Psychedelia / Prog / Kraut / Space / Psychedelic Folk (60s-70s)

http://www.last.fm/music/Josefus wrote:A Texas band who came from the burgeoning Houston scene in the late 60’s. The members came together (in some form or the other) while still in high school. After making a name locally, signed to a record deal and recorded album that was released as a single under the name “Come” in 1969. Later signed to another company and put out ‘Dead Man’ album in 1970. Garnered a large cult following and live dates helped make them a regional success. Along with bands like 13th Floor Elevators, Bubble Puppy, early ZZ Top, etc. Josefus had a hard rock-psych, sort of heavy metal sound. The group recorded another album that was a dissapointment to the band and then disbanded by the end of 1970.


The (original) band was together only one and a half years, but their music has been reissued several times over the years in both bootleg and various authorized versions.

http://www.progarchives.com/artist.asp?id=3861 wrote:Named after a seventh-century Anglo-Saxon poet-monk, CAEDMON began as a trio of veterinary students from Edinburgh University in 1973. The group's early repertoire consisted of traditional folk and spirituals, as well as cover tunes. The band expanded to a quartet the following year and managed to stretch out their touring career nearly six years before disbanding where they began (at Edinburgh) in 1978. The band's only studio album came as a result of a self-financed and produced private label recording with a pressing of just 500 copies. The band miscalculated the length of their tracks and ended up issuing a single that accompanied the vinyl album and which contained what would become tracks 6 and 12 on the 2002 Kissing Spell CD reissue.

The band has claimed PENTANGLE and FAIRPORT CONVENTION among their musical influences, as well as fellow 'Jesus freak' musicians WATER INTO WINE BAND, who they appeared with in concert on at least one occasion. They took much of the inspiration in their mildly spiritual lyrics from contemporaries such as LARRY NORMAN, PARCHMENT and AFTER THE FIRE.

CAEDMON reunited in 2008 with hopes of making new music together, and are also working to collect and release some of their earlier unissued studio and live recordings.

The band's single studio work is generally highly regarded as a solid example of seventies Jesus movement music, as well as a classic acoustic prog folk album.

http://www.progarchives.com/artist.asp?id=2144 wrote:Few countries in South America had such a fertile Psychedelia/Progressive scenario as Perú with great quality bands like the legendary TRAFFIC SOUND ("Mescalina"), TELEGRAPH AVENUE or EL POLEN, but all this groups had something in common, they all gathered to watch LAGHONIA in concert, not only to listen the only band in Perú and probably the first in South America that used a Hammond B2 back in the 60's, plus the obvious interest on the polyrhythmic songs they used to play.

The band was born on 1965 in the mind of brothers Cornejo (Saul on guitar, Manuel on drums) and Eddy Zaraus (Who made his own bass which he used all along his career in LAGHONIA).

http://en.wikipedia.org/wiki/T2_(band) wrote:T2 were a British progressive rock band, best known for their 1970 album, It'll All Work Out in Boomland. It is generally regarded as an excellent album.

http://en.wikipedia.org/wiki/The_Collectors_(band) wrote:The Collectors was a Canadian rock band active in the 1960s.[1][2] It debuted in Vancouver, British Columbia, in 1961 as a house band (the C-FUN Classics) for CFUN radio, and renamed itself The Collectors in 1966. The band featured Howie Vickers on lead vocals, Bill Henderson on lead guitar, recorder, keyboards and lead vocals (these last mostly on Grass and Wild Strawberries), Claire Lawrence on tenor saxophone, harmonica, keyboards, flute, organ, recorder and vocals, Glenn Miller on bass and vocals, and Ross Turney on drums and percussion. The Collectors' biggest hit was their first single, 'Looking at a Baby', released in March 1967 on the Valiant label in the U.S. and on New Syndrome in Canada. It reached #4 on Toronto's CHUM-AM on April 24, 1967. In 1968, the group released its first, eponymously named album on the Warner Brothers label (Warner/Seven Arts), and over the next two years created soundtrack music to three Canadian films. Grass and Wild Strawberries was one such; its lyrics were written by Canadian poet and playwright George Ryga ("The Ecstasy of Rita Joe") complemented by the music of The Collectors.
Howie Vickers left the group in 1969, and the remaining members of the band reconstituted themselves as Chilliwack, with Bill Henderson taking over lead vocals.

http://www.allmusic.com/artist/the-ill-wind-mn0000553624 wrote:The psychedelic group Ill Wind released just one album, and even though it was for a fairly big label (ABC), it was indeed ill-distributed and heard by few at the time. Like a number of late-'60s bands from Boston, Ill Wind suffered from the lack of a consistent musical direction and uneven material and production that didn't make the most of the bandmembers' assets, though there was some instrumental and vocal talent in the group. Their album, Flashes, was a tense, brooding stew of folk-rock and freaky psychedelia that didn't quite coalesce, with the stirring, assertive vocals of Conny Devaney the best ingredient. Although it was produced by one of the best producers in 1960s rock, Tom Wilson (who had worked with Bob Dylan, Simon & Garfunkel, the Mothers of Invention, and others), it didn't do much, and the Ill Wind disbanded at the end of 1968, though the group re-formed for a few months in 1970.

http://www.last.fm/music/Hunger wrote:The group Hunger was an extremely talented group from Portland, Oregon. The album “Strictly From Hunger” was released in 1968. It was to be the only release from the group, as a streak of bad luck broke the band apart. Unfortunately on two separate occasions their equipment was stolen.

The group featured long organ driven instrumental breaks with piercing guitar lines between some strong songwriting in a majority of their songs. They were a very popular group that was rising fast in the California psychedelic scene. By the time it was over they were right on the verge of crossing over to hard rock.

Songs like “Workshop,” which delves into your thought processes and dreams, I thought, were very introspective and thought provoking, and great musically. “She Let Him Continue” is a psych-rock gem from the vaults. With all of the sound effects (which were fairly new at the time) and the strong vocal inflections from the pipes of Bill Daffern (drums), the song still sounds as hauntingly fresh today as the day it was laid down in the studio. Mike Parkinson normally handled all the vocals. John Morton (lead guitar), Steve Hansen (rhythm guitar), Tom Tanory (bass) were the core of the group that supported the great songwriting and vocals. “Portland” is a stunning instrumental passage. This particular track made me realize that this group would have evolved quite interestingly if they had remained together. The potential for moving more into fusion was evident in their music right from the start.

http://www.progarchives.com/artist.asp?id=2461 wrote:Murphy Blend were responsible for one of the best albums released on Polydor's legendary Kuckuck label. They were a quintet comprising Wolf-Rodiger Uhlig (organ, cembalo, grand piano, vocals), Wolfgang Rumler (guitar, vocals), Andreas Scholz (bass) and Achim Schmidt (drums). "First Loss" was recorded in Union Studio, Munich, during October - December 1970, produced by Jonas Porst (the manager of Ihre Kinder!) and engineered by Thomas Klemt.

Murphy Blend revealed a fine blend in which Uhlig utilised his keyboards to incorporate classical themes into their heavy progressive music. He had studied classical music for three years in Berlin. The songs were melodic, textured by heavy guitar and organ riffs. The album contained six proper tracks (mostly written by Uhlig) and the shortest German song of all time: the 3/10 of a second long "Happiness"! It's impossible to name highlights as all material is truly great! Sadly, Murphy Blend disbanded soon after recording this album. Andreas Scholz went on the heavy progressive Blackwater Park in 1971. Wolf-Rudiger Uhlig guested on Frumpy's third album, "By The Way" in 1972.

http://en.wikipedia.org/wiki/Brainticket wrote:Brainticket is an experimental krautrock band from the early ‘70s known for its use of exotic instruments and jazz-inspired compositions.

http://www.last.fm/music/Frumpy wrote:Frumpy was a German progressive rock band based in Hamburg, which was active between 1970–1972 and 1990–1995. Formed after the break-up of folk rockers The City Preachers, Frumpy released four albums between 1970–1973 and achieved considerable commercial success. The German press hailed them as the best German rock band of their time and their vocalist Inga Rumpf as the “greatest individual vocal talent” of the contemporary German rock scen

http://www.last.fm/music/The+Maze wrote:An obscure San Francisco-area group that cut one extremely rare album in 1968, Armageddon (recorded at Leo Kulka’s Golden State Recorders, and issued on MTA), which is highly valued in some collector circles. Actually, they don’t rank as a very impressive find, in fact epitomizing some of the period’s least enduring excesses. They originally recorded under the name Stonehenge, with a female vocalist, before assuming their more familiar name, and left behind a good deal more than an album’s worth of tracks, some of which turned up on the 1995 Sundazed CD reissue of Armageddon.

http://www.last.fm/music/Axe/+wiki wrote:From Northampton, UK act AXE were one of the most obscure acts in the field of psychedelic rock and hard rock of the late 60’s.

They made a handful of acetate copies of an album in 1969, named “Music” in the original version (or “Axe Music” if alternate sources are correct; and also released as “Live & Studio”), and in more recent years a live concert with the band performing cover versions of various tunes have emerged as a CD named “Live 1969”.