04-03-07 - 11-03-07

Saturday, March 10, 2007

Temple Gates / Mark Enbatta

MARK "VET" ENBATTA / HIDDEN PASSIONS

1. Everybody Will Have To Pay - 2. When It's Fast - 3. Then It's Sad Blues -
4. Like So Many Did Before - 5. Between The Words - 6. Forgotten Years - 7. I Can't Believe -
8. Hidden Passions - 9. Love On The Bayou - 10. No Reason To Cry - 11. One Way Track -
12. Northern Eden

For those who like Vietnam Veterans here are the personal album of Mark Enbatta and a side project of Lucas Trouble.

THE TEMPLE GATES / TEMPLE GATES

1. Psychic Country Party - 2. The Day - 3. Frustration - 4. The Rite -
5. Too Many Lies - 6. Like In My Dreams - 7. Escape From Real -
8. Sweet Baby - 9. Velvet Illusions - 10. The Shiny Room - 11. Silver And Gold

Unfortunately no info for these.

If anyone could help I would really appreciate it !

Download Links :

http://rapidshare.com/files/9383913/Mark_Vet_Enbatta.rar
http://rapidshare.com/files/9379439/Temple_Gates_1987.rar

The Chi-Lites - 1971 - (For God's Sake) Give More Power To The People

One of the most popular smooth soul groups of the early '70s didn't hail from Philadelphia or Memphis, the two cities known for sweet, string-laden soul. Instead, the Chi-Lites were from Chicago, a town better known for its gritty urban blues and driving RB. Led by vocalist Eugene Record, the Chi-Lites had a lush, creamy sound distinguished by their four-part harmonies and layered productions. During the early '70s, they racked up 11 Top Ten RB singles, ranging from the romantic ballads "Have You Seen Her" and "Oh Girl" to protest songs like "(For God's Sake) Give More Power to the People" and "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)." All the songs featured Record's warm, pleading tenor and falsetto, and the majority of the group's hits were written by Record, often in collaboration with other songwriters like Barbara Acklin.

Tracks
1. Yes I'm Ready (If I Don't Get To Go)
2. We Are Neighbors
3. I Want To Pay You Back (For Loving Me)
4. Have You Seen Her
5. Give More Power To The People, (For God's Sake)
6. Love Uprising
7. Trouble's A Comin'
8. You Got Me Walkin'
9. What Do I Wish For


The Reviews

1
This is the album that made them huge stars, with the huge hit "Have You Seen Her", which has to rank very high in my favorite songs of all time. The b-side to that single is also here, "Yes I'm Ready", and I couldn't think of a better song to put as the b-side to that soul classic. Overall, i'm not into it quite as much as the next few albums, but there is plenty to enjoy here. It is a unique album in that much of it revolves around social commentary of the day, like the Sly & the Family Stone-esque title track. Also, "I Want To Pay You Back" should've been a way bigger hit for the group.
They have been sampled by artists such as Beyonce, Groove Armada and Jay Z. UB40 and The Jam rank among the groups that have covered the Chi-Lites. This is an absolute must for anyone interested in the origins of modern day sampling and the history of Funk/Disco.

2

Though they boasted one of the sweetest voices in soul music with Eugene Record, the Chi-Lites broke away from that format -- thankfully, only slightly -- for 1971's (For God's Sake) Give More Power to the People. Influenced by the growing social consciousness of soul music during the early '70s (especially Sly & the Family Stone and the solo debut of fellow Chicagoan Curtis Mayfield), Record wrote a pair of songs (the title track and "We Are Neighbors") evoking not only deep frustration but also a plea for hope and unity that challenging times demanded. It certainly didn't hurt that both were monster productions with raw, aggressive synthesizers, intense lead vocals, and some of the strongest, loudest harmonizing ever heard on a soul record. Doubly ironic and doubly fortunate too that (For God's Sake) Give More Power to the People also featured a pair of the Chi-Lites' sweetest soul ballads, "Have You Seen Her?" and "I Want to Pay You Back," plus the excellent strollers "Love Uprising" and "You Got Me Walkin'." The Chi-Lites weren't exactly album artists, but (For God's Sake) Give More Power to the People was a powerful example of early-'70s soul and the best record they ever released.

3

The record industry was a strange game back in 1969-71. The Chi-Lites had been kicking around for a few years, doing good but not necessarily great Chicago-styled soul before they signed to Brunswick (a label whose 45 labels are among my favorite memories of early adolescence). Their debut album, ?Give It Away,? was a solid effort, though not necessarily memorable. The next year, 1970, the band got funkier, and a new album was rushed out to include singles like ?I Like Your Lovin? (Do You Like Mine?).? It included seven tracks from the album before it, which I guess nobody noticed since the first one didn?t sell much, anyway. Then came 1971, and masterpieces all over the place. ?Have You Seen Her?? ?We Are Neighbors.? And the magnificent ?(For God?s Sake) Give More Power to the People.? The Chi-Lites kept going after that, but never again achieved such a magnificent combination of progressive production, expansive melodies, and exquisite vocal harmonies.

Download Link :

chi_lites_-__for_god_s_sake__give_more_power_to_the_people.rar

The Sunshine Company - The Best Of

Reviewer:

"paulkristi" (Mount Prospect, Illinois United States)

I am giving this C.D 5 stars because I really like the group. They had a ton of talent however the odds were stacked against them. Just like The Peanut Butter Conspiracy of the same time, they were warriors in the San Francisco Vs. L.A. sound (both aforemetioned groups from L.A). Unfortunatly at that particular time there was a flood of girl/guy folk rock harmony groups, just think, The Mojo Men,The vejatables,The Great Society,WE 5, The Neighborhood Childr'en,The Stone Poneys,Eternitys Children, Smith,Spanky And Our Gang, not to mention The Mamas and The Papas and The Jefferson Airplane. Where was there room for any more? Well, all of these groups really did have their own sounds but the genre was a bit crowded. Like The Peanut Butter Conspiracy, The Sunshine Company suffered from lack of promotion from their record companies, it wasn't that these groups lacked talent, what they lacked was exposer. Double that with the countless number others groups doing the same thing, theres only one thing left to say: "One or two hit wonders.

"Remember: The Peanut Butter Conspiracy is spreading and The Sunshine Company is Rising!!!!!!!

more info here

Download Link :

http://rapidshare.com/files/20316283/theSunshineCompany.rar

Radio Caroline

Radio Caroline North.

Radio Caroline : The Largest Commercial Radio Station in Broadcasting History : Provided a Vehicle for The 'Beat Boom' : And Brought much That was Good to the The World of Music. Radio Caroline Became Britain's Launching Pad for what became known as 'The British invasion'.

Within one year of broadcasting Radio Caroline boasted upwards of 20 million listeners.During The Period 1964 -1968 Radio Caroline had offices in London, New York, and Toronto. Several other 'Pirate' Radio Stations Followed in Caroline's footsteps, around the coast of Britain.Radio Caroline Sponsored many Charities; and through Advertising Brought Prosperity to British companies, and by playing non stop pop music helped bring recognition to many of the bands we know and love today.

Radio Caroline. The Brainchild of an eccentric Irishman, Rhonan O'Rahly came out of the Kennedy Era; and exemplified the 'Hippie' and 'Free Love' movement by supporting 'The Spirit of Free Enterprise'.When Radio Caroline Came on the air, The Circus had come to town and everything turned from Black and white; to all the colors of a rainbow.

Radio Caroline Gave Birth to much of what has become known as Psychedelic and Progressive music from the late 60s and early 70s by opening up the music industry and making way for new ideas.

Radio Caroline had attitude, Life, and real Spirit. Something which the monopoly of the British Boredom Corporation have never managed to accomplish.Below are Ten Mock Shows Which Chronologically Represent The Charts on Radio Caroline in The Mid To Late 1960s. The Shows Are in A typical Caroline Setting with Jingles, Adverts and News Broadcasts. All the songs are from the Top Twenty and were recorded from my personal Vinyl Collection.

Jingle and Advert Clusters were cut and spliced for the Job in order to bring you This Concise Set of Ten 80 minute Caroline Shows.

First set 1966 Vols 1-3.

Radio_Caroline_1966_Chris_s_mock_charts_show_vol_one_80_minute_file.rar
Radio_caroline_1966_Chris_s_mock_charts_show_vol_two_80_minute_file.rar
Radio_Caroline_1966_Chris_s_mock_charts_show_vol_three_80_minute_file.rar

Second set. 1967 Vols 4-7.

Radio_Caroline_1967_Chris_s_mock_charts_show_vol_four_80_minute_file.rar
Radio_Caroline_1967_Chris_s_mock_charts_show_vol_five_80_minute_file.rar
Radio_Caroline_1967_Chris_s_mock_charts_show_vol_six_80_minute_file.rar
Radio_Caroline_1967_Chris_s_mock_charts_show_vol_seven_80_minute_file.rar

Third set. 1968 Vols. 8-10

Radio_Caroline_1968_Chris_s_mock_charts_show_vol_eight_80_minute_file.rar
Radio_Caroline_1968_Chris_s_mock_charts_show_vol_nine_80_minute_file.rar
Radio_Caroline_1968_Chris_s_mock_charts_show_vol_ten_80_minute_file.rar

Bonus Program. This is a three Hour Show Tentatively Titled.
The Continuing Sound of Caroline North.

Radio_Caroline_continuing_sound_of_caroline_north_188minutes_Chris_s_mock_show.rar


Posted by : OffshorechriS

Insect Trust - Insect Trust (1968)

Tracklist

01 The skin game

02 Miss fun city

03 World war i song

04 Special rider blues

05 Foggy river bridge fly

06 Been here and gone so soon

07 Declaration of independence

08 Walking on nails

09 Brighter than day

10 Mountain song

11 Going home

This late-60s quintet from NYC epitomized the broad sense of musical experimentation of the era, pulling incongruent forms together, and through a combination of optimism and naivete, managing to make them work. An unlikely assemblage of musicians, the Trust featured guitarist Bill Barth (electric, acoustic, bottleneck slide, etc.), Bob Palmer (alto sax, clarinet, recorders - who years later would become rock critic Robert Palmer), Trevor Koehler (baritone sax, piccolo, sewer drum, thumb piano, upright bass), Luke Faust (banjo, banjo-guitar, & vocals) and singer Nancy Jeffries - a powerful vocalist with a strong folk-rock sensibility. Rounding out this lineup were top-notch session players on bass, drums, rhythm guitar, and some uncredited strings. Their sound is all over the map, but generally combines elements of 60's psychedelic rock, jugband, and blues, with a strong injection of folk. Tracks like "Mountain Song" and "World War I Song" tend to showcase the jugband element, while pieces like "The Skin Game" with its maelstrom of slide guitars and wailing saxes typifies their psychedelic rock perspective. A cover of "Special Rider Blues" and a Barth/Jeffries composition "Going Home" are solid blues. "Been Here and Gone So Soon" presents their folkier side, (perhaps with a touch of Appalachia). A cover of Gabor Szabo's "Walking on Nails" is another highlight and a good showcase for Jeffries' voice, but the album's strongest piece is "Miss Fun City", with its introspective banjo intro, droning electric rhythm guitar with saxes soloing over the top - and another splendid showcase for Jeffries' voice; it combines all the best elements of their sound in equal proportion.

An obscure classic ... a wonderfull album ...

Download Link

http://www.sendspace.com/file/rfkcry
or
http://rapidshare.com/Insect_Trust_.rar

Friday, March 09, 2007

David Crosby - If I Could Only Remember My Name

Studio album by David Crosby

Released February 22, 1971
Recorded 1970-1971
Genre Rock

Length 37:04
Label Atlantic

Tracklist

1. Music Is Love
2. Cowboy Movie

3. Tamalpais High (At About 3)

4. Laughing

5. What Are Their Names

6. Traction In The Rain

7. Song With No Words (Tree With No Leaves)

8. Orleans

9. I'd Swear There Was Somebody Here

If I Could Only Remember My Name is David Crosby's first solo album, and one of four high-profile albums released by each partner of Crosby, Stills, Nash & Young in the wake of their chart-topping Déjà Vu album of 1970. It has been in print continuously since its initial release.

A large grouping of big-name rock stars circa 1970 appear on the record, including members of Grateful Dead, Jefferson Airplane, and Santana. Three of the nine tracks feature vocals without any lyric, and the lyrics of a fourth, "Orléans," consist entirely of a roll call of famous French cathedrals. The song "Cowboy Movie" is Crosby's lengthy shaggy dog story regarding the personalities of CSNY, and another track, "Laughing," received an airing by Crosby accompanied only with his guitar on CSNY's 1970 tour. A live recording of "Laughing" would be added to the 1992 reissue of the document of that tour, Four Way Street.

Aside from "Cowboy Movie," an ambience of ethereal abstraction permeates the record, very much a continuance of qualities exhibited on previous Crosby work both with The Byrds and CSN, such as "Everybody Has Been Burned" from Younger Than Yesterday or "Guinnevere" from the CSN debut. The lyrics parlay concerns typical to the era, "What Are Their Names" the notion of a ruling, invisible elite in America, and "Laughing" the elusiveness of enlightenment and the inherent wisdom of the child. Of the quartet, Crosby along with Nash echoed the Woodstock Nation ethos most strongly in their work. After this record, Crosby would wait eighteen years before releasing his next solo album.

The album peaked at #12 on the Billboard Top Pop Albums chart, and "Music Is Love," released as a single, peaked at #95 on the Billboard Hot 100. It was released for compact disc on October 25, 1990, having been digitally remastered from the original master tapes, using the equipment and techniques of the day, by original engineer Stephen Barncard. A double-disc reissue appeared on November 6, 2006, with an audio disc remastered in HDCD, including a bonus track "Kids and Dogs," and a second DVD Audio disc of the original album, with bonus track, remixed for 5.1 digital Surround Sound. Despite having been critically panned the year of its release (such as Village Voice rock critic Robert Christgau's notorious review showing a "D-" ), the album has undergone a revival of interest among fans of underground rock and folk such as Devendra Banhart and groups associated with the Elephant Six Collective. Attention garnered by the most recent reissue and remaster places the album in the same influential company as the more baroque works of Nick Drake and Fairport Convention.

LINEUP

David Crosby, vocals, guitars

Graham Nash, guitar, vocals

Neil Young, guitars, vocals, bass, congas, vibraphone

Jerry Garcia, guitars, pedal steel guitar, vocal

Phil Lesh, bass, vocal

Mickey Hart, drums

Bill Kreutzmann, drums, percussion

Jorma Kaukonen, guitars

Joni Mitchell, vocals

Laura Allen, autoharp, vocal

Grace Slick, vocal

David Freiberg, vocal

Paul Kantner, vocal

Jack Casady, bass

Gregg Rolie, piano

Michael Shrieve, drums

[edit] Additional personnel

Stephen Barncard, engineer, digital remastering producer

Ellen Burke, assistant engineer

Gary Burden, art direction

Henry Diltz, photography

Elliot Roberts & Ronald Stone, management

David Geffen, direction

Bill Dooley, digital mastering engineer

I guess all know this gem.... for those who don't just grab ...don't ask. One of the most amazing record ever.... in my opinion

The Link

david_crosby_-_if_i_could_only_remember_my_name.rar

Enjoy

Al Green - 1972 - I'm Still In Love With You

Al Green was the first great soul singer in the 70's.

This album definitely sets the standard of what we call today Smooth Soul. Al Green is a timeless testamony of love and happiness. Yes Al we're still in love with your music.

Tracks
1 I'm Still in Love with You (3:16)
2 I'm Glad You're Mine (2:59)
3 Love and Happiness (5:03)
4 What a Wonderful Thing Love Is (3:38)
5 Simply Beautiful (4:15)
6 Oh, Pretty Woman (3:25)
7 For the Good Times (6:32)
8 Look What You Done for Me (3:06)
9 One of These Good Old Days (3:17)

The Reviews

1
Still in Love with You is a complete album. The type of album that you can play straight through, in order, time after time. Each songs flows into the next creating the sense of a man giving a melodic testimony concerning his innermost feelings about love, life, longing, pain, sadness melancholy and redemption. Not a wasted note, sound or breath is to be found on the entire album.
Of all of the instruments used in the making of this album, Al's voice is the greatest of them. It can be heard best on "Simply Beautiful". It is simple, controlled and seductive. He purposely teases with a falsetto that's as light as a feather yet as powerful as a tiger. All within his control at the same time. He sings as if he's whispering in his lady's ear - the moans at the end are potent enough to produce babies themselves.
You cannot be a music fan or collector of any kind without owning this album. Masterpiece is an understatement..this is what the soul afterlife must be like.

2
There are few perfect records in the world, but Al Green's I'M STILL IN LOVE WITH YOU may be one of them. Backed by producer Willie Mitchell's phenomenal stable of musicians, including drummer Al Jackson and the three Hodges brothers, Green reached deep into his soul to pull out one of the finest recordings of his (and, arguably, anyone else's) career. The opening title track is classic Green, with staccato punctuation from the Memphis Horns and Jackson's relaxed, syncopated drum pattern setting the stage for the singer's luxurious, silk-voiced expressions of devotion. The drums and slinky organ riff that kick off "So Glad You're Mine" are irresistible, while the inventive chord progression and infectious call and response section help make "Love And Happiness" one of the singer's finest moments. Continuing his tradition of turning unlikely outside material into gorgeous R&B, Green works his soulful magic on Kris Kristofferson's ballad "For The Good Times" and Roy Orbison's "Pretty Woman." The high point comes with "Simply Beautiful," an aptly titled tune that finds Green weaving his ethereal falsetto in and around a hypnotic groove with a grace that justifies his reputation as the king of R&B crooners. In truth, I'M STILL IN LOVE WITH YOU is almost too good to believe. Not incidentally, it set the standard for the next 20-plus years of R&B music.

3
Al Green's I'm Still In Love With You, undoubtedly one of all-time favorite albums and more importantly, my so-called "desert island disc". In other words, if I were forced to spend eternity listening to one album, I would, without hesitation, select Green's 1972 classic to be my musical companion until the end of days. but what makes I'm Still In Love With You truly great -- and the reason why it'd be my desert island disc if I was ever forced to choose one -- is that there's something here for every mood. Green's cover of "Pretty Woman" draws on the innate funk sunken into Orbison's original, turning the classic rocker into a slinky, soulful groover. If you're feeling melancholy, you can sink into the quiet, morose atmosphere of "For the Good Times". Tap into either "Love and Happiness" or "What a Wonderful Thing Love Is" for the musical equivalent of an opiate dose -- an embracing sensation of well being that can't be shaken. There's something incredibly affirming about "One of These Good Old Days" -- a hopeful quality embedded not just in Green's vocals, but also in the blend of strings and horns that fuels this mid-tempo burner. And there is nothing more sublime that I've experienced than just closing my eyes to "Simply Beautiful" -- a title perfectly embodied in the song's unhurried guitar melody and Green's relaxed vocals. Most of all, Green never leaves you alone -- that intimacy I spoke about before just eases under your skin and is a companion throughout. You can listen to the album alone but you never feel alone with it.

Download Link

al_green_72__I_m_Still_in_Love_With_You.rar

Thursday, March 08, 2007

Mushroom Gods

Mushroom Gods

One of the best British underground neo psychedelic progressive rock groups of the late 90's to come out of Leeds, perhaps too underground for their own good as they never signed a major record deal but had a large following of spore’s around the country. Extensive touring gave them energy and a freak-out in their live sound quite unlike their peers always unfashionable and always unapologetic for it. Influenced by a real mix of bands; Hawkwind, Amon Duule 2, Can, Tangerine Dream, Jimi Hendrix, Big Black, Stooges, Velvet Underground, Pere Ubu, Soft Machine, Captain Beefheart and of course early Pink Floyd they where born in the wrong era but still die hard hippies, die hard sadly being too close to the truth as the drummer Richard Freek sadly died of alcohol abuse in 2002, following which Fast Elbert became a recluse and Mathew became a town planner which brought an untimely end to the band. Though lost Johnny and CJD still perform under the name Ejection.

Anyway here’s the entire back catalogue, bear with it and you’ll be rewarded with a thousand virgins serving up chip butties on a bed of cannabis leaves in Avalon.

Good Luck

The Mushroom Gods are:
Lost Johnny – keyboard, vocals
Dick Freek – drums
Mathew Corbett – sitar, flute, effects
Fast Elbert Kram – guitar
CJD – Bass, vocals


Cossack

01 - Cerebal Vibrater
02 - Alien
03 - Dweeb
04 - Life is a Knife
05 - Lord Have Mercy
06 - Metal In Your Foot
07 - Warp Speed
08 - Mars on Mars
09 - Night Rider (Live)


Degauss

01 - Degauss
02 - Battlestar
03 - Blinky
04 - Davross
05 - Yip Yip Indians
06 - Vine Weavil
07 - Suzzi'S Got Some
08 - Sunburst
09 - Marching Powder
10 - Nostrobe Nostromo
11 - Cull of the Munchkins
12 - Cossack
13 - Black Hornet's
14 - Meanwood


Eagle Has Landed
(Live)

01 - Anyone a Hippy
02 - Sultan
03 - Mongolian Outburst
04 - Cull of the Munchkins


Farger

01 - Mongolian Outburst
02 - Sunburst
03 - Suma
04 - Marajuana
05 - River
06 - Wormholes
07 - Johnny is a Druglord
08 - Rasputin
09 - Wormholes (Single edit)


Meanwood

01 - Hal Start
02 - GHBees - Lou Reed
03 - Top Cat
04 - Wormholes - Jonny is a Druglord
05 - Marajuana
06 - Surfin the Alien
07 - Speed
08 - Nile Song - Whats the Buzz
09 - Hal Stop 99

The Monsters - Hide and Seek

Lurking behind the mausoleum in the moss-strewn cemetery, a hypnotic rhythm can be heard at the strike of midnight. Pulsating sexual tones, throbbing and tempting you to a trance like state while begging you to join the dance of the dead.

Who are these cryptic crypt dwellers? Alas, the story unfolds!

Formed in 1986 in Switzerland and comprised of guitar, bass and what is affectionately known as a clone drum (which means that there are two drummers with one and a half drums hitting the same bass drum from each side). The Monsters create a sound like a cross between The Seeds coming off a bad drunk or The Cramps on speedballs congealed with a meaner Reverend Horton Heat. Fuzz drenched overdose and dirty bookstore trashy rock and roll/garage/psychobilly. Rumour has it that The Monsters are in high rotation in Hell.

The Beat-man (Vocals, Guitar) is the just short of genius brainchild behind the rich trash, sleaze, grind, mayhem he dishes out with ease. Highly addictive like being spoon-fed heaps of brown sugar.

This cd is comprised of tracks taken from Youth Against Nature (1995), Birds Eat Martians (1998) and I See Dead People (2002) and bonus unreleased tracks. A great introduction to The Monsters hypnotizing, hip gyrating, grind and sleaze infested mind fuck rock and roll.

By Christopher Duda (SugarBuzz Toronto)

SugarBuzz Magazine

Download Link :

http://rapidshare.com/files/19927878/monsters.rar

Midsommar (Sweden) - 2 albums

Ultrarare excellent Swedish heavy prog/psych with good reputation! Similar to Nature, November, San Michaels, Epizootic and Nebulosa.

Huvudmusiker:

Dan Pihl Orgel, piano

Hans Olsson Bas, sång

Lennart Andrén Gitarr, sång

Peder Sundahl Trummor

Reg Ward Saxofon, flöjt

Weyne Feldt Sång, slagverk

Midsommar - Midsommar (1970)

Sida A:
1. Illusionen Av En Färdigskolad Akademiker
2. Sedan Urminnes Tider
3. Killen Och Bostadsbristen
4. Balladen Om Belfast
5. Naturen Kämpar

Sida B:
1. Reklamdjungeln
2. Morfars Visa
3. TV-Låten
4. James Lindberg Hughes
5. Den Okände Soldaten

Midsommar - Belsebub Är Lös… (1972)

Sida A:
1. Belsebub Är Lös
2. På En Strand
3. Drömmens Värld
4. Jag Vill...

Sida B:
1. Midsommar
2. Staden
3. Fantomen
4. Till Morsan

I prefer their first than their second lp,

Can't find any info in english, anyone????

http://www.progg.se/band.asp?ID=126

The links
midsommar_-_midsommar__vinyl_1970_.rar
1971_belsebub_aer_loes__256_.rar

Enjoy

The Prisoners - 1982 - A Taste Of Pink

First up are the Prisoners andtheir 1982 album that launched the band, pressed up originally on their own Own-Up label. The first Prisoners album I ever bought was actually their second LP, Thewizermizerdemelza, but after loving that so much I immediately set out to find the first one. Thinner in sound that any of their subsequent albums, this one captures all the energy and youthfulness of a band finding their sound and is perhaps their most "mod" in a strict sense.

Graham Day's throaty vocals and slashing guitar play perfectly off of James Taylor's organ work, especially on instro songs like "Creepy Crawlies" and "Come To The Mushroom." Hints of psych emerge in the title track and "Coming Home" is a garage rock classic. Also really cool is the hip-shakin' "Say Your Prayers," dominated by a simple yet effective '60s-style beat and riff.
2003 - Alan Wright

Listen to the Prisoners

Download Here :

http://rapidshare.com/files/19916517/prisoners.rar

Wednesday, March 07, 2007

Epitaph - 1974 - Outside The Law

And a Classic Rock essential.

Arguably the best Epitaph album, !!! Every track here is a standout, featuring the powerful and brilliant dual harmony lead guitar attack of guitarists Cliff Jackson and Klaus Walz.

Recorded in Chicago during their 1974 tour of the USA, this Anglo-German act were a dual guitar led progressive/hard rockin' outfit, with English vocals. Their third album on which the guitars take centre stage, twist and turning, licks interwoven into one fret-filled frenzy!

The Group

Cliff Jackson - lead guitar, acoustic guitar,vocals

Klaus Walz - lead guitar

Bernd Kolbe - bass, mellotron, vocals

Achim Wielert - drums, percussion

A
1. Reflexion
2. Woman
3. Big City
4. In Your Eyes

B
1. Outside The Law
2. Tequila Shuffle
3. Fresh Air


Recording Data

Record at Omega Studio Chicago November 1974
Produced by EPITAPH
Guest Musicians
Fred Kaz (Piano)
Billy Shaw (Organ)
All written by Cliff Jackson
Except B-2 by Bernd Kolbe

The Reviews

1
I bought this album when I was kid for a buck from the cutout bin because I thought the cover looked cool. Needless to say even back then I was blown away by the music on Outside The Law. Now into my forties this is a welcome reissue on cd. Great guitar work, solid songwriting(a mixture of classic rock, progressive rock with a lot of melody thrown in) and the total efforts of a band creating their own masterpiece make for a great buy. There probably aren't alot of people who have heard this cd but if you want to add a classic seventies rock cd to your collection then pick this baby up. I already own Epitaph/Stop, Look and Listen. They are good efforts but Outside The Law was the release where Epitaph shined the most. Pick it up!

2
Epitaph's "Outside the Law" is one of the most profound rock albums of its time. I first ran across this album in 1977 under the Billigsgate label. The guitar work is phenominal. The title track is truly unmatched by the groups later works and its masterful guitar rifts can transport the listener literally Outside the Law! The some tracks on this album reveal an almost German Beatles aura. It is surprising that tunes like "Woman" and "Big City" never made US airplay. I highly recommend this album to anyone who is still stuck in the late 60's and early 70's or desires to be.

3
The seventies was a very healthy time for rock bands and in my opinion there would be hardy any undiscovered gems out there that might be discovered that could be equal to the many classic acts that are now well aware to the fans of that genre. The competition was strong and most of the bands played with a conviction and clarity that much of todays bands lack in an abundance. Epitaph were a German band with a British vocalist, to help break the English and American markets I can only assume, and they produced some very good hard rock music but failed to make any impact on the rock world, at least at mainstream level. Though Outside The Law is a decent album Epitaph had their obvious short comings. While the guitar work on the album is essential and similar of Thin Lizzy, like the Nightlife album (released during the same year as this recording) but with more bite and a more sonic pace, and a little boogie like The Allman Brothers. These guys could write good tunes, there is no denying that but I can only guess that record label interference and poor management never helped matters. Soon after they finished this album their record label Billingsgate went bust and left the band high and dry and without any money for their efforts. With a little hint of psyche and a splash of prog Outside The Law is an excellent hard rock album.


Download Link :
epitaph_-_1974_-_outside_the_law.rar

The Count Bishops - 1996 - Speedball Plus 11

July '75 and a band called CHROME were sculling around the third rate pub circuit long before Mr Rotten and Co. had pissed in their first ash tray. Ted Carroll looked at the Melody Maker gig guide(erama), pushed his glasses back up his nose and decided that with a name like that they had to be the first band on CHISWICK RECORDS. A week later, accompanied by diminutive partner, Roger Armstrong, he slunk into a seedy pub in Highbury and was confronted by four mean looking characters playing Chuck Berry riffs as if their lives depended on it. To the right, chewing gum and looking like he would eat your cat was ZENON HIEROWSKY; (later de Fleur) by any other name THE COUNT BISHOPS had arrived. Maniac American Mike Spencer inveigled his way into the operation several weeks later, sacked most of the band, brought JOHNNY GUTTAR over from the States on the promise of a vast record deal (CHISWICK RECORDS I ask you?) and gave birth to THE (original) COUNT BISHOPS. After one disastrous recording session, where the bass player couldn't even play "Walkin' The Dog", they went into Pathway Studios (8 tracks and no air) in August '75 and in about 7 hours laid down 13 blistering rock and roll tracks from which, in November of that year emerged the first release on CHISWICK, THE COUNT BISHOPS SPEEDBALL E.P.

It didn't exactly set the world on fire, but through the vast Rock On Empire of two market stalls and few sympathetic dealers it managed to shift its initial pressing of 1,000 copies in a surprising short space of time.

Not long after the band drifted away from CHISWICK, for a while to a small Dutch label called Dynamite for which they recorded Taking It Easy/Train Train. CHISWICK picked up the rights for this, flipped it to make Train Train the A side and released it as their fifth single. In the meantime Mike Spencer had left the band in an incident involving an unfriendly plate glass window. The four piece band that had recorded Train Train allowed an album of what were essentially demos to escape in Holland and went on to lay down backing tracks for what was to become the first 'official' COUNT BISHOPS album.

At this point singer DAVE TICE was drafted by drummer and fellow Australian PAUL BALBI to complete the five piece line up that recorded "THE COUNT BISHOPS" album. Dave overdubbed his vocals on the already recorded backing tracks and the album came out in July '77. The single Baby Your Wrong/stay Free had already been pulled in April of that year.

During the rest of '77 and the early part of '78 the band gigged extensively building up a strong personal following despite being fairly unfashionable in the face of the punk publicity onslaught. In the Spring of '78 they recorded some live material at the Roundhouse for a projected live CHISWICK album featuring 6 different CHISWICK acts. Although the projected album never got off the ground THE BISHOPS set was so good that it warranted an album of its own. 'LIVE BISHOPS' was released later that summer in 10"and 12"form with a name abbreviation to simply THE BISHOPS and a further personal change, PAT MCMULLAN replacing original bass player Steve Lewins. On the back of the album they toured with Motorhead equalling themselves more than adequately in front of the braying heavy metal fanatics with their red hot rock and roll.

In April '78 the Sam & Dave classic "I Take What I Want" was unleashed to excellent radio play but slightly disappointing sales. The blistering "I Want Candy" came out in September as the first release through the EMI deal with CHISWICK, and though the sales were encouraging this time and the band made their first Top of The Pops appearance, the lack of radio action could not sustain the record to give it the chart placing it deserved.

And so into '79 with a lot of road work behind them, two critically acclaimed albums (and rightly so) one single that got the play but not the sales and one that got the initial sales but not the play (not to mention one bona fide classic in Train Train).

Three weeks ago the BISHOPS completed the album that they had been working on since early '78. Two days later ZENON DE FLEUR crashed his DB6 into a tree and died in hospital one week later. Despite the tragic loss, the band decided to continue as doubtless ZEN would have wished. Ironically, this looks like the one to break them.

CROSSCUTS will be out at the beginning of May with MR JONES lifted as the single, and if hard work and commitment still mean anything then this album deserves to make it, for these boys have paid their dues several times over.

The original Speedball EP featured just four tracks, including the similarly superlative "Teenage Letter," a performance which sounds like the Flamin' Groovies if they really were on fire. The eleven extras round up a mass of material which never saw release during the band's own lifetime, but packs a similarly psychotic visceral kick.

Download Link :

http://rapidshare.com/files/19783783/countbishops.rar

Farmyard -Same (New Zealand 1970)

Progressive outfit. countryish rock, flute, jazzy and funky moments... quite interesting

Line-Up:
Rick White (Rhythm Guitar / Vocals)
Tom Swainson (Drums)
Milton Parker (Lead Guitar)
Andy Stevens (Saxophone)
Paul Curtis (Bass Guitar)

Farmyard were a Wellington group who were around only for a short time from 1970 to 1971. Rick White, previously of the Relics and Tom Thumb, started with the group but was later replaced by Bernard Lee.
Their first single for Polydor in 1970 was "Learnin' 'bout Living"/"Da Woirks". It was successful enough to gain entry in to the 1971 Loxene Gold Disk Awards. A self-titled album was also released and came in a plastic bag with a poster. A second single "Nothing's Happening Here"/"Me, The Dog, Ma And Dear Ol' Dad" also came out in 1970 and was included on their second album called "Back To Fronting" released in 1971. Their third and last single was "Which Way Confusion Part 1"/"Which Way Confusion Part 2", taken from their first album and appeared during 1971.
Both of their albums were repackaged in 1991 into a double album called "Looking For A Place" on the Little Wing label. That album appears below. After Farmyard disbanded, Tom Swainson joined Wellington underground band Arkastra in February 1972, and Redeye in 1976.
From http://www.sergent.com.au/farmyard.html

@320
farmyard_-_1970_-_same.rar

any more info?

Enjoy

Essra Mohawk - Primordial Lovers MM

Essra Mohawk - Primordial Lovers MM
@256

Certain great lost works of art, no matter how buried or obscured they may become, exude such inert brilliance and creative intensity that we’re eventually compelled to seek them out, dust them off, and again make them a part of our lives.

In just such a spirit, Rhino Handmade has created Essra Mohawk’s Primordial Lovers MM, an expanded, year-2000 (hence the "MM" in the title), 22-track collection containing both of Mohawk's long out-of-print second and third albums.


Released in 1970, Primordial Lovers, Essra Mohawk's second album, was written and recorded when she was 21 years old. It was released in the very same year as Joni Mitchell released Ladies Of The Canyon, Laura Nyro released Christmas And The Beads Of Sweat and Neil Young released After The Goldrush, and is the creative, equal to each of those. However, it was, it must be fairly said, probably a far more demanding first-time listen for folks in 1970 than each of those classics. It should also be noted that Primordial Lovers was cited in a 1977 Rolling Stone review as one of "the 25 all-time best albums."

If Alanis Morissette, Liz Phair or Fiona Apple had been able to record an album thirty years ago, it would almost certainly have contained the themes, attitudes and insights first explored by Essra Mohawk. Primordial Lovers was, though freeform and jazz-tinged in its presentation, perhaps the first album to ever openly embody what is now referred to as "grrrrl power."

Four years later, in 1974, Mohawk recorded and released her third album, the eponymous Essra Mohawk. Both Primordial Lovers and Essra Mohawk are collected together for the first time ever on CD on our tastefully appointed Primordial Lovers MM compilation. Each has been remastered from the original 2-track vault masters. We’ve filled out the collection with both of Mohawk's non-LP Reprise 45-RPM single B-sides. All of the tracks, except one, are, of course, in STEREO. The one MONO track (for which no STEREO master existed) is "Jabberwock Song" which was MONO on its original Reprise single. The 24-page booklet includes Mohawk's recollections on the making of these recordings as well as all of the lyrics for all of the tracks.

Primordial Lovers MM is available as an individually numbered limited edition of 2,500 copies.

Essra_Mohawk.part1.rar
Essra_Mohawk.part2.rar

Tuesday, March 06, 2007

The Psyclone Rangers ! - 1995 - The Devil May Care

Deal
Ain't Goin' Down
Firenze
Tilt-A-Whirl
Boyo
The Awe Song
Why the Hell Did I Die?
I'm Straight
Dejesus
Nazi Mother
Dr. Softness
Mono Town [*]

Psyclone Rangers are a wild bunch from Pennsylvania led by vocalist Jonathan Valania and guitarist Scott Dantzer. Their postures, halfway between freaks a` la Butthole Surfers and cowpunks a` la Gun Club, are wed to twisted, psychotic punk-rock. The band offers lyrics centered more upon feeling than culture. Again, the music is post-punk garage band raucousness as played from the garage at Graceland, but a few more songs branch out into more experimental angles. And while the music isn't as fueled as the pure pop and pop culture on Feel Nice, the effort is still rock & roll at its best and most well-crafted.

Download Link :

http://rapidshare.com/files/19742074/PsycloneRangers.rar

Blue Mountain Eagle - 1970 - Blue Mountain Eagle

Blue_Mountain_Eagle-_Blue_Mountain_Eagle.rar

Some of the best psych/country rock I have heard...these guys really know how to establish that good old '60's feeling.

Allmusic review:
You'd half expect this supergroup's self-titled debut album — recorded at Wally Heider's recording studios in L.A. with producer Bill Halverson (Crosby, Stills & Nash, Freddie King) — to have made a bigger splash. Unfortunately, after landing in record store bins in the spring of 1970, Blue Mountain Eagle failed to generate much interest among the audience it was intended for. The album really doesn't have a bad track (though many are largely unremarkable) and fans of bands like Buffalo Springfield, the Byrds, and the Flying Burrito Brothers — not to mention to occasional heavy-handed vibe of bands like Steppenwolf — are encouraged to seek out a copy of this long out-of-print LP (it's remained unavailable on CD). Each member of the group gets his own turn on lead vocals. The leadoff track, Joey Newman's "Love Is Here," kicks off with a nice fuzz guitar and soaring vocals, with Newman and Bob Jones trading blistering country-rock licks. "Yellow's Dream" sounds like something you'd expect to hear from Three Dog Night. Shortly after the release of this album, in May 1970, bassist Randy Fuller left the group to join Dewey Martin. Atlantic CEO (then Atco president) Ahmet Ertegun (who was reportedly a fan of Fuller's lone songwriting contribution, "Sweet Mama") tried to persuade Fuller to sign a solo deal and write songs for other Atlantic-related projects, but Fuller declined Ertegun's invitation. The rest of the band continued recording — there are rumors of enough material for a second album — but broke up soon thereafter, and their surviving statement as a band quickly vanished without further notice. As of 2002, Blue Mountain Eagle remains unavailable on CD.

V.A. - Beat Express serie (Op Art 10",1999-2004)

Vol.1 - Brabant

Side 1
1 The Chums - She'll Marry Me

2 The Sound Specials - I Wasn't Satisfied

3 The Spec's - What's Going On With Me?

4 The Losers - Give Me Time

5 The Counsellors - I'll Be Your Man

Side 2

1 The Comets - Big Boss Man

2 The Phantoms - After Tomorrow

3 The Heralds - I Wish I Was Strong
4 The Spiders - I'm In Love Again!

5 4PK - Down And Out

Vol.2 - Amsterdam

Side 1
1 The Mokum Beat Five - Apologize
2 The Insect - Be Good And Go
3 The Triffits - Monkey Business
4 Trix & The Paramounts - Doe Maar Net Zoals Ik
5 Johnny & His Cellar Rockers - Why

Side 2
1 Linda Van Dyck With Boo & The Booboos - Stengun
2 The Sparklings - Now It's Your Turn To Cry
3 Hunters With Peggy March - Too Long Away
4 Double Dutch - Double Cross
5 Roek Williams & The Fighting Cats - You Walked Away
6 The Outsiders - Thinking About Today

Vol.3 - Kennemerland

Side 1
1 The Selfkick - Gosh! I'm Your Woman, Not Your Wife!
2 The Bintangs - Please Do Listen
3 The Hangmen - Hey, Hey, We're The Hangmen
4 The Clarks - Spanish Fly
5 The Lazy Bones - I'm Driftin'

Side 2

1 Flux - Come On Kakatoe
2 The United Five - Go Go Mo Jo
3 Hamlets - It's Autumn
4 The Black Knights - Little Girl
5 Rob Hoeke - Jolita
6 The Lazy Bones - Big Boss Man

Vol.4 - Utrecht

Side 1
1 The Mods - Baby Please Don't Go
2 The Rhythms - Everytime
3 Don Mercedes & The Improvers - (Willie And The) Hand Jive
4 St. John & The Crew - I'm A Man
5 The Mods - Don't Bring Me Down
6 The Driftin' Five - Hard-Headed Baby

Side 2
1 The Jets - Worker In The Night
2 The Rhythms - Go With Him
3 St. John & The Crew - You Belong To Me
4 The Mods - Brown Paper Sack
5 Wo?w - Love Is Gone
6 The Goldfingers - Poupee De Cire, Poupee De Son

Vol.5 - Westland

Side 1
1 The Inn-Sect - Let Me Tell You About The Things I Need
2 The Kwyet - No Time For Tears
3 The Groovy's - That's My Trouble Now
4 The Ripchords - Cry
5 The Competitors - Long Tall Shorty

Side 2
1 Groep Reza - From Home
2 The Buddies - I Miss You
3 The Inn-Sect - Walking In The Rain
4 Groep Reza - It's A Shame
5 The Groovy's - Stop Get A Ticket

Vol.6 - Limburg

Side 1
1 The Entertainers - Little Girl
2 The Entertainers - Down Home Girl
3 The Entertainers - It's You
4 The Entertainers - Crazy Miss Daisy
5 The Entertainers - Searching
6 The Entertainers - I'm Sorry Girl

Side 2
1 The Skope - Be Mine Again
2 The Skope - From
3 The Skope - Stop Quarreling Now
4 The Sharons - All Of The Time
5 The Interpreters - Any Time

Vol.7 - Zaandam

Side 1
1 John Hatton & The Devotions - I'm Coming Home
2 John Hatton & The Devotions - It's A Lie
3 The Coopers - Didn't I
4 The Coopers - Not A Bit
5 Names & Faces - You're An Old Leaf
6 Names & Faces - Keep Smiling

Side 2
1 The Teckels - Iko Iko
2 The Teckels - Save Our Souls
3 The Coopers - Leave This Man Alone
4 John Hatton & The Devotions - To You My Love
5 John Hatton & The Devotions - I Should Be Ashamed
6 John Hatton & The Devotions - I'm Gonna Stay

Vol.8 - Groningen

Side 1
1 Nicky & The Shouts - Don't Be A Fool
2 Nicky & The Shouts - It's Time
3 Nicky & The Shouts - Tears Inside
4 Nicky & The Shouts - Guilty Man
5 Nicky & The Shouts - Think
6 Nicky & The Shouts - Every Time A New Surprise

Side 2
1 The Tykes - Double Crossin' Time
2 The Tykes - Hey Girl
3 The Tykes - Rosalee
4 The Tykes - Rock-A-Beatin' Boogie
5 The Tykes - Let's Dance
6 The Tykes - Green Suzy

Vol.9 - Overijssel

Side 1
1 The Gamblers - Dead. . .
2 The Gamblers - Fighting And Crying
3 The Gamblers - Sinner's Confession
4 The Gamblers - Don't Worry 'Bout Me
5 The Humbugs - A Little Bit Time
6 The Humbugs - Go On Home, Little Girl

Side 2
1 The White Comets - I Say Yeah!
2 The Meklight Sisters - Tired Of Waiting
3 The White Comets - Tell Me Baby Why
4 The White Comets - Pretty Little Girl
5 Honest Men - Every Night And Day
6 Honest Men - But Tomorrow

Vol.10 - Noordkop

Side 1

1 The Marks - Green Sleeves

2 The Marks - Now She Cries

3 The Marks - Out Of My Mind

4 The Marks - High Heel Sneakers

5 The Marks - I'll Never Do

6 The Marks - Come On Baby

Side 2

1 The Peps - I Found Out

2 The Peps - Foolish Day

3 The Typhoons - One Lost Love

4 The Typhoons - Why Should I Be Angry

5 The Alleycats - You Went Away

6 The Alleycats - All The Things

Vol.11 - Limburg #2

Side 1

1 The Flying Condors - Kom Van Dat Dak Af

2 The Flying Condors - Chip Chip

3 The Flying Condors - Bei Mi Bist Du Schon

4 The Flying Condors - For Jeane

5 The Rockin' Shadows - Any Time

6 The Rockin' Shadows - The Night

Side 2

1 The Rolling Beats - Sweeter Than You

2 The Rolling Beats - Don't Ask Me Why

3 Flashcall - Crying All Day

4 Flashcall - Prove It

5 Snakes Group - Growing Wiser

6 Snakes Group - This Is My Land

Vol.12 - Den Haag

Side 1

1 Groep 1850 - Mother No-Head

2 Pee White & The Magic Strangers - I'm A King Bee

3 The Shane - Lady Bountiful

4 The Key - I See Your Image
5 Chapter II - Seven Dimes

6 Mack - All My Hope Is Gone

Side 2

1 The Scarlets - Now I Know

2 The Alligators - I'm On The Run

3 Jenny & The Rascals - That's A Man's Way

4 The Black Albinos - Shakin' All Over
5 The Time Breakers - Don't Throw It All Away

6 Q65 - You're The V

Vol.13 [Amsterdam II]

Side 1

1 A B & C - He...Psst

2 The Whiskers - Shakin' All Over

3 Penny Wise - Silver Girl

4 The Marquees - Call My Name

5 Trix & The Paramounts - So In Love

6 De Maskers - Inside Looking Out

7 The Outsiders - Do You Feel Alright

Side 2

1 Met & Zonder - Now I Know

2 The Lords - Day After Day

3 The Insect - Pitch Me Out

4 The Outsiders - I Don't Care

5 Midnatt Fyran - When You're Lonesome

6 Sharks & Me - Buses

7 The Outsiders - Happyville

http://rapidshare.com/files/19548726/va_-_beat_express_vol_1_-_Brabant.rar

http://rapidshare.com/files/19555952/va_-_Beat_express_vol_2_-_Amsterdam.rar

http://rapidshare.com/files/19650708/va_-_beat_express_vol_3_-_Kennemerland.rar
http://rapidshare.com/files/19666158/va_-_Beat_express_vol_4_-_Uthrech.rar
http://rapidshare.com/files/19669306/va_-_Beat_Express_vol_5_-_Westland.rar
http://rapidshare.com/files/19672401/va_-_Beat_express_vol_6_-_Linburg.rar
http://rapidshare.com/files/19675184/va_-_beat_express_vol_7_-_Zaandam.rar

http://rapidshare.com/files/19678722/va_-_beat_express_vol_8_-_Groningen.rar

http://rapidshare.com/files/19685460/va_-_beat_express_vol_9_-_Overijssel.rar

http://rapidshare.com/files/19688777/va_-_beat_express_vol_10_-_noord_holland.rar

http://rapidshare.com/files/19692620/va_-_beat_express_vol_11_-_limburg_2.rar

http://rapidshare.com/files/19700649/va_-_beat_express_vol_12_-_den_haag.rar

http://rapidshare.com/files/19700157/va_-_beat_express_vol_13_-_amsterdam_2.rar

Puff - Puff US 69

MGM SE 4622 Hippie pop @192

1. Dead Thoughts of Alfred
2. Rainy Day
3. Vacuum
4. Walk upon the Water
5. Who Do You Think You Are
6. Of Not Being Able to Go to Sleep
7. When I Wake up in the Morning
8. Trees
9. It's My Way
10. I Sure Need You
11. Go With You

12. Changes

David Ryan Bass, Vocals
Puff Main Performer
Robert H. Henderson Drums, Vocals
Jim Mandell Flute, Vocals, Organ, Piano
Vin Campisi Guitar
Alan Lorber Producer

Enjoy

puff.rar

V.A. - Can't Stop It - The Australian Post Punk 1978-1982

CAN'T STOP IT! AUSTRALIAN POST-PUNK 1978-82 collects crucial and underheard tracks from a variety of innovative Australian groups.A long overdue compilation of Australia's incredible post-punk history. This is a fantastically inventive and dynamic time in Australian music history, a time when Australia stepped out of the shadow of overseas influence and asserted its ownmusical identity. All of the bands on 'Can't Stop It' released their music independently, either themselves or through the handful of visionary labels of the time such as Au-go-go, Missing Link or Innocent Records.

va_-_can_t_stop_it_-_australian_post-punk_78-82.rar

Monday, March 05, 2007

The Love Depression (Venezuela) - 1968 - The Love Depression

The Love Depression (Venezuela) - 1968 - The Love Depression
@320

Tracklist :
01. Gonna Ride (3:00)
02. High Way Child (3:02)
03. When A Man Loves A Woman (3:27)
04. Kansas City (4:57)
05. If You Need Me (2:31)
06. Toad (4:05)
07. Stone Free (3:34)
08. Crossroads (4:28)
09. Whiter Shade (3:54)
10. 51st Anniversary (3:14)
11. I'm Sorry (3:18)
12. Sweet Soul Music (1:56)

Review :
And the unearthing of various psychedelic-era obscurities continues. In this case, the chosen representatives -- reflecting turn of the century interest in a comparatively little-known Latin American '60s scene -- were from Venezuela; a teenage trio signed for a three-album contract that only recorded the one in 1968. The sparse liner notes indicate that it was pretty much the band's standard set, and as such, reveals that they were essentially a cover group with a fondness for soul -- the sole original, "Gonna Ride," kicks things off. It's actually a surprisingly blasting number once it hits the chorus, guitarist Alvaro Falcon going certifiably crazy via overdubs (in interesting contrast, the band's also good at simply cutting out fully for dramatic pauses). Bassist/singer Jesus Toro's slight accent tinges an otherwise standard-enough rock/blues delivery of the time, while the whole song ends on a wonderfully bemusing let-the-tape-slow-down note. After that, it's a reasonably standard selection in terms of musicians to reinterpret, though with admittedly sometimes intriguing song choices as representatives. For instance, though Jimi Hendrix was clearly an obvious influence on the group, tackling "Highway Child," "51st Anniversary," and "Stone Free" instead of "Purple Haze" and "Foxy Lady" showed more originality then than Lenny Kravitz now. Similarly, trying out Cream's notorious example of proto-arena-wank, "Toad" is clearly either inspired or flat-out nuts, right down to drummer Richard Rumaitre's over-the-top Ginger Baker impression. Not everything is a surprise -- there's the Leiber & Stoller standard "Kansas City," Procol Harum's "Whiter Shade of Pale," Robert Johnson-via-Cream's "Crossroads," and so forth. But sometimes, the juxtapositions are surprisingly inspired -- if "When a Man Loves a Woman" won't supplant Percy Sledge's take, credit to Toro for trying his best, and to the band as a whole for balancing implied heft with just enough restraint.
~ by Ned Raggett [AMG]

Enjoy !!!

Sunday, March 04, 2007

Rare Bird - 1970 - As Your Mind Flies By

This is something else. After the lighter touch of the debut album, Rare Bird sounds like a real prog rock band the 2nd time around. The riff on "Hammerhead" is a monster. The production is monumental. The sound is full of drama and dynamics, and lead singer Steve Gould sounds like he really means it this time. Maybe not so much grandeur as their contemporaries ELP, but looking back, Rare Bird is absolutely the most interesting of the two.

A most essential prog rock album regardless of time and age.

And still no guitars, if Steve Gould's bass guitar does not count...


Line-up

Mark Ashron / drums, vocals - Graham Field / organ, keyboards- Steve Gould / lead vocals, bass guitar- Dave Kaffinetti / electric piano, keyboards

Tracks
1. What you want to know (5:59)
2. Down on the floor (2:41)
3. Hammerhead (3:31)
4. I'm thinking (5:40)
5. Flight (19:39)
- part 1. As your mind flies by
- part 2. Vacuum
- part 3. New York
- part 4. Central Park

The Reviews

1
Rare Bird's second album "As Your Mind Flies By" turned out to be their classic release. It's stuffed with a great 70's atmosphere and flawless songwriting. All the 5 tracks on the album are impressivly strong. "What You Want to Know" and "I'm Thinking" are melodic, organ-driven, early 70's progressive rock at its best. The arrangements have lots of cool, twisted and varied organ-sounds and the vocals are great. The rest of side one is made up of the short, baroque-influenced "Down on the Floor" and the great, heavy-progressive "Hammerhead". The second side consists of the 20-minute "Flight". This is one of those tracks that will make any fan of 70's progressive rock cry of joy. The first part of it is quite dramatic and classical-influenced, then it goes into a great jamming part with a choir and excellent duels between the organ playing of Graham Field and the twisted el-piano of Dave Kaffinetti. The two last parts of the track are energetic and heavy with the most perfect organ-sounds you can imagine. With no doubt one of the best progressive rock albums from 1970.

2
Second album for RARE BIRD marking a wonderful contribution to the progressive rock genre. Without a question fans of organ and keyboard driven prog rock will love the music of RARE BIRD. Their arrangements although centred around the keyboard work of David Kaffinetti offers some great drumming and bass interplay. Steve Gould’s melodramatic vocals are a tad bit raw but I think fit the music perfectly and give it a nice degree of grit. Prog heads will love the side long 20 min long track "Flight" an ambitious four-movement track which surprisingly does not overshadow side 1 which is littered as well with 4 fantastic tracks. For me the sound of RARE BIRD is a scientific cross of URIAH HEEP, T2 and ELP. "As You Mind Flies By" is pretty much a masterpiece and is an essential recording

3

This is a wonderful album that is build around the excellent duo-keyboardwork from Graham Field and David Kaffinetti. The shorter songs alternates from romantic to bombastic featuring powerful vocals (warm, melancholic, dramatic) and great play on the Hammond organ ("I'm thinking" is the Hammond in its full glory!) , electric piano and harpsichord ("Down on the floor"). The absolute highlight on this album is the 'magnum opus' "Flight" (at about 20 minutes), divided in four pieces. Part One contains propulsive interplay between drums and organ, Part Two has exciting duo-keyboardwork (swirling organplay), Part Three delivers a psychedelic organ (like early PINK FLOYD) and in Part Four is the focus on slow and sumptuous Hammond organ play (including excerps from RAVEL's "Bolero"), the vocals have a slightly hysterial undetone but fits perfect to the atmosphere.

Download Link (256@+covers)

rare_bird__1970___as_your_mind_flies_by.rar

Fortune Teller - 1968 - Inner-City Scream

Fortune Teller - 1968 - Inner-City Scream
(re-released in the late 1970's)

01 Couldn't Run Away
02 Til The Morning Comes
03 Thin Line
04 Looking Glass World
05 Stay For A While
06 It's Gonna Be Alright
07 For You
08 Where I Belong
09 Times In My Life
10 Inner City Scream


FORTUNE TELLER (Baltimore, MD)

"Inner-City Scream" 1978 (R.M.T. Studios 4956)

Raw 70s garage rock with a rough urban edge as hinted by the title; obvious influence from late 60s Stones but with the macho posturing replaced by a bleak blue collar outlook that gives it a realistic presence, not unlike the rootsier tracks on Rayne. Minimalist and concise, devoid of any hippie dreams, very appealing in its honesty. Imagine the guys in Clap after a week of hard factory shifts, or Boa's older Viet Vet brothers. Killer 60s garage-psych moves on "Looking Glass World" is a highpoint with fuzz-lead and bass runs straight out of "Psychedelic Disaster Whirl"; a couple of tracks show a more sensitive melodic side that works well too. A mysterious "1968" date on the sleeve and label had people thinking the LP was from the late 60s, an indication of its timeless nature. May appeal to fans of 70s punk/DIY. Originals all through I think. Judging from this and the George Brigman LP, Baltimore was a pretty heavy place in the late 1970s. [PL]
~~~
This album exists in a time warp. It’s from the midst of the first punk era, but sounds genuinely 60s garage the way no neo-garage band ever did. The fuzz guitars are everpresent, and the songs are pure garage pop and garage rock, rocking hard without ever sounding remotely “hard rock.” The sound is as cheap as can be, which only accentuates the coolness of the fuzz. Despite some awkward singing, there are a lot of catchy melodies here, and I can imagine that Baltimorians who discovered “Nuggets” in the late 70s went nuts over this band. A few songs flirt with rural rock, but basically it’s teen-sounding angst, just as cool as their punk peers. [AM]