LAMMAS MOON (05/14)

VARIOUS ARTISTS

LAMMAS NIGHT LAMENTS VOLUME 06
(A Collection Of Wyrd-Folk Music From 1966-1980)


Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man soundtrack: summer is a coming in
fresh maggots: rosemary hill
gagalactyca: merlin melaine est
milkwood tapestry: the bell of junip
dando shaft: an evening with rain
extradition: a water song
linda perhacs: parallellograms
shelagh mcdonald: stargazer
elyse: ’deed i do
trader horne: morning way
the trees: little black cloud
maitreya kali: black swan
wittuser & westrupp: schopfung
eclection: st georg & the dragon
red television: the ghost of emile zola

LAMMAS MOON (05/14)

VARIOUS ARTISTS

LAMMAS NIGHT LAMENTS VOLUME 05
(A Collection Of Wyrd-Folk Music From 1966-1980)



Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man: the landlord’s daughter
the incredible string band: invocation
donovan: the voyage of the moon
fairport convention: reynardine
clive’s own band (C.O.B.): solomon’s song
pearls before swine: rocket man
leonard cohen: last year’s man
sandy denny: bruton town
magna carta: elizabethan
steeleye span: lovely on the water
mourning phase: damn your eyes
mythos: oriental journey
perry leopold: the dawning of creation
the woods band: january shows
bread love & dreams: butterflyland
tir na nog: our love will not decay

LAMMAS MOON (04/14)

VARIOUS ARTISTS


LAMMAS NIGHT LAMENTS VOLUME 04
(A Collection Of Wyrd-Folk Music From 1966-1980)


Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man soundtrack: the maypole song
the strawbs: in amongst the roses
tickawinda: go your way
westwind: robin hill
gryphon: the unquiet grave
perry leopold: the journey
these trails: psyche I / share your water
magic carpet: the dream
mormos: number five in the book
magna carta: white snow dove
skybird: snow cloud
the peelers: ramblin’ robin
waterfall: and for you
melton constable: river lane
oberon: nottanum town
heron: the wanderer
incredible string band: air
mr fox: all the good times

LAMMAS MOON (03/14)

VARIOUS ARTISTS


LAMMAS NIGHT LAMENTS VOLUME 03
(A Collection Of Wyrd-Folk Music From 1966-1980)


Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man soundtrack: corn riggs
mandy morton & the spriguns: witchfinder
caedmon: sea song
moonkyte: way out hermit
steve ashley: candlemas carol
spirogyra: an everyday consumption song
fuschia: shoes and ships
owen hand: the garden
shide and acorn: watching a seagull
broselmaschine: godanken
emtidi: saat
langsyne: morning
pentangle: lyke-wake dirge
wizz jones: magical flight
nick drake: black eyed dog
incredible string band: my name is death
carol of harvest: somewhere at the end of the rainbow

FULL STRAWBERRY MOON (15 June 2011)

The musick dedicated to this Esbat is:

CHALOT VÉRONIQUE

A L'ENTRÈE DU TÈMPS CLAIR


Original Issue: 1979 Materiali Sonori (MASO 010) Buy it here!!!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Abraxas Records:

England may have its Jacqui McShee (Pentangle), but France and Italy have its Véronique Chalot. For the past three decades Véronique has dedicated herself to playing, recording and researching medieval, renaissance, and early folk music from France and Italy, helping to save these musical forms from total obscurity.

This album, released in 1979 on the small Italian Materiali Sonori label, was recorded while Véronique was living and researching in Italy. Although it was only her second studio album Véronique’s immense talent and sensitivity was already extremely evident.

Here she sings and plays classical guitar (as well as the dulcimer and the hurdy-gurdy), backed by five Italian musicians playing a number of traditional instruments, including bouzouki, bagpipes, crumhorn, Bendhir and bodhran, making this album of early French traditional music an enjoyable discovery even almost three decades after its release.

LAMMAS MOON (02/14)

VARIOUS ARTISTS

LAMMAS NIGHT LAMENTS VOLUME 02
(A Collection Of Wyrd-Folk Music From 1966-1980)


Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man soundtrack: willow’s song
bread, love and dreams: brother john
synanthesia: peck strangely & worried evening
comus: song to comus
mellow candle: poet and the witch
donovan: voyage into the golden screen
duncan browne: chloe in the garden
loudest whisper: pied piper
flibbertigibbet: my lagan love
principal edward’s magic theatre: sacrifice
the moths: the heron’s daughter
the sweeney men: dreams for me
famous jug band: a leaf must fall
tudor lodge: willow tree
shirley collins: the cruel mother
robin williamson: songs in the earth and air

LAMMAS MOON (01/14)

VARIOUS ARTISTS

LAMMAS NIGHT LAMENTS VOLUME 01
(A Collection Of Wyrd-Folk Music From 1966-1980)


Original Issue: www.theunbrokencircle.co.uk/

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Do not forget to take a look at the comments section :-)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklist (courtesy of http://www.dlc.fi/~hhaahti/Levyt/levyt_kok2.html):

the wicker man soundtrack: main theme
anne briggs: standing on your shore
clive’s own band (C.O.B.): spirit of love
water into wine band: waiting for another day
forest: bluebell dance
dulcimer: caravan
the trees: garden of jane delawney
tir na nog: time is like a promise
dr strangely strange: frosty morning
midwinter: waters of sweet sorrow
stone angel: the bells of dunwich
third ear band: fleance
vashti bunyan: rainbow river
tea and symphony: winter
the sun also rises: tales of jasmine & suicide
mark fry: the witch
pearls before swine: images of april

FULL PINK MOON (19 April 2011)

The musick dedicated to this Esbat is:

11:59

THIS IS OUR SACRIFICE OF PRAISE


Original Issue: 1974 Dovetail (DOVE4) Buy it here!!!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Revolver USA:

English Christian acid folk band produced as their only recorded legacy this wonderful, pastoral record; an early 1970s album (released on Dovetail Records c. 1974) that has dreamy, moody production values, with special effects (nature sounds like sea gulls and babbling brooks) set against a beautiful landscape of acoustic guitar, soaring mellotron, flute, autoharp and male/female vocals; a couple of up-tempo songs act as a change of pace, but the ballads are the reason to be thankful for this record; and how can you go wrong as a Christian folk band, with actual Psalms as your lyrics? As Ken Scott’s Vintage Vinyl Jesus Music guide says, “turn the lights out, crank it up, and sail away.”

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Background Magazine:

11.59 was a British Christian group that released one exceptionally rare album way back then. Most tracks have been inspired by Psalms and other passages from the Bible, which speaks clearly from the lyrics that do carry a Message, but with the exception of “Hallelujah Jesus!” that shouldn’t bother anyone. That particular song, however, may be a bit too much of a “hallelujah-gospel-song” (pun intended) for most - even I tend to skip it. The other material brings beautiful progressive folk with quite a bit of Mellotron playing and good (male and female) vocals.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Popsike:

7-piece British group who were active in the early 1970s. As you might have gathered from the song titles, 11.59 were a full-on Christian band, working at the folk/rock end of the spectrum.The record is a tad sweet in places, particularly on the female vocal front, and some of the lyrics will raise the hackles of non-believers, notably the jaunty Hallelujah Jesus!, which is, in all honesty, a bit hard to bear. If you concentrate on the music, though, what you get is a nice folk rock album with a bit of Mellotron, which is rare enough in itself to warrant
attention.

All but one of the songs is based on the psalms, the best-known in the secular world being No.23, The Lord is My Shepherd, tackled at the end of the album on one of Kinch's 2 compositions, although strangely, neither of his songs has any Mellotronic content. Speaking of said 'Tron, there are flutes and strings on opener "The Earth Is The Lord's" , then nothing until "By The Waters Of Babylon" , which you may or may not be glad to hear has nothing to do with the later Boney M song, apart from the obvious lyrical content.

Actually, it's one of the nicest pieces on the album, a melancholy, minor-key piece with 'Tron flutes, but sadly, that would appear to be it.
The presence of Mellotron and flute has found This Our Sacrifice of Praise being labeled "prog folk" while river, seagull and ocean sound effects put it in danger of being written off as hippie drivel. And candidly, the scarcity of original LP copies probably has more to do with its elevated collectible status than music contained therein.

Lyrically it's likely a very religious in content and recommended to many folk purists with an innocence about the presentation and a purity about the vocal blend that's refreshing a lot...it's reflective and introspective, an acquired taste but well worth sampling.

FULL WOLF MOON (10 January 2009)

The musick dedicated to this Esbat is:

VARIOUS ARTISTS

THE SPIRIT OF THE STEPPES (THROAT SINGING FROM TUVA AND BEYOND)


Original Issue: 2000 Nascente (NSCD 058)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4,5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1. Borbangnadyr with stream water - Anatoli Kuular
2. Sigit, Kargiraa and khoomei - Gennadi Tumat
3. Dingildai - Igor Koshkendey
4. Manchurek Khem No.2 - Oozhak Khunashtaar-ool
5. Sygyt - Ondar mongun-ool
6. Khemchim - Yat-ka
7. Tscasky-chem yry - Opej Andrej & Tschetschek
8. Ugbazhkylar ooldary - The Tuva ensemble
9. Altain magtaal - Nanjid Sengedorj
10. Uyahan zambutivin naran - Sumya & Orchibat
11. Village melody in uzlyau style - Bibizada Suleymanova
12. To the master hunashtar-ool - Sainko Namtchylak
13. Kadarchy - Yat-kha
14. Lonely bird - Huun-huur-tu & The Bulgarian voices angelite

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from The Wire:

"The Spirit of the Steppes" compiles some of the best examples of overtone singing from Tuva and nearby Mongolia, from both well-known names like Sainkho Namchylak and Huun-Huur-tu and more obscure figures like Oorzhak Khunashtaar-Ool and Ondar Mongun-Ool.

In fact, the less celebrated names (at least in the West) are the most uncanny. Either alone or with spare accompaniment from a three string lute, Khunashtaar-Ool and Mongun-Ool coax stark, eerie, frighteningly lonesome sounds from the farthest depths of their vocal cavities.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Amazon:

Tuva is a small republic nestled to the west of Mongolia, the art of khoomei singing recently becoming its biggest export. The term has lately been adopted to describe all of its fellow sub-styles, each revolving around the central principle of two (or sometimes three) simultaneous vocal parts resounding around the singer's inner caverns, playing a drone off against an oscillating melody line. It's a physically draining technique, but the rewards of its magical sound are well worth the effort.

This evocative selection displays a wide range of styles, from pristine minimalism to dirty rock fusion. A babbling stream provides backing for the solo voice of Anatoli Kuular's opening number, then Gennadi Tumat follows, accompanied by a gently cantering tyanzi lute (Tuvan songs often use a horsy gait as their rhythmic template). The third track introduces Igor Koshkendey's small combo, twinning male and female voices, and by the time we reach the fifth track, Ondar Mongun-Ool is virtually playing the blues. The Tuva Ensemble sprouted Huun-Huur-Tu (frequently found touring the West), which itself grew the Yat-Kha offshoot.

All three groups are well represented here, the latter boasting a fully electrified sound, their low vocal vibrations married to fuzz surf guitar, booming shamanic drums and twanging jaw harp.

PINK MOON (feminine musick)

PARRENIN EMMANUELLE

MAISON ROSE


Original Issue: 1977 Ballon Noir (BAL 13001)

Reissue: 2006 Lion Productions (LION 611M) Buy it here!!!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

Simply GORGEOUS! ...and "Topaze" is decades ahead of its time...

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1 Ce Matin à Frémontel (2:45)
2 Plume Blanche, Plume Noire (3:01)
3 Leiturgie (3:12)
4 Thibault et l'Arbre d'Or (4:01)
5 Ritournelle (2:29)
6 L'Echarpe de Soie (1:56)
7 Topaze (6:40)
8 Belle Virginie (1:35)
9 Ballade Avec Neptune (3:02)
10 Maison Rose (2:34)
11 Après l'Ondée (3:03)
12 Voyage Migrateur (2:22)
13 Le Rêve (1:44)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Aquarius Records:

Haunting and lovely avant-folk recording from French multi-instrumentalist Emmanuelle Parrenin. Recorded in 1977, Parrenin's fascination and adeptness with ancient traditional stringed instruments such as the harp, hurdy-gurdy, spinet, and dulcimer, gives a unique spin on her more forward thinking compositions.

Often compared to Vashti Bunyan and Linda Perhacs due to her sweet multi-tracked vocals which accompany about half of the songs, we think the later recording date puts her more in line with Kay Hoffman's Floret Silva (another progressive folk masterpiece recorded the same year) or the kosmiche pastoral vibe of Popol Vuh due to the layered Celtic-inflected droning harmonies she evokes from her instruments.

Beautiful and so recommended!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Lion Productions:

We begin by saying that this is an album unlike any other. A bold statement, perhaps.

Yet look in the Scented Gardens of the Mind book and you will see this description: 'A revelation of a folk album, with songs of incredible beauty and innovative arrangements. It features traditional instruments you've hardly ever heard before and touches of the avant-garde. Play this album directly after that of another randomly chosen female folk album, and you will notice the difference! This is one of the best!'

Parrenin had been part of a traditional 'antique folk' movement in France in the late 1960s (she was in many ways a French equivalent to Sandy Denny or Mandy Morton); indeed, she had recorded eight albums with musicians from this scene before Maison Rose -- her best, and last album, recorded in 1976 and released the following year. The record seems to alternate between a cosmic take on an ancient Breton sound, and delicate, multi-tracked ballads -- ranging from sounds that would not be out of place on an Ash Ra Tempel album to elements of traditional French folk music (including home-made instruments) that are just as exotic.

Certainly, the avant-garde edge lurking beneath the simple folkiness of Maison Rose puts in mind the explorations of Brigitte Fontaine with her sometime musical voyager Areski; there are also suggestions of the pastoral caranavserai aesthetic of Vashti Bunyan, as well as the multi-track sensuality of Linda Perhacs (to name two much-touted singers who seem to have a similar ability to enchant). But Parrenin has her own style, her music has its own deeply ethereal quality, and the album itself has its own magic spell to cast that renders comparison with other albums unimportant in the end.

Magnificent, we say.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Psychedelicfolk Homestead:

This "Maison Rose" album recording had created a spirit of communal, structural development. The guest participants were also not just any musicians. Their backgrounds reveal the interest to create something special beyond the obvious approach. Percussionist and effect-manager Bruno Menny, was asked after this album, in 1978, to appear on Malicorne's highlighting folkrock album, and on the rather unique symphonic folkrock only album by Ripaille on the same label. He was asked more often to be the sound engineer. I believe he also did some cosmos-related electro-acoustic work in the '80's and '90s (see next page). Flutist Didier Malherbe is most known for his work with psychedelic group Gong but he also did interesting solo work in ethno-fusion and jazzfusion styles later on. Mostly jazz-guitarist and vocalist Yan Vagh will appear later on one of Malherbe's solo albums but had worked before with some variety of artists which included Brigitte Fontaine, Johnny Hallyday, Pierre Bensusan,.. Nowadays he is associated with his 10 string fretless acoustic guitar. Guitarist Denis Gasser has some kind of French-Canadian connection. Pierre Bensusan is an original folk and stylistic guitar related musician, who worked here and there closely with vocalist Doatea Bensusan, who participates on this album. Also new for the occasion was some self built instruments, like the tulcivinâ, an instrument based upon the spinet but with the sound of a sitar (she says "based upon the sound of McLauglin’s guitar", used for playing sitar-tunes during Shakti, -a guitar which by the way meant the launching of a whole new generation of sitar-related guitars and instruments-), and a hurdy-gurdy with wah-wah pedal. Also used was the epinette, a French regional instrument from the zither family.

The album has various short instrumentals that are built mostly on combining, harmonically improvisations with the different string instruments, like acoustic guitar, the spinette and a bit of dulcimer, and with hurdy-gurdy. This idea surely is based upon earlier experiences in playing folk and medieval music, but with the feeling to work more freely with them is there, with the same kind of enjoyment and mostly not too far away from casual folk improvisation ideas, with its own delicacy, often structurally simple but sweet and original in building up the album. The instrumentals are alternated with some songs or “chansoniettes” of which the first song, “Plume Blanche, plume Noire” is closest to folk chanson. Just now and then vaguely Brigitte Fontaine comes in mind. Brigitte Fontaine started from chanson on her first album, but while working with people like Areski, she tried also different sounds in her arrangements. Emmanuelle Parrenin isn’t as avant-garde and as tracks has much shorter ideas, she is working in the same nest of finding a new area that is lying already outside folk. On the 6th track, “Topaze”, together with Yan Vagh she really goes into the experiment itself. This slightly longer track is based upon electro-acoustic string sounds, experimental sounds on hurdy-gurdy, recorded in two layers, with some harder percussion giving rhythmic pulses, creating a real abstract landscape. This is followed by another more medieval flavoured track with hurdy-gurdy. The title track, with multiple vocal arrangements, has almost a spiritual (music) flavour mixed with a folk inherited style. In some way I’m reminded here of some tracks with Malicorne, like “Marie De Rose”. “Apres L’Ondée” is also completely semi-acoustic and experimental. This track is done by Bruno Mendy, who, I think, based himself on some of the acoustic complex harmonies that were found during the improvisations. He deformed them into a short but very interesting, experimental cosmic soundtrack, which sounds incredibly nice between the other tracks. Very nice to see also, is how the well fitting bonus track is added, which was recorded at the occasion of a show soundtrack, reminding me this time even more of Brigitte Fontaine. It is a rondo-kind of song with several flute layers of an arrangement, making me wish for more music.
It is a unique album that shows how a series of experiences and backgrounds can lead musically, to inspiration and stimulation (just what the house came to signify for Emmanuelle Parrenin, personally).

PS. The original small 'Ballon Noir' label (distributed by CBS), released a few other gems, like the solo album of Laurent Thibault (fusion progressive styled, from the earliest bassplayer from Magma, who recorded this album with Magma members) and the aforementioned Ripaille.

After this recording Emmanuelle also appeared on the rather interesting progressive folk album ‘La Confrérie des Fous’ (1979), before focusing again on dance and choreographical music.

THULE MOON (traditional musick)

MACCOLL EWAN & SEEGER PEGGY

TRADITIONAL SONGS AND BALLADS

Original Issue: 1964 Folkways (FW 8760)

Reissue: 1994 Ossian (OSS DC 104) Buy it here!

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

The purest folk musick you can imagine (alongside Shirley Collins) & the perfect remedy to the stress of everyday life!

HEALING MUSICK

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1. As I Came in by Fisherrow
2. The Spinning Wheel
3. My Apron Now
4. Tibbie Fowler
5. The Begger Laddie
6. The Weary Pund o' Tow
7. The Baron o' Leys
8. The Earl of Errol
9. The Shepherd and his Wife
10. Fare Ye Weel My Auld Wife
11. Hey, How Johnny Lad
12. Blythsome Bridal
13. The Braes o' Balquither

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Time.com:

The collection is Scottish, the period the 17th and 18th centuries, and the subject is sex.
So sweetly do Ewan MacColl and Peggy Seeger sing the hypnotic tunes that even the most shocking deep-country scandals sound gentle and gay.

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Irtrad Reviews:

Ewan MacColl:
Bothy Ballads of Scotland (OSS CD 101)
Songs of Robert Burns (OSS CD 102)

Ewan MacColl with Peggy Seeger:
The Jacobite Rebellions (OSS CD 103)
Traditional songs and Ballads of Scotland (OSS CD 104)
Scottish Traditional Songs (OSS CD 105)

It may come as a surprise to many to realise that Ewan MacColl was actually born Jimmy Millar, in Perthshire, but grew up in Salford, England. His parents were politically active and MacColl was deeply involved in the folk revival movement from a very early age.

One of the seminal figures of the period, his style of singing spawned a whole generation of quavery-voiced, finger-in-the-ear, folk club floor singers. His singing style was in many ways unique, although it drew heavily on traditional techniques.

Listening to these recordings will confirm that he was in fact a very fine singer, or in fact several very fine singers! for he had the ability to seemingly become a migrant farm worker, one of BurnsU Crochallan Fencibles, or a disgruntled Jacobite.

The five CDs offer 87 tracks, some of which are unaccompanied, some of which feature Peggy Seeger on 5-string banjo, autoharp, guitar, and/or backing vocals. A complete range of
Scottish traditional song is offered here, and the comprehensive sleeve notes not only give plenty of information of themselves, but give references to those who might wish to take the matter further.

Some of the tracks, particularly those with backing of various sorts can sound dated to the modern ear, although In fact the tracks with 5-string banjo accompaniment at times show the very close relationship between this type of music and that of the southern
Appalachians. The unaccompanied tracks sound still sound incredibly fresh, and the more I listen to them, the more I come to realise what a great singer McColl was (he died last year).
The sound quality on all the recordings is excellent, and they transfer well to the CD format.

S. C. Hamilton

THULE MOON (traditional musick)

RENBOURN JOHN

THE LADY AND THE UNICORN

Original Issue: 1969 Transatlantic (TRA224)

Reissue: 2003 Castle Music (CMRCD 625) Buy it here

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 5 moons / 5

I genuinely LOVE this album!

I've thousands of CDs but (the Gods only know why) I keep on returning to this intimate jewel one againg...and again...and again...

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1 Trotto 0.40/ Saltarello 1.53
2 Lamento Di Tristan 1.58 / La Rotta 0.55
3 Veri Floris 0.44 / Triple Ballade 2.00
4 Bransle Gay 1.13 / Bransle De Bourgogne 1.34
5 Alman 1.25 / Melancholy Galliard 2.47
6 Sarabande 2.41
7 The Lady And The Unicorn 3.21
8 My Johnny Was A Shoemaker 4.16 / Westron Wynde 1.25 / Scarborough Fair 7.22

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Liner Notes:

This record contains a variety of instrumental pieces including medieval music, folk tunes and early classical music. The oldest are probably the English dance tune 'Trotto' and the Italian 'Saltarello', to which I have added a drone accompaniment, tuning the guitar to DGDGCD.

'Lamento di Tristan' and 'La Rotta' are fourteenth century Italian pieces played originally on vielle. They too are without harmony but have the tune doubled either on sitar or glockenspiel.

The three part conductus 'Veri Floris', composed during the Notre Dame period, is a setting for the words 'Under the figure of the true flower which the pure root produced, the loving devotion of our clergy has made a mystical flower constructing an allegorical meaning beyond ordinary useage from the nature of a flower".

This is followed by the triple ballade 'Sancuer-Armordolens-Dameparvous' of Guillaume de Machaut.

'Bransle Gay' and 'Bransle de Bourgogne' are from the danceries of Claude Gervaise, composed in about 1550. The first is played on solo guitar but the second uses flute, fiddle and has a second guitar line added. The anonymous 'Alman' is taken from the Fitzwilliam Virginal Book and is followed by 'Melancholy Galliard' by the English lutanist John Dowland. The sequence concludes with the 'Sarabande' in B Minor by J. S. Bach.

The album ends with two short guitar pieces, 'The Lady And The Unicorn' and an arrangement of the sixteenth century song 'Westron Wynde', and arrangements for flute, viola and guitar of two folk songs: 'My Johnny Was A Shoemaker' and 'Scarborough Fair'.

I have not presumed to reproduce early music as it would originally have been played, but hope nevertheless that the qualities of the music can be enjoyed, though interpreted on more recent instruments.

John Renbourn plays guitars and sitar, Terry Cox plays hand-drums and glockenspiel, Don Harper plays viola, Lea Nicholson plays concertina, Tony Roberts and Ray Warleigh play flute and Dave Swarbrick plays violin.

HALF MOON (medioriental musick)

BÜLENT

BENIMLE OYNAR MISIN

Original Issue: 1974 1 Numara (AK.0002)

Reissue: 1993 1 Numara ( AK.1001) - 2004 World Psychedelia (WPC6-8472)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1 Günaydın (2:04)
2 Kediler (3:33)
3 Olmalı Mı Olmamalı Mı (2:11)
4 Anlamsız (1:34)
5 Herşey Sevgiyle Başlar (3:05)
6 Suna Abla (1:54)
7 Bahar Türküsü (2:23)
8 Benimle Oynar Mısın (2:24)
9 Yağmur (2:34)
10 Sen Varsın (2:11)
11 Yüzünü Dökme Küçük Kız (2:18)
12 Şık Latife (2:54)
13 Dört Kişili Düş (3:13)
14 Günaydın II (1:53)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Progressive Homestead:

Bülent Ortaçgil's first release, "Benimle Oynar Misin" from 1974 is recently unofficially re-released by Turkish label 1 Numera. It's a beautiful psych folk / prog folk song album from an incredible quality and with an international appeal.

Bülent was backed by a team of very good musicians like Onno Tunc and Atilla Ozdemiroglu.
The record is regarded by Hans Pokora's Record Collector Dreams book as psych folk, where it received four stars.

Every once in a while, you hear a record for the very first time and it becomes instantly ingrained into your memory. You intuitively know every note before it comes, you can hum along from start to finish, you feel that it has always been with you and will stay with you for eternity.

Bülent Ortacgil's absolutely phenomenal 1974 debut Benimle Oynar Misin is considered a landmark album in his native Turkey, but after three decades the singer-songwriter remains virtually unknown in the United States.

Bülent's songs are written and arranged simply and tastefully, with his voice and gorgeous fingerpicked guitar playing in the forefront of almost every track, and sparse accompaniment on piano, trumpet, saxophone, strings, and several other instruments played by a long list of sidemen and women. The music on this record follows in the tradition of Nick Drake, Donovan, Duncan Browne, The Pentangle, Dando Shaft, Fairport Convention, and other like-minded british folk singers and folk rock bands. The mood is melancholic, but with a strong underlying sense of hope and joy.

Even though I don't understand a word of Turkish, this is one of the most moving and engrossing records I've heard in ages. İt's sort of unfortunate that the liner notes don't include English translations, because it's hard to imagine that the lyrics are anything less than brilliant. At the same time, it's refreshing to listen and pay attention only to the emotion in the voice and not to its verbal content.

As far as I'm concerned, this is the one to beat as far as reissues go in 2004. İt's truly too beautiful to put into any words that I've ever heard, and after spending just a few weeks with it i already consider it one of my absolute favorite albums of all time. Why has it taken so long for this masterpiece to see the light of day in our country? Don't sleep on this one, folks, this is an album that promises to stick with you for a long, long time.

Willy Van Der Kerkho

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Bomp!:

From the hidden depths of the eastern Mediterranean, down in the Cappadoccian mystery lands, comes Bülent Ortaçgil, one of national musical treasures of Turkey, but one that to Western ears remains unheard. To this day. Ortaçgil, or Bülent, which became his artistic name in his beginnings, during the much loved and never forgotten sixties, made a name to himself on the same scene as Fikret Kizilok, who has now made some waves since his inclusion on Damon and Naomi's compilation "International Sad Hits".

But Bülent's music, much as it was of its time, was not at all sad, even though it also came from the heart. And what a heart. It could be said that his voice was indeed as sweet as that of the Golden Horn, and that his music united two continents as much as the Galata Bridge united two parts of Istanbul.

For Bülent's music was deeply Turkish but assimilated the folk flavours of the day, British or American, but the most gentle and perfumed ones. Want names? Donovan and Nick Drake, mainly.

Bülent's "Benimile Oynar Misin?" has to be heard to be believed, really. Do yourself a favour. Listen to Bülent.

Ferran Llaurad

THULE MOON (traditional musick)

MAGICKAL FOLK OF THE FARAWAY TREE (THE)

THE MILDEW LEAF

Original Issue: 2003 Deserted Village (DV007)

Margot-meter: 4 moons / 5

1 In Aimsir Bhaint An Fhéir (2:40)
2 Spencer The Rover (3:41)
3 Le Bon Marain (3:33)
4 The Blackthorn Tree (2:08)
5 Twa Corbies (1:39)
6 Is Iomaidh Coiscéim Fada (3:24)
7 Sweet Thames Flow Softly (4:58)
8 Time To Go Home (1:59)

from The Unbroken Circle:

Released by Deserted Village who have no contact with the artists, this album is an enigma. It documents travels by a UK folk band around the UK, northern France, Channel Islands and the isles and captures their performances in both English and Gaelic.

It's a highly traditional sounding release but one with a feeling of strangeness running through it's heart as all the best folk music does. There is a feeling of authenticity, of getting back to the music's source, of pretence stripped away. Those searching for lost music that carries on their enjoyment of The Wicker Man soundtrack would do well to look here, the same feeling of strangeness and innocence rises amongst the songs.

'In Aimsir Bhaint an Fheir' introduces banjo and guitar supporting a heady baritone male vocal singing in Gaelic. A Gaelic pipe or possibly flute adds counter melody over the top and gradually accordion is woven in. It's already a magical concoction, enticing and vibrant in its mixture of old and new. As more countermelodies are added on piano and guitar, it swells to become a beautiful and moving ode.

This gives way to a communal non-accompanied version of the traditional song 'Spencer the Rover' and then into 'La Bon Marain', a deeply evocative folk ballad starting with sultry flute and guitar. This song has excellent female harmony vocals over the male baritone lead that further enhances the atmosphere.

'The Blackthorn Tree' is a banjo and massed vocal song before the unaccompanied vocal of 'Twa Corbies'. 'Is Lomaidh Coisceim Fads' is another Gaelic ballad with haunting siren harmony vocals. As you listen, you feel some connection to something unknown is being made; it's a haunting listen. 'Sweet Thames Flow Softly' is a song in the round of vocals and sounds like a hundred years old field recording. Peter Ackroyd, the author would adore this seemingly magical invocation of the river's powers in support of love.

Last song 'Time To Go Home' comes too soon and sounds the most conventional of them all at first, although of course this is relatively. Here the sound is like a forgotten seventies soundtrack, the group are together, massed male and female vocals, horns calling, whip rhythms, hand drums, swirling fiddles, nature animals. It moves from delicate ballad to ritual incantation in thirty seconds and ends the album on a somewhat unsettling note.

This is wonderful, important music, the kind we established this site for. It's very inexpensive and absolutely essential for fans of the genre.

Mark Coyle

RUNIC MOON (nordic musick)

HAMRE KNUT & TIBBETTS STEVE
Å

Original Issue: 1999 Hannibal (HNCD 1438) Buy it here!!!


Margot-meter: 4 moons / 5

01 - Olav Bergsland
02 - Huldra-mi
03 - Trebakken
04 - Huldreslatter
05 - Noringen
06 - Ande
07 - Fjellmanngjenta
08 - Huldreslatt
09 - Spelar Guro
10 - Baansull
11 - Bygdatraen
12 - Baansull

from Roots World

Typically bowed for traditional dancing, the Norwegian hardangerfiddle (hardingfele) is equally well suited for pure listening. It satisfies in the audio chair by virtue of the intricate music played on it as well as the instruments own striking tonality. Asymmetric time signatures, where beats within the same measure can be of disproportionate lengths, combine with rustic harmonics to produce an irrational, organic sound.

This is perhaps exactly what intrigued Steve Tibbetts, guitar adventurer and recordist, for his next ethnographic makeover: its affinities with his own metrically elusive soundworld. With hardangerfiddle master Knut Hamre and musician/arranger Turid Spildo, Steve Tibbetts and Marc Anderson have created whole new fields of pure listening for the hardingfele teeming with possibilities on Å.

First contact with a Tibbetts production initially gives the listener a helpless feeling, of immersion in a universe constructed with evanescent strings of ornament and seeming little else. Tibbetts has been laying his trail to a new kind of parlor music for 20+ years. His approach is evocative of imagined place and scape, of time that is elastic, colored with distinctive, austere tunings, and marked by a serenely (and sometimes violently) free sense of motion. For the listener it is a realm that requires, at times, daunting feats of concentration while capable of fruiting enormous rewards.

This is the second such exercise, whereby Tibbetts has gone afield to record idiosyncratic but jewel-like musicians in a faraway place (Nepalese chanter Choying Drolma was the first). Some real-time collaborative moments are captured on location with his Nagra recorder, but for the most part Tibbetts plays to the tapes after the fact in his studio until exactly the right accident happens. Tibbetts is a perfectionist, and it can take a long time before the requisite amount of details begin to accrue for a completed product.

Tibbetts and long time percussionist/partner Anderson play with non-repetitious, Zen-like stealth to Hamre who makes music with unflinching deliberateness, focusing almost entirely on lean, ancient-sounding melodies, adorned with flawless trillwork. The twelve selections form a suite of Nordic chamber songs, slow, musically simple but texturally complicated. Tibbetts blends the multiple occasions of recording together as though of one piece with a brushstroke-less touch and cryptic, specially prepared "treatments".

The sound quality is as good as the recorded variety gets in these digital days. All instruments are immaculately focused but never etched, displaying a warmth that whispers sweet, secret analog. A remote stone church in Utne and in Tibbetts' St. Paul studio provide a modest amount of room ambience that suits the intimate air of the collaboration. Though not credited, Tibbetts takes great pains to produce sleeve art which resonates with the music, and this he has done with a grayscale (90s speak for black & white) photograph palimpsest.

Medieval-modernism, folkloric sound sculpture or post-pastoral improvisation do not quite sum up what happens on Å. Words never stand in for the experience of music, particularly in an encounter with someone like Steve Tibbetts.

Steve Taylor

PINK MOON (feminine musick)

SILL JUDEE
JUDEE SILL


Original Issue: 1971 Asylum (sd-5050)

Reissue: 2005 Water (WATER 158) Buy it here!!!

Margot-meter: 5 moons / 5

Do you think this blog is just a bunch of dark, obscure, oppressive, scary musick? OK, this is for you, then.

Here you have some solar folksinging from the late Judee Sill...

...but do not stop to the appearances; just consider the first song's lyric of this wonderful debut and you'll understand why!

Crayon Angel songs are slightly out of tune
But I'm sure I'm not to blame
Nothing's happened, but I think it will soon
So I sit here waiting for God and a train
To the Astral plane

Magic rings I made have turned my finger green,
And my mystic roses died
Guess reality is not as it seems
So I sit here hoping for truth, and a ride
To the other side

Phony prophets stole the only light I knew
And the darkness softly screamed
Holy visions disappeared from my view,
But the angels come back and laugh in my dreams…
I wonder what it means…

1 CRAYON ANGELS
2 THE PHANTOM COWBOY
3 THE ARCHETYPAL MAN
4 THE LAMB RAN AWAY WITH THE CROWN
5 LADY-O
6 JESUS WAS A CROSS MAKER
7 RIDGE RIDER
8 MY MAN ON LOVE
9 LOPIN' ALONG THRU THE COSMOS
10 ENCHANTED SKY MACHINES
11 ABRACADABRA
12 THE PEARL (Original Version)
13 THE PHOENIX (Original Version)
14 INTRO/THE VIGILANTE
15 LADY-O
16 ENCHANTED SKY MACHINES
17 THE ARCHETYPAL MAN
18 CRAYON ANGELS
19 THE LAMB RAN AWAY WITH THE CROWN
20 JESUS WAS A CROSS MAKER
21 JESUS WAS A CROSS MAKER (Home Demo)

from Amazon

I admit it, when I first added this album to my list of records to check out, I hesitated to buy it since everything I read described it as "Christian rock." I don't have anything against Christians, but Christian rock is a music genre that is usually pretty bad, offering little more than repackaged, bland preaching paired with uninspired and equally bland music. Thankfully, I did pick up this record and found it to be much better than its so-called genre led me to believe.

Judee Sill's take on Christian spirituality is certainly unique--listen to her lyrics, and you'll probably notice a combination of classic Christian concepts and ideals alongside some pretty spacey hippie imagery. For me, this is a pretty novel combo and it really set Sill's music apart from the schlock that gets marketed as Christian rock. Additionally, it's not really that preachy or overbearing. Rather than preaching to her listeners, Sill describes her own personal, introspective spiritual journey, which is a lot more compelling.

Judee Sill is overall a pretty soothing record. Her voice is quite mellow but able to convey some pretty specific emotions, and it sounds good overdubbed too. Most of the main accompaniment is acoustic guitar and piano, along with a fair bit of tasteful orchestration. This folky instrumentation is supported by Sill's surprisingly poppy writing. Her songs are concise and full of hooks (guitar on "Crayon Angels," the entirety of "Jesus Was a Cross Maker," the list goes on). Even after one listen, you'll have something to hum and want to hear again. Unfortunately, it's a pretty short album, so it probably will leave you wanting more.

There really aren't any weak cuts on this album, but some of my favorites are "Crayon Angels," the refrain in "Loping Along Through the Cosmos," and the soulful "Enchanted Sky Machine." I hope you check out and enjoy this lost treasure!

Elliot Knapp

FULL SNOW MOON (20 February 2008)

The Musick dedicated to this Esbat is:

(CURRENT 93 PRESENT)
COLLINS SHIRLEY
FOUNTAIN OF SNOW

Original Issue: 1992 Durtro ( DURTRO 010CD)


Margot-meter: 5 moons / 5

1. All Things Are Quite Silent
2. Cambridgeshire May Carol
3. Polly Vaughan
4. The Cruel Mother
5. Streets of Derry
6. Brigg Fair
7. Higher Germanie
8. George Collins
9. Down In Yon Forest
10. The False True Love
11. The Sweet Primeroses
12. Down By The Seaside
13. Adieu To Old England
14. I Sing Of A Maiden
15. One Night As I Lay On My Bed
16. Lancashire Lass
17. Never Again
18. Lord Allenwater
19. Gilderoy
20. The Moon Shines Bright
21. The False Bride
22. Locks and Bolts
23. Rambleaway
24. A Blacksmith Courted Me

Here you have a true gem, a really magick collection of english folk songs sung by the (unearthly, otherworldly, pure, austere, resonant, dreamy, sincere, ancient, crystalline) voice of Shirley and aptly accompanied by the spectral sounds of her sister Dolly.

SHE'S THE QUEEN OF CELTIC FOLK MUSICK and I love her!

from CD Liner Notes:

This CD is a re-issue of most of the music recorded by my sister Dolly and me for Topic Records from 1963 to 1978. Listening again to these tracks confirms my love for English traditional music, which I believe has two important functions: firstly it links us with our past in a way which is both mysterious and powerful, and secondly, it is the voice of countless generations of labouring people whose work was exploited but not acknowledged, whose welfare was neglected, and who were rarely honoured in our history books. I find it remarkable that people who lived such hard lives had the spirit to produce songs of such beauty and subtlety, but it is small wonder that so many of the songs are melancholy.

It seems like a miracle to me that these songs survived at all, having been passed down for centuries by word of mouth alone. i was fortunate enough to be born into a family that in everyday life sang songs which were to me a perfect expression of what I thought and felt. I was privileged, too, to have heard several old traditional singers in the '50's. Listening to them I learned to understand and respect the music, and, like them, to sing with my natural voice.

I would like to thank David Tibet for making the whole venture possible and for his faith in the music.

Shirley Collins

Since I first heard Shirley some seven years ago, I have been captivated by her voice and her approach to the songs she loves. These songs remain everfresh in her, and it is an honour to have been able to release this compilation.
The True Love Knot lives on...

David Tibet

BLUE MOON (musick by request)

OUGENWEIDE
LIEDERBUCH (Compilation 1973-1978)

Original Issue: 1988 Polydor (837 162-2)


Margot-meter: 3 moons / 5

1. Im Badehaus (Album=Ohrenschmaus)
2. Pferdesegen(Album=Ohrenschmaus)
3. Tobacco-Lob (Album=Ousflug)
4. Ouwe Wie Jämmerliche... (Album=Ohrenschmaus)
5. Der Blinde Und Der Lahme (Album=All die Weil ich mag)
6. Merseburger Zaubersprüche und Tanz (Album=All die Weil ich mag)
7. Es Stount Ein Frouwe Alleine (Album=Ougenweide)
8. Nieman Kan Mit Gerten (Album=Ougenweide)
9. Kommt Ihr Jungfern Helft Mir Klagen (Album=Ohrenschmaus)
10. Enzio (Album=Eulenspiegel)
11. Totus Floreo (Album=Eulenspiegel)
12. Gerhard Atze (Album=Ousflug)
13. Ronde (Album=Ungezwungen)
14. Wol Mich Der Stunde (Album=Eulenspiegel)
15. Für Irene (Album=All die Weil ich mag)
16. Hinweg, Die Besten Streiter Matt (Album=Frÿheit)
17. Bald Anders (Album=Ohrenschmaus)
18. Zu Frankfurt, An Dem Main (Album=Frÿheit)
19. Denunziantenlied (Album=Ousflug)

from Progarchives:

This compilation of material from 1973-1979 comes from a group that, for anglophiles, can best be described as the German Steeleye Span, with added flutes. This is more folk than prog, but it hardly matters when listening to textured haunting works like "Tobacco-Lob", "Der Blinde und der Lahme", and the brilliant "Bald Anders". The tracks are often based on very old melodies and at their best Ougenweide does them proud.

The arbitrary "best-of" does not fully intersect with the tastes of this folk-prog and German prog fan, and songs like "Im Badehaus" come across as too smarmy in style, although one might wonder if the lyrics bear that out. Other tracks are pleasant enough slightly psychedelic amalgams of male and female vox but nothing more, although the classic "Totus Floreo" is clearly much more, almost Ougenweide's Gaudete if you will, even if its only a capella for the first half minute or so.

Unique as far as I know among German bands for their merging of traditional northern European folk with prog elements, Ougenweide is well served by this compilation, which probably contains all you will need as a fan or completist.

Kenethlevine