 1960's.

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The Sandalwood Candle - Does Your Mother Know (1969)

Post  Psychspaniolos on Mon 7 Dec - 19:36

https://www.youtube.com/user/Psychspaniolos/videos
Hi:I was one half of the duo, The Sandalwood Candle. We recorded "Does Your Mother Know?" and "Ended Moments" at Arthur Smith Studios in Charlotte NC  in December of 1969. The other member of  the duo, Dick Lewis and I are the two voices. Dick also played 12 string guitar. I played bass and tambourine. The drummer is Nelson Lemmond, who also played with a Charlotte-based rhythm and blues band called The Tempest. They had a minor hit in 1968 entitled, "Would You Believe?". Other players on the session include Leslie Smiley on violin and harpsichord, Bill Tritt on second violin. I don't remember who played  the cello and oboe. Van Coble and Nelson Lemmond were co-producers. The engineer was Hank Poole. The label, 440 Plus was owned by Arthur Smith and distributed my Monument Records. The record got air play in Charlotte and, I was told, Chicago. Monument was in the process of being sold to CBS at the time, so this release got lost in the shuffle. I don't think it actually ever made it into any stores.

Dick Lewis is deceased. He died of cardiac arrest two years ago at age 68.The arranger, Bob Early was a Benedictine monk at Belmont Abbey in Belmont NC at the time  of the recording. He left the  monastery in the '70s, taught literature at Bowling Green University for a few years, got married and moved to Spain.

Thank you for posting,
Gerry Dionne

Lyrics:
Does your mother know, you had to go someday?
Does your mother know, that you would grow so fast?
Anyway, that's all you think about
You'd call her if you could

But the letters that you write in the faded winter light
Just tell her, they tell her
That you've got ten dollars and you'll be all right
And when you get straight you're gonna come back east some day

Does your mother know, you had a man in the west?
Does your mother know, you drove him from your door?
Anyway that's all you think about
You'd call her if you could

Does your mother know, you walked all day in the rain?
Does your mother know, how deep your love could be?
Anyway that's all you think about
You'd call her if you could

But the letters that you write in the faded winter light
Just tell her, they tell her
That you've got ten dollars and your rent costs eight
And when you get straight you're gonna come back east some day

But the letters that you write in the faded winter light
Just tell her, they tell her

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The Pennines

Post  Spellbound on Tue 15 Dec - 16:05



http://www.popsike.com/Both-Sides-Of-The-Pennines-The-Pennine-Folk-RARE-LP/220450329406.html wrote:
Extremely rare and collectable LP by Manchester folk ensemble The Pennine Folk, featuring a mixture of traditional tunes such as John Peel and Byker Hill along with originals mostly written by the group leader Ken Campbell.
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Pip Proud

Post  Spellbound on Thu 31 Dec - 0:02




https://en.wikipedia.org/wiki/Pip_Proud wrote:Pip Proud (Philip Proud, 1947–2010) was an Australian singer/songwriter, poet, novelist and dramatist whose idiosyncratic song-poems gained a cult following in Australia in the 1960s and around the world in the 1990s-2000s. He was born in Adelaide, South Australia in 1947 and is the brother of the well-known artist Geoffrey Proud.

Proud's unusual musical style has been likened to that of Britain's Syd Barrett, though he was unfamiliar with Barrett's work when he recorded three albums of his own songs in the late Sixties. The first, De Da De Dum' (Grendel, 1967) was privately produced and only about 50 copies were pressed. He was signed to the Phonogram label and his first LP for them Adreneline and Richard (Polydor, 1968) reprised most of the songs from his first LP, some of them with a full band backing added without his involvement. After recording his second album A Bird In The Engine (Polydor, 1969) he travelled to Britain to further his career. He ceased working with the Philips label and did not release any further recordings until the mid-1990s.

Proud was also the subject of a 15-minute experimental documentary, De Da De Dum, directed by Sydney filmmaker Garry Shead, a member of the Ubu Films collective. One of his greatest supporters in the late 1960s was the highly regarded poet Michael Dransfield, who encouraged him to write novels.

Most of Proud's later output remained unpublished, but in the 1970s two of his plays -- Vlort Phlitson, Intergalactic Trouble Shooter and Don Coyote—were realised as radiophonic works by the ABC's rock music radio station Double Jay.

Proud was tracked down in the mid-1990s by historian/writer David Nichols and this ultimately led to the re-release of his two Polydor LPs on CD on Nic Dalton's Half A Cow label. Proud resumed recording and released several more albums of new music primarily for the Emperor Jones label. He died on 4 March 2010 from throat cancer.
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Ian & Murray

Post  Catherine Psy on Fri 8 Jan - 13:31

Παρoτι δεν μπορεσα να βρω σχεδον καμια πληροφορια εκτος απο το Label και το ετος κυκλοφοριας (Epic 5-10122, 1967, USA), το μοιραζομαι εδω γιατι το θεωρω ομορφο και αξιολογο ακουσμα.

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Mike Johnson

Post  Spellbound on Sun 17 Jan - 13:55



http://apocalypseadvent.blogspot.gr/2012/12/day-10-last-battle-by-mike-johnson.html wrote: To understand exactly what Mike is talking about in this song, it’s necessary to have a basic understanding of the “millennium” described in chapter 20 of the Book of Revelation. The chapter imagines the arrival of an angel who “seized the dragon, that ancient serpent, who is the devil, or Satan, and bound him for a thousand years”. During this period, those who had died for Jesus “came to life and reigned with Christ a thousand years”. This thousand year period has been hugely controversial, for it seems to presume that there will be a physical reign of Christ on earth, in which the Saints (who are currently persecuted) will finally enjoy dominion. Because this point of view imagines Jesus returning before the millennium, it is often called premillennialism. As a result of some of the more elaborate ideas advocated by extreme premillennialists (Free food! Free drink! Free sex!), the belief was generally discouraged from the time of St. Augustine (354-430) onwards. Augustine claimed that Revelation 20 did not actually refer to any future period of time, but instead represented a spiritual binding of Satan which took place at the resurrection of Christ (amillennialism – or “no millennium”). Despite the continued antipathy of most of the divines in my Fantasy Theologians all-time best XI (Aquinas, Luther, Calvin), the belief in a premillennial return of Christ persisted and was espoused by both radicals (see the carnage at Münster) and conservatives (see 17th century Cambridge professor Joseph Mede). For the sake of completeness I should also mention a final millennial position – the idea that everything will slowly improve, and Christ will return at the end of the millennium. This form of postmillennialism is far too optimistic for nearly everybody on our countdown, with the exception of “The Spokesmen” from last week (“What about the Peace Corps organization? Don’t forget the work of the United Nations” – thanks boys, we won’t!).

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Titus & Ross - Thing I Wrote #1 (1970)

Post  Psychspaniolos on Sun 24 Jan - 0:09

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Butch MC Koy

Post  Spellbound on Tue 16 Feb - 20:24

https://bruitblanc.bandcamp.com/album/butch-mckoy-welcome-home wrote:Very singularly, as a celestial body, Butch McKoy took shape on the impulse of atoms: blues, noise and electric trance music came to be transplanted successively to his body. And all of it is only bound by a lot of love, the indivisible base for uncontrollable music. The basic principle remains simple: by-pass the easiness, multiply the experiences. Then Butch became first an « I Love UFO » ("Wish", in 2006), then another « Celestial Tramp » and finally an « Admire All ». So many side-projects he continues to be part of to this day. His philosophy: being in the multitude without ever losing sight of his essence, being Butch McKoy.



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Warren Zevon

Post  Spellbound on Sat 20 Feb - 22:25



https://en.wikipedia.org/wiki/Warren_Zevon wrote:Warren William Zevon was an American rock singer-songwriter and musician.

Zevon's work has often been praised by well known musicians, including Jackson Browne, Bruce Springsteen, Bob Dylan, and Neil Young. His best-known compositions include "Werewolves of London", "Lawyers, Guns and Money", "Roland the Headless Thompson Gunner" and "Johnny Strikes Up the Band", all of which are featured on his third album, Excitable Boy (1978). Other well-known songs written by Zevon have been recorded by other artists, including "Poor Poor Pitiful Me", "Accidentally Like a Martyr", "Mohammed's Radio", "Carmelita", and "Hasten Down the Wind".

Along with his own compositions, Zevon recorded or performed occasional covers, including Allen Toussaint's "A Certain Girl", Bob Dylan's "Knockin' on Heaven's Door" and Leonard Cohen's "First We Take Manhattan". He was a frequent guest on Late Night with David Letterman and the Late Show with David Letterman. Letterman later performed guest vocals on "Hit Somebody! (The Hockey Song)" with Paul Shaffer and members of the CBS Orchestra on Warren Zevon's My Ride's Here album.
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Davis Barrington

Post  Spellbound on Sun 21 Feb - 11:05

https://www.barringtondavis.com/about.html wrote:





Barrington (Davis) listed in the Who’s Who of Australian Rock, commenced his singing career around the cafés and clubs in Sydney Australia, such as Suzie Wong’s and The El Morocco at the tender age of 12.  At the time he was just a young kid doing cover versions of songs recorded by such artists as Ben E King, Gene Pitney, Frank Sinatra and Roy Orbison. He then went on to make  appearances on local television shows whilst performing live at local teen venues.

In December 1969, following a serious motor vehicle accident which wrote off a Mercedes Benz, Barrington returned to London. After two years of gigging with various bands Barrington then recorded what he is best remembered for around Europe, his first album “Tracks of Mind” on the Montague label owned by Milton Samuels. The album was produced by Tyrone Patterson who had previously had a massive hit in the UK with reggae band “The Cats”. (A reggae version of Swan Lake).




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Bob Edmund

Post  Spellbound on Fri 18 Mar - 0:00



http://mutant-sounds.blogspot.gr/2008/06/bob-edmund-i-see-no-colors-lp1970usa.html wrote:Great anti war folk in the Dylan vein.Backed by Byrth ,sound is led by organ.Very good and obscure record privately released with strongest efforts being the rhythmic church organ driven moments.

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Shaun Harris - Color Of Your Eyes (1973)

Post  Psychspaniolos on Sun 27 Mar - 17:31

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Cocoanut Groove

Post  Spellbound on Mon 11 Apr - 17:28



https://www.youtube.com/watch?v=XclTZNsjOnA wrote:Cocoanut Groove is the solo project of Olov Antonsson, who began making recordings under that name in the summer of 2007. Joined on his first recordings by Calle Thoor, Mattias Malm, Ivar Lantz, Frida Danielsson, Antonsson formulated sleek, drowsy, mournful indie pop sound reminiscent of the Clientele and rooted in the sweet psychedelia of the Zombies and Mortimer. Cocoanut Groove’s debut seven-inch, “The End of Summer on Bookbinder Road”/ “Shadow”, was released on London’s Phonic Kidnapping Recordings in May 2008.
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Al Stewart

Post  Spellbound on Mon 29 Aug - 22:58




https://rateyourmusic.com/artist/al_stewart wrote:Al moved to London in 1965, where he bought an Epiphone acoustic guitar and played Bob Dylan songs in various folk clubs. In 1966 his first single "The Elf" (release on Decca Records) hit the market. Shortly thereafter, in 1967, he signed a recording contract with CBS and issued his debut album, Bed Sitter Images. Al gained a strong following on the burgeoning student scene with his troubadour life style, mostly singing songs about his own love life and experiences. These issues also inspired the title of his next album, Love Chronicles (1969). By that time Al Stewart had latched to the folk-rock movement, which also shows in the participation of some Fairport Convention members on his third album, Zero She Flies.
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Paul Mowbray

Post  Spellbound on Tue 30 Aug - 15:07



http://www.thestrangeexperienceofmusic.com/article-paul-mowbray-old-friends-1982-124652935.html wrote:Paul Mowbray est de nature peu loquace et lorsqu’il brise le silence, il choisit la musique folk, mode d’expression préféré des anachroniques anonymes.Hirsute et souriant sur la pochette, notre afro blanc livre un très beau recueil de chansons intimistes et mélancoliques. Sa spécialité : les ballades folk poignantes et vibrantes qui ne tolèrent aucune intrusion larmoyante.

Aaron Levin ne s’était pas trompé, la musique de Paul exhale un doux parfum de mystère et de séduction.
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Billy Hallquist - Smiling Lady (1972)

Post  Psychspaniolos on Mon 3 Oct - 16:23

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Bill Staines - Prairie Winds (1967)

Post  Psychspaniolos on Wed 19 Oct - 16:06

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John Thome - Let My Sorrow Pass (1969)

Post  Psychspaniolos on Thu 10 Nov - 23:09

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Nigel Spencer

Post  Spellbound on Tue 15 Nov - 18:49

https://nigelspencer.bandcamp.com/album/strange-folk-1994 wrote:singer/songwriter: vocals; guitars; keyboards; Mellotron Emulator. Melodic rock/pop strings sound. Influenced by The Moody Blues; Al Stewart; Barclay James Harvest; Bread; Renaissance


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Tucker Zimmerman

Post  Spellbound on Mon 12 Dec - 23:07


http://www.numerogroup.com/artists/tucker-zimmerman wrote:Born in Northern California in 1941, Tucker Zimmerman was on his way to becoming a brilliant musical theorist when his draft card was pulled in 1966. Having been the recent recipient of a Fulbright Scholarship, Zimmerman was able to defer his enlistment, boarding a plane to Rome...never to return. An accomplished multi-instrumentalist—violin, trombone and piano were his first loves—Zimmerman spent two years studying theory under Gofredo Petrassi, writing more than 300 songs along the way. Posing as a Canadian, he migrated to England and gigged under a litany of pseudonyms. It was here he met fellow ex-pat and soon-to-be T. Rex kick-starter Tony Visconti, then a struggling producer whose only credits included the Iveys for the Apple label. Ten Songs, Zimmerman’s debut album, is an all-star affair, with Visconti at the board and Steve Winwood and Rick Wakeman in the backing band. A lone single failed to raise his profile, but it would have likely conjured the same result: Zimmerman was deported shortly after.

Zimmerman landed in Belgium in 1970 and immediately began gigging around Germanic Europe. His sophomore album, Song-Poet (or the “Black Album” as it is also known among fans), was issued in 1971 on Autogram Records before being picked up by London’s The Village Thing label for wider distribution. “No Love Lost” finds a matured artist struggling with the pains of a dissolving friendship, its affects emanated through his delicate diction and brittle chords. Over the next 13 years he would record four more albums and play hundreds of concerts on the continent before taking a 13-year hiatus.

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David Chalmers

Post  Spellbound on Tue 10 Jan - 12:16




http://badcatrecords.com/BadCat/CHALMERSdavid.htm wrote:As a solo artist Chalmers made his debut with 1976's "Primeval Road". Co-produced by Chalmers and Albert Hurst (who also played drums on a number of songs), there were actually two versions of the LP. The first was released by the Same Old Label (catalog number 64109) with a gatefold sleeve and featured nine songs. Sporting the same artwork, the second version was released by River Records and sported an eight song track listing - the song 'Dear Friends' replacing a pair of guitar rockers found on the first version ('Houston' and 'Snow-White Horse'). As mentioned earlier, musically the set was surprisingly good for something that showcased a significant singer/songwriter quotient. Technically Chalmers may not have owned the most impressive voice you've ever heard, but he certainly knew how to use his gift, turning in a series of songs that were both melodic and lyrically entertaining. Tracks such as 'Dear Friends' (which really did recall something out of The Moody Blues' catalog), 'Stage Coach' and 'Don't Want To Go Home' were nothing short of charming, holding up to repeated listenings far better than a lot of more heavily hyped offerings. You also had to admire Chalmers' guitar work. Operating under the long lost 'less-is-more' idiom, solos on songs like 'Hotel Room' and 'Don't Want To Go Home' were kept short and tasteful, only serving to underscore the man's considerable talents. That probably disappointed a lot of folks who bought the album expecting to hear a wall of wailing guitar. I wasn't one of them. The album's other notable characteristic was its sound. It may have been recorded in 1976, but the atmosphere and vibe was pure early-1970s. Mind you the album wasn't perfect. With an over-abundance of slow tunes, side two started to fade, before being rescued by the synthesizer propelled closer 'Function Clan'.

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Windflower

Post  Spellbound on Wed 8 Feb - 0:28

http://rockasteria.blogspot.gr/2014/10/windflower-windflower-1974-us-heavenly.html wrote:
Band formed in Alaska in late 1972. All members belonged to the Baha'i Faith and many of the gigs the group played were associated with Baha'i community events.

Windflower recorded one album of original material in 1973 at Studio 70 in Munich, West Germany, during a European tour (also associated primarily with Baha'i events at the time) which included performances in Germany, England, Austria, Lichtenstein, Switzerland, Israel, Norway and Finland. The album was privately pressed and released in early 1974.

Prior to returning to Alaska and retiring from professional music, the group also performed at various venues in Oklahoma, Hawaii. Band members including Gary Lamar, Marshall Murphy, and Gavin Reed, along with vocalist Barbara Taylor, performed casual gigs for a number of years, based out of Anchorage, Alaska, while they were all resident there, until the mid-1990's.
by Gavin Reed


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Bluebyrd

Post  Spellbound on Wed 15 Feb - 0:34

https://gojohnnygojohnny.wordpress.com/2011/03/01/bluebyrd-sweet-thoughts-1970s-minnesota-lp/ wrote:Bluebyrd were from White Bear Lake, Minnesota, and weren’t much of a bar-playing-working band; they were more of a studio project. “We recorded some songs to document or demo them, one thing led to another, and we pressed some records”.




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Guitar Ensemble

Post  Spellbound on Sat 11 Mar - 20:12

http://rateyourmusic.com/release/album/guitar_ensemble/you_n_you/ wrote:

RDTEN1 says

Christian rock is one of those niche markets that turns off lots of conventional collectors. That said, this short-lived New Mexico-based outfit may be one of the outfits that's the exception to the rule.

Can't say that I know too much about this eleven member (ten guys and one girl), early-1970s group. Judging by the Christian nature of the material, along with the liner notes and group photo's they look like they were college students involved in some sort of church sponsored program. That said, it's interesting to note that 1971's "The You-n-You" wasn't funded by a church, rather was sponsored by a series of local businesses (Pino's Mobile Service, Las Vegas Barber Shop, Graham's Pharmacy, etc.). Produced by John Wagner the album features an intriguing mix of folk, garage and rock moves set over fairly obvious religious lyrics. With guitarists Bob Rivas and Bob Johnsen responsible for the majority of the material, the set sports a decidedly low-tech feel, but the combination of blown notes and off-key vocals ('Close To Me') only serves to underscore the group's considerable charm and enthusiasm. Powered by eight guitars and Mary Kay Johnsen's keyboards tracks such as 'The You In You', 'The Answer', 'Let's Sing to the Lord' and 'This Is a Man' are actually good enough to overlook the occasionally cloying lyrics. The only real disappointments are the couple of prayers they've set to music. Clocking in at 1:05 each, 'The Our Father', 'Holy, Holy, Holy' and ''Lamb of God' are little more than singsong choruses.

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Re: Folk / Singer-Songwriter

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