Steve Weber

The Holy Modal Rounders - Indian War Whoop (1967) {ESP 1068 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 241 Mb | MP3 @320 -> 79 Mb
Full Artwork @ 600 dpi (jpg) -> 53 Mb | 5% repair rar
© 1967, 2008 ESP Disk' | ESP 1068
Psychedelic Folk / Folk Rock / Anti Folk / Country Rock / Acid Folk

Peter Stampfel and Steve Weber obviously loved American folk music as much as any of the kids who had their head turned around by Harry Smith's Anthology of American Folk Music in the 1950s, but unlike the many musicians who paid tribute to America's musical past by trying to re-create it as closely as possible, as The Holy Modal Rounders Stampfel and Weber opted to drag the music into the present, shrieking and giggling all the way.

The Holy Modal Rounders - The Moray Eels Eat The Holy Modal Rounders (1968) {Water - water101 rel 2002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 159 Mb | MP3 @320 -> 65 Mb | Artwork | 5% repair rar
© 1968, 2002 Elektra / Water | water101
Psychedelic Folk / Folk Rock / Anti Folk / Country Folk / Freak Folk / Acid Folk

In the mid- to late '60s you couldn't get much further underground in the ever-expanding world of rock music than the Fugs – unless of course you were one of the Holy Modal Rounders, i.e. folk musicians Peter Stampfel and Steve Weber. The Rounders started out in the same early-'60s New York folk and jug scene as Ed Sanders and Tuli Kupferberg, and had crossed paths numerous times. Stampfel and Weber will be eternally remembered for "Bird Song," which was prominently featured in both the movie Easy Rider and its soundtrack.

Vibraphone innovator Gary Burton recorded a wealth of material for ECM during his 15 year tenure with the label. His anthology highlights the exceptional groups he led in the 1970s and 1980s. Burton’s quartets, quintets, and sextets introduced many remarkable players to a wider public, and these selections feature inspired performances by Pat Metheny, Mick Goodrick, Steve Swallow, Eberhard Weber, Bob Moses, Makoto Ozone and more. “We toured up to two hundred days a year,” Burton recalls. “The recordings we made were snapshots of the evolution of my working bands during this highly productive period.”