7-inch Singles/E.P.s Acid, Garage, Psychedelic Rock U.K. 1960s The Open Mind – “Magic Potion”

The Open Mind – “Magic Potion” Track’s Video on “YouTube”

Category/Music Genres :

7-inch Singles/E.P.s Acid/Garage/Psychedelic Rock U.K. 1960s

Band :

The Open Mind (London, Greater London, U.K.)

British rock band from London, late 1960s, originally called The Apaches, later renamed to The Drag Set before the were called The Open Mind.
Mike Brancaccio (guitar, vocals) Timothy du Feu (bass) Phil Fox (drums) Terry Schindler aka Terry Martin (guitar, vocals)

The Open Mind Band’s photo 

Open Mind_band

Related Artists :


Also known as :

The Apaches, The Drag Set

Track :

“Magic Potion” (written by  Mike “Bran” Brancaccio), (A’ Side single) released on Philips Records (BF 1805) in 1969

Open Mind_label

The track is also included on the reissue edition of the album “Open Mind” (originally released on Philips Records SBL 7893, in 1969), released on Antar Records (ANTAR 2), released in 1986

The Open Mind _ “The Open Mind” Original edition on Philips Records (sbl 7893), album’s cover photo (front)

The Open Mind _ “The Open Mind” Reissue edition on Antar Records,  album’s cover photo (front)


The Open Mind _ “The Open Mind” Full Album Audio Playlist on “Spotify”

B’ Side single “Cast A Spell”

The Open Mind – “Cast A Spell” (B’ Side Single) Track’s Video on YouTube

Line-up :

Mike Brancaccio – Guitar, Vocals
Timothy De Feu – Bass
Phil Fox – Drums
Terry Martin – Guitar, Vocals
Jon Anderson briefly sang in the band but left before the recordings to form Yes.

Lyrics :

Take a drink from my magic potion
Do you wanna really feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Hold on my son, there’s a different world
Appearing in front of my eye
If you don’t wanna try this potion
Leave it all for me
How do you feel?
I feel fine
How do you feel?
I feel fine
Gone by my soul, I feel fine
Take a drink from my magic potion
Tell me, do you still feel fine?
What’s if?
And you will see things you never saw before
How do you feel?
I feel fine
How do you feel?
Oh, I feel fine
Gone by my soul, I feel fine
Songwriters: Michael Brancaccio
Information related to the track :
“Pop Matters”
“Magic Potion” is psychedelia purged of all whimsy and wonder and utopian overtones; instead is a feeling of churning menace — underscored by apocalyptic hoof-beat drumming, quasi-raga licks, and droning open-string riffs played through thick distortion and a truly toxic wah-wah — that makes it hard to believe when singer Terry Martin bellows, “Upon my soul, I feel fine”. You get a sense of the incipient danger in “seeing things you never saw before”: you get the feeling these would not be cellophane flowers and marmalade skies, but something chthonic and unspeakable. On the whole, the song is unbelievably heavy without being ponderous, and seems like a prescient blueprint for late 1990s stoner rock.
Information related to the band :

The Open Mind was an English psychedelic rock band formed in London, and active in the 1960s and 1970s.


The band was formed in 1963 by four musicians from Putney, South West London. Initially named The Apaches formed by Tim du Feu, Mike Brancaccio and Philip Fox and their friend Ray Nye. Nye left in 1965 and another friend, Terry Schindler, joined instead. The band became The Drag Set, who released a little-known single in February 1967, “Day and Night” / “Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.

The Open Mind disbanded in 1973; its members wanted to move into jazz-influenced music, but The Open Mind was too well known as a psychedelic band. The band members (minus Phil Fox) went on to form Armada, which lasted about three years but did not release any recorded material.

Despite their paucity of recorded material, The Open Mind have proven to be influential in the psychedelic rock genre, their single “Magic Potion” having been covered by bands such as The Seers, Sun Dial and The Damned.

Band members

  • Mike Bran, a.k.a. Mike Brancaccio – lead guitar, vocals, piano (born 17 April 1946, Rome, Italy)
  • Timothy du Feu – bass guitar (born 31 May 1944, Malvern, Worcestershire, England)
  • Philip Fox – drums (born 26 August 1946, Westminster, South West London)
  • Ray Nye – guitar, vocals
  • Terry Martin, a.k.a. Terry Schindler – guitar, vocals (born 26 August 1945, Holborn, West Central London)



  • “Horses and Chariots” b/w “Before My Time” (Philips BF 1790) May, 1969
  • “Magic Potion” b/w “Cast a Spell” (Philips BF 1805) August, 1969
The Drag Set
  • “Day and Night” b/w “Get Out of My Way” 7″ single (Go AJ 11405) May, 1967


  • The Open Mind LP (Philips 7893) (July 1969)

The Open Mind was reissued on CD on the Acme Records and Second Battle labels. The two non-LP songs from the single are included as bonus tracks.

he band was formed in the mid 1960s by four musicians from Putney, South London.Initially named The Drag Set, they released a little-known single in February 1967, “Day and Night”/”Get Out of My Way”. Shortly thereafter, they changed their name to The Open Mind and in July 1969 released a self-titled LP which has since become a highly sought-after collectible.
The Open Mind produced one of the finest UK psychedelic albums, which is excellent throughout and hardly contains a bad track. The music is characterised by some particularly strong psychedelic guitar work and good vocals. It’s impossible really to pull-out particular tracks as highlights – they’re almost all equally good.
Fortunately this album was re-released and this has made this classic piece of 60’s Freakbeat much more accessible to collectors of 60’s psychedelia. The reissue includes their second rare 45 release, which unlike the first wasn’t taken from the album and is superb. A blistering 45 with tasty psychedelic fuzz guitar work. The band, however, is best known for its druggy August 1969 single, “Magic Potion”, which did not appear on the album.
“Cosmic Mind At Play”

This outfit from Putney in South London had previously been known as The Drag Set, rubbing shoulders with The Soft Machine and a newly-arrived-in-the-UK Jimi Hendrix, and coming to the attention of producer Joe Meek and recording a couple of songs with him just days before he took his own life. They released a fine mod/freakbeat single on the CBS subsidiary Go in March 1967, ‘Day and Night / Get Out Of My Way’.

Changing name to The Open Mind at the end of 1967, the group played hip London venues such as The Electric Garden, UFO and Happening 44, and gained a residency at The Marquee where they were sometimes fronted by future Yes man Jon Anderson, who at the time went by the name Hans Christian.

Boxing impresario Benny Huntsman landed the band a deal with Philips on the condition that his son Roger became their manager (though in effect it was Benny who ran the show), and their excellent self-titled album on that label was recorded in 1968, though not released until July 1969. It included both sides of their debut single ‘Horses and Chariots / Before My Time’ from May of that year, as well as a revamped version of the a-side of The Drag Set 45 with the new title ‘Girl I’m So Alone’. The group appeared in Philip’s New Faces of 1969 promotional film alongside the likes of The Barrier, Ambrose Slade and Procession, miming ‘Horses and Chariots’.

The Open Mind’s second single, released in August 1969, consisted of two new tracks and is perhaps the pinnacle of their recorded output. The a-side ‘Magic Potion’ is a sublime example of heavy psychedelia with its fuzzy rhythm guitar, snaking lead guitar lines, and druggy lyrics. The arrival of the wah-wah in the break is perfectly judged, and there is some truly thunderous drumming throughout, especially in the outro.

Flip side ‘Cast a Spell’ is a little less high voltage but retains the fuzzy guitars and perhaps is even more catchy with its “It’s all in the mind” refrain. This is a fearsome double sider. A jewel in the crown of Brit-psych you might say!

When Benny Huntsman died of a heart attack the band ended up being financed by the Richardson family, part of London’s criminal underworld. Promoters were loathe to book them when they learned of this and with gigs petering out and psychedelia on the wane The Open Mind broke up.

Reissues: Both sides of the 45 are on the essential Rubble Volume 1 (what an eye opener that was for me into the delightful world of British psychedelia and freakbeat), and also on the vinyl British Psychedelic Trip Volume 3 (part of another great compilation series, though with a fair amount of overlap with the Rubbles).

Photos related to the album/track :

The Open Mind – “Magic Potion” Single photo (A’ Side)


Photos related to the band :

Tim Dufeu

The Drag Set

Related image

Image result for open mind band

Links related to the album/track :

The Open Mind – “Magic Potion”Track’s Video on “YouTube”

The Open Mind – “The Open Mind” Full Album Audio Playlist on “Spotify”

The Open Mind – “The Open Mind” Full Album Download Link on “Rockasteria” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Back In Purple” Blog

The Open Mind – “The Open Mind” Full Album Download Link on “Willie Said” blog

The Open Mind – “The Open Mind” Full Album Download Link on Rock Archeologia” blog

The Open Mind – “The Open Mind” Full Album’s Review on “Pop Matters”

The Open Mind – “Magic Potion” Information related to the track on “Magic Potion Net”

The Open Mind – “Magic Potion” on “45cat”

Links related to the band :

The Open Mind Band’s Page on “Discogs”

The Open Mind Band’s Page on “Rate Your Music”

The Open Mind Interview with Timothy Dufeu n “It’s A Psychedelic Baby Magazine”

The Open Mind Band’s Page on “Spotify”

The Open Mind Band’s Page on “Apple Music”

The Open Mind Band’s Page on “Time Machine Music” Website

The Open Mind Information related to the band on “Eric Brightwell” Blog

Krautrock/Progressive Rock Germany 1970s (Tracks) Frumpy – “Take Care Of Illusion”

Frumpy – “Take Care Of illusion” Video on YouTube

Frumpy – “Take Care Of illusion” Video on YouTube (Beat-Club 68 – 26.6.1971)

Category/Music Genres :

Krautrock/Progressive Rock Germany 1970s (Tracks)

Band :

“Frumpy” (Hamburg, Germany)

Frumpy Photo

Members :
Inga Rumpf (lead vocals, percussion, guitar), Carsten Bohn (drums, percussion), Karl-Heinz Schott(bass, percussion, 1970-72, 1994-95), Kravetz (organ, piano, Mellotron, percussion, saxophone, spinet, 1970-71, 1972, 1990-95), Rainer Baumann (guitar, 1971-72), Erwin Kania (organ, piano, 1972), Thomas Kretschmer [Carola Kretschmer] (guitar, 1972)
Related Artists :
Atlantis, Rainer Baumann Band, Die City Preachers

Track :

“Take Care Of Illusion” (written by Inga Rumpf, Jean-Jacques Kravetz), B1 track included on the album “Frumpy 2” 

Album :

“Frumpy 2”, released on Philips Records ( 6305 098) in August 1971

Frumpy 2 was the second album by the German progressive rock band Frumpy. It was released in 1971.

Frumpy – “Frumpy 2” Album cover photo (front)

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Line-up/Credits :

Rainer Baumann – guitar

Carsten Bohn – drums

Karl-Heinz Schott – bass

Jean-Jacques Kravetz – keyboards

Inga Rumpf – vocals

Producer [Produced By] – Rainer Goltermann

Pressed By – Deutsche Grammophon Gesellschaft Pressing Plant

Lacquer Cut At – Deutsche Grammophon Gesellschaft Pressing Plant

Track-List :

1. Good Winds (10:02)
2. How The Gipsy Was Born (10:05)
3. Take Care Of Illusion (7:30)
4. Duty (12:09)

Total Time: 39:46

Lyrics :

I saw a light tonight
it shined mighty bright
dsw it through my open door
while i heard a thundring roar of something
that exploded down there. So I have been in confused fear.
Got Up and followed that blood – red shine
’cause I felt a warning sign.
Yeah – it seemed to be Yeah – big misery!
Oh, that house was burning down
couldn’t see if there’s somebody’round.
I got a dreadful feeling deep inside oh, i just tried …
I was running for my life
to save the sleeping children and wife.
But when i reached that burning house
I was standing in front of a crowd
of helpless people were staying around
they watched the flames and their crying was loud.
I asked a man, who was standing near by.
How could it happen, when and why?
He said, Yeah – it seems to be Yeah – big misery!
It’s burning down it’s burning down to the ground.
It’s a lot of pain when you see it was all in vain.
They worked every day, every night, every hour in their life.
With a faith that we all have before it’s getting late
but you see how it can be, when you’re thinking
you are free, and you’re proud
what you’ve down
that’s a fraud – it could be gone
“Take care of illusion – it shares with confusion”
Look, you are young, and i think you are not the only one
who would help with that faith
that i meant before it’s late.
So go, try you’re best, save their life,
you can’t save their happiness!
Yeah – It’s up to you
Yeah – try to get through!
Oh, they have been still alive
and soon they opened up their eyes.
As they remembered, they began to moan,
No, that man was not wrong
Songwriters: Inga Rumpf
Information about the album/band/track :
Frumpy was a German progressive rock/krautrock 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 in 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 [de] as the “greatest individual vocal talent” of the contemporary German rock scene. They disbanded in 1972 although the various members all worked together at various times over the following two decades and they reunited again in 1989, producing three more albums over five years after which they disbanded once more.
Formation :

All of the band members met as performers with Germany’s first folk rock band The City Preachers, formed by Irishman John O’Brien-Docker in Hamburg in 1965. In 1968, the band had split, with O’Brien-Docker and several other members parting company. Singer Inga Rumpf, a distinctive “un-feminine” sounding vocalist often compared favourably with Janis Joplin, continued to use the band name with a line-up including drummer Udo Lindenberg, singer Dagmar Krause, French organist Jean Jacques Kravetz and bassist Karl Heinz Schott. In the spring of 1969, Lindenberg left to pursue a solo career and was replaced by Carsten Bohn, who by November that year had grown disappointed with Krause and called for the band to pursue a new creative direction, “a fusion of rock, blues, classical, folk and psychedelic.”Reforming in March 1970 as Frumpy (a play on Rumpf’s surname inspired by seeing the word “frumpy” in a CBS record catalogue) the new line-up of Rumpf, Bohn, Kravetz and Schott debuted at the Essen International Pop & Blues Festival in April 1970, where two of their songs “Duty” and “Floating” were recorded and released on the live compilation album Pop & Blues Festival ’70. This was followed by more tour dates in France, Germany and the Netherlands, an appearance at the Kiel Progressive Pop Festival in July 1970, and at the Open Air Love & Peace Festival at Fehmarn, September 6, 1970.
Recordings :

They recorded their debut album All Will Be Changed in August 1970. To promote the album the band embarked on a fifty-night German tour with Spooky Tooth, as well as playing supporting slots with Yes, Humble Pieand Renaissance. The album received both critical acclaim and commercial success.Initially the band played without a guitarist, which was unusual in the rock genre, and the band instead made great use of Kravetz’s “spacey [Hammond] organ excursions” and his powerful Leslie Rotating Speaker System, a sound modification and frequency modulation device. Rumpf said: “In the beginning we were happy enough as a quartet. I played and composed exclusively on an acoustic guitar. It was only later that we began to write songs that called for a guitar.”In 1971, just before the band started recording their second album, called simply 2, they recruited former Sphinx Tush guitarist Rainer Baumann to the line-up. The album, “heavier and more mature progressive rock with classical overtones in Kravetz’s organ ([and] occasionally mellotron) work,” repeated the success of the first, and gave the band a hit single with “How the Gipsy Was Born”, which would become their “signature tune.”The German music magazine Musikexpress dubbed Frumpy as the best German rock act of the year, while Inga Rumpf, variously described as “smoky”, “demonic” and “roaring,” was declared by national newspaper Frankfurter Allgemeine Zeitung to be the “greatest individual vocal talent” of the German rock scene so far.Due to “musical differences” Kravetz left the band in early 1972 to work with Lindenberg and his Das Panik Orchester and also to record a solo album, Kravetz (1972) which featured both Rumpf and Lindenberg. He was replaced in Frumpy by Erwin Kama, who had previously played in Murphy Blend, and Kama appears on several of the tracks on Frumpy’s third album By The Way, being ousted halfway through recording in March 1972 when Kravetz rejoined the band. Baumann expressed a desire to establish a solo career also, and the band played a “farewell concert” on 26 June 1972 with Thomas Kretschmer on guitar.Musikexpress published an obituary for the band in August 1972.The obituary closed with: “We request that you refrain from messages of condolence, since you will soon be hearing from Inga, Karl-Heinz and Jean-Jacques under another name.”A double, live album, Live, was released posthumously in 1973.

Post-Frumpy :

Shortly after Frumpy disbanded, Rumpf, Kravetz and Schott recruited guitarist Frank Diez and drummer Curt Cress, both formerly with Munich-based jazz fusion combo Emergency, to form a “supergroup” called Atlantis. Atlantis, which has been described as “Frumpy repackaged with a more commercial hard-rock style,” recorded their first album Atlantis in 1972, which was released early in 1973. Rumpf was voted ‘Best Female Rock Singer of 1973’ by Musikexpress readers. Diez and Cress were replaced by George Meier and Lindenberg for the subsequent tour, who were themselves replaced by Dieter Bornschlegel and Ringo Funk when the tour ended. They then released It’s Getting Better (1973), which had a strong Afrobeat influence, and caused Die Zeit to hail Rumpf as a “superstar”, after which in early 1974 Kravetz left the band to join Randy Pie.Schnelle was replaced again by Adrian Askew and Bornschlegel by Curly Curve’s Alex Conti. The third album Ooh Baby (1974) was written mostly by Askew and Conti and veered towards the P-funksound, and the band toured the U.S. as a support act for Aerosmith and Lynyrd Skynyrd. Following more changes in line-up two further albums were released, Get On Board (1975) and Live (1975) but, despite achieving commercial success in Germany, the group disbanded in January 1976.On 23 February 1983 the founder members played a one-off reunion concert in Hamburg.
Reunion :

In 1989, Rumpf, Bohn and Kravetz reformed Frumpy and released two albums, Now! (1990) and News (1991) but by 1992 the members had moved in different directions and the group was once more disbanded in 1995.
Discography :

All Will Be Changed (1970)Frumpy 2 (1971)By the Way (1972)Live (1973)Now! (1990)News (1991)Live NinetyFive (1995)

Rising out of the ashes of Sixties folk band City Preachers, German-based band Frumpy formed in 1969 and over the course of their brief career released two albums of rock tinged with blues, jazz and psychedelic elements. They were for awhile Germany’s most popular rock band, selling out concerts and winning numerous awards. They eventually disbanded in 1972.

While Frumpy’s music is appealingly Uriah Heapish (yes I like Heep), it is their 22 year old lead singer, Inga Rumpf, that I find totally mesmerizing – a unique presence that evokes Nico, Janis Joplin and Robert Plant.


Frumpy was perhaps the first or best internationally known of the German progressive bands who had their heyday was from 1970 – 72.

Shortly after Frumpy disbanded, Inga RumpfJean-Jacques Kravetz and Karl-Heinz Schott recruited guitarist Frank Diez (ex-Emergency) and drummer Curt Cress to form Atlantis.

Inga RumpfCarsten Bohn and Jean-Jacques Kravetz reformed a more soulfull/bluesier version of Frumpy in 1990 which released a couple of CDs. These later recordings are less progressive than earlier works.

Inga Rumpf was one of the best-known German R&B singers. Her voice often drew comparisons to Janis Joplin, but Rumpf was able to develop her own unique vocal style. Catapulted to stardom in the ‘70s with her band Frumpy, she released a number of highly acclaimed solo works in the ‘80s and ‘90s and came to be regarded as the grand old lady of German R&B. Whereas other German female vocalists such as Nina Hagen faded away over time, Rumpf consequently followed her path and never compromised herself artistically (unlike her ex-bandmate Udo Lindenberg, whose creativity died down by the end of the ‘80s when he started putting out lightweight pop).

Born on August 2, 1946 in Hamburg, Rumpf started performing as a teenager with different blues bands in the Hamburg entertainment district of St. Pauli. In 1965, she founded the folk band City Preachers and recorded three albums with them. After a creative crisis in 1969, the band changed styles from folk to a mix of beat and soul. A new lineup reflected this: Jean-Jacques Kravetz (keyboards), Karl-Heinz Schott (bass) and Udo Lindenberg (drums) formed the core of the new band, which one year later was to become Frumpy when Udo Lindenberg left to start a solo career and was replaced by Carsten Bohn. Frumpy recorded only two albums, All Will Be Changed (1970) and Frumpy 2 (1971) — the latter containing the hit single “How the Gipsy Was Born” — but these two LPs rewrote German rock history. The band was praised as the best German rock act, and Rumpf was declared the greatest individual vocal talent of the German rock scene to date.

After Frumpy disbanded, Rumpf founded Atlantis in 1972, with Kravetz and Schott, along with new additions Frank Diezon guitar and Curt Cress on drums. The same year, the German music magazine Musik Express selected Rumpf best German vocalist, and her band, Atlantis, “best live and studio band.” Several U.K. tours, alone and with Lindenberg, made her well-known in the English-speaking hemisphere as well. Atlantis disbanded in 1975 after three excellent years, and Rumpf released her first solo effort, Second Hand Mädchen, which was heavily influenced by Lindenberg who, two years earlier, had established himself as one of the most promising German rock acts. Lindenberg had shown that German lyrics work in rock songs, and so Rumpfswitched to singing in German, too, although on her 1981 album, Reality, she sang in English again. She wrote all of the songs herself for this, and even produced it. Tina Turner did a cover of “I Wrote a Letter,” which was released as the B-side of her 1984 comeback single “Let’s Stay Together” (re-released as a bonus track on the centenary edition of her landmark album Private Dancer in 1998). Also in 1981, Rumpf widened her horizon by accepting a job as a lecturer at the Hamburg Musikhochschule (university of music). Her 1984 album, Liebe, Leiden, Leben, again containing German lyrics, earned critical acclaim and she proved not to have lost any of the power she’d radiated in the ‘70s with Frumpy and Atlantis.

After a short Frumpy reunion in 1991-1992, the ‘90s saw Rumpf experimenting with jazz (with the 1994 album Fifty-Fifty with pianist Joja Wendt) and gospel music. In accordance with the philosophy of gospel, a significant number of her performances took place in churches, her lyrics became more spiritual, and increasingly revealed a Christian context without being preachy, so even atheists should be comfortable with the music of her later career. Critics hailed her 1996 album In the 25th Hour as her best to that point. Among other covers, the album contained her version of Ray Charles’ hit “Unchain My Heart,” as her best so far. The same year, the compilation The Best of All My Years was released. Her 1999 album, Walking in the Light, contained text adaptations of the biblical Sermon on the Mount.

From 2001 onward, Rumpf started to perform rock, R&B, and soul on a weekly basis in her hometown of Hamburg. Three years later, she founded her own record label, 25th Hour Music with the release of the live album Live im Michel. Rumpf’s work with Frumpy and Atlantis, as well as her solo output of later years, is essential listening for everybody who wants to get to know German rock music.

Photos about the album/band/track :

Frumpy – “Frumpy 2” Album cover photo (front)

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Frumpy – “Frumpy 2” Album Artwork photos

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Frumpy – “Frumpy 2” Album photo (A’ Side)

Frumpy – “Frumpy 2” Album photo (B’ Side)

Inga Rumpf of German prog rock band Frumpy poses for a pirtrait circa 1970 in Hamburg, Germany. (Photo by Gunter Zint/K & K Ulf Kruger OHG/Redferns)

Inga Rumpf : News Photo

Inga Rumpf from German Rock band Frumpy performs live on stage at Musikhalle in Hamburg, Germany in 1972 (Photo by Ellen Poppinga – K & K/Redferns)

Frumpy Live : News Photo

Inga Rumpf Photo

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Inga Rumpf Photo


Frumpy Photo

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Frumpy Photo

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Frumpy Photo

Frumpy Photo

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Links about the album/band/track :

Frumpy – “Take Care Of Illusion”Video file link on YouTube

Frumpy – “Take Care Of Illusion” Video file link on YouTube

Frumpy – “Frumpy 2” Full Album Video file link on YouTube

Frumpy – “Frumpy 2” Full Album Video Playlist on YouTube

Frumpy – “Frumpy 2” Full Album Video file link on Vimeo

Frumpy Band’s Page on Spotify

Frumpy Band’s Page on Discogs

Frumpy Band’s Page on Rate Your Music

Frumpy – “Frumpy 2” Full Album Download Link on Rockasteria Blog

Frumpy Band’s Page/Full Albums Download Links on Muro Do Classic Rock Blog

Frumpy – “Frumpy 2” Full Album Download Link on Boyz Make Noize Blog

Frumpy Band’s Page on Google Play

Frumpy Band’s Page on Apple Music



Folk/Progressive Rock Norway 1970s (Tracks) Folque – “Harpa”

Folk/Progressive Rock Norway 1970s (Tracks)

Folque (Oslo, Norway)

Traditional song, the Folque’s version of the song is based on the Scottish song “The Cruel Sister (Child Nr. 10) “, the Norwegian song “Horpa” and the Scottish ballad “ballade Riddles Wisely Expounded (Child Nr. 1)”.

“Harpa” A6 (traditional, arranged by Folque) track included on the album “Folque”

Released on Philips Records (6317 025) in 1974

Line-up/Credits :

Lisa Helljesen: vocals
Jørn Jensen: vocals, guitar, dulcimer
Trond Villa: fele
Morten Bing: guitar, mandolin
Eilif Amundsen: banjo, bass, guitar
Trond Øverland: bass, piano

Producer – Øystein Sunde

Photography By [Foto], Layout – Macro Foto

Photography By [Foto], Layout [Macro Foto] – Bjørn Morisse, Terje Berntsen

Lacquer Cut By – Ivar Finsen

Management [Road Manager] – Espen Løvstad

Engineer [Teknikere] – H. P. Danielsen, Inge Holst-Jacobsen

Recorded At – Rosenborg Studio

Phonographic Copyright (p) – Phonogram A/S

Copyright (c) – Phonogram A/S

Lacquer Cut At – Rosenborg Studio

Pressed By – Musikkindustri A/S

Track List :

1. Skjøn jomfru (4:26)
2. Ravnene (2:31)
3. Springar (1:17)
4. Sjugur og trollbrura (2:37)
5. Nissedans (2:25)
6. Harpa (4:49)
7. Sinclairvise (3:24)
8. Reinlender (1:57)
9. Alison Gross (3:49)
10. Steffa går til Selfjord (3:50)
11. Reven og bjørnen (3:22)
12. Heimatlåta (1:42)

Lyrics :

Det bodde en bonde ved en strand
Harpa toner var og fin
To fagre døtre hadde han
Fa la la la la la la la la la
Den eldste til den yngre sa
Harpa toner var og fin
La oss ned til elva dra
Fa la la la la la la la la la
Den yngste gikk føre som en sol
Harpa toner var og fin
Den eldste etter som orm i jord
Fa la la la la la la la la la
Den yngste satte seg på en stein
Harpa toner var og fin
Den eldste dyttet, hun var ikke sein.
Fa la la la la la la la la la
Hun strakte ut sin hvite hand
Harpa toner var og fin.
Og ropte søster hjelp meg iland
Fa la la la la la la la la la
Da hvis jeg ikke hjelper deg
Harpa toner var og fin
Så vil din kjæreste ekte meg
Fa la la la la la la la la la
Det var to gjetere på den strand
Harpa toner var og fin
Og de så liket som fløt i land
Fa la la la la la la la la la
De tok fra hennes kropp et ben
Harpa toner var og fin
Og lagde av det en harpe ven
Fa la la la la la la la la la
De tok to lokker av hennes hår
Harpa toner var og fin
Og harpa gyldne strenger får
Fa la la la la la la la la la
Til søsterens bryllup ble harpa bragt
Harpa toner var og fin
Og på en strubbe der ble den lagt
Fa la la la la la la la la la
Og det var senere på denne kveld
Harpa toner var og fin
At harpa spilte av seg selv
Fa la la la la la la la la la
Da den første strengen lød
Harpa toner var og fin
Den fortalte om brudens onde dåd
Fa la la la la la la la la la
Da den andre strengen slo
Harpa toner var og fin
Bruden som forstenet sto
Fa la la la la la la la la la
Songwriters: traditional scottish

Folque is a Norwegian folk rock band founded in 1973 by Morten Bing, Jørn Jensen (musician), Eilif Amundsen, Lisa Helljesen, Espen Løvstad, Trond Øverland, and Trond Villa. In 1972 a subset of the band was initially named «Brød & Vin» (Bread & wine), they changed the name to Folque in the spring of 1973 after adding members and traditional instruments to the ensemble.

The band was dissolved in 1984, but reunited in 1994 and in 2004 for playing live. Folque is re-established in 2014 with Lisa Helljesen as lead singer.

Their musical style is linked to Malicorne in France and to Steeleye Span in the UK.

Most of the discography is difficult to find, as only the first three albums were re-released on CD.

This Norwegian folk outfit started out in the early 70s mixing acoustic instruments (fiddle, mandolin, banjo and piano) with the electric guitar, bass and keyboards. They created an earthy music made up of playful, catchy melodies with male/female vocal interplay. Despite important personnel changes over the years (their first-rate lead female singer was replaced, among others), they have managed to remain true to their sound and have churned out over ten fine albums between 1974 and 1998. In 2004 they reunited to play a gig at the Norsk Folkemuseum and don’t seem to show any signs of slowing down.

Their highest rated album is their third, entitled “Vardøger”, closely followed by their first two, “Folque” and “Kjempene på Dovrefjell” released in the mid-70s, and by “Fredløs” and “Sort messe” released in the early 80s. Their material is pure, often foot-stomping folk with Norwegian vocals. Despite the mostly minor keys, it is fresh and exhilirating and dons some wonderful arrangements.

Highly recommended to fans of MALICORNE, THE POGUES, KEBNEKAISE and GRYPHON as well as those heavily into Nordic and Irish folk. A good introduction is the recent live sampler “Stormkast”.

Folque formed in Oslo in 1972 with the aim of making a Norwegian form of folk-rock, using guitars and banjos instead of the traditional treatment with Hardanger fiddle or solo vocals. Their first album, ‘Folque’ (1974), also included adaptations of two Scottish folk songs (among them “Allison Gross” in a similar arrangement to the 1973 Steeleye Span version, although with Norwegian lyrics), but for the future they stuck to Scandinavian material. For this reason, ‘Kjempene På Dovrefjell’ (1975) and ‘Vardøger’ (1977) are usually considered their best albums, offering great insight into Norwegian folklore, i.e. medieval ballads, old Norse poems set to music, fiddle instrumentals and traditional dance music. Their musical ability is impeccable, highlighting fiddle, mandolin, dulcimer and electric guitars. The arrangements always function well, meaning that the bass and drums do not disturb the original rhythm and rhymes. On top of this, Lisa Helljesen had a clear and strong voice (a bit similar to Maddy Prior in Steeleye Span and Mandy Morton in The Spriguns), perfectly suitable to the music. There is no better starting place than ‘Vardøger’, where their own blend of folk-rock was fully developed.

After some personnel changes, Folque signed to the political left-wing label Mai after their Philips contract expired. Jørn Jensen and Trond Villa were later involved in Kong Lavring and the group Folk & Rackare (along with Swedish musicians). ‘Dans, Dans Olav Liljekrans’ (1978) revealed the new line-up to be as musically competent as the previous one, but the new female vocalist Jenn E. Mortensen had a rougher voice (and a strong North-Norwegian regional accent) that might be disturbing to those who dislike her more aggressive attitude (less suitable to Folque’s music, in my opinion). ‘Fredløs’ was a transitional record with a wider musical span than their previous records. Their last two original albums contained increasing numbers of self-penned compositions, ‘Sort Messe’ (1982) being dominated by the competent songwriting of Morten Bing.

Folque were undoubtedly the most influential Norwegian folk-rock band and arguably among the best in Europe, on a par with Malicorne in France or Ougenweide in Germany.

Folque : the history of a Norwegian folk rock group

Back in 1972 I was one of many young people playing strange songs on minor-tuned guitars at the Folk Clubs of Oslo. Usually with a friend called Eilif Amundsen. In the spring I was asked to participate on an anti-EEC-record. I got together with a bunch of pals, and played my own song “Si ja til selvstendighet (Yes, to independence!). Afterwards I toured along the southern coast and became acquainted with another singer/guitarist, JørnJensen. After the tour I joined Eilif and his brother and went with them to London, where I met a couple of other Norwegians, Lars Helljesen and Espen Løvstad.

That was the beginning of Folque.

I the fall Jørn, Eilif and I started a group. We needed a singer and asked Lars’ sister, Lisa. The result was the folk group “Brødog Vin” (Bread and Wine). We were a strange musical mixture: Eilif and I played American Old Time (in the New Lost City Ramblers tradition), Jørn played Jansch-style guitar, and Lisa was a committed fan of the American singer Melanie. But we rehearsed some songs and got our first gigs

In the spring 1973 we had begun to develop our own style: Translated English folk songs, traditional Norwegian songs, guitar, banjo, mandolin, and dulcimer. We changed our name to FOLQUE and were joined by Espen (who later on was to become our road manager) on percussion, Trond Øverland on bass-guitar and Trond Villa on fiddle. Jørn bought a Telecaster, and suddenly we were no longer an acoustic folk group, but an electric folkrockband.

Early in 1974 we made our first TV-appearance in “Flimra“. Later the same spring we recorded a demo in the basement-studio of Øystein Sunde, who brought the tape to the record-company Phonogram. A contract! The first album Folque was recorded and released the same fall. Øystein produced, and a drummer joined us in the studio. The album was well received, and we even had a radio-hit with a traditional dance tune, “Reinlender“.

But as soon as the record was finished, the band was beginning to fall to pieces. Personal and musical disagreements led to Jørn’s departure, and Lars Helljesen joined us as new guitarist.

With Lars and his Stratocaster, a permanent drummer became necessary, and before we recorded the second album, Morten Jakobsen had joined us on drums. We now were a full-fledged folkrock band! In the summer 1975 we played the Forum Festival in Arendal and the Festigavla Festival in Ålesund.

Kjempene på Dovrefjell (The Giants in the Dovre Mountains) was recorded in the fall and was perhaps our best album ever. The same fall we appeared in

Soon after Trond Ø. left us, going to India, and Eilif changed from banjo to bass a special television-program, “Stev og synthesiser”.

 The spring 1976 we toured in Trøndelag and in Western Norway, and in the summer we appeared at the Västervik Festival in Sweden. In the fall we recorded our third album, Vardøger, but soon after, Lisa and Trond V. also left the group. The remaining members wanted to continue the group, but this was not easy without our “stars”, Lisa and Trond, but Lars was able to find replacements for both.

First a new vocalist, JennMortensen, and then a new fiddler, Øyvind Rauset, joined in the spring 1977. That summer we played at Kalvøya, the biggest festival in Norway at the time, and at the Horten Festival.

In 1978 we left Phonogram to join up with the left-wing record company Mai. They released Dansdans, Olav Liljekrans (Dance, dance, Olav Liljekrans) the same year. The title track was maybe our most popular song, but the album was the worst we ever made. The critics blamed it on the new members of the band, but it was the producer who stunk.

Eilif had left the band in the spring 1978 and new bassist was Per Vestaby. With this line-up we played the Television-show “Musikalskgjestebud” in the fall, and the Troilltampen Festival next summer. We made a second album on Mai, Fredløs  (Outlaw), in 1980. On this album Jenn and Øyvind got a chance to show that they were excellent musicians. Arvid Esperø produced the album and was an inspiration to work with.

1980 saw new changes in the band, a new drummer, Pål Søvik, and then a new bassist, Roald Thommesen. We left Mai and signed up with a new record company, Talent Records. On the next album, Landetditt (Your Homeland), Øyvind’scompositions and synthesisers held a central position.

he last chapter in the history of Folque started when Øyvind left in 1981. Without a fiddler, Lars’ guitar and my mandolin took the lead, and did quite well. Sort Messe (Witches’ Mass) was recorded next year. This album was mostly Lars’ and mine compositions and my lyrics, less traditional folk. Arvid was back as producer, and the result was in our opinion an excellent, but rock-oriented record.
In the summer 1984 we were asked to play at a festival in Denmark. At that moment we had almost disbanded, but we said yes. Øyvindjoined us, Trond Ø. was back on bass, and the concert on the Midt-Fyn Festival was one of our best ever. Luckily, it was recorded, and later on (in 1991) released as a live-album, Dansdans …  (Dance, dance  …).

The appearance at the Midt-Fyn Festival was to be Folque’s last, although Jenn, Lars and I continued to play together for some years as an acoustic trio, “Jomfru Mortensens trio”.

Folque was reunited for one gig in 1994, when we held a 20 years anniversary concert in Chateau Neufin Oslo. In 1993 our first album Folque had been reissued on CD, Kjempene … and Vardøger following in 1999.

In 1998 the CD Stormkast was released, containing the best tracks from Landet ditt and Sort Messe, together with live material from the Midt-Fyn Festival. I 2004 Folque was reunited again (but without a drummer) for two gigs, the last at Norsk Folkemuseum in Oslo at Midsummer Eve.

And that’s all folks – so far! Folque didn’t really ever do many gigs, although we did play from Kristiansand in the South to Tromsø in the North, and at all the important Festivals in Norway and a couple in Sweden and Denmark. We never did get much money, and hardly any fame, but we made eight albums over the ten years we played together, and hopefully a few people still remember our music.

Discography :

Folque (1974)

Kjempene på Dovrefjell (1975)

Vardøger (1977)

Dans, dans Olav Liljekrans (1978)

Folques beste (1979)

Fredløs (1980)

Landet ditt (1981)

Sort messe (1983)

Dans dans (1991)

Stormkast (1998)

Folque – “Folque” Album cover photo (front)



Folque – “Folque” Album photo (A’ Side)


Folque Photos

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Image result for FOLQUE 1974

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Folque – “Harpa” Video file link on YouTube

Folque – “Folque” Full Album Video Playlist on YouTube

Folque Band’s Page on Spotify

Folque Band’s Page on Apple Music

Folque Band’s Page on Rate Your Music

Folque Band’s Page on Discogs

Folque Band’s Homepage

Folque – “Folque” Full Album Download Link on FolkYourself Blog




7-inch Singles/E.P.s Progressive/Psychedelic Rock U.K. 1960s (Tracks) Mighty Baby – “Egyptian Tomb”

7-inch Singles/E.P.s Progressive/Psychedelic Rock U.K. 1960s (Tracks)

Mighty Baby (London, U.K.)

“Egyptian Tomb” (written by Might Baby) A1 (opening track) included on the album “Mighty Baby” 

Released on Head Records (HDLS 6002) in 1969

Also it was released as an A’ Side single (B’ Side single “I Am From The Country”), on Philips Records

Tracks :

1. Egyptian Tomb – 5:28
2. A Friend You Know but Never See – 4:24
3. I’ve Been Down So Long – 5:05
4. Same Way From the Sun – 5:37
5. House Without Windows – 6:10
6. Trials of a City – 5:58
7. I’m From the Country – 4:49
8. At a Point Between Fate and Destiny – 4:44
9. Only Dreaming – 3:16
10. Dustbin Full of Rubbish – 2:47
11. Understanding Love – 3:50
12. Favourite Days – 3:54
13. A Saying for Today – 3:27

Compositions from 1-8 by Mighty Βaby
Songs 9-13 written by Ian Whiteman and perfomed by The Action

Migty Βaby :

Alan King – Guitar, Vocals
Michael Evans  – Bass
Roger Powell  – Drums
Martin Stone  – Guitars
Ian Whiteman  – Flute, Organ, Percussion, Piano, Saxophone, Vocals

Lyrics :

I was born in a world that can easily bring you down
I was torn from the tomb of the foolish Egyptian crown

Good morning, day,
by evening, my way,
I said my way

I was raised in a town where the people don’t understand
What it is to have lived in a different place and time.


[psych scat]

An Egyptian tomb..
An Egyptian tomb..
An Egyptian tomb..

La, la, la, la, la

I was born in a world that can easily bring you down
I was torn from the tomb of the foolish Egyptian crown


An Egyptian tomb.. x 8

Information about the band

UK act MIGHTY BABY was formed in 1968, featuring several members of the newly disbanded outfit The Action. They hit the studio right away, and had an album ready by the end of ’68, which eventually was released at the tail end of 1969 on the Head Records label.

During 1970 many of the members in the band converted to Islam, and when their second album A Jug of Love appeared in 1971, the alteration in religious and philosophical view by the band’s members had also affected their stylistic expression, resulting in a vastly different sophomore effort.

This second production also proved to be the final albums to come from this band. In later years archival cocncert recordings have surfaced from time to time, capturing a band keen on improvisation while performing live.

Mighty Baby stands as one of the most cohesive and coveted of 1960s UK psych. It is the complete package, blistering guitar work from Martin Stone, studio trickery, amazing songwriting, great vocals, this record is the real deal and fully deserving of its reputation. The band would go on to record with legends like Keith Christmas, Sandy Denny, and more, as well as record a second album in 1971, but nothing can surpass the pure psych perfection of their debut.

In 1968, the Summer of Love was exerting it’s influence on pop and fashion trends and, in the UK, many of the previous year’s Mod movement were heeding the call to ‘get your head together, man’ and go ‘progressive’. The Action had been one of the most respected of London’s mod bands but in late ’68, founder members guitarist Alan King, bassist Mike Evans and drummer Roger Powell were joined by pianist lan Whiteman and ex-Savoy Brown guitarist Martin Stone in a brand new band Mighty Baby. The group’s 1969 debut album Mighty Baby was strong on melody and instrumental technique and Egyptian Tomb is a perfect summation of what the band’s recorded music was all about. “Live”, they extended their performances, as did most groups of the era. Stone’s guitar soloing being lauded for its imaginative approach. They cut a second album A Jug Of Love before disbanding. Stone later formed Chilli Willi And The Red Hot Peppers while King became a member of pub-rock band Ace. This CD reissue combines their first album with 5 tracks made when King, Evans and Powell were still The Action and the sleeve notes by Record Collector magazines John Reed chart the history of one of the best of the late 60s/early 70s “head” bands.

 The band was formed as The Boys in August 1963, in Kentish Town, North West London. After Peter Watson  joined them as an additional guitarist in 1965, they changed their name to The Action. The original members were Reg King (lead vocals), Alan ‘Bam’ King (lead guitar, vocals), Mike “Ace” Evans (bass guitar, vocals and Roger Powell (drums).

Shortly after their formation, they signed to Parlophone with producer George Martin. “Land of a Thousand Dances” b/w “In My Lonely Room” was well received by critics, but sold poorly. None of the Action’s singles achieved success in the UK Singles Chart.

After disastrous experiences with the Rikki Farr management, Peter Watson left the band in 1966. They continued as quartet, but were dropped from Parlophone in 1967. In the late 1960s keyboardist Ian Whiteman and guitarist Martin Stone joined the band and the Actionmoved toward a mid-tempo psychedelic balladstyle, and then into folk rock. Reg King left the band in 1967, and Alan King took over as main lead vocalist. In 1969, when signing to John Curd’s Head Records, the band was renamed Mighty Baby.  Alan King later went on to form Ace.

Notably, they are one of the favourite bands of Phil Collins, who performed with the reunited band in 2000. “For me it was like playing with the Beatles“, he later commented on the experience.

Albums :

Mighty Baby (1969)
A Jug of Love (1971)

Singles & EPs :

Egyptian Tomb / I’m From the Country (1969)
Devil’s Whisper / Virgin Spring (Jun, 1971)

Alan “Bam” King – GuitarVocals (in band: 1968 – 1971)
Ian Whiteman – FluteOrganPercussionPianoSaxophoneVocals (in band: 1968 – 1971)
Martin Stone – GuitarSlide guitar (in band: 1968 – 1971)
Mike Evans – Bass Guitar (in band: 1968 – 1971)
Roger Powell – Drums (in band: 1968 – 1971)
Mighty Baby – “Mighty Baby” Album cover photo (front)
MIGHTY BABY 1969 2 (2)
Mighty Baby – “Mighty Baby” Album photo (A’ Side)
Mighty Baby – “Egyptian Tomb” Single Album cover photo (front), French Edition, Philips Records -, 1970
Mighty Baby – “Egyptian Tomb” Single cover photo (front) Dutch Edition, Philips Records (6073 900), 1970

Acid Rock/Hard Rock/Heavy Blues Rock/Heavy Psychedelic Rock U.S.A. 1960s (Tracks) Blue Cheer – “Peace Of Mind”

Acid Rock/Hard Rock/Heavy Blues Rock/Heavy Psychedelic Rock U.S.A. 1960s (Tracks)

Blue Cheer |(San Francisco, California, U.S.A.)

“Peace Of Mind” (written by Randy Holden) B1 track included on the album “New! Improved!”

Released on Philips Records ( PHS-600-305) in April 1969

Line-up/Credits :

Lyrics :

Peace of mind
To find is not easy
When the one you love you don’t trust
When I picture the image of someone else beside her
I see a reflection of violence
And emotion of life that is used
Oh, oh-oh-oh, oh, ooohhh
Oh, oh-oh-oh, oh, ooohhh
I see a reflection of violence
And emotion of life that is used.
You will see
That the mind cannot furnish
Things that you want were gone
What can I see
When the one thing that you had had passed
Is not pretty
You want to love so bad
But you bleed through every time.
Oh, oh-oh-oh, oh, ooohhh
Oh, oh-oh-oh, oh, ooohhh
You want to love so bad
But you bleed every time.
You said, you said you loved me
Yeah, more than you do
And you go and take everything I ever did and give to you
And throw it all away yeah, yeah, yeah
Throw it all away yeah.
Why!? Why!? Why!? Why!?
Why!? Why!?
Blue Cheer – “New!Improved! Album cover photo (front)
blue cheer new improved 1

7/12-inch Singles/E.P.s Acoustic/Classical Guitar/Flamenco/Jazz/World Music Spain 1970s Paco De Lucia – “Entre Dos Aguas (Rumba)”

7/12-inch Singles/E.P.s Acoustic/Classical Guitar/Flamenco/Jazz/World Music Spain 1970s

Paco De Lucia (Algeciras, Cádiz, Spain)

Instrumental Music

“Entre Dos Aguas (Rumba)” A’ Side single released on Philips (60 29 261) in 1974

Entre dos aguas is an instrumental flamenco rumba created by the Spanish guitarist Paco de Lucía, included as the first single on the album Fuente y caudal 1973. It was recorded with two guitars (the second played by his brother Ramón de Algeciras), with a bass and a bongo, instead of the traditional palmas played on the rumbas.

At first the album did not have much commercial success, being practically discontinued in a few months. But Jesus Quintero, his representative at that time, and several other journalists were determined that this piece of music be heard on the radio. They convinced the record company to edit it as a single, going on sale in 1974.

As a single, Entre dos aguas sold more than 300,000 copies, being a gold single in 1976, and was 22 weeks at the top of the sales charts, catapulting the guitarist’s career.

After the success of the song as a single, the label reedited the album Fuente y caudal in 1975, it was released in cassette format in 1981 and in CD format in 1987. Likewise, the song was included in several compilations.

Since its inception, Entre dos aguas is considered a masterpiece of flamenco, being the most popular and well-known song of the artist, both nationally and internationally. However, it was not a song worked with time, but an improvisation that Paco had to perform at the time of recording the disc by order of José Torregrosa, the producer, considering that it was incomplete.

Apparently, Paco used other references to improvise the song, such as the song Te estoy amando locamente, by Las Grecas, and the song he co-written Caramba, carambita, by Los Marismeños, where in the latter can be seen more clearly the similarity.

Paco De Lucia – “Entre Dos Aguas” A’ Side single cover photo (front)

paco de lucia entre dos aguas 1 (2)

Paco De Lucia – “Entre Dos Aguas” A’ Side single photo

paco de lucia entre dos aguas 3 (2)

Paco De Lucia – “Entre Dos Aguas” A’ Side single photo

paco de lucia entre dos aguas 2

Paco De Lucia – “Entre Dos Aguas” Video file link on YouTube

Paco De Lucia – “Entre Dos Aguas (Rumba)” Live Performance Video file link on YouTube

Paco De Lucia – “Fuente Y Caudal Full Album Video file link on YouTube

Pace De Lucia Artist’s Page on Spotify

Paco De Lucia Artist’s Page on Facebook

Paco De Lucia Artist’s Page on Discogs