The Frost - Rock And Roll Music (1969)

The Frost - Rock And Roll Music (1969)

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Omnibus - Omnibus (1970)

1970 United Artists release by Boston based band combining moody Westcoast style organ sound with fuzzy psych guitar. This trio hailed from Boston. The album, which was recorded in New York and produced by Steve and Eric Nathanson (who were the producers of Boffalongo) Recommended.

(info CGR)

01 - The Man Song - 3.26
02 - It´s All In Your Heart - 6.0
303 - Shake It Off - 3.58
04 - Understand - 3.52
05 - Above Me - 2.45
06 - Den Of Sin - 2.10
07 - Boogus Black And Blues - 5.08
08 - Spring - 3.02
09 - Winding Thru Your Heart - 2.30
10 - Harmony - 2.32
11 - Big Daddy Slave - 2.37
12 - Tired Of Screaming - 2.45

















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The Insect Trust - Hoboken Saturday Night (1970)

One of the more interesting one-shot bands in rock & roll, the Insect Trust's most famous member was writer/critic/ethnomusicologist Robert Palmer, who played alto sax and clarinet. Less famous, but still a notable member, was guitarist/songwriter Luke Faust, who went on to add creative input for the Holy Modal Rounders' string of wonderful early- to mid-'70s records. The Insect Trust released two albums, their self-titled 1968 debut on Capitol, and their second and final LP, Hoboken Saturday Night. Along with the loose-limbed music, Hoboken Saturday Night features musical contributions by heavy hitters (no pun intended) such as drummers Elvin Jones and Bernard "Pretty" Purdie, guitarist Hugh McCracken, and novelist Thomas Pynchon. The music ranges from surreal folk-rock (à la the Holy Modal Rounders and Fugs), to Booker T.-like pop-soul, to flat-out free jazz. Decades after its release, Hoboken Saturday Night sounds a bit dated, but its charm is irresistible, especially when Nancy Jefferies sings and the band cranks up its raucous onslaught of reeds and percussion. Never intended to be a traditional pop act, the Insect Trust should be best remembered for extending rock's boundaries and taking the genre to a much hipper level without resorting to a lot of banal technique. Good luck locating their records.

The Insect Trust were a musical collective based, as the title suggests, in Hoboken by way of Memphis and by way of a brief fling with the Holy Modal Rounders. The resumes of the regular members are impressive enough—reedist Robert Palmer became one of the most famous rock critics in the land, singer Nancy Jeffries wound up signing Suzanne Vega and Ziggy Marley among others to Elektra, and guitarist Bill Barth rediscovered Skip James. But the list of sidemen on this album is truly staggering, with two bona fide drumming legends, Elvin Jones and Bernard Purdie, heading the list, followed closely by bassists William Folwell and Bob Bushnell. And the music they created on this 1970 album is as fresh and unique as you might expect given the talents involved, a bubbling stew of blues, jazz, old-time music, folk-rock and even, as liner-note writer Robert Christgau points out, bubblegum, with a bohemian-but-not-hippie slant to the lyrics that was utterly refreshing for the time. Word-of-mouth on this record has just been growing and growing, and now, over 30 years later, we're proud to be the ones to turn the wishes of a multitude of collectors into reality with this exclusive reissue. Includes 'Be a Hobo; Hoboken Saturday Night; The Eyes of a New York Woman; Ragtime Millionaire; Somedays; Our Sister the Sun; Reciprocity; Trip on Me; Now Then Sweet Man/Mr. Garfield; Reincarnations; Glade Song', and 'Ducks'.

(info by CGR)

01. Be A Hobo
02. Hoboken Saturday Night
03. The Eyes Of A New York Woman
04. Ragtime Millionaire
05. Somedays
06. Our Sister The Sun
07. Reciprocity
08. Trip On Me
09. Now Then Sweet Man/Mr. Garfield
10. Reincarnations
11. Glade Song
12. Ducks

















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Rufus Zuphall - Phallobst (1971)

The Band was brought to the attention of the Ohr label by a radio broadcast, a two year contract was made and a second LP - Phallobst - was planned for 1971. Helmut Lieblang left the band shortly before the production for personal reasons, but continued to write lyrics He was replaced by Manfred Spangenberg. At the same time an additional guitarist - Thomas Kittel - joined the band. "Portland Town" on forthcoming CD "Avalon And On"(LHC031) was a demo track for the new record company, recorded by the new line-up.

Phallobst appeared at the end of 1971 not as announced on Ohr but on the new BASF sublabel Pilz (a long deleted reissue came out in the mid eighties). In July the LP was recorded in less than a week in Dieter Dierks studios near Köln on rather unpleasant conditions. The musicians felt themselves under pressure of time, the studio was being rebuilt and Krause was irritated - he had been taken aside behind the group's back and a solo career as the "German Neil Young" had been suggested to him. The production management and the band had their differences regarding the track "I'm On My Way", that then appeared on the record in a form that had been rejected by the band - still an open wound. Despite the estrangement - musically and otherwise - with the producers, Udo Dahmen expressed himself diplomatically in an interview about the studio work, "the group is", he said, "basically satisfied with the result".

With the additional second guitarist, Rufus Zuphall became more versatile - in Dierks' studio a Mellotron was available, other key instruments were also used, it could clearly be heard that an effort was being made to attain a more complex and expansive instrumental sound that was also more compact. The playful superficial elements from the time of the first LP were pushed into the background. In louder parts Rufus Zuphall were much heavier, in quieter ones they'd become more lyrical and the construction of the songs, despite alternating pace, straighter.
The press reaction to the album was positive and paid particular attention to the further development of the band since "Weiß der Teufel" (LHC 029). On TV Rufus Zuphall was presented in the SWF programme "Talentschuppen" in great detail, this normally a springboard in the career of young artists in Germany. However, the disputes with the record company continued. They couldn't agree on a single, neither the traditional "900 Miles" nor the track "Waste Land" were lent an ear of one accord. The suggestion of the record company - of letting Dierks rearrange it - was not acceptable to the band. Ohr management was annoyed. On the other hand, in Aachen they weren't happy with the standard of marketing: there was a memorable letter from BASF (one wonders why "Fallobst" isn't in the record shops) and an even more memorable answer from the band: what can you expect from a firm that can't even spell its product correctly...

(info by CGR)

Notice: All "German" tracks is instrumental

01. Closing Time
02. Wenn schon, denn schon
03. Schupfner
04. Waste Land
05. Makröjel
06. Prickel Pit
07. Portland Town
08. I'm On My Way

Bonus tracks:

09. Paint It Black
10. Kartoffeltango
11. Wade In The Water
12. Sau Aas
13. Spanferkel
14. Schupfner
15. Portland Town
16. Makröjel

















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Laghonia - EtCetera (1971)

Laghonia "Etcetera" CD reissue of excellent early 70s South American psychedelic progressive rock. More progressive than their "Glue" album this one takes more chances, but both albums are considered classics in the genre. "The band improved their songwriting, got more complex, and remind sometimes of early Jethro Tull, King Crimson music, sometimes progressive, sometimes folky or mystic, but always intense and catchy, excellent fuzz and wah-wah guitars, magic Hammond B-2 organ and a variety of rhythms, all English lyrics."

Peruvian outfit's album originally released in 1971, the album showed the bands songwriting getting more complex and is similar at times to early Jethro Tull, King Crimson etc, sometimes progressive, sometimes folky or esotheric, but always intense and catchy. English lyrics, excellent fuzz and wah-wah guitars, magic Hammond B-2 organ and a variety of rhythms. It comes with outstanding original artwork, a true psychedelic painting by M. Cornejo.

"The second World In Sound reissue of Laghonia, the EtCetera album originally released in 1971.The band improved their songwriting, got more complex, and remind sometimes of early Jethro Tull, King Crimson music, sometimes progressive, sometimes folky or mystic, but always intense and catchy, excellent fuzz and wah-wah guitars, magic Hammond B-2 organ and a variety of rhythms, all English lyrics. It comes with outstanding original artwork, a true psychedelic painting by M. Cornejo, in a foldout cover, 4 bonus tracks incl. 2 never released songs. Comes in a high quality digipack cover, same as the Laghonia's Glue CD with an extra 8 page booklet and amazing original artwork by M. Cornejo. Both Laghonia albums, Glue and EtCetera belong to most legendary and best South American psychedelic collector albums, besides La Revolucion de Emiliano Zapata, Modulo 1000, Toncho Pilatos, Traffic Sound -- Laghonia is a must for psychedelic and progressive Rock freaks -- only original music."

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(info by: CGR)

1. Someday (3:15)

2. Mary Ann (5:09)

3. I'm a Nigger (3:39)

4. Everybody on Monday (4:45)

5. Lonely People (4:52)

6. Speed Fever (5:55)

7. Oh! Tell Me Julie (2:43)

8. It's Marvelous Cornejo (3:09)

9. World Full of Nuts (3:46)

10. We All (3:02) (Bonus)

11.No Solution (3:45) (Bonus)

12.Bengal Tiger (4:23) (Bonus)

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T.2. - It´ll All Work Out In Boomland (1972)

An obscure but now rare and quite sought-after album by a short-lived progressive rock trio. Formed in 1970, drummer Peter Dunton had previously been with Gun and Keith Cross and Bernard Jinks had been in Bulldog Breed. Some likened Cross to Eric Clapton and the group made a successful appearance at the 1970 Isle Of Wight Festival and had a residency at the Marquee for a while. Their album contained an epic, 21-minute power rock cut, Morning, and is certainly one of the better early seventies progressive rock efforts. Another of its cuts, No More White Horses, had a great freaky ending.

(info bu CGR)

1. In Circles
2. J. L. T.
3. No More White Horses
4. Morning


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Size: 83.2 Mb
Bitrate: 256 mp3
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