Spoon takes the framework descended upon by John Fahey and Robbie Basho and hacks it to pieces with an axe, only to re-assemble it slightly unusually leaving a strange shape in its place. This is indeed guitar-based folk music, but where other artists are keen just to mimic and perfect sounds they already have nailed, Spoon seems eager to go that little bit further as he incorporates unusual recording methods, field recordings and piano. The entire album is recorded direct to tape so you have that layer of haunting saturation which gives the guitar sound a distinct character, a murky sloshing depth of sound so often avoided on modern recordings but so pleasant to hear. It almost sounds as if ‘The Folk Blues Guitar of Wooden Spoon’ was recorded in the mid 20th Century, there’s just that very specific sound, and by that I don’t mean he’s aping a specific artist, rather he’s managed to capture an era perfectly. This should easily appeal to fans of James Blackshaw, Hush Arbors, Voice of the Seven Woods and the like, but truly Wooden Spoon should stand alone, he has a sound which should distance him easily from his contemporaries. Very beautiful and a huge recommendation.

Sweet stoner rock from member(s?) of Circle.

Some of the best ever live recordings (that's how this band should be heard) from the legendary Trad Gras & stenar (Trees Grass & Stones) recorded at the first ever Swedish out doors summer hippie festival in Sweden 1970. The sound is just amazing: a stoned lysergic wall of acid guitars jamming away and never letting up, pounding bass , furious drums and mystical howling vocals . A true landmark in psychedelic/progressive history.