The Glasgow group differed from most other Scottish combos of the time in that they concentrated almost exclusively on original material, which alternated between mournful, almost fey ballads and storming mod rockers. Critics have compared the melodic, minor feel of much of their work to the Zombies, a comparison that holds water to a certain point, although the Poets were far more guitar-based. A minor hit single right out of the gate and a management deal with Rolling Stones manager Andrew Oldham seemed to spell probable success. But the Poets fell victim both to subpar promotion and numerous personnel changes, which had gutted the core of the band by the late '60s.


Oldham came across the band by chance on a trip to Scotland in 1964, quickly signing them and arranging a recording deal with Decca. Their first single, a characteristically moody original called "Now We're Thru," made number 30 in the U.K. Yet that was to be their only taste of commercial success, despite a flurry of fine singles over the next couple of years. The two-bass throb of the hard-rocking "That's the Way It's Got to Be," the exquisite acoustic ballad "I'll Cry with the Moon," a fiery cover of Marvin Gaye's "Baby Don't You Do It" -- all are worth hearing by British Invasion fans. Although some may find their slow numbers a bit on the maudlin side, the group had a knack for fine melodies, harmonies, and dense guitar arrangements that lifted these above the ordinary.

took the group with him to his independent Immediate label in late 1965 for a couple of singles, but ultimately the But the Poets were never given full opportunity to develop their unquestioned skills. OldhamOldham association may have worked against them, as he was naturally inclined to focus most of his energies upon the Rolling Stones. The Poets were getting lost in the shuffle and discouraged, and by 1967 not one original member remained from the lineup that had first recorded. They did marshal the energy for a superb 1967 single, the blue-eyed soul/psychedelic "Wooden Spoon," which indicated that the band was still progressing and maturing, even though their continuity with previous lineups was tenuous to say the least. The Poets straggled on until 1971, barely recording again; Poets alumni turned up in Scottish bands like Trash (who were briefly signed to Apple Records), Marmalade, and one of Alex Harvey's outfits.

Changing Woman (1975 MCA Records)

Need no comments...simply one of my favorite Artists... people...pale person salutes you!!!

Song Titles:

EAGLE MAN / CHANGING WOMAN (Buffy Sainte-Marie)

CAN’T YOU SEE THE WAY I LOVE YOU (Buffy Sainte-Marie)

LOVE’S GOT TO BREATHE AND FLY (Buffy Sainte-Marie)

YOU TAKE ME AWAY (Buffy Sainte-Marie)

TIL I SEE YOU AGAIN (Buffy Sainte-Marie)

MONGREL PUP (Buffy Sainte-Marie)

THE BEAUTY WAY (Buffy Sainte-Marie)

NOBODY WILL EVER KNOW IT’S REAL BUT YOU (Norbert Putnam & Buffy Sainte-Marie) ALL AROUND THE WORLD (Buffy Sainte-Marie)

A MAN (Buffy Sainte-Marie)

Many A Mile 1965

~Many a Mile
~I'm Gonna Be A Country Girl Again
~Illuminations
~She Used To Wanna Be A Ballerina
~Best Of Buffy Sainte-Marie Vol 2
~Native North American
~Changing Woman

@256

@192

Enjoy

Of all the reissues of the Move's first album, Repertoire's 1998 expanded version (which supersedes their 1992 edition) is the most ambitious, so much so that one could almost lose sight of the contents of the original album. That's here, intact, covering the first 13 tracks, and it sounds very good, loud and crisp. Then come the 15 bonus tracks, which pretty much cover the entire studio history of the group up to the point of the album's original release — not just the singles that pre-dated the album, but also previously unissued outtakes of "Cherry Blossom Clinic," "Fire Brigade" and "Second Class," a Roy Wood solo track that had never before seen the light of day. The CD is filled out with the stereo album mixes of a half-dozen of the songs off of Move album. As is too often the case with Repertoire releases, annotation consists of a generic account of the group's history, rather than a detailed discussion of the contents; that flaw, however, doesn't detract from the value of the music, which is delightfully lighthearted psychedelic pop, with some piercing satirical edges. (allmusic)

Tracks :

1 Silent Thoughts (Part One)
2 Elbereth (Lonely Queen)
3 A Sign Or A Smile
4 Hang On To A Dream
5 Summer of Life
6 It's Time...
7 Flying Over the Dawn
8 Vision
9 Silent Thoughts (Part Two)

Will-o-the Wisp is a new psychedelic band from Greece.
Formed late 1997, that released it's excellent debut album through Action Records at the begining of 1999.
Their sound is heavily influenced by the British progressive underground scene of the early 70s and bands such as Caravan, Curved Air and Cressida .
The album is a unique psychedelic-progressive masterpiece, with gorgeous melodic lines and dreamy male-female vocals.
The use of flute and cello adds a certain atmosphere to the overall result, making the record a remarkable and promissing debut.

Don't miss it!!!

Will-O-The_Wisp.rar

buy here

This one, is unreleashed Todd stuff which he and his brother Mick kindly shared with me and you all.

and RESPECT TO TODD+MICK and their attitude !

Oh this really is a treat! I forgott I had this. Back in the days of all those Madchester rave on days when I was buying The Inspiral Carpets, The Charlatans (UK) etc I got this cd which was recorded in 1990-but sounds more like 1967. If you think of all the best bits from early Pink Floyd, July, Beatles Revolver, Chocolate Watchband, The Strawberry Alarm Clock etc etc! You can't go far wrong with this album, every track is a winner. Give it a go you'll all love it if you're a fan of the best UK psych.

Gary Ramon-Electric and Acoustic Guitars Vocals
Anthony Clough-Bass Bamboo Flutes Vox Organ
Dave Morgan-Turkish Talking Drum Tibetan Bells

1-Plains Of Nazca
2-Exploding in Your Mind
3-Magic Flight
4-Shes Looking All Around
5-World Without Time
6-Visitation
7-Other Side
8-Lorne Blues

http://rapidshare.com/SunDial_Other_Way_Out_1990.tar

Though recorded quickly over two days — and indeed, literally recorded live in the studio with no overdubs — Synanthesia's sole album from 1969 is a gentle treat for anyone interested in the obscurer realms of late-'60s U.K. folk and its descendants. It's always a pleasure to hear something that did not deservedly go out of print — and therefore get an unnecessary reputation. Instead, the combination of bandleader Dennis Homes' gentle vocals and delicate guitar work, Leslie Cook's equally strong talents, and the ace-in-the-hole performing of sax and flute player Jim Fraser is often quite magical. That the band openly has a debt to the Incredible String Band and Bert Jansch practically goes without saying, but there's a difference between mere aping and finding a particular spin on a sound, and Synanthesia firmly comes down on the side of the latter. For such a rushed and in-the-moment album, the sound is often quite rich — credit not only to Vic Gamm's inspired engineering, but to the band's clear abilities as a solid live act. Hearing Homes' gentle vibes work on "Peek Strangely and Worried Evening" or Cook's flourishes on mandolin for "Fates" shows how well each complements the other songwriter's work. Yet Fraser in many ways is the key throughout — clearly picking up on jazz influences as much as folk ones, much like his bandmates, and the result is a detailed, fluid series of performances on his chosen instruments, ranging from the restrained then strutting sax parts on "Morpheus" to gentle background flute on "Rolling and Tumbling." The band's weakest element might be the lyrics, but nothing is outright bad, just sometimes awkward. Sunbeam's 2006 re-release, in keeping with the label's similar work, features not only excellent sound but winning, retrospective liner notes from Homes and a slew of rare pictures, plus a bonus track, "Shifting Sands," that originally appeared on an obscure compilation album from 1970.

~from allmusicguide.