This is a pretty cool site. Lot's of great artwork. The most I have seen in one spot on the web. I even found paper, I had the privilege of trying, in the eighties and nineties. See if you can find some of your favorites.
http://www.blotterart.net/
Clandestine Sound Laboratory located deep below Boulevard Avenue, Atlanta Georgia.
Something Else By The Kinks" this album is great. It's not like their earlier records. They tend to vier away from their psychedelic pop side, and steer towards a more acoustical vibe. I love it.
In vein of the Arnie Lawerence Album I put up awhile ago. Here is a great record by Pat Martino. This is an all instrumental album. Baiyina has that Miles Davis "In A Silent Way" feel about it. The major difference is the Indian instrumentation.
There is Indian percussion and droned out sitars throughout the record. With this and the mix of rock, jazz, and psychedelia you end up with a truly unique album. Not to mention the fact that Pat Martino is a freaking amazing guitar player. I highly recommend this record for those into the psychedelic jazz side. The album is very relaxing and smooth. Great for late night mellow time. Turn on your red light, or light your candles and
incense. Spin one up and enjoy this masterpiece.
ffects, tape loops or experimentation in instrument choice. One thing is for sure, you got to love Skip Bifferty's record cover. I do wonder why they called Skip Bifferty? Its not a band member's name. I do like to say it over and over. Its catchy in a weird and annoying way. Enjoy the music.

to keep things interesting. Violin, organ, flute, oboe, organ, piano just to name a few. And all this is blended into a jazzy, blues, folk, rock mind meld. So, roll one up, and kick it back to this masterpiece.
Reissue of the extremely obscure 2nd Radish label album, originally issued in 1970. "Raw, noisy, droning and completely mesmerizing album recorded by Phil Pearlman between the first Beat of the Earth album and Relatively Clean Rivers. Pearlman assembled The Electronic Hole in 1969 strictly for personal use -- to audition musicians for his new band. To do this, and to add to his own collection of demos, he used local studios in off-hours thanks to his friendship with album engineer Joe Sidore. The result is entirely different from Beat of the Earth, as it abandons a freeform improvisational approach in favor of 'compositions', including a wild cover of Frank Zappa's 'Trouble Every Day'. Pearlman plays sitar to great effect on the album, and another track has the thickest wall of fuzz guitars imaginable -- an effect he achieved by running his Fender amplifier out of a child's chord organ ('sounded great for about two weeks, then it blew up!'). Few albums have such an eclectic yet appealing sound." 