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.
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...
"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. 
"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.
"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? 
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.
"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.
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. 
"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. 
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. 
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.
"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. 
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.
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).
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.
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.
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."
Album Description
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.
