ROCKANTHOLOGY

TEN YEARS AFTER - Alvin Lee & Company (@flac)

2009-05-14T10:59:00.003+02:00

Alvin Lee & Company is an album released in 1972 by Ten Years After on their old record label Deram after they had switched to Chrysalis Records. It consists of songs that didn't make it on the older records and a few alternative versions of old songs.

Tracks:
1. "The Sounds" - 4:13
2. "Rock Your Mama" - 3:02
3. "Hold Me Tight" - 2:20
4. "Standing at the Crossroads" (Elmore James, Arthur Johnson)- 4:03
5. "Portable People" - 2:15
6. "Boogie On" - 14:31
7. "Spider in My Web" - 7:19
8. "Hear Me Calling" - 3:48
9. "I'm Going Home" - 3:37

Personnel:
* Alvin Lee - guitar, vocals
* Chick Churchill - organ
* Ric Lee - drums
* Leo Lyons - bass

LINK: http://www.megaupload.com/?d=5MZFVLP2

EAC,log,cue,flac,scans

NUCLEUS - Solar Plexus (1971) @flac

2009-05-12T21:18:00.004+02:00

Ian Carr was working on this project even before the birth of Nucleus, as this was some kind of musical grant from England's Art council and under the patronage of Keith Winter (who incidentally will toy away with a VCS3 on these recordings). But as Carr was composing on a piano, it became clear to him that only Nucleus musicians could play what he was writing. If Ian Carr had only written 5 of 18 tracks over the two first Nucleus albums, he writes all of the material here

The project was to have two totally different themes, toy/expand them and then fused them altogether in the final track. However ambitious this was (especially for the times), this is only partially successful (IMHO) but also produces some great moments. The two themes are presented in the first tracks as Elements I & II, than the first one becomes very funky jazz rock in the second track and in the fifth track and the other element is developed in track 3 (with a great bowed double bass to start of and very subtle eastern music influences to follow) and 4 (Spirit Level is close to Free Jazz but fear not, nothing as Harsh as in KC's Moonchild or Providence, as it stays relatively wise).

But both elements are to be fused into Snakehips' Dream to last for the 15 min+ with an eerie ending on the afore-mentioned VCS3. There are some lengths in the developments and some repetitions, but overall this is yet another great Nucleus recording.

Studio Album, released in 1971

Track Listings

1. Elements I & II (2:12)
2. Changing Times (4:44)
3. Bedrock Deadlock (6:52)
4. Spirit Level (9:20)
5. Torso (6:12)
6. Snakehips Dream (15:16)

Total Time: 44:36

Line-up/Musicians

- Ian Carr / trumpet, flugelhorn
- Karl Jenkins / oboe, Baritone Saxophone, E-piano, piano
- Brian Smith / Tenor Saxophone, Soprano saxophone, flute
- Chris Spedding / guitar
- Jeff Clyne / bass, contrabass
- John Marshall / drums, percussion

Guest musicians:
- Kenny Wheeler / trumpet, flugelhorn
- Harry Beckett / trumpet, flugelhorn
- Tony Roberts / Tenor saxophone, bass clarinet
- Ron Matthewson / bass
- Chris Karan / percussion
- Keith Winter / synthesizer

LINK: h!!p://www.megaupload.com/?d=LLQ4XKJY

EAC,log,cue,flac,scans

SAINT JUST - Saint Just (1973) @wv

2009-05-09T10:49:00.004+02:00

Hailing from Naples, Italy, Saint Just was initially the trio of singer Jane Sorrenti, guitarist/bassist/singer Antonio Verde, and saxophonist Robert Fix. They envisioned a much grander sound than they could create alone, and thus for their 1973 debut self-titled album, they brought in keyboardist Mario D'Amora, drummer/percussionist Antonio Esposito, and guitarist Gianni Guarracino. This lineup was evidently unstable, for by the time they recorded the La Casa Sul Lago album the following year, only Sorrenti and Verde remained, although Saint Just itself had expanded to a quintet. And even in this form, the group didn't remain on the scene long; not surprising considering the members were pulling in several different directions at once -- improvisational jazz, folk, and classical. Saint Just's two shortest numbers, the delicate "Dolci Momenti," and the folky, fairground flavored title track, wisely didn't mix and match their genres. On the rest of the album, however, the band created extended (each over six minutes long), segmented songs, which provided the space required to explore each style in turn. The epic, ten minute "Il Fiume Inondo'," for example, smoothly slips from classical into folk, then picks up speed and force spinning into improvisational jazz (with stunning work from D'Amora). There's a clean break before the band then launches into prog rock, with the electric guitars and organ now coming to the fore, before the piece returns to its classically styled opening. Each song seems to hold a single musical theme, which undergoes dramatic variations as the piece progresses, with Fix key to the improv jazz segments, and Verde and D'Amora to the classical/folk/prog sections, with Sorrenti adding another stylistic layer on top. On the highly experimental "Trieste Poeta di Corte," she even sallies forth into Yoko Ono territory. Extraordinarily deft arrangements hold the pieces together, allowing the band to sound like escapees from the Canterbury scene one minute and a top-notch jazz unit the next. However, with Fix's departure, and the arrival of a new group of musicians, Saint Just's sound would alter dramatically

Studio Album, released in 1972

Track Listings

1. Il Fiume Inondo (10:43)
2. Il riveglio (6:16)
3. Dolci Momenti (3:16)
4. Una Bambina (8:02)
5. Trister Peota di Corte (6:19)
6. Saint Just (3:58)

Total Time: 38:34
Line-up/Musicians

- Jenny Sorrenti / vocals
- Antonio Verde / classical guitar, bass
- Robert Fix / saxophone
- Mario D'Amora / piano, organ
- Tony Esposito / drums
- Gianni Guarracino / electric guitar

LINK: h!!p://www.megaupload.com/?d=H73SV3JY

EAC, log,cue,wv,scans

BRIAN AUGER OBLIVION EXPRESS - Live Oblivion Vol.1&2 (@flac)

2009-05-06T10:35:00.003+02:00

Brian Auger (born 18 July 1939, Bihar, India), is a jazz and rock keyboardist, who has specialized in playing the Hammond organ.

A jazz pianist, bandleader, session musician and Hammond B3 player, Auger has played or toured with artists such as Rod Stewart, Tony Williams, Jimi Hendrix, Sonny Boy Williamson, Led Zeppelin, Eric Burdon and others. He has incorporated jazz, early British pop, R&B, soul music and rock, and he has been nominated for a Grammy.

In 1965 Auger formed the group The Steampacket, along with Long John Baldry, Julie Driscoll, Vic Briggs and Rod Stewart. With Driscoll and the band, Trinity, he went on to record several hit singles, notably a cover version of David Ackles' "Road to Cairo" and Bob Dylan's "This Wheel's on Fire", which was featured on Dylan Covered. In 1969 Auger, Driscoll and Trinity appeared performing on the national telecast of "33⅓ Revolutions Per Monkee".

In 1970 he formed Brian Auger's Oblivion Express, shortly after abandoning the abortive "Wassenaar Arrangement" jazz-fusion commune in a small suburb of The Hague. The Oblivion Express served to cultivate several musicians, including future The Average White Band drummers Robbie McIntosh and Steve Ferrone, as well as guitarist Jim Mullen. Likewise, in 1971 he produced and appeared on Mogul Thrash's only album. Two members of that band, Roger Ball and Malcolm Duncan, would also go on to form the Average White Band.

In 1989, Auger was musical director for the thirteen-part film retrospective series "Villa Fantastica", made for German TV. A live recording of the series, Super Jam (1990), features Auger on piano, Pete York on drums, Dick Morrissey on tenor saxophone, Roy Williams on trombone, Harvey Weston on bass guitar, with singers Zoot Money and Maria Muldaur.

Auger toured with blues rocker Eric Burdon in the early 1990s, and recorded the live album Access All Areas with him in 1993. After several projects, including albums with family members, he reformed the Oblivion Express in the late 1990s, with a line-up that eventually featured both his son and daughter.

The Oblivion Express was revived with a 2005 recording and subsequent touring. The group featured Brian Auger, his son Karma Auger on drums, his daughter Savannah Auger on vocals, and Derek Frank on bass.

LINKS:
Part1
h!!p://www.megaupload.com/?d=ZB51DL0W
Part2
h!!p://www.megaupload.com/?d=D3CQKU3U

EAC,log,cue,flac,scans

GRATEFUL DEAD - Live Dead 1969 (Remaster) @flac

2009-05-03T11:36:00.003+02:00

Among the finest of rock's live documents, LIVE DEAD is a snapshot of the Grateful Dead circa 1969, applying the free-jazz lessons of John Coltrane to their finely-tuned, manic, and flowing boogie. It was the first released piece of evidence that the live Dead were a wholly different, multi-headed animal than the one that recorded in the studio. LIVE DEAD was also the culmination of the group's evolution into what'snow considered the vintage San Francisco sound--having perfected it, the Grateful Dead would soon leave it for fresher musical pastures.
While each of LIVE DEAD's selections calls to mind a specific trick from up the band's sleeve, the opening four songs (later dubbed "the holy quartet" by Deadheads) best indicates the Dead's burning trajectory. "Dark Star" lays out a wide-open musical terrain, allowing the band to leap anywhere from its minimalist-riff launching pad and its two verses of T.S. Eliot-inspired psychedelic prose. Here, it is a dark-hued and majestic sea of ambience and intensity. "St. Stephen" explodes like a shiny metallic cloud-burst, Bob Weir's fervent vocals carrying it like a holy torch. "The Eleven", a thunderous fury of a composition based on "The Twelve Days Of Christmas" and played in 11/4 time, continues the rumbling. By the time Pigpen ends the continuous sermon with a raucous sci-fi-R&B take on Bobby "Blue" Bland's "Turn On Your Lovelight", the Dead have seemingly sailed every corner of their musical universe and crash-landed with aplomb.

LINK: h!!p://www.megaupload.com/?d=KF0U4QHL

EAC,log,cue,flac,scans

RANDY CALIFORNIA - Kapt. Kopter And The (Fabulous) Twirly Birds - 1972 (,flac)

2009-04-28T23:49:00.002+02:00

First, the Jimi thing. Randy California may have influenced him, rather than vice versa. In _Jimi Hendrix Electric Gypsy_, we read about how a young California runaway played in a band with Hendrix for a little while. His name was Randy Wolfe. Since there were two Randy's in the band, Jimi called them Randy Texas and Randy California. The latter went on to form Spirit with Ed Cassidy. Shortly after Jimi's death, Randy C. turned solo, letting his guitar playing burn more than it had in the jazzier Spirit. His first solo album, "Kaptain Kopter and the Fabulous Twirly Birds", is as devout a testament to Hendrix's music as has ever been waxed.

LINK: h!!p://www.megaupload.com/?d=NAP41636

EAC,log.cue,flac,scans

LUCIFER'S FRIEND - Lucifer's Friend (1970) @flac

2009-04-28T10:13:00.003+02:00

This German hard rock machine, with British belter John Lawton, (later of Uriah Heep) gave birth to one of the best heavy rock albums of the early 70's. From the screaming vocals of "Ride In The Sky" (with its brass opening reminiscent of Zeppelin's "The Immigrant Song" and an almost "thrash metal" riff) to the progressive/hard R&B of "Toxic Shadows", to the lumbering, Sabbathish doom of "Keep Goin", this album never lets up for a second. Fans of Black Sabbath, Uriah Heep, Deep Purple and Led Zeppelin must have this in their collection! Lawton is one of the best singers in hard rock, and the musicianship of the group is tremendous. Very heavy indeed for a 1970 release.

LINK: h!!p://www.megaupload.com/?d=BDNOTVKX

EAC,log,cue,flac,scans

THE SOFT MACHINE - Jet-Propelled Photographs (@flac)

2009-04-22T15:30:00.003+02:00

The latest available CD version of a title which has been repackaged and retitled several times over the last 30 years. Recorded in London in April 1967 and produced by the legendary Giorgio Gomelsky, these nine demos feature the original Soft Machine lineup of Robert Wyatt, Kevin Ayers, Mike Ratledge, and Daevid Allen. Although not intended for release, these rough but accomplished performances show the band at their most pop- and song-oriented. Not far removed from Syd Barrett-era Pink Floyd, the jazzy chord changes, unpredictable bursts of scat singing, glib free-association lyrics, ominous buzzing organ, and Robert Wyatt's soulful rasp convey the freewheeling abandon and giddy high spirits that characterized the best early British psychedelia.

LINK: h!!p://www.megaupload.com/?d=P14JF6C0

EAC,log,cue,flac,scans

AUDIENCE - The First Audience Album (1969) @flac

2009-04-16T18:21:00.005+02:00

This London quartet recorded their debut album with the large label Polydor (Phillips), but for some reason the record got pulled from the stores soon after its release and is now a much sought-after collector’s item. The album had received a first Cd reissue with the German TRC, but for some reasons, the album was only lasting some 28 minutes. Released again nowadays, the full album is present as well as three bonus tracks, but I am not positive of the legitimacy of this release or its label. Nevertheless it is nice to hear Audience’s debut even if we are far from their next two albums, which are masterpieces of the British proto-prog scene. The lest we can say is that this album is a bit naďve (is that really a flaw) and lacks a bit musical direction (on the other hand, this…), but holds enough charm to allow its weaknesses go easily forgiven.

Audience developed a blues-derived proto-prog that had two main characteristics, guitarist Howard Werth’s voice (which can sound like VdGG and Gnidrolog’s voices) and Keith Gemmell’s many wind instruments. Tracks like the opening Banquet (this has the power of future records), the superb Heaven Was An Island (with its great percussive intro leading to a sizzling sax and wild lyrics), the dreamy Maiden’s Cry (plaintive yet riveting with its sax approaching VdGG’s Jackson), the solemn Leave It Unsaid and a first version of House On The Hill are all excellent tracks indicating the greatness of their future oeuvres.

Other tracks like Poet (cool flute), Waverley Stage Coach (too bluesy), River Boat Queen (weird, not unpleasant but highly surprising with its strings in the background), Harlequin (a bit of a filler), the forgettable and brassy Too Late etc. are slightly weaker

The three bonus tracks do not really hinder the album’s running (except for the closer that is really not of good recording quality - and its origin not explained), but do not add much in value either as they do not range in their better tracks. But in some ways they are related to the song Ebony Variations from their second albums by presenting an underlying jazz facet that surfaces now and again.

Yes this debut is hardly representative of Audience’s blistering and sizzling hard-bluesy prog of their future Friend’s Friend’s Friend and its better-known successor House On The Hill. But if you loved those two albums enough, this one will also please you because the nascent Audience sound is there, with their power musical powers waiting to be unleashed. Because of this album’s quick disappearance from the market, you will find many of the ideas getting a second chance (under different names mostly) over the following two albums, making this album sounds sometimes like a demo.

LINK: h!!p://www.megaupload.com/?d=WLMCQIC0

EAC,log,cue,ape,scans

AL KOOPER - I Stand Alone & You Never Know Who Your Friends Are (@ flac)

2009-04-13T13:40:00.004+02:00

Two landmark albums by legendary multi-instrumentalist, producer and solo artist Al Kooper. Few american musicians have pursued a more diverse or more fascinating career than Kooper. As well as playing organ on Bob Dylan's timeless 'like a rolling stone', having formed Blood Sweat & Tears and produced Lynyrd Skynyrd, Kooper has issued a dozen solo albums. 'i stand alone' (his debut lp, 1968) incorporates soul and pop, jazz and classical elements, making for a seamless and enjoyable whole. As well as covers of 'hey, western union man', 'coloured rain' and 'blue moon of kentucky', Kooper excels with classy originals 'i can love a woman' and 'right now for you'. 'you never know who your friends' are (1969) ups the ante with the brassy 'magic in my socks', the swooping, soulful 'loretta (union turnpike eulogy)', the joyous pop-rock of the title track and extraordinary covers of motown tunes 'too busy thinking about my baby' and 'i don't know why i love you'. Kooper maintains a busy touring and recording schedule to this day and, as all music guide states, he "remains a formidable performing talent, and one of the most inspired and intelligent people in rock music".

Link: h!!p://www.megaupload.com/?d=YZ2155X3

ABSTRACT TRUTH - Silver Trees & Totum (1970) @flac

2009-04-11T12:09:00.004+02:00

Abstract Truth (they shunned the prefix of "the" because they didn’t want to sound dogmatic) was the brainchild of one Kenneth Edward Henson (dubbed Ken E Henson by David Marks).

The band Abstract Truth existed only for a very short time, but it was a time of super-creativity. They exploded on to the Durban music scene early in 1969, released 2 studio albums during 1970 (as well as a compilation in the same year!) and, after numerous line-up changes, imploded in 1971.

Tracks from the lone 2 albums by short-lived fuzzy folk/jazz-tinged psych rock combo Abstract Truth -- both from 1970 and combined on a single CD! Abstract Truth managed to spin a pretty sweet and adventurous sound of trippy lyrics, peppering their base of straightforward rock underpinnings with more exotic flavors of flute and sax, hand percussion, and Eastern melodic flourishes! The tunes are a mix of freewheeling, but still catchy original tunes and adapations of established tunes.

LINK: h!!p://www.megaupload.com/?d=UXD0YMFQ

EAC, log, cue, flac, scans 600dpi

Poor is the man!!!

2009-04-11T12:04:00.002+02:00

Most of the 2009 (the rest of the year) uploads will be contributed by my dear friend Poor whose taste in music is already legendary... Thanx POOR!!!

Cuby & Blizzards - 3 Originals + 1 (Box 1) @flac

2009-04-07T12:16:00.005+02:00

Cuby & the Blizzards are a Dutch blues group that started in 1964. Right from the start they were a big hit in the Netherlands. This band is completely different from another Dutch band in the same time period, Peter & the Blizzards.

In 1967 they toured with Van Morrison (in lieu of his band Them), played with Eddie Boyd, scored a hit with Window of my Eyes and received an Edison award. That year, John Mayall stayed at their farm and the next year they regularly played with the 'king of British blues' Alexis Korner.

The line-up of the band changed regularly, but founders Harry Muskee (vocals) and Eelco Gelling (guitar) remained at the core of the band, despite regular unsuccessful attempts to form other bands. Herman Brood was the pianist shortly in 1967 (which kick-started his career) and again in 1976.

The spelling of the name varies, with 'Cuby' also written as 'QB' and the ampersand (&) also written as 'and' or '+' and the 'and sometimes left out. The spelling 'Cuby + Blizzards' was used on the first albums.

4 albums on 2 CDs

LINK: h!!p://www.megaupload.com/?d=YEBU0HPR
Tx Poor!!!

Carlos Santana & Buddy Miles Live (@flac)

2009-04-03T13:23:00.004+02:00

For those who love the tradional Santana and are acquainted with the deep-hearted rythm and blues of Buddy Miles this recording represents the combined talents and exhausting efforts of these two great artists into one exhilirating, energized hour of music. The quality of the recording is phenominal; an adventure worth downloading...

Tracks
1 Marbles - 4:18
2 Lava - 2:13
3 Evil Ways - 6:36
4 Faith Interlude - 2:12
5 Them Changes - 5:51
6 Free Form Funkafide Filth - 24:53

Link; h!!p://www.megaupload.com/?d=JE7MP6US

EAC,log,cue,flac,some scans
Thanx Poor!!!

JULIE DRISCOLL - 1969 (@ape) 1971

2009-03-29T21:54:00.003+02:00

Surely every album is a labor of love, many are love letters, but few besides Julie Driscoll's 1969 can lay claim to actually being a love affair. Back home after an exhausting series of tours with Brian Auger & the Trinity, Driscoll began composing on her own, then handed a demo of her ongoing work to her manager/producer Giorgio Gomelsky. Impressed, he played it to the eponymous leader of the Keith Tippett Group whose own debut album Gomelsky was currently producing. Tippett was entranced, and Driscoll was equally so when she saw the Tippett Group perform soon after. The pair immediately began working on Driscoll's album together, with Tippett arranging a trio of the songs, contributing piano to half the set, as well lending Driscoll the Tippett Group's brass section. It was a merry affair, also bolstered by guest appearances from Chris Spedding and Blossom Toes. But it was the electricity between Tippett and Driscoll that fired the entire set, for his presence lingers even on the songs he took no part in. The pair married the following year, and the frisson of their meeting is self-evident here as their blindingly different musical styles meld into one before our very ears.

"Walk Down" shows not the compromises made, but the new directions found, as Tippett embraces Driscoll's folky sound, his breathtaking arrangement shifting between her adulation of folk and rock and his adoration of Stax-styled R&B and free-form jazz. This is true genius at work (and the song Driscoll chose as her wedding march). That was a declaration of love, "Those That We Love" was pure passion, as Tippett's piano and celesta ever so sinuously and sensually interweave themselves around Driscoll's acoustic guitar. And "A New Awakening" was shouting their shared love to the whole world, across another brilliant Tippett arrangement. On this song, Spedding and the band rock their hearts out, while the brass blast out in big-band jazz style overhead. "Leaving It All Behind," in contrast, blends together both traditional and free-form jazz, soul-fired horns, and Driscoll's own acoustic guitar. Tippett, who played on the piece, incorporate segments of one of his own compositions from the Tippett Group's album into the piece. The quartet of numbers without Tippett all have a lovely introspective, yearning quality to them, as if Driscoll is whiling away the time until her love returns home. That feeling is particularly noticeable on the musing "Lullaby" and the caught betwixt and between in "The Choice," whose lyrical indecision will be soon overthrown by Driscoll in real life. To hear this album is to walk into this pair of lovers' private world. But one never feels like one's intruding, so eager are Driscoll and Tippett to share not just their emotions but the musical meeting of their minds.

Musicians :
Brian Belshaw Guitar (Bass), Vocals
Mark Charig Cornet
Jeff Clyne Bass
Jim Creegan Guitar, Guitar (Electric)
Elton Dean Sax (Alto)
Bob Downes Flute
Julie Driscoll Guitar (Acoustic), Arranger, Vocals
Nick Evans Trombone
Brian Godding Guitar (Electric), Vocals
Carl Jenkins Oboe
Bud Parkes Trumpet
Barry Reeves Drums
Chris Spedding Guitar (Bass), Guitar (Electric)
Keith Tippett Piano, Arranger, Celeste
Derek Wadsworth Trombone

Link: h!!p://www.megaupload.com/?d=15J3AGP3

EAC,log,cue,ape,scans

Taste - Live At The Isle Of Wight (@APE)

2009-03-25T10:37:00.005+01:00

"It is impossible to convey to anyone who never heard "Taste" on stage how such totally opposed, combative, feuding, contentious, brawling,individually brilliant young musicians could blend into such a perfect gestalt of mind and music whose power, rage, and compassion was both anguish sheer unadulterated delight. The closest we may ever come to understanding and tracing the development of this unique three headed hydra - who became for me and many others one of the greatest live rock/blues in the late 60's -e arly 70's is here in this unprecedented live classic and previously unreleased work. however, for the six tracks recorded here, demonstrate a band at the peak of its abilities. Gallagher's guitar is razor sharp, the bass and drums are interlocked in a perpetual rolling struggle, whilst Gallagher's guitar particularly on "sinner boy" is simply stunning. Get it on your cd' player and get wild with "Taste".

Track Listings
1. What's Going On?
2. Sugar Mama
3. Morning Sun
4. Sinner Boy
5. I Feel So Good
6. Catfish

LINK: h!!p://www.megaupload.com/?d=TAWBXSOB

EAC - CUE - LOG - APE - SCANS

BUDGIE - Never Turn Your Back On A Friend (@flac) 1973

2009-03-22T14:16:00.003+01:00

Originally released in 1973 on MCA, Budgie's third record, Never Turn Your Back on a Friend, was another slab of the band's signature plodding metal sound. Although they were never more than a cult band in the U.S., Budgie's popularity flourished in their native England, yet their influence was eventually felt by many notable American bands (Metallica, Soundgarden, Alice in Chains, etc.). The mammoth riffs created by guitarist Tony Bourge are definitely on par with Black Sabbath riff master Tony Iommi, while vocalist/bassist Burke Shelley's voice is a cross between Robert Plant and early Geddy Lee. Drummers came and went (this would be original member Ray Phillips' last recording), but you'd never guess there would be a defection soon, judging from the tightness and interplay displayed on this album. One of their best-known tracks, "Breadfan" (later covered by Metallica), kicks off the album with rapid, almost speed metal, while the epic "Parents" closes the album sans the heavy metal thunder (the band chooses a more mid-paced and acoustic sound). The group also became notorious for coming up with profound (yet lighthearted) song titles, such as "In the Grip of a Tyrefitter's Hand" and "You're the Biggest Thing Since Powdered Milk." Recommended to anyone who finds solace in the metal forefathers (Sabbath, Zep, Hendrix, etc.).

Tracks :
1 Breadfan 6:10
2 Baby Please Don't Go 5:30
3 You Know I'll Always Love You 2:15
4 You're the Biggest Thing Since Powdered Milk 8:50
5 In the Grip of a Tyrefitter's Hand 6:29
6 Riding My Nightmare 2:42
7 Parents 10:25

LINK: h!!p://www.megaupload.com/?d=KDPFI29S

EAC,log,cue,flac,scans

BULDOZER - Pljuni istini u oci (@flac) 1975

2009-03-20T14:01:00.003+01:00

"BULDOŽER was formed in early 1975 in Ljubljana, present Slovenia, when an avant-garde singer/songwriter Marko Brecelj joined the band SEDEM SVETLOBNIH LET ("Seven Light Years") led by guitarist and lead vocalist Boris Bele. Apart from them, the original line-up included keyboardist/composer Borut Činč, bassist Andrej Veble, lead guitarist Uroš Lovšin and drummer Štefan Jež.

They released their debut album "Pljuni istini u oci" in December 1975 to shocking reactions of the public and music business authorities due to its twisted black humor filled with sarcasm, satire and touching "sensitive" issues of drugs or pornography. They also utilized the Zappa-like stage freak-out performances and ridiculed some generally accepted morals of the so-called socialist state of Yugoslavia. The cover sleeve of this album was designed as a magazine sheet (similar to JETHRO TULL's "Thick As A Brick") filled with funny and ridiculous social vignettes and some pornographic cartoons. After the first circulation was sold out, the recording label PGP RTB refused to print more copies.

In 1976 they recorded the second album "Zabranjeno plakatirati" but due to their label's policy (the band had to modify their lyrics if they wanted to release the record) it was released only in late 1977, when they joined their hometown label Helidon. In the meantime, the rhythm section changed, so the bassist Vili Bertok and drummer Tone Dimnik participated in studio sessions. Brecelj left the band in 1979 to pursue solo career, while Bele-led BULDOZER embraced then popular punk and new wave aesthetics to gain enormous popularity across ex-Yugoslavia.

First two albums "Pljuni istini u oči" and "Zabranjeno plakatirati" are essential for avant-prog listeners who like slightly psychedelic moments with Hammond organ and "acid" guitar solos. Their lyrics and performance are quite anarchic and close to RIO movement. "Izlog jeftinih slatkiša" is a diverse collection of more accessible songs ranging from punk aggressiveness to pure psychedelic moments, while "Noč" presents a refreshed band of the 1990s that is also worth checking out. (SSF)

LINK: h!!p://www.megaupload.com/?d=6EZRHBQ5
EAC, log,cue,flac,full scans
Thanx POOR!!!

DAEVID ALLEN - Eat Me Baby I'm A Jelly Bean (@flac)

2009-03-18T11:37:00.002+01:00

"Daevid returns to his roots with this fresh bebop album on which he sings some of his favourite classic jazz standards with a powerful, grooving, eloquent and emotional quartet of master jazz musicians including Gong's Didier Malherbe and master drummer N'dugu Chancler. The playing is of the very highest standard and Daevid's new and re-written lyrics are pure alien. Just joyful throughout.

I still think Salt Peanuts could have been sung as Flying Teapot! Flying Teapot!

Read Daevid's CD booklet notes :

Daevid Allen
Eat Me Baby Booklet Notes: Daevid Allen
15th October, 1998

THANX POOR!!!

In 1955 I was sweet seventeen, living in Australia & profoundly into bebop. My heroes were Thelonius Sphere Monk, Sonny Rollins, Charlie Mingus & of course Bird, Diz & Miles. Maybe for a true black culture purist it was politically incorrect but I also enjoyed Dave Brubeck & Paul Desmond, Gerry Mulligan and Stan Kenton. And then there were also the early vocal scat singers like Roy Kraal & Jackie Cain and the outrageous Woody Herman Big Band.

One day in a Melbourne second hand records box I discovered a strange album that was to be a future psychic signpost pointing to a luminous green planet called Gong. It was a Sun Ra Cosmick Arkestra album.

Every night I drifted off to sleep to the sound of Kim Bonython's late jazz program on ABC radio & it was on one of these shows that I first heard of a singer named Bobby Troupe. His album sported arrangements for four assorted saxophones- a gorgeous thick sound -quite radical for mid fifties ears. It was not until much later that I realised he had penned the famed hit: 'Route 66'.

Bobby had also rewritten the words of the songs to suit himself, a true free spirit & worthy role model. I was particularly amused by his version of I CAN'T GET STARTED & it stayed in my mind for years. T'was only natural that, 42 years later, I should in turn rewrite his version to suit myself & include it amongst my tributes to my musical mentors.

IN 1997 I was a nifty fifty nine & passing thru a summery LA on my way to a Gong tour of Europe, Japan, USA & UK. Our US agent Shawn Ahearn had set up a gig for his Japanese jazz singer wife Sami Kaneda at Steamer's jazz cafe and she and her band (which included ex Miles Davis drummer: Ndugu Chancler & a spectacular russian classical pianist turned jazzman: Eugene Maslov) were running hot!

Spontaneously invited by Sami to sit in for a couple of songs I found an instant rapport with the band. I flashed that if ever I was to do an album singing jazz standards as a tribute to the music that had put me onto my life path, this had to be the band to do it with. So I called my friend & designer Peter Hartl in Austria & asked if he would lend me the loot to leap the first hurdle. He was sweetly cool. Go!

So two days later we met at the Stagg Street studios at Van Nuys and with a second Austrian, the renown jazz producer: Franz Putsch at the controls, magic immediately happened. By the end of the afternoon we had the whole album down.

Several vocals were finished then but others would be rewritten & thus resung. Space was allotted for Didier Malherbe's sax parts to be added at the end of the US Gong tour. The results were my delight. As I caught my plane for London I was over the bananaluna...

Two months later there was spare evening during the Gong tour for Didier's sax parts but no money to pay the studio. To my profound relief, Dr Wolf Thandoy the eminent motorologist lent us the lolly bless his parts. Didier (whose musical roots were exactly parallel to mine) was in his elemental. The final step was to add the altered lyrics & mix as I returned thru LA towards Oz. After much passionate negotiation, Jonny Greene of GAS furnished the final finance in the form of japanese yen.

Oo scooby dooby & all of a suddenly I was a goldtop yen jellybean! Voila! Ze lounge wizard was born again!

Track Listing: Total Runtime 46.17
1. So What?
2. Gold Top
3. I Can't Get Started
4. Slow Boat
5. It Ain't Necessarily So
6. My Funny Valentine
7. Au Privave
8. St Petersburg Café
9. Salt Peanuts

Musicians:
* Daevid Allen: Vocals
* Didier Malherbe: Alto Sax
* Eugene Maslov: Piano
* Ndugu Chancler: Drums
* Larry Steen: Bass

LINK: h!!p://www.megaupload.com/?d=7D89AYL7

The History Of Rock And Roll (Video)

2009-03-06T11:42:00.003+01:00

Serving as an introduction for neophytes and a refresher course for experts, The History of Rock and Roll is a mammoth and, when considered on its own terms, frequently successful undertaking. The series, which was first presented in 1995, consumes some 578 minutes, with 10 episodes (there are no bonus features) spread out over five discs. Its pedigree (executive producers include Quincy Jones, while respected writers Peter Guralnick and Greil Marcus are listed as consultants) is impressive, as is its scope, beginning in the pre-rock days of bluesman Muddy Waters and boogie woogie master Louis Jordan and continuing through the death of Kurt Cobain and the birth of the Lollapalooza festival in the mid-1990s. Along the way, dozens of big-name performers (with the notable exception of the Beatles) are on hand to lead us through the story.

Episode One: Rock `n' Roll Explodes
* With or Without You - U2
* Wild Think - Jimi Hendrix
* Money Honey - Elvis Presley
* Born to Run - Bruce Springsteen
* Billie Jean - Michael Jackson
* Shut `Em Down - Public Enemy
* I Just Want to Make Love to You - the Rolling Stones
* Got My Mojo Working - Muddy Waters
* Hey, Good Looking - Hank Williams Sr.
* That'll be the Day - Buddy Holly
* Mama, He Treats Your Daughter Mean - Ruth Brown
* Caldonia - Louis Jordon & the Tympani 5
* Shake, Rattle & Roll - Big Joe Turner
* I Got a Woman - Ray Charles
* Bo Diddley - Bo Diddley
* Blue Monday - Fats Domino
* Maybellene - Chuck Berry
* Reddy Teddy - Little Richard
* Tutti Frutti - Little Richard
* Rock Around the Clock - Bill Haley & the Comets

http://rapidshare.com/files/79112649/1-1RnR.part1.rar
http://rapidshare.com/files/79115379/1-1RnR.part2.rar
http://rapidshare.com/files/79119647/1-1RnR.part3.rar
http://rapidshare.com/files/79124106/1-1RnR.part4.rar
Pass: 2008

Episode Two: Good Rockin' Tonight
* Roll Over Beethoven - Chuck Berry
* Lucille - Little Richard
* How Much is that Doggy in the Window - Patti Page
* Hound Dog - Elvis Presley
* Don't Be Cruel - Elvis Presley
* Blue Suede Shoes - Carl Perkins
* Whole Lotta Shakin' Going On - Jerry Lee Lewis
* Oh, Boy! - Buddy Holly & the Crickets
* Bye Bye Love - the Everly Brothers
* Only the Lonely (Know How I Feel) - Roy Orbison
* At the Hop - Danny and the Juniors
* Words of Love - Buddy Holly
* Calendar Girl - Neil Sedaka
* You've Lost that Lovin' Feeling - the Righteous Brothers
* Be My Baby - The Ronettes
* Searchin' - the Coasters
* Stand By Me - Ben E. King
* The Twist - Chubby Checker

http://rapidshare.com/files/79143283/1-2RnR.part1.rar
http://rapidshare.com/files/79147901/1-2RnR.part2.rar
http://rapidshare.com/files/79153346/1-2RnR.part3.rar
http://rapidshare.com/files/79164111/1-2RnR.part4.rar
Pass: 2008

Episode Three: Britain Invades, America Fights Back
* Twist and Shout - the Beatles
* I Get Around - the Beach Boys
* The Way You Do the Things You Do - the Temptations
* Don't Let the Sun Catch You Crying - Gerry & the Pacemakers
* House of the Rising Sun - the Animals
* Needles and Pins - the Searchers
* Around and Around - the Rolling Stones
* Satisfaction - the Rolling Stones
* I'm Into Something Good - Herman's Hermits
* A World Without Love - Peter and Gordon
* You Really Got Me - the Kinks
* As Tears Go By - Marianne Faithful
* You Can't Hurry Love - the Supremes
* Do You Believe In Magic? - The Lovin' Spoonful
* Good Lovin' - the Young Rascals
* Turn! Turn! Turn! - The Byrds
* Creeque Alley - Mama and Papas
* Can't Explain - the Who
* Carrie-Anne - the Hollies
* Keep on Running - the Spencer Davis Group (featuring Steve Winwood)
* Paint It Black - the Rolling Stones

http://rapidshare.com/files/79178872/2-1RnR.part1.rar
http://rapidshare.com/files/79191528/2-1RnR.part2.rar
http://rapidshare.com/files/79205768/2-1RnR.part3.rar
http://rapidshare.com/files/79217274/2-1RnR.part4.rar
Pass: 2008

Episode Four: The Sounds of Soul
* Sweet Soul Music - Arthur Conley
* Georgia On My Mind - Ray Charles/Michael Bolton
* Papas Got a Brand New Bag - James Brown
* You Send Me - Sam Cooke
* Baby Workout - Jackie Wilson
* What'd I Say - Ray Charles
* In the Midnight Hour - Wilson Pickett
* I've Been Loving You Too Long (to Stop Now) - Otis Redding
* Dr. Feelgood - Aretha Franklin
* I Heard it Through the Grapevine - Gladys Knight & the Pips
* Love is Like a Heatwave - Martha Reeves & the Vandellas
* I Can't Help Myself - the Four Tops
* Ooo Baby Baby - the Miracles
* Come See About Me - the Supremes
* My Girl - the Temptations
* Choice of Colors - Curtis Mayfield
* Say It Loud, I'm Black & I'm Proud - James Brown
* A House is not a Home - Luther Vandross
* Ain't that Peculiar - Marvin Gaye
* I Want You Back - the Jackson 5
* For the Love of Money - O'Jays

http://rapidshare.com/files/79373194/2-2RnR.part1.rar
http://rapidshare.com/files/79383136/2-2RnR.part2.rar
http://rapidshare.com/files/79388291/2-2RnR.part3.rar
http://rapidshare.com/files/79393274/2-2RnR.part4.rar
Pass: 2008

Episode Five: Plugging In
* On the Road Again - Bob Dylan
* It's Alright Ma (I'm Only Bleeding) - Bob Dylan
* Talkin' New York - Bob Dylan
* Mojo Hand - Sam "Lightenin'" Hopkins
* I Ain't Marchin' Anymore - Phil Ochs
* Handsome Johnny - Richie Havens
* Blowin' In the Wind - Peter, Paul & Mary
* All My Trials - Joan Baez
* The Times They Are a-Changin' - Bob Dylan
* I'll Roll in My Sweet Baby's Arms - the Monroe Brothers (?)
* Maggie's Farm - Bob Dylan
* Like a Rolling Stone - Bob Dylan
* My Back Pages - Bob Dylan
* Mr. Tambourine Man - the Byrds
* California Dreamin' - the Mamas & Papas
* Surfer Girl - the Beach Boys
* God Only Knows - the Beach Boys
* Purple Haze - Jimi Hendrix
* Paint It Black - the Animals
* Ball & Chain - Janis Joplin

http://rapidshare.com/files/79358441/3-1RnR.part1.rar
http://rapidshare.com/files/79412543/3-1RnR.part2.rar
http://rapidshare.com/files/79439865/3-1RnR.part3.rar
http://rapidshare.com/files/79446293/3-1RnR.part4.rar
Pass: 2008

Episode Six: My Generation
* Somebody to Love - Jefferson Airplane
* Tell Mama - Janis Joplin
* China Cat Sunflowers - the Grateful Dead
* Foxy Lady - Jimi Hendrix
* When the Music's Over - the Doors
* Up on Cripple Creek - the Band
* Street Fighting Man - the Rolling Stones
* I Feel Free - Cream
* Baba O'Riley - the Who
* Handsome Johnny - Richie Havens
* Fixin' to Die Rag - Country Joe and the Fish
* Soul Sacrifice - Santana
* Suite: Judy Blue Eyes - Crosby, Stills & Nash
* Down By the River - Crosby, Stills, Nash & Young
* Big Yellow Taxi - Joni Mitchell
* Voodoo Chile - Jimi Hendrix
* Touch of Grey - the Grateful Dead

http://rapidshare.com/files/79685683/3-2RnR.part1.rar
http://rapidshare.com/files/79693403/3-2RnR.part2.rar
http://rapidshare.com/files/79701633/3-2RnR.part3.rar
http://rapidshare.com/files/79705921/3-2RnR.part4.rar
Pass: 2008

Episode Seven: Guitar Heroes
* Black Magic Woman - Santana
* Eruption - Van Halen
* Sultans of Swing - Dire Straits
* Won't Get Fooled Again - the Who
* Blue Moon of Kentucky - Elvis
* Hello, Mary Lou - Ricky Nelson
* Johnny B. Goode - Chuck Berry
* Texas Flood - Stevie Ray Vaughan
* Sweet Sixteen - B.B. King
* The Last Time - the Rolling Stones
* Train Keep A Rollin' - the Yardbirds
* Layla - Derek and the Dominos
* Dazed and Confused - Led Zepplin
* Sunshine of Your Love - Cream
* Voodoo Chile - Jimi Hendrix
* Sweet Child O' Mine - Guns & Roses
* Bullet the Blue Sky - U2

http://rapidshare.com/files/79785015/4-1RnR.part1.rar
http://rapidshare.com/files/79790407/4-1RnR.part2.rar
http://rapidshare.com/files/79792802/4-1RnR.part3.rar
http://rapidshare.com/files/79811702/4-1RnR.part4.rar
Pass: 2008

Episode Eight: The 70's: Have a Nice Decade
* Bennie & the Jets - Elton John
* Reeling in the Years - Steely Dan
* How Many More Times - Led Zepplin
* Paranoid - Black Sabbath
* Whipping Post - Allman Brothers
* Do That Stuff - Parliament/Funkadelic
* Get Up Stand - Bob Marley
* I Want to Take You Higher - Sly and the Family Stone
* Superstition - Stevie Wonder
* Brain Damage - Pink Floyd
* Bohemian Rhapsody - Queen
* Sweet Emotion - Aerosmith
* Rock and Roll All Night - Kiss
* School's Out - Alice Cooper
* Ziggy Stardust - David Bowie
* Fame - David Bowie
* Running on Empty - Jackson Browne
* Go Your Own Way - Fleetwood Mac
* Do You Feel Like We Do - Peter Frampton
* Y.M.C.A. - the Village People
* Refugee - Tom Petty
* Quarter to Three - Bruce Springsteen

http://rapidshare.com/files/79833775/4-2RnR.part1.rar
http://rapidshare.com/files/79838199/4-2RnR.part2.rar
http://rapidshare.com/files/79842823/4-2RnR.part3.rar
http://rapidshare.com/files/79849721/4-2RnR.part4.rar
Pass: 2008

* Episode Nine: Punk
* Anarchy in the U.K. - the Sex Pistols
* The Passenger - Iggy Pop
* Sweet Jane - the Velvet Underground
* Back in the U.S.A. - the New York Dolls
* Blank Generation - the Heartbreakers
* Rockaway Beach - the Ramones
* Psycho Killer - Talking Heads
* Gloria - Patti Smith Group
* Garageland - the Clash
* Go There Natty - U-Roy
* Alison - Elvis Costello
* God Save the Queen - the Sex Pistols
* No Fun - the Sex Pistols
* Johnny Hit and Run Pauline - X
* Radio Radio - Elvis Costello and the Attractions
* Jackson, Monk and Rowe - Elvis Costello
* London Calling - the Clash
* Message of Love - the Pretenders
* I Will Follow - U2
* Every Breath You Take - the Police
* Smells Like Teen Spirit - Nirvana
* Basket Case - Green Day

http://rapidshare.com/files/80226907/5-1RnR.part1.rar
http://rapidshare.com/files/80231718/5-1RnR.part2.rar
http://rapidshare.com/files/80236011/5-1RnR.part3.rar
http://rapidshare.com/files/80238700/5-1RnR.part4.rar
Pass: 2008

Episode Ten: Up From Underground
* Whip It - Devo
* Our Lips are Sealed - the GoGos
* Do You Really Want to Hurt Me? - Culture Club
* The Breaks - Kurtis Blow
* The Message - Grandmaster Flash and the Furious Five
* Billie Jean - Michael Jackson
* Rock Box - Run-D.M.C.
* Walk this Way - Run-D.M.C. with Aerosmith
* Fight the Power - Public Enemy
* Sabotage - Beastie Boys
* Justify My Love - Madonna
* Sweet Dreams (Are Made of This) - Eurythmics
* Money for Nothing - Dire Straits with Sting
* Give It Away - Red Hot Chili Peppers
* Express Yourself - N.W.A.
* Escape from the Killing Fields - Ice-T
* My Hometown - Bruce Springsteen
* Let's Talk About Sex - Salt 'n' Pepa
* Even Better Than the Real Thing - U2
* Long View - Green Day
* Radio Song - R.E.M. with Krs-One
* Rumblefish - the Goats

http://rapidshare.com/files/80248144/5-2RnR.part1.rar
http://rapidshare.com/files/80254570/5-2RnR.part2.rar
http://rapidshare.com/files/80261506/5-2RnR.part3.rar
http://rapidshare.com/files/80264704/5-2RnR.part4.rar
Pass: 2008

Thanx to original uploader!!!

Masters Apprentices - Choice Cuts + Toast To Panama Red (@flac)

2009-03-03T11:37:00.002+01:00

2 original classic Aussie MASTERS APPRENTICES albums on 1 CD

This album is great from start to finish. Master's Apprentices' early albums are good 60's beat, but "Choice Cuts" and "Toast to Panama Red" hold their own with any early 70's hard rock bands, bar none. Progressive, mammoth riffs, great melodies. Definitely worth listening and worth the five star rating ( A Toast To...)

LINK: h!!p://www.megaupload.com/?d=WTK4IBVC

EAC - CUE - LOG - FLAC - SCANS

Partet (@flac)

2009-02-28T14:03:00.004+01:00

bossa/jazz/blues band from Split, Croatia

Partet - a non-specified number (par --> couple, few) of people playing together (quartet, quintet, fewtet, coupletet --> Partet). A band from Split, Croatia which performs wide stylistic spectrum of music - jazz, blues, bossa nova, country. The first concert was held in the Puppet Theater in Split 26th 12. 2006. Since then the band regularly performed in various combinations. In addition to the musicians who play today, Partet has cooperated also with Nilla Axelsson - violin, Zvonimir Matić - bass guitar, a keyboard player Darko Aljinović and Sinisa Kovacic - Mr. Chemistry on the alto saxophone.

Band members:
...Jasenka Markov Anterich (vocal, flute)
Graduated her flute studies in 2003. in the class of prof. Ana Domančić - Krstulović at the Arts Academy University of Split. In 2008 completed training for the Baroque flute (traverso) at the Scuola di Musica Antica di Venezia by prof. Stefano Bet. She engaged in singing in "The Skelligs", where she also played tin whistle and flute. She is a member of jazz band SplitMinders.
...Goran Cetinich - Kocha (guitar, vocal)
He plays acoustic guitar by selflearned special fingerpicking style. Since year 2000 played with band "3C", between years 2004 & 2006 he played with band Skelligs (traditional Irish Music). He is the active member of the cult band Otprilike Ovako and has been colaborated with many other bands (Black Cat Bone, Little Pigeons Forhill Blues, Lokva...).
...Ivan Bozicevich (piano)
Composer, arranger, organist, jazz musician. After initial piano studies, joins the composition class of A. Obradović at the Belgrade Faculty of Music. Graduates in 1984, earns a Master's degree in 1989. Until 2001 occupies a teaching post for Harmony, Counterpoint and Analysis there and at the Academy of Arts in Novi Sad. Since December 2001 lives in Split, Croatia, as a free-lance artist.
...Nenad Bego (bass)
Born on May 13, 1957, in Split, Croatia. His musical education began at the age of 7, and his career as a professional musician started at the age of 17, playing the bass guitar and double bass with the groups "Delfini", "Anima Singers", "Split Quintet" and "Pro Arte".
While working at the Faculty of Electrical Engineering in the early 80s, Nenad combined his interests in the electronics and music, at that time he began working as a studio producer ("Osmi putnik"), as well as a studio musician. During the 80s he played with the bands "Tutti Frutti", "Zivi zid", "Kineski zid" and "Josko Banov orchestra"
In the end of the 80s his spiritual aspirations shifted him abroad. At that period Nenad had intensively cooperated with "Gauranga Bhajan Band", accepted the spiritual name Narasimhavapu das, and took brahmana initiation in Mayapur, India in 1992. During the war in Croatia, he founded the Vedic Center in Split. He also became a member of the Croatian Navy Orchestra, until its partial disbandance after the war.
During the second half of the 90s Nenad continued his concert activities and recorded as a member of backing bands for Tedi Spalato, Zorica Kondja, Meri Cetinic, etc. In the period after 2000, he opened his own studio, and played as backing musician for Giulliano, Marjan Ban and Lvky.
Today Nenad plays in bands "SplitMinders", "The Aliens" and “Partet”. The rest of the time he composes his own music. During his career, he took part in approximately 1000 pop-rock, jazz and classical concerts, innumerous gigs, and recorded more than 1000 minutes of published music.
...Andrej Petkovich (drums)
Drummer and percussionist. Andy started playing drums in the first half of the 1970s. While he played with the first psichodelic band in Split called "The X band", he also played gospel in a church band. In the second part of the 1970s he lived in Slovenia and played with jazz-rock bands called "Izvir", "Jutro" and "Predmestje" and was accompanying the popular Slovenian singer Neca Falk. After returning to Split he had collaborated with jazz-rock bands Savannah Expression, The Flintstones and with jazz combos SplitMinders and Black Coffee.

LINK: h!!p://www.megaupload.com/?d=NKE5BMAG

EAC - CUE - LOG - FLAC

Can you people give some feedback after listening?

Leonard Cohen - The Essential Leonard Cohen 2 CD (@flac)

2009-02-24T22:17:00.003+01:00

"This two-disc retrospective traces the Canadian bard's musical maturity from poet and novelist who sang a little to multidimensional artist whose oracular vocals and increasingly rich arrangements are every bit as compelling as his verse. Even when Cohen came to prominence through the 1960s songcraft of "Suzanne" and "Bird on a Wire," the "folksinger" tag never really fit. Later highlights ranging from the deadpan drollery of "Tower of Song" and "Everybody Knows" to the apocalyptic anthemry of "First We Take Manhattan" and "Democracy" suggest that other labels might be more appropriate: cabaret surrealist, spiritual gadfly, sensual prophet, agent provocateur. Cohen chose the selections, drawing more than half of the 31 tracks from three landmark albums--his 1967 debut Songs of Leonard Cohen, 1988's I'm Your Man, and 1992's The Future--along with four from 2001's Ten New Songs. The collection justifies its title as deep as it goes, though it's a shame that Cohen's commercial profile couldn't justify the more elaborate box set his artistry warrants (one that would at least include lyrics and musician credits). Those who sample the consistently inspired music here might come to the conclusion that everything Cohen records is essential.

Disc one
1. "Suzanne"
2. "The Stranger Song"
3. "Sisters of Mercy"
4. "Hey, That's No Way to Say Goodbye"
5. "So Long, Marianne"
6. "Bird on the Wire" (misspelled as "Bird on a Wire" on tracklist)
7. "The Partisan"
8. "Famous Blue Raincoat"
9. "Chelsea Hotel #2"
10. "Take This Longing"
11. "Who By Fire"
12. "The Guests"
13. "Hallelujah"
14. "If It Be Your Will"
15. "Night Comes On"
16. "I'm Your Man"
17. "Everybody Knows"
18. "Tower of Song"

Disc two
1. "Ain't No Cure For Love"
2. "Take This Waltz"
3. "First We Take Manhattan"
4. "Dance Me to the End of Love" (live)
5. "The Future"
6. "Democracy"
7. "Waiting for the Miracle"
8. "Closing Time"
9. "Anthem"
10. "In My Secret Life"
11. "Alexandra Leaving"
12. "A Thousand Kisses Deep"
13. "Love Itself"

LINK(s): h!!p://www.megaupload.com/?d=WMXDN2V0

Santana 3 (Legacy Edition 2006) 2CD @flac

2009-02-15T12:14:00.003+01:00

Reissued for the second time, the newly minted Santana III: Legacy Edition augments the original album with a trio of previously unreleased studio tracks, the edited single No One to Depend On, and the entirety of Santana’s performance at the Fillmore West on July 4, 1971. While it’s true that Santana III truly didn’t break new ground, which undoubtedly explains why it frequently receives less attention than Abraxus, it was a logical extension to as well as a refinement of the ensemble’s surreal blend of heady instrumental jams, soulful pop, and titillating Latin-bred percussion, all of which was tied together by the prismatic sound of Carlos Santana’s expressive, liquid crystal guitar. With the funky, rhythmic drive of Batuka providing liftoff, Santana and his ensemble immediately settled into a high-flying groove that, thanks the seamless flow of one track into the next, endured for the entirety of the 41-minute affair. Whether shifting from the sultry shimmer of Taboo into the riveting tumultuousness of Toussaint L’Overture or from the steamy, jazz-imbued sensuality of Guajira into the ecstatically writhing Jungle Strut, the songs coalesced around their churning cadences to become something greater, and taken in full, the collection invoked a primal, spiritual force that connected Heaven with Earth.

Each of the recently discovered studio jams (Gumbo, Folsom Street — One, and Banbeye) featured on Santana III: Legacy Edition serves as a reminder of the startling shamanic power that lay at Santana’s fingertips as well as the telepathic communication that fueled his band’s epic sojourns. Good as these tracks are, however, the real highlight of the collection is the cohesive concert performance that fills the set’s second disc. Although five of its 11 songs have been available for awhile — Batuka, Jungle Strut, and Gumbo appeared on the 1998 edition of Santana III, while Incident at Neshabur and a cover of Miles Davis’ In a Silent Way were featured on the 1972 compilation Fillmore: The Last Days — hearing them in their proper context is an enlightening experience. Employing the framework of his third outing as a template, Santana and his ensemble tore through the material with a vengeance, alternating furiously percolating passages with moments of quiet beauty that frequently foreshadowed the jazz-fusion-oriented path upon which the group would soon tread. In doing so, he magically carried his audience across the cosmos while giving the mighty Fillmore West a fittingly transcendent sendoff.

After the release of his fourth endeavor Caravanserai, which essentially launched a new phase of his career, the quality of Santana’s studio output declined. Always eager to explore new ground, he frequently pushed his material in array of new directions, but too often, his albums were either too spotty and inaccessible or too enamored with whatever the current trends of popular music happened to be. Although he also never failed to kiss the hand of God via his communal concert performances, his recordings almost unarguably never again came close to the capturing the raw emotion and intoxicating brilliance of his initial albums, of which Santana III is a prime example.

LINK: h!!p://www.megaupload.com/?d=3CX19WTH
810MB

EAC - CUE - LOG - FLAC (separate) - SCANS

Funny Valentine!!!

2009-02-12T14:58:00.001+01:00

Have a funny Valentine!!!

Joan Armatrading - Gold (2 CD) [REMASTERED] @flac

2009-02-12T11:19:00.002+01:00

A great overlook of Joans time at A&M Records from 1975-1983. The 43 songs on this two disc collection include a soundtrack song and studio songs that were tacked on a live album and two "new" songs that were incuded on a greatest hits album. Me, Myself, I was her most popular album, and there are 8 of the ten songs from it included here. Don't know why record companies do that. Seems that if it were her most popular album, then all the fans must already have it and would like to hear other songs. This CD is a great overview of a career in motion. The songs are in cronological order and the listener can hear the growth and change of her talent thru the years.

Highly recommended!!!

LINK: h!!p://www.megaupload.com/?d=BCFZZKIU
Filesize: 974.64 MB

EAC - CUE - FLAC (separate) - SCANS

Frank Zappa - Zoot Allures (@flac)

2009-02-10T22:33:00.003+01:00

Zoot Allures is a 1976 rock album by Frank Zappa. This was Zappa's only release on the Warner Bros. Records label. Due to a lawsuit with his former manager Herb Cohen Frank Zappa's recording contract was temporarily re-assigned from DiscReet Records to Warner Bros.

The title is a pun on the French expression "Zut alors!" which, though it has no direct translation, conveys mild surprise and may be approximated by "Damn it!" or the British use of "Blimey!"

The album was originally conceptualized as a double LP, but for unknown reasons Zappa rearranged, edited, and shortened the track listing to what was eventually released as a single LP. Zappa played a test pressing of the original album for Circus magazine in 1976, which reported a radically different, though slightly erroneous track listing that included "Sleep Dirt", "The Ocean Is the Ultimate Solution", "Filthy Habits", and "Night of the Iron Sausage". The former three tracks eventually surfaced on Sleep Dirt and the posthumous Läther; "Night of the Iron Sausage" remains unreleased, but was seemingly intended to be a guitar solo of fair length. "Wind Up Workin' in a Gas Station" and "Zoot Allures" were notably absent from test pressings.

"Black Napkins", one of several guitar-driven pieces on Zoot Allures, began life accompanied by themes that would later make up the unique piece known as "Sleep Dirt". The performance heard on the album was culled from Zappa's 1976-02-03 performance in Osaka, Japan, though it was edited for the official release. Along with "Zoot Allures" and "The Torture Never Stops", "Black Napkins" became a signature piece for Zappa, featuring heavily in nearly every subsequent tour and several official releases.

"Wonderful Wino" was originally released on Jeff Simmons' 1970 LP, Lucille Has Messed My Mind Up. The album, produced partially by Zappa (though credited as "La Marr Bruister"), also included the titular track, which later appeared on 1980's Joe's Garage.

Tracks:
1. Wind Up Workin' in a Gas Station
2. Black Napkins
3. The Torture Never Stops
4. Ms. Pinky
5. Find Her Finer
6. Friendly Little Finger
7. Wonderful Wino
8. Zoot Allures
9. Disco Boy

LINK (links): h!!p://www.megaupload.com/?d=I2R2MHA6

EAC - CUE - LOG - FLAC - SCANS

Mike Oldfield - Boxed (1976)

2009-02-08T04:56:00.003+01:00

Boxed is a compilation album written and mostly performed by Mike Oldfield, released in 1976. It features quadraphonic remixed versions of his first three albums (Tubular Bells, Hergest Ridge and Ommadawn) and some collaborations.

Oldfield later explained that instead of being true 4 channel sound, the initial quad remix of Tubular Bells, released a few months after the stereo version, was a "strange fake out-of-phase system", because it was so complex a mix without automation. The quad remix of Tubular Bells on Boxed was entirely different and true 4 channel sound (later released on SACD). The Boxed-CD version still contains the SQ-encoded quad mixes and plays as normal stereo without a quad decoder. The SQ quad remix Hergest Ridge is the only version of the album available on CD, as Oldfield disliked the original vinyl mix.

"The Sailor's Hornpipe" finale from Tubular Bells has an extended speech from Viv Stanshall, which is from the recording sessions at The Manor Studio (see Tubular Bells original ending).

Tubular Bells was re-mixed in quad by Phil Newell, assisted by Alan Perkins. Hergest Ridge was re-mixed in quad by Mike Oldfield. Ommadawn was re-mixed in quad by Mike Oldfield and Phil Newell.

CD 1
1. Tubular Bells - Part One (Mike Oldfield) 25:30
2. Tubular Bells - Part Two (Mike Oldfield except Sailor's Hornpipe [Traditional] ) 23:20
3. The Rio Grande (David Bedford) 6:34
4. Portsmouth (Featuring Leslie Penning) (Traditional, arrangement Mike Oldfield) 2:04
5. In Dulci Jubilo (Featuring Leslie Penning and William Murray) (Traditional, arrangement Mike Oldfield) 2:51

CD 2
1. Hergest Ridge - Part One (Mike Oldfield) 21:24
2. Hergest Ridge - Part Two (Mike Oldfield) 18:46
3. Extract from Star's End (Featuring David Bedford, Chris Cutler and The Royal Philharmonic Orchestra) (David Bedford) 7:33
4. Argiers (Traditional, arrangement Mike Oldfield) 3:59
5. Speak Tho' You Only Say Farewell (Featuring David Bedford) (Ray Morello, Horatio Nicholls) 2:56

CD 3
1. Ommadawn - Part One (Mike Oldfield) 20:06
2. Ommadawn - Part Two (Mike Oldfield) 17:22
3. Phaeacian Games (David Bedford) 3:59
4. First Excursion (Mike Oldfield, David Bedford) 5:57

LINK (links): h!!p://www.megaupload.com/?d=FV0OYUA0

EAC/WAV/CUE/LOG Lossless | RAR (1) 387 MB (2) 340 MB (3) 290 MB
Thanks Down Under !

Chris Goes Rock @ new address

2009-02-06T12:50:00.008+01:00

New location for one of the best blogs ever:

http://huddingehills.blogspot.com/

Chris is back!!!

Peter Hammill - Fool`s Mate (@flac)

2009-02-05T18:17:00.002+01:00

"You have to assume that when Peter Hammill sits down to write music, he has something specific in mind. But, then again, music has a way of making a number of decisions all on its own. Fool's Mate is a set of famously "orphaned" songs, written before and during the original Van der Graaf Generator days that simply did not fit the VdGG style. They are odd even beyond that because this record proves not to be a precursor to "Chameleon in the Shadow of the Night" or any other Hammill solo album, with the possible exception of the short pop song forms found on "Nadir's Big Chance".

Which means, absent even of a Rikki Nadir-like theme, Fool's Mate is really just a collection of great songs, performed with Hammill's characteristic sense of urgency and reflection. What's shocking is just how good they really are, especially considering how early we are in Hammill's career. The observations are typically simpler and more direct than much of his later work, yet sacrifice no insight or originality. Some, like "Summer Song in the Autumn" are quite simply beautiful in both sentiment and presentation. Others might now seem perhaps a bit juvenile -- "I once wrote some poems" was all depth and pain when I first heard it some 30 years ago, today it sounds somewhat affected -- but all in all the music and lyrics hold up remarkably well even when compared to the vast and uniformly remarkable corpus of Hammill's work. Compared to just about anything else, these songs will never come up short.

As for the sound quality, the remastering reveals layers of instruments and voices that weren't even accessible on the original import vinyl, at least not on my stereo at the time. Which is even further proof of the growth in arranging and performing that Hammill and the lads were experiencing during one of their most productive periods. The results are all there to hear.

LINK: h!!p://www.megaupload.com/?d=C6WTWV1M
442.87 MB

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Aguaturbia - Psychedelic Drugstore (1970) @flac

2009-02-05T09:44:00.002+01:00

"According to the Gibraltar EPR, Aguaturbia's music represents the 'psych' with wild 'wah-wah' guitar solos and great female vocals. While I agree with both the latter points absolutely, the band's stylistics has, in my view, just a little to do with real psychedelic music. It is not easy to make out the elements of it there even through a 'prism' of the album's specific title. At the Down of the Genre and Rock Music in general 'psych', along with Progressive, was one of the main musical constituents of the great Pink Floyd, as well as Clear Blue Sky and Hawkwind (apart from such real psych-makers as early Amon Duul II, Can, etc). I regard the music of Aguaturbia as one of the early manifestations of Progressive's Space Rock sub-genre: it is well known that the real Space Rock is, on the whole, quite heavy music. Not as progressive as the debut album of the Space Rock pioneers Clear Blue Sky*, Aguaturbia's "Psychedelic Drugstore" is, nevertheless, not only one of the best Space Rock albums. along with *"Out of the Blue", this is one of the most innovative and unique albums ever created within the frame of the sub-genre (to read the review on Clear Blue Sky's debut album.

LINK: h!!p://www.megaupload.com/?d=QWA8J3T9

EAC - CUE - LOG - FLAC - SCANS

Twink - Think Pink (1970) @FLAC

2009-02-05T09:39:00.002+01:00

"John Charles Alder (born 29 November 1944), better known as Twink, is an English drummer, singer and song writer who was a central figure in the English psychedelic movement, and an actor.
Alder was born in Colchester, Essex, England, into a musical family. His father's mother was a concert pianist and soloist. Alder has said he was always interested in music as a child.
Alder's career began in 1963 as a member of a rhythm and blues band from Colchester called Dane Stephens and the Deep Beats. After a year, the band changed its name to The Fairies.

The Fairies were sent gifts and Alder, having long curly hair, regularly received bottles of Twink brand home perm lotion. It was at this time that he adopted 'Twink' as his stage name.
In 1964 The Fairies recorded the single "Don't Think Twice It's Alright" for the Decca Records label. In 1965 they recorded two singles, "Don't Mind" and "Get Yourself Home", for HMV.
The band split at some date before 1967.

In 1965 Twink moved to London and lived in Chelsea. When The Fairies came to a halt, he joined a rhythm and blues/soul music band called The In-Crowd after its previous drummer had left the band. Other members were Steve Howe (guitar) and Keith West.
A few months later the band was renamed Tomorrow. The success of West's solo recording Excerpt From A Teenage Opera resulted in the band breaking up.
In Joe Boyd's book White Bicycles he cites a Tomorrow show at UFO Club and, in particular, Twink's performance, as the zenith of 60's culture.

Twink replaced Skip Allen in The Pretty Things. He recorded his first solo album, Think Pink, with The Deviants, including Mick Farren (who produced the album), Paul Rudolph who played guitar, as well as Steve Peregrin Took.

Think Pink is the 1970 debut album by English psychedelic musician Twink.

It was produced by Mick Farren and featured members of The Pretty Things, The Deviants, Steve Peregrin Took of Tyrannosaurus Rex. It was released on Sire Records in the USA. (CGR)

LINK: h!!p://www.megaupload.com/?d=8K8NH6IN

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King Crimson - Deja Vrooom (DVD)

2009-01-31T11:17:00.002+01:00

Celebrating 30 years of King Crimson, DEJA VROOOM features previously unreleased material, including re-edited concert footage from Tokyo throughout the 1990's.
Tracklist: Circular Improv - Vrooom Vrooom - Frame By Frame - Dinosaur - One Time - Red - B'Boom - Thrak - Matte Kudasai - Three of a Perfect Pair - Vrooom/Marine 475 - Sex Sleep Eat Drink Dream - Elephant Talk - Indiscipline - Talking Drum/Larks' Tongues in Aspic II - People - Walking on Air

LINKS:
part1 (700 MB)
h!!p://www.megaupload.com/?d=OQNRW0MM
part2 (700 MB)
h!!p://www.megaupload.com/?d=I4BJXVJU
part3 (700 MB)
h!!p://www.megaupload.com/?d=2PXV8CJV
part4 (700 MB)
h!!p://www.megaupload.com/?d=AYC88UBQ
part5 (700 MB)
h!!p://www.megaupload.com/?d=O542SSWS
part6 (380 MB)
h!!p://www.megaupload.com/?d=GL8676TB

Enjoy!!!

John Mayall - 4 albums (@flac)

2009-01-30T14:15:00.007+01:00

John Mayall, OBE (born 29 November 1933) is a pioneering English blues singer, songwriter, and multi-instrumentalist. His musical career spans over fifty years but the most notable episode in it occurred during the late '60s. He was the founder of John Mayall & the Bluesbreakers and has been influential in the careers of many instrumentalists, including Eric Clapton, Jack Bruce, Peter Green, John McVie, Mick Fleetwood, Mick Taylor, Don "Sugarcane" Harris, Harvey Mandel, Larry Taylor, Aynsley Dunbar, Hughie Flint, Jon Hiseman, Dick Heckstall-Smith, Andy Fraser, Johnny Almond, Jon Mark, Walter Trout, Coco Montoya, and Buddy Whittington.

Mayall's father was Murray Mayall, a guitarist and jazz music enthusiast. From an early age, he was drawn to the sounds of American blues players such as Leadbelly, Albert Ammons, Pinetop Smith, and Eddie Lang, and taught himself to play the piano, guitars, and harmonica. Mayall served three years of national service in Korea and, during a period of leave, he bought his first electric guitar. Back in Manchester he enrolled at Manchester College of Art, now part of Manchester Metropolitan University, and started playing with semi-professional bands. After graduation he obtained a job as an art designer but continued to play with local musicians. In 1963 he opted for a full time musical career and moved to London. His previous craft was put to good use in the designing of covers for many of his own albums. John Mayall married twice and has six grand-children. Mrs Maggie Mayall is an American blues performer and since the early 1980s takes an active part in the management of her husband's career. In 2005 Mayall was appointed Officer of the Order of the British Empire (OBE) in the Honours List.

Original John Mayall albums
1965: John Mayall Plays John Mayall (Decca) [live, Dec. '64]
1966: Blues Breakers with Eric Clapton (Decca) UK # 6
1967: A Hard Road (Decca) UK # 10
1967: Crusade (Decca) UK # 8
1967: The Blues Alone (Ace of Clubs) UK # 24
1968: The Diary of a Band Volume 1 (Decca) UK # 27
1968: The Diary of a Band Volume 2 (Decca) UK # 28
1968: Bare Wires (Decca) UK # 3
1968: Blues from Laurel Canyon (Decca) UK # 33
1969: The Turning Point (Polydor) UK # 11
1970: Empty Rooms (Polydor) UK # 9
1970: USA Union (Polydor) UK # 50
1971: Back to the Roots (Polydor, 2LP) UK # 31
1971: Memories (Polydor)
1971 (<-1968): John Mayall - Live In Europe (London PS 589) [a USA release of The Diary Of A Band Vol. 2]
1972: Jazz Blues Fusion (Polydor) [live, USA, Nov.-Dec. '71]
1973: Moving On (Polydor) [live, USA, July '72]
1973: Ten Years Are Gone (Polydor, 2LP/ no CD reissue) [studio + live NY'72]
1974: The Latest Edition (Polydor)
1975: New Year, New Band, New Company (ABC - One Way)
1975: Notice to Appear (ABC - One Way)
1976: Banquet in Blues (ABC - One Way)
1977: Lots of People (ABC - One Way) [live LA, Nov. '76]
1977: A Hard Core Package (ABC - One Way)
1977: Primal Solos (Decca) [live '66 and '68, UK]
1978: The Last of the British Blues (ABC - One Way) [live USA]
1979: Bottom Line (DJM)
1980: No More Interviews (DJM)
1982: Road Show Blues (DJM) (Reissue 1995 : Why Worry. 2000 : Lost and Gone. 2001 : Reaching for the blues. 2006 : Godfather of the Blues. 2007 : Big Man)
1985: Return Of The Bluesbreakers (AIM Australia) ['81 and '82]
1985: Behind the Iron Curtain (GNP Crescendo) [live Hungary](Reissue 2004:Steppin' out)
1987: Chicago Line (Entente - Island)
1988: The Power of the Blues (Entente) [live Germany '87] (Reissue 2003 : Blues Forever)
1988: (<-1971) Archives to Eighties (Polydor)
1990: A Sense of Place (Island)
1992: Cross Country Blues (One Way) ['81 and '84]
1993: Wake Up Call (Silvertone) UK # 61
1994: The 1982 Reunion Concert (One Way) [live, USA]
1995: Spinning Coin (Silvertone)
1997: Blues for the Lost Days (Silvertone)
1999: Padlock on the Blues (Eagle)
1999: Rock the Blues Tonight (Indigo) [live 2CD '70-'71, Canada]
1999: Live at the Marquee 1969 (Eagle) [live '69, London]
1999: The Masters (Eagle) [live 2CD, UK '69 +interv.]
2001: Along for The Ride (Eagle/Red Ink)
2002: Stories (Eagle/Red Ink)
2003: (<-1987-8): Blues Forever (Fuel) ['87 & '88]
2003: 70th Birthday Concert (Eagle) [live in Liverpool]
2005: Road Dogs (Eagle)
2005: Rolling with the Blues (Recall) [live '72-73 and '80+'82, various countries, 2CD +DVD interview] (Reissue 2006 The private Collection (Snapper 2CD)
2007: Live at the BBC (Decca) ['65-67 & '75]
2007: In the Palace of the King (Eagle)
2007: Live from Austin, Tx (NWRecords) [live'93]

John Mayall - Bare Wires (264.9 MB)
LINK: h!!p://www.megaupload.com/?d=SF0LA7M4

John Mayall - Empty Rooms (246.89 MB)
LINK: h!!p://www.megaupload.com/?d=I1SY8ZF4

John Mayall - The Turning Point (253.28 MB)
LINK: h!!p://www.megaupload.com/?d=M8OLIFLG

John Mayall - USA Union (260.11 MB)
LINK: h!!p://www.megaupload.com/?d=VM3W53LJ

Enjoy!!!

Colosseum - Cologne 1994 (DVD)

2009-01-27T10:40:00.002+01:00

In spite of Jon Hiseman's reluctance to reform Colosseum, in the early nineties the spate of band reissues generated new interest in the band. Whilst on tour in Germany, Hiseman was encouraged to rethink, & a debut reunion concert was arranged at the Freiburg Zelt-Musik-Festival in June 1994. Original band members Chris Farlowe (vocals), Dick Heckstall-Smith (saxes), Clem Clempson (guitars), Dave Greenslade (keyboards) were joined by Mark Clarke (vocals). This DVD features the entire second concert of that first reunion after some 23 years, & as a bonus there is a 90-minute 'Story Of' documentary.

One of the best DVDs ever made!!!

LINKS:
Part 1
h!!p://www.megaupload.com/?d=0IKSPY4R
Part 2
h!!p://www.megaupload.com/?d=X0EMY848
Part 3
h!!p://www.megaupload.com/?d=BFDQM40M
Part 4
h!!p://www.megaupload.com/?d=HKZQI2Y4
Part 5
h!!p://www.megaupload.com/?d=O5BN6307
Part 6
h!!p://www.megaupload.com/?d=A0W5ZHI8
Part 7
h!!p://www.megaupload.com/?d=X445SSBG
Scans
h!!p://www.megaupload.com/?d=C3VVE57D

Total: 4,13 GB

Rain - Rain (1972) @ape

2009-01-27T10:36:00.002+01:00

Listening to it now, Rain’s neglected sole album was just chiming with its musical times. Recorded in 1971, but straddling the decade just past, the Philadelphian quartet’s free-flowing mood swings charted a gentle path—often within the same song—from the sun-kissed psych-pop harmonies of the mid-’60s to early dalliances with the dark forces of progressive rock. The songs flawlessly fuse together co-songwriter Cobb Bussinger’s jazzy, oscillating keyboards with Mike Kennedy’s immovable electric guitar solos. Anyone searching for touchstones can hear snippets of Procol Harum, King Crimson and the Zombies (oh yeah, the Beatles feature too) throughout these liquid arrangements. Yet Rain are clearly masters over their own domain whether it’s pure pop confections like “Love Me Still” and bonus track “Springtime”, or the heavy organ atmospherics of “He Could Have Known”. Actually, this record is one of those instances when collectors of obscure vinyl are correct—this is worth seeking out. And thanks to Sunbeam Records, now you don’t even have to get covered in dust to do it.

LINK: h!!p://www.megaupload.com/?d=S9RU0PYK
240.91 MB

EAC - APE - CUE - SCANS

Mountain - Flowers Of Evil (@flac)

2009-01-25T13:00:00.003+01:00

"Counting Leslie West's July 1969 solo album, Flowers of Evil was the fourth album in 28 months for West and Felix Pappalardi's Mountain, and the pace was catching up with them: Flowers of Evil was only half of a studio album with five new songs, its second side filled up with a live 25-minute rock & roll medley and encore of Mountain's sole Top 40 hit, "Mississippi Queen." This was unmistakable evidence that Mountain had run their course. There would be live albums, compilations, and reunions over the succeeding years, but Flowers of Evil marked the creative end of a surprisingly short-lived enterprise. [Originally released in November 1971 as Windfall 5501.]

The breakup of Cream in late 1968 had consequences that rippled across the rock music world — in its wake were formed directly such bands as Blind Faith (whose tragedy was they never had a chance to actually become a band) and Ginger Baker's Air Force, as well as the rich solo careers of members Eric Clapton and Jack Bruce. And it yielded — by way of Cream associate and producer Felix Pappalardi — something of a successor band in 1969, in the form of Mountain.

The band's history all started with a Long Island-based psychedelic/garage band called the Vagrants, who'd acquired a serious local following and always seemed poised to break out, without ever actually doing so. Their lead guitarist, Leslie West, was a physically outsized figure as well as a musician extraordinaire whose playing had been completely transformed by his experience of hearing Clapton's playing in Cream. The Vagrants and West first crossed paths with Pappalardi in 1968, when he saw their potential and got them signed to Atlantic Records, where he was working as a producer. He had already made a name for himself producing Cream's Disraeli Gears album, and had played numerous background instruments on their follow-up, Wheels of Fire (and on the studio tracks that would form their Goodbye album). He did produce some of the best work that the Vagrants ever released, but none of it sold; and when West left the band in late 1968 to do a solo album, titled Mountain, Pappalardi produced it for him, as well as played keyboards and bass on the record.

The results were the most impressive of West's career up to that time, a solid, blues-based hard rock workout, showing off just how profoundly he incorporated Clapton's playing into his own style — Mountain sounded a great deal like the now-disbanded Cream, and was satisfying enough for the two to form a partnership, also called Mountain. Their first lineup was built around the one used on the album, with N.D. Smart on drums, and Steve Knight added on keyboards, while Pappalardi concentrated on playing the bass. Following a debut performance at the Fillmore West in July 1969, the group played its fourth live performance ever at Woodstock, in front of an audience of several hundred thousand, on a bill with the likes of Jimi Hendrix, the Who, the Jefferson Airplane, Janis Joplin, Creedence Clearwater Revival, and — also getting their first national exposure at the same festival — Crosby, Stills, Nash & Young. The event was an auspicious one, even though it was followed by a personnel shift, as Smart was replaced by Corky Laing, West's oldest friend.

The group was signed to the Windfall label and released their debut LP, Mountain Climbing!, in the spring of 1970, accompanied by their debut single, "Mississippi Queen," which reached number 21 in June of 1970. That chart placement doesn't begin to delineate the impact of that single, a hard rock boogie that was a killer showcase for West's guitar and an unlikely piece of Southern-fried rock & roll, coming from the pens of the Queens- and Brooklyn-born West and Pappalardi, and the Canadian-born Laing — it was as improbable as the California-born John Fogerty authoring "Born on the Bayou" or "Green River," and almost as enduring in popular culture. The single may not have reached the Top 20, but the album it was on peaked at number 17, driven by listeners drawn to the single but wanting more from the band behind it, and the high-energy mix of hard rock and blues they generated. And the debut album offered some surprises, such as the quartet's successful digression into progressive rock with "Theme from an Imaginary Western" (co-authored by Cream's Jack Bruce, which only further emphasized the indirect connections and musical debt owed the other band). The latter got lots of play on FM radio, as did "Never in My Life."

Equally important to the band's fortunes, they were able to deliver on-stage what they promised on their records — indeed, their records were a surprisingly accurate representation of their actual sound, except that Mountain was even louder live than they were in the studio. The group scored another hit at the Atlanta International Pop Festival in 1970, alongside the Allman Brothers, Cactus. and others. Mountain's second album, Nantucket Sleighride, was equally successful commercially and unveiled the title track, which would take on epic proportions in concert. Flowers of Evil followed in November of 1971, just ten months after its predecessor, and it began to clearly show the strain of the pace the band had been keeping up since July of 1969 — half of it consisted of lackluster studio originals, while the other half was a live medley and a concert version of "Mississippi Queen." Lackluster sales and reviews were inevitable, and the impression of a band running on empty was reinforced by their next release, Mountain Live (The Road Goes Ever On) (1972), which had only four cuts on it, all of them characterized by extended solos. Hardcore fans appreciated the record as an extension of their recordings, but many listeners and most critics found it lacking musical cohesion.

The group broke up soon after the release of that album, due in part to Pappalardi's concerns about his hearing, which been damaged by the high volume the band generated in concert. He returned to production, while West and Laing — staying close to their hard rock roots, as well as the orbit whence Pappalardi had come — teamed up with ex-Cream bassist Jack Bruce as West, Bruce & Laing, a hard rock power trio that cut a brief but memorable swathe of their own across the musical landscape in the early/mid-'70s. Meanwhile, a Best of Mountain LP released in the wake of the breakup helped to sustain interest in the group. And later in 1973, Mountain was back together, West and Pappalardi reactivating the band with Bob Mann on keyboards and guitar and Allan Schwartzberg on drums for a tour of Japan. This resulted in the live double LP Twin Peaks (1974), a much better representation of the group's concert sound, including a 32-minute version of "Nantucket Sleighride." During 1974, in the wake of the second live album, West, Laing, and Pappalardi revived Mountain again to record a studio LP, Avalanche. In subsequent years, West and Laing revived the group for live shows, sometimes joined by Pappalardi; West also performed with his own Leslie West Band. Sadly, Pappalardi was shot and killed by his wife in 1983. Two years later, West and Laing regrouped with Mark Clarke on bass and recorded an album before once again calling it quits. Laing served as PolyGram's A&R vice president in Canada between 1989 and 1995. In 1996, he reunited with West and Clarke for a new Mountain album, Man's World. West and Laing teamed up again in 2002 for another album as Mountain, Mystic Fire. (CGR)

LINK: h!!p://www.megaupload.com/?d=JVA549GO
263.09 MB

EAC - CUE - LOG - FLAC (separate) - SCANS

Rare Earth - In Concert (@flac)

2009-01-22T20:05:00.002+01:00

"Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the same year. After years of doing the club circuit, the group changed their name to Rare Earth and released Dreams/Answers on Verve. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.

When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.

Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.

Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.

What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.

As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits.

LINK: h!!p://www.megaupload.com/?d=3EP0CVJJ
516.89 MB

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Frank Marino & Mahogany Rush - first 3 albums (@flac)

2009-01-16T11:58:00.003+01:00

Child of the Novelty + Maxoom + Strange Universe
first 3 albums on 2 CDs

"Frank Marino (Francesco Antonio Marino), born November 20, 1954 in Montreal, is the guitarist and leader of Canadian hard rock band Mahogany Rush.

The band had its peak of popularity in the 1970s and toured extensively playing such venues as California Jam II together with bands such as Aerosmith and Heart. Marino is still active; as of 2008, recording and touring under his own name and has also been involved in blues recordings with other artists as well.

* To explain the name, Mahogany Rush, Marino says, "In fact, the mental condition (the acid trip) that became my daily life in my early teens, was due to having taken psychedelic drugs to the point of being hospitalized, and that condition produced, eventually, the name or term "mahogany rush", so in a way it was "related" to the drugs themselves. But it was more related to the mental experience. Mahogany Rush was, basically, the only way I could describe a certain aspect of that "trip" to others who couldn't understand it at the time, and still can't really do so now."
* Early on in his career, it was stated in the music press that he claimed to be the reincarnation of Jimi Hendrix, a claim stemming from Marino's playing style being similar to Hendrix'. This claim was dismissed by Marino himself as falsified information created by the press and he has continued to forge a style of his own through the 1970s up to present day. This is discussed in-depth on the MySpace page for Frank Marino & Mahagony Rush.
* Marino started to record his first album, "Maxoom", when he was only 16.
* Frank Marino has three daughters.
* When he quit music business in 1993 he supported his family by building computers. After returning to record and perform, his wife Denise took over the computer business.
* Frank Marino is Orthodox Christian.
* The Song: "Something's Coming Our Way" is about expectation of a day in which we all need to come in terms with our way of life and how we have spent our time here and the fact that we have to understand that the day of judgment that we refer to being someday in the future is in fact upon us at the moment.
* Frank Marino is the uncle of the guitarist and songwriter Danny Marino of the melodic death metal band The Agonist.

Discography:
* 1972 Maxoom
* 1974 Child of the Novelty
* 1975 Strange Universe
* 1976 Mahogany Rush IV
* 1977 World Anthem
* 1978 Live
* 1979 Tales Of The Unexpected
* 1980 What's Next
* 1981 The Power of Rock & Roll
* 1982 Juggernaut
* 1987 Full Circle
* 1988 Double Live
* 1990 From The Hip
* 1997 Dragonfly-Best of Mahogany Rush
* 2000 Eye of the Storm
* 2003 RealLIVE!

Other recordings and collections
* 1978 California jam II
* 1980 Fit for A.King
* 1988 Metal giants(Collection-Various artists)
* 1990 Guitar Speak II
* 1993 Hats off to Stevie Ray
* 1997 Bryan Lee:Live at the old absinthe house bar Friday night

About this release:
1995 release on Big Beat featuring the first three albums bythis Hendrix-influenced Canadian heavy trio, includingthe first legitimate appearance on CD of their rare & often bootlegged 1973 debut album 'Maxoom'. The other two albums are 1974's 'Child Of The Novelty' & 1975's 'Strange Universe'. 30 tracks total, all taken from the original master tapes.

LINKS:
CD 1 (356.18 MB)
h!!p://www.megaupload.com/?d=AG9VO8KJ
CD 2 (398.66 MB)
h!!p://www.megaupload.com/?d=JV54N49B
Covers (508.04 KB)
h!!p://www.megaupload.com/?d=YC7U3Y05

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The Flock - Dinosaur Swamps (1970) @flac

2009-01-14T09:56:00.003+01:00

The Flock was a Chicago-based jazz-rock band that released two records on Columbia records in 1969 (The Flock) and 1970 (Dinosaur Swamps). The Flock did not achieve the commercial success of other Columbia jazz-rock groups of the era such as Chicago and Blood Sweat & Tears, but were most notable for their inclusion of a prominent violin in their recordings. The violinist, Jerry Goodman, went on to become a member of Mahavishnu Orchestra and a solo artist.

The members at the time of their 1969 studio recording were Fred Glickstein (guitar, lead vocals), Jerry Goodman (violin), Jerry Smith (bass), Ron Karpman (drums), Rick Canoff (saxophone), Tom Webb (saxophone) and Frank Posa (trumpet).

After a highly promising first album that was further "outside," jazz/fusion-wise than either Chicago or BS&T (owing, to a great extent, to the influence of Miles Davis' Bitches Brew album, which Webb participated in, but whose performance was not recorded), Columbia Records' Clive Davis raided The Flock, stealing Goodman for the Mahavishnu Orchestra project: apparently jazz violinist Jean-Luc Ponty was guitarist-bandleader Mahavishnu John McLaughlin's first choice, but the U.S. government would not grant Ponty a work-permit visa. The effect of taking Goodman out of The Flock was predictably disastrous, the rough equivalent of pulling George Harrison out of The Beatles.

The Flock reunited briefly in 1975 for an album Inside Out, and in 2004 a CD was released of a 1973 live concert called Live in Europe, which features Michael Zydowsky on violin in place of Goodman and includes original members Fred Glickstein, Jerry Smith, and Ron Karpman.

In late 1976, Fred Glickstein & Ron Karpman recruited bassist/cellist Thom Blecka from Chicago {formerly of T.S Henry Webb Group featuring Frank Posa}-Corky Siegel w/Sam Lay- Albert King- Joe Jammer-Johnny Ross & The Babysitters- & others) and formed a power trio that chose the title of: "FLOCK 3". The new outfit featured a handful of older, established Flock compositions, but yet emphasized new material, co-written by Glickstein & Karpman with some arrangement contributions by Blecka. The new hornless, violin-free, rock-oriented/ fusion trio `tore up` a few local gigs- opening for Cheap Trick, The Cryan' Shames-and standing on their own, occasionally joined onstage by original Flock alumnus T. S. Henry Webb (sax/vocal) and also friends: Dennis Tiger (blues harp/vocal)& Jeff Gates (keyboards). Unfortunately, the band's live performances were never captured on tape and any attempts at studio recording fell by the wayside due to personal issues amongst the band.

Years later, another lineup named Flock was formed, featuring at least two former original members, with expanded horn section and arrangements under the direction of T. S. Henry Webb. They recorded 4 singles for a label called Destination ("can't you see", "are you the kind," "sunshine and lollipops", plus a fourth title). None appear on an album. However, Webb's 18-piece band Obvious Necessity has recorded two CDs, "Wee Willie's Whizzer" (1995) and "Number Two: Signal Flow" (1997).

LINK: h!!p://www.megaupload.com/?d=ND0FR1T8
230.47 MB

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The Collectors - Same (1968) @flac

2009-01-11T20:01:00.004+01:00

"Originally formed in 1964 as the Classics (adopting the name CFUN Classics when they gigged to promote local Vancouver, BC radio station CFUN-AM), the group were featured as the house band on Let's Go, a weekly TV show. In 1965, they released two singles as the Canadian Classics -- "Til I Met You" (Jaguar 2002A) and "I Don't Know" (Valiant 723). The band reinvented themselves as the Collectors in 1966. With former horn player Howie Vickers handling lead vocals, they cut "Eyes" and "Don't Feel Bad" -- both of which later appeared on the History of Vancouver Rock and Roll, Volume 4 (VRCA 004; 1991.) "Eyes" -- a fine folk tune seasoned with tasty guitar and just a dash of psychedelia -- is easily the better track. "Don't Feel Bad" has a vague "On Broadway" feel. More elaborately produced, it also seems a less genuine effort. By 1967, in addition to lead singer Howie Vickers, the Collectors included Claire Lawrence (tenor sax, organ, recorder, flute), Bill Henderson (lead guitar), Glenn Miller (bass) and Ross Turney (drums) -- the band's "classic" line-up. Recordings from this period include the Vancouver smash hit "Lookin' at a Baby" (New Syndrome 16, 1967, subsequently reissued on the History of Vancouver Rock, Volume 3 VRCA 001, 1983) and two other 45s, "Fisherwoman" and "Fat Bird." "Lookin' at a Baby" is MOR flute-pop floating amidst heady clouds of psychedelia. Vickers' departure from the Collectors in 1969 necessitated Henderson's promotion to lead vocalist. Eventually, the band rechristened themselves Chilliwack.

LINK: h!!p://www.megaupload.com/?d=CX11BOV1
242.33 MB

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Great psychedelic album - Do not miss it!!!

The Aynsley Dunbar Retaliation - First Two Albums (@flac)

2009-01-08T10:15:00.003+01:00

The Aynsley Dunbar Retaliation + Doctor Dunbar's Prescription

"This CD is great and the digital remix is even better. Aynsley Dunbar is one of the greatest drummers of our time and this was his first effort to do his own thing. The AD Retaliation band was huge and had/has a world wide fan base. Aynsley was eventually recruited out of this band by Frank Zappa to become one of the Mothers and complete another successful chapter in his career. He went on to record with the biggest names in the busines including Lou Reed, Journey, Jefferson Starship, Whitesnake, and many, many others.

LINK: h!!p://www.megaupload.com/?d=PJ7U4SSF
447.26 MB

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Paul Rodgers And Company - The Hendrix Set (Live) @flac

2009-01-05T12:31:00.002+01:00

On July 4, 1993, Paul Rodgers, the voice of Bad Company, Free, the Firm and the Law, assembled a first-rate band in Miami, Fl to play for Independence Day festivities. On this occasion, his guitarist was Neal Schon, former Santana protege and driving force behind Journey. Among the tunes they played that eve was a fabulous, hard-driving set composed by ultimate guitar man Jimi Hendrix. Starting with all-time fave "Purple Haze," Rodgers and co. rocked their way through twenty five minutes of pure magic. Schon wails away as if Jimi himself were playing the strings, while Rodgers, that master of understated passion, gives fresh vocal nuances to "Little Wing", finds the playfulness in "Foxy Lady," and grafts a couple of verses of Cream's "I Feel Free" onto "Stone Free". The combination fits like the proverbial glove! One last reminder: This set is an EP, not an LP, and as such is only about 25 minutes long, rather than the customary 50-60 minutes or more. However, Rodgers and Schon give more value to the music on this EP than most artists give to "full length" CDs.

LINK: h!!p://www.megaupload.com/?d=DZNVU3ZK
178MB

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Stray Dog - same (1973) @flac

2009-01-03T09:23:00.003+01:00

"Stray Dog was a heavy blues-based hard rock band of the early seventies. Their early sound could be described as crunching blues rock typical of the time and place, but was very original and distinct through Snuffy Walden's unique guitar playing. They recorded three albums throughout their career before disbanding around 1975 due to a "combination of drugs, alcohol, and immaturity."

They originally formed in Texas but relocated to London in hopes of making it, since there were many blues rock groups coming out of England at that time. While there, they met Emerson, Lake and Palmer bassist/singer/guitar player Greg Lake, who subsequently signed them to the ELP label Manticore Records and produced their first two albums. Their first album, Fasten Your Seat Belts includes contributions by John "Rabbit" Bundrick and Mel Collins

LINK: h!!p://www.megaupload.com/?d=ME4KFHGW
433MB

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The Nice - Here Come The Nice, The Immediate Anthology /3 CD Set/ (@wav)

2009-01-01T19:33:00.004+01:00

"The rarities included in this box set overcome the one or two shortcomings.

PROS:
1. The Sampler for the Thoughts of Emerlist Davjack LP is an extremely rare radio promo for the great 1967 first album.

2. America : I) America/II) Second Amendment [Live Newcastle '68] is a rare live track that contains Davy O'List who is obviously on something here as he barely gets through the beggining of the number and is out of sync with the rest of the band, no wonder he was fired soon after this live recording.

3. Pathetique Symphony 4th [Live Fairfields Hall '69]- They had already released the Pathetique Symphony movement 3, this is the rarely performed movement 4 with Lee Jacksons eerie narration.

CONS:
1. single 4 minute version of the Brandenburger is right after the long version of ARS LONGA Vita Brevis(brandenburger suite) which is a little redundant, they should of placed it on the 3rd rarities disc.

2. Between Rondo "69" & She Belongs to Me (Live at Fillmore East, New York)there is an awful edit not heard on the original record "everything as nice as mother makes it" Keith originally says "this is a song by Bob Dylan call She Belongs to me" here he says "this is a song by Bo.......then the song starts abruptly,a bad edit of a classic live show from the Fillmore.

On a positive note, IF you get this, Five Bridges and Elegy, you'll have a complete Nice collection.

LINK: (links) h!!p://www.megaupload.com/?d=SKWS2OJQ

Happy New Year from Treci Svijet pub!!!

2009-01-01T01:51:00.001+01:00

Canned Heat - Christmas Album (@flac)

2008-12-23T17:08:00.003+01:00

Merry Christmas & happy New Year people!!!
C U next year (short leave)...

"What would Christmas mean to me?
without some Heated up boogie!

Santa jumps and parties hardy
so have a boogiefied yuletide party!

And deck the halls with something blue
cause that's the way to make it through.

LINK: h!!p://www.megaupload.com/?d=B3XQ7VVR

The Jethro Tull Christmas Album (@flac)

2008-12-21T17:23:00.004+01:00

The holidays have gotten even brighter with Jethro Tull's marvelous offering for this time of year, "The Jethro Tull Christmas Album." Ian Anderson & company serve up a hearty yuletide blend of new Tull Christmas originals, including the terrific "Birthday Card At Christmas," "Last Man At The Party," and "First Snow On Brooklyn," as well as new re-recordings of old holiday-themed Tull favorites like "A Christmas Song," "Another Christmas Song," "Ring Out Solstice Bells," and the signature Tull tune, "Bouree." Along with that classic instrumental, the band give us some more wonderful instrumental tracks, like the brilliant jazz take on "God Rest Ye Merry Gentlemen," "Pavane," "Greensleeved," and the beautiful closer, "A Winter Snowscape." The band play brilliantly, and Anderson's voice and flute are still in pristine form. "The Jethro Tull Christmas Album" is a magnificent gift from one of rock's most enduring acts.

Happy holidays from Jethro Tull!

LINK: h!!p://www.megaupload.com/?d=8LD8JQ4H

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Emerson, Lake & Palmer - Live At The Isle Of Wight Festival 1970 (@flac)

2008-12-21T12:59:00.002+01:00

The Isle of Wight Festival of 1970 has enjoyed a bit of resurgence lately thanks to the video release of a movie of the festival, with a soundtrack, plus individual performance releases by the Who, Jimi Hendrix, the Doors and Emerson, Lake and Palmer. For ELP, this disasterous event -- the European Woodstock -- was a watershed of sorts because it was only their second gig, and amidst all the chaos and gatecrashing ruckus, their appearance was considered top-notch.

If anything, the Isle of Wight Festival clearly signaled an end of the 60's. It would be the last time the world would see Jimi Hendrix or Jim Morrison, both icons of a blossoming period abruptly shut down by the drama of Altamont. Bands like ELP and Jethro Tull would be part of a new wave -- more progressive, less in touch with the earth and man, world issues, and much more immersed in the surreal, tranquil, cosmics and bizarre. The Message of Love was now the Message of ME -- flagrantly displayed in the Isle of Wight movie that seems to center on an unruly crowd of thousands who want to get into the show, but don't want to pay the admission, and the promoters dealing with it. During all the madness, one has to wonder how in the hell half a million people made it to this tiny island off the south coast of England in the first place.

For their performance, ELP's brand of outrageousness seemed to shake the crowd out of their foul mood much more effectively than that of a whining Joni Mitchell, a frightened Kris Kristofferson or a Tiny Tim. From the potency of the instrumental "The Barbarian" (also the debut album opener, still unreleased at the time of this show) to the pacifying melody of "Take a Pebble," ELP seemed to stir up the masses. Then they launched into "Pictures At A Exhibition," the Mussorsky-composed opus that demonstrates how rock could embrace classical music, and sound bigger than the largest of orchestras. The piece climaxes with the blast of two stage-side cannons capping off the building tension hovering over the entire event.

Then it was on to more instrumentals with "Rondo" and "Nutrocker." For years to come, Keith Emerson would establish a routine of letting loose during "Rondo" by assailing his beloved Hammond organ, stabbing and riding it like a bucking bronco. If no one can remember anything about ELP, they can surely say they were one of the most theatrical bands over the course of the three-day show. "Nutrocker" is actually a lift from Kim Fowley, who borrowed the licks from "The Nutcracker Suite," another classical piece, and a favorite musical come Christmas time.

Overall, this CD exhibits an incredible amount of energy coming from the then newly-formed band. On listening to more recent live recordings of ELP, one can tell that in 1970, they were hungrier, hot shots ready to show how talented, inventive and astonishing they could be. For 8 more years, they proved just that.

The CD finishes up with comments from Emerson, Lake and Palmer themselves. Whereas some of the acts who appeared at the Isle of Wight might sooner put it behind them or not even live to tell about it, ELP recalls the event as a monumemtal moment in the history of the band. Over 25 years later, they are able to look back at the whole spectacle with a sincere fondness, and perhaps a bit of off-handed amusement as well.

LINK: h!!p://www.megaupload.com/?d=IM15I2K8
731MB

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Grace Slick and the Great Society - Collectors Item (@flac)

2008-12-20T08:22:00.004+01:00

The Great Society was a 1960s San Francisco rock band in the burgeoning Haight Ashbury folk-psychedelic style pervasive during the time of its existence, 1965 to 1966. The band was also known as "The Great! Society." Remembered as the original group of model turned singer Grace Slick, the initial line-up of the band also featured her then-husband Jerry Slick on drums, his brother Darby Slick on guitar, David Minor on vocals and guitar, Bard DuPont on bass, and Peter Vandergelder on saxophone. Minor and DuPont would not remain with the band for the duration.

In the late summer of 1965, after seeing a new band called Jefferson Airplane at The Matrix club, Grace and Jerry decided to start their own group, assembling it fairly quickly. The band made its debut at the Coffee Gallery in San Francisco's North Beach section on October 15, 1965, and continued to perform throughout 1966.

The band released only one single during its lifetime in 1966, "Somebody to Love" (originally titled "Someone to Love"), written by Darby, backed with "Free Advice." Issued on Autumn Records' tiny North Beach subsidiary label, the single made little impact outside of the Bay Area, but the association with Autumn did lead the band to working with staff producer Sylvester Stewart, still in the process of forming his own band, Sly and the Family Stone. Purportedly, Stewart would eventually walk out as the band's producer during a demo session after it took Great Society over 50 takes just to get one song right.

Momentum for the band began to build as they started opening for Jefferson Airplane and other successful local bands, with Columbia Records offering the Great Society a recording contract. By the time the contract arrived in the mail, however, Grace had been spirited away to replace departing vocalist Signe Toly Anderson in the Airplane, taking "Somebody to Love" and her own composition "White Rabbit," one of Great Society's live showcases, with her. As both the visual and musical focal point, the band could not survive without its lead singer, and disbanded in the fall of 1966. Grace and Jerry would divorce as well.

Columbia would eventually release tapes of live performances by Great Society as two separate albums in 1968 after Grace found fame, repackaging both as a double LP in 1971. In 1995, Sundazed issued a compilation disc featuring the band's lone single amidst unreleased studio session material.

Notably, "The Great Society" was a popular name for musical groups in the 1960s, due to the popularity of the term as used by the Lyndon Johnson administration in Washington, D.C. One so-named four-man group, based in Dallas, Texas, consisted of two British and two American musicians. The group lasted three years, toured extensively in the United States and Canada, then disbanded in 1969. On one occasion, in Ft. Worth, Texas, The Great Society (with Grace Slick) and the British/American version performed on opposite sides of the city on the same evening.

The two American members of that group were Steve Holder (bass) and Preston Thomas (percussion). The British members were Ronnie Deangele (rhythm guitar) and Richard Thomas (lead guitar). All four are successful in other fields today.

LINK: h!!p://www.megaupload.com/?d=K4KGLXI0

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Black Widow - The Ultimate Sacrifice: One (@flac)

2008-12-19T08:29:00.003+01:00

"Black Widow may have enjoyed a reasonably long and defiantly varied career. But to anyone who cares, they will be remembered for just one song, "Come to the Sabbat" -- not a hit single, but a standout on a cheapo label compilation in the early '70s, and destined to live on for decades after the band. Naturally, the accompanying Sacrifice album has bounced along in its wake, first as an increasingly expensive vinyl collectors' item, more recently as a regular on the CD reissue circuit, and here it comes again, this time bearing more primal Black Widow than you could ever have dreamed of hearing. Ultimate Sacrifice: One opens, naturally, with the original seven-song album. More fascinating, however, is the chance to hear five of the seven ("Way to Power" and "Attack of the Demon" are absent) in their original demo form, where they are revealed, if anything, to be even more dramatic than on the final vinyl. "In Ancient Days" in particular profits from the looseness of the performance, while "Come to the Sabbat" packs a feel of abandonment that makes the familiar version seem quite sedate. Of course, the bonus tracks are really only of interest if you truly worship the original record, and, once past "Come to the Sabbat," there probably aren't many people who feel that strongly. But the liners tell the band's tale well, the remastering is impressive, and if you're not doing anything next weekend, you might well want to drop by Black Widow's house. They've got somebody visiting, you know.
[In 2004, Castle reissued Sacrifice on CD with five bonus tracks, retitling it Ultimate Sacrifice: One.]

LINK: h!!p://www.megaupload.com/?d=0D147USG

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Quintessence - Dive Deep (@flac)

2008-12-18T11:37:00.003+01:00

Lead by Australian-born violinist and flutist Rothfield (AKA Raja Ram), keyboardist Phil Jones (Shiva Shankar) and Shambu Babaji on bass, this North-London group had very strong spiritual Indian classical music influences. Their first two albums, In Blissfull Company and their eponymous second album (they had much success riding on the popular sudden passion provoked by the BEATLES) are filled with Indian Sacred Chants and Psalms, but also much more accessible jazz-filled rock tracks full of delightful moments. Their third album Dive Deep was less spiritually oriented and contained more jazz-influenced improvisations with longer intrumental interplay tracks. After the partially live album Self some key members left to form the similar KALA, and QUINTESSENCE released on last album that was simply not quintessential anymore.

At their top , QUINTESSENCE was a magnificient group playing some superb Indian-laced psychadelic rock and are fondly remembered by all etnic fusion music afficianados and old hippies around the world.

LINKS:
h!!p://www.megaupload.com/?d=ZBK81JTD

Jeff Simmons - Lucille Has Messed My Mind Up (@flac)

2008-12-18T11:29:00.003+01:00

"Jeff Simmons is a Rock musician and former member of Frank Zappa's Mothers of Invention. Simmons provided bass, guitar, and/or vocal for the group between 1970 and 1971. He left The Mothers just prior to the filming of 200 Motels in mid 1971. Jeff later returned to the group for a time during 1972 and 1973. Zappa and Mothers albums he appeared on include Chunga's Revenge (1970), Waka/Jawaka (1972), Roxy & Elsewhere (1974).

Years later Zappa released a number of archival recordings that feature Jeff including You Can't Do That on Stage Anymore, Vol. 1 (1988), You Can't Do That on Stage Anymore, Vol. 6 (1992), and Playground Psychotics (1992). Jeff also appears in the Zappa movie The True Story Of Frank Zappa's 200 Motels (1989). Numerous Zappa bootleg recordings from this era also feature Simmons.

Jeff's music career began in Seattle, Washington. In 1967 he became a member of the group 'Ethiopia' which soon changed its name to 'Easy Chair'. They recorded a 1 sided, 3 song album and achieved local recognition. Easy Chair was then booked as the opening act for an August 1968 concert by The Mothers of Invention at the Seattle Center Arena (renamed in 1995 to Mercer Arena.) During the soundcheck Easy Chair was discovered by Zappa, who recognized that the group's musical and lyrical aesthetic was compatible with his own. Only about 1000 copies of locally produced Easy Chair record were pressed. It is now a highly valued collectible.

Easy Chair went to Los Angeles and appeared at more Zappa live performances. They also auditioned for Zappa's Bizarre and Straight record labels, but after unexpected delays the group broke up before any recordings were released.

Simmons stayed in Los Angeles and completed two solo albums for Straight. He co-composed the soundtrack for the biker film Naked Angels (1969). His second album Lucille Has Messed My Mind Up (1969), featured Zappa as producer. Zappa wrote two songs and played lead guitar under the pseudonym La Marr Bruister. The engineer was Chris Huston, who also worked on Led Zeppelin II at about the same time. Lucile was voted the 2nd best album on Straight Records by Mojo Magazine. Both albums were re-issued on CD in 2007 by World In Sound Records.

Simmons is one of only a handful of musicians to share a songwriting credit with Zappa. Their co-laboration Wonderful Wino appears on Lucille Has Messed My Mind Up and on Zappa's 1976 album Zoot Allures. The title song of the album Lucille Has Messed My Mind Up was also re-recorded in a completely different arrangement on Zappa's 1979 album Joe's Garage. During a 1982 guest DJ spot on UK's BBC Radio 1 Zappa played some of his favorite songs including Simmons' I'm In The Music Business.

Jeff continued to play music with various groups in the Seattle area during the 1980s. He appeared in the 1988 movie Rock and Roll Mobster Girls which was produced on video tape in Seattle during the very early stages of the Grunge music scene. Jeff Simmons' most recent work is Blue Universe (2004).

The stuff of interest to Zappa fans are:
1. Includes the songs "Lucille has messed my mind up" and "Wonderful Wino", both of which are good versions.
2. Frank plays guitar on "Lucille" and "Raye."
3. It's produced by FZ
4. Ian Underwood is on it.

jeff simmons: keyboards, bass, vocals
frank zappa: lead guitar on 5, 6
craig tarwater: guitar
ian underwood: saxophones
ron woods: drums, percussion
john kehlior: drums on 5, 6
[produced by "lamarr bruister" (frank zappa) and chris huston]

Lucille Has Messed My Mind Up:
01. appian way (j.simmons)
02. zondo zondo (j.simmons)
03. madame du barry (j.simmons)
04. i'm in the music business (j.simmons)
05. lucille has messed my mind up (lamarr bruister (f.zappa))
06. raye (j.simmons)
07. wonderful wino (lamarr bruister (f.zappa), j.simmons)
08. tigres (j.simmons)
09. aqueous humore (j.simmons)
10. conversations with a recluse (j.simmons)

LINK:
h!!p://www.megaupload.com/?d=0N041SK7
207MB

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YU grupa - First two albums (@flac)

2008-12-16T13:16:00.003+01:00

Bio
"YU grupa was formed in the autumn of 1970 by brothers Dragi and Žika Jelic(guitar and bass guitar), Miodrag Okrugic (organ) and Velibor Bogdanovic (drums). In the beginning the band performed under the name Idejni Posed ("Notional Property"), given by Kornelije Kovac. In November 1970 on their concert in Sinagoga club in Zemun, disc jockey Zoran Modli asked the audience to pik a name for the band. An unknown young man suggested the name YU grupa. Consistening the name, the band continued to hold birthday concerts on November 29, the date of Federal People's Republic of Yugoslavia declaration.
Their first song, "Nona", was recorded at the end of December. The song was inspired by folk music of Kosovo, and recording it YU grupa became one of the pioneers of "Balkan rock" sound. Their first concert was organised by Nikola Karaklajic and Petar Popovic, editors of the Radio Belgrade show Vece uz radio. The concert was held in Dadov theatre on January 21 1971. During the year they held a great number of concerts, mostly in Serbia. They recorded fourteen songs for the needs of Radio Belgrade, part of those songs later released on their vinyl singles. All the copies of their first single "Nona" were sold right after the release, but PGP RTB refused to release new number of copies, so Jugoton became YU grupa's record label. The band performed at the Belgrade spring festival with the song "Tajna", also performed by Zdenka Kovacicek. Songs "Drveni most", "Mali medved" and "Devojka Džoj" were hits on all of their concerts. Okrugic's song "Opus 1" was very significant, but it was not released on any YU grupa album.

The band spent the summer performing at the prestigious club Lanterna in Rovinj. Those concerts brought first conflicts inside the band. After they returned to Belgrade Okrugic left the band. Guitarist Miodrag "Bata" Kostić joined the band. He was previously involved in the band's activity: he wrote some of the songs the band performed. Dragi Jelić and Kostic made an effective guitar duo, and Kostic continued to write folk-inspired hits. In March 1972 the band went on Bulgarian tour, during which they held forty concerts. Thanks to the Vece uz radio show, which had a cult status in Bulgaria, audience knew all of their songs. The others were shocked by their appearance. After they returned to Yugoslavia, they performed at the rock evening of Belgrade spring festival, performing at Dom Sindikata Hall with Korni Grupa, Time and Mladi Levi.
They spent the summer playing in Rovinj's Lanterna. Concerts in Rovinj were crucial once again. After returning to Belgrade Kostic and Bogdanovic left the band. Kostic joined Jutro, and Bogdanovic formed Opus. YU grupa continued as a trio, with Ratislav "Raša" Djelmaš, a former Mobi Dik, Pop Mašina and Siluete member as the new drummer. They spent the next year playing all across Yugoslavia, winning new audience in Slovenia and Croatia. At the time, a keyboard player Tihomir "Pop" Asanovic was invited to become a new member, but he joined Novi Fosili instead. In February 1973 YU grupa went to London to purchase new equipment, and the CBS Records producers, who had an opportunity to hear their recordings earlier, organised their concert in The Marquee. Thanks to the concert the band got the term at a studio, recorded demos, and a serios cooperation with CBS records was planned. The band returned to Yugoslavia to hold a concert at Hala sportova, and holding a high position on Yugoslav rock scene, the band blenched the career in England. In the summer their debut self-titled album YU grupa was released. The album brought numerous hits: blues-oriented "More", "Trka", Cudna šuma", and their cult ballad "Crni leptir". In November Kostic returned to the band.

At the beginning of 1974 YU grupa took part on the recording of Srdjan Marjanovic's debut LP Srdjan Marjanovic i prijatelji, and later released their second studio album Kako to da svaki dan? ("How Come Every Day...?"). The album was musically more diverse, but it did not consist from the numerous hits as the previous one. At the end of the year Dragi Jelic went to the army, and until he returned YU grupa performed as trio. In 1975 best Yugoslav guitarists took part in Kongres rock majstora ("Congress of rock masters") concert. Kostic, Žika Jelic and Djelmaš performed with Vedran Božic, Josip Bocek and Goran Bregovic, and the double album Kongres rock majstora was released.
Dragi returned in June 1975, and Kostic left the band conventionally. The band negotiated with a keyboard player Oliver Mandic, but the cooperation was not agreed. At the beginning of 1976, they released YU grupa III, featuring hits "Oprosti ljubavi", "Novi zvuk" and "Ja moram dalje". In September 1976 a compilation album YU zlato ("YU gold"), which featured their single songs, was released. The same year, Djelmaš left the band and formed Zebra. Dragan Micic replaced Djelmaš, and at the end of 1976 guitarist Nedžat Maculja joined the band. In 1977 they went on the Soviet Union tour, during which they held sixty-four concerts. The same year they released their fourth studio album Medju zvezdama ("Among the Stars"). Album featured Bata Kostic as a guest musician. In 1978 YU grupa performed at the pop oriented festival in Opatija, and their song "Spali svoja secanja" was released on the festival album Opatija 78. At the end 1978 Kostic once again became the member of the band, and a former Mama Co Co and Ribeli member Dragoljub Djuricic (drums) and a former Zdravo member Dragan Jankovic (keyboard) joined YU grupa. This lineup held another Soviet Union tour.
The next album Samo napred... ("Ride on..."), released in 1979, featured hits "Identitet, "Udaj se dobro", "Ideš mi na nerve", "Autobus za raj". Album featured Laza Ristovski, Bebi Dol and Sladjana Miloševic as guest musicians. At the time of New Wave expansion YU grupa's popularity began to decrease. At the end of 1981 their van with a part of the equipement burned down, and Žika Jelic was injured. After this incident YU grupa disbaned. The Jelic brothers started organising concerts, Djuricic became a member of Leb i Sol and Midorag Kostic became a Radio Belgrade editor.
Late 1980s and 1990s
At the end of the 1980s Bijelo Dugme made enormous success with their folk-oriented songs, and the band leader Goran Bregovic suggested the Jelic brothers, the pioneers of Yugoslav folk-rock sound, to reunite YU grupa. Although they occasionally performed during the 1980s, YU grupa officialy reunited in 1987. They released their comeback album Od zlata jabuka ("Golden Apple"), with the tittle track inspired by folk music as the main hit. Album featured keyboard player Saša Lokner as a guest musician. YU grupa performed at the Rock legends concert, alongside Indexi, Drago Mlinarec, Korni Grupa, Time and Radomir Mihajlovic Tocak. Live versions of YU grupa's Cudna šuma", "U tami disko kluba", "Crni leptir" and a medley compiled of "Nona", "Kosovski božuri" and "Sama" were released on the double live album Legende YU Rocka ("Legends of YU Rock"). In November 1988, YU grupa released Ima nade ("There is Hope"). Biggest hits were "Mornar" and power ballad "Dunavom šibaju vetrovi". This album was followed by Tragovi ("Traces"), recorded with Djelmaš on the drums once again, and featuring Pera Joe, Saša Lokner and Nikola Djuturilo as guests.
2000s
In 2005, with Igor Maleševic as the new drummer, YU grupa released its latest studio album with a symbolic title Dugo znamo se ("We Know Each Other for a Long Time"). The album was mostly hard rock-oriented, and did not feature many folk music elements. "Pustinja", "Zamolicu te", "Bože, spasi me" became immediate hits. In 2007 the band released its first official live album Live. In 2008 drummer Slobodan Jurišic; replaced Maleševic.

Discography
Studio albums
• YU grupa (Jugoton 1973)
• Kako to da svaki dan? (Jugoton 1974)
• YU grupa (Jugoton 1975)
• Medju zvezdama (Jugoton 1977)
• Samo napred... (PGP RTB 1979)
• Od zlata jabuka (ZKP RTLJ 1987)
• Ima nade (PGP RTB 1988)
• Tragovi (PGP RTB 1990)
• Rim (PGP RTS 1995)
• Dugo znamo se (PGP RTS 2005)
Live albums
• Legende YU Rocka (Various artists live album, Jugoton 1988)
• Live (PGP RTS 2007)
Compilation albums
• YU zlato (Jugoton 1976)

LINKS:

YU grupa - Kako to da svaki dan? (1974)
h!!p://www.megaupload.com/?d=UP9C764W

Yu grupa - YU grupa (1973)
h!!p://www.megaupload.com/?d=4N6DZ31X

VINYL RIP FROM BRAND NEW LP`s (NO CLIKS, POPS & OTHER SH.T)

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Banco del Mutuo Soccorso - Same 1972 (@flac)

2008-12-13T11:41:00.002+01:00

Inspired by progressive rock acts from England, Vittorio Nocenzi and brother Gianni founded Banco del Mutuo Soccorso in Rome, Italy. They later recorded their eponymous debut in 1972, soon to be followed by Darwin!, and in 1973 Io sono nato libero.

Proving popular in Italy and becoming known abroad, the band signed with Manticore Records together with the Premiata Forneria Marconi. In 1975 Banco was released, a collection of translated songs together with new material, targeting the international market. Come in un'ultima cena was also translated as As in a Last Supper.

The 1970s also saw Banco del Mutuo Soccorso going in new directions, with a film soundtrack in 1976's Garofano rosso and recordings with an orchestra in 1978's …di terra. They changed their name to the simplified Banco.

The 1980s saw Banco's musical direction change towards lighter pop and shorter songs, producing some hits. Gianni Nocenzi left the band for a solo career. Other members came and went.

In the 1990s and now back to using the longer name, they started playing their 1970s material again. They performed unplugged versions of their songs live and re-recorded their first albums. New material was also produced.

Today, the band continue to play live, although no new material has been recorded since 1997.

LINK: h!!p://www.megaupload.com/?d=71BZTG1F
215Mb

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TASTE - Same + On The Boards (@flac)

2008-12-12T09:13:00.004+01:00

Taste - Same (1969)
The debut of the great Rory Gallagher !! If you love his work you have to check out Taste, his first band. The recording is raw, probably live to 4 track in the studio with little if any overdubbing, and not much in the way of any real production, not unlike the first couple Groundhogs albums, both in style and recording technique. "Blister On The Moon" reminds me of something Cream would have done around the time of Disraeli Gears. Rory did all the writing with the exception of a Leadbelly cover and one other traditional blues. As always, the guitar playing smokes.

Taste - On The Boards (1970)
The production is FAR better than the previous Taste album. Here, Rory seems a little more relaxed with the studio environment. The guitar solos are less meandering than on the first Taste album. The songwriting is much stronger as well. This album is where Rory hits his stride as a writer. The stereo panning, and other studio tricks, although comes dangerously close to rendering this as dated sounding, is still very cool. This is probably as experimental as Rory ever got in the studio. There's even a couple of sax solos played by Rory (!). Some of the tunes get into jazz territory. It's almost a culture shock, if you've been exposed to Rory's solo output, to listen to this. It's very experimental, but it's a great experiment.

LINK: h!!p://www.megaupload.com/?d=2R1ADF84

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Thanx to Poor!!!

DEN ZA DEN - Same (1979) @flac

2008-12-09T11:31:00.003+01:00

Extremly rare album!!!

Vinyl rip - No cliks & pops - Great sound quality

"Another record balancing between jazz-rock and Balkan folk. Yes, if you think it sounds like LEB I SOL, you're right. It does sound like that. At the moments if this was an offshoot of the band, with aliases in the line-up. As a line of comparison it's like listening to THINK FLOYD. I don't have a problem with that. If someone is stealing the style, that's fine, as long as the songs themselves aren't stolen.

There are a few things distancing this record from the LEB I SOL ones (and distancing even more from SMAK another jazz-rock/folk combo): it's more jazzy. The playing is tight, dense, perhaps too homogenic for my taste, I would rather prefer a bit of collage and a few silent moments here and there.

It's closer to, let's say, WEATHER REPORT, and therefore closer to contemporary fusion/Balkan folk scene (VASIL HADŽIMANOV). And DEN ZA DEN sound more like a combo then a group of individuals; all the instruments are bold, piano is even more daring (in jazz context), but the palette of the soundscapes is somewhat limited. Please note that Limit here still represents a huge area for improvisations.

Maybe, maybe, maybe there was no intention to sound Leb i Sol-like, perhaps it was sort of a coincidence. Is this too streched and naive? Well, Leb i Sol hadn't started the whole thing, SMAK did, if I'm not much mistaken. Perhaps there was a fusion-y trend in the mid-late seventies that gather more names under its blanked while many remained obscure. Such a thing won't be unusal in contemporary Macedonian musical scene - the bands gather around Makedonska Streljba folk-goth-punk movement (late 80's/early 90's) or more recent wave of world/fusion ensembles (mid-late 90's with EZGIJA; OKTOEHOS etc.). From that point of view, DEN ZA DEN have a clear place in Macedonian rock culture, and a good place at that. Even if we force the copycatting argument, Den Za Den sounds like some of BETTER Leb i Sol albums - it was issued just when thing started watering down. With or without any of the contexts, this is a very good record.

Studio Album, recorded in 1979, released in 1980

Line-up/Musicians
- Vladimir Jankulovski / electric bass
- Arian Dema / electric guitar, acoustic guitar, percussion
- Dragiša Soldatovic / electric piano, piano, Moog synth
- Dimitar Cokorovski / drums, percussion

Releases information
LP RTV Ljubljana LD 0587 (1980, Yugoslavia)

1 Svadba (4:05)
2 Galeb (3:52)
3 Ciganka (3:01)
4 Žed (3:27)
5 Fatamorgana (3:59)
6 Ćočor ritam (0:58)
7 A bila je tako draga (4:03)
8 Letnja ljubav (3:24)
9 Vodopad (2:39)
10 Jutro i noč (3:53)
11 Tako treba (4:49)

LINK:
h!!p://www.megaupload.com/?d=LHFPEFQA

FLAC (separate) - SCANS

Merry X-mas & Happy New Year!!!

2008-12-08T10:34:00.001+01:00

KORNELYANS (Korni Grupa) - Not An Ordinary Life (@flac) 1974

2008-12-07T19:00:00.003+01:00

"KORNI GRUPA did it again, this time under the different name: they made excellent record. "Not An Ordinary Life" was aimed for the Western market; all the titles and lyrics are in English, and the band changed it's name from KORNI GRUPA to KORNELYANS. It wasn't huge success, though. However, album do not contain any bad tracks. Overall, band moved towards the symphonic sound, compared to its predecessor, but jazz-fusion influences are still evident, as well as almost funky bass lines. Highlights of this record are synths (used more often then on "Korni Grupa") and excellent guitar work, both electric and acoustic, where electric guitar solos are pushing the boundaries in a same vein as PFM did it in their finest moments. Vocals are more than good, and English pronunciation is...not that bad, at least not for the band from behind the Iron Curtain in early seventies.

Line-up/Musicians
- Kornelije Kovac / keyboards
- Josip Bocek / guitar
- Bojan Hreljac / bass
- Vladimir Furduj / drums
- Zlatko Pejakovic / lead vocals

Tracks
1. rising (2:15)
2. not an ordinary life (10:22)
3. generation 1942 (6:56)
4. fall of the land of woman (5:32)
5. temporary parting (4:00)
6. man with a white flag (11:48)

LINK:
h!!p://www.megaupload.com/?d=NQGUT6SM
268Mb

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KORNI GRUPA - Last Performance (Live In Novi Sad - November, 1974) @wav

2008-12-05T13:20:00.004+01:00

The story behind...
A month ago I got from a friend vinyl rip 2 CD of Korni Grupa`s last concert in 1974. The sound was descent but not as it should be. Then I remembered that friend of mine has many LP`s in perfect condition as he used tu record LP to tape whenever he got a new album and his vinyls are still as they once were becouse he used to listen tapes and not vinyl.
5 songs from the concert were published on 2 diferent albums ("Korni Grupa - Mrtvo More" & "VA - Randevu S Muzikom"). However the sound and mastering of the albums was very much diferent no metter that material was recorded at the same concert.
Here you have new rip from 2 vinyls remastered by me and posted as wav files. I also added a 20+ min very, very rare version of Jedna Zena as bonus track. Unfortunately source for that track was VBR and i did my best from material avaliable.

This is a great album and will show you one of the best bands from ex Yu performing live in concert...

Track List:
01 - Covek sa belom zastavom (6:27)
02 - Blues (10:01)
03 - Jedna zena (5:27)
04 - I ne tako obican zivot (10:48)
05 - Put za istok (19:58)
06 - Jedna zena (with Dado Topic) bonus (20:45)

Sound quality - Tracks 1, 2 & 5 "A" # Tracks 3 & 4 "B+" # Track 6 "B"

LINK:
h!!p://www.megaupload.com/?d=E7L4DVI4
514Mb
WAV - COVERS (made)

New covers made by Mark:
h!!p://www.megaupload.com/?d=20ND9XL5

Hope you will enjoy and waiting for your respond...

Radiohead - Kid A (2000) @flac

2008-11-25T20:03:00.002+01:00

Kid A is the fourth album by the English alternative rock band Radiohead, released on 2 October 2000 (2000-10-02) in the United Kingdom and on 3 October 2000 (2000-10-03) in the United States and Canada. A commercial success worldwide, Kid A went platinum in its first week of release in the UK. Despite the lack of an official single or video as publicity, Kid A became the first Radiohead release to debut at #1 in the US. This success was credited variously to a unique marketing campaign, the early Internet leak of the album, or anticipation after the band's 1997 album, OK Computer.

Kid A was recorded in Paris, Copenhagen, Gloucestershire and Oxford with producer Nigel Godrich. The album's songwriting and recording were experimental for Radiohead, as the band replaced their earlier "anthemic" rock style with a more electronic sound. Influenced by Krautrock, jazz, and 20th century classical music, Radiohead abandoned their three-guitar lineup for a wider range of instruments on Kid A, using keyboards, the Ondes martenot, and, on certain compositions, strings and brass. Kid A also contains more minimal and abstract lyrics than the band's previous work. Singer Thom Yorke has said the album was not intended as "art", but reflects the music they listened to at the time. Original artwork by Stanley Donwood and Yorke, and a series of short animated films called "blips", accompanied the album.

Kid A has been considered one of the more challenging pop records to have commercial success, and it polarised opinion among both fans and critics. The album won a Grammy for Best Alternative Album and was nominated for Album of the Year. It also received praise for introducing listeners to diverse forms of underground music.

Track listing
"Everything in Its Right Place" – 4:11
"Kid A" – 4:44
"The National Anthem" – 5:50
"How to Disappear Completely" – 5:55
"Treefingers" – 3:42
"Optimistic" – 5:16
"In Limbo" – 3:31
"Idioteque" (Radiohead, Paul Lansky) – 5:09
"Morning Bell" – 4:29
"Motion Picture Soundtrack" – 6:59
"Motion Picture Soundtrack" contains several minutes of silence and a "hidden track" in its running time. The song proper ends at about 3:24 and an untitled instrumental hidden track starts at about 4:17 and ends at 5:09. The remaining 1:50 of the track are silent. The vinyl version is the same length, however the hidden track starts at about 6:05.

Radiohead
Thom Yorke – Vocals, programming, keyboard, guitar, bass guitar
Colin Greenwood – bass guitar, sampler
Jonny Greenwood – Ondes Martenot, guitar, string arrangements, sampler, synthesiser
Ed O'Brien – guitar, programming
Phil Selway – drums, percussion, programming

Additional musicians
Andy Bush – trumpet
Andy Hamilton – tenor saxophone (credited as "tenor horn")
Steve Hamilton – alto saxophone (credited as "alto horn")
Stan Harrison – baritone saxophone (etc.)
Martin Hathaway – alto saxophone
Mike Kearsey – bass trombone
Liam Kerkman – trombone
Mark Lockheart – tenor saxophone
The Orchestra of St. Johns – strings
John Lubbock – conductor
Paul Lansky – sample of "Mild und Leise" on "Idioteque"
Arthur Kreiger – sample of "Short Piece" on "Idioteque"

LINK: h!!p://www.megaupload.com/?d=KSCEZ8AA
294Mb

FLAC (separate) - SCANS

Ultimate Spinach - same (1967) @flac

2008-11-23T15:22:00.002+01:00

‘Ultimate Spinach’ was founded in 1967 under the name of 'Underground Cinema' as the brainchild of multi-instrumentalist and songwriter Ian Bruce-Douglas. The same year the band changed their name to 'Ultimate Spinach' and recorded their first record for MGM, produced by the ambitious Alan Lorber. Lorber created together with MGM the marketing concept of the 'Boston Sound' (later 'Bosstown' sound) to propose (and sell) an alternative to the West-coast bands. The three Boston bands starting that "movement” were ‘Ultimate Spinach’, ‘Orpheus’ and ‘The Beacon Street Union’. These bands, all produced by Alan Lorber, had musically not much in common and ‘Ultimate Spinach’ was the most interesting band to come out of this hype. Their first self-titled record, inspired by West-coast bands like ‘The Doors’ and ‘Jefferson Airplane’, presented an original mixture of psychedelic rock, folk and classical music. All lyrics and music were written by leader Ian Bruce-Douglas. ‘Ultimate Spinach’ privileged long elaborated suites, alternating instrumental passages, poetry and multipart vocals (the voice of Barbara Hudson reminding Grace Slick and Sonja Kristina) with original arrangements, including flutes, sitar, harpsichord and the electronic Theremin instrument. The record sold well, but the band was a victim of the hype and got negative critics by the press. The second record “Behold and See” was released in 1968 and followed the direction of the first with tighter tracks and the same overall quality. At the end of 1968 the band was reformed with Bruce-Douglas keeping only singer Barbara Hudson, but finally he left the band prior to the recording of the third self-titled ‘Ultimate Spinach’ record, leaving Barbara Hudson as the only original member. The record moved away from the psychedelic sound of the first two records and consisted of mainstream rock songs. ‘Ultimate Spinach’ recorded some of the most original psychedelic rock records.

LINK: h!!p://www.megaupload.com/?d=ADVFYDTI

FLAC (separate) - SCANS

PREMIATA FORNERIA MARCONI - Cook (aka Live in USA) - 1974 @flac

2008-11-23T13:44:00.002+01:00

The pioneer of Italian Progressive groups, PREMIATA FORNERIA MARCONI (PFM for short) is one of the leaders of the 70s prog movement. PFM developed a style which is uniquely Italian while maintaining links with the rest of the prog world. A lyrical, romantic and delicate music, full of fineness. A great melodic and instrumental richness, somptuous compositions and arrangements. Sometimes compared with the early KING CRIMSON, the group had its own musical personality, with its elegant music.

"Per Un Amico" ("Photos of Ghosts") and "L'Isola Di Niente" as well as their first, "Storia Di Un Minuto" are all virtual classics of progressive music, obviously influenced by early KING CRIMSON and GENESIS yet sounding nothing like them. The instrumentation is superb with fluid guitar, highly original synthesizer sounds, beautiful violin and flute, and ethereal vocals that are so important to the music, that replacing them with English vocals becomes a detriment. "The World Became The World" is another English-language album, but this time with the same music, so it's not as bad as "Photos Of Ghosts".

"Marconi Bakery" is a compilation of music from the first three Italian albums. "Jet Lag", from 1977, had much of the original PFM spirit with a jazz inclination, akin to groups such as ARTI + MESTIERI, though somewhat more low-key. "Suonare Suonare" came out in 1980, and saw PFM turning back toward their original sound, from the style of "Passpartu". On "PFM - Live In Japan 2002 (Tokyo)" the band plays classic tunes from the Seventies. A must for all prog fans...!

About this release:
Part of a five-disc rerelease of classic P.F.M albums (and side projects) digitally remastered in 20bit digital K2 sound with cardboard sleeve replicas of the original LP cases. Series includes "Photos of Ghosts," "Cook," "Chocolat Kings," Pete Sinfield's "Still," and Banco Del Mutuo Soccorso's "Banco."

LINK: h!!p://www.megaupload.com/?d=KA186ENP
318MB

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Tripsichord Music Box - same (1971) @flac

2008-11-22T10:27:00.003+01:00

"Tripsichord Music Box, whose shortened name Tripsichord is sometimes used, came from San Francisco. Even though their album was released in 1971, late for the fast paced 1966-1968 period of San Francisco psychedlia, it is still considered an equal to the best and most brilliantly adept albums from the acid rock movement—a Bay area music specialty based upon distorted (crazy) guitars. Probably formed in 1968 by five relatively fresh musicians, the group had a very classic rock line-up: Randy Gordon on the drums, Frank Straight on guitar, Dave Zandonatti on bass, Oliver Mckinney on keyboards (organ), and B. Carr on vocals. Our five acid rockers quickly assembled a repertoire of original songs, thanks for the most part to the talents of Dave Zandonatti and B. Carr. This doesn’t mean for certain that, in the first part of their career, there weren’t some personnel changes. In any case, in 1969 they were taken under the wing of Matthew Katz. Manager, producer, and the founder and operator of the San Francisco Sound label, Katz was a know Haight Ashbury character, having participated in a good number of music ventures since that day in March 1965 where, with singer Marty Balin (founder of Jefferson Airplane) he purchased the bar “the Honey Bucket”. Situated on Fillmore Street in the Marina district, it was remodeled and redecorated and would become the well-known music club the Matrix. Matthew Katz would, as a result, become the first manager/producer of Jefferson Airplane. Whatever criticisms one could lobby against Katz’s methods of band management, it is undeniable that he often knew how to take full advantage of intuition and taste. Thus, in 1966, he took over the business end of the still fledgling Moby Grape. Then in 1968, he allowed It's a Beautiful Day to press a single and release an LP on his own label before they signed with Columbia.

It was San Francisco Sound that released the first recording of Tripsichord Music Box—the single “Times and Seasons”/“Sunday the Third” (San Francisco Sound 115). The resulting sound was certainly unique, but the LP format was too restrictive in its length to allow the band to express the entirety of their talents. And if these two titles did possess rare qualities, particularly on “Sunday the Third”, they were hardly original and didn’t stand out against the masses of music produced in1969. It was also at this time that Matthew Katz concocted the idea to release a compilation—one that was destined to lift up his young protégés. Titled “San Francisco Sound”, the compilation was released on the mysterious label Fifth Pipe Dream (F.P.D. 11680) and brought together tracks from It’s a Beautiful Day ("Bulgaria" and the imaginative and unedited "Aquarian Dream", the two sides of their first single), Black Swan (a rather ordinary pop group—the weakest of the four), Indian Puddin Pipes (the formidable "Hashish" and "Water and Wine") and of course Tripsichord Music Box. Tripsichord contributed three songs: "You’re the Woman", "It’s Not Good" (these two songs are actually one), and "Family Song". By far the longest tracks on the album, they are superb, and even though the vocals are themselves excellent, it is above all the explosive and burning guitar and organ solos, and the high-tension melodies that keep our attention. The perfect illustration of acid rock at its highest level, these three tunes that are found nowhere else have been added, on this CD, to the nine songs from the original Tripsichord album—providing a more complete look into what was Tripsichord Music Box.

The product of a collaboration between San Francisco Sound and Janus Records (between Katz and Bob Scerbo), Tripsichord Music Box (Janus J.L.S. 3016), was released two years later in 1971. The album cover was particularly beautiful and symbolic. Done in the style of Gustave Klimt and 1920s illustrators, it evokes the surreal, magical and dreamlike atmosphere of fairy tales, and prepares us for the marvelous voyages (trips) of acid rock. As you are able to discover, the content is at the top of its game, and if certain songs like “We Have died” or “Son of the Morning” remind us of Moby Grape (melodies, vocals and bright sounds), the complete record offers spurts of explosive and deafening guitars, beautiful melodies and remarkable energy. The album doesn’t have a single weak spot, and each song, in its proper place, can inspire happiness. For my part, I must confess a preference for the elevated cavalcades that are “On the Last Ride”, “New World”, “Short Order” and especially “Fly Baby” (a high point in the guitar fret board trip of San Francisco art). A beautiful work that must be a part of your record collection, and listened to often, very often, to once again feel the pleasure, the emotion and the lyricism of these cosmic dreams, already nostalgic from a lost paradise

LINK: h!!p://www.megaupload.com/?d=D503N080
377MB

FLAC (separate) - SCANS

The Byrds Box Set (1990) 4 CD @flac

2008-11-22T10:16:00.003+01:00

The Byrds is a boxed set released by American band The Byrds in 1990 on Columbia Records. A four-CD package, it is a career-spanning set (save for the 1973 reunion album released on Asylum Records, Byrds.).

This release is notable for its inclusion of rare and unreleased songs (many of which turned up as bonus tracks on the remastered CDs of the individual albums). It is also notable for its four new recordings featuring Roger McGuinn, Chris Hillman, and David Crosby. Both Gene Clark and Michael Clarke, still living in 1990, did not take part in the reunion.

Reaching 151 in the U.S. charts, The Byrds provides a well-executed overview of the band and their music. It is currently out of print.

LINKS: ( 2 x 700MB + 1 x 159MB)
h!!p://www.megaupload.com/?d=OXZZ1IX2
h!!p://www.megaupload.com/?d=XIUTVLQ0
h!!p://www.megaupload.com/?d=0ENL8DQJ

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Spooky Tooth - 4 albums (@flac)

2008-11-20T10:46:00.004+01:00

Crucial to their sound was their instrumentation; they were one of the few acts within the rock forum of the time to adopt the twin keyboard approach (both an organ and a piano player) alongside The Band (whose "The Weight" was recorded by Spooky Tooth as a single in 1968) and Procol Harum.

They formed in October 1967, out of a combination of The Ramrods (1960 - late 1963), The V.I.P.'s (late 1963 - April 1967) and Art (April — October 1967).

The line-up changed several times, but typically was:
Mike Harrison (born Michael Harrison, 3 September 1942, Carlisle, Cumbria) (keyboards/vocals)
Greg Ridley (born Alfred Gregory Ridley, 23 October 1942, Aspatria, Cumbria — died 19 November 2003, in Java, Spain) (bass guitar/vocals)
Luther (Luke) Grosvenor (born Luther James Grosvenor, 23 December 1946, Evesham, Worcestershire) (guitar/vocals)
Mike Kellie, (born Michael Kellie, 24 March 1945, Birmingham, Warwickshire) (drums)
Gary Wright, (born 26 April 1943, Cresskill, New Jersey, U.S.) (organ/vocals)

1969's Spooky Two LP is generally considered to be the best effort by the group and was the last album release by the original lineup. It included the song "Better By You, Better Than Me", which was covered by Judas Priest on their 1978 release Stained Class. The track later gained some attention in the media as subject of a court trial in 1990. It was claimed that the subliminal messages in the song's recording by Judas Priest caused two youngsters to commit mutual suicide. The court finally judged in favor of the accused.

Ridley joined Humble Pie in 1969 and was replaced by Andy Leigh (in time for 1970's album Ceremony) who went on to Matthews Southern Comfort with ex-Fairport Convention vocalist Ian Matthews. The experimental nature of Ceremony received mixed reviews and following its release Wright also bowed out. The core of Harrison, Grosvenor and Kellie struggled on for one more album, aptly titled The Last Puff, completed with friends from Joe Cocker's Grease Band.

They broke up in the autumn of 1970, however after solo efforts Harrison and Wright reformed Spooky Tooth in September 1972 with a different (and frequently changing) line-up. The best known member of these line-ups (from March 1973 to September 1974) was Mick Jones (guitar / vocals), later in Foreigner and, from February — May 1974, Mike Patto (vocals) replaced Harrison for the 1974 release The Mirror. The group then split again in September 1974.

Spooky Tooth
discography
1968 - It's All About
1969 - Spooky Two
1970 - Ceremony (with Pierre Henry)
1970 - The Last Puff
1971 - Tobacco Road (=It's All About)
1973 - You Broke My Heart So I Busted Your Jaw
1973 - Witness
1974 - The Mirror
1999 - Cross Purpose
1999 - The Best of Spooky Tooth: That Was Only Yesterday
2000 - Comic Violence
2001 - BBC Sessions
2007 - Nomad Poets (DVD)

Spooky Tooth - It's All About (remastered & expanded)
LINK: h!!p://www.megaupload.com/?d=19D9QUPJ
373MB
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Spooky Tooth - Spooky Two
LINK: h!!p://www.megaupload.com/?d=8PTYMOKN
214MB
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Spooky Tooth - The Last Puff [expanded & remastered]
LINK: h!p://www.megaupload.com/?d=RNQA1VWX
304MB
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Spooky Tooth - You Broke My Heart, So I Busted Your Jaw [remasiered & expanded]
LINK: h!!p://www.megaupload.com/?d=KYV94UAC
273MB
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People, if you think I do not like comments - you are wrong!!!

Jefferson Airplane - Ignition 4CD (@flac)

2008-11-19T12:42:00.003+01:00

CD 1
Jefferson Airplane Takes Off: Stereo version
Blues from an Airplane (Balin/Spence)
Let Me In (Balin/Kantner)
Bringing Me Down (Balin/Kantner)
It's No Secret (Balin)
Tobacco Road (Warnick)
Runnin' 'Round This World (Balin/Kantner)
Come Up the Years (Balin/Kantner)
Run Around (Balin/Kantner)
Let's Get Together (Powers)
Don't Slip Away (Balin/Spence)
Chauffeur Blues (Melrose)
And I Like It (Balin/Kaukonen)
Jefferson Airplane Takes Off: Mono version
Blues from an Airplane (Balin/Spence)
Let Me In (Balin/Kantner)
Bringing Me Down (Balin/Kantner)
It's No Secret (Balin)
Tobacco Road (Warnick)
Runnin' 'Round This World (Balin/Kantner)
Come Up the Years (Balin/Kantner)
Run Around (Balin/Kantner)
Let's Get Together (Powers)
Don't Slip Away (Balin/Spence)
Chauffeur Blues (Melrose)
And I Like It (Balin/kaukonen)

CD 2
Surrealistic Pillow: Stereo version
She Has Funny Cars (Balin/Kaukonen)
Somebody to Love (Slick)
My Best Friend (Spence)
Today (Balin/Kantner)
Comin' Back to Me (Balin)
3/5 of a Mile in 10 Seconds (Balin)
D.C.B.A. (Kantner)
How Do You Feel (Mastin)
Embryonic Journey (Kaukonen)
White Rabbit (Slick)
Plastic Fantastic Lover (Balin)
Surrealistic Pillow: Mono version
She Has Funny Cars (Balin/Kaukonen)
Somebody to Love (Slick)
My Best Friend (Spence)
Today (Balin/Kantner)
Comin' Back to Me (Balin)
3/5 of a Mile in 10 Seconds (Balin)
D.C.B.A. (Kantner)
How Do You Feel (Matin)
Embryonic Journey (Kaukonen)
White Rabbit (Slick)
Plastic Fantastic Lover (Balin)

CD 3
After Bathing At Baxter's
The Ballad of You & Me & Pooneil (Kantner)
A Small Package of Value Will Come to You Shortly (Blackman/Dryden/Thompson)
Young Girl Sunday Blues (Balin/Kantner)
Martha (Kentner)
Wild Tyme (H) (Kantner)
The Last Will of the Castle (Kaukonen)
Rejoyce (Slick)
Watch Her Ride (Kantner)
Spare Chaynge (Casady/Dryden/Kaukonen)
Two Heads (Slick)
Won't You Try Saturday Afternoon (Kentner)

CD 4
Crown Of Creation
Lather (Slick)
In Time (Balin/Kantner)
Triad (Crosby)
Star Track (Kaukonen)
Share a Little Joke (Balin)
Chushingura (Dryden)
If You Feel (Balin/Blackman)
Crown of Creation (Kantner)
Ice Cream Phoenix (Cockey/Kaukonen)
Greasy Heart (Slick)
The House at Pooneil Corners (Balin/Kantner)

LINK (text): h!!p://www.megaupload.com/?d=Y9QJJXUD

Tear gas - same (@flac)

2008-11-19T11:29:00.004+01:00

Tear Gas was the final album by rock band Tear Gas. After the release of this album, Alex Harvey joined the group. It went on to become The Sensational Alex Harvey Band, without David Batchelor on vocals.

Top 10 UK early seventies heavy prog bands

LINK: h!!p://www.megaupload.com/?d=Q2YVJFME

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Tea and Symphony - An Asylum For The Musically Insane (@flac)

2008-11-19T11:26:00.001+01:00

This innovative band from Birmingham represented one of the best examples concerning the raising of the proto-prog and art rock scene in the late sixties,in the vein of the early King Crimson and regarding also of the experimental side of bands such as East of Eden (listen to "Merkator Projected).Naturally Tea&Symphony, sometimes considered as an obscure cult band,could not think of emulating the successful debut of Fripp&c... anyway They were much closer to classic prog than the majority of the proto-prog bands of the same period. This stuff is one of the most experimental and exoteric as well, in comparison to their contemporary english bands of the late sixties, by using a different set of instruments and interesting vocal harmonies too!! Moreover the odd instrumental combinations and strange dissonances as well, are performed skillfully ...even though not all this stuff will appeal to you. Some obscure tunes and a sort of brainmstorming too, complete this memorable album, which will be an important reference also for bands such as US 70's Cathedral or the european Shylock in the following years...
If you are into this crazy treatment of lyrics and music in the same time,typical of some UK 60's proto-prog bands,without remarking their immature arrangement too much, sometimes being a bit raw, you will remain appealed to such stuff. Besides their defined lyrics and good construction of the songs as well, are well worth checking out !!
Of course this is not a masterpiece,nevertheless it exercised a strong influence on the 70's classic progressive bands, characterized by some barbered-wire dissonances and a different approach too, in comparison to the usual romantic bands of that period.

Recommended as an historical document!!

LINK: h!!p://www.megaupload.com/?d=YXHJTRQL
245MB

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Tananas - Alive in Jo`burg (2001) @flac

2008-11-17T10:48:00.001+01:00

"Tananas were a trio of world class musicians from South Africa and Mozambique who got together in 1988. Their improvisational and rhythmic sensibility established them as one of the most original and compelling groups that emerged in South Africa in the late 20th century.

The individual band members were Gito Baloi (bass/vocals), Ian Herman (drums) & Steve Newman (guitar). Baloi, a Mozambican, had been playing with Pongola, and Herman had been drumming with Cape rockers The Genuines.

The first Tananas album was released in 1988. The group recorded two albums for a major label and ran into problems following the release of 1992's Time, with artistic differences between the three members cited as the main reason for the decision to put the band on hiatus. Newman began working with guitarist Tony Cox, while Baloi launched a critically applauded solo career. Herman and Newman relaunched Tananas in 1994, but with Baloi unwilling to rejoin his former colleagues the duo was forced to use additional musicians on the commercially driven Orchestra Mundo and Unamunacua. Baloi recorded two solo albums during that period.

Tananas used to be essentially an instrumental band allied to jazz but unmistakably African at heart. In the group's latter stage the recordings have included more vocals by Mozambican singer and bass player, Gito Baloi, who sang in Shangaan, Tsonga and Portuguese.

Following another long separation, the original line-up of Tananas reunited in the late 90s, signed a new recording contract with Sony, and recorded Seed.

Long regarded as South Africa’s most gifted drummer, Herman took up an offer of work in the United States. In New York he worked with luminaries such as Paul Simon and George Duke, later settling in San Francisco. He returned only briefly, to record with Peter Sklair and Paul Hanmer’s band, Unofficial Language. In 2000 Herman got a call from from Newman and longtime Tananas manager Kerry Friedman, imploring him to come home and make a new start with Tananas. The trio joined the WOMAD tour and finally began to receive some international recognition.

Unfortunately, the annual reunions won't take place anymore. Gito Baloi was shot dead while returning home from a performance in Johannesburg in April 2004 (Mozambican Music Star Gito Baloi Murdered in Johannesburg), ending any chance of a band reunion.

LINK: h!!p://www.megaupload.com/?d=VW0O4NE9
387MB

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La Revolución de Emiliano Zapata - same (@flac)

2008-11-14T15:20:00.002+01:00

"In the era of psychedelic rock and under the influence of American hippies of the late 1960s, a young band from Guadalajara headed by Javier Martin del Campo, formed with the intention of interpreting contemporary popular songs of the era in their own style. Initially, their hobby led them to play at local parties, but the resulting fame soon spread beyond their city. The group won the most call-in votes during a contest organized by a local radio station called "Radio ondas de la alegria" "Waves of Happiness Radio", and earned themselves an audition with an important record label.

Initially reluctant, they signed a contract with Polydor Records, launching their brief but successful foray into the world of rock music. With an original musical concept and creative sense, the group moved to Mexico City, continuing to adapt their urban rhythms and establish a base for their new musical launches. In 1970, they released their first record, containing songs "Nasty Sex" and "Still don't (Not yet)", which quickly shot up the popular charts both locally and worldwide. The head office of Polydor Records sent the group five medals as recognition for their high level of sales in the Americas, United Kingdom, and Europe of their one big hit, "Nasty Sex."

The relative obscurity of the band did not reduce the great impact achieved in those far-off areas. Later, they recorded their second hit, "Shit City," which earned only moderate success compared to their first.

They were invited to perform in the Avandaro festival in 1972, but declined the invitation due to an already very busy schedule. In that year, they took part in the film "La verdadera vocación de Magdalena" "The True Calling of Magdalena", starring singer and actress Angélica María, which more or less seriously addresses the topics that concerned young people of the era.

The members of the group at that time were: Oscar Rojas (vocals), Carlos Valle (lead guitar, harmony vocal), Francisco Martínez Ornelas (bass guitar), Marco Carrasco (drums) and Javier Martin del Campo (guitar).

Because the group's musical concepts varied between several trends and influences, the search for new hits was fruitless, producing only the song "Pigs," among the last to achieve fame. Adding to this was the emotional turmoil that the band members began to experience, unleashing a series of fights and disagreements that eventually led to changes in the lineup. Lead singer Oscar Rojas grew weary of both the city and the group environment, and left the group permanently in 1974, beginning the decline of La Revolución de Emiliano Zapata.

Facing a somewhat hostile political and social reaction, the group's fortunes experienced a downturn. Changing musical trends ended by subduing psychedelic rock, and while some groups managed to survive on the fringes of Big Media (the group "El Tri" for example, becoming popular in suburban areas), the band members of "Rev" decided to radically change their musical style, becoming singers of romantic ballads, thus ending their time as a rock band. This change, according to Antonio Cruz, was carefully considered, and it was this decision that allowed the group to continue existing in the current musical climate.

La Revolucion de Emiliano Zapata - La Revolucion de Emiliano Zapata CD
Reissue of classic early 70s psychedelic rock from Mexico. Great songs and tons of smokin' guitars and twangin' fuzz. One of the very best from Mexico! If you like late 60s U.S. psych rock don't miss this one! It really kills!

LINK: h!!p://www.megaupload.com/?d=4T7EK1W6
253MB

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EPITAPH - same (1971) @flac

2008-11-12T20:41:00.003+01:00

"Comprised of 2 Germans and 2 Brits, Epitaph's sound is similar to the traditional British progressive heavy rock genre along the lines of Uriah Heep, Deep Purple, Led Zepplin. However, one can not overlook the effect which King Crimson had on Epitaph. Non-Crimson fans should note that the Crimzoids had a track titled 'Epitaph' on their 1969 debut LP; oddly enough, there is a track on Epitaph's debut which could easily be mistaken for this track! Coincidence?

'Epitaph 1971 (remastered & expanded in 2005)' features five guitar driven rock tracks + 5 bonus tracks , which are quite derivative at times of more popular British bands. The album opens with 'Moving To The Country' is a straight forward rock number reminiscent of early Uriah Heep. Following this is 'Visions', a slow atmospheric ballad heavily influenced by King Crimson's 1969 track 'Epitaph', the track contains lush mellotron and the chord sequence and lyrics similar to Pink Floyd's 'Echoes'. Though derivative of both of these two great bands, 'Visions' sticks out as the best track on this album. 'Hopelessly' is another progressive heavy rock tour de force. This track builds slowly and contains an extended instrumental section. 'Little Maggie' contains a nice chorus hook and a playfully jangly blues/folk guitar similar to Jimmy Pages' work. Perhaps the most original composition from the LP, 'Early Morning', contains a fairly complex arrangement and an ominous sound. The album manages to stand on its own and should appeal greatly to fans of progressive heavy rock.

Remastered - Expanded

Musicians:
Cliff Jackson - Guitar, Vocals
Klaus Walz - Guitar, Vocals
Bernd Kolbe - Bass, Mellotron, Vocals
Jim McGillivray - Drums, Vocals

LINK: h!!p://www.megaupload.com/?d=F5UMVWMU
445MB

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Captain Beefheart & the Magic Band - Shiny Beast (Bat Chain Puller) @flac

2008-11-12T16:43:00.002+01:00

If you consider "Doc at the radar station" to be Beefheart's best, which many do, then this cd is for you. Using basically the same version of the Magic Band, Beefheart delves deep into his free-blues-rock hybrid. The title track is almost disturbing in it's hypnotic ranting. "Floppy Boot Stomp" is great lyrically and the band sounds amazing in it's rythm. Then there is the sublime "Harry Irene" which sounds like Tom Waits by way of the Beatles, if you could imagine such a thing. "You Know You're A Man" almost delves into 70's rock territory, (but with the Captain you know he doesn't quite get there.) "Doc" is probably the pivotal album, "Trout Mask Replica" the watershed. But "Shiny Beast" is definitely in the same league.

LINK: h!!p://www.megaupload.com/?d=MGV5LVPJ
303MB

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John Paul Jones - Zooma (@flac)

2008-11-11T13:34:00.003+01:00

"While Jimmy Page and Robert Plant carried on the Zep torch with hit-and-miss projects such as the Firm, the Honeydrippers, Coverdale/Page, and Page/Plant, John Paul Jones got his hands artistically dirty, producing the Butthole Surfers' Independent Worm Saloon, working on film soundtracks, and collaborating with radical punk diva Diamanda Galas. Not surprisingly, several of the tracks on Jones's gutsy first solo album, Zooma, breathe post-punk fire: the pile-driving title track, wrapped in a gurgling sound collage, pummels a JPJ bass riff with a "sick guitar solo" by the Surfers' Paul Leary. Jones reclaims Zeppelin as his own even as he transcends it."Snake Eyes," an eerie blues epic arranged with orchestral strings around Jones's superb organ playing, suggests "When the Levee Breaks" filtered through Igor Stravinsky or Bernard Herrmann; and you can't miss the echoes of "Trampled Under Foot" in the bass figures of "B. Fingers." The instrumental Zooma reinforces Jones's integral role in Zeppelin, his influential and still vital bass playing, and his...well, balls.

Personnel:
John Paul Jones - bass guitar, double bass, keyboards, guitars, electric mandola, Kyma
Pete Thomas - drums, percussion
Paul Leary - lead guitar
Trey Gunn - rhythm guitar, Warr guitar
Denny Fongheiser - djembe, drums

LINK: h!!p://www.megaupload.com/?d=ANMGZQ33
308MB

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Dr. JOHN - Gris Gris (@flac)

2008-11-07T10:36:00.002+01:00

Covered in a variegated spray of New Orleans Mardi Gras feathers and shiny voodoo baubles, Mac Rebennack's highly personal mythology was finally made real on this 1968 album. This was his first appearance made under the new guise of Dr. John Creaux, the Night Tripper. Before then, he'd been a pivotal figure on the Crescent City R&B circuit. Afterward, he became one of its most significant blues ambassadors. This album is a classic of the admittedly specialized psychedelic swamp-gumbo genre, boasting at least four tracks that have become cult favorites. "Gris-Gris Gumbo Ya-Ya," "Mama Roux," "Jump Sturdy," and "I Walk on Gilded Splinters" each delicately mix catchy choruses and weird spatial sound effects, with radical stereo separation, intensely croaking, close-quarter vocals from the doctor, pneumatic keyboard riffs, pinprick electric guitar, and booming Afro-Caribbean percussion.

LINK: h!!p://www.megaupload.com/?d=NOQXU18Z

Thanx to POOR!!!

FRANK ZAPPA - Trance-Fusion (@flac)

2008-11-05T18:02:00.004+01:00

"This is by far the best release since LATHER. And the sound quality is amazing, particularly for a Zappa CD. There is breadth, depth, "space" between this instruments, etc.. In fact, The Zappa Family Trust should task Mr. Ludwig with remastering all of the pre-1993 catalog, most of which sounds like its had the life sucked out of it by Mr. Stone's previous remastering efforts. Think I'm kidding? Just compare the depth/quality of sound on any vinyl Zappa album to that of the same release on CD and you'll see what I mean. The sound of those pre-1993 albums on CD is pretty awful.

Now on to the music. There is some truly diabolical string-mangling on this gem of a disc!! This is an excellent sequel to the "Shut Up N' Play Yer Guitar" and "Guitar" releases. Be forewarned, however, that 2 tracks (the first and final) feature Dweezil, NOT Frank as soloist (while there is a bit of noodling from Frank toward the end of "Chunga", its Dweezil's solo that is the focus of the piece). That said, sandwiched between those two bookends (which are pretty good themselves) are some moments of pure sonic delight. Check out "Ask Dr. Stupid", which features the Coliauta lineup from the late 70's: the solo is taken from a performance of "Easy Meat", and Vinnie's drumming turns the piece into a somewhat deranged permutation of a "cha-cha" while Frank "puts the eyebrows on it"!! Most of the other solos are from the 1988 and 1984 tours. As with the previous "Guitar"-oriented releases, its interesting to note the very different sounds of the various lineups represented, particularly in the drums. While Chad Wackerman is an amazing drummer, his sound on all of Zappa's releases always comes off as somewhat mechanical, particularly when contrasted with Vinnie's much more "organic" approach. Vinnie and Frank always seemed to have some sort of "mind meld" happening when Frank was soloing, with Vinnie somehow able to anticipate what Frank was about to play most of the time. That quality simply isn't there with Wackerman (or Bozzio, for that matter), giving the Coliauta lineup's output a slight edge over the others (in my opinion). Maybe we'll be fortunate enough to get an official release of some of Mr. Coliauta's live work with Jeff Beck from this past summer so we can find out if he's still the same type of musician that played with Frank so long ago.

Other highlights are "Light is All That Matters", "Bowling on Charen", and the title track. But its ALL good stuff! And its VERY HARD to find anyone else around these days who can hold a candle to Frank's sheer brilliance on guitar and his mastery of so many varied tones/moods (Jeff Beck and Nels Cline come to mind, but that's about it). So go out and get this thing, crank it up, and annoy the heck out of your neighbors!!

LINK: h!!p://www.megaupload.com/?d=PSR0XUEZ
437MB

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EDUARDO BORT - same (1974) Spain (@flac)

2008-11-03T09:24:00.002+01:00

Eduardo Bort is a Spanish guitarist who released his eponymous album in 1974. It mixes symphonic pieces with raging guitar and romantic interludes to make an album which rewards repeated plays. 'Thoughts' opens with good use of orchestra, including tubular bells, overlaid with synth swoops and a passionate vocal, making for an excellent introduction to the album. The nine minute 'Walking On The Grass' closes with a frenetic guitar solo, showing just what a good guitarist he is. 'Pictures Of Sadness' shows his other side, with a lyrical solo punctuating the riffs that hold the song together. 'Yann' features a magnificent guitar and mellotron duel, leading into the almost pastoral 'En Las Riberas Del Yann' which closes the album in a lush mix of strings and guitar. Although credited to Bort he only has a hand in composing four of the six tracks, but the overall writing blends in so that the whole album flows very well. It has lyrics that are split between English and Spanish, although to be honest you don't really notice too much when you are listening to the great music, and you can hear why this has been hailed as one of the best ever Spanish progressive albums.

LINK: h!!p://www.megaupload.com/?d=J0P5HOFM
253MB

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LED ZEPPELIN - The Definitive Box Set (2008) @flac

2008-11-01T09:47:00.004+01:00

LED ZEPPELIN
40th Anniversary
The Definitive Box Set (12CD)
Japanese Limited Edition, September 2008

Led Zeppelin The Definitive Box Set - 2008 Japanese exclusive strictly limited edition digitally remastered 12-disc SHM-CD album set (8 single CDs and 2 double sets), comprising the entire LP output from the legendary rockers, from the eponymous 1969 debut through to 1982's posthumous "Coda"; each disc is superbly presented in a mini LP-style card sleeve, housed in a deluxe metallic embossed box - sealed & stickered. Limited to 5000 copies!

LINKS IN COMMENTS!!! Thanx to Avax!!!
IMG + CUE + LOG + SCANS | 569:23 min | 4,1 GB

SANDROSE - same (APE)

2008-10-31T11:04:00.005+01:00

Beautiful flowing 1972 album by this mellow French progressive band featuring superb keyboard and guitar interplay and female vocals. In places sounds a bit like Julian's Treatment and Earth And Fire. Very rare on vinyl and one of the classic '70s Europe progressive rock albums.

The major attraction within the line-up no doubt is that of vocalist Rose Podwojny, who constantly balances between the raunchy approach of a Grace Slick and that of an authentic Jazz diva. Others have placed her voice in between that of Linda Hoyle and Julian’s Treatment singer Cathy Pruden. Based around the talented guitarist Jean-Pierre Alarcen, Sandrose rose out of the ashes of another French cult band called Eden Rose. Whilst mellotron and Hammond are to be found throughout the lengthy instrumental passages, most of the attention goes towards Rose Podwojny, who has often been compared to Dutch singer Jerney Kaagman, whilst from a musical perspective Sandrose was often compared to Earth & Fire, Kaagman’s band. To my ears, Rose’s voice sounds much more trained, with more vibrato and able to shine in many other musical styles, something we can’t say from the rather limited voice of Jerney Kaagman. Also, from the point of view that this concerns a French band, Rose’s prononciation of the English language is perfect. No doubt the highlight of this album has to be the unrivaled prowess of "Underground Session," which really contains every single element from the book of symphonic rock highlights. This track alone is worth the money of the entire album. It nicely alternates calm passages and more heavy outbursts in order to create the true identity of authentic prog.
The dreamy "Summer Is Yonder" could well be an outtake from Focus or Pulsar, once again not being obtrusive in any way and fully composing the arrangement in favour of Rose’s high pitched vocals here. Although the song has a slight medieval feel at times, it’s mainly the Akkerman-like guitar from Alarcen combined with the organ that delivers the Focus likeness. When Rose isn’t singing, the rest of the band most definitely prove that they are also outstanding musicians, leaning heavilly towards jazz and fusion as demonstrated during the rhythmic "Metakara," displaying the typical Hammond from the seventies. All in all, this still is a wonderful album to listen to even though it has been released more than thirty years ago. Some of the sounds may be dated but the way the compositions are made still vouch for great creativity. Chauvinistic as they are, the French rate this album as being one of the world’s top ten progressive albums of all time. I wouldn’t go as far as saying top ten but it most definitely merits a place in the world’s best 100 prog albums of all time, and that alone is a fantastic achievement, knowing there are thousands and thousands of albums out there whilst Sandrose only made this single debut.
Reviewed by John Bollenberg on progressiveworld.net

LINK: h!!p://www.megaupload.com/?d=UFJ330L3
216 MB

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FELA KUTI - Zombie (FLAC)

2008-10-30T16:24:00.003+01:00

"Zombie" is without a doubt Fela's most important political song, and probably the best synthesis of his composing strengths -- pulsating march-like grooves, funky backbeat rhythms, and great, catchy horn riffs. "Mr.Follow Follow" is not far behind, though it has more of a P. Funk vibe. Unlike the other Fela discs from this massive reissue project, "Zombie" does not couple two original LPs on one CD (what other Fela album could possibly stand up to this!), and instead offers two previously unreleased performances. This is essential music for anyone who considers themselves a fan of jazz, funk, African or international music.

LINK:
h!!p://www.megaupload.com/?d=7QG5O2LF
355MB

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LEB I SOL - Live in Macedonia (DVD)

2008-10-29T16:18:00.004+01:00

Nothing in the world sounds like the band Leb i Sol. Period. For 20 years—as long as the band existed—it created music that was dynamic, turbulent, complex and soulful. During that highly productive period the band made 12 recordings, numerous film soundtracks, music for theatre and ballet, and played at places starting from those you can’t find on maps to prestigious avenues, concert halls and stadiums. Most importantly, the band drew upon jazz, rock and traditional Macedonian music, and later it helped in the popularization of traditional music in the Balkans during a period when the genre called "world music" didn’t exist and when traditional music was thought to be un-cool. This filling of a void helped the band to achieve a perennial appeal among generations of music fans who continued to buy their records many years after the group had, silently and unofficially, split up.

While the band's music and its influences became increasingly clear, especially as it reflected the styles and genres that were popular during those 20 years, and the band itself became subject to many analyses, it was the special breed of characters forming this band that best explains its evolution and essence. After the band played its last show, on the 18th of December 1995 and well before the 2 CD Anthology was released in 1996 (for its 20th anniversary), its band members had already begun to pursue more or less successful solo careers, showing their different tastes and more importantly, their strong individuality.

That miracles can happen even in our lifetime is the band’s decision to celebrate its 30th anniversary by regrouping and setting off on a brief tour throughout the former YU republics. Before the announced tour began, they gave two performances at the antique theatres in Heraklea, Bitola and Ohrid, which were recorded for these releases. Prior to this live release, the band’s only live documents were Akusticna Trauma (Acoustic Trauma), an excellent live portrait of the band during its first several years, and the misfortunate Live in New York at CBGB’s. But the band was always better known and appreciated as a live act rather than as a record selling act. Leb i Sol made its reputation on location and reached its zenith when in 1992 the group had 4 consecutive sold-out performances at the exclusive Sava Centar in Belgrade.

But throughout those 10 years of retirement the band members remained in excellent shape, leading bands and projects of their own, and for them returning to this material is like McCartney going back revisiting the Beatles catalog. Since the early beginning they were recognized as masters of their instruments with distinct voices, a reputation well deserved as this DVD ably demonstrates.

The DVD also reveals the musicians' unflagging energy and passion, as they drive their music to new, soaring heights while taking the audience right along with them. Drummer Garo Tavitjan is the blood and bones of the music, playing with inhuman energy, variously shading the music with unusual timbres or driving it mad with powerful and complicated rhythms. Actually, he was the one who popularised uneven rhythms, thus making them one of the band’s trademarks. Keyboardist Dimushevski provides a rich tapestry of sounds for the band, with solos that often evoke another era. Bassist Bodan Arsovski is the anchor of the band. In his hands, the bass becomes more than a supporting instrument: it’s an instrument with a kaleidoscope of colors, textures, grooves and soloings. Stefanovski’s precise guitar playing gives the band focus, though along with more than customary restraint he displays plenty of inspired guitar fireworks.

The repertoire is closely following the tracklisting from the Anthology CD, starting from the band’s jazz-rock/fusion beginnings with "Aber Dojde Donke,“ “Devetka," and "Kako Ti Drago“ to the later and more commercial "Skopje," "Cukni Vo Drvo“ and standard pop=rock tunes like "Kao Kakao." But this is a DVD packed with highlights, and Leb i Sol revisits these tracks with the maturity you would expect of them. On some tracks they stick to the basic form; elsewhere they embark on lengthy improvisations.

The DVD is essential viewing for anyone interested in the band. The video and sound quality are both exceptional. With this disc the band proves that it is bigger than the sum of its parts.

DVD Track Listing: Aber Dojde Donke; Devetka; Nisam Tvoj; Akupunktura; Kako Ti Drago; Talasna Dužina; Dikijeva Igra; Ručni Rad; Kumova Slama; Skakavac; Kalabalak; Bistra Voda; Jovako Jovanke; Čuvam Noć od Budnih; Mamurni Ljudi; Kao Kako; Skopje; Čukni Vo Drvo; Uči Me Majko Karaj Me.

LINKS:
h!!p://www.megaupload.com/?d=EI90OEAJ
h!!p://www.megaupload.com/?d=00A2VOR2
h!!p://www.megaupload.com/?d=PDVMJO1N
h!!p://www.megaupload.com/?d=9GAWASKU
h!!p://www.megaupload.com/?d=PLAW755B
h!!p://www.megaupload.com/?d=OIW9NEWB
5 x 700MB + 1 x 321MB

SCANS link:
h!!p://www.megaupload.com/?d=DQZXB7F9

Enjoy!!!

Smak - same (@flac)

2008-10-28T08:41:00.005+01:00

SMAK was formed 1971 in Kragujevac, Serbia, by a guitar virtuoso Radomir Mihajlovic nicknamed "Tocak" (the Wheel). The first stable line-up was assembled in late 1974 including Slobodan Stojanovic (drums), Zoran Milanovic (bass), Boris Arandjelovic (vocals) and Lazar Ristovski (keyboards). During 1977-78 Ristovski was replaced by first Miki Petkovski and then by Tibor Levay on keyboards, while in the period 1979-81 Dado Topic (ex TIME, KORNI GRUPA) collaborated with SMAK as producer and occasional guest vocalist before the band broke-up in late 1981. The original line-up gathered again in 1986 with a new keyboardist Milan Djurdjevic, but after the release of one LP they split again. The third comeback of SMAK happened in 1992 with Ristovski again as a member, when they mostly played concerts in Serbia and issued a live album. Finally, in 1994 SMAK re-appeared again, this time along with Tocak and Stojanovic they added younger musicians: Dejan Stojanovic (second drum kit), Dejan Najdanovic (vocals), Vlado Samardzic (bass) and Milan Milosavljevic (guitar).

SMAK was celebrated for Tocak's virtuosity in guitar playing, modelled on J. Hendrix and J. Page style, and for interesting, if not always successful, fusion of hard rock, prog rock, jazz rock with strong blues backing, with Arandjelovic's falsetto vocal often used as an instrument rather than singing. "Ulazak u harem", a folk-inspired instrumental issued as hit-single in 1975, showcased Tocak as one of the guitar-heros of ex-Yugoslavian music scene of the 1970s, while albums "Crna dama" ("Black Lady") and "Stranice naseg vremena" ("The Pages of Our Time") were highly celebrated among prog fans and were even released in English versions for the Western market. Their reunion, from the second half of 1980s onward, turned the musical direction of the band into less-inspired mainstream hard rock, abandoning any prog elements. As a comparison, one can mention similarities in style with artists such as DEEP PURPLE, TASTE, TRAFFIC, DOOBIE BROTHERS, SANTANA, LEB I SOL. (Progarchives)

Studio Album, released in 1975

Track Listings
1. Perle (4:04)
2. Mracni mol (3:21)
3. Blues u parku (7:31)
4. Biska 2 (4:28)
5. Put od balona (Biska 20) (19:00)

Bonus tracks from Best of
6 - Satelit
7 - Ljudi nije fer
8 - Covece ti si mlad
9 - Ulazak u harem
10 - Zajdi, zajdi

Line-up/Musicians
- Radomir Mihajlovic Tocak / guitars
- Slobodan Stojanovic / drums
- Zoran Milanovic / bass
- Boris Arandjelovic / vocals
- Lazar Ristovski / keyboards

LINK: h!!p://www.megaupload.com/?d=4WY8C852

EAC - LOG - CUE - FLAC (separate) - SCANS

John Cale - The Island Years (@ape)

2008-10-26T15:26:00.003+01:00

Lou Reed has hogged the spotlight since the breakup of the legendary Velvet Underground, but his former bandmate John Cale has had a much more consistent solo career. Cale never scored a breakthrough hit like Reed's "Walk On the Wild Side," but this new two-CD collection of Cale's mid-'70s releases-including all of the Fear, Slow Dazzle, and Helen of Troy albums plus assorted unreleased rarities-is the perfect opportunity to reassess his influential merger of art-rock smarts, classical melodicism, theatrical drama, and punk-rock abandon. Cuts range from beautiful, lulling ballads such as "Buffalo Ballet" and "I Keep A Close Watch" to full-throttle sensory assaults like "Fear Is A Man's Best Friend" and an Elvis Presley cover that will make your blood run cold. J.D.

Excellent Double Disc Collection of his Three Studio Albums on Island ("Fear", "Slow Dazzle", "Helen of Troy") and the Spare Track "Mary Lou" from the "Guts" Compilation plus a Bevy of Bonus Tracks (B-sides and Previously Unreleased Gems) to Boot.

LINK: h!!p://www.megaupload.com/?d=19NF7K5F

THE VELVET UNDERGROUND - The Great Lost VU Album (@flac)

2008-10-22T12:55:00.003+02:00

Between May and October 1969, The Velvet Underground went many times at Record Plant Studio in NYC with engineer Gary Kellgren and amassed a number of tracks for a fourth Verve/MGM album, an album that was never released, even if a catalog number was reserved by MGM: SE-4641. These songs began to turn up in rough form on bootlegs in the mid-seventies, and were finally presented officially in remastered form in the mid-eighties on the collections of previously unreleased recordings VU and Another View. Five tracks - re-remastered and with some extra time - were also reissued in the 1995 Peel Slowly And See 5-CD box set.

The 14 cuts splitted between the two outtakes compilations, "The Great Lost Velvet Underground Album" remains actually unreleased. However it can be restored by extracting and compiling the tracks from the various sources which offers material from the 1969 MGM studio sessions.

You will find below the guidelines to two different editions. The first one 'Hi-Fi' is made from the remastered tracks released on the official records. The second one 'Lo-Fi' - for diehards only - is made of the original rough mixes from various bootleg releases.

1 Foggy Notion
2 Coney Island Steeplechase
3 Andy's Chest
4 I'm Sticking With You
5 She's My Best Friend
6 I Can't Stand It
7 Ocean
8 Ferryboat Bill
9 Rock And Roll
10 Ride Into The Sun
11 One Of These Days
12 I'm Gonna Move Right In
13 Real Good Time Together
14 Lisa Says

LINK:
h!!p://www.megaupload.com/?d=AASLK8FB

UFO - Live (1972) @flac

2008-10-19T13:14:00.002+02:00

LIVE captures the original line-up in-concert, and it's interesting to hear the band in their formative stages. Half of the six songs are amped up covers ... Full Description of classics, such as Eddie Cochran's "C'mon Everybody," Bo Diddley's "Who Do You Love," and Paul Butterfield's "Loving Cup."

Reissue of 1972 Decca release that featured Mick Bolton on guitar. Six tracks, including 'Who Do You Love', 'LovingCup' and 'C'mon Everybody'. Also features the original coverart. 1998 Repertoire release.

Before guitarist Michael Schenker joined UFO in 1974, the band was a hard rocking blues band, taking their cue from such established artists as Led Zeppelin and Johnny Winter. On early albums like their self-titled debut and FLYING, the group featured original guitarist Mick Bolton, whose blues feel was the exact opposite of his replacement's highly technical speed runs.

LINK: h!!p://www.megaupload.com/?d=9CHVAA0I

THE ALAN PARSONS PROJECT - Tales Of Mystery And Imagination/Edgar Alan Poe (DeLuxe Edition) 2CD (@FLAC)

2008-10-18T09:33:00.003+02:00

Album Description
2007 digitally remastered two CD Deluxe Edition of the debut album from the Alan Parsons Project. featuring the original 1976 mix of the album, the 1987 remix and eight previously unreleased bonus tracks! Recorded at Abbey Road in 1975 and released in 1976, the idea for the Project came from manager and writer Eric Woolfson, who saw his role as an auteur, bringing together some of the greatest talents in music to bring to life Poe’s sinister, gothic tales. Enlisting the white-hot production whiz-kid Alan Parsons, fresh from his work with Wings and Pink Floyd, the duo set about making dreams reality. The album remains a singular, compelling work and can be seen as a bridge between Pink Floyd’s Dark Side Of The Moon and Jeff Wayne’s War Of The Worlds.

Album Details
2007 Digitally Remastered Double CD Deluxe Edition of the Album Classic that Remastered by Alan Parsons Himself and Partner Eric Woolfson. This Special Package Includes the Remastered Original 1976 Edition, the 1987 Remix (Which Incorporated Dialogue by Orson Welles!) and Eight Previously Unreleased Tracks. Recorded at Abbey Road in 1975 and Released in 1976, the Idea for the Alan Parsons Project Came from Manager and Writer Eric Woolfson, who Saw his Role as an Auteur, Bringing Together Some of the Greatest Talents in Music to Bring to Life to Edgar Allan Poe’s Sinister, Gothic Tales. Woolfson Enlisted the White-hot Production Whiz-kid, Fresh from his Work with Wings and Pink Floyd, to Set About Making Dreams Reality. This Spectacular Debut Recording Remains a Singular, Compelling Rock Musical Work that was a Clearly Logical Step for Parsons to Take on his Own after the Accolades of "Dark Side of the Moon.

LINK: h!!p://www.megaupload.com/?d=L9URB90J

DEEP PURPLE - 3 albums (@flac)

2008-10-14T17:04:00.006+02:00

Deep Purple in Rock (also known as In Rock) is an album by English rock band Deep Purple, released in June 1970. It was their fourth studio album, and the first with the classic Mk II lineup. Deep Purple in Rock was their breakthrough album in Europe and would peak at #4 in the UK, remaining in the charts for months.

Fireball is a hard rock album by English rock band Deep Purple, released in 1971. It was their fifth studio album, and the second with the classic Mk II lineup. It was recorded at various times between September 1970 and June 1971. It would become the first of the band's three UK #1 albums.

Machine Head is the sixth Deep Purple studio album. It was recorded at the Grand Hotel Montreux, Switzerland in December 1971 with the Rolling Stones Mobile Studio, and released in March 1972.
The album is often cited as being very influential in the development of the heavy metal music genre. It is Deep Purple's most successful recording, topping the charts in several countries following its release. In 2001 Q magazine named it as one of the 50 Heaviest Albums of All Time.

IN ROCK - LINK:
h!!p://www.megaupload.com/?d=HYSO4CHJ

FIREBALL - LINK:
h!!p://www.megaupload.com/?d=OX69YD4A

MACHINE HEAD - LINK:
h!!p://www.megaupload.com/?d=4T5HCRYY

DANNY GATTON - 88 Elmira St.(@flac)

2008-10-14T10:26:00.003+02:00

A guitar player, friend of mine told me sometimes ago about Danny Gatton. I always had a crush on rocking lead guitars and never heard about Danny.
My friend came back later with '88 Elmira Street'. I remember the first time I listened to this album. Each song had this same effect on me. A great tight Fender sound but no specific big difference with the other 6-strings wizards I already knew, until...
Simply put, just let these songs unfold. Just let this guy take his first chorus or lead and all of sudden pure magic appears. You'll understand what I mean.
Danny Gatton guitar crawls up your spine and if you don't get goosebumps when listening, I think you'd better switch your interest on another instrument!
They're not so many artists out there whose skills transcend known ways of using a tool or playing an instrument. Don't get me wrong: Danny Gatton was much more than a gifted guy putting on his incredible act. He was a true artist, showing the world his deep love for music with a Telecaster.
I don't think it's worth to write more about him of what you can read on internet. G00gle the name. Learn about The Humbler and his too short life.
Danny Gatton was a living proof, if you still need one yet, that huge talent and fame are not obviously bound to get along. - Morcles

Links in comments!!!

Uploaded by MORCLES

THE JIMI HENDRIX EXPERIENCE - BOX SET (4 CD) @flac

2008-10-07T15:18:00.004+02:00

Engineer Eddie Kramer was in charge of the project. He is a familiarfigure as his posthumous Hendrix production credits go back to The Cry Of Love in 1971. The tracks sound terrific as he re-mastered the sound with modern equipment which gives the music a polished feel. He also presents the tracks in chronological order which is always welcome with
projects this extensive.

Disc one finds three unreleased tracks. “Title #3,”
“Taking Care Of Business,” and “Here He Comes” may not be of the
quality of Hendrix’ first album but they certainly present his musical
vision circa 1967. The gems of this first disc are alternate versions of
such classics as “Purple Haze,” “Foxey Lady,” and “Third Stone From
The Sun” which give a glimpse into the creative mind of Jimi Hendrix.

Disc two presents some excellent live tracks. “Fire” is taken from a 1968
concert at Clark University in Massachusetts. It is a frenetic version that
shows just how technically sound Hendrix was as a guitarist. “The Wind
Cries Mary,” from a 1967 Paris concert, shows Hendrix’s softer side as
he provides subtle and melodic improvisations. “Burning The Midnight
Lamp” from September 5, 1967, is just Hendrix squeezing every possible
sound from his guitar.

Disc three is dominated by alternate versions. It is nice to hear “Hear My
Train A Comin’” as a formative track as it was a concert staple. “Spanish
Castle” and “Room Full Of Mirrors” show subtle differences from the
recognized versions. Live versions of “Little Wing” and “Voodoo Child”
come complete with feedback and all sorts of distortion that only Hendrix
could produce on stage.

Disc four is a feast of unreleased material. “Country Blues,” at over eight
minutes, “Lover Man,” “Cherokee,” and “Slow Blues” all make their
debuts. Hendrix’ early producer, Chas Chandler, did not approve of Alan
Douglas’ changing Hendrix’s material and even taking writing credits
during the twenty years that he controlled Hendrix’s catalogue of music.
When Jimi’s family won back control in a court battle, Chandler turned
over a treasure trove of unreleased material to them. “In From The
Storm” and “Slow Blues” close out the set as they were recorded at the
Isle Of Wight Music Festival, August 30, 1970, just prior to Hendrix’s
death.

The Jimi Hendrix Experience Box Set is a valuable addition to the
Hendrix legacy. Not only does it expand the music that Hendrix left
behind but it also solidifies him as a genius of the guitar who forever
changed the use of that instrument and rock music. (D.B.)

Disc 1: h!!p://www.megaupload.com/?d=YNWJ4GG1
536MB

Disc 2: h!!p://www.megaupload.com/?d=LDXNXPWL
424MB

Disc 3: h!!p://www.megaupload.com/?d=64EZLKAX
412MB

Disc 4: h!!p://www.megaupload.com/?d=UYLNBV56
483MB

GREENSLADE - same (@flac)

2008-10-05T11:37:00.002+02:00

One of the most underrated prog-rock bands of the 1970s, Greenslade included former members of Colosseum and King Crimson, and they lived up to that impressive pedigree. On their debut album, they unveiled a dual-keyboard-charged sound powered ... Full Descriptionby ivory ticklers Dave Greenslade and Tony Lawson. While the band displayed an instrumental facility right in line with the emerging symphonic wing of prog, they were distinguished by two rarities in the genre: trace elements of R&B (perhaps the Colosseum connection) and lyrics that display an actual sense of humor. Great stuff!!!

Greenslade - Chalkhill

Link: h!!p://www.megaupload.com/?d=KJ7PQRTH

INTERMEZZO No 1

2008-10-03T09:12:00.002+02:00

FUNNY SIDE OF MUSIC

Hurra Torpedo - Total Eclipse of the Heart

NICK DRAKE - Pink Moon (1972) @flac

2008-10-02T10:49:00.001+02:00

Pink Moon is the sound of Nick Drake cracking up. That's not exactly true--some have long thought that his death by an overdose of an anti-depressant was an accident, and not suicide--but this album, recorded over two late nights, certainly sounds like a fever dream. Peter Buck of R.E.M. has called the album "Like an English version of (Robert Johnson's great blues) `Hellhound on My Trail.'" The lyrics to the title song read in their entirety: "Saw it written and I saw it say, pink moon is on its way. None of you will stand so tall, pink moon is gonna get ye all. And it's a pink moon." Aside from a splash of piano, the only instrumentation on this stark and spooky collection is Drake's eloquent acoustic guitar. J.M.

Link: h!!p://www.megaupload.com/?d=XE9WG3XZ

NICK DRAKE - Bryter Layter (1970) @flac

2008-10-02T10:47:00.001+02:00

The second album from Nick Drake came in 1970, and while not quite as melancholy as his debut, Five Leaves Left, there are certain brooding qualities that continued to propagate the Nick Drake mystique. Horns, flute, and strings arrangements lift such songs as "At the Chime of a City Clock" and "Hazy Jane I" and "II" out of the realm of sad, folk-guitar music into something jazzier and lighter, while the beautiful piano and simple guitar of "One of These Things First" laments what could have been without sounding like a song of despair. But two tracks featuring John Cale on various instruments (such as viola and harpsichord) have the dark fragility of "Pink Moon": the lovely "Fly" is a fragile apparition, and "Northern Sky" is a dreamy, brooding plea for long-lasting love. L.F.

Link: h!!p://www.megaupload.com/?d=U432TQVM

NICK DRAKE - Five Leaves left (1969) @flac

2008-10-02T10:29:00.004+02:00

There's not a single dud in the trilogy of albums that singer/songwriter Nick Drake released during his all-too-short career. And 1969's Five Leaves Left--his first album--is certainly no exception. Drake's sensitive guitar work and sensitive vocals are backed by the baroque sounds of a chamber string group, and the platter's lyrics show maturity well beyond the age of their 20-year-old creator. Sparser than its follow-up, the jazzy Bryter Layter, but less tortured than Drake's dark final chapter, Pink Moon, Five Leaves Left is a classic British folk disc. Songs like "River Man," "The Thoughts of Mary Jane," and "Day Is Done" are among Drake's finest moments. J.V.

Nick Drake - River Man

Link: h!!p://www.megaupload.com/?d=JRSQJPEE

BLOODROCK - same (1970) @flac

2008-10-01T14:35:00.003+02:00

First off....let me set the record straight about Fantastic piece of architecture"......It is about a superb architect who builds a structure that recieves phenomenol acclaim.....he does NOT walk into the parlor and fall dead immediately afterwards....it actually talks about how the structure....in comparison to the architects own life...suffers the ravages of life...and existence....as the architect ages and becomes frail.....eventually lying down and dying in the parlor of his masterpiece.....so does the masterpiece die.....the love that the architect had for his creation...died with him....or something along that line.....and NO..it isnt party music.....it's think music.

There are some excellent rockers on this album..and some nice ballads as well.

Bloodrock - Fatback

Link: h!!p://www.megaupload.com/?d=1D5R2CWP

IGRA STAKLENIH PERLI - same (1979) @flac

2008-10-01T09:43:00.002+02:00

IGRA STAKLENIH PERLI, the ultimate ex-Yugoslavian space/psychedelic rock band, was formed in 1976 in Belgrade, Serbia, having been named after the famous novel by Hermann Hesse - "Das Glasperlenspiel" (The Glass Beads Game). The original line-up consisted of: Zoran Lakic (keyboards), Vojkan Rakic (guitar), Predrag Vukovic (percussions) and Drasko Nikodijevic (bass & vocals). In late 1977 Dragan Soc joined the band as drummer while they played live concerts at Belgrade clubs, preparing to start recording their first album, which they did in mid 1978. Upon its release the next year, the band gained reputation for elaborated visual stage effects and light show directed by their friend Goran Cvetic. Nikodijevic was replaced by rock journalist Slobodan Trbojevic on bass prior to recording the second album in late 1979. After its release in 1980 the guitarist Ivan Pajevic replaced Rakic and Nikodijevic was back on bass, but shortly the band ceased to exist. Nikodijevic and Rakic later formed post-punk/neo-psych White Rabbit Band but in late 1980s moved to USA where they continued under the name White Rabbit Cult. The remaining members together with German publisher Thomas Werner released at the beginning of 1990s three albums of ISP old live material and album outtakes for the German-based label Kalemegdan Disk.

IGRA STAKLENIH PERLI labelled their music style as "stream of consciousness music". Their both studio albums, the first eponymous "Igra Staklenih Perli" from 1979 and the second "Vrt Svetlosti" from 1980, are pretty similar in sound and resemble the style from early PINK FLOYD and HAWKWIND psychedelia, to German kraut-rock (notably CAN and TANGERINE DREAM), to HILLAGE-era GONG among many. Interesting music effort especially considering the fact it was the new wave boom period when they tried to pursue a quite different music philosophy.(PA)

IGRA STAKLENIH PERLI - Voyage Into The Blue

Link: h!!p://www.megaupload.com/?d=POOS4OHX

ROBIN TROWER - Long Misty Days & In City Dreams (@flac)

2008-09-30T14:10:00.003+02:00

I've been a Robin Trower fan since hearing the first note he recorded with Procol Harum. I kind of lost track of him after his outing with Jack Bruce but have recently begun to acquire on CD what I have on album.
BGO is pairing up some of the old Trower albums in order of issue. Unlike the last set (For Earth Below and Robin Trower Live), the two albums here complement one another in such a way that it seems they should have been issued together.
I like Trower's hard-rocking songs, there are plenty on offer here: Same Rain Falls, Hold Me, Pride, Further On Up The Road, and Caledonia. But I also like his more experimental and innovative side: Somebody Calling, Smile, Love's Gonna Bring You Round, and In City Dreams. Guitar lovers will thrill to Trower's heroics and James Dewar's matchless voice gives depth and soul to his music in much the same way that Jack Bruce's vocals expressed the soul of Cream.
There is also a softer angle to some of Trower's songs which sometimes works very well, as on Sweet Wine of Love and Little Girl, though Dewar's voice is usually at it's best on the grittier songs.
Long Misty Days and In City Dreams feature some of the best of Robin Trower's early solo work. If you have been with Trower all along, you already know that. But if you are a recent convert. this is one of the key recordings you should add to your collection. BGO has put together a pairing that really works and is worth every penny of the price. (K.H.)

Link: h!!p://www.megaupload.com/?d=7H66DS5M

ROBIN TROWER - For Earth Below & Live (@flac)

2008-09-30T09:59:00.003+02:00

The critical album on this release is "Live." Anyone curious to hear how good an electric guitar can possibly sound should purchase this CD. Trower deals in both overdriven and clean sounds with his Fender Strat, and his use of effects like the wah-wah pedal and the Uni-Vibe, while sometimes drawing unfair and shallow comparisons to Hendrix, is unparallelled in grace and style.
When Trower unleashes a sustained feedback note (i.e. near the end of "Daydream"), I want it to last thirty minutes. But he's also capable of dramatic bursts and flurries of notes, punctuated by bends and whammy bar workouts ... as Robert Fripp himself noted, Robin Trower has mastered the "bends and wobbles."
During the last solo of "Lady Love," Trower plays a pinch harmonic that is THE sweetest single note I ever heard, anywhere.
Jimmy Dewar lays down a great bass groove throughout - and his voice is quite powerful. He has a rich, soulful vibrato that compliments the music nicely.
Bill Lordan is a good, jazzy drummer, although occasionally his cymbals do clutter the sound, especially on the live album. But let's face it, the reason we are all listening to this is to hear what Robin is gonna play next :)

Link: h!!p://www.megaupload.com/?d=43WF8R57

ROBIN TROWER - Twice Removed From Yesterday & Bridge Of Sighs (@flac)

2008-09-30T08:36:00.005+02:00

Robin Trower's debut & second solo album after departing the confines of Procol Harem (best known for the song "A Whiter Shade of Pale") is a celebration of his freedom from the group and explorations into the distorted blues stylings of the late Jimi Hendrix. Accused by many of ripping off Jimi's sound, Robin would say that in order to make any progress as a modern guitarist, one would have to go through Jimi. The palate of songs is a wide one, varying from the slow tempo and ethereal feel of "Daydream", "Hannah", and "Ballerina", to more upbeat electric R&B stylings of "Man of the World", and "I Can't Stand It". There are some attempts at progress in the title track, but listening to them 35 years later, you can definitely date the sound to its time period, similar to some of Steve Miller's work of this time. If you are a Hendrix fan, and are new to Robin's music, I would recommend to listen the "Bridge of Sighs" album first.

Robin Trower - Bridge of Sighs

Link: h!!p://www.megaupload.com/?d=HNOG8BO9

RUSH - Hemispheres (1978) @flac

2008-09-28T20:38:00.002+02:00

Rush were just on the brink of being embraced by the album rock mainstream when they recorded Hemispheres. Already wildly popular with a certain corner of the intellectual crowd, thanks in part to drummer Neil Peart's Ayn Rand obsession, this CD marked a turning point for the Canadian trio. Hemispheres explores the political, social economic, and sci-fi themes prevalent on their early work, continuing the saga of "Cygnus" from A Farewell To Kings. Rush was fond of writing in movements, almost orchestrally, rather than the typical verse/chorus/verse/chorus structure, and Hemispheres has the usual opus-like compositions that perfectly displayed their chops. The CD features time changes that you'd need a calculator to crack, impossible guitar arpeggios from Alex Lifeson, and Geddy Lee's low end bass rumblings and high end vocal shriekings. Rush's lofty lyrics sometimes bordered on the ridiculous and, if for no other reason, Hemispheres deserves props for Lee's ability to sing the line, "There is unrest in the forest..." (from "Trees") while keeping a straight face. (S.G.)

Link: h!!p://www.megaupload.com/?d=7MVS95P3

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