Born Irving Lee Dorsey in New Orleans, Louisiana, Dorsey moved to Portland, Oregon when he was ten years old. He served in the United States Navy and began a career in prizefighting. Boxing as a light heavyweight in Portland in the early 1950s, he fought under the name “Kid Chocolate” and was quite successful. In 1970 Dorsey and Toussaint collaborated on an album entitled Yes We Can; the title song was Dorsey’s last entry in the singles chart. It was later a hit for the Pointer Sisters under the title, “Yes We Can Can”.

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Marie "Queenie" Lyons is a mystery girl, a Southern enigma. Like a kind of black Bobbie Gentry, after just one album ("SOUL FEVER") Queenie vanished. Following its 1970 release, she disappeared off the soul map forever, like a roman candle floating off into the warm Southern night.


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Cargoe did an admirable job blending power-pop melodicism with various contemporary sounds - late Beatles, post-CS&N and Traffic soft/folk rock, blues lead guitar and some country sounds. Listening to Cargoe, it sounds like they just a bunch of Southern boys who loved the Beatles and others, and went in a different direction. Southern rock were their brethren, (you can hear it on the vocals, the acoustic guitar bedrock and the blues-rock guitar leads), but instead of founding a new tribe, Cargoe became a curious attempt. Had they become more popular, they might have been the American Badfinger, but even better. You can sit down and figure out a Badfinger song relatively easily - Cargoe's songs are more complex and have excellent arrangements, probably the result of years of live playing and recording an earlier version of this album.(1972)

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AQUELARRE (meaning witches nocturnal meeting with the devil) was formed after the dissolution of the band ALMENDRA in 1970, as its bass player Emilio del Güercio and drummer Rodolfo Garcia joined up with guitar player Héctor Stark and keyboard player Hugo González Neira joined up. They performed in B.A.Rock II festival 1971, and their first studio album "Aquelarre" was released in 1972. It's cover was drawn by the band's bass player, who became graphic designer later. Their music is sophisticated psychedelic rock'n'roll with very impressionistic moments, artistic arrangements, surrealistic themes and they have a jazzy rhythm section. During next years they released three more albums, "Candiles" in 1973, and it's cover is a painting of Goya, which name is the same as the bands name!

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A 4-LP vinyl box, with some good psychedelic tracks. In the back side of the box is written: "This limited 4-LP collectors edition contains 60 ultrarare psychedelic, punk e.t.c. 60's tracks. All this tracks were not available on other albums before. This material comes mostly from private 45's, but also from acetates , soundtracks and unreleased mastertapes", and after the track list "This special collectors set is limited to 300 copies (booklet inside)".

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http://rapidshare.com/files/139060991/LP_-_2.rar

http://rapidshare.com/files/139060996/LP_-_3.rar

http://rapidshare.com/files/139077432/LP_-_4.rar

Dreamy, sunshine-infused pop psychedelia with a folk bent, originally released by independent Canadian label Allied Records in 1968.

Release the Sunshine - 1968

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BLONDE ON BLONDE (taking their name from BOB DYLAN's 1966 album) were formed in Newport, South Wales in 1967.
In 1968 the band moved to London to give out concerts, and their publicity led them to be signed for Pye Record label in late 1968. A single "All Day All Night / Country Life" was released in November of the same year. Then was recorded their debut long player ablum "Contrasts", which was issued by Pye in mid-1969 and produced by Barry Murray.
Musically the group was exploring the areas pioneered by 1967 psychedelic acts like PINK FLOYD, JEFFERSON AIRPLANE and CREAM, but in a much larger scale of influences than them, having a more wider musical palette than the bands influenced which them, offering much to the listener open to their style, with slightly varying production quality. Their music is a dance between contrasts of free impressionism paired with predefined melodic more carefully constructed elements, varying from streetwise side to high levels of spirituality, from folk tones, classical guitar runs and mantra like instrumental runs, bursting with oriental musical influences, introducing cosmic drones running hypnotically on varying time scales, and all this paired with hard rock tones of heavy psychedelic guitar similar to JIMI HENDRIX and 1960's work of PETE TOWNSHED.

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Mark Spoelstra: Five and Twenty Questions (1965) Elektra EKS-7283 Mark Spoelstra was an old friend of Joan Baez; they dated in high school. Fariρa met Spoelstra at the Big Sur Folk Festival where Richard & Mimi performed their first professional gig in June of 1964. In these liner notes Fariρa recalls his meeting with Spoelstra at a "seminar on the how-comes of New Folk Music" that attended the Festival, and he praises Spoelstra's political and musical integrity.


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One of the founding fathers of the British blues movement, Graham Bond released two spectacular albums in 1965 as the Graham Bond Organization. The Sound of ’65 and There’s a Bond Between Us (also re-released on BGO Records) are essential jazz/blues albums for any music fan. When Bond broke up the Organization, he moved to the United States where he recorded two “solo” albums in 1965. In 1966, he returned to England where he became a member of Ginger Baker’s Air Force for a time then left and formed the band Magick with his wife Diane Stewart. Holy Magick, the band’s debut album, was originally released on the “progressive” Vertigo label in 1970 . The album was based on Bond’s interest in white magic and Druid and Celtic mysticism. Holy Magick consists of two parts containing 18 songs based around mantras, rituals, and improvisational pieces. The band, a flexible unit, featured some of the top musicians Britain had to offer in 1970 including Rick Gretch (Blind Faith), Victor Bronx, Alex Dmochowski, Jon Moreshead from the Aynsley Dunbar Retaliation, and a host of session performers.

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A posthumous collection of odds and ends, this actually holds considerable appeal for anyone who likes their pair of fully realized albums. The 12 songs include a few studio outtakes, a few solo turns by Mimi on compositions written by Richard but incompletely recorded at the time of his death, a couple performances from the 1965 Newport Folk Festival, and a couple of Joan Baez tracks from sessions for an aborted album Richard was producing with her. These leftovers are generally up to the standard of the two “real” albums, especially “The Quiet Joys of Brotherhood” (covered by Fairport Convention) and “Morgan the Pirate” (a farewell to Bob Dylan, according to the sketchy liner notes). The two cuts by Baez (which Richard wrote or co-wrote), especially the compellingly melancholy “All The World Has Gone By,” are excellent, leading one to wonder if the projected album they came from would have been one of Baez’s best if it had been completed. These may be leftovers, but it’s a worthwhile collection nonetheless.

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