Tuesday, September 30, 2008


For a band which, quite frankly, released its share of duds over the years, this is a remarkably consistent compilation. Not strictly a hits collection (widespread commercial success came to Poco only years after the period covered here) or a rarities collection (though it does contain a generous portion of previously unreleased material), The Forgotten Trail is a best-of in the truest sense of the term. Most of the original albums from this era are worth picking up in their own right, but for new fans, this is a worthy cross section of them.

As the liner notes point out, Poco was so influential on more commercially successful bands like the Eagles (two of whom were ex-Poco members) that it's easy to forget how radical their country-rock approach was when they appeared on the scene in 1969. More than most country-rock bands - including the later and more popular Poco lineups - the original Poco leaned heavily on the country half of its genre. For that reason, this album might be offputting to fans of later country-rock at first, but repeated listenings will be rewarded. If you know these guys mostly from the later years, this is the best place to start when it comes to "how it was when it all began."

Tracks :

  1. Pickin' up the pieces
  2. Grand junction
  3. Consequently so long
  4. First love
  5. Calico lady
  6. My kind of love
  7. Hard luck
  8. Last call (cold enchilada)
  9. Honky tonk downstairs
  10. Hurry up
  11. You'd better think twice
  12. Anyway bye bye
  13. I guess you made it
  14. C'mon
  15. Hear that music
  16. Kind woman
  17. Just for me and you
  18. Bad weather
  19. You'd better think twice
  20. Lullaby In September

  1. You are the one
  2. From the inside
  3. Good feelin' to know
  4. I can see everything
  5. And settlin' down
  6. Blue water
  7. Fool's gold
  8. Nothin's still the same
  9. Skunk Creek
  10. Here we go again
  11. Crazy eyes
  12. Get in the wind
  13. Believe me
  14. Rocky Mountain breakdown
  15. Faith in the families
  16. Western Waterloo
  17. Whatever happened to your smile
  18. Sagebrush serenade
Link :

CD 1 : http://rapidshare.com/files/149766453/Poco_-_The_forgotten_trail_1969_-_1974.rar
CD 2 : http://rapidshare.com/files/149774053/Poco_-_The_forgotten_trail_1969_-_1974_cd_2.rar
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Monday, September 29, 2008


It has an atrocious title and an atrocious album cover, but Wet Willie's eponymous debut is a good slice of Southern rock. The band occasionally stretches out a bit, getting into bluesy improvised sections, but their main talent is for laidback Southern grooves. The album is a little uneven, but "Shame, Shame, Shame," "Dirty Leg" and "Have a Good Time" illustrate their potential.

Tracks :

01 Have A Good Time. 3:42
02 Dirty Leg. 3:41
03 Faded Love. 4:32
04 Spinning Round. 4:18
05 Low Rider. 3:02
06 Rock And Roll Band. 2:48
07 Pieces. 3:12
08 Shame, Shame, Shame. 3:22
09 Beggar Song. 4:19
10 Fool On You. 7:17

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American psych-blues-rock band..Released in 1970...Excellent twin lead guitar attack!! see from akarma catalog :An American rock blues combo hailing from Corpus Christi, a little town in Texas. This is their only album originally released on Acorn Records in 1970. The two guitar players, William Grate and Richard De Leon, plays clean and inventive solos, which pay tribute to the best American psychedelic rock

Tracks : 

4.-Creation a child
5.-Just a man
6.-We cant make it, luv
7.-Not mine
8.-Where is she
9.-Mythical dream

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While from the outset Lyle Lovett sounded like a hard artist to pigeonhole, his sponsors at Curb Records and MCA Records seemed determined to sell him as a country artist, though the blues and retro-jazz leanings of Lovett's second album, Pontiac, suggested that strategy would only be practical for so long. With his third album, 1989's Lyle Lovett and His Large Band, Lovett seemingly sidelined any career aspirations as a mainstream country act he or his handlers may have held. The album kicks off with a lively cover of Clifford Brown's "The Blues Walk," and the next five tunes all bear the smoky, late-night vibe of a low-key jazz joint, with top marks going to the hilariously off-kilter "Here I Am," the witty scenario of potential infidelity "What Do You Do/The Glory of Love," and the marvelously sly "Good Intentions." The second half of the album is steeped in twang, but it was hardly more comforting for country radio programmers; "I Married Her Just Because She Looks Like You" is a "sweet on the outside and sick on the inside" tale of romantic obsession, "Nobody Knows Me" bears a punchline that makes "God Will" sound generous, and Lovett's straight-faced cover of "Stand By Your Man" stubbornly refuses to either announce itself as a joke or suggest another interpretation. Wherever you choose to file it, Lyle Lovett and His Large Band made it clear that Lovett was only getting better with each album; the songs are uniformly well-crafted, Lovett's vocals are full of subtle nuance, and his band is in brilliant form throughout (with special kudos to Lovett's frequent vocal foil, Francine Reed). If you're going to burn your bridges, you could hardly find a better way to do it than this. ~ Mark Deming, All Music Guide

Tracks :

  1. "The Blues Walk (Instrumental)" (Clifford Brown) – 2:25
  2. "Here I Am" – 4:01
  3. "Cryin' Shame" – 2:28
  4. "Good Intentions" – 3:13
  5. "I Know You Know" – 3:57
  6. "What Do You Do/The Glory of Love" (Billy Hill, Lovett) – 3:06
  7. "I Married Her Just Because She Looks Like You" – 3:14
  8. "Stand by Your Man" (Billy Sherrill, Tammy Wynette) – 2:44
  9. "Which Way Does That Old Pony Run" – 4:08
  10. "Nobody Knows Me" – 3:06
  11. "If You Were to Wake Up" – 4:07
  12. "Once Is Enough" – 4:26
Link : http://rapidshare.com/files/149381630/lyle_lovett-_and_his_large_band__1989_.rar
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Sunday, September 28, 2008


The double-disc Look What I Did! was simply too much for anyone but the dedicated Joe Walsh fan, which makes the release of the 15-song, single-disc Joe Walsh's Greatest Hits: Little Did He Know so welcome. Drawing highlights from his solo career and his early records with the James Gang, Greatest Hits contains almost every song that most fans would want -- "Funk #49," "Rocky Mountain Way," "Life's Been Good," "Meadows," "Turn to Stone," "All Night Long," "A Life of Illusion" and "Ordinary Average Guy." In other words, it's more definitive than Look What I Did!, even if it's shorter. ~ Stephen Thomas Erlewine, All Music Guide

Tracks :

01 Funk #49
02 Tend My Garden
03 The Bomber
04 Walk Away
05 Midnight Man
06 Mother Says
07 Turn to Stone
08 Meadows
09 Rocky Mountain Way
10 Help Me Thru the Night
11 Life's Been Good
12 All Night Long
13 The Confessor
14 A Life of Illusion
15 Ordinary Average Guy

Link : 

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Lindisfarne's third album, following two huge successes, was their make-or-break record, in terms of staying a major British act or achieving a major international following. It fell short of the mark, as far as the British rock press was concerned, and the group never recovered, splitting into two factions and breaking up soon after. Precisely what was wrong with Dingly Dell is unclear listening to the album today. The band's playing is spirited enough -- they sound like the Pentangle with higher wattage, dueling with Fairport Convention, and there are lots of enjoyable songs, even if they lack the cutting lyrical edge of "Meet Me on the Corner" or "Fog on the Tyne." "Court in the Act" is a classic piece of folk rock & roll, with a rousing chorus, a wonderful melody, and memorably funny lyrics. "All Fall Down," "Poor Old Ireland," and even the country-style "Bring Down the Government," are also good enough songs that have memorable tunes. Simon Cowe's "Go Back" recalls some of Syd Barrett's solo work in its simplicity, humor, and surreal imagery. And one original by violinist Rod Clements, "Don't Ask Me," sounds like the blueprint for Steeleye Dan's "Josie," cut some years later. The closing live cut, a concert version of "We Can Swing Together," also shows off the group's live prowess, holding together despite a few instrumental meanderings. Additionally, the sound here is excellent -- "Mandolin King" lives up to its name, in terms of the glittering texture of that instrument, and the acoustic guitars, harmonium, fiddle etc. are all cleanly presented in the mix (a surprise given the contortions that the group went through with producer Bob Johnston to get this album released). On the other hand, there was no equivalent to "Fog on the Tyne," and that was probably -- along with the more overtly poetic "Meet Me on the Corner" -- what the rock press was waiting for. When they didn't get it, and when principal songwriter Alan Hull suddenly revealed that he might be less than the Bob Dylan rival they'd presumed him to be, they savaged the album unfairly, and the group never recovered their lost momentum. The CD has new cover art and a fascinating Lindisfarne family tree inside the inlay card. ~ Bruce Eder, All Music Guide

Tracks :

1. All Fall Down
2. Plankton's Lament
3. Bring Down The Government
4. Poor Old Ireland
5. Don't Ask Me
6. O No Not Again
7. Dingle Regatta
8. Wake Up Little Sister
9. Go Back
10. Court In The Act
11. Mandolin King
12. Dingly Dell
13. We Can Swing Together (Live)

Link : 

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This band (Bass, drums & guitar) performed on this record from 1969 an authentic and powerful blues rock sung in English. Guitarist Claude OLMOS revealed a really refined, agressive but flowing, dazzling and powerful way of playing on "Middle Earth", long suite where the clear and waving vocals of Alan JACK blend with his piano parts and the truly beautiful, moving and complex soli. As good as FLEETWOOD MAC in their best period.

Tracks :

I've got to find somebody 2'48 (A.Jack)
Shame on you 2'30 (A.Jack, C.Olmos)
What you're gonna say 3'10 (A.Jack)
Baby don't you come back home 3'30 (A.Jack)
The way to the hells 4'58 (A.Jack, C.Olmos)
What's wrong 6'15 (J.Fallissard, R.Fontaine, A.Jack, C.Olmos)
Some people 2'05 (J.Falissard, R.Fontaine, A.Jack, C.Olmos)
Middle earth 9'36 (A.Jack, P.Wood)
+ Bonus : 1 live track

Link : 

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Saturday, September 27, 2008


The music on Left Foot Down's self-titled debut is undeniably upbeat, thinly veiling a range of classic rock influences such as the Allman Brothers Band, the Grateful Dead, and the Marshall Tucker Band, as well as neo-classic rock influences such as the Black Crowes,Widespread Panic, and moe. The band's three primary songwriters (guitarists J.C. Haun andTrey Sansom along with drummer Brack Owens) tap into a fairly standard array of hippie ideologies in their lyrics to songs like "Familiar Face," "Cold," and others. John Montgomery's "Jumpin'," the disc's lone instrumental, features the horn section from Gran Torino. Mostly, the music is highly derivative, if enjoyable. Most puzzling is the title of the disc's sixth track, "Bird Song," which has the title of a completely different song by the Grateful Dead, one of the group's obvious influences.

Tracklist : 

1 Higher Ground Haun  
2 Familiar Face Sansom  
3 Three Years Gone Owens  
4 Jumpin' Montgomery  
5 Cold Haun, Sansom  
6 Bird Song Sansom, Sansom D.  
7 Psuedo Gold Owens  
8 Going Home Haun  
9 Tin Man Hallmark, Sansom  
10 Lie (I Quite; We're Through) Sansom  
11 Take Haun, Jones, Montgomery   

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 In too deep, the progressive movement recognized a lot of changes upon the decade of reminiscences or refulgences that was the 90s, and many of those changes proved worthy of excellent appreciation, whilst others really missed (or still miss, since they share an on-going resistance in front of time and composition) their chance or, if not, their quality. I myself don't know how well, how much directly or in what exact way to speak about Magellan's breakthrough and everlasting proposal of progressive rock (one existing, but sometimes giving confusion like it would be part of the art, one finding open vivacity, but sometimes realizing it is, even with that, far behind the clock and pulse of good music) , since I am not such that much of a fan or an impressed listener on most of the Gardner trio's programs and projects. Nevertheless, the idea of its creation has definitely something clear, anyway anyhow, about the movement of a new sound and of a different orientation. Whether that's something that truly changed the discretion of progressive rock or made it have a fuddle look.

Out of a discography that will seem so ravishing over the next years, plus also under the close reminder that the Gardners broke into many other projects, with typical or unusual, evolved or imploded, common or (in)different styles, Magellan's prime opus, with a name worthy of a concept and a music worthy of some bickering, titledHour Of Restauration, is impatiently, but also very relaxedly, an album which defines Magellan's roots and the new-wave of style progressive rock can get from it. A new-ave pretty much artificial, explosive, intangible and nerved, with occasional artistic works and aesthetic meanings; much like Versus X or King's X, Soniq Theater or Enchant, or even Erik Norlander from across the more spacey music (though these artists and bands relate little in any broadly way) have discovered a sense of popular, artistic, pulp-challenged and deeply sojourned progressive modern rock, pop and, bit, heavy art. The expression is comfortable and innovative, but hardly enough to not raise a few questions about how smaller or bigger hissings of density, ergodicity, true concepts or fascinating dynamics could have been used. In style with, mostly, the classic Kansas losing its orientation, the "American" expression of power and control, but also with the fainted power, of the unique kind, that shouts after some neo-progressive impenetrable bombastic moves, some art rock gloomy or reluctant impressions of...well, art, plus a prog metal skeptical but valid kind of dynamic and hard to beat down energy, Magellan do the trick and even impress beyond what's rightful and listenable. They simply get the credit.

As music and surround, Hour Of Restauration is between good and sadly trapped in those already mentioned "perfect" and "programmed" ways through which Magellan gets a brand and an new-time affection. As a debut, it can't be under-valued, since it isn't a typical waste of beginning's art, nor a frantic incoherence of pulses and orientations. In fact, liking this album rather than much weaker, though mature and already acquainted, future albums, is a good idea, entirely. The bit of stress will come when this entire "hour of progressive restauration" will not be seen as fantastic and overwhelming as the feeling would take it, but few will be the moments Magellan really play a sorrow excuse of rock, pop and sound-operatic fusion. The weakest signs are those of melody, of intentional new-wave and new-age (I have the feeling of Rick Wakeman playing bigger and booster rock, but only in some points), of heartless bombastic traits and of the kind of "rhetorical" art, much addressed to the listener's joy, but hardly making him enjoy it. The shorter pieces, like WinnerUnion Jack and Turning Point will prove that. Instead, Hour Of Restauration sounds okay thanks to vocals (not sure if songwriting as well), impressively clean and exciting, thanks to hard-edge rock, something less piquant than expected yet very incisive, plus some concept rhythms, impossible to feel good except they do indeed progress up to a standard of breathing freshness. And Magna Carta, like any esteemed epic (without exaggerations), tops this.

Magellan will become an important figure of progressive rock "restauration" and "reanimation" over the years and the next full albums, with little visible importance on whether that's a deserved or much spoiled quality and recognition. Hour Of Restauration has all the pros and cons Magellan's style can perform, pondering, afterwards, on being a decent album.

Track Listings

1. Magna Carta (14:45) 
2. The Winner (2:07) 
3. Friends of America (3:27) 
4. Union Jack (9:08) 
5. Another Burning (5:04) 
6. Just one Bridge (2:15) 
7. Breaking These Circles (5:17) 
8. Turning Point (1:24)

Total Time: 43:36


- Trent Gardner / keyboards, lead vocal 
- Wayne Gardner / guitar, back Vocals 
- Hal Stringfellow Imbrie / bass and backing vocals
- Magellan / drums and percussion 

Link : http://rapidshare.com/files/148817654/magellan_-_Hour_of_restoration_1991.rar

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Friday, September 26, 2008


American Blues 'Is Here' is a studio album by the psychedelic blues-rock band American Blues. The album is sometimes referred to as simply American Blues or Is Here.

Tracks :

  1. "If I Were A Carpenter"
  2. "All I Saw Was You"
  3. "She'll Be Mine"
  4. "Fugue For Lady Cheriff"
  5. "It's Gone"
  6. "Keep My Heart In A Rage"
  7. "Mercury Blues"
  8. "Melted Like Snow"
  9. "Mellow"
Link : http://rapidshare.com/files/148613779/AMerican_blues_-_is_here_1968.rar

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When the album "Rathbone Hotel" was released in 1976, three years had passed since the release of its predecessor "Catch a Singing Bird on the Road" (LHC 009). The band had not been idle in the meantime, quite the opposite; they provided music for television, stage productions and, most importantly for Improved Sound Limited, film music. Long Hair Music will re-release the remaining recordings step-by-step: film soundtracks, including music for Erwin Keusch’s "“Das Brot des Bäckers" and Wim Wender’s "Kings of the Road" (aka "Im Lauf der Zeit"), on CD 4, and television music and singles on CD 5 "The Rest of the Story".

Following the release of "Catch a Singing Bird on the Road" the band did not comply with their record company CBS’s request to act as a support band to larger acts for a year. Not because they weren’t prepared to do some hard work, but because they wanted to use the time more effectively, produce new material in the studio, travel, write songs and, of course, to further their studies.

This made more sense to the band than getting burned out in the expectations of possible success as a support band, night for night playing their songs to death to an audience focused on the music of the main band, only really interested in their favourite band playing their hits.

The album "Rathbone Hotel", available for the first time on CD, originally should have been recorded a year earlier. The new songs were written, arranged and some had even been recorded in CBS’s demo studio in Frankfurt. Following the death of Dieter Eberle, the A&R man responsible for Improved Sound Limited, they waited until his successor, the later Senior Vice President GSA and Managing Director of Sony Music, Jochen Leuschner, got things moving again. He played the demos to British producer David Hitchcock (Genesis, Nazareth, Camel, Caravan). He too was interested, contact was made, mutual sympathy and musical understanding established. So it came to pass that Improved Sound Limited worked for the first time with a producer who introduced his own ideas:

The band should go back to their roots, be less literary, eclectically complicated and "arty", find their strengths in simplicity and functionality, basically be more striking, pithy or simply catchier. The original idea of a concept album was ditched, however relicts or rudiments of it cannot be missed (e.g. in "Bound for Spain" and "Little Sue"), where they serve as acoustic brackets.

To increase the back-to-the-roots feeling technical gimmicks were avoided. They used "classic" instrument-amp combinations, e.g. Les Paul and Vox AC 30 (with the "muddy" sounding Celestion speakers), Telecaster and (the brilliant clanking) Twin Reverb, Fender Jazz Bass und Marshall stack, Hammond B-3 and original Leslies (with exotic wood bodies). After all, one mixes a Tequila Sunrise with classic ingredients and brand name spirits.

The Rathbone Hotel really exists. It is in London and the band lodged there in March 1976 while recording the LP in CBS Studios in Whitfield Street. Why is the building on the front of the cover not the Rathbone? Because the "Rathbone Hotel" should be a "Pars pro Toto", the gene-ric hotel that comes along for musicians and traveling salesmen to stay in...

It is no secret that the band was not too pleased about their renaming as "Condor" on CBS’s advice. The record company argued that in Anglo-American markets Improved Sound Limited would be mistaken as music publishers and not a rock formation. And why shouldn’t an artist perform under a pseudonym? Be that as it may, at least they narrowly managed to avoid the even worse name of "Colt...".

For the re-release of the album on CD it was the band’s explicit wish that this be done under their old "brand name". After all they haven’t changed personnel and even a guest musician from "Catch a Singing Bird on the Road" is here: Frank Baum, the pedal steel guitarist with the "Gran Ole Opry" experience. On "Old Mexico" there is a new guest, the viola player Geoffrey Richardson who has since played with, amongst others, the Penguin Café Orchestra, Rupert Hine, Murray Head, Paul Brady, Bob Geldof and in France with Elsa and Renaud.

Tracks :

1. Number One
2. Tularosa
3. Till 9 A.M.
4. If I Could Read Her Mind
5. Stray Cat
6. Old Mexico
7. Nothing´s Worrying Me No More
8. Little Sue
9. Suicide Road
10. Mortgage
11. Bound For Spain
12. Sonora

Link : 

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This German psychedelic Pop-rock band released originally in 1971 a double album on Liberty / U.A./ 17 tracks, over 70 minutes. A direction like BEATLES-"White Album", but more psychedelic songs. Every track is pure emotional music, plenty more of lyrical sound with superb flute and great harmony vocals, included a 17 min track "A soldiers songbook" from the Beatnik-Film "Wer im Glashaus liebt oder der Graben" by Michael Verhoeven. A real gigantic musical trip!

Tracks :

Doctor Bob Dylan
Pink hawthorn
If you want to
Fudd McGorges
An old army poem
Where will the salmon spawn
To my son
A soldier's songbook
Shining brightly in the sun
It is you
Columbines violets and daisies
I am the wolf
A well respected man
Drunken Mr. Hyde

Band Members :

Fickert, Johnny(vocals, percussion, flute, alto sax)
Linstädt, Axel(guitars, keyboards, vocals)
Ruppert, Uli(bass)
Gröschner, Rolf(drums)

Link : http://rapidshare.com/files/148609736/Improved_sound_limited_st_1971.rar

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Wednesday, September 24, 2008


This single eponymous, solo release from Valente of Quicksilver Messenger Service fame is, like the other reviewers have noted, definitely a relic. With that label comes certain connotations--it is a piece trapped in a specific time period, but it is also somewhat of a buried treasure. I've found both of these observations to be at least partially, but not completely true.

Dino's definitely representing a spaced-out hippie mentality with his style and romance-obsessed lyrics. That's true, but his sound on this particular record is pretty cool, with some sweet reverbed horns, 12-string, and a voice that sounds (at its best) a lot to me like Johnny Rivers. Unfortunately, this same production/arrangement sound gets a little bit bland once you realize that the entire album sounds basically the same, so the second half isn't too memorable. This isn't really helped by his spacey, second person lyrics, that leave some to be desired. In the end, it's kind of like a more amateurly-played "Astral Weeks" without strong songs. I can't really recommend any of the songs over others, since they are mostly about the same things and sound the same, except for "Me and My Uncle," which is actually a surprisingly good, dark folk-style ballad. Nonetheless, I do enjoy the atmosphere of this record, and would probably still buy it if I had a second chance.

In the liner notes, Dino is called the "underground Dylan." He may have played in folk clubs (but who didn't?), but aside from that and attempted hairstyle, Valente has little resemblance to Dylan's songwriting skills. Unfortunately, this isn't the missing link or keystone for your obscure record collection (but hey, you can't win them all), but like I said, I still do listen to it sometimes and don't regret buying it. You may enjoy it more than I did, but it may at least be worth owning regardless.

Tracks :

1. Time
2. Something New
3. My Friend
4. Listen To Me
5. Me And My Uncle
6. Tomorrow
7. Children Of The Sun
8. New Wind Blowing
9. Everything Is Gonna Be OK
10. Test
11. Shame On You Babe
12. Now And Now Only

Link : http://rapidshare.com/files/148084568/Dino_Valente_1968.rar

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'If You Could Read My Mind' marked a time of change in Gordon Lightfoot's musical career. After five albums with United Artists Lightfoot made a switch to another label. This album, his sixth overall, was his first recording with Reprise and it contained the hit 'If You Could Read My Mind' which was one of his first songs to receive serious radio play in the U.S.A. His big breakthrough was still four years away when 'Sundown' would be released, but this was never-the-less the beginning of his efforts to gain the attention of the larger American audience south of the Canadian border.

Tracks :

1. Minstrel Of The Dawn
2. Me And Bobby Mcgee
3. Approaching Lavender
4. Saturday Clothes
5. Cobwebs & Dust
6. Poor Little Allison
7. Sit Down Young Stranger
8. If You Could Read My Mind
9. Baby It's Allright
10. Your Love's Return
11. The Pony Man

Link : http://rapidshare.com/files/148085395/Gordon_Lightfoot_-_if_you_ciould_read_my_mind_1970.rar

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Tuesday, September 23, 2008


Once considered lost forever, the 1978-recorded ENGLISH MEADOW is a rare UK folk album from group Brandywine Bridge. The album combines traditional Celtic and British folk elements with expert use of mandolins, bodhrans, fiddles, vocals, and treble recorders.

Tracks :

AN English Meadow
Three Lovers
Congreve's Rockets
Hickory House Tunes
Bonnie Prince
Black Anna's Bower
Sea Wife's Lament
Set of Tunes
Toss your Pennies
Billy the Budgie
The Ox

Link : http://rapidshare.com/files/147674100/Brandywine_bridge_-_an_English_meadow.rar
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Artwork included ( home made back cover )

MR. FOX - ST 1970 / GYPSY 1971

Mr. Fox was a septet formed in 1970 by Bob Pegg (vocals, guitar, bass, keyboards) and Carolann Pegg (then known as Carole Pegg) (vocals, fiddle). Contemporaries of Steeleye Span and Fairport Convention, Mr. Fox was unusual in that they avoided relying on electric guitars and their music's deep origins in the folklore of the Dales. Mr. Fox, whose other members were Alun Evans (drums),Barry Lyons (bass, dulcimer), Andrew Massey (cello), John Myatt(winds), Richie Bull (banjo), and Nick Strutt (multiple instruments), started out with a self-titled debut album on Transatlantic that generated a massive amount of enthusiasm and controversy, over their mix of traditional folk forms and experimental touches in the rhythms and other embellishments. They were serious rivals to acts like Steeleye Span for a time, especially upon the release of their second album, The Gipsy, which featured a smaller line-up and a more experimental approach to their material. Multi-instrumentalistNick Strutt, in particular, was heavily showcased along with the Peggs on that album. This was to prove their last album, however, as the group splintered soon after. Bob Pegg and Carolann Pegg cut one album together on the Trailer label in 1971, and later emerged on separate solo albums on Transatlantic.

Mr. Fox's debut LP was merry British folk-rock in the classic Steeleye Span mold, although they lacked the emotional depth of that band or a vocalist on the order of Maddy Prior orSandy Denny. Well, merry on the surface, anyway: "The Hanged Man" is the story of the death of a hiker in the Yorkshire Dales. The use of organ, melodeon, tin whistle, terrapin, fiddle, cello, flute, clarinet, and bassoon gave them extraordinary instrumental depth, even as they avoided incorporating an electric guitarist into their lineup. It's more standard folk-rock than their more adventurous second album, The Gipsy, although most of the material was written by band members Bob Pegg and Carole Pegg. Interestingly, they covered a Dave Mason tune, "Little Woman," and British folk-rock maestro Ashley Hutchings wrote the lyrics to a couple of tunes.

Mr. Fox's second and final album was lively British folk-rock from the halcyon days of that genre. They lacked the one or two vocal or instrumental personalities that would have lifted them to the Fairport Convention/Steeleye Span/Pentangle level, but anyone who likes the early 1970s recordings of those bands will like this too. The group really shone when they favored the moodiest material and let a spooky drone come to the fore, as on the lengthy opener, "Mendle," where the unnervingly shrill organ and Carole Pegg's vocals established an uneasy yet seductive atmosphere. It should be said, though, that it was an admirably diverse album as well, with sparsely arranged numbers that sound much like gypsies of centuries-old vintage, more straightforward and modern folk-rock treatments of traditional songs, and the upbeat finale "All the Good Times," where the Gridley Tabernacle Choir and Orchestra join in on the chorus. Important note: although this was reissued as part of the apparent two-for-one CD of their two early 1970s albums on Transatlantic, that release is missing "Mendle" -- a vital omission, as that's the best track on The Gipsy. Don't despair, however, as all of the songs, "Mendle" included, are on the 180-gram gatefold LP reissue of the album by Get Back in 2001.

Mr. Fox
Join Us In our game
The hanged man
The gay Goshawk
Rip Van WInkle
Mr. Trill's song
Little Woman
Salisbury plain
The ballad od Neddy Dick
Leaving the Dales
Mr. Fox
Mendle ( The missing track from the album )

The gypsy
Aunt Lucy Broadwood
House carpenter
Elvira Madigan 
Dancing song
All the good times

Ripped by : evermoreblues
Artwork included 


Woman is the first solo album by British musician Mike McGear (spelled Michael on the cover), who also is the brother of ex-Beatle Paul McCartney, who also co-wrote a song, but credited as a "friend". Roger McGough produced and co-writed some songs with McGear.

Tracks :

  1. "Woman" -3:02
  2. "Witness" -4:11
  3. "Jolly Good Show" / "Benna"+ -3:25
  4. "Roamin A Road" /"Benna (Reprise)"+ (Mike McGear) -2:30
  5. "Sister" (Mike McGear) -3:11
  6. "Wishin" -3:21
  7. "Young Young Man (Five Years Ago)" /"Young Young Man (Five Years Later)" -3:36
  8. "Edward Heath" (Mike McGear) -0:55
  9. "Bored as Butterscotch" (Mike McGear/Roger McGough/Friend) -2:50
  10. "Uptowndowntown" /"Blackbeauty"+ (Mike McGear) -3:10
  11. "Tiger" /"Strawberry Jam" -7:20

Band :

  • Mike McGear: Vocals.
  • Roger McGough: Guitars.
  • Andy Roberts: Guitars.
  • Roger Bunn: Bass guitar.
  • Dave Richards: Bass guitar.
  • Zoot Money: Piano, keyboards.
  • John Megginson: Organ.
  • Brian Auger: Keyboards.
  • Norman Yardley: Harmonica.
  • Gerry Conway: Drums, percussion.
  • Ginger Johnson: Percussion.
  • Michael Rosen: Horns.
  • Roger Ball: Horns.
  • Cecil Moss: Horns.
  • Chris Pyne: Horns.
  • Malcolm Duncan: Horns.
  • Paul Korda: Backing vocals.
  • Steve Gould: Backing vocals.
  • Alan Gorrie: Backing vocals.
  • Centipede: Strings.
  • Tony Coe: Saxophones.

Link :@

Artwork Included ( low quality back cover )

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