Hippies were the salt of the Earth. This sounds Beatle-esque, like something off the Revolver album.

An excursion into psychedelia. like the way "In-A-Gadda-Da-Vida" was.

Known mostly for the catchy "Turn-Down Day" and "Red Rubber Ball," the Cyrkle also produced this strange, early bit of psychedelia, circa 1966.

Transit. So gerne gehört, heute wieder.

❤

I've got an Xcedrin buzz. No headache here

Madlib

Ein toller, aber leider fast vergessener, Titel

🎉 Jemand 2024 noch dabei Zeitlos Song

It’s so loud and in your face ❤❤❤

This is impressive for young females smh :0

Do anybody know how to fit a casette player in a w204 coupe mercedes cause this band needs to be played with respect on original metal tape

I had he chance to grab The Machine That Cried in Antigua Guatemala from a tourist in 1979 and since then I listened to ALL their albums. What a great voice of Chris Adams! I have their LP's and Mini-Lp cd's from Japan.

Ein Song, wie er mir damals wie heute immer noch total unter die Haut geht. Ich war seinerzeit (1978) wirklich äußerst beeindruckt, dass ausgerechnet eine DDR-Band diesem exellenten Blues-Musiker mit diesem Lied ein äußerst würdiges Denkmal gesetzt hat! Ohne Übertreibung - eine bessere Hommage hätte es für Alan Wilson überhaupt nicht geben können!! ♥

God I love this

Es gab so viele super Songs in der DDR ,danke dafür!

Why can’t I find any info on this band? Not even on Apple Music

Renft ist ein Stück Zeitgeschichte die beste Band der DDR einfach genial

Great song 🎵 🎉🎉🎉🎉🎉

1969, my internet friends

I dig this cover!!!

If this doesn't channel your inner hippie nothing will.

I was baffledd when I found out that the song "Incarsuration of a Flower Child "was released in 1999 and wasn't the song I heard on the 30+ years ago. The song I heard had a reoccurring baroque-like keyboard melody and a trippy 3 minute middle 8 guitar solo with few lyrics sung by I believe Roger. Unlike some of Floyd's songs from the mid-60s,this tune was quite upbeat. The OUTRO sounded like remnents from the COMMITTEE LP parts 1 an2. This song did not appear on any of Floyd's commercial LPs. I hope some folks heard this particular song before. If anyone has any idea of its title,please share it with me

Wonderful!

Parteisoldatin!

Er um... thought "Codine" was spelled CODEINE 🤔

Это про них написали ,что у них какой то суперальбом ?

Это неплохо как для 1968 года

Rip : Johnny Neel (June 11 1954 - October 6 2024)

Das war eine schöne Zeit. ❤❤❤❤

Thats where i come in , I'm the medicine man and the swampsnake all rolled into one, thats the way I like it a stand in until love rears its ugly head and that leaves me free , there's a lot to be said for being a swampsnake 😊

Stalinisten Gesang. Da grabbelts der Sahrah unterm Chanell Schlüpfer. Was für gestrige die Gestern wieder wollen.

Friedrich Schorlemmer verstarb erst kürzlich vor drei Wochen (09.09.2024) im Alter von 80 Jahren.

I found this in the dollar bin of my local record store. Today. Had no clue what it was. It looked cool. Boy am I glad I bought it.

From my home city, I first heard them on Back From The Grave #7. I saw their reunion show at TT the Bear's Place in the late 90s and they really rocked the place. It's a shame they didn't have more recordings released

Better is impossible jane for ever❤

Formed at Montgomery College, MD out of the ashes of The Reekers. Their 1965 single on Monument 'What A Girl Can't Do' / 'The Girl Who Faded Away' is a killer slab of moody garage punk.

Leadbelly sent me here.

Schön das es diese Band noch gibt❤❤❤

Unique videos.

and everything remains insane ;) (yes i know it’s “the same” but insane is more apt for the best instrumental ending to a song ever)

Immer wieder erhebend dieses Gefühl der Siebziger Jahre zu spüren...

Cooler Song 😍

ok, im seein dates like 1995 and 2002; whats goin on here?

Heavy intro rips through the sinew. Fantastic!

So zeitlos und treffend. Auch heute! ❤❤❤

This tune is so Punk !

3:48 the East Germany's national anthem was played for the final time

Wunderbar

Song is very good as it is. But if done right, it could have been a perennial classic. Up there with classic ballads and epics from YES, Zeppelin, Queen, Sabbath, The Sweet spot is the 2nd of the 5 sections. If they'd returned to this mood and pace, the song could have been a gothic blue Heaven and Hell. 00.0 - 0:42 - 1st section: Throwing us a jittery jazz fusion knuckleball. Nervous energy. Neat. But how much of this can we take? 0:42 - 3:31 - 2nd section: Ahh. The change up. Sweet relief. And what a well-executed and seamless transition. (From section 1, just after 0:42.) Cool guitar licks in the mix that reveal themselves after repeated listens. This 3 minute chunk of stately blues rock should have dictated the rest of the song. They could veer from it. But not too far. Not for too long. And they must return to it. Rely on it. Eye on the ball fellas, c’mon. But they dropped it. And in the process benched the key to the song's greatness--the singer. 3:32 - 5:15 - 3rd Section: Veering into cool space jam funk. Keeping the steady rhythm we like from section 2. Harvey doin' his thang. But since it's 1970 his thang runs a bit long. That’s ok. Harvey solo has the flash and flare to carry the interest. Double plus creative type this one. Conclusion of solo is the critical junction missed. At 5:15 it was imperative that they transition back to the sweet gothy goodness of section 2. Or some variation thereof. And called Maggie back in to work her magic. If she’s not available get Dewer on the line. Frankie Miller. Terry Reid. Rod. Like your average festival fiend is going to notice the difference. Speaking of Dewer, why wasn’t he on here as well? Make it a duo. Maybe some medieval call and response thing. Whatevermore. At least have Dewer echoing around somewhere. U…t…T! Close the deal. U…Utilize…T…theee…T…Talent. 5:16 - 5:52 - 4th Section - Mini Bridge between 3rd and 5th section is awkward silence with barely heard symbol tapping interrupted by brash keyboard and percussive bursts. Far from cool light & shade, it's just annoying. Like the bar geezers who keep slap-back shocking you outta your gourd. Being Brits they probably think this little naughty interlude is funny. These guys had no sense of the stone-cold gem they were handeling. Mis handeling, rather. Besides, all this monkeying around with signatures disqualified the thing from ever having a chance. En masse on the radio and such. Here in the slap ‘n laugh they’re revisiting keyboard lines from earlier. I guess to act like the thing had some foreplaning and cohesion. But the keyboard line was never all that. Sounds more like the humorously melodramatic start to a flower power superhero sitcom. And shows a band perhaps more devoted to musicianship than to songcraft. Perhaps. I don't know. I haven't heard much of their stuff. I wonder why. 5:53 - 6:54 - 5th section finale: RBM: (Record Buying Masses): Rings studio doorbell. Stone Muso: "what" RBM: "Hi. I'm your ticket to ride." Stone Muso: "We don't care." RBM: "Oh dear. Say, can Maggie come out and play? Stone Muso: "Maggie? Maggie who?" RBM: "Emmm. The lady who was trying to turn that racket back there into platinum." Stone Muso: "Nah. We sent her packin’ a good while back." RBM: "Well what on Earth for?" Stone Muso: "She told us to leave her alone." RBM: "I don't believe it." Stone Muso: "C'mere. You see all those empty bottles back there in the corner? Those ain’t ours." RBM: "Ah. Shame to see that. Still, we wish you'd insisted. Kept the gal in the picture. We expected her back around a quarter past five... Stone Muso: quizzical stare RBM: hopeful, encouraging look RBM: “…I must say, the gods will not be happy." Stone Muso: "Sorry, wasn't in the cards. No dice." RBM: "Well.... Alright now. I’ve got to shoot you straight here. From the sound of it, you could use a bit of luck with the dice at this point. After all, no dice, no glory. ...So goes the story." Stone Muso: “And so it goes. But hey. We're fine. We're fine. Take it easy now." RBM: "Take it easy…(buried in the sands of time Musos)." 5:53 - 6:54 So, we’re still holding out hope for a Maggie sighting. But she’s a no show. To this day. TO THIS DAY no one’s quite certain what the boys did with her. The good news is that the band sees the song out showcasing the same flash musicianship and spontaneous verve they’ve demonstrated throughout. Final vivisection kicks off cool on the last blast of slap ‘n laugh. (Just after 5:48). Echoes of Floyd’s “Money” exit. Hot stuff. However, the song ends rather curtly. Last solo jam should have gone on a while longer and ended with a graceful fade out, rather than a dime stop. Still a well-placed and exuberant outro. The not so good news is, again, what led up to it. i.e. Not enough. Maggie was granted, what? 2 verses? 2 verses on a track where she should’ve had 4 or 5. All proggy. No led. And no leg. Makes Jill a dull girl. For the 2nd section they’d tapped into difficult to come by, and capture, authentic drama. Largely held aloft by the lady. Then they abandoned it for fluttery flickery f*ckery 'round the frets. Kickass? Hell yeah. Timeless? Nope. Not really. The whole time the boys were rockin’; the gems were in the pathos. The blue notes. She was, what they thought she was. And they let her off the hook. Leaving the bleeding heart of the thing behind. Unrefined. Which came off as blaspheme. Because they’d stumbled upon, then quickly abandoned, something truly compelling. Not the typical prog manufactured melodrama. The vocal section held real weight. They lost the weight and never gained it back. Sad. A high rev but tragic end to what might have been. As it is the song will be “a good ‘n long song”, for the few. And just a “too long a song”, for most. That is, if anyone remembers it at all. Shame that. Because with hard work and sustained focus, it contained the musical seeds and lyrical material to be envisioned as, and shaped into, an all-time prog epic. It’s the prog in the epic that grants time. Then you end up with something Great. So great it loses the qualifying “prog" and joins the ranks of the simply Classic. Or, All Time Classic. Or, Epic for All Time. Or whatever dudes who decide these things with joints in their fingers deem them worthy to be christened. In the process of it all, how did they not realize what they had going after they heard her performance? Was there no one around to shake them to their senses? Someone to realize the moment. The madness. Someone to squeeze the extra innings out of ‘em. Someone who clued to the potential at hand and didn’t give a damn how “spent” they were. “Stone fools! This is big time! Craft! Work!” refine And what the heck, it’s 1970. Could make a whole side of it. We know the Lake boys sure as hell would have. This is a damn fine song. A damn fine song gone wrong. Shame, that.